NormalizeHEAD main

author: nfenwick <nfenwick@pglaf.org> 2025-01-27 15:00:24 -0800
committer: nfenwick <nfenwick@pglaf.org> 2025-01-27 15:00:24 -0800
commit: c8343eee9bb4a39a0610bb7677237065666f25e3 (patch)
tree: 9923f48595fcfa626beeb6c3e1dd9cb445ede055
parent: 9349201f7e196f9063b1117daa0593dd30b6f900 (diff)
339 files changed, 17 insertions, 41187 deletions
diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..d7b82bc
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,4 @@
+*.txt text eol=lf
+*.htm text eol=lf
+*.html text eol=lf
+*.md text eol=lf
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..e042fb9
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #60687 (https://www.gutenberg.org/ebooks/60687)
diff --git a/old/60687-0.txt b/old/60687-0.txt
deleted file mode 100644
index 4fd5b21..0000000
--- a/old/60687-0.txt
+++ /dev/null
@@ -1,17031 +0,0 @@
-The Project Gutenberg EBook of The Magician's Own Book, by Anonymous
-
-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: The Magician's Own Book
-       or the Whole Art of Conjuring. etc.
-
-Author: Anonymous
-
-Other: Unknown Dick and Fitzgerald
-
-Release Date: November 14, 2019 [EBook #60687]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE MAGICIAN'S OWN BOOK ***
-
-
-
-
-Produced by Chris Curnow, Jane Robins and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-    +--------------------------------------------------+
-    |                 Note:                            |
-    |                                                  |
-    | _ around word indicated italics _Erebus_         |
-    | = around word indicated bold =DICK & FITZGERALD= |
-    +--------------------------------------------------+
-
-
-
-
-
-    THE
-    MAGICIAN'S OWN BOOK,
-
-    OR THE
-    WHOLE ART OF CONJURING.
-
-    BEING A
-    COMPLETE HAND-BOOK OF PARLOR MAGIC,
-
-    AND CONTAINING
-    OVER ONE THOUSAND
-
-    OPTICAL, CHEMICAL, MECHANICAL, MAGNETICAL, AND MAGICAL EXPERIMENTS,
-    AMUSING TRANSMUTATIONS, ASTONISHING SLEIGHTS AND SUBTLETIES,
-    CELEBRATED CARD DECEPTIONS, INGENIOUS TRICKS WITH NUMBERS,
-    CURIOUS AND ENTERTAINING PUZZLES, TOGETHER WITH
-    ALL THE MOST NOTED TRICKS OF MODERN PERFORMERS.
-    THE WHOLE
-
-    ILLUSTRATED WITH OVER 500 WOOD CUTS,
-
-    AND INTENDED AS A SOURCE OF AMUSEMENT FOR
-    ONE THOUSAND AND ONE EVENINGS.
-
-    NEW YORK:
-    DICK & FITZGERALD, 18 ANN STREET.
-    1862.
-
-
-
-
-    Entered according to Act of Congress, in the year 1857, by
-
-    DICK & FITZGERALD,
-
-    in the Clerk's Office of the District Court for the Southern District
-                              of New York.
-
-
-
-
-PREFACE.
-
-
-The publishers of this interesting volume do not conceive that it requires
-an elaborate introduction to the reading public. Some brief remarks,
-however, may not be inappropriate as a preface to THE MAGICIAN'S OWN
-BOOK, since the "black art," as in lessen lightened ages the practice
-of all these innocent and interesting feats was termed, is not yet as
-popularly understood in this country as it is abroad. There is a charm
-in legerdemain, or sleight of hand, that all, whether young or old, can
-readily appreciate. There is a mystery in it that piques the understanding
-as well as provokes the curiosity of the spectator. If the trick be
-executed with address, it excites our admiration; and the simpler it
-appears, the more it engages our fancy and fascinates our attention. And
-it is not only when we are mystified in public, cajoled in great saloons,
-and in the presence of crowds, that these effects are developed. They
-are called forth by the performances even of some humble artist in the
-family circle, whose ingenuity of mind has enabled him to gather up the
-more available of these practical puzzles. It would seem, therefore, a
-useful thing to place this source of harmless amusement within the reach
-of all who can relish its eccentricities, and instead of leaving it in
-the hands of "professors," as a pecuniary speculation, to enable the
-domestic group to master and enjoy it in all its ever-varying phases of
-novelty and gratification. To do this is what the publishers propose in
-the issue of this volume; and they flatter themselves, that if carefully
-studied, it will prepare the Young Conjuror to convert the parlor, at any
-desirable moment, into a place of genuine entertainment for himself and
-his companions, and ample repay him for the little time and thought he may
-devote to the acquisition of the necessary skill and dexterity.
-
-Sleight of hand, magic, necromancy, &c., are all terms of art applicable
-to the same series of performances. The parlor student, therefore, once
-familiar with the general principles upon which these "experiments" are
-effected, will find little difficulty in comprehending at a glance,
-notwithstanding all the show of gorgeous paraphernalia and auxiliary
-machinery employed, the _modus operandi_ of every one of them he may
-witness in public. This will be a new source of pleasure to him,
-independent of his ability to turn "Conjuror" on his own account at home.
-Nor can we well conceive of any rational objection likely to be urged
-against a kind of knowledge, so unimpeachable in its nature, and so mirth
-provoking in its results. Acting Charades are common, even among the
-most fastidious families. Enigmas and puzzles, in pantomime and speech,
-afford innoxious amusement to thousands. The publishers only consider THE
-MAGICIAN'S OWN BOOK a new addition to the current list of entertainments
-of that character; for what is a sleight of hand feat but an enigma
-placed before the spectator for solution? What is a trick in "natural
-magic" but a puzzle repeated to those who behold it, each one of whom
-is tacitly expected to guess how it is accomplished, while the little
-practitioner only holds the key to the mystery? In truth, the parlor needs
-some increase in its means of social amusement. The number it embraces is
-extremely limited. They soon weary. This weariness creates an appetite
-for outside attractions, not always wholesome, and too often insidiously
-pernicious. THE MAGICIAN'S OWN BOOK nicely fills up, therefore, the void
-in the category of parlor recreations. It may be made to present an
-ever-changing, always tempting, stay-at-home inducement, and in this shape
-becomes a moral assistant of no unimportant description, as well as the
-piquant source of good humored bamboozlement.
-
-In conclusion we would say, that the MAGICIAN'S OWN BOOK contains a great
-variety of curious tricks and deceptions, many of which have never before
-appeared in print, and for many of which the publishers beg to acknowledge
-their indebtedness to Mr. John Wyman, Junior, the celebrated magician,
-that gentleman having kindly furnished clear and simple explanations to
-many of his most surprising parlor feats and fancies.
-
-
-
-
-INDEX.
-
-
-Sleight of Hand Tricks.                                           PAGE
-
-    The Flying Dime,                                                 3
-
-    The Flying Dime, (another method,)                               4
-
-    The Beads and Strings,                                           5
-
-    To get a Ring out of a Handkerchief,                             5
-
-    To tie a Knot in a Handkerchief which Cannot be drawn Tight,     6
-
-    The Three Cups,                                                  7
-
-    To tie a Handkerchief round your Leg, and get it off Without
-        Untying the Knot,                                            8
-
-    The Magic Bond,                                                  8
-
-    The Old Man and his Chair,                                       8
-
-    To tie a Knot on the Left Wrist, without letting the right hand
-         approach it,                                               10
-
-    The Magic Handcuffs,                                            11
-
-    To pull a String through your Button-hole,                      11
-
-    The Cut String Restored,                                        12
-
-    The Gordian Knot,                                               12
-
-    The Knot Loosened,                                              13
-
-    To Conjure Nuts in your Ear,                                    13
-
-    To Crack Walnuts in your Elbow,                                 14
-
-    To Take Feathers out of an Empty Handkerchief,                  14
-
-    The Knotted Handkerchief,                                       14
-
-    Houdin's Nut Trick,                                             16
-
-    Conjuring a Ring,                                               17
-
-    The Erratic Egg,                                                18
-
-    The Obedient Dime,                                              19
-
-    The Prisoner Released,                                          19
-
-    Advantageous Wager,                                             19
-
-    The Double Meaning,                                             20
-
-    The Three Spoons,                                               20
-
-    The Juggler's Joke,                                             20
-
-    To Cause Water and Wine to Change Places,                       21
-
-    The Wizard's Wit, or Is it Possible,                            21
-
-    The Toper's Stratagem,                                          21
-
-    The Impossible Omelet,                                          21
-
-    New Perpetual Rotary Motion,                                    22
-
-    The Miraculous Apple,                                           22
-
-    An Omelet Cooked in a Hat,                                      23
-
-    The Infallible Prophet,                                         23
-
-    Philosophy Cheated,                                             24
-
-    The Disappearing Dime,                                          26
-
-    The Hat and Die Trick,                                          27
-
-    The Penetrative Cents,                                          27
-
-    The Doll Trick,                                                 29
-
-    The Flying Coins,                                               30
-
-    The Vanished Half Dime,                                         30
-
-    The Restored Document,                                          30
-
-    The Magic Rings,                                                31
-
-    The Fish and Ink Trick,                                         32
-
-    The Hat and Cannon Ball Trick,                                  32
-
-    The Dime in the Ball of Cotton,                                 33
-
-    The Egg and Bag Trick,                                          33
-
-    The Dancing Egg,                                                34
-
-    The Bell and Shot Trick,                                        34
-
-    The Burned Handkerchief Restored,                               35
-
-    The Fire Eater,                                                 35
-
-    The Egg Box Trick,                                              36
-
-    The Globe Box Trick,                                            36
-
-    The Coffee Trick,                                               37
-
-    The Handkerchief Trick,                                         38
-
-    The Magic Funnel,                                               41
-
-    The Magic Bottle,                                               41
-
-    The Bottle Trick,                                               42
-
-    The Magic Quarter,                                              44
-
-    To change a Dime to a Quarter,                                  44
-
-    Wyman's Gun Trick,                                              46
-
-    The Hatched Bird,                                               46
-
-    The Apple and Orange Trick,                                     47
-
-    A Magician's Box Explained,                                     47
-
-    The Enchanted Coin,                                             48
-
-    The Mysterious Coin, or How to Make Dollars pass through a Wine
-        Glass, a China Plate, a Table, and fall into the Hand,      49
-
-    The Egyptian Fluids, or Impossibilities Accomplished,           50
-
-    The Magician's Snow Ball,                                       51
-
-    The Magnetized Cane,                                            52
-
-    Wyman's Mode of performing the Egg Bag Trick,                   52
-
-    The Dancing Automaton,                                         354
-
-    The Invisible Springs,                                         355
-
-    The Flight of the Ring,                                        356
-
-    The Magic Book,                                                360
-
-    The Tape Trick,                                                360
-
-    The Knotted Thread,                                            361
-
-    The Transposable Pieces,                                       362
-
-
-Tricks and Deceptions with Cards.
-
-    To Make the Pass,                                               55
-
-    To Tell a Card by its Back,                                     55
-
-    The Card named without being seen,                              56
-
-    The Card told by an Opera Glass,                                56
-
-    The Four Kings,                                                 58
-
-    The Four Accomplices,                                           58
-
-    To Tell the Card thought of, in a Circle of Ten,                59
-
-    To guess the Card thought of,                                   59
-
-    To tell the number of Cards by Weight,                          60
-
-    Audacity,                                                       61
-
-    The Card found at the second guess,                             61
-
-    The Card found under the Hat,                                   61
-
-    To call the Cards out of the Pack,                              61
-
-    Heads and Tails,                                                62
-
-    The Surprise,                                                   62
-
-    The Revolution,                                                 63
-
-    The Slipped Card,                                               63
-
-    The Nailed Card,                                                63
-
-    To ascertain the number of Points on three unseen Cards,        64
-
-    To tell the numbers on two unseen Cards,                        64
-
-    The Knaves and the Constable,                                   64
-
-    The Pairs Re-paired,                                            65
-
-    The Queens Digging for Diamonds,                                66
-
-    The Triple Deal,                                                67
-
-    The Quadruple Deal,                                             67
-
-    The Card Discovered by the Touch or Smell,                      67
-
-    The Ingenious Confederacy,                                      67
-
-    Hold it Fast,                                                   69
-
-    The Charmed Twelve,                                             69
-
-    The Trick of "Thirty-one,"                                      70
-
-    To tell the Names of the Cards by their Weight,                 71
-
-    The Cards in the Vase,                                          73
-
-    The Metamorphosis,                                              74
-
-    To hold Four Kings, or Four Knaves in your Hand, and to Change
-       them suddenly into Blank Cards, and then to Four Aces,       76
-
-    To Change a Card in a Person's Hand,                            76
-
-    The Card in the Egg,                                            77
-
-    The Fifteen Thousand Livres,                                    78
-
-    Hints to Amateurs,                                              79
-
-    Cure for Troublesome Spectators,                                80
-
-    To make a Card jump out of the Pack,                           357
-
-    The Tell-Tale Cards,                                           357
-
-    The Double Dozen,                                              358
-
-    The Housebreakers,                                             359
-
-
-The Magic of Chemistry.
-
-    Sympathetic or Invisible Inks,                                  84
-
-    The Silver Tree,                                                85
-
-    Cleopatra's Pearls,                                             86
-
-    Wonderful Experiments in Combustion,                            86
-
-    Mimic Rain,                                                     86
-
-    Marine Illumination,                                            87
-
-    The Mimic Explosion,                                            88
-
-    The Shower of Fire,                                             88
-
-    The Magical Heat,                                               88
-
-    The Magic Lamp,                                                 89
-
-    Surprising Experiments with Potassium,                          89
-
-    The Water Demon,                                                89
-
-    A Flame produced with Ice,                                      89
-
-    The Chemical Chimney Sweep,                                     90
-
-    The Magical Illumination,                                       90
-
-    The Chemical Chameleon,                                         91
-
-    Crystallizations of Metals,                                     92
-
-    Beauties of Crystallization,                                    93
-
-    To Crystallize Camphor,                                         93
-
-    To do. Tin,                                                     94
-
-    Crystals in Hard Water,                                         94
-
-    Varieties of Crystals,                                          94
-
-    A Liquid Changed to a Solid, and Heat from Crystallization,     94
-
-    Beautiful Experiment,                                           95
-
-    A Solid Changed to a Liquid, and intense Cold from the
-        Liquefaction,                                               95
-
-    Magic of Heat,                                                  95
-
-    Sublimation by Heat,                                            96
-
-    Heat Passing through Glass,                                     96
-
-    Metals unequally Influenced by Heat,                            97
-
-    Spontaneous Combustion,                                         97
-
-    Inequality of Heat in Fire Irons,                               97
-
-    Expansion of Metal by Heat,                                     97
-
-    Evaporation of a Metal,                                         98
-
-    A Floating Metal on Fire,                                       98
-
-    Ice Melted by Air,                                              98
-
-    Splendid Sublimation,                                           98
-
-    Magic Inks,                                                     98
-
-    Chameleon Liquids,                                              99
-
-    The Magic Dyes,                                                 99
-
-    Wine Changed into Water,                                        99
-
-    Two colorless Transparent Liquids become Black and Opaque,     100
-
-    Two colorless Fluids, Make a colored one,                      100
-
-    Change of Color, by colorless Fluids,                          100
-
-    To Change Blue Liquid to White,                                100
-
-    Veritable "Black" Tea,                                         100
-
-    Restoration of Color by Water,                                 101
-
-    Two Liquids Make a Solid,                                      101
-
-    Two Solids Make a Liquid,                                      101
-
-    A Solid, Opaque Mass, Makes a Transparent Liquid,              101
-
-    Two cold Liquids Make a Hot one,                               101
-
-    Quintuple Transmutation,                                       102
-
-    The Same Agent may Produce and Destroy Color,                  102
-
-    Union of two Metals without Heat,                              102
-
-    Magic Breath,                                                  102
-
-    Two Bitters Make a Sweet,                                      103
-
-    Visible and Invisible,                                         103
-
-    To Form a Liquid of two Solids,                                103
-
-    The Spectral Lamp,                                             104
-
-    Curious Change of Colors,                                      105
-
-    The Protean Light,                                             105
-
-    The Chameleon Flowers,                                         105
-
-    To Change the Colors of Flowers,                               105
-
-    Changes of the Poppy,                                          106
-
-    Changes of the Rose,                                           106
-
-    Light changing White into Black,                               106
-
-    The Visibly Growing Acorn,                                     106
-
-    Colored Flames,                                                107
-
-    Orange colored Flame,                                          107
-
-    Emerald Green Flame,                                           107
-
-    Instantaneous Flame,                                           107
-
-    To Cool Flame by Metal,                                        108
-
-    Proof that Flame is Hollow,                                    108
-
-    To Hold a Hot Tea Kettle on the Hand,                          108
-
-    Incombustible Linen,                                           108
-
-    The Burning Circle,                                            108
-
-    Water of different Temperatures in the same Vessel,            109
-
-    Warmth of Different Colors,                                    109
-
-    Substitute for Fire,                                           109
-
-    Laughing Gas,                                                  109
-
-    Flame from Cold Metals,                                        110
-
-    Phosphorus in Chlorine,                                        110
-
-    Magic Vapor,                                                   111
-
-    Gas from the Union of Metals,                                  111
-
-    Camphor Sublimated by Flame,                                   111
-
-    Green Fire,                                                    111
-
-    Brilliant Red Fire,                                            112
-
-    Purple Fire,                                                   112
-
-    Silver Fire,                                                   112
-
-    Fiery Fountain,                                                112
-
-    Combustion without Flame,                                      112
-
-    Combustion of Three Metals,                                    113
-
-    To Make Paper Apparently Incombustible,                        113
-
-    Heat not to be estimated by Touch,                             113
-
-    Flame upon Water,                                              113
-
-    Rose Colored Flame upon Water,                                 113
-
-    To Set a Mixture on Fire by Water,                             114
-
-    Waves of Fire on Water,                                        114
-
-    Water from the Flame of a Candle,                              114
-
-    Formation of Water by Fire,                                    114
-
-    Boiling upon Cold Water,                                       114
-
-    Currents in Boiling Water,                                     114
-
-    Hot Water Lighter than Cold,                                   115
-
-    Expansion of Water by Cold,                                    115
-
-    The Cup of Tantalus,                                           115
-
-    The Magic Whirlpool,                                           116
-
-    Artificial Fire Balls,                                         117
-
-    To Melt Steel as Easily as Lead,                               118
-
-    To Tell a Lady if She is in Love,                              118
-
-    To put an Egg in a Phial,                                      118
-
-    To Astonish a Large Party,                                     118
-
-    Magical Test Papers,                                           119
-
-    Infinite Divisibility,                                         119
-
-    Chemistry an Agent in Secret Writing,                          327
-
-    To Melt a Piece of Money in a Walnut Shell, without Injuring
-       the Shell,                                                  355
-
-    The Pyramid of Alum,                                           354
-
-
-Experiments in Electricity.
-
-    The Rotary Tobacco Pipe,                                       123
-
-    The Erratic Feather,                                           123
-
-    The Attractive Sealing Wax,                                    124
-
-    The Unneighborly Balls,                                        124
-
-    The Electrified Paper,                                         124
-
-    The Sociable Feather,                                          124
-
-    The Eccentric Feather,                                         124
-
-    The Discontented Pith Ball,                                    124
-
-    The Dancing Bran,                                              124
-
-    The Electrical Cat,                                            124
-
-    Electrical Shock from a Sheet of Paper,                        125
-
-    Light under Water,                                             126
-
-    Simple means of Producing Electricity,                         126
-
-    Attraction and Repulsion Exhibited,                            127
-
-    How to Make an Electrical Machine,                             127
-
-    Conductor,                                                     128
-
-    The Plate Electrical Machine,                                  129
-
-    How to Draw Sparks from the Tip of the Nose,                   129
-
-    How to Get a Jar full of Electricity,                          129
-
-    The Electrical Battery,                                        130
-
-    Dancing Balls and Dolls,                                       131
-
-    The Electrical Kiss,                                           131
-
-    Ringing Bells,                                                 131
-
-    Working Power of Electricity,                                  132
-
-    The Electrified Wig,                                           132
-
-    Imitation Thunder Clouds,                                      133
-
-    The Lightning Stroke Imitated,                                 133
-
-    The Sportsman,                                                 134
-
-
-Experiments in Galvanism.
-
-    Singular Galvanic Shock,                                       135
-
-    The Flash of Light,                                            135
-
-    The Magical Cup,                                               135
-
-    The Prisoner Leech,                                            136
-
-    The Metamorphosed Knife,                                       136
-
-    With Plates in Water,                                          136
-
-    To Make a Magnet by Galvanism,                                 137
-
-    Effects of Galvanism on a Magnet,                              137
-
-    Change of Color by Galvanism,                                  137
-
-    The Galvanic Shock,                                            138
-
-    A Galvanic Tongue,                                             138
-
-    Influence of Galvanism on Porter and Ale,                      188
-
-    The Galvanized Flounder,                                       188
-
-
-Experiments in Magnetism.
-
-    The Impromptu Magnet,                                          139
-
-    The Merry Iron Filings,                                        140
-
-    Test of Magnetic Power,                                        140
-
-    To Make Artificial Magnets,                                    140
-
-    How to Magnetize a Poker,                                      140
-
-    To Show Magnetic Attraction and Repulsion,                     141
-
-    Variation of the Needle,                                       141
-
-    Dip of the Needle,                                             141
-
-    To Suspend a Needle in the Air, by Magnetism,                  141
-
-    Magnetism by Hammering,                                        142
-
-    Power of the Electro-Magnet,                                   142
-
-    The Mariner's Compass,                                         142
-
-    To Make Artificial Magnets without the Aid of either Natural
-        Loadstone, or Artificial Magnets,                          143
-
-    The Watch Magnetized,                                          144
-
-    North and South Poles of the Magnet,                           144
-
-    Polarity of the Magnet,                                        144
-
-    Magnetic Action and Reaction,                                  145
-
-    To Pass Magnetism through a Table,                             145
-
-    The Magnetic Table,                                            145
-
-    Interesting Particulars Concerning the Magnet,                 145
-
-    Exaggerated Magnetism,                                         146
-
-
-The Magic of Pneumatics and Aerostatics.
-
-    Weight of the Air Proved by a Pair of Bellows,                 148
-
-    The Pressure of Air Shown by a Wine Glass,                     148
-
-    The Pressure of Air Shown by a Glass Jar,                      148
-
-    Elasticity of the Air,                                         149
-
-    The Air Pump,                                                  149
-
-    To Prove that Air has Weight,                                  150
-
-    To Prove Air Elastic,                                          150
-
-    Air in the Egg,                                                150
-
-    The Descending Smoke,                                          151
-
-    Half Eagle and Feather,                                        151
-
-    The Soundless Bell,                                            152
-
-    The Floating Fish,                                             152
-
-    The Mysterious Circles,                                        152
-
-    The Diving Bell,                                               154
-
-    The Air Balloon,                                               154
-
-    How to Make an Air Balloon,                                    155
-
-    How to Fill a Balloon,                                         156
-
-    To Make Fire Balloons,                                         156
-
-    The Mysterious Bottle,                                         157
-
-    How to Make a Parachute,                                       157
-
-    Caoutchouc Balloons,                                           157
-
-    The Bacchus Experiment,                                        362
-
-
-The Magic of Optics.
-
-    Light as an Effect,                                            159
-
-    Refraction,                                                    159
-
-    The Invisible Coin Made Visible,                               159
-
-    The Multiplying Glass,                                         160
-
-    Transparent Bodies,                                            160
-
-    The Prism,                                                     160
-
-    To Make a Prism,                                               161
-
-    Composition of Light,                                          161
-
-    A Natural Camera Obscura,                                      162
-
-    Bullock's Eyes Experiment,                                     162
-
-    The Camera Obscura,                                            162
-
-    The Magic Lantern,                                             163
-
-    The Camera Lucida,                                             164
-
-    Painting the Slides,                                           164
-
-    To Exhibit the Magic Lantern,                                  164
-
-    Effects of the Magic Lantern,                                  165
-
-    Tempest at Sea,                                                165
-
-    The Phantasmagoria,                                            166
-
-    Dissolving Views,                                              167
-
-    How to Raise a Ghost,                                          167
-
-    The Thaumatrope,                                               168
-
-    The Bird in the Cage,                                          168
-
-    Construction of the Phantasmascope,                            168
-
-    Curious Optical Illusion,                                      169
-
-    Another,                                                       170
-
-    Another,                                                       170
-
-    The Picture in the Air,                                        171
-
-    Breathing Light and Darkness,                                  171
-
-    To Show what Rays of Light do not Obstruct each other,         172
-
-    To See through a Philadelphia Brick,                           172
-
-    The Stereoscope,                                               173
-
-    Ocular Spectra,                                                175
-
-    Brilliant Water Mirror,                                        175
-
-    Optics of a Soap Bubble,                                       176
-
-    The Kaleidoscope,                                              176
-
-    Simple Solar Microscope,                                       177
-
-    Anamorphoses,                                                  178
-
-    The Cosmorama,                                                 180
-
-    Distorted Landscapes,                                          180
-
-    The Magic Coin,                                                181
-
-    The Magician's Mirror,                                         344
-
-    The Perspective Mirror,                                        345
-
-    The Artificial Landscape,                                      348
-
-    The Boundless Prospect,                                        350
-
-    The Enchanted Palace,                                          352
-
-
-Tricks in Mechanics.
-
-    Importance of Mechanics,                                       182
-
-    The Laws of Motion,                                            182
-
-    Experiment of the Law of Motion,                               182
-
-    Balancing,                                                     183
-
-    The Prancing Horse,                                            183
-
-    To Construct a Figure, which, being Placed on a Curved Surface,
-        and Inclined in any Position, shall, when left to itself,
-        Return to its Former Position,                             183
-
-    To Make a Carriage Run in an Inverted Position, without
-        Falling,                                                   183
-
-    To Cause a Cylinder to Roll of its own Weight, up Hill,        184
-
-    The Balanced Stick,                                            184
-
-    The Chinese Mandarin,                                          184
-
-    To Make a Quarter Dollar Turn on its Edge on the Point of
-       a Needle,                                                   184
-
-    The Self-Balanced Pail,                                        185
-
-    To Lift a Bottle with a Straw,                                 185
-
-    The Dancing Pea,                                               186
-
-    The Toper's Tripod,                                            186
-
-    The Magical Snake, or the Obliquity of Motion,                 187
-
-    The Bridge of Knives,                                          187
-
-    Sand in the Hour Glass,                                        188
-
-    Resistance of Sand,                                            188
-
-    The Magical Gyroscope,                                         346
-
-
-Tricks in Hydraulics and Hydrostatics.
-
-    The Science of Hydraulics,                                     189
-
-    The Fountain and Pump,                                         189
-
-    The Hydraulic Dancer,                                          190
-
-    The Syphon,                                                    191
-
-    The Water Snail, or Archimedean Screw,                         191
-
-    The Bottle Ejectment,                                          192
-
-    The Magic of Hydrostatics with the Ancients,                   192
-
-    To Empty a Glass under Water,                                  192
-
-    The Mysterious Bottle,                                         157
-
-    Boiling upon Cold Water,                                       114
-
-    Currents in Boiling Water,                                     114
-
-    Hot Water Lighter than Cold,                                   115
-
-    Expansion of Water by Cold,                                    115
-
-    The Magic Whirlpool,                                           116
-
-    The Cup of Tantalus,                                           115
-
-    To Weigh Water without Scales,                                 353
-
-    More than Full,                                                361
-
-
-Tricks in Acoustics.
-
-    The Science of Acoustics,                                      193
-
-    Difference between Sound and Noise,                            193
-
-    Visible Vibration,                                             193
-
-    Transmitted Vibration,                                         194
-
-    Double Vibration,                                              194
-
-    Champagne and Sound,                                           194
-
-    Music of the Snail,                                            195
-
-    The Tuning Fork a Flute Player,                                195
-
-    Musical Bottles,                                               195
-
-    Theory of Whispering,                                          195
-
-    Theory of the Voice,                                           196
-
-    To Tune a Guitar without the Assistance of the Ear,            196
-
-    Progress of Sound,                                             196
-
-    To Make an Æolian Harp,                                        196
-
-    The Invisible Girl,                                            197
-
-    Magic of Acoustics with the Ancients,                          198
-
-    The Secret of Ventriloquism,                                    81
-
-    To Show how Sound Travels through a Solid,                     198
-
-    To Show that Sound depends upon Vibration,                     198
-
-    Musical Figures Resulting from Sound,                          357
-
-
-The Magic of Numbers, or Curious Tricks in Arithmetic.
-
-    Aphorisms of Number,                                           199
-
-    Palpable Arithmetic,                                           200
-
-    The Abacus,                                                    201
-
-    Napier's Rods,                                                 202
-
-    The Arithmetical Boomerang,                                    203
-
-    To Find a Number Thought of,                                   203
-
-      Second Method,                                               204
-
-      Third Method,                                                205
-
-      Fourth do.,                                                  205
-
-      Fifth do.,                                                   206
-
-      Sixth do.,                                                   206
-
-    To Discover two or more Numbers that a Person has Thought of,  206
-
-    How many Counters have I in my Hands?                          207
-
-    The Mysterious Halvings, to tell a Number a Person has
-         Thought of,                                               208
-
-      Second Method,                                               209
-
-    Who Wears the Ring?                                            211
-
-    What is Probable?                                              212
-
-    Variations,                                                    213
-
-    Amusing Combinations,                                          214
-
-    The Visitors to the Crystal Palace,                            217
-
-    How many Changes can be Given to Seven Notes of a Piano?       217
-
-    The Arithmetical Triangle,                                     217
-
-    How many Different Deals can be made with Thirteen Cards out
-       of Fifty-two,                                               218
-
-    The Three Graces,                                              218
-
-      Second Method,                                               219
-
-      Third Method,                                                220
-
-    The Fortunate Ninth,                                           221
-
-    The Ten Ten's,                                                 222
-
-    Dividing the Beer,                                             223
-
-    The Difficult Case of Wine,                                    224
-
-    Decimation of Fruit,                                           224
-
-    The Wine and the Tables,                                       225
-
-    The Three Travelers,                                           225
-
-    What Counter has been Thought of out of Sixteen,               226
-
-    Magic Squares,                                                 227
-
-    Odd Magic Squares,                                             227
-
-    The Square of Gotham,                                          229
-
-    The Mathematical Blacksmith,                                   230
-
-    Curious Properties of some Figures,                            230
-
-    The Industrious Frog,                                          234
-
-    The Council of Ten,                                            235
-
-    The Two Travelers,                                             235
-
-    Arithmetical Trick,                                            237
-
-    The Money Trick,                                               237
-
-    The Philosopher's Pupils,                                      237
-
-    To Discover a Square Number,                                   238
-
-    The Sheep, and the Sheep Fold,                                 238
-
-    The Countrywoman and the Eggs,                                 238
-
-    To Rub out Twenty Chalks at Five Times, Rubbing out every Time
-         an Odd one,                                               239
-
-    The Impossible Triangle,                                       239
-
-    Odd or Even,                                                   239
-
-    The Figures, up to 100, arranged as to make 505 in each Column,
-       when Counted in Ten Columns Perpendicularly, and the Same
-       when Counted in Ten Files Horizontally,                     240
-
-    The Old Woman and Her Eggs,                                    240
-
-    The Mathematical Fortune Teller,                               241
-
-    The Dice Guessed Unseen,                                       242
-
-    The Sovereign and the Sage,                                    242
-
-    The Knowing Shepherd,                                          243
-
-    The Certain Game,                                              243
-
-    The Astonished Farmer,                                         244
-
-    The Magical Century,                                           244
-
-    The Hatter Cheated,                                            245
-
-    The Basket of Nuts,                                            245
-
-    The United Digits,                                             246
-
-    December and May,                                              246
-
-    The Two Drovers,                                               246
-
-    The Basket and Stones,                                         246
-
-    The Famous Forty-Five,                                         247
-
-    Trick in Subtraction,                                          247
-
-    The Expunged Figure,                                           247
-
-    The Mysterious Addition,                                       248
-
-    To tell at what Hour a Person Intends to rise,                 249
-
-    To find the Difference between Two Numbers, the Greater of
-        which is Unknown,                                          249
-
-    The Magic Remainder,                                           250
-
-    A Person having an equal Number of Counters, or Pieces of
-       Money, in each Hand, to find how many he has altogether,    250
-
-    The Three Jealous Husbands,                                    251
-
-    The False Scales,                                              251
-
-    The Apple Woman,                                               252
-
-    The Graces and Muses,                                          252
-
-    The Jesuitical Teacher,                                        252
-
-    Nine Quaint Questions,                                         253
-
-    The Fox, Goose and Corn,                                       253
-
-    Multiplying Money by Money,                                    253
-
-    The Unfair Division,                                           255
-
-    A Popular Fallacy,                                             255
-
-
-Curious Tricks in Geometry.
-
-    The Inventor of Geometry,                                      256
-
-    Geometrical Definitions,                                       256
-
-    The Five Geometrical Solids,                                   257
-
-    How to Make Five Squares into a large one without any Waste of
-        Stuff,                                                     258
-
-    Deceptive Vision,                                              258
-
-    The Carpenter Puzzled,                                         259
-
-    The Bricklayer Puzzled,                                        260
-
-    Triangular Problem,                                            260
-
-    To Form a Square,                                              261
-
-    Squaring the Circle,                                           262
-
-    The Perplexed Cabinet Maker,                                   277
-
-
-Curious and Amusing Puzzles.
-
-    Alexander the Great's Puzzle,                                  266
-
-    The Chinese Cross,                                             266
-
-    The Parallelogram,                                             267
-
-    The Divided Garden,                                            267
-
-    The Endless String,                                            267
-
-    Chinese Maze, the Willow Pattern Plate,                        268
-
-    The Vertical Line Puzzle,                                      268
-
-    The Three Rabbits,                                             269
-
-    The Accommodating Square,                                      269
-
-    The Circle Puzzle,                                             269
-
-    The Cardboard Puzzle,                                          269
-
-    The Button Puzzle,                                             269
-
-    The Quarto Puzzle,                                             269
-
-    The Puzzle of Fourteen,                                        270
-
-    The Square and Circle Puzzle,                                  270
-
-    The Scale and Ring Puzzle,                                     270
-
-    The Heart Puzzle,                                              271
-
-    The Cross Puzzle,                                              272
-
-    The Yankee Square,                                             272
-
-    The Card Puzzle,                                               272
-
-    The Three Square Puzzle,                                       273
-
-    The Cylinder Puzzle,                                           273
-
-    The Four Tenants,                                              273
-
-    The Puzzle Wall,                                               274
-
-    The Twenty-Four Nuns,                                          274
-
-    The Horse Shoe Puzzle,                                         274
-
-    The Card Square,                                               275
-
-    The Dog Puzzle,                                                275
-
-    Puzzle of the Two Fathers,                                     275
-
-    The Triangular Puzzle,                                         276
-
-    Cutting out a Cross,                                           276
-
-    Another Cross Puzzle,                                          276
-
-    The Fountain Puzzle,                                           276
-
-    The Puzzle of the Stars,                                       277
-
-    The Counter Puzzle,                                            277
-
-    Japan Square Puzzle,                                           277
-
-    The Cabinet Maker's Puzzle,                                    277
-
-    String and Balls Puzzle,                                       277
-
-    Double Headed Puzzle,                                          278
-
-    Arithmetical Puzzle,                                           278
-
-    Grammatical Puzzle,                                            278
-
-    The Tree Puzzle,                                               279
-
-    Puzzling Epitaph,                                              279
-
-    Curious Letter,                                                279
-
-    A Puzzling Inscription,                                        279
-
-    Puzzling Kings,                                                279
-
-    The Knight's Puzzle,                                           283
-
-      Another Method,                                              284
-
-      Another Method,                                              287
-
-    Rosamond's Bower,                                              287
-
-    The Labyrinth,                                                 288
-
-    The Chinese Puzzle,                                            289
-
-    Trouble-Wit,                                                   290
-
-
-Answers to Puzzles.
-
-    The Chinese Cross,                                             291
-
-    The Parallelogram,                                             291
-
-    The Divided Garden,                                            292
-
-    The Endless String,                                            292
-
-    Chinese Maze,                                                  292
-
-    The Vertical Line Puzzle,                                      293
-
-    The Three Rabbits,                                             293
-
-    The Accommodating Square,                                      293
-
-    The Circle Puzzle,                                             293
-
-    The Cut Card Puzzle,                                           294
-
-    The Button Puzzle,                                             294
-
-    The Quarto Puzzle,                                             294
-
-    The Puzzle of Fourteen,                                        294
-
-    The Square and Circle Puzzle,                                  295
-
-    The Scale and Ring Puzzle,                                     295
-
-    The Heart Puzzle,                                              295
-
-    The Cross Puzzle,                                              295
-
-    The Yankee Square,                                             295
-
-    The Card Puzzle,                                               296
-
-    The Three Square Puzzle,                                       296
-
-    The Cylinder Puzzle,                                           296
-
-    The Four Tenants,                                              296
-
-    The Puzzle Wall,                                               297
-
-    The Twenty-Four Nuns,                                          297
-
-    The Horse Shoe Puzzle,                                         297
-
-    The Card Square,                                               297
-
-    The Dog Puzzle,                                                298
-
-    The Two Fathers,                                               298
-
-    The Triangular Puzzle,                                         298
-
-    Cutting out a Cross,                                           299
-
-    Another Cross Puzzle,                                          299
-
-    The Fountain Puzzle,                                           299
-
-    The Star Puzzle,                                               300
-
-    The Counter Puzzle,                                            300
-
-    Japan Square Puzzle,                                           300
-
-    Cabinet Maker's Puzzle,                                        300
-
-    String and Balls Puzzle,                                       301
-
-    Double Headed Puzzle,                                          301
-
-    Arithmetical Puzzle,                                           301
-
-    Grammatical Puzzle,                                            301
-
-    The Tree Puzzle,                                               301
-
-    Puzzling Epitaph,                                              302
-
-    A Curious Letter,                                              302
-
-    A Puzzling Inscription,                                        302
-
-
-The Magic of Art.
-
-    To Trace an Oval,                                              303
-
-    An Endless Source of Amusement,                                303
-
-    The Magic of the Oval,                                         303
-
-    Variations of the Oval,                                        304
-
-    What may be done with a Square,                                305
-
-    How to make a Circle,                                          306
-
-    Importance of the Circle in Drawing,                           307
-
-    Variation of the Square and Circle,                            307
-
-    Importance of the Triangle,                                    308
-
-    How to Construct a Triangle,                                   309
-
-    The Triangle Works Wonders in Perspective,                     310
-
-    Exaggerated Drawing,                                           311
-
-    The Parallelogram and Triangle in Combination,                 312
-
-    Two Parallelograms in Combination,                             312
-
-    Magic of the Parallelogram,                                    313
-
-    The Secret of Comic Drawing,                                   313
-
-    Caricature Sketching,                                          314
-
-    Simple Elements of the Profile,                                315
-
-    Comic Profiles,                                                316
-
-    "Punch," and "Mother Hubbard,"                                 316
-
-    Comical Beards,                                                316
-
-    The Human Figure,                                              317
-
-    Proportions of the Human Figure,                               318
-
-    Standard Height of the Body,                                   318
-
-    Comical Drawing of the Human Figure,                           319
-
-    The Centre of Gravity,                                         320
-
-    A Central Line through Everything,                             320
-
-    The Curved Line Pervades all Nature,                           321
-
-    The Droll Landscape,                                           323
-
-    Attitude Formed upon the Curved Line,                          324
-
-    How to Draw upon Glass, for Magic Lantern Slides,              325
-
-
-The Magic of Secret Writing.
-
-    The Art of Secret Writing very Ancient,                        326
-
-    Various Modes of Communicating Secret Intelligence,            327
-
-    Chemistry an Agent in Secret Writing,                          327
-
-    Ingenious Mode of Secret Writing,                              328
-
-    The Chiffre Indéchiffrable,                                    328
-
-    A Lock for Mr. Hobbs to Pick,                                  330
-
-    The Circular Cypher,                                           331
-
-      Another Method,                                              332
-
-    The Musical Cypher,                                            333
-
-
-The Magic of Strength.
-
-    Mechanical Inventions of the Ancients few in Number,           334
-
-    Ancient and Modern Feats of Strength,                          334
-
-    Feats of Eckeberg particularly described,                      335
-
-    One Man Drawing against Two Horses,                            335
-
-    Breaking the Rope,                                             336
-
-    The Anvil Feat,                                                336
-
-    Breaking Stones,                                               337
-
-    The Chair Feat,                                                337
-
-    The Knee Feat,                                                 338
-
-    The Cannon Feat,                                               338
-
-    Twisting Iron Bars,                                            339
-
-    General Explanation on all the Above Feats,                    339
-
-    Real Feats of Strength Performed by Thomas Topham,             340
-
-    Remarkable Power of Lifting Heavy Persons when the Lungs are
-        Inflated,                                                  341
-
-    Pyramids of Men,                                               342
-
-
-Miscellaneous Curious Tricks and Fancies.
-
-    An Artificial Memory,                                          343
-
-    The Magician's Mirror,                                         344
-
-    The Perspective Mirror,                                        345
-
-    The Magical Gyroscope,                                         346
-
-    Artificial Landscape,                                          348
-
-    Easy and Curious Method of Foretelling Rainy or Fine Weather,  349
-
-    The Magical Measure,                                           350
-
-    The Boundless Prospect,                                        350
-
-    The Magical Watch Lamp,                                        352
-
-    The Hour of the Day or Night told by a Suspended Shilling,     351
-
-    The Enchanted Palace,                                          352
-
-    To Know which of Two Different Waters is the Lightest, without
-        any Scales,                                                353
-
-    To Know if a Suspicious Piece of Money is Good or Bad,         353
-
-    The Pyramid of Alum,                                           354
-
-    The Dancing Automaton,                                         354
-
-    To Melt a Piece of Money in a Walnut Shell without Injuring
-        the Shell,                                                 355
-
-    The Invisible Springs,                                         355
-
-    The Flight of the Ring,                                        356
-
-    Musical Figures resulting from Sound,                          357
-
-    To Make a Card Jump out of the Pack,                           357
-
-    The Tell-Tale Cards,                                           357
-
-    The Double Dozen,                                              358
-
-    The Housebreakers,                                             359
-
-    The Magic Book,                                                360
-
-    The Tape Trick,                                                360
-
-    More than Full,                                                361
-
-    Floating Needles,                                              361
-
-    The Knotted Thread,                                            361
-
-    The Bacchus Experiment,                                        362
-
-    Curious Method of Measuring the Height of a Tree,              362
-
-    The Transposable Pieces,                                       362
-
-
-
-
-THE YOUNG CONJUROR.
-
-[Illustration]
-
-INCLUDING SLEIGHT OF HAND, WITH OBJECTS OR CARDS, WITH AND WITHOUT
-APPARATUS.
-
-
-That there has been "Jugglery" in all ages of the world, the pages of
-history abundantly prove. The ancient religions of the heathen were mixed
-up with an extensive system of legerdemain, and were, more or less,
-tissues of trickery. Sleight of hand, tricks of the tongue by which the
-word was kept to the ear, but broken to the hope, and various miraculous
-deceptions, were the means by which the priests of Egypt, Greece, and Rome
-used to subjugate mankind. Happy ought we to be, in living in an age when
-humbug of every kind is sure to meet exposure by the daylight beams of
-truth.
-
-The Eastern nations, from the earliest times, possessed, besides these
-religious jugglers, others who made a livelihood by going from place to
-place, and performing various tricks and feats by which the judgement
-was bewildered and the reason bamboozled; and even now the performers of
-the East infinitely exceed those of the West. In the Norman times the
-juggler was termed jongleur, or joculator, and united in one the minstrel,
-astrologer, and merry-andrew. In the fourteenth century, he seems to
-have become more entirely a performer of tricks and feats, and bore the
-name of Tregetour. The tregetours were adepts at every kind of sleight
-of hand, and by the assistance of machinery of various kinds, deceived
-the eyes of the spectators, and produced such illusions as were usually
-supposed to be the effect of enchantment, for which reason they were
-frequently ranked with sorcerers, magicians, and witches. Chaucer, who no
-doubt had frequently an opportunity of seeing the tricks exhibited by the
-tregetours of his time, says, "There I sawe playenge jogelours, magyciens,
-trageteours, phetonysses, charmeresses, old witches, and sorceresses;"
-and the old poet goes on to say to them, "Sometimes they will bring on
-the similitude of a grim lion, or make flowers spring up as in a meadow;
-sometimes they cause a vine to flourish, bearing white and red grapes, or
-show a castle built with stone, and when they please, they cause the whole
-to disappear:" and in another part of his work, he says:
-
-    "There saw I Coll Tregetour,
-    Upon a table of sycamour,
-    Play an uncouthe thynge to tell;
-    I sawe hym cary a wyndemell,
-    Under a walnot shale."--_House of Fame_, book iii.
-
-The learned monarch, James I, was perfectly convinced that these and other
-inferior feats exhibited by the tregetours of his day, could only be
-performed by the agency of the "old gentleman," whom it is not polite to
-name. The profession had already fallen very low, and at the close of the
-reign of Queen Elizabeth, the performers were ranked by the moral writers
-of that time, not only with ruffians, blasphemers, thieves, and vagabonds,
-but also with Jews, Turks, heretics, pagans, and sorcerers; and in more
-modern times, by way of derision, the juggler was called a mocus-pocus, or
-hocus-pocus, a term applicable to a pick-pocket, or a common cheat.
-
-The following pages are not intended to make the young reader either a
-cheat or a trickster; there is nothing, perhaps, so utterly contemptible
-in every-day life, as trickery and deception, and we would caution our
-young master not to obtain by these amusements a love of deception,
-which is only allowable in such feats of amusement, and which is in no
-way culpable, when every one knows he is deceived. But we would advise
-him strongly to cultivate in his own mind the virtues of sincerity,
-straightforwardness, candor, openness, and truth; to shun subterfuge and
-deception as he would a venomous reptile; and to hate a lie as he would
-hate that same old gentleman whom we were too polite to name, and who is
-the father of it.
-
-With this sage advice, we shall present a collection of amusing conjuring
-tricks.
-
-
-SLEIGHT OF HAND.
-
-It is my intention, in the following pages, to lay more stress upon those
-tricks which require no apparatus, than upon those for which special
-apparatus, or the assistance of a confederate, is required. No one is
-nearly so well pleased by a trick whose essence evidently lies in the
-machinery, while every one feels pleasure at seeing a sleight of hand
-trick neatly executed. For my own part, I despise all the numerous boxes,
-bottles, variegated covers, and other gimcracks which are generally seen
-on a conjuror's table; and I have never been so pleased with any performer
-as with one who did not even require a table, but pressed into his service
-articles borrowed from his audience, as he stood before them, or walked
-among them. The spectators should never be able to say, "Ah! the trick
-lies in the box; he dares not show it to us!"
-
-The following tricks have almost all been successfully performed by
-myself, and have caused me some reputation in the magic art. Some are my
-own invention:
-
-
-1. THE FLYING DIME.
-
-This trick must be frequently practiced before it is produced in public.
-
-Borrow two colored silk handkerchiefs from the company, and have _three_
-dimes in your hand, but only show _two_, keeping the other one firmly
-fixed against the first joint of the second and third fingers. You must
-also have a fine needle and thread stuck inside the cuff of your coat.
-Then take one of the handkerchiefs, and put in _both_ dimes, but pretend
-that only _one_ is in the handkerchief; then put the handkerchief into a
-hat, leaving one corner hanging out. Now hold up the _third_ dime (which
-the spectators imagine is the _second_), and ask one of the company to lay
-the second handkerchief over it. You then ask him to hold the dime tight
-between his finger and thumb, while you twist up the handkerchief. While
-doing so, with both hands concealed under the handkerchief, you pass a few
-stitches under the dime, and replace the needle. This being done, spread
-one corner of the handkerchief over the hand of the person who is still
-holding the dime, and, taking hold of another corner, tell him to drop
-the dime when you have counted three. At the word "three," he lets go the
-dime, and you whisk the handkerchief into the air, when the dime appears
-to have vanished, but is really held in the handkerchief. You then tell
-the astonished individual to draw the other handkerchief out of the hat by
-the corner that is hanging out. The two dimes are heard to fall into the
-hat, and every one is persuaded that you have conjured one of the dimes
-out of a person's hand, and sent it into the hat.
-
-
-2. ANOTHER METHOD.
-
-Perhaps the spectators may ask to see it again, or demand to mark the
-dime. In this case, vary it as follows. Ask some one (always choose the
-most incredulous of the party) to mark a dime of his own, and give it you.
-Take the same handkerchief, and give him the dime to hold that is already
-enclosed in it, as in the last trick, dropping the marked dime into the
-palm of your hand. Twist it up as before, and then leave it entirely in
-his hands. Direct him to place it on a table, and cover it with a basin or
-saucer. Ask him to give you a cup or tumbler, and hold it under the table,
-beneath the place where the saucer is. Then tell him to knock three times
-on the saucer, and at the third knock let the marked dime fall into the
-tumbler. Hand him the tumbler, and while he is examining the dime to see
-if it is the same one that he marked, take up the saucer, and shake out
-the handkerchief that is lying under it, as in the last trick. You must
-then return the handkerchief, and while you pretend to be searching for
-the marks, draw out the thread that held the dime, and drop the coin into
-the palm of your hand, taking care to rub between your finger and thumb
-the spot where the threads had been, in order to eradicate the marks. This
-variation seldom fails to confuse the company.
-
-You must remember to keep talking the whole time, and always try to make
-a joke, or otherwise to distract the attention of the audience, while you
-are executing the necessary changes.
-
-
-3. THE BEADS AND STRINGS.
-
-[Illustration]
-
-Ask some lady to lend you the beads off her bracelet, or have by you five
-or six beads, which you may hand round for examination. Then get some one
-to cut two pieces of thin string of equal length, and twist them about
-your fingers, appearing to lay them side by side, but in reality placing
-them as in the figure, and then, by twisting them together with apparent
-carelessness, the manner in which they are arranged will not be seen,
-particularly if you keep the point of junction hidden either by a finger,
-or by throwing the shade of your hand upon it.
-
-When the beads are returned, thread them all, taking care to pass the
-center bead over the point of juncture. You then bring the ends of the
-string 1 and 2 together, and tie them so, doing the same with 3 and 4.
-Now give the tied ends to two persons, directing them to hold them tight.
-You need not fear that the beads will come off, even if they pull hard.
-Then grasp the beads with both hands, directing the holders to slacken the
-strings. You then, under cover of the left hand, which is placed above
-the beads, slip the center bead to one side, and draw out the two loops
-which have been hidden in it. The beads will then easily come off into
-your right hand. Tell the holders to pull hard, which they will do, and
-the same moment remove your hands, showing the empty strings, and all the
-beads in your right hand. Then hand round the beads and strings as before.
-Remember to rub out the marks in the strings caused by the loops, before
-you remove your hands.
-
-
-4. TO GET A RING OUT OF A HANDKERCHIEF.
-
-Bend a piece of gold wire into the form of a ring, having previously
-sharpened both ends. You have a real ring made of the same piece of wire,
-and concealing the false ring in the palm of your hand, offer the real one
-to be inspected. When it is returned, borrow a handkerchief, and while
-taking it from the lender, slip the real ring into your left hand, and
-take the false one at its point of junction. Throw the handkerchief over
-the ring, and give it to some one to hold between his finger and thumb.
-Let the handkerchief fall over it, and give a piece of string to a second
-spectator, directing him to tie it round the handkerchief, about two
-inches below the ring, so as to enclose it in a bag, and tell him to do so
-as tightly as he can. While he is doing this, take up your conjuring wand,
-a rod of some hard wood, about eighteen inches long, and when the knot is
-tied, step forward, passing the rod into your left hand, taking care to
-slip over it the real ring, which has lain concealed there. Slip your left
-hand to the center of the rod, and direct each of the two persons to hold
-one end of it in his right hand. Then tell the one who has the ring and
-handkerchief, to lay them on your left hand, which you immediately cover
-with your right. Then tell them to spread another handkerchief over your
-hands, and to say after you any nonsense that you like to invent.
-
-While they are so doing, unbend the false ring, and draw it through the
-handkerchiefs by one of its points, carefully rubbing between the thumb
-and finger the place where it came through. Hang the empty handkerchief
-over the ring which is on the rod, and take away your hands, which you
-exhibit empty, as you have stuck the false ring inside your cuff. Take
-away the upper handkerchief, and let a third person come to examine, when
-he will find the ring gone out of the handkerchief, and hung upon the rod.
-
-
-5. TO TIE A KNOT IN A HANDKERCHIEF WHICH CANNOT BE DRAWN TIGHT.
-
-[Illustration]
-
-Cast an ordinary knot on a handkerchief, and give the end out of your
-right hand to some spectator, and tell him to pull hard and sharp when
-you count three. Just as he pulls, slip your left thumb under the
-handkerchief, as drawn in the cut, and it will be pulled out quite
-straight, without any knot at all. You must let go the end that hangs
-over the left hand, and grasp the handkerchief between the thumb and fore
-finger.
-
-
-6. THE THREE CUPS.
-
-[Illustration]
-
-This is an admirable delusion, but requires very careful management, and
-should be practiced repeatedly before it is exhibited publicly. You get
-three tin cups, of the shape shown in the cut. They should have two or
-three ridges running round them at the mouth, in order to give a better
-hold. Four balls should now be made of cork, and carefully blackened.
-One of the balls is held concealed between the roots of the third and
-fourth fingers, while the other three are handed round for examination,
-together with the cups. When they are returned, the young conjuror begins
-by placing each ball under a cup, or, if he chooses, asking one of the
-spectators to do so for him. While this is being done, he slips the fourth
-ball to the tips of the second and third fingers. He then lifts up cup No.
-1, replaces it on the table a few inches from its first position, and at
-the same time slips the fourth ball under it. He takes up ball No. 1, and
-pretends to throw it away, but in reality he slips it into the place which
-the fourth ball had occupied. He does the same with the three cups, and
-then commences a sham search after the lost ball, in which he accidentally
-(!) knocks over one of the cups, and, to his pretended astonishment, finds
-a ball under it. He then knocks over both the other cups, and finds in
-them the two missing balls.
-
-He again places the balls under the cups, taking care to slip the fourth
-ball under cup No. 3. He then takes up cup No. 1, and pretends to throw
-the ball into No. 3, but hides it as before. As there are already two
-balls in No. 3, the spectators imagine that he really has thrown the ball
-into it. He replaces cup No. 3 over both balls, and slips among them ball
-No. 1. He then takes up cup No. 2, and goes through the same process, and
-on knocking over cup No. 3, all three balls are found together under it,
-and while the spectators are being astonished, ball No 2 can be quickly
-got rid of.
-
-A rather startling termination to this trick can be managed by taking up
-one of the cups, with its mouth upwards holding the finger and thumb
-close to its mouth. Then by throwing another cup into it, letting go the
-first and catching the second, you appear to have thrown the second cup
-through the first.
-
-
-7. TO TIE A HANDKERCHIEF ROUND YOUR LEG, AND GET IT OFF WITHOUT UNTYING
-THE KNOT.
-
-[Illustration]
-
-Hold the handkerchief by both ends, lay the center of the handkerchief on
-your knee, and pass the two ends below, appearing to cross them, but in
-reality hitching them within each other, as represented in the engraving,
-which shows the manner in which this is managed. Draw this loop tight, and
-bring back the ends to the same side on which they were originally, and
-tie them above. If the loop is properly made, it will stand a good pull.
-Then, after showing the spectators how firmly it is tied, put your hand
-under the knot, and by giving it a sharp pull, it will come off.
-
-The engraving represents the manner in which the loop is made, but it must
-be made considerably smaller than it is shown, or it will be seen. In
-fact, it ought not to be a loop at all, as it should be almost concealed
-under the fold of the handkerchief. Do not show this in public until you
-can tie it with rapidity and precision.
-
-
-8. THE MAGIC BOND.
-
-[Illustration]
-
-Take a piece of string, and tie the two ends together with a weaver's
-knot, as that holds the best, and arrange it over the fingers, as
-represented in the engraving. Having done so, let the long loop hang
-loose, lift both loops off the thumb, draw them forward until the string
-is quite tight, and then put them behind the hand, by passing them between
-the second and third fingers. Then pull the part of the string that lies
-across the roots of the fingers, and the whole affair will come off.
-
-
-9. THE OLD MAN AND HIS CHAIR.
-
-[Illustration: _Fig. 1_]
-
-[Illustration: _Fig. 2_
-
-_Fig. 3_
-
-    1. Right fore finger
-    2. Right middle finger
-]
-
-Take the same piece of string as in the last trick, hold your left hand
-with the palm uppermost, and hang the string over the palm. Spread all
-the fingers, and with the right hand bring forward the loops that hang
-behind, by passing it over the second and third fingers. Loose the loop,
-take hold of the part of the string that crosses the hand, and pull it
-forwards. When tight, pass it to the back of the hand, the reversal of the
-movement that brought it forwards. Loose the loop, insert the fore-finger
-and little finger of the right hand under the string that encircles the
-left fore-finger and little finger, and pass the two loops to the back
-of the hand, as shown in the cut, Fig. 1. Tuck both loops under the
-cross-strings at the back, and your preliminaries are completed. Then
-begin your story: "There was once upon a time, an old man, who stole a
-pound of candles. Here they are." You then hold your left hand as at the
-commencement, hook the right fore-finger under the cross-piece at the
-back, and draw it downward until it is long enough to be passed over the
-second and third fingers to the front. Pass it over, and draw it slowly
-upwards, when the similitude of a pound of candles hanging by their
-strings will be seen. (See Fig. 2.) "The old man being tired hung up his
-candles," you then hang the long loop over your thumb, "and sat down in
-his high-backed chair, which you see here." You then hitch the right fore
-finger and middle finger under the two loops that will be found hanging
-behind the left hand, bring them to the front, raise them perpendicularly,
-and the chair will be seen as in Fig. 3. The thumb must be raised
-perpendicularly, and brought as much as possible into the center of the
-hand, or the chair will be all aside.
-
-"When the old man was rested, it began to become dark, and he took a pair
-of scissors to cut down a candle for himself. Here are the scissors."
-While you are saying this, you slip the loop off the thumb, and you
-get Fig. 4. Move the blades and handles of the scissors, as if cutting
-something with them. "Just as he had lighted it, in came a policeman, and
-produced his staff, with the Queen's crown at the top." Now let go the
-little finger of the left hand and the loop will run up the string towards
-the right hand, producing Fig. 5. "The old man in vain tried to resist,
-for the policeman called a comrade to his assistance, and they tied a
-cord round the old man's arms in a tight knot, like this"--slip the right
-middle finger out of its loop, and you will obtain Fig. 6--"and carried
-him off to prison."
-
-[Illustration: _Fig. 4_
-
-    1. Fore finger of left hand,
-
-    2. Little finger of left hand.
-
-    3. Fore finger of right hand.
-
-    4. Middle finger of right hand. #/ ]
-
-[Illustration: _Fig. 5_
-
-1. Right middle finger.
-
-2. Right fore finger.]
-
-[Illustration: _Fig. 6_
-
-1. Right fore
-
-1. finger.
-
-2. Left hand.]
-
-
-10. TO TIE A KNOT ON THE LEFT WRIST, WITHOUT LETTING THE RIGHT HAND
-APPROACH IT.
-
-[Illustration: _Fig. 1_]
-
-[Illustration: _Fig. 2_]
-
-Take a piece of thick pliant string by each end, and with a quick jerk
-of the right hand cast a loop on it as in Fig. 1. The jerk must be given
-upwards and towards the left hand, and its impetus will cause the loop to
-run up the string until it falls over the left wrist, as in Fig. 2. The
-moment that the forward jerk is given the right hand should be drawn back,
-so that the loop is drawn tight directly it has settled on the wrist.
-Both ends should be let fall when the knot is firm. This is a very nice
-little sleight of hand trick to practice in the intervals between more
-showy ones, and, although rather difficult to learn, is soon acquired.
-
-
-11. THE HANDCUFFS.
-
-[Illustration]
-
-Let two persons, A and B, have their hands tied together with string, so
-that the strings cross, as represented in the engraving. The object is, to
-free themselves from each other without untying the knot. It is executed
-in the following manner:
-
-Let B gather up the string that joins his hands, pass the loop under
-the string that binds either of A's wrists, slip it over A's hand, and
-both will be free. By a reversal of the same process, the string may be
-replaced.
-
-
-12. TO PULL A STRING THROUGH YOUR BUTTON-HOLE.
-
-Take a piece of string about two feet in length, and tie the ends
-together. Pass it through a button-hole of your coat; hitch one thumb at
-each end, hook the little fingers into the upper strings of the opposite
-hand. Then draw the hands well outward, and the string will look very
-complicated, as in the engraving.
-
-[Illustration]
-
-To get out the string, loose the hold of the right thumb and left little
-finger, and separate the hands smartly, when the string will appear to
-have been pulled out _through_ the substance of your coat.
-
-It is an improvement of the trick, if, immediately on loosing the hold of
-the right thumb, you change the string from the right little finger on to
-the thumb.
-
-
-13. THE CUT STRING RESTORED.
-
-Tie together the ends of a piece of string, pass one hand through each
-end, twist it once round, and put both ends into the left hand. Draw the
-right hand rapidly along the double strings until you come to the place
-where the strings have crossed each other, as seen in the engraving.
-Conceal the junction with the thumb and finger of the right hand; hold the
-strings in a similar manner with the left hand, and tell some one to cut
-the string between them. You show that the string has been divided into
-two pieces, and say that you will join them with your teeth. Put all four
-ends into your mouth, and remove with your tongue the little loop that has
-been cut off. When you take the string out of your mouth, the spectators
-will not notice the absence of so small a portion of its length, and will
-fancy that you really have joined them.
-
-[Illustration:
-
-    1. The twisted string.      2. The manner of holding it.
-]
-
-
-14. THE GORDIAN KNOT.
-
-[Illustration: 1]
-
-[Illustration: 2]
-
-Take a silk handkerchief, and lay it on a table. Take each of the corners,
-and lay them across each other in the middle of the handkerchief, which
-will then be square, as in the cut, Fig. 1. Do the same with the new
-corners, and go on until the handkerchief is reduced to the size of your
-hand. Then with your left finger and thumb take hold of the center, taking
-care to grasp all the four corners that lie there, and with the right
-finger and thumb take hold of the outer layer of silk, and pull it towards
-you as far as it will come. Then turn it a little on your left hand, and
-repeat the operation until it is all screwed up into a tight ball, as is
-represented in the engraving, Fig. 2. No ends will be then perceptible,
-and a person who is unacquainted with the mode will never be able to
-untie it. Of course you must prepare it previously. When the person to
-whom you give it has failed to untie it, you take the ball in your hand,
-and holding it behind your back, you reverse the method by which it was
-tied, and when it is loose a good shake will release it.
-
-
-15. THE KNOT LOOSENED.
-
-This is a very amusing deception. You ask any one for a handkerchief, and
-tie the ends firmly together in a double knot, allowing him to feel it,
-or pull the ends as tight as he pleases. You then throw the center of
-the handkerchief over the knot, ask the person to hold it tight between
-his finger and thumb. You ask him if the knot is still there, to which
-he will answer in the affirmative. You then take hold of any part of the
-handkerchief, and direct the holder to drop the handkerchief at the word
-"three." You count, "one, two, three," at which word he looses his hold of
-the handkerchief, and there is no vestige left of the knot.
-
-[Illustration]
-
-The method of managing this trick is as follows: Take the handkerchief and
-tie the ends in a simple knot, keeping _one end tight_, and the other end
-loose. We will call the tight end A, and the loose one B. Keep A _always_
-in the right hand, and on the stretch horizontally, and the handkerchief
-will look as in the cut. Do this when you tie it the second time, and draw
-B tight, which will then form a double tie round A, but will not hold it
-firm. When you throw the handkerchief over the knot, you draw out A with
-the finger and thumb of the left hand, and the knot will apparently remain
-firm, although in reality it is nothing but a double twist of silk, which
-of course falls loose when the handkerchief is dropped.
-
-
-16. TO PUT NUTS INTO YOUR EAR.
-
-Take three nuts in the left hand, show them, and take out one of them
-between your right finger and thumb, and another between the first and
-third finger. This latter is not seen by the company. You then put one of
-them in your mouth and retain it there, unknown to the spectators, while
-you exhibit the second as the one that you put into your mouth. This
-second one you carry to your ear, as if you meant to insert it there, and
-on replacing it in your left hand, only two nuts will be left instead of
-three, the third of which appears to have gone into your ear.
-
-
-17. TO CRACK WALNUTS IN YOUR ELBOW.
-
-Conceal a very strong walnut in your right hand, and take two other
-walnuts out of the dish. Place one of them on the joint of your arm, and
-say that you are going to break it by the power of your muscles. You will
-now have one walnut in your arm and two in your right hand. Close your
-left arm, and strike it an apparently violent blow with the right hand,
-at the same time clenching the right hand violently, which will smash the
-second walnut in it, and the spectators hearing the crash will be sure
-to fancy that it is caused by the demolition of the walnut in your arm.
-Then open your arm very gently (for fear of dropping any of the fragments,
-you must say), and, when pretending to take out the walnut which you had
-placed there, you substitute for it the broken one from your right hand.
-
-
-18. TO TAKE FEATHERS OUT OF AN EMPTY HANDKERCHIEF.
-
-Procure at the military clothier's four or five large plumes, such as
-are worn by officers. Take off your coat, and lay the plumes along your
-arms, the stem being toward your hand. Now put on your coat again, and the
-feathers will lie quite smoothly and unsuspected. Borrow a handkerchief
-from one of the spectators, and wave it about to show that it is empty.
-Throw it over your left hand, and with the right draw out one of the
-plumes from up the coat-sleeve, at the same time giving it a flourish in
-the air, which will loosen all the fibers of the feather, and make it
-appear much too large to have been concealed about the person. Wave the
-handkerchief again, and repeat the operation until all the plumes are
-gone. You can carry enough plumes under the sleeve to cover a table with,
-and if you prepare a board or an ornamental vase full of holes, you can
-place the plumes upright as you take them out.
-
-
-19. THE KNOTTED HANDKERCHIEF.
-
-This feat consists in tying a number of hard knots in a
-pocket-handkerchief borrowed from one of the company, then letting
-any person hold the knots, and by the operator merely shaking the
-handkerchief, all the knots become unloosened, and the handkerchief is
-restored to its original state.
-
-To perform this excellent trick, get as soft a handkerchief as possible,
-and taking the opposite ends, one in each hand, throw the right hand
-over the left, and draw it through, as if you were going to tie a knot
-in the usual way. Again throw the right-hand end over the left, and give
-the left-hand end to some person to pull, you at the same time pulling
-the right-hand end with your right hand, while your left hand holds the
-handkerchief just behind the knot. Press the thumb of your left hand
-against the knot to prevent its slipping, always taking care to let the
-person to whom you gave one end pull first: so that, in fact, he is only
-pulling against your _left hand_.
-
-You now tie another knot exactly in the same way as the first, taking care
-always to throw the right-hand end over the left. As you go on tying the
-knots, you will find the right-hand end of the handkerchief decreasing
-considerably in length, while the left-hand one remains nearly as long as
-at first; because, in fact, you are merely tying the right-hand end _round
-the left_. To prevent this from being noticed, you should stoop down a
-little after each knot, and pretend to pull the knots tighter; while, at
-the same time, you press the thumb of the right hand against the knot, and
-with the fingers and palm of the same hand, draw the handkerchief, so as
-to make the left-hand end shorter, keeping it at each knot as nearly the
-length of the right-hand end as possible.
-
-When you have tied as many knots as the handkerchief will admit of, hand
-them round for the company to feel that they are firm knots; then hold
-the handkerchief in your right hand, just below the knots, and with the
-left hand turn the loose part of the center of the handkerchief over them,
-desiring some person to hold them. Before they take the handkerchief in
-hand, you draw out the right-hand end of the handkerchief, which you have
-in the right hand, and which you may easily do, and the knots being still
-held together by the loose part of the handkerchief, the person who holds
-the handkerchief will declare he feels them: you then take hold of one of
-the ends of the handkerchief which hangs down, and desire him to repeat
-after you, one, two, three; then tell him to let go, when, by giving the
-handkerchief a smart shake, the whole of the knots will become unloosed.
-
-Should you, by accident, whilst tying the knots, give the wrong end to
-be pulled, a hard knot will be the consequence, and you will know when
-this has happened the instant you try to draw the left-hand end of the
-handkerchief shorter. You must, therefore, turn this mistake to the best
-advantage, by asking any one of the company to see how long it will take
-him to untie one knot, you counting the seconds. When he has untied the
-knot, your other knots will remain right as they were before. Having
-finished tying the knots, let the same person hold them, and tell him
-that, as he took two minutes to untie one knot, he ought to allow you
-fourteen minutes to untie the seven; but as you do not wish to take any
-advantage, you will be satisfied with fourteen seconds.
-
-You may excite some laughter during the performance of this trick, by
-desiring those who pull the knots along with you, to pull as hard as they
-please, and not to be afraid, as the handkerchief is not yours; you may
-likewise go to the owner of the handkerchief, and desire him to assist you
-in pulling a knot, saying, that if the handkerchief is to be torn, it is
-only right that he should have a share of it; you may likewise say that he
-does not pull very hard, which will cause a laugh against him.
-
-
-20. HOUDIN'S NUT TRICK.
-
-To perform a clever trick with dexterity before a "small party" is at once
-to become the hero of the evening. If you cannot sing, you must solve
-conundrums, or dance a horn-pipe; if neither of these be "your forte,"
-a good trick or two will give equal pleasure to the "bright blue eyes"
-peering at you. The nut trick is exhibited thus: The professor hands the
-audience a dessert plate and a cambric handkerchief for examination;
-these being returned, he places the plate upon a table near to him; the
-handkerchief is then spread out quite flat over the plate. At command,
-sugared almonds, nuts, and comfits pour into the dessert plate the instant
-the kerchief is lifted up, producing an effect that would have astonished
-the magi of old. The way in which it is done is this: Make a calico bag
-large enough to hold the nuts and sweetmeats you intend to distribute,
-exactly to the pattern of a nightcap, or the letter A: a small selvage is
-turned up at the bottom of the bag; procure two pieces of watch spring,
-and bend them quite flat, each spring to be exactly half the diameter of
-the bag. These are put into the selvage, and sewn up firm. When the bag is
-opened, it will close itself in consequence of the springs. A long pin is
-passed through the top of the bag and bent round hook-shape. If the bag be
-now filled with nuts, &c., it may be suspended by the hook, without any
-danger of the nuts or anything else falling out; because, although the
-mouth of the bag is downwards, the springs keep it shut. When this trick
-is to be shown, the prepared bag is hung on the side of the table that is
-away from the audience. The plate is also placed on that side; and when
-the handkerchief is laid over the plate a portion is left to fall over the
-side of the table. Now the kerchief is picked up with the _right_ hand
-in the center (just as a lady does when she wishes to exhibit the lace
-edge), and with it the bag of nuts; the folds of the cambric hide the
-bag. The left hand is now used to draw over the handkerchief and to press
-the bag; this causes the springs to open, and out fall the "good things"
-upon the plate. This causes sufficient diversion for the merest tyro of a
-conjuror to drop the bag behind the table unseen, while he advances to the
-audience, politely inquiring, "Will you take a few nuts or sweetmeats?"
-
-
-21. CONJURING A RING.
-
-Several very marvelous tricks can be shown with an ordinary finger ring,
-such as passing it through the table, through a basin, an ale-glass or a
-plate, then into a box or nest of boxes, and other feats of legerdemain of
-a similar kind. These tricks are so good that they are always shown by the
-professors of magic at evening parties, but are never explained; however,
-we will attempt it. Procure a soft clean silk handkerchief and a sham gold
-ring; now a needleful of black silk, double; sew the silk to the middle of
-the handkerchief, and let the ring hang from it, suspended by the end of
-the silk, say at about three or four inches from the kerchief. When the
-handkerchief is held up by two corners, the suspended ring must always
-hang on the side facing the magician; the handkerchief can then be shaken,
-folded, and crumpled up in the hands, so as to make it appear "all fair."
-Now, to pass a ring through a drinking-glass and plate, and through the
-table on which it is placed. "If any lady or gentleman will kindly lend
-me a ring, I shall be happy to exhibit the electric and magnetic action
-of metallic substances on diaphanous bodies and ceramic manufactures, by
-showing their imperviousness, and the porosity of ligneous products of the
-Honduras." "Hem!" says Aunt Caroline, "what an extraordinary youth!" Do
-not, however, allow yourself to be carried away by any flattery of this
-kind, but determine to do the trick well, and _deserve_ praise. Take the
-borrowed ring in the LEFT hand, and keep it there; pretend to pass it to
-the right hand, and say, "I will place it in the handkerchief. Who will
-kindly hold it for me while I put the glass on the plate in the center
-of the table?" While you thus freely ask who will hold the kerchief,
-you will secure the most bashful lady or gentleman in the company to
-hold the (your) ring in the handkerchief. "You will perceive, ladies and
-gentlemen, that the glass and the plate are now quite empty. I shall now
-place the glass in the plate on to the center of the table, and request
-the lady (or gent) to place the ring and the handkerchief over the glass.
-I particularly draw your attention to the fact that you will _hear_ the
-ring fall into the glass when I request it to be released. You will then
-be certain that it is in the glass; but at my command it shall pass into
-this box (show the box round), which I shall place under the table.
-Now, miss (or sir) be good enough to let the ring fall into the glass.
-Silence! Ting! You heard it fall?" "Yes," all must reply, except the deaf.
-Presto! It is now in the box. You lift the handkerchief, smooth down your
-brow with it, and put it into your pocket. The audience are now left to
-themselves. They rush to the plate and glass, it is not there; now the
-box, behold! it is as sound as ever: how it got there Aunt Carry could
-never tell, but you could, for you put it there out of your left hand when
-you placed the box under the table.
-
-
-22. THE ERRATIC EGG.
-
-[Illustration]
-
-Transfer the egg from one wine-glass to the other, and back again to its
-original position, without touching the egg or glasses, or allowing any
-person or any thing to touch them. To perform this trick, all that you
-have to do, is to blow smartly on one side of the egg, and it will hop
-into the next glass; repeat this and it will hop back again.
-
-
-23. THE OBEDIENT DIME.
-
-A CAPITAL TRICK AT THE DINNER TABLE.
-
-[Illustration]
-
-Lay a dime between two half-dollars, and place upon the larger coins a
-glass, as in the diagram. Remove the dime without displacing either of
-the half-dollars or the glass. After having placed the glass and coins as
-indicated, simply scratch the tablecloth with the nail of the fore finger
-in the direction you would have the dime to move, and it will answer
-immediately. The table cloth is necessary; for this reason the trick
-is best suited to the breakfast or dinner table. The amusement will be
-heightened by reciting the following words prior to moving the finger:
-
-    "Little dime, do not stay
-    In a place so out-of-the-way;
-    But when my finger moved shall be,
-    Like a good fellow come to me."
-
-
-24. THE PRISONER RELEASED.
-
-[Illustration]
-
-Place a dime in the bottom of a glass, and over the latter put a quarter,
-as in the diagram. The puzzle is to remove the small coin from beneath the
-larger one, without touching either of the coins, or touching or upsetting
-the glass. To do this capital trick you must blow with considerable force
-down one side of the glass upon the edge of the quarter. The dime will
-be expelled by the force of the air, and will fall either upon the upper
-surface of the quarter or upon the table. A little practice will render
-the performance of this feat very easy.
-
-
-25. ADVANTAGEOUS WAGER.
-
-Request a lady to lend you a watch. Examine it, and give a guess as to
-its value; then offer to lay the owner a wager, considerably below the
-real value of the watch, that she will not answer to three questions which
-you will put to her consecutively, "My watch." Show her the watch, and
-say, "What is this which I hold in my hand?" she, of course, will not
-fail to reply, "My watch." Next present to her notice some other object,
-repeating the same question. If she name the object you present, she
-loses the wager; but if she be on her guard, and remembering her stake,
-she says, "My watch," she must, of course, win; and you, therefore, to
-divert her attention, should observe to her, "You are certain to win the
-stake, but supposing I lose, what will you give me?" and if, confident
-of success, she replies for the third time, "My watch," then take it and
-leave her the wager agreed on.
-
-
-26. THE DOUBLE MEANING.
-
-Place a glass of any liquor upon the table, put a hat over it, and say,
-"I will engage to drink the liquor under that hat, and yet I'll not touch
-the hat." You then get under the table, and after giving three knocks,
-you make a noise with your mouth as if you were swallowing the liquor.
-Then getting from under the table, you say, "Now, gentlemen, be pleased to
-look." Some one, eager to see if you drank the liquor, will raise up the
-hat, when you instantly take the glass, and drink the contents, saying,
-"Gentlemen, I have fulfilled my promise. You are all witnesses that _I_
-did not touch the hat."
-
-
-27. THE THREE SPOONS.
-
-This is a most capital trick, but it requires a confederate's aid. Place
-three silver spoons crosswise on a table, request any person to touch
-one, and assure him you will find out the one he touches by a single
-inspection; although you will leave the room while he does so, and even if
-he touches it so gently as not to disarrange the order in which they are
-once put in the slightest degree. You retire; and when he gives you notice
-to enter, walk up to the table and inspect the spoons, as if trying to
-ascertain whether there are any finger-marks upon them, and then decide.
-Your confederate, of course, makes some sign, previously agreed upon,
-to give you notice which is the identical spoon; the actions may be,
-touching a button of his jacket for the top spoon, touching his chin for
-the second, and putting his finger to his lips may signify the lowest; but
-the precise actions are immaterial, so that the spoon they indicate be
-understood.
-
-
-28. THE JUGGLER'S JOKE.
-
-Take a little ball in each hand, and stretch your hands as far apart as
-you possibly can, one from the other; then tell the company that you will
-make both the balls come into whichever hand they please, without bringing
-the hands into contact with each other. If any of the lookers-on challenge
-your ability of achieving this feat, all you have to do is to lay one of
-the balls down upon a table, turn yourself round, and take it up with your
-other hand. Both the balls will thus be in one of your hands, without the
-latter approaching the other, agreeably to your promise.
-
-
-29. TO CAUSE WINE AND WATER TO CHANGE PLACES.
-
-Fill a small narrow-necked bulb with port wine, or with water and colored
-spirit of wine, and put the bulb into a tall, narrow glass jar, which is
-then to be filled up with cold water: immediately, the colored fluid will
-issue from the bulb, and accumulate on the surface of the water in the
-jar, while colorless water will be seen accumulating at the bottom of the
-bulb. By close inspection, the descending current of the water may also
-be observed, and the colored and the colorless liquids be seen to pass
-each other in the narrow neck of the bulb without mixing. The whole of the
-colored fluid will shortly have ascended, and the bulb will be entirely
-filled with clear water.
-
-
-30. IS IT POSSIBLE?
-
-Side by side place three pieces of anything, (money is most convenient,)
-then take away the middle piece without touching it.
-
-By removing the right hand piece to the side of the left, you thus take
-away the center without touching it.
-
-
-31. THE TOPER'S STRATAGEM.
-
-Get a bottle full of water, with the cork driven tightly in, and the top
-of it level with the neck of the bottle. You must remove the cork from the
-bottle without touching the cork with anything, and without injuring the
-bottle.
-
-Wrap a towel round the bottom of the bottle, and strike it evenly and
-repeatedly, but not too hard, against a wall, post, or tree, and after
-some time the cork will be driven out of the bottle.
-
-
-32. THE IMPOSSIBLE OMELET.
-
-Produce some butter, eggs, and other ingredients for making an omelet,
-together with a frying-pan, in a room where there is a fire, and offer to
-bet a wager, that the cleverest cook will not be able to make an omelet
-with them. The wager is won by having previously caused the eggs to be
-boiled very hard.
-
-
-33. NEW PERPETUAL ROTARY MOTION.
-
-By an accidental occurrence, it has recently been discovered that a
-piece of rock-crystal, or quartz, cut in a peculiar form, produces, upon
-an inclined plane, and without any apparent impetus, an extraordinary
-rotary motion, which maybe kept up for an indefinite period of time. The
-curiosity of this philosophical toy having excited general interest in
-the scientific world, Professor Leslie, in his lecture, thus explains the
-phenomenon:
-
-"The crystal has six sides, and being cut accurately from the faces to a
-perfect convex surface, if placed upon a wetted smooth surface, and held
-parallel, no motion will take place, because the center of gravity of each
-face is balanced and supported in this position of the plane surface; but
-if a slight inclination is given to the plane, a rotary motion commences,
-in consequence of the support being removed from the center of gravity.
-The impetus once given, the centrifugal force increases the rotary motion
-to such a degree, as for an observer to be unable to distinguish the form
-of the crystal.
-
-"_To produce the effect._--Place the crystal on a piece of plate or common
-window glass, a china or glazed plate, or any smooth surface, perfectly
-clean, as grease or a particle of dust would impede its motion. Wet the
-surface, and give the plane a slight inclination, when, if properly
-managed, a rotatory motion will commence, which may be kept up for any
-length of time by giving alternate inclinations to the plane surface,
-according to the movements of the crystal; to heighten the pleasing effect
-of which, a variety of paper figures, harlequins, waltzers, &c., may be
-attached. The first trial of the experiment had better be made by giving a
-slight rotatory motion to the crystal."
-
-
-34. THE MIRACULOUS APPLE.
-
-To divide an apple into several parts, without breaking the rind. Pass
-a needle and thread under the rind of the apple, which is easily done
-by putting the needle in again at the same hole it came out of; and so
-passing on till you have gone round the apple. Then take both ends of
-the thread in your hands and draw it out, by which means the apple will
-be divided into two parts. In the same manner, you may divide it into as
-many parts as you please, and yet the rind will remain entire. Present the
-apple to any one to peel, and it will immediately fall to pieces.
-
-
-35. AN OMELET COOKED IN A HAT, OVER THE FLAME OF A CANDLE.
-
-State that you are about to cook an omelet; then you break four eggs in
-a hat, place the hat for a short time over the flame of a candle, and
-shortly after produce an omelet, completely cooked, and quite hot.
-
-Some persons will be credulous enough to believe that by the help of
-certain ingredients you have been enabled to cook the omelet without fire;
-but the secret of the trick is, that the omelet had been previously cooked
-and placed in the hat, but could not be seen, because the operator, when
-breaking the eggs, placed it too high for the spectators to observe the
-contents. The eggs were empty ones, the contents having been previously
-extracted, by being sucked through a small aperture; but to prevent the
-company from suspecting this, the operator should, as if by accident, let
-a full egg fall on the table, which breaking, induces a belief that the
-others are also full.
-
-
-36. THE INFALLIBLE PROPHET.
-
-In this trick one of three articles being taken by each of three persons,
-you propose to tell the article each person has taken. We will suppose
-the articles to be a ring, dime or shilling, and a key. The performer
-must in his own mind, term the ring _a_, the shilling or dime _e_, and
-key _i_: (this being the alphabetical order of the vowels, can be easily
-recollected) and he must also mentally distinguish the persons as first,
-second and third. Then taking twenty-four counters or cards, he gives one
-to the first person, two to the second and three to the third; and placing
-the remainder of the counters on the table, he turns his back or leaves
-the room, telling the persons each to take an article, and that whoever
-takes the ring is to take also as many counters as he already has; he who
-takes the shilling, twice as many; and he who takes the key, four times as
-many. This being done, the performer advances, and reckons the remaining
-counters, and according to their number and the underneath line, which
-he must have previously acquired, he tells who has taken each of the
-different articles.
-
-      1.       2.       3.       5.       6.       7.
-    Salve    certa    animæ    semita    vita    quies.
-
-Thus, if there had been a remainder of six counters, the position of the
-vowels in the corresponding word _vita_, shows that the first person took
-_i_, the key; and the second person took _a_, the ring; and, consequently,
-the third person must have taken the shilling. It must be observed,
-that in no instance can there be a remainder of four counters; and that
-the first syllable of each word represents the first person, and the
-second syllable the second person. This ingenious feat is founded on the
-permutation of the three articles, or their representative vowels, which
-can only be placed in six different positions, and the corresponding
-numerical arrangement of the counters, thus:
-
-    1.  _a_ _e_ _i_  salve.
-    2.  _e_ _a_ _i_  certa.
-    3.  _a_ _i_ _e_  animæ.
-    5.  _e_ _i_ _a_  semita.
-    6.  _i_ _a_ _e_  vita.
-    7.  _i_ _e_ _a_  quies.
-
-The three vowels, in their different positions, are made easy of
-recollection, by being united with consonants and formed in their regular
-succession into the above Latin line, or into this similarly constructed
-French one:
-
-       1.       2.      3.      5.        6.       7.
-    Par fer   Cesar   jadis   devint   si grand   prince.
-
-
-37. PHILOSOPHY CHEATED.
-
-This feat is really an excellent one, and has astonished crowds of
-spectators in different parts of the United States. It was one of the
-favorites of a late professor, by whom it was promulgated. Before you
-perform it in public, you must practice it until you are quite perfect, in
-private, for it would be a pity to spoil its effect by making a blunder
-in it. Begin by stating that you are about performing what you have no
-doubt will be regarded as a very extraordinary maneuver, and you will
-leave the company to decide upon what principle of natural philosophy it
-is accomplished. The mode of performance is as follows: Lay the piece of
-wood across the palm of your left hand, which keep wide open, with the
-thumb and all the fingers far apart, lest you be suspected of supporting
-the wood with them. Next, take your left wrist in your right hand, and
-grasp it tightly, for the purpose, as you state, of giving the hand more
-steadiness. Now, suddenly turn the back of your left hand uppermost, and
-as your wrist moves in your right hand, stretch out the forefinger of your
-right hand, and as soon as the wood comes undermost, support it with such
-forefinger. You may now shake the hand, and, after a moment or two, suffer
-the wood to drop. It is two to one but the spectators will suppose it to
-be produced by the action of the air, and try to do it themselves; but, of
-course, they must, unless you have performed the feat so awkwardly as to
-be discovered, fail in its performance. If you have no objection to reveal
-the secret, you can do it again, and while they are gravely philosophizing
-upon it, suddenly lift up your hand (_vide_ Cut), and expose the trick.
-This will, doubtless, create much amusement. Observe that, in doing this
-feat, you must keep your fingers so low that no one can see the palm of
-your left hand; and move your finger so carefully, that its action may not
-be detected; and if it be not, you may rest satisfied that its absence
-from round the wrist of the left hand will not be discovered, some of
-the fingers being naturally supposed to be under the coat; so that, if
-the spectators only see two or even one, they will imagine the others
-are beneath the cuff. When you have turned your hand over, do not keep
-the stick too long upheld, lest the spectators should take hold of your
-hands, and discover the trick; before their surprise is over, remove your
-forefinger, and suffer the stick to fall.
-
-[Illustration]
-
-[Illustration]
-
-
-38. THE DISAPPEARING DIME.
-
-Provide yourself with a piece of India rubber cord about twelve inches
-long, and a dime with a hole on the edge; attach the dime to the cord with
-a piece of white sewing silk, and after having done this, sew the cord
-to your coat sleeve lining, but be very careful and ascertain that the
-end upon which the dime is attached does not extend lower than within two
-inches of the extreme end of the sleeve when the coat is on. It is better
-to have the dime in the left arm sleeve. Having done this, bring down the
-dime with the right hand, and place it between the thumb and index finger
-of the left hand, and, showing it to the company, tell them that you will
-give the coin to any one present who will not let it slip away. You must
-then select one of the audience to whom you proffer the dime, and just as
-he is about to receive it you must let it slip from between your fingers,
-and the contraction of the elastic cord will make the coin disappear up
-your sleeve, much to the astonishment of the person who thinks he is about
-to receive it. This feat can be varied by pretending to wrap the coin in
-a piece of paper, or a handkerchief. Great care should be taken not to
-let any part of the cord be seen, as this would, of course, discover the
-trick. This is one of the most surprising feats of legerdemain, and its
-chief beauty consists in its extreme simplicity. The writer has frequently
-astonished a whole room full of company by the performance of this trick.
-
-       *       *       *       *       *
-
-
-TRICKS REQUIRING SPECIAL APPARATUS.
-
-I admit no tricks that are wholly managed by the apparatus, as I think
-they are unworthy of notice. Therefore, every trick mentioned in the
-following pages must be carefully practiced in private before it is
-produced in public. The apparatus, of course, cannot be inspected by the
-audience, and for that reason it is better to mix them with those tricks
-that have been already mentioned, in order that suspicious persons may be
-quieted by an occasional permission to inspect the objects used in the
-performances.
-
-The young conjuror should always vary the mode of performance in the
-non-essentials, and should study combinations of one trick with another,
-by which means he will produce more astonishing results than if he
-restricted himself to the methods mentioned in this work. He should also
-invariably make a little speech, acknowledging that he is only deceiving
-the eye and not the mind, and should therefore request the company not to
-ask any questions, or to demand inspection of any of his apparatus.
-
-
-39. THE DIE TRICK.
-
-Get a wooden die about two inches and a half square (1), and a hollow tin
-die exactly the size of the wooden one, but without one of the sides (2).
-Then paint them both exactly alike, as in the engraving. It will be better
-to let an _accidental_ flaw appear on the same side of each. Then get a
-tin cover (4) that exactly fits the dice. Now for the trick itself.
-
-[Illustration]
-
-Borrow two hats, and while you turn your back upon the audience as you
-go to your table, slip into one of them the false die. Place both hats
-on the table, and send round the real die and cover for inspection. When
-they are returned, say, "Now, ladies and gentlemen, it is my intention to
-place these hats one above another, thus." You then place the two hats as
-in No. 3, the hollow die being in the bottom hat. "I shall then cover the
-die thus," which you do, "and after I have knocked on the cover, I shall
-take it off, and you will find that the die is not under the cover, as
-it is now," taking it off, "but inside the hat, like this." You then put
-the real die into the hat. "You do not believe me, ladies and gentlemen,
-but I will soon convince you." You then take out the false die, and
-replacing the upper hat, put the die on the upper hat (of course, with the
-open side downward,) and place the cover over it. Pick up your conjuring
-wand, give it a few flourishes, and bring it down on the cover. Grasp the
-cover tightly near the bottom, when both cover and false die will come up
-together; put the end of your wand into them, and give them a good rattle.
-Then knock off the upper hat with a blow of the wand, and push the lower
-one off the table, so that the die tumbles out of it. Always use plenty of
-gesture about your tricks.
-
-
-40. THE PENETRATIVE CENTS.
-
-Get a brazier to cut out all the interior of five cents, only leaving
-the rims. He must then bore out nearly all the interior of a sixth cent,
-merely leaving a shell of copper at the top. A long rivet must then be
-let into the rim, as shown in Fig. 1, No. 2, and a hole must be drilled
-in each of the five rings, as in No. 3. The rivet is to be passed through
-the holes in the rings, and fastened below, so that all the rings can play
-easily upon it. Fig. 1, No. 1, is a section of the entire apparatus, the
-dotted lines representing the rivet. They can then be placed as shown in
-Fig. 2, No. 1, and no one will imagine that they are only shams, as you
-can rattle them or move them about upon each other. A leathern cover, Fig.
-2, No. 2, is then made, which passes easily over the heap of cents, but
-being pliable, is capable of picking up the hollow cents with it, when
-it is held firmly. To the under surface of the table you fasten a little
-shelf, Fig. 2, No. 3, which moves on a hinge, and is let fall by placing
-the foot on the pedal, Fig. 2, No. 4, which draws the catch.
-
-[Illustration: _Fig. 1_]
-
-[Illustration: _Fig. 2_]
-
-To perform the trick, place six real cents on the little shelf, and have
-the sham cents on the table. Take them up and rattle them, and put them
-down as in Fig. 2, No. 1. Keep a sixpence in the palm of your hand, pick
-up the sham cents, and as you put them down, slip the sixpence under them,
-as you do the ball in trick 6. Take the cover, and put it over the sham
-cents, make a short speech, and knock the cover with your wand, at the
-same time pressing the pedal with your foot, which will cause all the
-six real cents to tumble down with a great crash. Take up the cover and
-false cents together, put the end of your wand into them and hold them up
-triumphantly, showing the spectators that the six cents have been replaced
-by a silver sixpence. While you are picking up the cents, slip the sham
-ones out of the cover into your left hand, and take some opportunity of
-letting the empty cover roll towards the audience, one of whom you ask
-to pick it up and bring it to you. This maneuver generally disarms all
-suspicion, for the picker-up is sure to examine it very closely.
-
-I have only given mere outlines of this really excellent trick, which may
-be varied in a hundred ways, and is capable of combination with other
-tricks to a large extent. For the pedal may be substituted a lever running
-immediately under the surface of the table, if the performer prefers to
-have a short cloth on it. There should be always two cloths on the table;
-the lower one thick and soft, to prevent jingling of objects, and the
-upper one white, as it displays everything better than a colored one. The
-ingenuity of the young conjuror will easily find methods of varying this
-trick. _See Trick_ 67, _page_ 48.
-
-
-41. THE DOLL TRICK.
-
-Get a comical looking doll, and cut off his head diagonally, taking care
-to do it very neatly. Drive a peg into the neck, and bore a hole in the
-body, into which the peg fits, as in the cut. Paint his body and head
-carefully, and if you put a gold chain or two round his neck, it will
-conceal the line of junction. Make also a coat of silk, and sew a pocket
-inside the edge of the skirt.
-
-[Illustration]
-
-Take up the doll, and say, "Now, ladies and gentlemen, here is a very
-learned man. Observe the development of his forehead, the sagacity of his
-nose, the eloquence of his lips, the dignity of his spectacles, and the
-philosophy of his pigtail. He is professor of astronomy at Timbuctoo, and
-here is his gown of office. See how handsome he looks in it. He is going
-to Amsterdam to see the eclipse of the last new comet. He has the honor
-to wish you all farewell before starting on his journey. Now, professor,
-we are waiting to see you go. Oh! you want funds, do you? I beg your
-pardon; here is a quarter for you." So saying, you take your right hand
-from under the gown, taking with it the body, and put the body into your
-pocket, while you jingle some silver. The head is now supported by your
-left hand. Pretend to give him some money, and then say, "What! you won't
-go unless you have more! Get along!" Hit the head a hard rap with your
-right hand, which drives it into the pocket, which you hold open for it
-with your left thumb and little finger. "O dear! the doctor is dead, and
-cannot be found." Saying this, you grasp the gown by the place where the
-head is, and shake it about to show that it is empty. If you like you can
-make another oration and hold a dialogue, making the doctor resuscitate
-himself, which is of course done by taking the head out of the pocket with
-the left hand, and working it about by the peg.
-
-
-42. THE FLYING COINS.
-
-Take two eagles, or rather brass imitations, and grind them down until
-they are reduced to half their thickness. Do the same with two quarter
-dollars, and fasten them accurately together, so that you will have two
-coins, each having one silver face, and one brass face. Take one of
-them in each hand, showing the silver side of one and the brass side of
-another, and offer to change them without moving your arms. Shut your
-hands and the coins will turn over. Then, on opening them again, they will
-appear to have changed from one hand into the other.
-
-
-43. THE VANISHED HALF-DIME.
-
-Put a little wax on the nail of the middle finger of the right hand, and
-take a half-dime into the palm of the same hand. Close the hand, pressing
-the wax on the coin. Then rapidly open it, and the silver piece will
-adhere to the wax, and be quite concealed behind the finger when you hold
-your hand up.
-
-
-44. THE RESTORED DOCUMENT.
-
-Make a memorandum book, and line the cover with paper which has been
-previously rubbed with a mixture of lamp-black and oil. The paper must
-be loosely affixed, so that it can be raised up, and a leaf from the
-memorandum book placed under it. You must also make a flat box, having a
-double opening.
-
-You now take a leaf out of the memorandum book, and ask some one to write
-a sentence, at the same time offering him the book to write upon. The
-pencil with which you furnish him is very hard, and he is forced to press
-upon the paper in order to mark. In so doing, the black is transferred
-by the pressure of the pencil from the blackened paper to the white leaf
-that has been placed under it, and of course makes an exact copy of the
-writing. You then give the man his document, put the memorandum book in
-your pocket, and go out of the room to fetch your box, which you have
-_forgotten_. While you are out of the room, you take out the leaf from
-under the black paper, and put it into one side of the flat box, and shut
-down the cover that hides it. You bring in the box, apologising for your
-absence, and give the box, open at the _other_ side, into the writer's
-hands. Tell him to burn his writing in a candle, and to place the ashes
-in the box. He does so, and closing the box, returns it to you. You then
-flourish about a little with the box, wave it in the air, bring it down
-with a bang on the table, strike it with your wand, and then, opening it
-as at first, you produce the duplicate leaf, which the writer acknowledges
-to be in his own hand-writing. If the lamp-black should have come off and
-smeared the paper, you can account for it by observing that it is very
-difficult to get rid of all traces of the burning.
-
-
-45. THE MAGIC RINGS.
-
-Get a blacksmith to make a number of rings, about six or seven inches in
-diameter, as in the cut. A is made with a spring opening on one side, B
-is a set of two rings forged permanently within each other, C is a set of
-three rings formed in the same manner, and D D are two simple rings. The
-rings should be about the thickness of a rather large black-lead pencil.
-
-[Illustration]
-
-Lay the rings on one another, and they will all appear to be separate and
-distinct: D D should be the uppermost rings, then B, then A, and then
-C. Hand round D for inspection and if any more are desired, hand round
-the other D. When returned, hang them over your left arm, or grasp them
-in your hand, and tell the company that you are going to weave all the
-rings together. You clash them together, and after going through some
-complicated movements, bring out B, which the spectators will think you
-have just fastened together. Hand them round. When they are returned mix
-them all up, and bring out C. Then take A in your hand, and passing one of
-the outer rings of C through the opening, you have four rings together.
-Then add D and you have five. Take off D and substitute B which will give
-you six. So you go on weaving them into all kinds of fantastic shapes.
-You must always conceal the joint in A with your thumb, and contrive as
-often as you can to have one at least of the rings D at liberty This is
-a capital trick, and may be diversified to any extent, especially if the
-number of rings is increased.
-
-
-46. THE FISH AND INK TRICK.
-
-This is really a first-rate delusion. You bring before the spectators a
-glass vase, full of ink. You dip a ladle into it, and pour out some of the
-ink upon a plate, in order to convince the audience that the substance
-in the vase is really ink. You then throw a handkerchief over the vase
-and instantly withdraw it, when the vase is found to be filled with pure
-water, in which a couple of gold fish are swimming.
-
-This apparent impossibility is performed as follows. To the interior
-of the vessel is fitted a black silk lining, which adheres closely to
-the sides when pressed by the water, and which is withdrawn inside the
-handkerchief during the performance of the trick. The ladle has a hollow
-handle with an opening into the bowl. In the handle is a spoonful or so of
-ink, which runs into the bowl when it is held downward, during the act of
-dipping it into the vase.
-
-
-47. THE CANNON BALLS.
-
-The performer of this trick borrows a number of hats, and places them on
-the table. He then returns each person his hat, and on turning it over, a
-thirty-two pounder cannon ball rolls out.
-
-[Illustration]
-
-The method of performing this delusion is as follows. Get a turner to make
-a number of wooden balls, each the size of a thirty-two pounder cannon
-ball, and let a hole be bored in each which will admit the middle finger.
-The balls are arranged hole upwards on a shelf on your table on the side
-opposite to your audience, so that the balls are nearly level with the
-top of the table. When you take a hat off the table, you slip your fore
-or middle finger into the ball just as you would into a thimble, and by
-bending the finger, bring the ball into the hat.
-
-Any object may be brought into a hat in this manner, a great cabbage, for
-instance, having a hole cut in the stalk.
-
-
-48. THE DIME IN THE BALL OF COTTON.
-
-Get a tinman to make a flat tin tube, which will just allow a dime to pass
-through it. Wind a quantity of worsted round it, so as to make it into a
-ball.
-
-These preliminaries having been accomplished, perform any trick that will
-get a dime out of sight, such as number 1 or 2. Then tell the spectators
-that you will bring the marked dime into the middle of a ball of worsted.
-Take down the ball from the place where it is lying, drop the dime into
-the tube, and withdraw the tube, leaving the dime in the ball. A good
-squeeze or two will hold it tight, and obliterate every mark of the tube.
-Place the ball in a tumbler, take the end of the worsted, and give it to
-some one to unwind. This being done, the dime will be found in the very
-center of the ball, with the end of the worsted wrapped tightly round it.
-
-
-49. THE EGG AND BAG TRICK.
-
-Get a chintz or cloth bag made double,[1] and between the two bags make
-six or seven pockets, each of which will hold an egg, and have an opening
-into the bag. Fill the pockets with eggs, and you are ready for the
-performance.
-
-Hold the bag by the place where the eggs are, shake it, turn it inside
-out, and show that there is nothing in it. Then tell the spectators, that
-you are sure there is a hen in the bag. Put your head near the mouth of
-the bag, and make a clucking like a hen. You then say "I knew I was right,
-and she has laid an egg." So saying, you put your hand into the bag and
-take out one of the eggs, taking care to pretend to grope in one of the
-corners for it.
-
-This is repeated until all the eggs but one are gone. You then, after
-taking out the last egg, say that some people think the eggs are not
-real, but you will convince them by ocular inspection. Saying this, you
-break the egg in a saucer with your right hand, and while the people are
-occupied with it, you drop the bag behind your table, or hang it on a hook
-out of sight, and take up another exactly like it, into which you have put
-a hen. "These are real eggs," you then say, "and if any one doubts their
-reality, they cannot doubt that this is a real hen." You then turn the bag
-upside down, and shake out the hen. If any one wishes to inspect that bag,
-he can do so without being much wiser for it.
-
-
-50. THE DANCING EGG.
-
-Send for some eggs, and take care to place among them one which has been
-emptied of its contents, and to which is fastened a long hair, at the
-other end of which is tied a crooked pin. Borrow a small stick from one of
-the spectators, and as you go behind your table contrive to hook the bent
-pin into your coat, passing it over the stick. Then place the egg on an
-inverted hat, and ask for some music, and directly it begins to sound, a
-slight and imperceptible depression or elevation of the stick will cause
-the egg to twist and roll about upon it as if it had life. You must be
-careful to turn gently round now and then, so as apparently to vary the
-distance of the egg from the body.
-
-
-51. BELL AND SHOT.
-
-Get a wooden bell made, so thick that there is a considerable space
-between the outer and inner surfaces, especially on the upper part of the
-bell. A hollow must be cut in this, and the handle so made, that when it
-is at rest, it is forced upwards by a spring, and draws up the round piece
-of wood to which the clapper chain is attached, and closes the aperture,
-as shown in the engraving.
-
-[Illustration]
-
-You have a cardboard measure, which is of precisely the same capacity as
-the cavity in the bell, and just wide enough to hold a cent. Into this
-you privately put a cent, and then fill up the measure with shot, heaping
-it a little, to compensate for the cent. You make up a tale about a man
-going out shooting, and ringing the bell of the gunmaker's shop. (You then
-ring your wooden bell.) How the man bought a measure full of shot for a
-cent, (you pour the shot into the bell and back again two or three times,)
-but was so long haggling over three shots, that the gunmaker took away
-the shot, (here you again pour the shot into the bell, and by pressing
-on the handle, allow them all to run into the hollow,) and kept the cent
-for his trouble. The man went out of the shop, but soon came in again,
-and rang furiously. (Here you again ring the bell which is now apparently
-empty, and invert the measure on the table. The cent not being held by
-the finger and thumb, will now fall on the tablecloth.) Then finish the
-story with an account of the manner in which the man got back his cent.
-When you have finished, invert the bell over the empty measure, and on
-pressing the handle, the shots will refill it. Do not touch it until you
-have done another trick or two, and then, when you put the bell aside,
-ring it again, and remark that the purchaser was a silly fellow ofter all,
-for here are his shots in his measure.
-
-
-52. THE BURNED HANDKERCHIEF RESTORED.
-
-Get a tinman to make a double canister, such as is shown in the cut, with
-an opening at each end. This must so slide within a tin tube, that either
-end can be concealed within it alternately, as seen in the engraving,
-where the end A is shown, and B is concealed. In this position it looks
-like an ordinary canister. The interior is divided into two parts. Into B
-put a piece of cambric made to look like a handkerchief.
-
-[Illustration]
-
-Borrow a cambric handkerchief, and say, "Now ladies and gentlemen, I shall
-burn this handkerchief to ashes, place them in this canister," (so saying
-you put it into A,) "and when I have uttered a spell, it will be restored
-perfectly whole. Will the owner say what mark it has?" While the audience
-are looking towards the owner, you turn the canister over, and push up
-the canister until the shoulder of B is on a level with the top of the
-tube. When the mark has been declared, you open B, take out the cambric,
-and pretend to verify the mark. You then put it into a candle flame, and
-when it has burned entirely to ashes, put the ashes into B, shut it up,
-and rapidly reverse it as you turn round to your audience, so that A is
-uppermost again. Then utter any nonsense you like, open A, and take out
-the handkerchief uninjured. It rather adds to the trick if you drop a
-little eau de cologne into A before commencing.
-
-
-53. THE FIRE EATER.
-
-If the young conjuror is desirous of appearing in the character of a
-fire-eater, it is very easily managed. He must prepare a piece of thick
-string, by soaking it in a solution of niter, and then drying it. He cuts
-off a piece about an inch in length, lights one end, and wraps it up in a
-piece of tow which he holds in his left hand. The trifling smoke will be
-concealed by a huge bundle of loose tow also carried in the left hand.
-
-He takes a handful of tow in his right hand, puts it into his mouth, chews
-it up, and appears to swallow it. He then takes another handful, and with
-it the piece in which is the string. As he puts this into his mouth, he
-takes out the piece which he has already chewed. By taking breath through
-the nostrils, and breathing it out through the mouth, smoke begins to
-issue forth, and the whole interior of the mouth is soon lighted up with a
-glow. When the mouth is shut, and the tow pressed together, the fire goes
-out, except the piece of prepared string. More tow is then taken into the
-mouth, and treated in the same manner.
-
-
-64. THE EGG-BOX.
-
-[Illustration]
-
-A, the egg-box; B, the upper shell; C, the inner shell, covered over with
-the shell of an egg; D, the lower part of the box. To do the trick, call
-for an egg, then bid all the by-standers look at it, and see that it is
-a real egg, set the box on the table, take off the upper part, with your
-fore finger and thumb, then placing the egg in the box, say, "You see it
-fairly in," and uncovering it again, likewise say, "You shall see me take
-it out, and put it in my pocket in your sight;" open your box again and
-say, "There is nothing," close your hand about the middle of your box, and
-taking B by the bottom, say, "There is the egg again," which it appears to
-the spectators to be, so clapping that in again, and taking the lid of C
-in your finger and thumb, say, "There it is gone again."
-
-
-55. THE GLOBE-BOX.
-
-This trick is not inferior to the best that is shown with boxes. It
-is done with a box made of four pieces, and a ball as big as may be
-conveniently contained therein; the ball serves as the egg does in the
-egg-box, to deceive the hand and eyes of spectators. This ball, made of
-wood or ivory, is thrown out of the box upon the table, for every one to
-see that it is substantial; then put the ball into the box, which close
-up with all the pieces one within another; remove the upper shell with
-your fore finger and thumb, and there will appear another of a different
-color, red, blue, yellow, or any other color you may fancy; this will seem
-to be another ball, though, in fact, it is no more than a shell of wood,
-ingeniously turned and fitted to the box, as you may perceive by the cuts.
-L is the outer shell of the globe, taken off the figure M, the top of
-which represents the ball; N is an inner shell; O, the cover of the same;
-P another inner shell; Q, the cover of the same; R, a third shell; S, that
-which covers it. These globes may be made with more or less varieties,
-according to the desire of the practitioner.
-
-[Illustration]
-
-
-56. THE COFFEE AND HANDKERCHIEF TRICKS.
-
-One of the greatest means of wonder-working is that of _ingenious
-contrivance_. We will illustrate this by two popular feats. A number of
-handkerchiefs taken from the audience by more than one popular performer,
-were placed in a small washing tub, into which water was poured, and they
-were washed for a few minutes. They were then placed in a vessel like the
-figure (*) on the next page, and immediately afterwards the performer said
-to the persons in front: "I will give you these;" and taking off the top,
-when he was expected to throw out the wet handkerchiefs, all that fell was
-a number of flowers. He now brought out a box, which he opened, and showed
-it to be empty; then shutting it, and uttering a few cabalistic words, he
-opened it again, and there were the handkerchiefs, all dry, folded, and
-scented, which he distributed to their respective claimants.
-
-Another experiment of a popular performer was called "coffee for the
-million." Producing a vessel like the diagram A, the performer filled it
-with unground coffee, and placing it under a cover B, he said, "There,
-when you have done that, let it simmer for three quarters of an hour;
-but, perhaps, you will not like to wait so long; here then it is;" and
-on removing the cover, the vessel appeared full of hot liquid coffee. In
-another vessel of the same kind he obtained lump-sugar from rape-seed;
-and in a third, warm milk from horse-beans; and pouring out the coffee
-into cups, sent them round to regale his auditory, amidst their loud and
-approving shouts at so great a transformation.
-
-[Illustration]
-
-[Illustration]
-
-These feats are the result of considerable ingenuity. It is probable that
-the devices employed would not readily occur to spectators in general,
-while they would utterly escape those whose object is merely amusement,
-and who, if they thought at all, would be likely to describe the result
-as supernatural. We proceed, then, to the unraveling of the mystery. Let
-it be observed, in reference to the first experiment, that a number of
-handkerchiefs are collected in the early part of the evening for various
-illusions, and that many of them appear for a time on the performer's
-table. Provided with a collection of these articles, from the handsome
-silk handkerchief to one trimmed with lace, used by a fashionable lady,
-he could easily substitute his own of the same kind for those of his
-auditory, as the curtain falls, according to the arrangements of the
-evening, between the collection of the handkerchiefs and the subsequent
-processes. His own handkerchiefs, therefore, are washed and placed in the
-vase already described; and the so-called change into flowers is nothing
-more than the retention of the handkerchiefs in the lower part of the
-apparatus, which the figure illustrates, while the upper part holds the
-flowers till they are scattered among the spectators. Meanwhile, all
-that is required is done to their handkerchiefs. It is not absolutely
-necessary that they should be washed; for folding, pressing, and a little
-eau-de-Cologne, would complete the preparation; but granting that they
-are washed, there is still no difficulty, though this mystifies the
-spectators, who have the idea that drying is a long affair; for it may
-be effected in a minute or two by a machine that is readily obtained.
-The box brought out has them deposited in it, but as it is double, one
-interior is first shown, which, of course, contains nothing, for the
-inner drawer holding the handkerchiefs remains in the case; but when a
-few sounds are uttered, and the professor touches a secret spring behind,
-which disengages the inner box, he draws it out with the outer one, and
-presents the handkerchiefs to the audience. In the diagram A, the box is
-shown as empty. At B, we have a representation of the box containing the
-handkerchiefs. It is only necessary to add that the box is very nicely
-made; the part within the other drawn out to the end, defies detection.
-_See Trick No._ 65.
-
-The preparation of coffee, milk, and sugar, may be easily explained;
-for if the vessels containing respectively the unground coffee, the
-rape-seed, and the horse-beans, always placed under a cover, be put on a
-part of the table having a circular trap-door--and for this there is full
-provision in the cover of the table extending to the floor--a confederate
-may readily substitute one for the other.
-
-[Illustration]
-
-[Illustration]
-
-
-57. THE MAGIC FUNNEL.
-
-This favorite and simple trick is carried out by the assistance of a
-double funnel, that is to say, one funnel soldered into the other so as to
-leave a space between them for water, and communicating with the hollow of
-the funnel by a hole in the tube. Our drawing will assist the explanation.
-
-[Illustration: S S, space for water between the funnels, which is filled
-by stopping end of tube T with the finger: the water flows in and out at K.
-
-N, a pin-hole at the top, which is covered with the finger. When the
-funnel is prepared for use, every time the finger is withdrawn water flows
-out from tube T.]
-
-The funnel is always prepared before the audience by pouring in water,
-occasionally stopping the end of the pipe T with the finger, so that the
-inner space may be filled; whilst this is being effected the conjuror must
-fill up the time with a philosophical disquisition on funnels, all ending,
-however, in the fact, that if there is a hole in a vessel the water will
-flow out. One of the audience is now requested to step up to the table,
-and you proceed to draw water from his hair, ears, eyes, &c., as every
-time the finger is withdrawn from the hole N the pressure of the air is
-admitted, and the water flows out.
-
-
-58. THE MAGIC BOTTLE.
-
-This trick, if well managed, is one of the most wonderful that can be
-performed in a drawing-room without apparatus; but it requires dexterity
-at the conclusion.
-
-The person performing the trick offers to pour from a common wine bottle,
-port wine, sherry, milk, and champagne in succession, and in any order.
-
-To accomplish the trick, you must make solutions of the following
-chemicals, and label the bottles with numbers, thus:
-
-1. A saturated solution of the sulphocyanate of potash.
-
-2. A diluted solution of the above--one part of the solution to four of
-water.
-
-3. A saturated solution of nitrate of lead.
-
-4. A saturated solution of perchloride of iron.
-
-5. A saturated solution of bicarbonate of potash.
-
-6. Sulphuric acid.
-
-7. A clear solution of gum-arabic.
-
-Procure a champagne bottle, and wash it out well, then pour three
-teaspoonfuls of No. 4 into it. As the quantity is very small, it will not
-be observed, especially if you are quick in your movements. Pour some
-distilled or rain water into a common water-bottle or jug, and add a
-tablespoonful of No. 7 to it; then set it aside ready for use.
-
-Provide some wine glasses of four different patterns, and into one pattern
-pour the solution marked No. 1, into another that marked No. 2, and so on
-for Nos. 3 and 5. Return the solutions to their respective bottles, and
-arrange the glasses on a small tray, remembering the solutions that were
-poured into each pattern.
-
-Everything being ready, take the champagne bottle that you have prepared,
-from two or three others, and holding it up to show the company that it is
-clear and empty, you must desire some person to hand you the water bottle
-or jug, and then fill up the bottle with the water.
-
-Pour some of the contents of the bottle into an unprepared glass, in order
-to show that it is water; then say, "change to champagne," and pour the
-liquid from the bottle into one of the glasses rinsed with No. 5; then
-pour into a glass rinsed with No. 1, and it will change to port wine; but
-if poured into No. 3, it will change to milk, and if into No. 2, it will
-produce sherry. Be careful in pouring the fluid from the bottle, not to
-hold it high above the glasses, but to keep the mouth of it close to the
-edges of the glasses, otherwise persons will observe that it undergoes
-change of color after it is poured into the wine glasses, and on this
-account the glasses should be held rather high.
-
-∵ As the solutions used in the above trick are deleterious, they must
-not be left about in the way of children, and of course the fluid in the
-wine glasses must not even be tasted; but if any of the company wish to
-drink the wines you have made, then the tray must be adroitly exchanged
-for another with the proper wines placed on it.
-
-This is an excellent parlor trick if well managed, and is not difficult to
-comprehend.
-
-
-59. THE BOTTLE TRICK.
-
-The chemical method of performing this delusion has been already
-explained, the mechanical one will be easily understood from the "Magic
-Funnel Trick." It is usually carried out with a bottle, the body of which
-is constructed of tin, the neck of glass; the body is divided into
-sundry compartments, three of which are sufficient, with a center one,
-for ordinary use: by cutting the bottle in two, the arrangement will be
-understood as shown beneath.
-
-[Illustration: O, center of bottle, from which milk may be poured.
-
-1, 2, 3, compartments holding port, sherry, and alcohol.]
-
-It must be understood that little tubes from each compartment terminate
-in the neck, and they are filled with their respective liquids by the
-pear-shaped vessel already explained. Each compartment is perforated with
-a little hole at the top, so that when the fingers are placed over them
-(as on the holes of a flute) the liquid cannot run out on inverting the
-bottle.
-
-On showing the trick, the performer alludes to his wonderful bottle full
-of the milk of human kindness, which he pours out carefully from the
-center compartment, keeping the three holes tight with his fingers, the
-center being filled and emptied in the ordinary manner; after pouring
-out and handing round a few glasses of milk, he may pour the rest into a
-jug, in the bottom of which some milk has been already placed, so that
-the company may believe the bottle was originally filled with it; he
-may now wash out the bottle (that is to say, the center compartment),
-still keeping his fingers over the holes, and for the sake of a little
-mystification put the bottle upright under a hat, commanding the bottle to
-change its temperance habits. He may now ask the company to call for port,
-sherry, gin, brandy, noyeau, &c.
-
-The sherry and port are poured from their compartments, the spirit
-supplies the others, as a number of wine-glasses can be prepared with
-drops of burnt sugar for brandy, syrup and juniper for gin. A small
-drop of oil of almonds or other flavoring materials may be used for the
-different liquors. A thick wine-glass must be employed, holding a very
-small quantity of fluid.
-
-A magic coffee-pot may be arranged in a similar manner, with three
-compartments to hold hot tea, coffee, and punch; the middle compartment
-may hold the tea and coffee berries, into which the assistant may pour by
-mistake the contents of the bottle labeled "_Ink_." The performer, after
-scratching his head, as if in deep thought, will take a lump of whiting
-and powder up, placing it in the center compartment, which can be fastened
-up with a cork or proper lid. Then, if the holes from the compartments
-terminate in the handle and the pipes in the spout, when the fingers are
-removed the three liquids pour out separately, as in the Bottle Trick.
-This mode of showing the trick is good, because, however large your
-audience, you can provide everybody with something to drink, and it is
-displayed with great effect by Signor Blitz, and Wyman.
-
-
-60. THE MAGIC QUARTER.
-
-Procure a small round box, about one inch deep, to which fit accurately a
-quarter or cent: line the box with any dark paper (crimson, for instance),
-and paste some of it on one side of the coin, so that when it lies in the
-lower part of the box it shall appear like the real box. This quarter or
-cent is concealed in the hand, and before performing the trick, it will
-heighten the effect if a number of single quarters or cents are hidden
-about the room, in places known to yourself. Having borrowed a coin, you
-dexterously place this on one side, and substitute the prepared one; and
-putting it gravely into the box, ask all to be sure they have seen it
-enter: when the lid is on, shake up and down--the noise betrays the metal;
-now command it to disappear, and shake laterally from side to side; as the
-quarter is made to fit accurately, no noise is apparent--the coin seems to
-be gone; in proof of which you open the box, and display the interior; the
-paper on the coin conceals it, whilst you direct the audience to look into
-a book, or a pair of slippers, for the missing quarter; the prepared coin
-can be slipped out, and the box handed round for examination, in which,
-of course, nothing will be found. This trick may be repeated two or three
-times with the greatest success, and is so simple that nobody guesses the
-manner of performance.
-
-
-61. TO CHANGE A DIME TO A QUARTER.
-
-This is quite a simple parlor trick, but when performed with dexterity is
-calculated to produce much astonishment at an evening party. In fact, it
-surprises on account of its very simplicity. Procure two pieces of marbled
-paper about seven inches square, and having put the marble backs of the
-paper together, cut them the shape of diagram Fig. 1. Be very careful to
-have them exactly the same size, as the success of the trick depends in a
-great measure upon the regularity of the paper. After cutting the paper
-in the manner described, place a dime in the center of one of the pieces
-at the place marked A, then fold it carefully over at the crease on the
-side marked B, and also again at the side marked C. When you have done
-this turn down the end marked D upon the center A, and again fold over
-on E. When this is accomplished, you will discover that you have formed
-a small parcel the same shape as Fig. 2, with a dime in the center. You
-must then place a quarter of a dollar in the center of the other piece of
-paper, and fold it up exactly the same size and shape as the first piece.
-When you have done this, gum the two parcels together at the back of the
-ends marked F, in Fig. 2, and the sides will be so even that both parcels
-will appear as one. You can then open the side of the paper containing the
-dime and show it to your audience, at the same time informing them that
-you are going to open a mint on a small plan, and coin a quarter from a
-dime. Having done this, mutter some cabalistic words and dexterously turn
-over the side containing the quarter, and upon opening the paper, to the
-astonishment of the company, instead of a dime they will behold a genuine
-quarter. I have seen much merriment created by this excellent feat.
-
-[Illustration: _Fig. 1_]
-
-[Illustration: _Fig. 2_]
-
-
-62. DESCRIPTION OF THE MAGICIAN'S TABLE.
-
-When a secret confederate is required, have a table four and a half feet
-long, two feet eight inches high, two feet nine inches wide, with a
-curtain round it, twenty-two inches deep. In the top of this table are
-several secret square holes, of different sizes, from three to five inches
-across; these having covers which exactly fit, and hung upon concealed
-hinges, so that they may be let down; but when lying flat, the top of
-the table appears to present a perfect surface. Under this surface are
-buttons, which prevent those lids from falling down when not made use
-of. Under the top of the table is fastened a box, or drawer, open at the
-top, and at the side which is farthest from the spectators. This box is
-about twenty inches deep, and concealed by the curtain; and in this box is
-placed the secret agent who assists the performer.
-
-
-63. WYMAN'S GUN TRICK.
-
-Having provided yourself with a fowling-piece, permit any person to load
-it, retaining for yourself the privilege of putting in the ball, to
-the evident satisfaction of the company, but instead of which you must
-provide yourself with an artificial one made of black lead, which may be
-easily concealed between your fingers, and retain the real ball in your
-possession, producing it after the gun has been discharged; and a mark
-having been previously put upon it, it will instantly be acknowledged.
-This trick is quite simple, as the artificial ball is easily reduced to
-a powder on the application of the ramrod; besides the smallness of the
-balls preclude all discovery of the deception.
-
-
-64. THE HATCHED BIRD.
-
-Separate an egg in the middle as nearly as possible, empty it, and
-then, with a fine piece of paper and a little glue, join the two halves
-together, having first put a live canary bird inside it, which will
-continue unhurt in it for some time, provided you make a small pinhole
-in the shell to supply the bird with air; have, also, a whole egg in
-readiness. Present the two eggs for one to be chosen; put the egg, which
-contains the bird, next to the person who is to choose, and for this
-purpose be sure to select a lady; she naturally chooses the nearest to
-her, because, having no idea of the trick to be performed, there, is no
-apparent reason to take the further one; at any rate, if the wrong one be
-taken, you do not fail in the trick, for you break the egg, and say, "You
-see that this egg is fair and fresh madam; so you would have found the
-other, if you had chosen it. Now, do you choose to find in it a mouse,
-or a canary bird?" She naturally declares for the bird; nevertheless,
-if she ask for the mouse, there are means to escape; you ask the same
-question of several ladies, and gather the majority of votes, which, in
-all probability, will be in favour of the bird which you then produce.
-
-
-65. THE APPLE AND ORANGE TRICK.
-
-[Illustration: FIG. 1.]
-
-[Illustration: FIG. 2.]
-
-Have a box made with a drawer fitted to it as in the figure No. 2, marked
-A. The back part of the drawer B, which slides into the box A, has no
-end piece; then have another drawer made, marked C, open at the top,
-that will fit the drawer B rather easy, when put into it the sides and
-ends of the drawer C, made of rather thin wood, with their end and sides
-sloping towards the sides of the drawer B, so that when it is in the
-drawer B, it cannot be discovered without minute examination; then push
-them both into the box A, and have a small hole bored through the top of
-the box A, in which you put a small pin with a flat top, as marked D in
-the plate; this pin is so long that it will just catch drawer C, inside
-of the box A, to prevent it from coming out with the drawer B, when not
-necessary to be exposed. It is now ready to perform experiments with. You
-are aware, as has already been described, that the drawer B is open at
-the inner end, consequently, when that with the loose drawer C is pushed
-into the box A, and you put the pin D in its place, the drawer B may be
-pulled out, or pushed back, without interruption; but if you remove the
-pin out of the box, C will come out inside of the drawer B without the
-trick being discovered; it being understood that the false drawer C is
-invariably concealed from the spectator. When the drawer C is in the box
-A, and the drawer B has been drawn out, the end of the drawer C will then
-appear as if it was the end of the drawer B as represented in the plate.
-You can then show it to the company, and you may also measure the inside
-of the drawer B, and the outside of the box A, and convince them that,
-apparently, nothing is concealed. Care must be taken in pulling the drawer
-C out alone, that the drawer C will not slip from the bottom of the drawer
-B, which otherwise would prevent it from being pushed back. A little catch
-may be affixed in the bottom of the drawer C, so as to prevent the same
-from slipping out of its place.
-
-_To Perform the Experiment._--Fill, privately, the drawer C with fruit,
-close the drawer B, and exhibit it; then pull the drawer B out, alone, as
-represented in the plate, figure 2, which will convince the spectators
-that it is empty. When you have satisfied them on that point, slide
-back the drawer B, then place the left hand on the secret pin D, and
-take it out; then with the right hand pull out the drawer B, with the
-secret drawer C, which is full of fruit, to the great astonishment of
-the company; take the fruit out and present it to the spectators. This
-concludes the performance.
-
-
-66. ENCHANTED COIN, AS PERFORMED BY PROFESSOR WYMAN.
-
-Put fifteen pieces of money into a hat, take out five and mysteriously
-pass them back into the hat and it covered. To do this trick you must have
-in your left hand a plate, and under the plate and in your left hand have
-previously placed five pieces of coin such as you will have placed in
-the hat; after you have counted the fifteen pieces into the hat, you then
-ask the person whom you have selected from the audience to assist you in
-performing the tricks, to count the money out of the hat into the plate,
-to see that there is no mistake, after which you turn the money out of the
-plate into the hat, and at the same time let fall the five pieces you have
-secreted in your hand under the plate; you then ask him to draw out five
-pieces, which will still leave fifteen, you take the five that is drawn
-out and place them in a drawer (see the orange and apple trick), then you
-go through the magic words, _Presto_, _Pacillo_, _Pass_; you then open the
-drawer, (after placing your finger on the spring to hold the inside drawer
-in which the five pieces were placed,) and show the audience that the five
-pieces are gone; you then tell him to get the hat and see how many pieces
-are in it; he gets the hat, and to the surprise of all, he counts the
-original number, fifteen.
-
-
-67. MYSTERIOUS COIN, OR HOW TO MAKE DOLLARS PASS THROUGH A WINE GLASS, A
-CHINA PLATE, A TABLE, AND FALL INTO THE HAND.
-
-After performing trick 40, (p. 27,) you may address the company again,
-and say: "I will show you the nature of this trick, if you will only look
-sharp enough to see how it is done. Therefore, watch closely, and if you
-have _very_ penetrating eyes, you may see the money go through this glass
-and fall upon the plate, and from that through the table into my hand.
-I will do it deliberately, so that you may have every opportunity of
-detecting the deception, which will make you as wise as myself."
-
-Now you take a plate and place it on the table, place upon that a wine
-glass upside down, and take the empty leathern case and hold it before the
-audience, to convince them that nothing is inside. Place it, in a careless
-manner, over the riveted money, which you had before put a little aside
-from the view of the spectators. Place a small ball on the bottom of the
-glass, then take the case with the concealed coins therein, and place
-them over the ball, which will be secreted therein. Now tell the company
-to keep a sharp look out, and they may discover the whole process. Take
-the loose coins and throw them on the table; bring them again under the
-table, and exchange them for a ball previously deposited on the shelf, and
-lay the same upon the table. Remove the case alone, which, of course,
-will leave the money exposed on the top of the glass. "Now," says the
-performer, "I presume that you have discovered the whole mystery; but if
-not, I will give you another opportunity, and will return the money whence
-it came." Cover the money with the case, and bring the ball which you
-previously exposed to the spectator under the table, and exchange it for
-the money on the shelf, which you again toss upon the table. Remove the
-case with the coins concealed therein, and the ball will appear on the top
-of the glass, as at first. Our performer makes the following concluding
-speech: "Now, as you have, I suppose, discovered the whole mystery, I
-hope, ladies, that _you_ will not set up an opposition line against me;
-since, if you do, you will very seriously injure my pockets, and, of
-course, _attract_ all the company, and leave me in an empty house with
-empty pockets."
-
-
-68. PROFESSOR WYMAN'S GREAT TRICK OF THE EGYPTIAN FLUIDS, OR
-IMPOSSIBILITIES ACCOMPLISHED.
-
-Mix wine and water together, then separate them by means of a red and
-white tape. To perform this trick you must have three covers (tin) made,
-of an obeliatic form, terminating at about one inch and a half on top,
-upon the top of two of these covers is soldered a piece of thick brass,
-copper, or lead, say about a quarter of an inch in thickness, in the
-center make a hole about the same in diameter, about two inches from the
-top, and on the inside will be a partition or floor, through the center of
-which make a small a hole, (this partition must be water tight.) Previous
-to performing the trick fill the two covers (the tops of them) one with
-water, the other with wine, then cork them well which excludes the air,
-consequently keeps the liquid from coming out at the small hole made in
-the center of the partition, then take two sound tumblers and put about
-as much water in one as there is water in one of the covers, place the
-cover over that, the tumbler that has the water, then put about the same
-quantity of wine in the other tumbler, as there is in the other cover,
-and place that cover over it; now have a tumbler with a hole through the
-center of the bottom (made with a drill), have this hole closed with a
-long peg from the under side, then through your trick table have a small
-auger hole made to admit the peg, this tumbler must also be covered with
-a similar cover in external appearance; you then take the covers off
-the tumblers containing water and wine, and in presence of the audience
-mix the two liquids, then pour both into the tumbler that has the hole
-through the bottom, place the tumblers back and cover them over, now
-lift the tumbler up containing the mixture that the audience may see it,
-(keeping your hand in front of the peg,) place it back with peg through
-the hole, cover it over, then take a red and white tape string that has
-previously been fastened to a small stick, and place it in the top of the
-cover that is over the false tumbler, then take the end of the red tape,
-which has a small wire to it, and after removing the cork from the cover
-over the wine, drop the end of the wire into the whole; the air is then
-let into the wine, which lets it run down into the tumblers underneath,
-do likewise with the white tape, then reach your hand under the table
-and draw the peg out of the tumbler and let the mixture run down into a
-tumbler or cup secreted there for that purpose; now remove the covers and
-show the audience that the tumbler you poured the mixture into is empty,
-and the one you poured it out of contains it again, which will greatly
-astonish them. That accomplished magician, Professor Wyman, has astonished
-applauding and delighted thousands in every city in the United States and
-Canada, by the performance of this wonderful experiment.
-
-
-69. THE MAGICIAN'S SNOW BALL. ONE OF THE FAKER OF AVA'S FEATS.
-
-Take a cup and fill it with rice, then change it into a handkerchief. To
-do this trick you have two cups (tin) made to fit one within the other,
-but let the outside cup be about two inches deeper than the inside one,
-let the rims be turned square down all round, but let that of the inside
-cup be a trifle larger than the outside one, so that when the tin cover
-(which you must also have) is put over them it will fit sufficiently tight
-to lift out the inside cup when it is taken off. Previous to performing
-this trick you must place in the bottom of the deep cup a white pocket
-handkerchief, then place the other cup in it, after which bring it out in
-presence of the audience, then fill the inside cup (which to the audience
-appears to be the only cup) with rice, place the cover over it, after
-which repeat the mystic words _Presto_, _Pacillo_, _Pass_, then remove
-the cover and the inside cup will have stuck to it and be concealed from
-view, now take out the handkerchief, and it will greatly astonish those
-who see it.
-
-
-70. THE MAGNETIZED CANE.
-
-[Illustration]
-
-Is a very surprising little fancy, and is calculated to create much
-astonishment in the parlor or drawing room. To perform this trick, take a
-piece of black silk thread or horse hair, about two feet long, and fasten
-to each end of the same bent hooks of a similar color. When unobserved,
-fasten the hooks in the back part of your pantaloon-legs, about two inches
-below the bend of the knees. Then place the cane (it should be a dark one
-and not too heavy), within the inner part of the thread, as represented
-in the engraving, and by a simple movement of the legs, you can make the
-cane dance about, and perform a great variety of fantastic movements. At
-night your audience cannot perceive the thread, and apparently the cane
-will have no support whatever. The performer should inform the company
-before commencing this trick, that he intends to magnetize the cane, and
-by moving his hands as professors of magnetism do, the motion of the legs
-will not be noticed.
-
-
-71. PROFESSOR WYMAN'S MODE OF PERFORMING THE EGG BAG TRICK.
-
-Take a bag and exhibit it to the audience, turn the bag inside out, then
-back again, after which take several eggs out of it. To perform this
-trick, have you a bag about a half yard wide, and about five eighths
-deep, made of black cambric, then take strips of the same cloth about
-three inches wide and sew them on each side of the strip lengthwise of
-the bag, these are called cells, it is in these that the eggs are placed;
-let the end of the cells be closed at the mouth of the large bag, so that
-the mouth of the cells will be the reverse of that of the large bag,
-these are filled with eggs made of wood, with the exception of one or
-two natural eggs, which you take out first, and break, to convince the
-audience that they are genuine. When you turn the bag you keep these cells
-next to you, and as the large bag is turned upside down, the eggs are in
-the bottom of the cells at the mouth of the large bag. The performer will
-then catch the bag just above the eggs, and give it a few wraps across the
-other hand, to convince the audience that there is nothing in it, after
-which he turns the bag again and takes out several eggs, which to the
-audience is a great mystery.
-
-       *       *       *       *       *
-
-In this account of conjuring, I have purposely avoided such tricks as
-require expensive apparatus. Such apparatus is either entirely beyond a
-boy's reach, or at all events he ought not to be encouraged in the notion
-of spending much money on objects of no real use. A boy of any ingenuity
-will make the greater part of the apparatus himself, or at least he can do
-the painting and polishing of his machinery. I have mentioned no machinery
-that need cost more than a dollar at the outside, and not that, if a boy
-is acquainted with the use of tools. It has also been my especial care
-to introduce only such experiments as are adapted for performance at the
-parlor or drawing-room table or fireside, and by imparting interesting
-facts, to stimulate the young experimentalist to inquire into the laws
-that regulate them; by aiding him to acquire dexterity of practice,
-to smoothe the road to the development of principles; and, above all,
-to enable him to escape an imputation which every boy of spirit would
-consider the depth of disgrace--that of being
-
-    "No Conjuror!"
-
-FOOTNOTES:
-
-[Footnote 1: That is, make two bags and sew the edges together, so that
-actually there will be a third bag between the two.]
-
-
-
-
-TRICKS WITH CARDS.
-
-
-Although proficiency in games with cards, is, in our opinion, a most
-pernicious accomplishment for youth, and one which cannot be too severely
-reprobated, we do not consider SLEIGHT-OF-HAND TRICKS with a pack of
-cards, at all objectionable, but rather a source of much harmless
-amusement; and, under this impression, we do not hesitate to insert the
-following series of excellent deceptions and sleight-of-hand tricks.
-
-Playing cards are believed to have been invented in Spain as early as the
-fourteenth century; for, in 1378, John the First, king of Castile, forbade
-card-playing in his dominions, in an edict which is anterior to any
-similar legislative measure in other parts of Europe. The figures upon the
-cards themselves, add to the strength of the supposition; for the suits
-answering to those of spades and clubs have not the same inverted heart
-and trefoil shape which ours of the present day display, but _espadas_,
-or swords, and _bastos_, or cudgels, or clubs; so that in fact we retain
-their names, though we have altered the figures. At the present time,
-too, cards are a favorite diversion of the Spaniards, and the monopoly of
-selling them is vested in the hands of the sovereign.
-
-In the reign of Henry the Seventh, card-playing was a very fashionable
-court amusement in England. The cards then used, differed materially
-in their figures from those now in vogue, as instead of clubs, spades,
-diamonds, and hearts, they had rabbits, pinks, roses, and the flowers
-called columbines, upon them; as also bells, hearts, leaves, acorns, deer,
-&c. Let us now turn to the tricks that can be played with cards.
-
-In accordance with my rule, I shall lay the principal stress on card
-tricks that require no apparatus, and may be performed with ordinary
-cards.
-
-
-1. TO MAKE THE PASS.
-
-This is a necessary beginning for card tricks. "Making the pass," is the
-technical term for shifting either the top or the bottom card to any place
-in the pack that you like. It is almost impossible to describe it, and I
-can only say that it will be learned better in five minutes from a friend,
-than in as many hours from a book. As, however, a friend is not always to
-be found who can perform the pass, I will endeavor to describe it.
-
-[Illustration]
-
-The cards are held in both hands, right hand underneath and left above,
-as in the engraving, where, as the _bottom_ card is to be raised to the
-top, the little finger is seen between that card and those above it. By a
-quick movement of the right hand, the bottom card is slipped away towards
-the left, and is placed upon the top card, under shadow of the left hand,
-which is raised for the moment to allow of its passage.
-
-This movement must be assiduously practiced before it is exhibited in
-public, as nothing looks more awkward than to see it clumsily performed,
-in which case two or three cards generally tumble on the floor.
-
-
-2. TO TELL A CARD BY ITS BACK.
-
-While shuffling the pack, cast a glance at the bottom card, make the pass,
-and bring it to the top. Continue to shuffle, and lay upon it by degrees
-as many cards as you like, say six. Then lay the pack on the table, face
-downwards, and divide it into seven heaps, beginning at the bottom, and
-leave the seventh heap larger than any of the others.
-
-When you have done this, take one card from the top of the seventh heap,
-appear to calculate, and lay it, face upwards, on one of the other heaps.
-Do so with five more cards, thus leaving your slipped card at the top of
-the seventh heap. You then announce that by the aid of the six cards you
-will name the seventh. You name it accordingly, after carefully studying
-the other cards, and on asking a spectator to take it up, it will be seen
-that you are right.
-
-If you place five cards above the slipped card, you will lay out six
-heaps, and if eight cards, there will of course be nine heaps.
-
-
-3. THE CARD NAMED WITHOUT BEING SEEN.
-
-As in the last trick, cast a glance at the bottom card, say the ace of
-spades. Lay out the pack in as many heaps as you like, noting where that
-one is laid which contains that bottom card. Ask any one to take up the
-top card of any heap, look at it, and replace it. You then gather up the
-heaps apparently by chance, but you take care to put the heap containing
-the bottom card upon the card which has been chosen. You then give any one
-the cards to cut, and on counting them over, the card that immediately
-follows the ace of spades is the card chosen.
-
-If by any accident the two cards should be separated when cut, the upper
-card of the pack is the chosen one, and can be picked out with seeming
-care.
-
-
-4. THE CARD TOLD BY THE OPERA GLASS.
-
-Make out a table, such as is given in Fig. 1, and place it in an
-opera-glass, so that the figures will be visible when you look through it.
-For convenience, I have made mine as seen in Fig. 2, the numbers 1, 2, 3
-in each series being understood. The best plan is to write the numbers, or
-cut them out of a book, and paste them on a circular piece of cardboard,
-which must then be soaked in oil, so as to make it semi-transparent. The
-light will then easily pierce through it, and the figures will be better
-visible than if it were opaque.
-
-It will be seen that Fig. 2 contains as much matter as Fig. 1, and that
-two thirds of the figures are saved by it.
-
-[Illustration:
-
-    +----------+---------+---------+
-    | 1.  131  | 10. 132 | 19. 133 |
-    |          |         |         |
-    | 2.  231  | 11. 232 | 20. 233 |
-    |          |         |         |
-    | 3.  331  | 12. 332 | 21. 333 |
-    |----------+---------+---------|
-    | 4.  121  | 13. 122 | 22. 123 |
-    |          |         |         |
-    | 5.  221  | 14. 222 | 23. 223 |
-    |          |         |         |
-    | 6.  321  | 15. 322 | 24. 323 |
-    |----------+---------+---------|
-    | 7.  111  | 16. 112 | 25. 113 |
-    |          |         |         |
-    | 8.  211  | 17. 212 | 26. 213 |
-    |          |         |         |
-    | 9.  311  | 18. 312 | 27. 313 |
-    +----------+---------+---------+
-
-Fig. 1.]
-
-[Illustration:
-
-    +---------+---------+
-    |  1. 31. | 10. 32. |
-    |         |         |
-    |  4. 21. | 13. 22. |
-    |         |         |
-    |  7. 11. | 16. 12. |
-    +---+-----+-----+---+
-        | 19.   33. |
-        |           |
-        | 22.   23. |
-        |           |
-        | 25.   13. |
-        +-----------+
-
-Fig. 2.]
-
-These preliminaries being arranged, tell any one to take any twenty-seven
-cards out of a pack, and to think of any one of them. Deal them into
-three heaps, and ask him in which heap it is, and what number from the
-top he would like it to come after the third deal. Suppose he chooses it
-to be the twenty-sixth card, you take up your opera-glass and look for
-the number 26. This you will find last but one, arranged thus--26 213 The
-meaning is, that if the chosen card is to be the twenty-sixth, the heap
-in which it was found must be for the first time placed second, the second
-time first, and the last time third. So you pick up the cards, taking care
-to keep that heap number two. You again deal them in three heaps, and this
-time you place the heap in which is the chosen card at the top, being
-number one. Deal them a third time, and on gathering up the heaps, place
-it at the bottom.
-
-Then, on counting from the top, the chosen card will be found to be the
-twenty-sixth.
-
-
-5. THE FOUR KINGS.
-
-Take the four kings out of a pack of cards, and also two other court
-cards, which are not to be shown. Spread out the kings before the
-spectators, but conceal the two court cards between the third and fourth
-kings. Lay the cards face downwards on the table. Take off the bottom
-card, which is, of course one of the kings; show it as if by accident,
-and place it on the top. Take the next card, (which is one of the court
-cards,) and place that in the middle of the pack. Take the third card, (i.
-e., the second court card,) and place that also near the middle of the
-pack. There will then be one king at the top and three at the bottom. Ask
-any one to cut the cards, and to examine them, when he will find all four
-kings together in the middle of the pack.
-
-It is better to use court cards to place between the third and fourth
-kings, because if the cards should slip aside, they would not be so
-readily distinguished as common cards.
-
-
-6. THE FOUR ACCOMPLICES.
-
-Let a person draw four cards from the pack, and tell him to think of one
-of them. When he returns you the four cards, dexterously place two of them
-under the pack, and two on the top. Under those at the bottom you place
-four cards of any sort, and then, taking eight or ten from the bottom
-cards, you spread them on the table, and ask the person if the card he
-fixed on be among them. If he say no, you are sure it is one of the two
-cards on the top. You then pass two cards to the bottom, and drawing off
-the lowest of them, you ask if that be not his card. If he again say no,
-you take that card up, and bid him draw his card from the bottom of the
-pack. If the person say his card is among those you first drew from the
-bottom, you must dexterously take up the four cards that you put under
-them, and placing those on the top, let the other two be the bottom cards
-of the pack, which draw in the manner before described.
-
-
-7. TO TELL THE CARD THOUGHT OF IN A CIRCLE OF TEN.
-
-[Illustration]
-
-Place the first ten cards of any suit in a circular form, as in the
-annexed figure; the ace being counted as one. Request a person to think
-of a number or card, and to touch also any other number or card; desire
-him to add to the number of the card he touched the number of the cards
-laid out, that is, ten; then bid him count that sum backward, beginning
-at the card he touched, and reckoning that card at the number he thought
-of; when he will thus end it at the card or number he first thought of,
-and thereby enable you to ascertain what that was. For example, suppose he
-thought of the number three, and touched the sixth card, if ten be added
-to six, it will of course make sixteen; and if he count that number from
-the sixth card, the one touched, in a retrograde order, reckoning three on
-the sixth, four on the fifth, five on the fourth, six on the third cards,
-and so on; it will be found to terminate on the third card, which will
-therefore show you the number the person thought of. When the person is
-counting the numbers, he should not, of course, call them out aloud.
-
-
-8. TO GUESS THE CARD THOUGHT OF.
-
-To perform this trick, the number of cards must be divisible by 3, and it
-is more convenient that the number should be odd. Desire a person to think
-of a card; place the cards on the table with their faces downward, and,
-taking them up in order, arrange them in three heaps, with their faces
-upward, and in such a manner that the first card of the pack shall be
-first in the first heap, the second the first in the second heap, and the
-third the first of the third; the fourth the second of the first, and so
-on. When the heaps are completed, ask the person in which heap the card
-he thought of is, and when he tells you, place that heap in the middle;
-then turning up the packet, form three heaps, as before, and again inquire
-in which heap the card thought of is; form the three heaps afresh, place
-the heap containing the card thought of again in the center, and ask which
-of them contains the card. When this is known, place it as before, between
-the other two, and again form three heaps, asking the same question.
-Then take up the heaps for the last time, put that containing the card
-thought of in the middle, and place the packet on the table with the
-faces downward, turn up the cards till you count half the number of those
-contained in the packet; twelve, for example, if there be twenty-four, in
-which case the twelfth card will be the one the person thought of. If the
-number of the cards be at the same time odd, and divisible by three, such
-as fifteen, twenty-one, twenty-seven, &c., the trick will be much easier,
-for the card thought of will always be that in the middle of the heap in
-which it is found the third time, so that it may be easily distinguished
-without counting the cards; in reality, nothing is necessary but to
-remember, while you are arranging the heap for the third time, the card
-which is the middle one of each. Suppose, for example, that the middle
-card of the first heap be the ace of spades; that the second be the king
-of hearts; and that the third be the knave of hearts: if you are told that
-the heap containing the required card is the third, that card must be
-the knave of hearts. You may therefore have the cards shuffled, without
-troubling them any more; and then, looking them over for form's sake, may
-name the knave of hearts when it occurs.
-
-
-9. TO TELL THE NUMBER OF CARDS BY THE WEIGHT.
-
-Take a pack of cards, say forty, and privately insert among them two
-cards rather larger than the others; let the first be the fifteenth, and
-the other the twenty-sixth, from the top. Seem to shuffle the cards, and
-cut them at the first long card; poise those you have taken off in your
-hand, and say, "There must be fifteen cards here;" then cut them at the
-second long card, and say, "There are but eleven here;" and poising the
-remainder, exclaim, "And here are fourteen cards." On counting them, the
-spectators will find your calculations correct.
-
-
-AUDACITY.
-
-Several tricks may be successfully played by sheer audacity. I once
-astonished a whole party by holding a pack of cards over my head, and
-naming each. The fact was, that I was standing exactly opposite a large
-mirror, in which the cards were reflected, while the spectators, having
-their backs to the mirror, suspected nothing.
-
-I will give one or two tricks that depend on audacity for success.
-
-
-10. THE CARD FOUND AT THE SECOND GUESS.
-
-Offer the cards to any one, and let him draw one. You then hold the cards
-behind your back, and tell him to place his card on the top. Pretend to
-make a great shuffling, but only turn that card with its back to the
-others, still keeping it at the top. Then hold up the cards with their
-faces towards the spectator, and ask him if the bottom card is his. While
-doing so, you inspect his card at your leisure. He of course denies
-it, and you begin shuffling again furiously. "Let me do that," he will
-probably say; so, as you are perfectly acquainted with his card, you let
-him shuffle as much as he likes, and then, when you get the cards back
-again, shuffle until his card is at the bottom. Then pass them behind your
-back, make a ruffling noise with them, and show him his own card at the
-bottom.
-
-
-11. THE CARD FOUND UNDER THE HAT.
-
-Have a needle stuck just inside your sleeve. Hand the cards, &c., just as
-in the preceding trick, and tell the taker to put the card on the top.
-Take out the needle, and prick a hole nearly through the top _left_-hand
-corner. Replace the needle, shuffle the cards, or let any one shuffle
-them. Place the pack on the table, cover them with a hat, and the marked
-card will be known by a little raised knob on the _right_-hand top corner.
-Draw out card by card, saying whether it is that card or not, until you
-come to the marked one, which you throw on the table carelessly, and when
-you are about taking out another card, stop suddenly, and pretend to find,
-by some magic process, that it is the chosen card.
-
-
-12. TO CALL THE CARDS OUT OF THE PACK.
-
-Tell the spectators that you will call six cards out of the pack. Secure
-a card, say the ace of spades, in the palm of your hand. Throw the pack
-on the table, face downwards, spread out the cards, give one of the
-spectators your conjuring wand, and tell him, when you name a card to
-touch one, which you will take up.
-
-First name the ace of spades. He touches a card, which you take up without
-showing the face of it. This card may be, say the eight of diamonds. Put
-it into your left hand, and place it upon the ace of spades, which is
-already there, so that the two look like one card. Then call for the eight
-of diamonds. Another card is touched, say the queen of clubs. This you put
-with the others, and, after pretending to calculate, call for the queen of
-clubs.
-
-Proceed in this manner until six cards have been drawn. Then substitute
-the last card drawn (which is of course a wrong one) for the ace of
-spades, and conceal it in the palm of your hand. Then strew the others on
-the table, and while the eyes of the spectators are fixed upon them, get
-rid of the card in your left hand.
-
-It is a good plan to ask some one to write down the names of the cards
-as they are called, and then to have the list called over, in order that
-every one may see that there has been no mistake.
-
-
-13. HEADS AND TAILS.
-
-While you are shuffling the cards, contrive to arrange quietly all their
-heads one way, or as many as possible, rejecting all the diamonds except
-the king, queen, knave, and seven, and passing them to the bottom. Put
-the pack upon the table, take off a number of the upper cards, and offer
-them for some one to choose a card from. While he is looking at it, turn
-the cards round, and offer them to him, in order that he may replace it.
-Shuffle the cards, and on looking them over, the chosen card will be
-standing with its head one way, while the others are reversed.
-
-
-14. THE SURPRISE.
-
-When you have discovered a card, the following plan will make a _striking_
-termination to the trick. Get the card to the bottom of the pack, and tell
-one of the spectators to hold the cards by one corner as tightly as he
-can. Give them a sharp rap with your finger, not with your hand, and all
-the cards will be struck out of his hold, and fall on the floor, except
-the bottom card, which will remain between his finger and thumb. It has
-a rather more dashing effect, if you put the chosen card at the top, and
-strike them upwards, when the whole pack will fly about the room, like a
-flock of butterflies, only leaving the top card in the person's grasp.
-
-
-15. THE REVOLUTION.
-
-Another neat way of finishing a trick is as follows. Get the card to the
-top of the pack; and taking care that all the cards are even, drop the
-pack on the floor, taking care just as you let go, to slip the top card
-a little off the rest of the pack. In falling, the resistance of the air
-will turn the card over, and it will rest with its face upwards on the top
-of the pack.
-
-
-16. THE SLIPPED CARD.
-
-Ascertain the bottom card of the pack; hold the cards in your left hand,
-with their faces downwards. Place your right hand upon them, and with your
-right fore finger slide them slowly over each other, asking some one to
-stop any card he chooses, by putting his finger upon it. When he has done
-so, open the pack at that card, but while opening it, make the pass, and
-bring the bottom card under the one touched. Hold up the cards, and ask
-the chooser to be sure of his card; hand all the cards to him, and let him
-shuffle as much as he chooses. Afterwards discover the card in any manner
-that you prefer. The following is a good plan.
-
-
-17. THE NAILED CARD.
-
-Take a flat-headed nail, and file it down until its point is as sharp as
-a needle, and the head quite flat. The nail should be about half an inch
-long, or even shorter if anything. Pass the nail through the center of any
-card, say the ace of spades, and conceal it in your left hand.
-
-Take another pack of cards, get the ace of spades to the bottom, and
-perform the preceding trick. When the cards are returned, shuffle them
-about, and exchange the pierced card for the other. Put the pierced card
-at the bottom of the pack, and throw the cards violently against a door,
-when the nail will be driven in by the pressure of the other cards against
-its head, and the chosen card will be seen nailed to the door. The nail
-should be put through the face of the card, so that when the others fall
-on the floor, it remains facing the spectators.
-
-
-18. TO ASCERTAIN THE NUMBER OF POINTS ON THREE UNSEEN CARDS.
-
-In this amusement the ace counts eleven, the court cards ten each, and the
-others according to the number of their spots.
-
-Ask any one to choose any three cards, and lay them on the table, with
-their faces downwards. On each of these he must place as many as with the
-number of the card will make fifteen. He gives you the remaining cards,
-and when you have them in your hand, you count them over on the pretence
-of shuffling them, and by deducting four, you will have the number of
-points on the three cards.
-
-For example, the spectator chooses a four, an eight, and a king. On the
-four he places eleven cards, on the eight seven, and on the king five.
-There will then be twenty-six cards left. Deduct from this twenty-six
-four, and the result will be twenty-two, which is the number of points on
-the three cards, the king counting ten, added to the eight and the four.
-
-
-19. TO TELL THE NUMBERS ON TWO UNSEEN CARDS.
-
-As in the preceding trick, the ace counts eleven, and the court cards ten
-each. Let the person who chooses the two cards lay them on the table with
-their faces downward, and place on each as many as will make their number
-twenty-five.
-
-Take the remaining cards and count them, when they will be found to be
-just as many as the points in the two cards. For example, take an ace and
-a queen, _i. e._ eleven and ten, and lay them on the table. On the ace
-you must put fourteen cards, and on the queen fifteen. There will be then
-fifteen cards in one heap, and sixteen in the other: these added together
-make thirty-one cards: these subtracted from the number of cards in the
-pack, _i. e._ fifty-two, leave twenty-one, the joint number of the ace and
-queen.
-
-
-20. THE KNAVES AND THE CONSTABLE.
-
-Select the four knaves from a pack of cards, and one of the kings to
-perform the office of constable. Secretly place one of the knaves at the
-bottom of the pack, and lay the other three, with the constable, down upon
-the table. Proceed with a tale to the effect that three knaves once were
-to rob a house; one got in at the parlor window (putting a knave at the
-bottom of the pack, taking care not to lift the pack so high that the one
-already at the bottom can be seen); one effected his entrance at the first
-floor window (putting another knave in the middle of the pack); and the
-other, by getting on the parapet from a neighboring house, contrived to
-scramble in at the garret window (placing the third knave at the top of
-the pack); the constable vowed he would capture them, and closely followed
-the last knave (putting the king likewise upon the top of the pack). Then
-request as many of the company to cut the cards as please; and tell them
-that you have no doubt the constable has succeeded in his object, which
-will be quite evident, when you spread out the pack in your hands; as the
-king and three knaves will, if the trick is neatly performed, be found
-together. A very little practice only is required to enable you to convey
-a knave or any other card secretly to the bottom of the pack.
-
-
-21. THE PAIRS RE-PAIRED.
-
-Tell out twenty cards in pairs, and ask ten people to take a pair each,
-and remember them. Take up the pairs in their order, and lay them on the
-table in order, according to the accompanying table, which forms a memoria
-technica, and may be construed, "Mutus gave a name to the Coci," (a people
-who have yet to be discovered.)
-
-     M  U  T  U  S[2]
-     1  2  3  2  4
-
-     D  E  D  I  T
-     5  6  5  7  3
-
-     N  O  M  E  N
-     8  9  1  6  8
-
-     C  O  C  I  S
-    10  9 10  7  4
-
-Arranging these words in your mind on the table, take the first card of
-the first pair, lay it on M in Mutus, and the second on the M in Nomen.
-The next pair goes entirely in Mutus, being two U's. The first card of the
-second pair goes on T in Mutus, and the second on T in Dedit; and so on
-until all the cards are laid in their places.
-
-Ask each person in succession in which rows his cards are, and you can
-immediately point them out. For example, if he says the second and third
-row, you point out the second and fourth cards in those rows, because they
-both represent the letter E. If another says the first and last rows,
-you point out the last cards in each, because the cards represent S in
-Mutus and S in Cocis. It will be seen that the whole table consists of
-ten letters, each repeated, which will always point out the positions of
-the pairs if they are put in the places of those letters. Any number of
-bystanders may choose pairs, and to make the trick more mysterious, the
-pairs may be placed on the table back upwards.
-
-
-23. THE QUEENS DIGGING FOR DIAMONDS.
-
-Select from a pack the aces, kings, queens, and knaves, together with four
-common cards of each suit. Lay down the four queens in a row, and say,
-"Here are four queens going to dig for diamonds. (_Lay a common diamond
-over each queen._) They each took a spade with them (_place a common spade
-on each diamond_) and dug until they were nearly tired. Their four kings,
-thinking that they might be attacked by robbers, sent four soldiers to
-keep guard. (_Lay an ace on each spade._) Evening came, and the queens had
-not returned, so the kings, fearing that they might have come to harm,
-became uneasy and set off themselves. (_Place a king on each ace._) They
-were only just in time, for as they came along, they met their queens
-being carried off by four villains (_lay a knave on each king_), who,
-although only armed with clubs (_place a common club on each knave_), had
-overpowered the guards and driven them off. But the four kings, being
-possessed of bold hearts (_lay a common heart over each king_), soon
-vanquished the villains, and bound them." Gather up the cards, place the
-heaps upon each other and direct some one to cut them. Have them cut four
-or five times, and continue to do so until a common heart appears at the
-bottom. Then continue the tale, and say, "The party then returned home in
-the following order. First the queen, (_lay down the top card_) with the
-diamonds which she had found (_lay down the second card, which will be a
-diamond_) in one hand, and her spade (_the third card will be a spade_) in
-the other, &c., &c." You continue dealing out the cards in that manner,
-and it will be found that they will be in precisely the same order as when
-they were taken up.
-
-
-24. THE TRIPLE DEAL.
-
-Take any twenty-one cards, and ask some person to choose one from them.
-Lay them out in three heaps, and ask the person who took the card in which
-heap it is. You may turn your back while he searches. Gather them up and
-put that heap between the other two. Do this twice more, and the chosen
-card will always be the eleventh from the top.
-
-
-25. THE QUADRUPLE DEAL.
-
-This is a variation of the preceding. Take twenty-four cards, and lay them
-in four heaps. Act as in No. 24, putting the heap in which is the chosen
-card second. The tenth card will be the one thought of.
-
-
-26. THE CARD DISCOVERED BY THE TOUCH OR SMELL.
-
-Offer the long card, or any other that you thoroughly well know; and, as
-the person who has drawn it holds it in his hand, pretend to feel the pips
-or figures on the under side with your fore finger, or smell it, and then
-sagaciously declare what card it is.
-
-If it be the long card, you may give the pack to the person who drew it,
-and allow him either to replace it or not. Then take the pack, and feel
-whether it be there or not; shuffle the cards in a careless manner, and
-without looking at it, decide accordingly.
-
-
-27. THE INGENIOUS CONFEDERACY.
-
-Lay sixteen cards on the table, in four divisions, four cards in each,
-with their faces upwards. You then state that you will leave the room,
-and, on your return, will name any one card which may have been touched
-in your absence, on one of the company (your confederate) pointing out a
-passage from any author to be read to you, on your return, by any person
-present. To perform this trick, the cards should be placed in the order
-in which they appear in the cut inserted on the next page, you previously
-making your confederate acquainted with your mode of proceeding, which is
-thus: The cards are supposed to be divided into four classes, as A, B, C,
-D; you likewise agree to class everything in the world under the four
-denominations of biped, quadruped, vegetable, and mineral: class A stands
-for bipeds, B for quadrupeds, C for vegetables, and D for minerals. Each
-class must now be subdivided in the same manner: in class A, No. 1 is the
-biped, 2 the quadruped, 3 the vegetable, and 4 the mineral; and so with
-the other classes. When performing the trick, your confederate must take
-care to select an appropriate passage. For example, we will suppose the
-card No. 4 to have been touched, and that a volume of Moore having been
-presented to your confederate to select from, he gives the following lines
-to be read:
-
-    "Breathes there the _slave_ so lowly,
-    Condemned to _chains_ unholy,
-    Who, could he burst his bonds at first,
-    Would pine beneath them slowly?" &c.
-
-The first word which can be classed as above is _slave_, you may thus be
-certain that the card touched is in class A, a slave being a biped. The
-next word you can fix upon is _chains_, which being commonly made of some
-metal, you rank in the mineral class, and know that card No. 4 was the one
-touched, it being the mineral of the biped class.
-
-[Illustration:
-
-        A          B
-      1   2      5   6
-    +--+ +--+  +--+ +--+
-    |  | |  |  |  | |  |
-    |  | |  |  |  | |  |
-    +--+ +--+  +--+ +--+
-    +--+ +--+  +--+ +--+
-    |  | |  |  |  | |  |
-    |  | |  |  |  | |  |
-    +--+ +--+  +--+ +--+
-      3    4     7    8
-      9   10    13   14
-    +--+ +--+  +--+ +--+
-    |  | |  |  |  | |  |
-    |  | |  |  |  | |  |
-    +--+ +--+  +--+ +--+
-    +--+ +--+  +--+ +--+
-    |  | |  |  |  | |  |
-    |  | |  |  |  | |  |
-    +--+ +--+  +--+ +--+
-     11   12    15   16
-        C          D
-]
-
-Supposing the trick to be repeated, as is very likely, and that a volume
-of Byron is given to your confederate, who selects the passage commencing--
-
-    "Know ye the land, where the cypress and myrtle
-    Are emblems of deeds that are done in their clime?" &c.
-
-you know, "cypress" being the first word that can be classed, the card
-touched must be in class C (vegetable), and the next word "myrtle" being
-also a vegetable, the card touched must have been No. 11, which is the
-vegetable of the vegetable class. Many appropriate passages may be easily
-selected, and your confederate should select a long passage to be read,
-as it gives greater scope, and helps to mislead the rest of the company;
-for should they imagine that the card is discovered by the number of lines
-read, and they touch the same card again, he can select another passage,
-desiring them to read only as many lines as they choose.
-
-
-29. "HOLD IT FAST."
-
-You commence by asking the most athletic person in company whether he
-is nervous; he will most probably answer in the negative; you then ask
-whether he thinks he can hold a card tightly. If he answers, No, ask the
-question of some one else, till you obtain an answer in the affirmative.
-You then desire the party to stand in the middle of the room, and holding
-up the pack of cards, you show him the bottom card, and request him to
-proclaim what card it is; he will say it is the knave of hearts; you then
-tell him to hold the card tightly at the bottom, and look to the ceiling.
-While he is looking up, you ask him if he recollects his card; if he says,
-Yes, desire him to draw it away, and ask him what it is; he will, of
-course, answer, the knave of hearts; tell him he has made a mistake, for
-if he look at his card, he will find it to be the knave of spades, which
-will be the case. You then give him the remainder of the pack, telling
-him that if he looks over it, he will find the knave of hearts in quite a
-different situation.
-
-This feat, though it excites much admiration, is very simple. You procure
-an extra knave of hearts, and cut it in half, keeping the upper part,
-and throwing away the lower. When commencing your feat, get the knave
-of spades to the bottom of the pack, and lay over the upper part of it,
-unperceived, your half knave of hearts; and, under pretence of holding the
-pack very tight, throw your thumb across the middle of the knave, so that
-the joining may not be perceived, for the legs of those two knaves are so
-much alike that there is no danger of detection. You, of course, give him
-the legs of the knave of spades to hold, and when he has drawn the card
-away, hold your hand so that the faces of the cards will be turned towards
-the floor, and take an opportunity of removing the half-knave: you may
-vary the feat by having a half-knave of spades.
-
-
-30. THE CHARMED TWELVE.
-
-Let any one take a pack of cards, shuffle, take off the upper card, and,
-having noticed it, lay it on the table, with its face downward, and put
-so many cards upon it as will make up twelve with the number of spots
-on the noted card. For instance: if the card which the person drew was
-king, queen knave, or ten, bid him lay that card, with its face downward,
-calling it ten; upon that card let him lay another, calling it eleven,
-and upon that card, another, calling it twelve; then bid him take off the
-next uppermost card: suppose it to be nine, let him lay it down on another
-part of the table, calling it nine, upon it let him lay another, calling
-it ten, upon the latter another, calling it eleven, and upon that another,
-calling it twelve; then let him go to the next uppermost card, and so
-proceed to lay out in heaps, as before, until he has gone through with the
-whole pack.
-
-If there be any cards at the last, that is, if there be not enough to
-make up the last noted card, the number twelve, bid him give them to you;
-then, in order to tell all the number of spots contained in all the bottom
-cards of the heaps, do thus: from the number of heaps subtract four,
-multiply the remainder by thirteen, and, to the product, add the number
-of remaining cards, which he gave you; but if there were but four heaps,
-then those remaining cards alone will show the number of spots on the four
-bottom cards. You need not see the cards laid out, nor know the number
-of cards in each heap, it being sufficient to know the number of heaps,
-and the number of remaining cards, if there be any, and therefore you may
-perform this feat as well standing in another room, as if you were present.
-
-
-31. THE TRICK OF THIRTY-ONE.
-
-A trick often introduced by "_sporting men_," for the purpose of deceiving
-and making money by it. It is called "thirty-one." I caution all not to
-play or bet with a man who introduces it: for, most probably, if he does
-not propose betting on it at first, he will after he gets you interested,
-and pretend to teach you all the secrets of it, so that you can play it
-with him; and perhaps he will let you beat him if you should play in fun;
-but if you bet, he will surely beat you. It is played with the first
-six of each suit--the _aces_ in one row, the _deuces_ in another, the
-_threes_ in another; then the _fours_, _fives_ and _sixes_--all laid in
-rows. The object now will be to turn down cards alternately, and endeavor
-to make thirty-one points by so turning, or as near to it as possible,
-without overrunning it; and the man who turns down a card, the spots of
-which make him thirty-one, or so near it that the other cannot turn down
-one without overrunning it, wins. This trick is very deceiving, as all
-other tricks are, and requires much practice to be well understood. The
-persons using it I have known to attach great importance to it, and say
-that Mr. Fox, of England, was the first to introduce it; and that it was
-a favorite amusement of his. The chief point of this celebrated trick is
-to count so as to end with the following numbers, viz., 3, 10, 17 or 24.
-For example, we will suppose it your privilege to commence the count: you
-would commence with 3, and your adversary would add 6, which would make 9;
-it would then be your policy to add 1, and make 10; then, no matter what
-number he adds, he cannot prevent you counting 17, which number gives you
-the command of the trick. We will suppose he add 6, and make 16; then, you
-add 1, and make 17, then he to add 6, and make 23, you add 1, and make 24,
-then he cannot possibly add any number to count 31: as the highest number
-he can add is 6, which would only count 30, so that you can easily add the
-remaining 1, or ace, and make 31. There are, however, many variations to
-the trick.
-
-
-32. TO TELL THE NAMES OF THE CARD BY THE WEIGHT.
-
-You desire any person to cut a pack of cards as often as he pleases, and
-undertake, by weighing each card for a moment on your finger, not only to
-tell the color, but the suit and number of spots, and, if a court-card,
-whether it be king, queen, or knave.
-
-You must have two packs of cards exactly alike: one pack to be constantly
-in use during the evening in performing your other tricks; the second, or
-prepared pack, in your pocket, which take an opportunity of exchanging, so
-that it may be believed that the pack of cards of which you tell the names
-is the same as that you have been using with your other tricks, and which
-they must know have been well shuffled.
-
-The manner of preparing your pack (which must be done previously) is by
-the following line, which you commit to memory, the words in italics
-forming the key:
-
-    Eight Kings threa-tened to save nine fair Ladies for one sick Knave.
-    _Eight King three ten two seven nine five Queen four ace six Knave_,
-
-You will perceive that this is a kind of artificial memory, formed by the
-circumstances of the initial letter of the words in the line and the names
-of the cards being identical, as well as the near resemblance of some of
-the words. The word "threatened" is divided into two words, in order that
-it may answer for the three and ten; you should pay attention to this, or
-you will be very likely to forget the ten altogether, which would set you
-entirely wrong; you should likewise commit to memory the order in which
-the suits come viz.: _hearts_--_spades_--_diamonds_--_clubs_.
-
-You should now separate the different suits, and lay them on the table,
-face upwards, placing heart first, spades next, diamonds next, and clubs
-last. Having done so, begin to sort (to yourself), according to your key:
-take up the eight of hearts, placing it in the left hand with its back to
-the palm; then the king of spades, which you lay over it, next the three
-of diamonds, next the ten of clubs, then the two of hearts, and so on,
-until you finish your line, which will terminate with the knave of hearts.
-You then take up the eight of spades, and go on in the same way till
-you come to the knave of spades, when you begin again with the eight of
-diamonds, and go on until you come to the knave of diamonds, and beginning
-again with the eight of clubs, you go on until you come to the knave of
-clubs, which finishes the pack, and which is now ready for use; when you
-have made your exchange, and brought forward your prepared pack, hand it
-round to be cut.
-
-You now want to know the first card, as a clue to the rest; and therefore
-take off the top card, and holding it up between you and the light,
-you see what the card is, saying at the same time, that the old way of
-performing the trick was by doing so, but that this was very easily
-detected.
-
-Having thus obtained a knowledge of the first card, which we will suppose
-to be the ten of diamonds, you then take the next card on your finger,
-and while pretending to weigh it, you have time to recollect what is the
-next word in your key, to _ten'd_, which is _to_--you consequently know
-that this card is a _two_; you must then recollect what suit comes after
-diamonds, which is _clubs_; you, therefore, declare the card you are now
-weighing on your finger to be the _two of clubs_; the next will of course
-be the seven of hearts, the next to that the nine of spades, and so on as
-long as you please.
-
-
-TRICKS WITH CARDS, THAT REQUIRE APPARATUS.
-
-I shall only give one or two of these tricks, because, in general, the
-apparatus required for cards is exceedingly expensive. Those that I shall
-give require but little apparatus, and any boy with the use of his hands
-can make it.
-
-
-33. THE CARDS IN THE VASE.
-
-Make a vase with five divisions, two of which hold an entire pack of
-cards, and the remaining three are only large enough just to admit one
-card each, as in the figure. A strong silk thread is fastened at A, passes
-over the three little compartments, through the bottom of the vase, and
-running over two pulleys, terminates in the weight at B.
-
-[Illustration]
-
-Take three cards, say the ace of spades, the ten of diamonds, and the king
-of hearts, out of a pack of cards, and put one into each of the little
-divisions pressing the thread down into the bottom of each division.
-If the cards are left, the weight will descend, and the string being
-tightened, will push the cards upwards. So a kind of trigger shelf is
-made, on which the weight rests. The remainder of the pack you put into
-division 2.
-
-When you show the trick, you take another pack of cards exactly like
-that which is already in the vase, and handing it to three persons
-successively, compel them to choose the ace of spades, the ten of
-diamonds, and the king of hearts.[3] Let some one shuffle the cards, and
-when this is done, put the pack into division 1. Tell the spectators that
-when you have struck three times on the table, the cards will come out
-of the vase. At the third stroke, loosen the catch on which the weight
-stands, by means of the string that communicates with your table, and the
-three cards will rise slowly up. In order to show that the cards have
-really vanished from the pack, take the pack out of division 2 and let any
-one examine it.
-
-If you prefer, you can draw the thread yourself, by having a kind of a
-pedal under your table, to which the other end of the string is attached,
-instead of being fastened to the weight B. If you prefer the weight, you
-must have a small shelf for the weight to rest upon, when it has descended
-sufficiently low, or the cards will be forced entirely out by the thread.
-C is a representation of one of the divisions, showing the semi-circular
-cut that is made in them for the convenience of taking out the cards.
-
-
-34. THE METAMORPHOSIS.
-
-In this most excellent trick you choose from the pack the four eights and
-the two of diamonds; you put the four eights in your left hand and the
-two on the table; you take in the two, placing an eight on the table, and
-they are all twos. You exchange the two for the eight, and they all become
-black cards; you again exchange the eight for the two, and they all turn
-red; and after again exchanging, you have, as before, the four eights and
-the two of diamonds.
-
-[Illustration: _Fig. 1_]
-
-The method of accomplishing this trick is as follows: Get three plain
-white cards, exactly like playing cards, and paint them as in the
-engraving. Mix them with an ordinary pack, and when you are searching for
-the four eights, with which you say you are going to perform a trick, take
-them from the pack, and with them an ordinary eight of clubs and a two of
-diamonds.
-
-[Illustration: _Fig. 2_]
-
-[Illustration: _Fig. 3_]
-
-[Illustration: _Fig. 4_]
-
-[Illustration: _Fig. 5_]
-
-Show the cards as in fig. 2, making the spectators observe that there are
-the four eights. Put the two of diamonds behind the eight of clubs, and
-lay the eight on the table. The two must be inserted before the eight is
-removed, or the mystery of the marking will be apparent. Close the cards,
-turn them over, and spread them out, when they will appear as in Fig. 3.
-Take in the eight and lay the two on the table; close the cards, and while
-shuffling them, turn card No. 2 the other way upwards. The cards will then
-all appear black, as in Fig. 4. Take in the two and remove the eight, turn
-them over, and spread them out, when they will appear all red, as in Fig.
-5. Finally, take the eight, replacing the two on the table, reverse No. 2,
-and you will have the four eights and the two of diamonds, just as they
-were at first. You must invent plenty of talk during your changes. If the
-spectators say that the cards are double, spread them out, and hold them
-up to the light, (for the light cannot penetrate through the places where
-the cards are placed over each other,) and if they are still skeptical,
-hand them the two of diamonds to look at, and in a moment or two hand them
-the eight of clubs, asking them whether they would like to examine a
-black card also. This will effectually disarm suspicion.
-
-
-    35. TO HOLD FOUR KINGS OR FOUR KNAVES IN YOUR HAND, AND TO CHANGE
-    THEM SUDDENLY INTO BLANK CARDS, AND THEN TO FOUR ACES.
-
-It is necessary to have cards made on purpose for this trick; half cards,
-as they may be properly termed, that is, one half kings or knaves, and
-the other half aces. When you lay the aces one over the other, of course
-nothing but the kings or knaves can be seen; and on turning the kings or
-knaves downward, the four aces will make their appearance. You must have
-two perfect cards, one a king or knave, to put over one of the aces, else
-it will be seen; and the other an ace, to lay over the kings or knaves.
-When you wish to make them all appear blank, lay the cards a little lower,
-and by hiding the aces, they will appear white on both sides; you may then
-ask which they wish to have, and may show kings, aces, or knaves, as they
-are called for.
-
-
-36. TO CHANGE A CARD IN A PERSON'S HAND.
-
-Cut very neatly the spots from a three of spades. Lay the pierced card on
-an ace of diamonds, and rub pomatum on the ace of diamonds through the
-places which the spades occupied. Remove the pierced card, and sprinkle
-the ace of diamonds with jet powder, which adhering to the pomatum, will
-transform the card into a three of spades.
-
-Place the transformed card at the bottom of the pack, and show a person
-what card it is. Make him declare it that every one may hear, then place
-it on the table, face downwards, and push it over the cloth to the
-spectator, which action will rub off all the jet powder. Tell him to place
-his hand on the card. Let a three of spades be at the top of the pack, and
-an ace of diamonds the second from the bottom. Show another person the ace
-of diamonds, and ask him to tell the name of the card openly. Put the pack
-down, face downwards, and in so doing make the pass, and bring the three
-of spades to the bottom.
-
-Tap the hand of the person who is guarding the card, and then tell him to
-take up the card and show it to the spectators, when it will be seen to be
-the ace of diamonds. Simultaneously, you take up the pack, and show the
-three of spades at the bottom.
-
-
-37. THE CARD IN THE EGG.
-
-To perform this feat, provide a round hollow stick, about ten inches long
-and three quarters of an inch in diameter, the hollow being three eighths
-of an inch in diameter. Also, have another round stick to fit this hollow,
-and slide in it easily, with a knob to prevent its coming through. Our
-young readers will clearly understand our meaning, when we say, that in
-all respects it must resemble a pop-gun, with the single exception that
-the stick which fits the tube, must be of the full length of the tube
-exclusively of the knob.
-
-Next steep a card in water for a quarter of an hour, peel off the face of
-it, and double it twice across, till it becomes one fourth of the length
-of a card, then roll it up tightly, and thrust it up the tube till it
-becomes even with the bottom. You then thrust in the stick at the other
-end of the tube till it just touches the card.
-
-Having thus provided your magic wand, let it lie on the table until you
-have occasion to make use of it, but be careful not to allow any person
-handle it.
-
-Now take a pack of cards, and let any person draw one; but be sure to let
-it be a similar card to the one which you have in the hollow stick. This
-must be done by forcing. The person who has chosen it will put it into
-the pack again, and, while you are shuffling, you let it fall into your
-lap. Then, calling for some eggs, desire the person who drew the card, or
-any other person in the company, to choose any one of the eggs. When he
-has done so, ask if there be anything in it? He will answer there is not.
-Place the egg in a saucer; break it with the wand, and pressing the knob
-with the palm of your right hand, the card will be driven into the egg.
-Then show it to the spectators.
-
-A great improvement may be made in this feat, by presenting the person
-who draws the card with a saucer and a pair of forceps, and instead of
-his returning the card to the pack, desire him to take it by the corner
-with the forceps and burn it, but to take care and preserve the ashes; for
-this purpose you present him with a piece of paper (prepared as hereafter
-described), which he lights at the candle; but a few seconds after, and
-before he can set the card on fire, it will suddenly divide in the middle
-and spring back, burning his fingers if he do not drop it quickly. Have
-another paper ready and desire him to try that; when he will most likely
-beg to be excused, and will prefer lighting it with the candle.
-
-When the card is consumed, say that you do not wish to fix upon any
-particular person in company to choose an egg, lest it might be suspected
-he was a confederate; therefore, request any two ladies in company to
-choose each an egg, and having done so, to decide between themselves which
-shall contain the card; when this is done, take a second saucer, and in it
-receive the rejected egg, break it with your wand, and show the egg round
-to the company; at the same time drawing their attention to the fact of
-those two eggs having been chosen from among a number of others, and of
-its not being possible for you to have told which of them would be the
-chosen one.
-
-You now receive the chosen egg in the saucer containing the ashes, and
-having rolled it about until you have blacked it a little, blow the ashes
-from around it into the grate; you then break the egg with the same wand,
-when, on touching the spring, the card will be found in the egg.
-
-The method of preparing the paper mentioned in the above feat is as
-follows: Take a piece of letter paper, about six inches in length and
-three quarters of an inch in breadth, fold it longitudinally, and with a
-knife cut it in the crease about five inches down; then take one of the
-sides which are still connected at the bottom, and with the back of the
-knife under it, and the thumb of the right hand over it, curl it outwards
-as a boy would the tassels of his kite; repeat the same process with the
-other side, and lay them by for use. When about using them, (but not till
-then, as the papers will soon lose their curl if stretched,) draw them up
-so as to make them their original length, and turn the ends over a little,
-in order that they may remain so; when set on fire, they will burn for a
-minute or two, until the turn-over is burnt out, when the lighted ends
-will turn over quickly, burning the fingers of the holder: this part of
-the trick never fails to excite the greatest merriment.
-
-
-38. THE FIFTEEN THOUSAND LIVRES.
-
-[Illustration]
-
-For this trick, prepare two cards like the accompanying engraving; and
-have a common ace and five of diamonds. Hold down the five of diamonds
-and the two prepared cards, as shown in the next engraving; and say, "A
-certain Frenchman left fifteen thousand livres, which are represented by
-these three cards, to his three sons; the two youngest agreed to leave
-their five thousand, each of them, in the hands of the elder, that he
-might improve it." While you are telling this story lay the five on the
-table, and put the ace in its place; at the same time artfully change
-the position of the other two cards, so that the three cards appear as
-in this engraving. Then, resuming the tale, relate that "The eldest
-brother, instead of improving the money, lost it all by gaming, except
-three thousand livres, as you here see (laying the ace on the table, and
-taking up the five). Sorry for having lost the money, he went to the East
-Indies with these three thousand, and brought back fifteen thousand."
-Then show the cards in the same position as at first. To render this
-deception agreeable, it must be performed with dexterity, and should not
-be repeated, but the cards immediately put in the packet; and you should
-have five common cards ready to show, if any one desire to see them.
-
-
-HINTS TO AMATEURS.
-
-The following hints are of considerable importance to the amateur
-exhibitor.
-
-1. Never acquaint the company beforehand with the particulars of the feat
-you are about to perform, as it will give them time to discover your mode
-of operation.
-
-2. Endeavor, as much as possible, to acquire various methods of performing
-the same feat, in order that if you should be likely to fail in one, or
-have reason to believe that your operations are suspected, you may be
-prepared with another.
-
-3. Never yield to the request of any one to repeat the same feat, as
-you thereby hazard the detection of your mode of operation; but do not
-absolutely refuse, as that would appear ungracious. Promise to perform it
-in a different way, and then exhibit another which somewhat resembles it.
-This maneuver seldom fails to answer the purpose.
-
-4. Never venture on a feat requiring manual dexterity, till you have
-previously practiced it so often, as to acquire the necessary expertness.
-
-5. As diverting the attention of the company from too closely inspecting
-your maneuvers is a most important object, you should manage to talk
-to them during the whole course of your proceedings. It is the plan of
-vulgar operators to gabble unintelligible jargon, and attribute their
-feats to some extraordinary and mysterious influence. There are few
-persons at the present day credulous enough to believe such trash, even
-among the rustic and most ignorant; but, as the youth of maturer years
-might inadvertently be tempted to pursue this method, while exhibiting
-his skill before his younger companions, it may not be deemed superfluous
-to caution him against such a procedure. He may state, and truly, that
-everything he exhibits can be accounted for on rational principles, and
-is only in obedience to the unerring laws of Nature; and although we have
-just cautioned him against enabling the company themselves to detect
-his operations, there can be no objection (particularly when the party
-comprises many younger than himself) to occasionally show by what simple
-means the most apparently marvelous feats are accomplished.
-
-
-CURE FOR TROUBLESOME SPECTATORS.
-
-It will sometimes happen at an early stage of the performance, that the
-ultimate success of the whole is likely to be endangered by a troublesome
-person, (generally a naughty boy,) who will persist in crying out, "I know
-how it is done!"--at the same time continually advancing to the table,
-from which it is, of course, the business of the conjurer to keep his
-youthful admirers. Should this be the case, the magic whistles may be
-produced, and the remark made, that now the troublesome boy shall show the
-company a trick. Having taken up one of the whistles, which has previously
-been filled with flour or magnesia, dust or soot, proceed to give a few
-directions, particularly impressing on him the necessity of blowing hard,
-because the whistle you place in his hand is perforated with a number of
-holes. The would-be magician is, therefore, excessively mortified, on
-applying his mouth and blowing hard, to receive the powder in his face.
-Any turner will make such a whistle, it being nothing more than the usual
-shaped toy perforated at the top with a number of holes.
-
-       *       *       *       *       *
-
-
-THE SECRET OF VENTRILOQUISM.
-
-The main secret of this surprising art simply consists in first making
-a strong, deep inspiration, by which a considerable quantity of air is
-introduced into the lungs, to be afterwards acted upon by the flexible
-powers of the larynx, or cavity situated behind the tongue, and the
-trachea, or windpipe; thus prepared, the expiration should be slow and
-gradual. Any person, by practice, can, therefore, obtain more or less
-expertness in this exercise; in which, though not apparently, the voice is
-still modified by the mouth and tongue; and it is in the concealment of
-this aid, that much of the perfection of ventriloquism lies.
-
-But the distinctive character of ventriloquism consists in its imitations
-being performed by the voice _seeming_ to come from the stomach: hence
-its name, from _venter_, the stomach, and _loquor_, to speak. Although
-the voice does not actually come from that region, in order to enable the
-ventriloquist to utter sounds from the larynx without moving the muscles
-of his face, he strengthens them by a powerful action of the abdominal
-muscles. Hence, he speaks by means of his stomach; although the throat is
-the real source from whence the sound proceeds. It should, however, be
-added, that this speaking distinctly, without any movement of the lips at
-all, is the highest perfection of ventriloquism, and has but rarely been
-obtained. Thus, MM. St. Gille and Louis Brabant, two celebrated French
-ventriloquists, appeared to be absolutely mute while exercising their art,
-and no change in their countenances could be discovered.
-
-It has lately been shown, that some ventriloquists have acquired by
-practice the power of exercising the veil of the palate in such a manner,
-that, by raising or depressing it, they dilate or contract the inner
-nostrils. If they are closely contracted, the sound produced is weak,
-dull, and seems to be more or less distant; if, on the contrary, these
-cavities are widely dilated, the sound will be strengthened, the voice
-become loud, and apparently close to us.
-
-Another of the secrets of ventriloquism, is the uncertainty with respect
-to the direction of sounds. Thus, if we place a man and a child in the
-same angle of uncertainty, and the man speaks with the accent of a
-child, without any corresponding motion in his mouth or face, we shall
-necessarily believe that the voice comes from the child. In this case,
-the belief is strengthened by the imagination; for if we were directed to
-a statue, as the source from which we were to expect sounds to issue, we
-should still be deceived, and refer the sounds to the lifeless stone or
-marble. This illusion will be greatly assisted by the voice being totally
-different in tone and character from that of the man from whom it really
-comes. Thus, we see how easy is the deception when the sounds are required
-to proceed from any given objects, and are such as they actually yield.
-
-The ventriloquists of our time have carried their art still further.
-They have not only spoken by the muscles of the throat and the abdomen,
-without moving those of the face, but have so far overcome the uncertainty
-of sound, as to become acquainted with modifications of distance,
-obstruction, and other causes, so as to imitate them with the greatest
-accuracy. Thus, each of these artists has succeeded in carrying on a
-dialogue; and each, in his own single person and with his own single
-voice, has represented a scene apparently with several actors. These
-ventriloquists have likewise possessed such power over their faces and
-figures that, aided by rapid changes of dress, their personal identity has
-scarcely been recognized among the range of personations.
-
-Vocal imitations are much less striking and ingenious than the feats
-of ventriloquism. Extraordinary varieties of voice may be produced, by
-speaking with a more acute or grave pitch than usual, and by different
-contractions of the mouth. Thus may be imitated the grinding of cutlery on
-a wheel, the sawing of wood, the frying of a pancake, the uncorking of a
-bottle, and the gurgling noise in emptying its contents.
-
-
-FOOTNOTES:
-
-[Footnote 2: The figures represent the pairs, _i. e._, the 1 under M
-signifies that M belongs to the _first_ pair.]
-
-[Footnote 3: This may be done by making the pass.]
-
-
-
-
-THE MAGIC OF CHEMISTRY.
-
-[Illustration]
-
-
-Chemistry is one of the most attractive sciences. From the beginning to
-the end, the student is surprised and delighted with the developments of
-the exact discrimination, as well as the power and capacity, which are
-displayed in various forms of chemical action. Dissolve two substances
-in the same fluid, and then by evaporation, or otherwise, cause them to
-reassume a solid form, and each particle will unite with its own kind,
-to the entire exclusion of all others. Thus, if sulphate of copper and
-carbonate of soda are dissolved in boiling water, and then the water is
-evaporated, each salt will be re-formed as before. This phenomenon is
-the result of one of the first principles of the science, and as such is
-passed over without thought; but it is a wonderful phenomenon, and made of
-no account only by the fact that it is so common and so familiar.
-
-It is by the action of this same principle, "chemical affinity," that we
-produce the curious experiments with SYMPATHETIC INKS. By means of these,
-we may carry on a correspondence which is beyond the discovery of all not
-in the secret. With one class of these inks, the writing becomes visible
-only when moistened with a particular solution. Thus, if we write to you
-with a solution of sulphate of iron, the letters are invisible. On the
-receipt of our letter, you rub over the sheet a feather or sponge, wet
-with a solution of nut-galls, and the letters burst forth into sensible
-being at once, and are permanent.
-
-2. If we write with a solution of sugar of lead, and you moisten with a
-sponge or pencil dipped in water impregnated with sulphuretted hydrogen,
-the letters will appear with metallic brilliancy.
-
-3. If we write with a weak solution of sulphate of copper, and you apply
-ammonia, the letters assume a beautiful blue. When the ammonia evaporates,
-as it does on exposure to the sun or fire, the writing disappears, but may
-be revived again as before.
-
-4. If you write with oil of vitriol very much diluted, so as to prevent
-its destroying the paper, the manuscript will be invisible except when
-held to the fire, when the letters will appear black.
-
-5. Write with cobalt dissolved in diluted muriatic acid; the letters will
-be invisible when cold, but when warmed they will appear a bluish green.
-
-We are almost sure that our secrets thus written will not be brought to
-the knowledge of a stranger, because he does not know the solution which
-was used in writing, and therefore knows not what to apply to bring out
-the letters.
-
-Other forms of elective affinity produce equally novel results. Thus, two
-invisible gases, when combined, form sometimes a _visible solid_. Muriatic
-acid and ammonia are examples, also ammonia and carbonic acid.
-
-On the other hand, if a solution of sulphate of soda be mixed with a
-solution of muriate of lime, the whole becomes solid.
-
-Some gases when united form liquids, as oxygen and hydrogen, which unite
-and form water. Some solids, when combined, form liquids.
-
-Chemical affinity is sometimes called _elective_, or the effect of
-_choice_, as if one substance exerted a kind of _preference_ for another,
-and chose to be united to it rather than to that with which it was
-previously combined; thus, if you pour some vinegar, which is a weak
-acetic acid, upon some pearlash, (a combination of potassa and carbonic
-acid,) or some carbonate of soda, (a combination of the same acid with
-soda,) a violent effervescence will take place, occasioned by the escape
-of the carbonic acid, displaced in consequence of the potash or soda
-preferring the acetic acid, and forming a compound called an acetate.
-Then, if some sulphuric acid be poured on this new compound, the acetic
-acid will in its turn be displaced by the greater attachment of either
-of the bases, as they are termed, for the sulphuric acid. Again, if into
-a solution of blue vitriol, (a combination of sulphuric acid with oxide
-of copper,) the bright blade of a knife be introduced, the knife will
-speedily be covered with a coat of copper, deposited in consequence of the
-acid _preferring_ the iron of which the knife is made, a quantity of it
-being dissolved in exact proportion to the quantity of copper deposited.
-
-[Illustration]
-
-It is on the same principle that a very beautiful preparation, called a
-silver-tree, or a lead-tree, may be formed, thus: Fill a wide bottle,
-capable of holding from half a pint to a pint, with a tolerably strong
-solution of nitrate of silver, (lunar caustic,) or acetate of lead, in
-pure distilled water; then attach a small piece of zinc by a string to
-the cork or stopper of the bottle, so that the zinc shall hang about the
-middle of the bottle, and set it by where it may be quite undisturbed;
-in a short time, brilliant plates of silver or lead, as the case may be,
-will be seen to collect around the piece of zinc, assuming more or less
-of the crystalline form. This is a case of elective affinity; the acid
-with which the silver or lead was united _prefers_ the zinc to either of
-those metals, and in consequence discards them in order to attach the zinc
-to itself; and this process will continue until the whole of the zinc is
-taken up, or the whole of the silver or lead deposited.
-
-Again, many animal and vegetable substances consist for the most part of
-carbon or charcoal, united with oxygen and hydrogen in the proportion
-which forms water. Now oil of vitriol (strong sulphuric acid) has so
-powerful an affinity, or so great a _thirst_ for water, that it will
-abstract it from almost any body in which it exists; if you then pour
-some of this acid on a lump of sugar, or place a chip of wood in it, the
-sugar or wood will speedily become quite black, or be _charred_, as it is
-called, in consequence of the oxygen and hydrogen being removed by the
-sulphuric acid, and only the carbon, or charcoal, left.
-
-When Cleopatra dissolved pearls of wondrous value in vinegar, she was
-exhibiting unwittingly an instance of chemical elective affinity; the
-pearl being simply carbonate of lime, which was decomposed by the greater
-affinity or fondness of lime for its new acquaintance, (the acetic acid of
-the vinegar,) than for the carbonic acid, with which it had been united
-all its life; an example of inconstancy in strong contrast with the
-conduct of its owner, who chose death rather than become the mistress of
-her lover's conqueror.
-
-
-EXPERIMENTS ON COMBUSTION.
-
-Into an ordinary wine bottle put some pieces of granulated zinc, and pour
-on them a mixture of sulphuric acid and water, in the proportion of about
-one part of acid to four of water, then close the bottle with a cork
-having a hole bored through the middle, in which a piece of glass tube is
-inserted; wait some minutes that the atmospheric air in the bottle may be
-expelled by the hydrogen gas set free by the decomposition of the water,
-then apply a lighted taper to the end of the tube, when the gas will
-inflame, giving out so little light as to be barely visible by daylight,
-but producing so intense a heat that a piece of platinum wire instantly
-becomes white hot when held in the flame. If you hold a glass tumbler
-inverted over the flame, it becomes covered with minute drops of water,
-the result of the union of the hydrogen with the oxygen of the air, and in
-this case water is the only product.
-
-If a piece of charcoal, which is pure carbon or nearly so, be ignited, and
-introduced into a jar, containing oxygen or common atmospheric air, the
-product will be carbonic acid gas only. As most combustible bodies contain
-both carbon and hydrogen, the result of their combination is carbonic
-acid and water. This is the case with the gas used for illumination; and
-in order to prevent the water so produced from spoiling goods in shops,
-various plans have been devised for carrying off the water when in the
-state of steam. This is generally accomplished by suspending over the
-burners glass bells, communicating with tubes opening into the chimney, or
-passing outside the house.
-
-To show that oxygen, or some equivalent, is necessary for the support of
-combustion, fix two or three pieces of wax taper on flat pieces of cork,
-and set them floating on water in a soup-plate, light them, and invert
-over them a glass jar; as they burn, the heat produced may perhaps at
-first expand the air so as to force a small quantity out of the jar, but
-the water will soon rise in the jar, and continue to do so until the
-tapers expire, when you will find that a considerable portion of the air
-has disappeared, and what remains will no longer support flame; that
-is, the oxygen has been converted partly into water, and partly into
-carbonic acid gas, by uniting with the carbon and hydrogen of which the
-taper consists, and the remaining air is principally nitrogen, with some
-carbonic acid: the presence of the latter may be proved by decanting some
-of the remaining air into a bottle, and then shaking some lime-water with
-it, which will absorb the carbonic acid and form chalk.
-
-Into an ale-glass, two thirds full of water at about 140°, drop one or
-two pieces of phosphorus about the size of peas, and they will remain
-unaltered. Then take a bladder containing oxygen gas, to which is attached
-a stop-cock and a long fine tube; pass the end of the tube to the bottom
-of the water, turn the stop-cock, and press the bladder gently; as the gas
-reaches the phosphorus it will take fire, and burn under the water with a
-brilliant flame, filling the glass with brilliant flashes of light dashing
-through the water.
-
-[Illustration]
-
-Into another glass put some cold water; introduce carefully some of the
-salt called chlorate of potassa, upon that drop a piece of phosphorus;
-then let some strong sulphuric acid (oil of vitriol) trickle slowly down
-the side of the glass, or introduce it by means of a dropping bottle. As
-soon as it touches the salt it decomposes it, and liberates a gas which
-ignites the phosphorus, producing much the same appearance as in the last
-experiment.
-
-Into the half of a broken phial put some chlorate of potassa, and pour
-in some oil of vitriol. The phial will soon be filled with a heavy gas
-of a deep yellow color. Tie a small test tube at right angles to the end
-of a stick not less than a yard long, put a little ether into the tube,
-and pour it gently into the phial of gas, when an instantaneous explosion
-will take place, and the ether will be set on fire. This experiment should
-be performed in a place where there are no articles of furniture to be
-damaged, as the ingredients are often scattered by the explosion, and the
-oil of vitriol destroys all animal and vegetable substances.
-
-Into a jar containing oxygen gas, introduce a coil of soft iron wire,
-suspended to a cork that fits the neck of the jar, and having attached
-a small piece of charcoal to the lower part of the wire, ignite the
-charcoal. The iron will take fire and burn with a brilliant light,
-throwing out bright scintillations, which are oxide of iron, formed by the
-union of the gas with the iron; and they are so intensely hot, that some
-of them will probably _melt_ their way into the sides of the jar, if not
-through them.
-
-[Illustration]
-
-But by far the most intense heat, and most brilliant light, may be
-produced by introducing a piece of phosphorus into a jar of oxygen.
-The phosphorus may be placed in a small copper cup, with a long handle
-of thick wire passing through a hole in a cork that fits the jar. The
-phosphorus must first be ignited; and as soon as it is introduced into the
-oxygen, it gives out a light so brilliant that no eye can bear it, and the
-whole jar appears filled with an intensely luminous atmosphere. It is well
-to dilute the oxygen with about one fourth part of common air, to moderate
-the intense heat, which is nearly certain to break the jar, if pure oxygen
-is used.
-
-The following experiment shows the production of heat by chemical action
-alone. Bruise some fresh prepared crystals of nitrate of copper, spread
-them over a piece of tin foil, sprinkle them with a little water; then
-fold up the foil tightly, as rapidly as possible, and in a minute or two
-it will become red hot, the tin apparently burning away. This heat is
-produced by the energetic action of the tin on the nitrate of copper,
-taking away its oxygen in order to unite with the nitric acid, for which,
-as well as for the oxygen, the tin has a much greater affinity than the
-copper has.
-
-[Illustration]
-
-Combustion without flame may be shown in a very elegant and agreeable
-manner, by making a coil of platinum wire by twisting it round the stem
-of a tobacco pipe, or any cylindrical body, for a dozen times or so,
-leaving about an inch straight, which should be inserted into the wick
-of a spirit lamp; light the lamp, and after it has burned for a minute
-or two, extinguish the flame quickly; the wire will soon become red hot,
-and, if kept from draughts of air, will continue to burn until all the
-spirit is consumed. Spongy platinum, as it is called, answers rather
-better than wire, and has been employed in the formation of fumigators for
-the drawing-room, in which, instead of pure spirit, some perfume, such as
-lavender water, is used; by its combustion an agreeable odor is diffused
-through the apartment. These little lamps were much in vogue a few years
-ago, but are now nearly out of fashion.
-
-Experiments on combustion might be multiplied, almost to any amount, but
-the above will be sufficient for our purpose.
-
-
-POTASSIUM.
-
-Potassium was discovered by Sir H. Davy, in the beginning of the present
-century, while acting upon potash with the enormous galvanic battery of
-the Royal Institution, consisting of two thousand pairs of four inch
-plates. It is a brilliant white metal, so soft as to be easily cut with a
-penknife, and so light as to swim upon water, on which it acts with great
-energy, uniting with the oxygen, and liberating the hydrogen, which takes
-fire as it escapes.
-
-
-EXPERIMENT.
-
-Trace some continuous lines on paper with a camel's-hair brush, dipped in
-water, and place a piece of potassium about the size of a pea, on one of
-the lines, and it will follow the course of the pencil, taking fire as it
-runs, and burning with a purplish light. The paper will be found covered
-with a solution of ordinary potash. If turmeric paper be used, the course
-of the potassium will be marked with a deep brown color. Corollary: hence,
-if you touch potassium with _wet_ fingers, you will burn them!
-
-If a small piece of the metal be placed on a piece of ice, it will
-instantly take fire, and form a deep hole, which will be found to contain
-a solution of potash.
-
-In consequence of its great affinity for oxygen, potassium must be kept in
-some fluid destitute of it, such as naphtha.
-
-Saltpeter, or niter, is a compound of this metal (or rather its oxide)
-with nitric acid. It is one of the ingredients of gunpowder, and has the
-property of quickening the combustion of all combustible bodies.
-
-
-EXPERIMENT.
-
-Rub together in a _warm_ mortar, three parts of powdered niter, two of dry
-carbonate of potash, and one of flour of brimstone; place a small quantity
-of the mixture in an iron ladle, and heat it over the fire, when it will
-speedily melt, and then explode with a very loud noise; and if held under
-a foul chimney, will save the expense of a chimney sweep: but avoid
-cooking time.
-
-Another salt of potash remarkable for the same property, in even a greater
-degree, is the _chlorate_ of potash.
-
-
-EXPERIMENTS.
-
-1. Triturate together in a _dry_ mortar a few grains of flowers of
-sulphur, with a small quantity of the chlorate of potash, and a succession
-of sharp explosions, like the crack of a whip, will be produced.
-
-2. Substitute half a grain of phosphorus for the sulphur, and the action
-will be much more violent. The hand should be defended by a thick glove,
-and the eyes carefully guarded, in making this experiment.
-
-3. Mix very carefully a little of this salt, reduced to powder, with a
-little lump sugar, also powdered, and drop on the mixture a little strong
-sulphuric acid, and it will instantly burst into a flame. This experiment
-also requires caution.
-
-Want of space precludes us from considering the individual metals and
-their compounds in detail; it must suffice to describe some experiments,
-showing some of their properties.
-
-The different affinities of the metals for oxygen, may be exhibited in
-various ways. The silver or zinc tree has already been described.
-
-
-EXPERIMENTS.
-
-1. Into a solution of nitrate of silver, in distilled water, immerse a
-clean plate or slip of copper. The solution, which was colorless, will
-soon begin to assume a greenish tint, and the piece of copper will be
-covered with a coating of a light gray color, which is the silver formerly
-united to the nitric acid, which has been displaced by the greater
-affinity or _liking_ of the oxygen and acid for the copper.
-
-2. When the copper is no longer coated, but remains clean and bright when
-immersed in the fluid, all the silver has been deposited, and the glass
-now contains a solution of _copper_.
-
-Place a piece of clean iron in the solution, and it will almost instantly
-be coated with a film of _copper_, and this will continue until the whole
-of that metal is removed, and its place filled by an equivalent quantity
-of _iron_, so that nitrate of _iron_ is found in the liquid. The oxygen
-and nitric acid remain unaltered in quantity or quality during these
-changes, being merely transferred from one metal to another.
-
-A piece of zinc will displace the iron in like manner, leaving a solution
-of nitrate of zinc.
-
-Nearly all the colors used in the arts, are produced by metals and
-their combinations; indeed, one is named _chromium_, from a Greek word
-signifying color, on account of the beautiful tints obtained from its
-various combinations with oxygen and the other metals. All the various
-tints of green, orange, yellow, and red, are obtained from this metal.
-
-Solutions of most of the metallic salts give precipitates with solutions
-of alkalies and their salts, as well as with many other substances,
-such as what are usually called prussiate of potash, hydro-sulphuret of
-ammonia, &c.; and the colors differ according to the metal employed; and
-so small a quantity is required to produce the color, that the solutions
-before mixing may be nearly colorless.
-
-
-EXPERIMENTS.
-
-1. To a solution of sulphate of iron, add a drop or two of a solution of
-prussiate of potash, and a blue color will be produced.
-
-2. Substitute sulphate of copper for iron, and the color will be a rich
-brown.
-
-3. Another blue, of quite a different tint, may be produced by letting a
-few drops of a solution of ammonia fall into one of sulphate of copper,
-when a precipitate of a light blue falls down, which is dissolved by an
-additional quantity of the ammonia, and forms a transparent solution of
-the most splendid rich blue color.
-
-4. Into a solution of sulphate of iron, drop a few drops of a strong
-infusion of galls, and the color will become a bluish-black--in fact,
-_ink_. A little _tea_ will answer as well as the infusion of galls. This
-is the reason why certain stuffs formerly in general use for dressing
-gowns for gentlemen were so objectionable; for as they were indebted to
-a salt of iron for their color, buff, as it was called, a drop of tea
-accidentally spilled, produced all the effect of a drop of ink.
-
-5. Put into a largish test tube, two or three small pieces of granulated
-zinc, fill it about one third full of water, put in a few grains of
-iodine, and boil the water, which will at first acquire a dark purple
-color, gradually fading as the iodine combines with the zinc. Add a little
-more iodine from time to time, until the zinc is nearly all dissolved. If
-a few drops of this solution be added to an equally colorless solution of
-corrosive sublimate (a salt of mercury), a precipitate will take place of
-a splendid scarlet color, brighter, if possible, than vermilion, which is
-also a preparation of mercury.
-
-
-CRYSTALLIZATION OF METALS.
-
-Some of the metals assume certain definite forms in return from the fluid
-to the solid state. Bismuth shows this property more readily than most
-others.
-
-
-EXPERIMENT.
-
-Melt a pound or two of bismuth in an iron ladle over the fire; remove it
-as soon as the whole is fluid; and when the surface has become solid break
-a hole in it, and pour out the still fluid metal from the interior; what
-remains will exhibit beautifully-formed crystals of a cubic shape.
-
-Sulphur may be crystallized in the same manner, but its fumes, when
-heated, are so very unpleasant, that few would wish to encounter them.
-
-One of the most remarkable facts in chemistry--a science abounding in
-wonders--is the circumstance that the mere contact of hydrogen, the
-_lightest_ body known, with the metal platinum, the heaviest, when in a
-state of minute division, called spongy platinum, produces an intense
-heat, sufficient to inflame the hydrogen: of course this experiment must
-be made in the presence of atmospheric air or oxygen. If a small piece of
-the metal in the state above named be introduced into a mixture of oxygen
-and hydrogen, it will cause them to explode. A very small quantity of gas
-should be employed, and placed in a jar lightly covered with a card, or
-the explosion would be dangerous.
-
-
-BEAUTIES OF CRYSTALLIZATION.
-
-Dissolve alum in hot water until no more can be dissolved in it; place in
-it a smooth glass rod and a stick of the same size; next day, the stick
-will be found covered with crystals, but the glass rod will be free from
-them: in this case, the crystals cling to the rough surface of the stick,
-but have no hold upon the smooth surface of the glass rod. But if the rod
-be roughened with a file at certain intervals, and then placed in the alum
-and water, the crystals will adhere to the rough surfaces, and leave them
-smooth bright and clear.
-
-Tie some threads of lamp-cotton irregularly around a copper wire or glass
-rod; place it in a hot solution of blue vitriol, strong as above, and the
-threads will be covered with beautiful blue crystals, while the glass rod
-will be bare.
-
-Bore a hole through a piece of coke, and suspend it by a string from a
-stick, placed across a hot solution of alum; it will float; but, as it
-becomes loaded with crystals, it will sink in the solution according to
-the length of the string. Gas-coke has mostly a smooth, shining, and
-almost metallic surface, which the crystals will avoid, while they will
-cling only to the most irregular and porous parts.
-
-If powdered turmeric be added to the hot solution of alum, the crystals
-will be of a bright yellow; litmus will cause them to be of a bright red;
-logwood will yield purple; and common writing ink, black; and the more
-muddy the solution, the finer will be the crystals.
-
-To keep colored alum crystals from breaking or losing their color, place
-them under a glass shade with a saucer of water; this will preserve the
-atmosphere moist, and prevent the crystals getting too dry.
-
-If crystals be formed on wire, they will be liable to break off, from the
-expansion and contraction of the wire by changes of temperature.
-
-
-TO CRYSTALLIZE CAMPHOR.
-
-Dissolve camphor in spirit of wine, moderately heated, until the spirit
-will not dissolve any more; pour some of the solution into a cold glass,
-and the camphor will instantly crystallize in beautiful tree-like forms,
-such as we see in the show-glasses of camphor in druggists' windows.
-
-
-CRYSTALLIZED TIN.
-
-Mix half an ounce of nitric acid, six drams of muriatic acid, and two
-ounces of water; pour the mixture upon a piece of tin plate previously
-made hot, and after washing it in the mixture it will bear a beautiful
-crystalline surface, in feathery forms. This is the celebrated _moirée
-métallique_, and, when varnished, is made into ornamental boxes, &c. The
-figures will vary according to the degree of heat previously given to the
-metal.
-
-
-CRYSTALS IN HARD WATER.
-
-Hold in a wine-glass of hard water a crystal of oxalic acid, and white
-threads, _i. e._ oxalate of lime, will instantly descend through the
-liquid suspended from the crystal.
-
-
-VARIETIES OF CRYSTALS.
-
-Make distinct solutions of common salt, niter, and alum; set them in
-three saucers in any warm place, and let part of the water dry away or
-evaporate; then remove them to a warm room. The particles of the salts
-in each saucer will begin to attract each other, and form crystals, but
-not all of the same figure: the common salt will yield crystals with six
-square and equal faces, or sides; the niter six-sided crystals; and the
-alum, eight-sided crystals; and if these crystals be dissolved over and
-over again, they will always appear in the same forms.
-
-
-A LIQUID CHANGED TO A SOLID, AND HEAT FROM CRYSTALLIZATION.
-
-A strong saline solution excluded from the _air_ will frequently
-crystallize the instant that air is admitted. For this purpose make a
-solution of Glauber's salt (sulphate of soda) in boiling water (3 lbs.
-of the salt to 2 lbs. of water); bottle and cork quickly; also tie over
-the neck a piece of wet bladder. When perfectly cold, or even a few days
-afterwards, remove the cork, and the salt will immediately crystallize,
-shooting out the most beautiful crystals, at last becoming nearly solid:
-at the same time the whole becomes warm, in consequence of the latent
-heat generated by the change of the liquid to the solid state. If the
-liquid will not crystallize quickly on removing the cork, tie a crystal of
-Glauber's salt to a bit of wire, touch the surface of the liquid, and the
-crystallization will then generally occur.
-
-
-ANOTHER EXPERIMENT.
-
-Heat some blue vitriol (sulphate of copper) in an iron ladle till all the
-water contained in the crystals is driven off, and the color changes to
-a gray. Take the lumps out without breaking them, and lay the dried blue
-vitriol on a plate; if this be moistened with water, steam is produced;
-and if a slice of phosphorus is then laid on the sulphate of copper, it
-ignites, demonstrating again that the condensation of a liquid produces
-heat. The addition of the water restores the blue color, thus proving that
-water was necessary to the composition of blue vitriol.
-
-
-A SOLID CHANGED TO A LIQUID, AND INTENSE COLD FROM THE LIQUEFACTION.
-
-Mix five parts by weight of powdered muriate of ammonia, commonly termed
-sal ammoniac, five parts of niter in powder, and sixteen parts of water.
-A temperature of twenty-two degrees below the freezing point of water is
-produced; and if a phial of water, or any convenient metallic cylinder
-containing water, be surrounded with a sufficient quantity of the freezing
-mixture, ice is obtained. The ice clings to the interior of the tube, but
-may easily be removed by dipping it in tepid water.
-
-This experiment is the reverse of the last, and proves that a sudden
-reduction of a solid to the liquid condition always affords cold.
-
-An amusing combination of two experiments may be made by putting some
-fresh-burned lime into one tea-pot and this freezing mixture into another.
-When water is poured on the one containing lime, it gives out steam from
-the spout; while the addition of water to the other produces so much cold,
-that it can hardly be kept in the hand. Thus heat and cold are afforded by
-the same medium, water.
-
-
-MAGIC OF HEAT.
-
-Melt a small quantity of the sulphate of potassa and copper in a spoon
-over a spirit lamp; it will be fused at a heat just below redness, and
-produce a liquid of a dark green color. Remove the spoon from the flame,
-when the liquid will become a solid of a brilliant emerald green color,
-and so remain till its heat sinks nearly to that of boiling water; when
-suddenly a commotion will take place throughout the mass, beginning from
-the surface, and each atom, as if animated, will start up and separate
-itself from the rest, till, in a few moments, the whole will become a heap
-of powder.
-
-
-SUBLIMATION BY HEAT.
-
-Provide two small pieces of glass; sprinkle a minute portion of sulphur
-upon one piece, lay thin slips of wood around it, and place upon it the
-other piece of glass. Move them slowly over the flame of a lamp or candle,
-and the sulphur will become sublimed, and form gray nebulous patches,
-which are very curious microscopic objects. Each cluster consists of
-thousands of transparent globules, imitating in miniature the nebulæ
-which we see figured in treatises on astronomy. By observing the largest
-particles, we shall find them to be flattened on one side. Being very
-transparent, each of them acts the part of a little lens, and forms in its
-focus the image of a distant light, which can be perceived even in the
-smaller globules, until it vanishes from minuteness. If they are examined
-again after a certain number of hours, the smaller globules will generally
-be found to have retained their transparency, while the larger ones
-will have become opaque, in consequence of the sulphur having undergone
-some internal spontaneous change. But the most remarkable circumstance
-attending this experiment is, that the globules are found adhering to
-the upper glass only; the reason of which is, that the upper glass is
-somewhat cooler than the lower one: by which means we see that the vapor
-of sulphur is very powerfully repelled by heated glass. The flattened form
-of the particles is owing to the force with which they endeavor to recede
-from the lower glass, and their consequent pressure against the surface
-of the upper one. This experiment is considered by its originator, Mr. H.
-F. Talbot, F.R.S., England, to be a satisfactory argument in favor of the
-repulsive power of heat.
-
-
-HEAT PASSING THROUGH GLASS.
-
-The following experiment is also by Mr. Talbot: Heat a poker bright red
-hot, and having opened a window, apply the poker quickly very near to the
-outside of a pane, and the hand to the inside; a strong heat will be felt
-at the instant, which will cease as soon as the poker is withdrawn, and
-may be again renewed, and made to cease as quickly as before. Now, it is
-well known that if a piece of glass be so much warmed as to convey the
-impression of heat to the hand, it will retain some part of that heat for
-a minute or more; but in this experiment the heat will vanish in a moment.
-It will not, therefore, be the heated pane of glass that we shall feel,
-but heat which has come through the glass, in a free or radiant state.
-
-
-METALS UNEQUALLY INFLUENCED BY HEAT.
-
-All metals do not conduct heat at the same rate, as may be proved by
-holding in the flame of a candle at the same time, a piece of silver wire
-and a piece of platina wire, when the silver wire will become too hot to
-hold, much sooner than the platina. Or, cut a cone of each wire, tip it
-with wax, and place it upon a heated plate, (as a fire-shovel,) when the
-wax will melt at different periods.
-
-
-SPONTANEOUS COMBUSTION.
-
-Mix a small quantity of chlorate of potassa with spirit of wine in a
-strong saucer; add a little sulphuric acid, and an orange vapor will arise
-and burst into flame with a loud crackling sound.
-
-
-INEQUALITY OF HEAT IN FIRE-IRONS.
-
-Place before a brisk fire a set of polished fire-irons, and beside them a
-rough unpolished poker, such as is used in a kitchen, instead of a bright
-poker. The polished irons will remain for a long time without becoming
-warmer than the temperature of the room, because the heat radiated from
-the fire is all reflected, or thrown off, by the polished surface of the
-irons, and none of it is absorbed. The rough poker will, however, become
-speedily hot, so as not to be used without inconvenience. Hence, the
-polish of fire-irons is not merely ornamental, but useful.
-
-
-EXPANSION OF METAL BY HEAT.
-
-Provide an iron rod, and fit it exactly into a metal ring: heat the rod
-red hot, and it will no longer enter the ring.
-
-Observe an iron gate on a warm day, when it will shut with difficulty;
-whereas it will shut loosely and easily on a cold day.
-
-
-EVAPORATION OF A METAL.
-
-Rub a globule of mercury upon a silver spoon, and the two metals will
-combine with a white appearance; heat the spoon carefully in the flame
-of a spirit lamp, when the mercury will volatilize and disappear, and
-the spoon may then be polished until it recovers its usual luster: if,
-however, the mercury be left for some time on the spoon, the solid texture
-of the silver will be destroyed throughout, and then the silver can only
-be recovered by heating it in a ladle. Care must be taken to avoid the
-fumes of mercury, which are very poisonous.
-
-
-A FLOATING METAL ON FIRE.
-
-Throw a small piece of that marvelous substance, potassium, into a basin
-of water, and it will swim upon the surface and burn with a beautiful
-light, of a red color mixed with violet. When moderately heated in the
-air, potassium takes fire, and burns with a red light.
-
-
-ICE MELTED BY AIR.
-
-If two pieces of ice be placed in a warm room, one of them may be made to
-melt much sooner than the other, by blowing on it with a pair of bellows.
-
-
-SPLENDID SUBLIMATION.
-
-Put into a flask a small portion of iodine; hold the flask over the flame
-of a spirit-lamp, and from the state of bluish-black crystals, the iodine,
-on being heated, will become a violet-colored transparent gas; but, in
-cooling, will resume its crystalline form.
-
-
-MAGIC INKS.
-
-Dissolve oxide of cobalt in acetic acid, to which add a little niter:
-write with this solution; hold the writing to the fire, and it will be of
-pale rose color, which will disappear on cooling.
-
-Dissolve equal parts of sulphate of copper and muriate of ammonia in
-water; write with the solution, and it will give a yellow color when
-heated, which will disappear when cold.
-
-Dissolve nitrate of bismuth in water; write with the solution, and
-the characters will be invisible when dry, but will become legible on
-immersion in water.
-
-Dissolve, in water, muriate of cobalt, which is of a bluish-green colour,
-and the solution will be pink; write with it, and the characters will be
-scarcely visible: but, if gently heated, they will appear in brilliant
-green, which will disappear as the paper cools.
-
-Dissolve in water a few grains of prussiate of potash; write with this
-liquid, which is invisible when dry; wash over with a dilute solution
-of iron, made by dissolving a nail in a little aqua fortis; a blue and
-legible writing is immediately apparent.[4]
-
-
-CHAMELEON LIQUIDS.
-
-Put a small portion of the compound called mineral chameleon into several
-glasses, pour upon each water at different temperatures, and the contents
-of each glass will exhibit a different shade of color. A very hot solution
-will be of a beautiful green color; a cold one, a deep purple.
-
-Make a colorless solution of sulphate of copper; add to it a little
-ammonia, equally colorless, and the mixture will be of an intense blue
-color; add to it a little sulphuric acid, and the blue color will
-disappear; pour in a little solution of caustic ammonia, and the blue
-color will be restored. Thus may the liquor be changed at pleasure.
-
-
-THE MAGIC DYES.
-
-Dissolve indigo in diluted sulphuric acid, and add to it an equal quantity
-of solution of carbonate of potassa. If a piece of white cloth be dipped
-in the mixture, it will be changed to blue; yellow cloth, in the same
-mixture, may be changed to green; red to purple; and blue litmus paper to
-red.
-
-Nearly fill a wine-glass with the juice of beet-root, which is of a deep
-red color; add a little lime-water, and the mixture will be colorless; dip
-into it a piece of white cloth, dry it rapidly, and in a few hours the
-cloth will become red.
-
-
-WINE CHANGED INTO WATER.
-
-Mix a little solution of subacetate of lead with port wine; filter the
-mixture through blotting-paper, and a colorless liquid will pass through;
-to this add a small quantity of dry salt of tartar; distil in a retort,
-when a spirit will arise, which may be inflamed.
-
-
-TWO COLORLESS TRANSPARENT LIQUIDS BECOME BLACK AND OPAQUE.
-
-Have in one vessel some dilute hydrosulphate of ammonia, and in another a
-solution of acetate of lead; they are both colorless and transparent; mix
-them, and they will become black and opaque.
-
-
-TWO COLORLESS FLUIDS MAKE A COLORED ONE.
-
-Put into a wine-glass of water a few drops of prussiate of potash, and
-into a second glass of water a little weak solution of sulphate of iron in
-water; pour the colorless mixtures together into a tumbler, and they will
-be immediately changed to a bright deep blue.
-
-Or, mix the solution of prussiate of potash with that of nitrate of
-bismuth, and a yellow will be the product.
-
-Or, mix the solution of prussiate of potash with that of sulphate of
-copper, and the mixture will be of a reddish-brown color.
-
-
-CHANGE OF COLOR BY COLORLESS FLUIDS.
-
-Three different colors may be produced from the same infusion, merely by
-the addition of three colorless fluids. Slice a little red cabbage, pour
-boiling water upon it, and when cold decant the clear infusion, which
-divide into three wine-glasses: to one, add a small quantity of solution
-of alum in water; to the second, a little solution of potash in water; and
-to the third, a few drops of muriatic acid. The liquor in the first glass
-will assume a purple color, the second a bright green, and the third a
-rich crimson.
-
-
-TO CHANGE A BLUE LIQUID TO WHITE.
-
-Dissolve a small lump of indigo in sulphuric acid by the aid of moderate
-heat, and you will obtain an intense blue color; add a drop of this to
-half a pint of water, so as to dilute the blue; then pour some of it into
-strong chloride of lime, and the blue will be bleached with almost magical
-velocity.
-
-
-VERITABLE "BLACK" TEA.
-
-Make a cup of strong green tea; dissolve a little green copperas in water,
-which add to the tea, and its color will be black.
-
-
-RESTORATION OF COLOR BY WATER.
-
-Water being a colorless fluid, ought, one would imagine, when mixed with
-other substances of no decided color, to produce a colorless compound.
-Nevertheless, it is to water only that blue vitriol, or sulphate of
-copper, owes its vivid blueness, as will be plainly evinced by the
-following simple experiment. Heat a few crystals of the vitriol in a
-fire-shovel, pulverize them, and the powder will be of a dull and dirty
-white appearance. Pour a little water upon this, when a slight hissing
-noise will be heard, and at the same moment the blue color will instantly
-reappear.
-
-Under the microscope the beauty of this experiment will be increased,
-for the instant that a drop of water is placed in contact with the
-vitriol, the powder may be seen to shoot into blue prisms. If a crystal of
-prussiate of potash be similarly heated, its yellow color will vanish, but
-reappear on being dropped into water.
-
-[5] TWO LIQUIDS MAKE A SOLID.
-
-Dissolve muriate of lime in water until it will dissolve no more; measure
-out an equal quantity of oil of vitriol; both will be transparent fluids;
-but if equal quantities of each be slowly mixed and stirred together, they
-will become a solid mass, with the evolution of smoke or fumes of muriatic
-acid.
-
-
-TWO SOLIDS MAKE A LIQUID.
-
-Rub together in a mortar, equal quantities of the crystals of Glauber
-salts and nitrate of ammonia, and the two salts will slowly become a
-liquid.
-
-
-A SOLID OPAQUE MASS MAKES A TRANSPARENT LIQUID.
-
-Take the solid mixture of the solutions of muriate of lime and carbonate
-of potash, pour upon it a very little nitric acid, and the solid opaque
-mass will be changed to a transparent liquid.
-
-
-TWO COLD LIQUIDS MAKE A HOT ONE.
-
-Mix four drams of sulphuric acid (oil of vitriol) with one dram of cold
-water, suddenly, in a cup, and the mixture will be nearly half as hot
-again as boiling water.
-
-
-QUINTUPLE TRANSMUTATION.
-
-Take five ale-glasses: place into the first a solution of iodide
-of potassium; into the second, a solution of corrosive sublimate,
-sufficiently strong to yield a scarlet precipitate with the iodide in the
-first glass, without redissolving, as the effect of the experiment depends
-on the adjustment of this beforehand; into the third, a strong solution
-of iodide of potassium with some oxalate of ammonia; into the fourth, a
-solution of muriate of lime; into the fifth, a solution of hydrosulphate
-of ammonia. The following changes occur.
-
-No. 1 added to No. 2 produces a yellow, quickly changing to a scarlet; No.
-2, poured into No. 3, becomes clear and transparent again; No. 3, into
-No. 4, changes a milky white; No. 4, poured into No. 5, produces a black
-precipitate.
-
-Thus, a clear and colorless liquid is changed to scarlet; the scarlet
-again becomes colorless; the colorless liquid, milky white; and the white,
-black.
-
-
-THE SAME AGENT MAY PRODUCE AND DESTROY COLOR.
-
-Procure a bottle of chlorine, and arrange two tall cylindrical glasses:
-fill one half full with a dilute solution of iodide of potassium and
-starch, and the other with a very dilute solution of sulphate of indigo;
-provide each vessel with a plate glass or cardboard valve, laid on the
-top; carefully open the bottle of chlorine, invert it slowly over one
-cylindrical vessel, so as to pour out half the gas, which is very heavy;
-add the remainder to the other, and shake up both vessels. The chlorine
-will bleach the indigo, and afford a magnificent purple in the iodide of
-potassium and starch, because it sets free iodine, which combines with the
-starch, producing a purple compound.
-
-
-UNION OF TWO METALS WITHOUT HEAT.
-
-Cut a circular piece of gold leaf, called "dentists' gold," about half an
-inch in diameter; drop upon it a globule of mercury, about the size of a
-small pea, and if they be left for a short time, the gold will lose its
-solidity and yellow color, and the mercury its liquid form, making a soft
-mass of the color of mercury.
-
-
-MAGIC BREATH.
-
-Half fill a glass tumbler with lime-water; breathe into it frequently, at
-the same time stirring it with a piece of glass. The fluid, which before
-was perfectly transparent, will presently become quite white, and if
-allowed to remain at rest, real chalk will be deposited.
-
-
-TWO BITTERS MAKE A SWEET.
-
-It has been discovered, that a mixture of nitrate of silver with
-hyposulphate of soda, both of which are remarkably bitter, will produce
-the sweetest known substance.
-
-
-VISIBLE AND INVISIBLE.
-
-Write with French chalk on a looking-glass; wipe it with a handkerchief,
-and the lines will disappear; breathe on it, and they will reappear. This
-alternation will take place for a great number of times, and after the
-lapse of a considerable period.
-
-
-TO FORM A LIQUID FROM TWO SOLIDS.
-
-Rub together in a Wedgewood mortar a small quantity of sulphate of soda
-and acetate of lead, and as they mix they will become liquid.
-
-Carbonate of ammonia and sulphate of copper, previously reduced to powder
-separately, will also, when mixed, become liquid, and acquire a most
-splendid blue color.
-
-The greater number of salts have a tendency to assume regular forms, or
-become _crystallized_, when passing from the fluid to the solid state; and
-the size and regularity of the crystals depends in a great measure on the
-slow or rapid escape of the fluid in which they were dissolved. Sugar is
-a capital example of this property; the ordinary loaf-sugar being rapidly
-boiled down, as it is called: while to make rock-candy, which is nothing
-but sugar in a crystallized form, the solution is allowed to evaporate
-slowly, and as it cools it forms into those beautiful crystals termed
-rock-candy. The threads found in the center of some of the crystals are
-merely placed for the purpose of hastening the formation of the crystals.
-
-EXPERIMENT NO. 1.--Make a strong solution of alum, or of sulphate of
-copper, or blue vitriol, and place in them rough and irregular pieces of
-clinker from stoves, or wire baskets, and set them by in a cool place,
-where they will be free from dust, and in a few days crystals of the
-several salts will deposit themselves on the baskets, &c. They should then
-be taken out of the solutions, and dried in an oven not too hot, when they
-form very pretty ornaments for a room.
-
-EXPERIMENT NO. 2.--Fill a Florence flask up to the neck with a strong
-solution of sulphate of soda, or Glauber salt, boil it, and tie the mouth
-over with a piece of moistened bladder while boiling, and set it by in
-a place where it cannot be disturbed. After twenty-four hours it will
-probably still remain fluid. Pierce the bladder covering with a penknife,
-and the percussion of the air will cause the whole mass instantly to
-crystallize, and the flask will become quite warm from the latent caloric,
-of which we have spoken before, given out by the salt in passing from the
-fluid to the solid state. It is better to prepare two or three flasks at
-the same time, to provide against accidents, for the least shake will
-often cause the crystallization to take place before the proper time.
-
-
-THE SPECTRAL LAMP.
-
-Mix some common salt with spirit of wine in a platinum or metallic cup;
-set the cup upon a wire frame over a spirit-lamp, which should be inclosed
-on each side, or in a dark-lantern: when the cup becomes heated, and the
-spirit ignited, it will burn with a strong yellow flame: if, however,
-it should not be perfectly yellow, throw more salt into the cup. The
-lamp being thus prepared, all other lights should be extinguished, and
-the yellow lamp introduced, when an appalling change will be exhibited;
-all the objects in the room but of one color, and the complexions of
-the several persons, whether old or young, fair or brunette, will be
-metamorphosed to a ghastly, death-like yellow; whilst the gayest dresses,
-as the brightest crimson, the choicest lilac, the most vivid blue or
-green--all will be changed into one monotonous yellow: each person will be
-inclined to laugh at his neighbor, himself insensible of being one of the
-spectral company.
-
-Their astonishment may be heightened by removing the yellow light to one
-end of the room, and restoring the usual or white light at the other; when
-one side of each person's dress will resume its original color, while the
-other will remain yellow; one cheek may bear the bloom of health, and
-the other, the yellow of jaundice. Or if, when the yellow light only is
-burning, the white light be introduced within a wire sieve, the company
-and the objects in the apartment will appear yellow, mottled with white.
-
-Red light may be produced by mixing with the spirit in the cup over the
-lamp, salt of strontium instead of common salt; and the effect of the
-white or yellow lights, if introduced through a sieve upon the red light,
-will be even more striking than the white upon the yellow light.
-
-
-CURIOUS CHANGE OF COLORS.
-
-Let there be no other light than a taper in the room; then put on a pair
-of dark green spectacles, and having closed one eye, view the taper with
-the other. Suddenly remove the spectacles, and the taper will assume a
-bright red appearance; but if the spectacles be instantly replaced, the
-eye will be unable to distinguish anything for a second or two. The order
-of colors will, therefore, be as follows: green, red, green, black.
-
-
-THE PROTEAN LIGHT.
-
-Soak a cotton wick in a strong solution of salt and water, dry it, place
-it in a spirit lamp, and when lit it will give a bright yellow light for a
-long time. If you look through a piece of blue glass at the flame, it will
-lose all its yellow light, and you will only perceive feeble violet rays.
-If, before the blue glass, you place a pale yellow glass, the lamp will be
-absolutely invisible, though a candle may be distinctly seen through the
-same glasses.
-
-
-THE CHAMELEON FLOWERS.
-
-Trim a spirit lamp, add a little salt to the wick, and light it. Set near
-it a scarlet geranium, and the flower will appear yellow. Purple colors,
-in the same light, appear blue.
-
-
-TO CHANGE THE COLORS OF FLOWERS.
-
-Hold over a lighted match a purple columbine, or a blue larkspur, and
-it will change first to pink, and then to black. The yellow of other
-flowers, held as above, will continue unchanged. Thus, the purple tint
-will instantly disappear from a heart's-ease, but the yellow will remain;
-and the yellow of a wall-flower will continue the same, though the brown
-streak will be discharged. If a scarlet, crimson, or maroon dahlia be
-tried, the color will change to yellow; a fact known to gardeners, who by
-this mode variegate their growing dahlias.
-
-
-CHANGES OF THE POPPY.
-
-Some flowers, which are red, become blue by merely bruising them. Thus, if
-the petals of the common corn-poppy be rubbed upon white paper, they will
-stain it purple, which may be made green by washing it over with a strong
-solution of potash in water. Put poppy petals into very dilute muriatic
-acid, and the infusion will be of a florid red color; by adding a little
-chalk, it will become of the color of port wine; and this tint, by the
-addition of potash, may be changed to green or yellow.
-
-
-TO CHANGE THE COLOR OF A ROSE.
-
-Hold a red rose over the blue flame of a common match, and the color will
-be discharged wherever the fume touches the leaves of the flower, so as to
-render it beautifully variegated, or entirely white. If it be then dipped
-into water, the redness, after a time, will be restored.
-
-
-LIGHT CHANGING WHITE INTO BLACK.
-
-Write upon linen with permanent ink (which is a strong solution of nitrate
-of silver), and the characters will be scarcely visible; remove the linen
-into a dark room, and they will not change; but expose them to a strong
-light, and they will be of an indelible black.
-
-
-THE VISIBLY GROWING ACORN.
-
-[Illustration]
-
-Cut a circular piece of card to fit the top of a hyacinth-glass, so as to
-rest upon the ledge, and exclude the air. Pierce a hole through the center
-of the card, and pass through it a strong thread, having a small piece of
-wood tied to one end, which, resting transversely on the card, prevents
-its being drawn through. To the other end of the thread attach an acorn;
-and having half filled the glass with water, suspend the acorn at a short
-distance from the surface.
-
-The glass must be kept in a warm room; and, in a few days, the steam which
-has generated in the glass will hang from the acorn in a large drop.
-Shortly afterwards the acorn will burst, the root will protrude and
-thrust itself into the water; and in a few days more a stem will shoot
-out at the other end, and rising upwards, will press against the card, in
-which an orifice must be made to allow it to pass through. From this stem,
-small leaves will soon be observed to sprout; and in the course of a few
-weeks you will have a handsome oak plant, several inches in height.
-
-
-COLORED FLAMES.
-
-A variety of rays of light are exhibited by colored flames, which are not
-to be seen in white light. Thus, pure hydrogen gas will burn with a blue
-flame, in which many of the rays of light are wanting. The flame of an oil
-lamp contains most of the rays which are wanting in the sunlight. Alcohol,
-mixed with water, when heated or burned, affords a flame with no other
-rays but yellow. The following salts, if finely powdered, and introduced
-into the exterior flame of a candle, or into the wick of a spirit lamp,
-will communicate to the flame their peculiar colors:
-
-    Muriate of Soda (common salt)     Yellow.
-    Muriate of Potash                 Pale violet.
-    Muriate of Lime                   Brick red.
-    Muriate of Strontia               Bright crimson.
-    Muriate of Lithia                 Red.
-    Muriate of Baryta                 Pale apple-green.
-    Muriate of Copper                 Bluish green.
-    Borax                             Green.
-
-Or, either of the above salts may be mixed with spirit of wine, as
-directed for Red Fire.
-
-
-ORANGE COLORED FLAME.
-
-Burn spirit of wine on chloride of calcium, a substance obtained by
-evaporating muriate of lime to dryness.
-
-
-EMERALD GREEN FLAME.
-
-Burn spirit of wine on a little powdered nitrate of copper.
-
-
-INSTANTANEOUS FLAME.
-
-Heat together potassium and sulphur, and they will instantly burn very
-vividly.
-
-Heat a little niter on a fire-shovel, sprinkle on it flour of sulphur, and
-it will instantly burn. If iron filings be thrown upon red-hot niter, they
-will detonate and burn.
-
-Pound, separately, equal parts of chlorate of potash and lump sugar;
-mix them, and put upon a plate a small quantity; dip a glass rod into
-sulphuric acid, touch the powder with it, and it will burst into a
-brilliant flame.
-
-Or, put a few grains of chlorate of potash into a tablespoonful of spirit
-of wine; add one or two drops of sulphuric acid, and the whole will burst
-into a beautiful flame.
-
-
-TO COOL FLAME BY METAL.
-
-Encircle the very small flame of a floating night light, with a cold iron
-wire, which will instantly cause its extinction.
-
-
-PROOF THAT FLAME IS HOLLOW.
-
-Pour some spirit of wine into a watch-glass, and inflame it; place a straw
-across this flame, and it will only be ignited and charred at the outer
-edge; the middle of the straw will be uninjured, for there is no ignited
-matter in the center of the flame.
-
-
-TO HOLD A HOT TEA KETTLE ON THE HAND.
-
-Be sure that the bottom of the kettle is well covered with soot; when the
-water in it boils, remove it from the fire, and place it upon the palm of
-the hand; no inconvenience will be felt, as the soot will prevent the heat
-being transmitted from the water within and the heated metal, to the hand.
-
-
-INCOMBUSTIBLE LINEN.
-
-Make a strong solution of borax in water, and steep in it linen, muslin,
-or any article of clothing; when dry, they cannot easily be inflamed. A
-solution of phosphate of ammonia with sal ammoniac answers much better.
-
-
-THE BURNING CIRCLE.
-
-Light a stick, and whirl it round with a rapid motion, when its burning
-end will produce a complete circle of light, although that end can only
-be in one part of the circle at the same instant. This is caused by the
-duration of the impression of light upon the retina. Another example is,
-that during the winking of the eye we never lose sight of the object we
-are viewing.
-
-
-WATER OF DIFFERENT TEMPERATURES IN THE SAME VESSEL.
-
-Of heat and cold, as of wit and madness, it may be said that "thin
-partitions do their bounds divide." Thus, paint one half of the surface
-of a tin pot with a mixture of lamp-black and size, and leave the other
-half, or side, bright; fill the vessel with boiling water, and by dipping
-a thermometer, or even the finger, into it shortly after, it will be found
-to cool much more rapidly upon the blackened than upon the bright side of
-the pot.
-
-
-WARMTH OF DIFFERENT COLORS.
-
-Place upon the surface of snow, as upon the window sill, in bright
-daylight or sunshine, pieces of cloth of the same size and quality, but of
-different colors, black, blue, green, yellow, and white: the black cloth
-will soon melt the snow beneath it, and sink downwards; next the blue, and
-then the green; the yellow but slightly; but the snow beneath the white
-cloth will be as firm as at first.
-
-
-SUBSTITUTE FOR FIRE.
-
-Put into a cup a lump of quicklime, fresh from the kiln, pour water upon
-it, and the heat will be very great. A pailful of quicklime, if dipped in
-water, and shut closely into a box constructed for the purpose, will give
-out sufficient heat to warm a room, even in very cold weather. This is the
-source of steam vapor in theatrical representations.
-
-
-LAUGHING GAS.
-
-The above fanciful appellation has been given to nitrous oxide, from the
-very agreeable sensations excited by inhaling it. In its pure state it
-destroys animal life, but loses this noxious quality when inhaled, because
-it becomes blended with the atmospheric air which it meets in the lungs.
-This gas is made by putting three or four drams of nitrate of ammonia, in
-crystals, into a small glass retort, which being held over a spirit lamp,
-the crystals will melt, and the gas be evolved.
-
-Having thus produced the gas, it is to be passed into a large bladder,
-having a stop-cock; and when you are desirous of exhibiting its effects,
-you cause the person who wishes to experience them, to first exhale
-the atmospheric air from the lungs, and then quickly placing the cock
-in his mouth, you turn it, and bid him inhale the gas. Immediately, a
-sense of extraordinary cheerfulness, fanciful flights of imagination,
-an uncontrollable propensity to laughter, and a consciousness of being
-capable of great muscular exertion, supervene. It does not operate in
-exactly the same manner on all persons; but in most cases the sensations
-are agreeable, and have this important difference from those produced by
-wine or spirituous liquors, that they are not succeeded by any depression
-of mind.
-
-
-FLAME FROM COLD METALS.
-
-Provide a bottle of the gas chlorine, which may be purchased of any
-operative chemist, and with it you may exhibit some brilliant experiments.
-
-For example, reduce a small piece of the metal antimony to a very fine
-powder in a mortar; place some of this on a bent card, then loosen the
-stopper of the bottle of chlorine, and throw in the antimony; it will take
-fire spontaneously, and burn with much splendor, thus exhibiting a cold
-metal spontaneously bursting into flame.
-
-If, however, a lump of antimony be dropped into the chlorine, there will
-be no spontaneous combustion, nor immediate change; but, in the course
-of time, the antimony will become incrusted with a white powder, and no
-chlorine will be found in the bottle.
-
-Or, provide copper in fine leaves, known as "Dutch metal;" slightly
-breathe on one end of a glass rod, about ten inches long, and cause one
-or two leaves of the metal to adhere to the damp end; then open a bottle
-of chlorine, quickly plunge in the leaves, when they will instantly
-take fire, and burn with a fine red light, leaving in the bottle a
-greenish-yellow solid substance.
-
-A small _lump_ of copper, or "Dutch metal," will not burn as above, but
-will be slowly acted upon, like the antimony.
-
-Immerse gold leaf in a jar of chlorine gas, and combustion with a
-beautiful green flame will take place.
-
-
-PHOSPHORUS IN CHLORINE.
-
-Put into a deflagrating spoon about four grains of phosphorus, and let
-it down into a bottle of chlorine, when the phosphorus will ignite
-instantaneously.
-
-Or, fold a slip of blotting-paper into a match five inches long; dip it
-into oil of turpentine, drain it an instant, drop it into another bottle
-of chlorine, when it will burst into a flame, and deposit much carbon.
-
-
-MAGIC VAPOR.
-
-Provide a glass tube, about three feet long and half an inch in diameter;
-nearly fill it with water, upon the surface of which pour a little colored
-ether; then close the open end of the tube carefully with the palm of the
-hand, invert it in a basin of water, and rest the tube against the wall:
-the ether will rise through the water to the upper end of the tube; pour a
-little hot water over the tube, and it will soon cause the ether to boil
-within, and its vapor may thus be made to drive nearly all the water out
-of the tube into the basin; if, however, you then cool the tube by pouring
-cold water over it, the vaporized ether will again become a liquid, and
-float upon the water as before.
-
-
-GAS FROM THE UNION OF METAL.
-
-Nearly fill a wine-glass with diluted sulphuric acid, and place in it a
-wire of silver and another of zinc, taking care that they do not touch
-each other; when the zinc will be changed by the acid, but the silver will
-remain inert. But cause the upper ends of the wires to touch each other,
-and a stream of gas will issue from them.
-
-
-CAMPHOR SUBLIMED BY FLAME.
-
-Set a metallic plate over the flame of a spirit lamp; place upon it a
-small portion of camphor under a glass funnel; and the camphor will be
-beautifully sublimed by the heat of the lamp, in an efflorescent crust on
-the sides of the funnel.
-
-
-GREEN FIRE.
-
-A beautiful green fire may be thus made. Take of flour of sulphur
-thirteen parts, nitrate of baryta seventy-seven, oxymuriate of potassa
-five, metallic arsenic two, and charcoal three. Let the nitrate of
-baryta be well dried and powdered; then add to it the other ingredients,
-all finely pulverized, and exceedingly well mixed and rubbed together.
-Place a portion of the composition in a small tin pan, having a polished
-reflector fitted to one side, and set light to it; when a splendid green
-illumination will be the result. By adding a little calamine, it will burn
-more slowly.
-
-
-BRILLIANT RED FIRE.
-
-Weigh five ounces of dry nitrate of strontia, one ounce and a half of
-finely powdered sulphur, five drams of chlorate of potash, and four drams
-of sulphuret of antimony. Powder the chlorate of potash and the sulphuret
-of antimony separately in a mortar, and mix them on paper; after which add
-them to the other ingredients, previously powdered and mixed. No other
-kind of mixture than rubbing together on paper is required. For use, mix
-with a portion of the powder a small quantity of spirits of wine, in a tin
-pan resembling a cheese toaster, light the mixture, and it will shed a
-rich crimson hue. When the fire burns dim and badly, a very small quantity
-of finely powdered charcoal or lamp black will revive it.
-
-
-PURPLE FIRE.
-
-Dissolve chloride of lithium in spirit of wine, and when lighted, it will
-burn with a purplish flame.
-
-
-SILVER FIRE.
-
-Place upon a piece of burning charcoal a morsel of the dried crystals of
-nitrate of silver (not the lunar caustic), and it will immediately throw
-out the most beautiful sparks that can be imagined, whilst the surface of
-the charcoal will be coated with silver.
-
-
-THE FIERY FOUNTAIN.
-
-Put into a glass tumbler fifteen grains of finely granulated zinc, and
-six grains of phosphorus, cut into very small pieces beneath water. Mix
-in another glass, gradually, a dram of sulphuric acid, with two drams of
-water. Remove both glasses into a dark room, and there pour the diluted
-acid over the zinc and phosphorus in the glass; in a short time beautiful
-jets of bluish flame will dart from all parts of the surface of the
-mixture; it will become quite luminous, and beautiful luminous smoke will
-rise in a column from the glass, thus representing a fountain of fire.
-
-
-COMBUSTION WITHOUT FLAME.
-
-Light a small _green_ wax taper; in a minute or two, blow out the flame,
-and the wick will continue red hot for many hours; and if the taper
-were regularly and carefully uncoiled, and the room kept free from the
-current of air, the wick would burn on in this manner until the whole was
-consumed. The same effect is not produced when the color of the wax is
-red, on which account red wax tapers are safer than green, for the latter,
-if left imperfectly extinguished, may set fire to any object with which
-they are in contact.
-
-
-COMBUSTION OF THREE METALS.
-
-Mix a grain or two of potassium with an equal quantity of sodium; add a
-globule of quicksilver, and the three metals, when shaken, will take fire,
-and burn vividly.
-
-
-TO MAKE PAPER APPARENTLY INCOMBUSTIBLE.
-
-Take a smooth cylindrical piece of metal, about one inch and a half in
-diameter, and eight inches long; wrap very closely round it a piece of
-clean writing paper, then hold the paper in the flame of a spirit lamp,
-and it will not take fire; but it may be held there for a considerable
-time, without being in the least affected by the flame. If the paper be
-strained over a cylinder of wood, it is quickly scorched.
-
-
-HEAT NOT TO BE ESTIMATED BY TOUCH.
-
-Hold both hands in water which causes the thermometer to rise to ninety
-degrees, and when the liquid has become still, you will be insensible to
-the heat, and that the hand is touching anything. Then remove one hand
-to water that causes the thermometer to rise to two hundred degrees, and
-the other in water at thirty-two degrees. After holding the hands thus
-for some time, remove them, and again immerse them in the water at ninety
-degrees; when you will find _warmth_ in one hand and _cold_ in the other.
-To the hand which had been immersed in the water at thirty-two degrees,
-the water at ninety degrees will feel hot; and to the hand which had been
-immersed in the water at two hundred degrees, the water at ninety degrees
-will feel cool. If, therefore, the touch in this case be trusted, the same
-water will be judged to be hot and cold at the _same_ time.
-
-
-FLAME UPON WATER.
-
-Fill a wine glass with cold water, pour lightly upon its surface a little
-ether; light it by a slip of paper, and it will burn for some time.
-
-
-ROSE-COLORED FLAME UPON WATER.
-
-Drop a globule of potassium, about the size of a large pea, into as small
-cup, nearly full of water, containing a drop or two of strong nitric
-acid; the moment that the metal touches the liquid, it will float upon
-its surface, enveloped with a beautiful rose-colored flame, and entirely
-dissolve.
-
-
-TO SET A MIXTURE ON FIRE WITH WATER.
-
-Pour into a saucer a little sulphuric acid, and place upon it a chip of
-sodium, which will float and remain uninflamed; but the addition of a drop
-of water will set it on fire.
-
-
-WAVES OF FIRE ON WATER.
-
-On a lump of refined sugar let fall a few drops of phosphuretted ether,
-and put the sugar into a glass of warm water, which will instantly appear
-on fire at the surface, and in waves, if gently blown with the breath.
-This experiment should be exhibited in the dark.
-
-
-WATER FROM THE FLAME OF A CANDLE.
-
-Hold a cold and dry bell glass over a lighted candle, and watery vapor
-will be directly condensed on the cold surface; then close the mouth of
-the glass with a card or plate, and turn the mouth uppermost; remove the
-card, quickly pour in a little lime-water, a perfectly clear liquid, and
-it will instantly become turbid and milky, upon meeting with the contents
-of the glass, just as lime-water changes when dropped into a glass full of
-water.
-
-
-FORMATION OF WATER BY FIRE.
-
-Put into a tea cup a little spirit of wine, set it on fire, and invert a
-large bell-glass over it. In a short time, a thick watery vapor will be
-seen upon the inside of the bell, which may be collected by a dry sponge.
-
-
-BOILING UPON COLD WATER.
-
-Provide a tall glass jar, filled with cold water, and place in it an air
-thermometer, which will nearly reach the surface; upon the surface place a
-small copper basin, into which put a little live charcoal: the surface of
-the water will soon be made to boil, while the thermometer will show that
-the water beneath is scarcely warmer than it was at first.
-
-
-CURRENTS IN BOILING WATER.
-
-Fill a large glass tube with water, and throw into it a few particles of
-bruised amber, then hold the tube by a handle for the purpose, upright in
-the flame of a lamp, and as the water becomes warm, it will be seen that
-currents, carrying with them the pieces of amber, will begin to ascend in
-the center, and to descend towards the circumference of the tube. These
-currents will soon become rapid in their motions, and continue till the
-water boils.
-
-
-HOT WATER LIGHTER THAN COLD.
-
-Pour into a glass tube, about ten inches long, and one inch in diameter,
-a little water colored with pink or other dye; then fill it up gradually
-and carefully with colorless water, so as not to mix them; apply heat at
-the bottom of the tube, and the colored water will ascend and be diffused
-throughout the whole.
-
-The circulation of warm water may be very pleasingly shown, by heating
-water in a tube similar to the foregoing; the water having diffused in it
-some particles of any light substance not soluble in water.
-
-
-EXPANSION OF WATER BY COLD.
-
-All fluids, except water, diminish in bulk till they freeze. Thus, fill
-a large thermometer tube with water, say of the temperature of eighty
-degrees, and then plunge the bulb into pounded ice and salt, or any other
-freezing mixture: the water will go on shrinking in the tube till it has
-attained the temperature of about forty degrees; and then, instead of
-continuing to contract till it freezes, (as in the case with all other
-liquids), it will be seen slowly to expand, and consequently to rise in
-the tube, until it congeals. In this case, the expansion below forty
-degrees, and above forty degrees, seem to be equal; so that the water will
-be of the same bulk at thirty-two degrees as at forty-eight degrees, that
-is, at eight degrees above or below forty degrees.
-
-
-THE CUP OF TANTALUS.
-
-This pretty toy may be purchased at any optician's for two or three
-shillings. It consists of a cup, in which is placed a standing human
-figure, concealing a syphon, or bent tube with one end longer than the
-other. This rises in one leg of the figure to reach the chin, and descends
-through the other leg, through the bottom of the cup to a reservoir
-beneath. If you pour water in the cup, it will rise in the shorter leg by
-its upward pressure, driving out the air before it through the longer leg;
-and when the cup is filled above the bend of the syphon, (that is, level
-with the chin of the figure,) the pressure of the water will force it over
-into the longer leg of the syphon, and the cup will be emptied: the toy
-thus imitating Tantalus of mythology, who is represented by the poets as
-punished in Erebus with an insatiable thirst, and placed up to the chin in
-a pool of water, which, however, flowed away as soon as he attempted to
-taste it.
-
-
-THE MAGIC WHIRLPOOL.
-
-Fill a glass tumbler with water, throw upon its surface a few fragments
-or thin shavings of camphor, and they will instantly begin to move, and
-acquire a motion both progressive and rotary, which will continue for a
-considerable time. During these rotations, if the water be touched by any
-substance which is at all greasy, the floating particles will quickly
-dart back, and as if by a stroke of magic, be instantly deprived of their
-motion and vivacity.
-
-In like manner, if thin slices of cork be steeped in sulphuric ether in a
-closed bottle for two or three days, and then placed upon the water, they
-will rotate for several minutes, like the camphor; until the slices of
-cork having discharged all their ether, and become soaked with water, they
-will keep at rest.
-
-If the water be made hot, the motion of the camphor will be more rapid
-than in cold water, but it will cease in proportionately less time. Thus,
-provide two glasses, one containing water at fifty-eight degrees, and the
-other at two hundred and ten degrees; place raspings of camphor upon each
-at the same time; the camphor in the first glass will rotate for about
-five hours, until all but a very minute portion has evaporated, while the
-rotation of the camphor in the hot water will last only nineteen minutes:
-about half the camphor will pass off, and the remaining pieces, instead
-of being dull, white, and opaque, will be vitreous and transparent, and
-evidently soaked with water. The gyrations, too, which at first will be
-very rapid, will gradually decline in velocity, until they become quite
-sluggish.
-
-The stilling influence of oil upon waves has become proverbial: the
-extraordinary manner in which a small quantity of oil instantly spreads
-over a very large surface of troubled water, and the stealthy manner in
-which even a rough wind glides over it, must have excited the admiration
-of all who have witnessed it.
-
-By the same principle a drop of oil may be made to stop the motion of
-the camphor, as follows: Throw some camphor, both in slices and in small
-particles, upon the surface of water, and while they are rotating, dip
-a glass rod into oil of turpentine, and allow a single drop thereof to
-trickle down the inner side of the glass to the surface of the water; the
-camphor will instantly dart to the opposite point of the liquid surface,
-and cease to rotate. If a piece of hard tallow or lard be employed, the
-motion of the camphor will be more slowly stopped than by oil or fluid
-grease, as the latter spreads over the surface of the water with greater
-rapidity.
-
-If a few drops of sulphuric or muriatic acid be let fall into the water,
-they will gradually stop the motion of the camphor; but if camphor be
-dropped into nitric acid diluted with its own bulk of water, it will
-rotate rapidly for a few seconds, and then stop.
-
-If a piece of the rotating camphor be attentively examined with a lens,
-the currents of the water can be well distinguished, jetting out, chiefly
-from the corners of the camphor, and bearing it round with irregular force.
-
-The currents, as given out by the camphor, may also be seen by means of
-the microscope; a drop or two of pure water being placed upon a slip of
-glass, with a particle of camphor floating upon it. By this means the
-current may be detected, and it will be seen that they cause the rotations.
-
-Or a flat watch-glass, called a _lunar_, may be employed, raised a few
-inches, and supported on a wire ring, kept steady by thrusting one end
-into an upright piece of wood, like a retort stand. Then put the camphor
-and water in the watch-glass, and place under the frame a sheet of white
-paper, so that it may receive the shadow of the glass, camphor, &c., to
-be cast by a steady light, placed above, and somewhat on one side of the
-watch glass. On observing the shadow, which may be considered a magnified
-representation of the object itself, the rotations and currents can be
-distinguished.
-
-
-ARTIFICIAL FIRE BALLS.
-
-Put thirty grains of phosphorus into a bottle, which contains three or
-four ounces of water. Place the vessel over a lamp, and give it a boiling
-heat. Balls of fire will soon be seen to issue from the water, after
-the manner of an artificial fire-work, attended with the most beautiful
-coruscations.
-
-
-TO MELT STEEL AS EASILY AS LEAD.
-
-Make a piece of steel red in the fire, then hold it with a pair of pincers
-or tongs; take in the other hand a stick of brimstone, and touch the piece
-of steel with it. Immediately after their contact, you will see the steel
-melt and drop like a liquid.
-
-
-TO TELL A LADY IF SHE IS IN LOVE.
-
-Put into a phial some sulphuric ether, color it red with orchanet, then
-saturate the tincture with spermaceti. This preparation is solid ten
-degrees above freezing point, and melts and boils at twenty degrees. Place
-the phial which contains it in a lady's hand, and tell her that if in
-love, the solid mass will dissolve. In a few minutes the substance will
-become fluid.
-
-
-AN EGG PUT INTO A PHIAL.
-
-To accomplish this seemingly incredible act, requires the following
-preparation: You must take an egg and soak it in strong vinegar; and
-in process of time its shell will become quite soft, so that it may be
-extended lengthways without breaking; then insert it into the neck of
-a small bottle, and by pouring cold water upon it, it will reassume
-its former figure and hardness. This is really a complete curiosity,
-and baffles those who are not in the secret to find out how it is
-accomplished. If the vinegar used to saturate the egg is not sufficiently
-strong to produce the required softness of shell, add one teaspoonful
-of strong acetic acid to every two tablespoonfuls of vinegar. This will
-render the egg perfectly flexible, and of easy insertion into the bottle,
-which must then be filled with cold water.
-
-
-TO ASTONISH A LARGE PARTY.
-
-With some lycopodium, powder the surface of a large or small vessel of
-water; you may then challenge any one to drop a piece of money into the
-water, and that you will get it with the hand without wetting your skin.
-The lycopodium adheres to the hand, and prevents its contact with the
-water. A little shake of the hand, after the feat is over, will dislodge
-the powder.
-
-
-TEST PAPERS.
-
-On the otherwise barren rocks which fringe the shore of the Cape de
-Verd Islands, grows the archil--a famous seaweed or lichen, renowned
-among dyers. By a particular process of manufacture, this archil yields
-a beautiful blue pigment, known in the chemical laboratory by the name
-of _litmus_. Few colors are more fugitive than litmus. Being a fine
-violet-blue, it is changed to red by so minute a portion of any acid,
-that it becomes, when properly applied, _a test_ of the presence of the
-latter substance. As it is so frequently desirable to know whether a fluid
-be acid or alkaline, one of the first practical lessons to a student in
-chemistry, is to prepare litmus test paper, thus: Put into a flask half
-an ounce of litmus, and three ounces of water; let them remain together
-in a warm place for a few hours, then filter the dark blue liquid from
-its impurities, divide the solution obtained into two parts, pour one
-portion into a saucer, and soak strips of white writing paper in it until
-it has acquired a distinct blue color. If not colored enough by once
-dipping and drying, repeat the operation. When dry, preserve these strips
-in a box, labeled "Blue litmus test papers." These serve to _test_ any
-fluid, to ascertain if it has an _acid_ reaction. It is instructive to
-learn how very small a portion of any acid in water will be indicated by
-the reddening of the litmus. With the second portion of the fluid, mix,
-cautiously, a few drops of lemon juice, until it is red; then color paper
-as before. When dry, this "red litmus test paper" serves to indicate the
-presence of alkalies, a class of bodies opposed to acids. Red litmus test
-paper, on being put into any fluid that is _alkaline_, such as lime-water,
-is immediately restored to its original blue color. Put the ashes of a
-cigar into water, the liquid, when "tested," will indicate the presence of
-an alkali. Test some stale milk. If your blue paper becomes red, the milk
-is sour; it is acid.
-
-
-INFINITE DIVISIBILITY OF MATTER.
-
-Dissolve a single grain of copper in about one dram of nitric acid, and
-dilute the solution with about one ounce of water, when it will be evident
-that a single drop of the mixture must contain an almost immeasurably
-small portion of copper. Yet, if the blade of a knife be dipped into it,
-it will become covered with a coat of copper; thus showing that the copper
-can be infinitely divided without any alteration in its properties.
-
-FOOTNOTES:
-
-[Footnote 4: See also page 84.]
-
-[Footnote 5: All experiments marked thus, *, should be performed on the
-hob of the grate, to permit the fumes to escape up the chimney.]
-
-
-
-
-AMUSEMENTS
-
-IN
-
-ELECTRICITY, GALVANISM AND MAGNETISM.
-
-[Illustration]
-
-
-THE ORIGIN OF GALVANISM.
-
-Electricity is one of the most active principles in nature. It exists
-in all bodies, and is exhibited by various means, one of which, and the
-most generally employed, is friction; but the bodies rubbed together must
-consist of different substances; for, if they are alike, electricity
-will not be evolved. Some substances, such as soot, charcoal, iron,
-gold, silver, copper, and other metals, water, &c., are called _good
-conductors_, because they transfer with great facility to other bodies
-the electric fluid, which glides over the surface with the velocity of
-light; while others, such as silk, wool, hair, feathers, dry paper,
-leather, glass, wax, &c., are called _non-conductors_, because they resist
-the progress of the fluid, which accumulates all the time the friction
-continues. It is from these media that are obtained the usual phenomena
-of electricity, as exhibited in the experiments which we shall hereafter
-describe. Its effects are felt in almost every part of nature; the awful
-lightning is the exhibition of the electric fluid, which accumulates in
-the clouds, and which is discharged when the heavy lurid masses come in
-contact with each other; the mysterious sweeping whirlwind, the terrific
-rising and rolling of the sand in the desert wilds of Africa, and the
-beautiful yet evanescent Aurora Borealis of the northern climes, are
-amongst a few of its effects.
-
-The next branch of the science of Electricity is GALVANISM, or, as it is
-sometimes called, Voltaic Electricity; it is obtained through the simple
-contact of different conducting bodies with each other. It was first
-discovered at Bologna, in the year 1791, by the lady of Louis Galvani,
-an Italian philosopher of great merit, and professor of anatomy; from
-whom, indeed, the science received its name. His wife being possessed of
-a penetrating understanding, and passionately loving him, took a lively
-interest in the science which so much occupied his attention. At the time
-the incident we are about to narrate took place, she was in a declining
-state of health, and taking soup made of frogs, by way of restorative.
-Some of these animals, skinned for the purpose, happened to be lying on
-the table of Galvani's laboratory, where also stood an electrical machine,
-when the point of a knife was unintentionally brought into contact with
-the nerves of one of the frog's legs, which lay close to the conductor
-of the machine, and immediately the muscles of the limb were violently
-agitated. Madame Galvani having observed the phenomenon, instantly
-informed her husband of it, and this incident led to the experiments
-and interesting discoveries which will transmit his name to the latest
-posterity.
-
-The uses of Galvanic Electricity for scientific purposes are incalculable;
-and its phenomena are so various and extraordinary, as to render the study
-of this science exceedingly interesting. Through means of a galvanic
-battery, substances are decomposed, colors changed, water is made
-inflammable, and motion is given to lifeless bodies.
-
-The experiments we give on Galvanism show the effect of the combination
-which forms what is called a simple galvanic circle, by means of two
-metals, zinc and silver, or zinc and copper, and water.
-
-Galvanic action is always accompanied by chemical action, and all that is
-necessary to disturb the galvanic fluid is to unite two metals together,
-and subject them to the action of a fluid, which will act chemically upon
-one of them, differently to what it does upon the other.
-
-A galvanic circle may also be formed of one metal, and two different
-fluids, which have a different action upon the metal.
-
-Magnetism is a modification of electricity: at least, there is sufficient
-evidence that these causes are intimately connected, if not identical; but
-philosophers are as yet ignorant of its nature.
-
-The property designated by the word magnetism is found in an iron ore
-of a certain composition, and of a dark gray color and peculiar luster.
-This ore alone is the local habitation of magnetism, whilst all others
-are subject to its influence, or to be attracted by it. Still, so little
-difference is there between the magnetic ore, or loadstone, and those
-which do not possess the property, that only practiced mineralogists
-can discern one from the other; and an experienced eye may see two ores
-join each other by the principle of attraction, without knowing in which
-resides the power, until another ore, non-magnetic, is brought within the
-sphere of attraction, when it will adhere only to that which contains the
-principle.
-
-This singular property of the loadstone is imparted to other metallic
-substances, by rubbing and keeping them close together for some length
-of time: if a metal be of a hard texture like steel, it retains the
-magnetic principle permanently; but if soft, it loses the power as soon
-as separated from the magnet. The metals thus prepared, acquire the same
-directive and attractive power as the loadstone or natural magnet, and are
-employed for purposes of the utmost importance.
-
-We proceed to give the youthful amateur the opportunity of exemplifying
-the principles of electricity, galvanism, and magnetism, by several simple
-experiments.
-
-[Illustration]
-
-
-
-
-EXPERIMENTS IN ELECTRICITY.
-
-
-[Illustration]
-
-1.--Lay a watch down upon a table, and on its face balance a tobacco-pipe
-very carefully. Next take a wine-glass, rub it quickly with a silk
-handkerchief, and hold it for half a minute before the fire; then apply it
-near to the end of the pipe, and the latter, attracted by the electricity
-evolved by the friction and warmth in the former, will immediately follow
-it; and by carrying the glass around, always in front of the pipe, the
-latter will continue its rotatory motion; the watch-glass being the center
-or pivot on which it acts.
-
-2.--Warm a glass tube, rub it with a warm flannel, and then bring a downy
-feather near it. On the first moment of contact, the feather will adhere
-to the glass, but soon after will fly rapidly from it, and you may drive
-it about the room by holding the glass between it and the surrounding
-objects; should it, however, come in contact with anything not under the
-influence of electricity, it will instantly fly back to the glass.
-
-3.--A stick of sealing-wax rubbed against a warm piece of flannel or
-cloth, acquires the property of attracting light substances, such as small
-pieces of paper, lint, &c., if instantly applied at the distance of about
-an inch.
-
-4.--Suspend two small pith balls, by fine silken threads of about six
-inches in length, in such a manner, that when at rest they may hang in
-contact with each other; on applying a piece of sealing wax, excited as in
-the former experiment, they will repel each other.
-
-5.--Take a piece of common brown paper, about the size of an octavo book,
-hold it before the fire till quite dry and hot, then draw it briskly under
-the arm several times, so as to rub it on both sides at once by the coat.
-The paper will be found so powerfully electrical, that if placed against
-a wainscoted or papered wall of a room, it will remain there for some
-minutes without falling.
-
-6.--And if, while the paper adheres to the wall, a light fleecy feather be
-placed against it, it will be attracted to the paper, in the same way as
-the paper is attracted to the wall.
-
-7.--If the paper be again warmed, and drawn under the arm as before, and
-hung up by a thread attached to one corner of it, it will hold up several
-feathers on each side; should these fall off from different sides at the
-same time, they will cling together very strongly; and if after a minute
-they be all shaken off, they will fly to one another in a very singular
-manner.
-
-8.--Warm and excite the paper as before, lay it on a table, and place
-upon it a ball made of elder pith, about the size of a pea; the ball will
-immediately run across the paper, and if a needle be pointed towards it,
-it will again run to another part, and so on for a considerable time.
-
-9.--Support a pane of glass, previously warmed, upon two books, one at
-each end, and place some bran underneath; then rub the upper side of the
-glass with a black silk handkerchief, or a piece of flannel, and the bran
-will dance up and down under it with much rapidity.
-
-10.--Place your left hand upon the throat of a cat, and with the middle
-finger and the thumb, press slightly the bones of the animal's shoulders;
-then, if the right hand be gently passed along the back, perceptible
-shocks of electricity will be felt in the left hand. Shocks may also be
-obtained by touching the tips of the ears after rubbing the back. If the
-color of the cat be black, and the experiment be made in a dark room,
-the electric sparks may be very plainly seen. Very distinct charges of
-electricity may also be obtained by touching the tips of the ears after
-applying friction to the back, and the same may be obtained from the
-foot. Placing the cat on your knees, apply the right hand to the back;
-the left fore paw resting on the palm of your left hand, apply the thumb
-to the upper side of the paw, so as to extend the claws, and by this
-means, bring your fore finger into contact with one of the bones of the
-leg, where it joins the paw; when, from the knob or end of this bone, the
-finger slightly pressing on it, you may feel distinctly successive shocks,
-similar to those obtained from the ears. It is, perhaps, unnecessary to
-add, that, in order to this experiment being conveniently performed, the
-experimenter must be on good terms with the cat.
-
-
-ELECTRICAL SHOCK FROM A SHEET OF PAPER.
-
-Place an iron japanned tea tray on a dry, clean, beaker glass; then take a
-sheet of foolscap writing paper, and hold it close to the fire until all
-its hygrometric moisture is dissipated, but not so as to scorch it; in
-this state it is one of the finest electrics we have. Hold one end down on
-a table with the finger and thumb, and give it about a dozen strokes with
-a large piece of India rubber from the left to the right, beginning at the
-top. Now take it up by two of the corners and bring it over the tray, and
-it will fall down on it like a stone; if one finger be now brought under
-the tray, a sensible shock will be felt. Now lay a needle on the tray
-with its point projecting outwards, remove the paper, and a star sign of
-the negative electricity will be seen: return the paper, and the positive
-brush will appear. In fact, it forms a very extemporaneous electrophorus,
-which will give a spark an inch long, and strong enough to set fire to
-some combustible bodies, and to exhibit all the electric phenomena not
-requiring coated surfaces. If four beaker glasses are placed on the
-floor, and a book laid on them, a person may stand on them insulated; if
-he then holds the tray vertically, the paper will adhere strongly to it,
-and sparks may be drawn from any part of his body; or he may draw sparks
-from any other person, as the case may be; or he may set fire to some
-inflammable bodies, by touching them with a piece of ice.
-
-
-LIGHT UNDER WATER.
-
-Rub two pieces of fine lump sugar together in the dark, and a bright
-electric light will be produced. The same effect, but in a more intense
-degree, may be produced with two pieces of silex or quartz, the white
-quartz being best for this purpose. The same effect may also be witnessed
-by rubbing the pieces of quartz together, _under water_.
-
-
-SIMPLE MEANS OF PRODUCING ELECTRICITY.
-
-[Illustration]
-
-To show the nature of electrical action, rub a piece of sealing-wax or
-amber upon the coat sleeve, and it will be found that while warm by the
-friction, it attracts light bodies, such as straws or small pieces of
-paper. In our experiments we have shown that if a clean glass tube be
-rubbed several times through a silken or leather cloth, and presented to
-any substance, it will immediately attract or repel them; and if a poker
-suspended by a dry silk string be presented to its upper end, then the
-lower end of the poker will exhibit the same phenomena as the tube itself,
-which shows that the electrical fluid passes through the metal. But if
-for a metallic body a stick of glass or sealing wax be substituted, these
-phenomena will not occur, which proves that the electrical fluid does not
-pass through these substances.
-
-By this it will be perceived that besides the class of bodies called
-electrics, there is another which we call conductors. These bodies cannot
-be excited themselves, but have the power of transmitting the electric
-fluid through them. These bodies comprise all the metals, some metal and
-metallic ores; the fluids of animal bodies; water, and other fluids,
-except oil; ice, snow, earthy substances, smoke, steam, and even a vacuum.
-
-[Illustration]
-
-When any electrified conductor is wholly surrounded by non-conductors, so
-that the electric fluid cannot pass from the conductor along conductors to
-the earth, it is said to be insulated. Thus the human body is a conductor
-of electricity; but if a person standing on a glass stool (as represented
-in the drawing) be charged with electricity, the electric fluid cannot
-pass from him to the earth, and he is said to be _positively electrified_,
-because he has more than his natural share; he is also _insulated_, and
-if he be touched by another person standing on the ground, sparks will be
-exhibited at the point of contact, where also the person touching will
-feel a pricking sensation.
-
-
-ATTRACTION AND REPULSION EXHIBITED.
-
-[Illustration]
-
-In order to illustrate certain remarkable facts in this science of an
-amusing character, attention must be directed to the figure A B, which
-is a metal stand; C is a small piece of cork or pith, which is suspended
-from the hook by a dry silken thread. Having rubbed an electron, as a dry
-rod of glass, and presented it to C, the ball will be instantaneously
-attracted to the glass, and will adhere to it. After they remain in
-contact for a few seconds, if the glass be withdrawn without being
-touched by the fingers, and again presented to the ball, the latter will
-be _repelled_ instead of attracted, as in the first instance. By being
-touched with the finger, the ball can be deprived of its electricity, and
-if, after this has been done, we present a piece of sealing-wax in place
-of the glass formerly employed, the very same phenomena will take place.
-On the first application the ball will be _attracted_, and on the second
-_repelled_.
-
-Before the young reader can perform any very important experiments with
-electricity, he must become possessed of an ELECTRICAL MACHINE, which is
-an instrument contrived for the purpose of rubbing together the surfaces
-of electrics and non-electrics. They generally consist of a cylinder, or
-plate of glass, and a piece of silk for it to rub against, covered with an
-amalgam, the method of preparing which we shall hereafter describe.
-
-
-HOW TO MAKE AN ELECTRICAL MACHINE.
-
-[Illustration]
-
-It is very easy to make a glass machine of the cylindrical form, if the
-maker cannot afford to buy one. First procure a common wine bottle of
-good dimensions, and thickish glass Drill a hole through its bottom, by
-igniting a piece of worsted tied round round it, dipped in turpentine,
-which will do this. Through this hole and the mouth pass a spindle, as
-represented in the cut. The end of B should be squared to fix a handle on,
-and the spindle should be fixed firmly in the bottle. The bottle is then
-to be fixed in a frame, in the following manner: The end of the spindle
-C passes through a hole at B; and the other end at C has the handle for
-turning the machine.
-
-[Illustration]
-
-[Illustration: CUSHION.]
-
-Next make a cushion of wash-leather, stuffed with wool, and fastened to
-the top of a frame of the following figure. This frame is to be of such
-a height that the cushion shall press against the sides of the bottle,
-and a piece of black silk is sewn on to the top of the cushion, and hangs
-over the bottle D. The cushion should be smeared with an amalgam, formed
-by melting together in the bowl of a tobacco pipe, one part of tin with
-two of zinc; to which, while fluid, should be added six parts of mercury.
-These should be stirred about till quite cold, and then reduced to a fine
-powder in a mortar, and mixed with a sufficient quantity of lard to form a
-thickish paste. When all is done, the machine is complete.
-
-
-CONDUCTOR.
-
-The electricity being generated by the friction produced between the
-rubber and the bottle from the motion imparted by the handle, it is
-necessary to draw it off for use. This is performed by what is called a
-conductor. This is made in the following manner: At right angles to one
-end of a cylinder of wood, about two inches and a half in diameter, and
-six inches long, fix a small wooden cylinder about three quarters of an
-inch in diameter, and three inches long, rounded at both ends--the other
-end of the larger cylinder is also to be rounded. Cover the whole with
-tinfoil, and mount it on a stand on a glass rod. When used, it is to be
-placed with the even piece in a line even with, and about half an inch
-from the bottle, and it should be of such a height as to come just below
-the silk apron. When it is wished to charge a Leyden jar, it is to be
-placed at the round end of the conductor. By these simple means a great
-variety of pleasing experiments may be performed; but to show the various
-phenomena connected with this interesting study, we shall now describe an
-electrical machine of the newest construction, and perform our experiments
-with it.
-
-
-THE PLATE ELECTRICAL MACHINE.
-
-[Illustration]
-
-Formerly the electrical machine was made in the form of a cylinder,
-but now it consists of a plate A, as seen in the engraving. The plate
-is turned by the handle F, through the rubber B B, which diffuses the
-excitement over the glass. The points or balls at each side of the plate
-carry off a constant stream of positive electricity to the prime conductor
-C. Negative electricity is generated by insulating the conductor to which
-the cushion is attached, and continuing the prime conductor with the
-ground, so as to carry off the fluid collected from the plate.
-
-
-HOW TO DRAW SPARKS FROM THE TIP OF THE NOSE.
-
-If the person who works the machine be supported on a stool having glass
-legs, and connected with the conductor by means of a glass rod, the
-electricity will pass from the conductor to him, and as it cannot get
-away, owing to the glass on which he stands being a non-conductor, any
-person on touching him can draw the electricity from him, which will
-exhibit itself in small sparks as it passes to the person who touches him.
-If touched on the nose, sparks of fire will issue from it.
-
-
-HOW TO GET A JAR FULL OF ELECTRICITY.
-
-[Illustration]
-
-A most useful piece of electrical apparatus is called the Leyden jar,
-here represented. It is employed for the purpose of obtaining a quantity
-of electricity, which may be applied to any substance. It consists of a
-glass jar, coated both inside and without, four fifths of the way up,
-with tinfoil. A knob rises through a wooden top, communicating with the
-inside of the jar. When it is wished to charge the jar, this knob is
-applied to the prime conductor of the electrical machine when in action,
-and a quantity of electricity being given off, the jar will remain charged
-with it till a connection is made, by some good conductor of electricity,
-between the knob and the outside tinfoil. A piece of brass chain must hang
-from the stem that carries the knob, and connect it with the interior of
-the jar.
-
-
-THE ELECTRICAL BATTERY.
-
-[Illustration]
-
-If several of these jars be united, an enormous quantity of electricity
-can be collected; but in arranging them, all the interior coatings must be
-made to communicate by metallic rods, and a similar union must be effected
-among the exterior coatings. When thus arranged, the whole series may be
-charged as if they formed but one jar.
-
-[Illustration]
-
-For the purpose of making a direct communication between the inner or
-outer coatings of a jar or battery, by which a discharge is effected, an
-instrument called a discharging rod is employed. It consists of two bent
-metallic rods, terminating at one end by brass balls, and connected at
-another by a joint which is fixed to the end of a glass handle, and which,
-acting like a pair of compasses, allows of the balls being separated at
-certain distances. When opened to the proper degree, one of the balls is
-made to touch the exterior coating, and the other ball is then brought
-into contact with the knob of the jar, when a discharge is effected; while
-the glass handle secures the person holding it from the effects of the
-shock.
-
-
-DANCING BALLS AND DOLLS.
-
-[Illustration]
-
-[Illustration]
-
-Get two round pieces of wood, A B, and coat them with tin foil, or two
-pieces of metal plate; attach one of them to the prime conductor by a
-chain, and let it hang about two or three inches from the knob. Place some
-pith balls upon the bottom piece of wood B, and bring it under the other.
-Immediately this is done, and the upper piece is charged by electricity
-from the machine, the pith balls will jump up and down, and from one to
-the other with great rapidity. If some of the pith be formed into little
-figures, they will also dance and leap about in the most grotesque manner.
-The same may be made to dance by merely holding the inside of a dry glass
-tumbler to the prime conductor for a few minutes, while the machine is in
-action, and then whelming it over them, when they will jump about to the
-no small astonishment of the spectators, as the cause of their motion is
-not quite so apparent.
-
-
-THE ELECTRICAL KISS.
-
-This amusing experiment is performed by means of the electrical stool.
-Let any lady challenge a gentleman not acquainted with the experiment,
-to favor her with a salute. The lady thereupon mounts the glass stool,
-and takes hold of a chain connected with the prime conductor. The
-machine being then put in motion, the gentleman approaches the lady, and
-immediately he attempts to imprint the seal of soft affection upon her
-coral lips, a spark will fly in his face, which generally deters him from
-his rash and wicked intention.
-
-
-RINGING BELLS.
-
-[Illustration]
-
-Bells may be made to ring by electricity in the following manner. Let
-three small bells be suspended from a brass wire D D, and supported by
-a glass pillar A, passing through bell B to the bell E. The electrical
-apparatus being attached to the knob F the electricity passes down the
-wires D D to the bells, which are then positively electrified, and
-attract the clappers C C, that are negatively so, in consequence of being
-insulated by the silken strings, which are not conductors. The bells
-therefore attract the clappers till they are charged, when they strike
-against the center bell to discharge themselves, and thus a peal is rung
-on the bells until the electricity is driven off.
-
-
-WORKING POWER OF ELECTRICITY.
-
-[Illustration]
-
-This may be shown in a variety of ways. The subjoined machine will
-exhibit the principle upon which many ingenious toys may be made by the
-young philosopher. In the figure A is a wooden board or stand, B B B B,
-four pillars having fine wires, C C, stretched above. On these rest the
-rotatory wire or wheel F, having its points turned the reverse way. By
-means of a chain attached to the conductor, and to the instrument at B,
-the electricity passes over the pillar B, up the wire C into the wheel,
-and off at the points, which causes it to be turned round on an inclined
-plane till it reaches the top.
-
-
-THE ELECTRIFIED WIG.
-
-While a person is on the electrical stool, if he be charged with much
-electricity,
-
-    "Each hair will stand on end,
-    Like quills upon the fretful porcupine."
-
-[Illustration]
-
-A wooden head, not your own, but a real wooden head, with a wig of
-streaming hair, and a handsome face to correspond, may be made in the
-following form, with a wire in the neck to support it by, and fixed in
-the conductor of an electrical machine. When this is put in motion, the
-hair will rise up as in figure 2, to astonish even "Whigs," who are seldom
-astonished by, or deterred from anything.
-
-
-IMITATION THUNDERCLOUDS.
-
-To show the manner in which thunderclouds perform their operations in
-the air. A A is a wooden stand, on which are erected two uprights, B B;
-C C are two small pulleys, over which a silken cord can pull easily; E
-is another silken line stretched across from one upright to another; on
-these silken cords two pieces of thin cardboard, covered with tin foil,
-and cut so as to represent clouds, are to be fixed horizontally, and made
-to communicate by means of thin wires, F and G, one with the _inside_, and
-the other with the outside of a charged jar, D. Now, by pulling the loop
-of the silk line E, the cloud 1 will be brought near the cloud 2; continue
-this slowly until the clouds (which are furnished with two small brass
-balls) are within an inch of each other, when a beautiful flash, strongly
-resembling lightning in miniature, will pass from one cloud to the other,
-restoring electrical equilibrium.
-
-[Illustration]
-
-
-THE LIGHTNING-STROKE IMITATED.
-
-If the jar D be put behind the stand, and the cloud 2 removed, a vessel
-communicating by means of a wire with the outside of the jar, may be
-swum in water under the remaining cloud; the mast being made of separate
-pieces, and but slightly joined together. When the cloud is passed over
-the vessel, the mast will be struck and shattered to pieces.
-
-[Illustration]
-
-THE SPORTSMAN.
-
-This apparatus is capable of affording much amusement: A is a stand of
-wood, B is a common Leyden jar, out of which proceed the wires H H, one
-terminating in ball F, the other in the ball D, to which are attached a
-number of pith birds, by silken strings; E is a shelf for the birds to
-rest upon; C is the sportsman; G his gun.
-
-To put this operation in motion, the Leyden jar is to be charged with
-electricity, by affixing a chain to the bottom part of it, and connecting
-it with an electrical machine in the usual manner, or by applying it to a
-prime conductor, when the birds will fly off the knob to which they are
-fixed, in consequence of their being repelled. If the sportsman and gun
-be then turned, so that the end of his gun shall touch the knob F, an
-electric spark will pass from one to the other, a report will be heard,
-and the birds will fall down as if shot, in consequence of the electricity
-having been taken from the Leyden jar. There should be a communication
-between the sportsman and the jar, formed of tinfoil, or some metal, as
-shown by the dotted line on the stand.
-
-[Illustration]
-
-Such are a few of many experiments which may be made by the young
-experimenter, who is fond of science and has any ingenuity; but should he
-possess little love of research, no ingenuity, and would like to amuse
-himself with an electrifying machine of little cost, he may sit himself
-down to a
-
-
-BLACK TOM CAT,
-
-and be a Katterfelto at once.
-
-[Illustration]
-
-
-
-
-EXPERIMENTS IN GALVANISM.
-
-
-1. Place a thin plate of zinc upon the upper surface of the tongue, and a
-half dollar or a piece of silver on the under surface. Allow the metals to
-remain for a little time in contact with the tongue before they are made
-to touch each other, that the taste of the metals themselves may not be
-confounded with the sensation produced by their contact. When the edges of
-the metals, which project beyond the tongue, are then suffered to touch,
-a galvanic sensation is produced, which it is difficult accurately to
-describe.
-
-2. Place a silver teaspoon as high as possible between the gums and
-the upper lip, and a piece of zinc between the gums and the under lip.
-On bringing the extremities of the metals into contact, a very vivid
-sensation, and an effect like a flash of light across the eyes, will be
-perceived. It is singular that this light is equally vivid in the dark and
-in the strongest light, and whether the eyes be shut or open.
-
-3. Put a silver cup or mug, filled with water, upon a plate of zinc on a
-table, and just touch the water with the tip of the tongue; it will be
-tasteless so long as the zinc plate is not handled, for the body does not
-form a voltaic circle with the metals. Moisten your hand well, take hold
-of the plate of zinc, and touch the water with your tongue, when a very
-peculiar sensation, and an acid taste, will be experienced.
-
-4. Take a piece of copper of about six inches in width, and put upon it a
-piece of zinc of rather smaller dimensions, inserting a piece of cloth, of
-the same size as the zinc, between them; place a leech upon the piece of
-zinc, and though there appear nothing to hinder it from crawling away, yet
-it will not pass from the zinc to the copper, because its damp body acting
-as a conductor to the fluid disturbed, as soon as it touches the copper it
-receives a galvanic shock, and of course retires to its resting-place.
-
-5. Plunge an iron knife into a solution of sulphate of copper
-(blue-stone); by chemical action, only, it will become covered with
-metallic copper. Immerse in the same solution a piece of platinum, taking
-care not to let it touch the iron, and no deposition of copper will take
-place upon it; but if the upper ends of the metals be brought into contact
-with each other, a copious deposition of copper will soon settle upon the
-platinum likewise.
-
-
-WITH METAL PLATES IN WATER.
-
-[Illustration]
-
-If we take two plates of different kinds of metal, platinum or copper, and
-zinc, for example, and immerse them in pure water, having wires attached
-to them above, then if the wire of each is brought into contact in another
-vessel of water, a galvanic circle will be formed, the water will be
-slowly decomposed, its oxygen will be fixed on the zinc wire, and at the
-same time a current of electricity will be transmitted through the liquid
-to the platinum or copper wire, on the end of which the other element
-of water, namely, the hydrogen, will make its appearance in the form of
-minute gas bubbles. The electrical current passes back again into the
-zinc at the points of its contact with the platinum, and thus a continued
-current is kept up, and hence it is called a galvanic circle. The moment
-the circuit is broken by separating the wires, the current ceases, but is
-again renewed by making them touch either in or out of the water. If a
-small quantity of sulphuric acid be added to the water, the phenomenon
-will be more apparent. The end of the wire attached to the piece of
-platinum or copper is called the positive pole of the battery, and that of
-the wire attached to the zinc is the negative pole.
-
-[Illustration]
-
-The current of electricity here generated will be extremely feeble, but
-this can be easily increased by multiplying the glasses and the number of
-the pieces of metal. If we take six such glasses instead of one, partially
-fill them with dilute sulphuric acid, and put a piece of zinc and copper
-into each, connecting them by means of copper wire from glass to glass
-through the whole series, a stronger current of electricity will be the
-result. The experimenter must be careful not to let the wire and zinc
-touch each other at the bottom of the tumblers, and must also remember
-that the copper of glass 1 is connected with the zinc of glass 2, and so
-on.
-
-
-TO MAKE A MAGNET BY GALVANISM.
-
-To effect this, make a connection between the poles of the above or any
-excited battery with the two ends of a wire formed into a spiral coil,
-by bending common bonnet wire closely round a cylinder, or tube, of
-about an inch in diameter; into this coil introduce a needle, or piece
-of steel wire, laying it lengthways down the circles of the coil. In a
-few minutes after the electric fluid has passed through the spiral wire,
-and consequently round the needle or wire, the latter will be found to be
-strongly magnetized, and to possess all the properties of a magnet.
-
-
-EFFECTS OF GALVANISM ON A MAGNET.
-
-If a galvanic current, or any electric current, be made to pass along a
-wire, under which and in a line with it a compass is placed, it will be
-found that the needle will no longer point north and south, but will take
-a direction nearly across the current, and point almost east and west.
-
-
-CHANGE OF COLOR BY GALVANISM.
-
-Put a teaspoonful of sulphate of soda into a cup, and dissolve it in hot
-water; pour a little cabbage blue into the solution, and put a portion
-into two glasses, connecting them by a piece of linen or cotton cloth
-previously moistened in the same solution. On putting one of the wires
-of the galvanic pole into each glass, the acid accumulates in the one,
-turning the blue to a red, and the alkali in the other, rendering it
-green. If the wires be now reversed, the acid accumulates eventually in
-the glass where the alkali appeared, while the alkali passes to the glass
-where the acid was.
-
-
-THE GALVANIC SHOCK.
-
-If the ends of the wires of a galvanic battery be placed in separate
-basins of water, then, on dipping the fingers of each hand in the basin,
-a smart shock will be felt, with a particular aching accompanied with
-trembling. With a strong battery this effect is felt as high as the
-shoulders. The shock will also be felt by simply holding the galvanic
-wires, one in each hand, provided the hands be moistened with salt and
-water. Several persons may receive the shock together by joining hands.
-
-
-FAMILIAR GALVANIC EFFECTS.
-
-Coat the point of your tongue with tin-foil, and its middle part with gold
-or silver leaf, so that the two metals touch, when a sourish taste will be
-produced. This simple effect is termed "A Galvanic Tongue."
-
-Ale and porter drink better out of a pewter or tin pot, than from glass or
-earthenware; because of the galvanic influence of the green copper as used
-to give the beer a frothy head.
-
-Galvanic experiments may be made with the legs of a frog. A live flounder
-will answer nearly the same purpose. Lay the fish in a plate, upon a slip
-of zinc, to which is attached a piece of wire, and put a quarter dollar
-upon the flounder's back; then touch the quarter dollar with the wire, and
-at each contact strong muscular contractions will be produced.
-
-[Illustration]
-
-
-
-
-EXPERIMENTS IN MAGNETISM.
-
-
-1. We have said that the agency of the magnet can be imparted to hard
-metallic bodies; this may be done in a very easy way. If you pass a magnet
-(which may be either natural or artificial) over a sewing-needle several
-times from the eye to the point, the needle will acquire the principle,
-and attract iron filings in the same manner as a natural magnet would do.
-But the part of the magnet which you apply to the needle must be the north
-pole; and you must not pass it over the needle backward and forward, but
-lift it always from the point and again begin from the eye. Suppose you
-wish to impart the principle to a small bar of tempered steel, tie the
-piece to be magnetized to a poker with a piece of silk, and hold the part
-of the poker to which it is attached in the left hand; take hold of the
-tongs, a little below the middle, with the right hand, and rub the steel
-bar with them, moving the tongs from the bottom to the top, and keeping
-them steadily in a vertical position all the time. About a dozen strokes
-on each side will impart sufficient magnetic power to the bar to enable
-the operator to lift up small pieces of iron and steel with it. The lower
-end of the bar should be marked before it is fastened to the poker, so
-that the poles may be readily distinguished from each other when it is
-taken off; the upper end being the south pole, and the lower the north.
-
-[Illustration]
-
-2. Scatter some iron filings upon a piece of paper, and hold a magnet
-underneath it. The instant the contact takes place, the filings will raise
-themselves upright, and fall down as soon as the magnet is withdrawn. The
-effect is singular, and indeed very amusing; the diminutive iron particles
-rising and falling, as if by supernatural agency.
-
-
-TEST OF MAGNETIC POWER.
-
-To ascertain whether a piece of metal, or mineral, is magnetic, present it
-to one of the poles of a poised magnet. If it be attracted at both poles,
-you may then conclude that the substance so tested is not magnetic.
-
-Dip a magnet into boiling water, and it will lose half of its magnetism;
-but as the magnet cools, its full power will return.
-
-
-TO MAKE ARTIFICIAL MAGNETS.
-
-This may be done by stroking a piece of hard steel with a natural or
-artificial magnet. Take a common sewing-needle, and pass the north pole of
-a magnet from the eye to the point, pressing it gently in so doing. After
-reaching the end of the needle, the magnet must not be passed back again
-towards the eye, but must be lifted up and applied again to that end, the
-friction being always in the same direction. After repeating this for a
-few times, the needle will become magnetized, and attract iron filings, &c.
-
-
-HOW TO MAGNETIZE A POKER.
-
-Hold it in the left hand in a position slightly inclined from the
-perpendicular, the lower end pointing to the north, and then strike it
-smartly several times with a large iron hammer, and it will be found to
-possess the powers of a magnet, although but slightly.
-
-
-TO SHOW MAGNETIC REPULSION AND ATTRACTION.
-
-[Illustration: _Fig. 1._
-
-_Fig. 2._]
-
-Suspend two short pieces of iron wire, N S, N S, so that they will hang
-in contact in a vertical position. If the north pole of a magnet N be now
-brought to a moderate distance between the wires, they will recede from
-each other as in figure 1.
-
-The ends S S being made south poles by induction from the north pole N,
-will repel each other, and so will the north poles N N. This separation
-of the wires will increase as the magnet approaches them, but there will
-be a particular distance at which the attractive force of N overcomes the
-repulsive force of the poles S S, and causes the wires to converge as in
-figure 2; the north poles N N still exhibiting their mutual repulsion.
-
-
-VARIATION OF THE NEEDLE.
-
-The magnetic needle does not point exactly north and south, but the north
-pole of the needle takes a direction considerably to the west of the true
-north. It is constantly changing, and varies at different parts of the
-earth, and at different times of the day.
-
-
-DIP OF THE NEEDLE.
-
-Another remarkable and evident manifestation of the influence of the
-magnetism of the earth upon the needle is the inclination or dip of the
-latter, which is a deviation from its horizontal place in a downward
-direction in northern regions of its north, and in southern regions of its
-south pole. The causes of the dipping of the needle are yet unexplained.
-In balancing the needle on the crd, on account of this dipping, a small
-weight or moveable piece of brass is placed on one end of the needle, by
-the shifting of which either nearer to or further from the center, the
-needle will always be balanced.
-
-
-TO SUSPEND A NEEDLE IN THE AIR BY MAGNETISM.
-
-Place a magnet on a stand to raise it a little above the table; then bring
-a small sewing-needle containing a thread, within a little distance of the
-magnet, keeping hold of the thread to prevent the needle from attaching
-itself to the magnet. The needle in endeavoring to fly to the magnet, and
-being prevented by the thread, will remain curiously suspended in the air,
-like Mahommed's coffin.
-
-
-MAGNETISM BY HAMMERING.
-
-Place a bar of iron in a vertical position, and give it a series of slight
-blows with a hammer or poker, when it will acquire a feeble degree of
-magnetism; hence it happens, that the anvils and other tools employed in
-smithies are endowed with magnetism.
-
-It is, however, a remarkable circumstance, that if you strike a magnet
-its magnetizing force will be either very much impaired, or altogether
-destroyed.
-
-Percussion and friction in the required position would seem, from this
-and preceding experiments, to be the chief means of magnetizing iron and
-steel. These operations, as it were, waken up the inert particles of the
-metal to admit new magnetism, or to develop that which already resides in
-it, originally derived from the earth.
-
-
-POWER OF THE ELECTRO MAGNET.
-
-[Illustration]
-
-The same influence which affects the magnetic needle already described,
-will also communicate magnetism to soft iron. If a bar of that metal, bent
-as in the drawing, be surrounded with a common bonnet wire, or a copper
-wire prevented from touching the iron by a winding of cotton or thread,
-and then if a current of voltaic electricity be sent through the wire,
-the bar becomes a powerful magnet, and will continue so as long as the
-connection with the battery is preserved. On breaking the contact, the
-magnetism disappears. This experiment may be easily made by the young
-reader with a horse-shoe magnet, surrounded by several coils of wire. P is
-the positive and N the negative pole.
-
-
-THE MARINER'S COMPASS.
-
-The mariner's compass is an artificial magnet fitted in a proper box,
-and consists of three parts--1, the box; 2, the card or fly; and 3, the
-needle. The box is suspended in a square wooden case, by means of two
-concentric brass circles called gimbals, so fixed by brazen axes to the
-two boxes, that the inner one, or compass-box, retains a horizontal
-position in all motions of the ship. The card is a circular piece of paper
-which is fastened upon the needle, and moves with it. The outer edge of
-the card is divided into thirty-two points, as shown in the engraving,
-called points of the compass. The needle is a slender bar of hardened
-steel, having a hollow agate cup in the center, which moves upon the point
-of a pivot made of brass.
-
-[Illustration]
-
-
-TO MAKE ARTIFICIAL MAGNETS WITHOUT THE AID EITHER OF NATURAL LOADSTONES OR
-ARTIFICIAL MAGNETS.
-
-[Illustration]
-
-Take an iron poker and tongs, or two bars of iron, the larger and the
-older the better, and fixing the poker upright, hold to it with the left
-hand near the top P by a silk thread, a bar of soft steel about three
-inches long, one fourth of an inch broad, and one twentieth thick; mark
-one end, and let this end be downwards. Then grasping the tongs T with
-the right hand a little below the middle, and keeping them nearly in a
-vertical line, let the bar B be rubbed with the lower end L of the tongs,
-from the marked end of the bar to its upper end, about ten times on each
-side of it. By this means the bar B will receive as much magnetism as will
-enable it to lift a small key at the marked end; and this end, the bar
-being suspended by its middle or made to rest on a joint, will turn to the
-north, and is called its north pole, the unmarked end being the south
-pole. This is the method recommended by Mr. Caxton, in his process, which
-he regarded superior to those in former use, and of which a more detailed
-account will be found in his interesting volume.
-
-
-THE WATCH MAGNETIZED.
-
-Borrow a watch from the company, and inquire if it will go when laid
-on the table. Then place it just over the point at which a magnet is
-fixed underneath the top of the table, and the magnet will attract the
-balance-wheel of the watch, and cause it to stop.
-
-
-NORTH AND SOUTH POLES OF THE MAGNET.
-
-[Illustration]
-
-Each magnet has its poles, north and south, the north or south poles of
-one magnet, repel the north and south pole of another. If a magnet, as
-in the following figure, be dipped in some iron filings, they will be
-immediately attracted to one end. Supposing this to be the north pole,
-each of the ends of the filings, not in contact with the magnet, will
-become north poles, while the ends in contact will by induction become
-south poles. Both will have a tendency to repel each other, and the
-filings will stand on the magnet as in the figure.
-
-
-POLARITY OF THE MAGNET.
-
-The best method of proving this is to take a magnet or a piece of steel
-rendered magnetic, and to place it on a piece of cork by laying it in a
-groove cut to receive it. If the cork be placed in the center of a basin
-of water, and allowed to swim freely on its surface, so that it is not
-attracted by the sides of the basin, it will be found to turn its north
-pole to the north, and its south pole to the south, the same as the
-mariner's compass. If you fix two magnets in two pieces of cork, and place
-them also in a basin of water, and they are in a parallel position with
-the same poles together, that is, north to north, and south to south, they
-will mutually repel each other; but if the contrary poles point to one
-another, as north to south, they will be attracted.
-
-[Illustration]
-
-
-MAGNETIC ACTION AND REACTION.
-
-A magnet and a piece of iron attract each other equally, whatever
-disproportion there is between their sizes. If either be balanced in a
-scale, and the other be brought within a certain distance beneath it,
-the very same counterpoise will be required to prevent their approach,
-whichever be in the scale. If the two were hanging near each other, as
-pendulums, they would approach and meet, but the little one would perform
-more of the journey in proportion to its littleness.
-
-
-TO PASS MAGNETISM THROUGH A BOARD.
-
-Place a common sewing-needle on a smooth horizontal board, and move a
-strong magnet underneath the board, when the needle will revolve along the
-board, according to the peculiar motion given to the magnet.
-
-
-THE MAGNETIC TABLE.
-
-Under the top of a common table, place a magnet that turns on a pivot,
-and fix a board under it that nothing may appear. There may also be a
-drawer under the table, which you pull out, to show that there is nothing
-concealed. At one end of the table there must be a pin that communicates
-with a magnet, and by which it may be placed in different positions;
-this pin must be so placed as not to be visible to the spectators. Strew
-some steel filings, or very small nails, over that part of the table
-where the magnet is. Then ask any one to lend a knife, or a key, which
-will then attract part of the nails or filings. Then placing your hand,
-in a careless manner, on the pin at the end of the table, you alter the
-position of the magnet; and giving the key to any person, you desire
-him to make the experiment, which he will then not be able to perform.
-You then give the key to another person, at the same time placing the
-magnet, by means of the pin, in the first position, when that person will
-immediately perform the experiment.
-
-
-INTERESTING PARTICULARS CONCERNING THE MAGNET.
-
-Fire-irons which have rested in one position in a room during the summer
-months are often highly magnetic.
-
-Iron bars standing erect, such as the gratings of a prison cell, or the
-iron railings before houses, are often magnetic.
-
-The uppermost of the iron tires round a carriage wheel attracts the
-north end of a magnet, and has hence south polarity, while the lower end
-attracting the south end of the same, has north polarity.
-
-
-CONCLUSION.
-
-The preceding experiments in Electricity, Galvanism, and Magnetism, we
-have selected for the simple yet clear expositions which they offer of the
-fundamental principles of those branches of philosophy; more elaborate
-experiments we have refrained from inserting, as although, perhaps, more
-astonishing and impressive in their effects, the costly and cumbrous
-apparatus which they require, raise them far above the means of most boys,
-for whose instruction and amusement we cater.
-
-
-EXAGGERATED MAGNETISM.
-
-Our readers will, doubtless, recollect several stories, in which
-the powers of the magnet are greatly exaggerated. Other accounts of
-its virtues, though true in fact, yet really appear, without some
-consideration, to be fictitious.
-
-In a German collection of fairy tales, in which the ancient chivalry of
-the court of the famous Charlemagne, the faithful squires who attended
-on his heroic knights, the damsels in distress whom they relieved, the
-dwarfs who were their friends, and the giants and magicians who "worked
-their earthly woe," are the principal characters, we remember a passage to
-the effect following: "The knight, who volunteered to adventure forward
-from the body of cavalry that were bent on this exploit, to reconnoitre
-the position of this gigantic enchanter's castle, had scarcely approached
-within sight of it, when he beheld the enormous bulk of the giant himself
-leaning against the outward wall. Pursuant to the instructions he had
-received, the knight, forthwith, turned his gallant steed's head towards
-his companions in arms, and, at a swift pace, came pricking o'er the
-plain. He now heard the giant in pursuit, and struck his spurs into his
-good steed's flank; but, alas! he had scarcely approached within view
-of the chivalric troop, when the mighty hand of the giant magician was
-stretched forth, armed only with one of his horse's shoes, which was
-made of loadstone, and, by its attractive powers on his steel armor, his
-grieved associates had the mortification of seeing the knight unhorsed."
-
-
-
-
-THE MAGIC OF
-
-PNEUMATICS AND AËROSTATICS.
-
-[Illustration]
-
-    "There is a tricksey spirit in the air
-    That plays sad gambols."--BEN JONSON.
-
-
-The branch of the physical sciences which relates to the air and its
-various phenomena is called Pneumatics. By it we learn many curious
-particulars. By it we find that the air has weight and pressure, color,
-density, elasticity, compressibility, and some other properties with which
-we shall endeavor to make the young reader acquainted by many pleasing
-experiments, earnestly impressing upon him to lose no opportunity of
-making physical science his study.
-
-To show that the air has weight and pressure, the common leather sucker
-by which boys raise stones will show the pressure of the atmosphere. It
-consists of a piece of soft but firm leather, having a piece of string
-drawn through its center. The leather is made quite wet and pliable, and
-then its under part is placed on the stone and stamped down by the foot.
-This pressing of the leather excludes the air from between the leather
-and the stone, and by pulling the string a vacuum is left underneath its
-center; consequently the weight of the air about the edges of the leather,
-not being counterbalanced by any air between it and the stone, enables
-the boy to lift it.
-
-
-WEIGHT OF THE AIR PROVED BY A PAIR OF BELLOWS.
-
-Shut the nozzle and valve-hole of a pair of bellows, and after having
-squeezed the air out of them, if they are perfectly air-tight, we shall
-find that a very great force, even some hundreds of pounds, is necessary
-for separating the boards. They are kept together by the weight of
-the heavy air which surrounds them in the same manner as if they were
-surrounded by water.
-
-
-THE PRESSURE OF THE AIR SHOWN BY A WINE-GLASS.
-
-Place a card on a wine-glass filled with water, then invert the glass, the
-water will not escape, the pressure of the atmosphere on the outside of
-the card being sufficient to support the water.
-
-[Illustration]
-
-
-ANOTHER.
-
-[Illustration]
-
-Invert a tall glass jar in a dish of water, and place a lighted taper
-under it; as the taper consumes the air in the jar, the water from the
-pressure without _rises up_ to supply the place of the air removed by the
-combustion. In the operation of cupping, the operator holds the flame of
-a lamp under a bell-shaped glass. The air within this being rarefied and
-expanded, a considerable portion is given off. In this state the glass is
-placed upon the flesh, and as the air within it cools, it contracts, and
-the glass adheres to the flesh by the difference of the pressure of the
-internal and external air.
-
-
-ELASTICITY OF THE AIR.
-
-[Illustration]
-
-This can be shown by a beautiful philosophical toy which may easily be
-constructed. Procure a glass jar, such as is here represented. Then mould
-three or four little figures in wax, and make them hollow within, and
-having each a minute opening at the heel, by which water may pass in
-and out. Place them in the jar, as seen in the figure, and adjust them
-by the quantity of water admitted to them, so that in specific gravity
-they differ a little from each other. The mouth of the jar should now be
-covered with a piece of skin or India-rubber, and then, if the hand be
-pressed upon the top or mouth of the jar, the figures will be seen to rise
-or descend as the pressure is gentle or heavy, rising and falling, or
-standing still, according to the pressure made.
-
-
-REASON FOR THIS.
-
-The reason of this is, that the pressure on the top of the jar condenses
-the air between the cover and the water surface; this condensation then
-presses on the water below, and influences it through its whole extent,
-compressing also the air in the figures, forcing as much more water into
-them as to render them heavier than water, and therefore heavy enough to
-sink.
-
-
-THE AIR-PUMP.
-
-[Illustration]
-
-The time was, and that not very long ago, when the air-pump was only
-obtainable by the philosophical professor, or by persons of enlarged
-means. But now, owing to our "cheap way of doing things," a small air-pump
-may be obtained for about five or six dollars, and we would strongly
-advise our young friend to procure one, as it will be a source of endless
-amusement to him; and, supposing that he takes our advice, we give him the
-following experiments.
-
-The air-pump consists of a bell glass, called the receiver, A, and a
-stand, upon which is a perforated plate B. The hole in this plate is
-connected with two pistons, the rods of which are moved by a wheel handle
-backwards and forwards, and thus pump the air out of the receiver. When
-the air is taken out, a stop-cock is turned, and then the experiments may
-be performed.
-
-Under the receiver of an air-pump, when the air has been thoroughly
-exhausted, light and heavy bodies fall with the same swiftness. Animals
-quickly die for want of air, combustion ceases, gunpowder will not
-explode, a bell sounds faint, magnets are powerless, and waters and other
-fluids turn to vapor.
-
-
-TO PROVE THAT AIR HAS WEIGHT.
-
-Take a florence flask, fitted up with a screw and fine oiled silk valve.
-Screw the flask on the plate of the air-pump, exhaust the air, take it off
-the plate and weigh it. Then let in the air, and again weigh the whole,
-and it will be found to have increased by several grains.
-
-[Illustration]
-
-
-TO PROVE AIR ELASTIC.
-
-Place a bladder, out of which all the air has apparently been squeezed,
-under the receiver, upon it lay a weight, exhaust the air, and it will be
-seen that the small quantity of air left within the bladder will so expand
-itself as to lift the weight. Put a corked bottle into the receiver,
-exhaust the air, and the cork will fly out.
-
-
-AIR IN THE EGG.
-
-Take a fresh egg and cut off a little of the shell and film from its
-smaller end, then put the egg under a receiver and pump out the air, upon
-which all the contents of the egg will be forced out by the expansion of
-the small bubble of air contained in the great end between the shell and
-the film.
-
-[Illustration: AIR IN THE EGG.]
-
-[Illustration: DESCENDING SMOKE.]
-
-
-THE DESCENDING SMOKE.
-
-Set a lighted candle on a plate, and cover it with a tall receiver. The
-candle will continue to burn while the air remains, but when exhausted,
-will go out, and the smoke from the wick, instead of rising, will descend
-in dense clouds towards the bottom of the glass, because the air which
-would have supported it has been withdrawn.
-
-
-HALF EAGLE AND FEATHER.
-
-[Illustration]
-
-Place a nicely-adjusted pair of forceps at the top of the receiver,
-communicating with the top at the outside through a hole, so that they
-may be opened by the fingers. Then place on each of the little plates
-a _half-eagle_ and a _feather_. Exhaust the air from the receiver, and
-having done so, detach the objects, so that they may fall. In the open air
-the half-eagle will fall long before the feather, but in vacuo, as in the
-receiver now exhausted of its air, they will fall both together, and reach
-the bottom of the glass at same instant.
-
-
-THE SOUNDLESS BELL.
-
-Set a bell on the pump-plate, having a contrivance so as to ring it at
-pleasure, and cover it with a receiver, then make the clapper sound
-against the bell, and it will be heard to sound very well; now exhaust the
-receiver of air, and then, when the clapper strikes against the sides of
-the bell, the sound can be scarcely heard.
-
-[Illustration: SOUNDLESS BELL.]
-
-[Illustration: FLOATING FISH.]
-
-
-THE FLOATING FISH.
-
-If a glass vessel, containing water, in which a couple of fish are put
-be placed under the receiver, upon exhausting the air, the fish will be
-unable to keep at the bottom of the glass, owing to the expansion of
-the air within their bodies, contained in the air bladder. They will
-consequently rise and float, belly upwards, upon the surface of the water.
-
-
-THE MYSTERIOUS CIRCLES.
-
-Cut from a card two discs or circular pieces, about two inches in
-diameter. In the center of one of them make a hole, into which put the
-tube of a common quill, one end being even with the surface of the card.
-Make the other piece a little convex, and lay its center over the end of
-the quill, with the concave side of the card downwards, the center of the
-upper card being from one eighth to one fourth of an inch above the end
-of the quill--attempt to blow off the upper card by blowing through the
-quill, and _it will be found impossible_.
-
-If, however, the edges of the two cards be made to fit each other very
-accurately, the upper card will move, and sometimes it will be thrown off;
-but when the edges of the cards are, on two sides, sufficiently far apart
-to permit the air to escape, the loose card will retain its position,
-even when the current of air sent against it be strong. The experiment
-will succeed equally well, whether the current of air be made from the
-mouth or from a pair of bellows. When the quill fits the card rather
-loosely, a comparatively light puff will throw both cards three or four
-feet in height. When, from the humidity of the breath, the upper surface
-of the perforated card has a little expanded, and the two opposite sides
-are somewhat depressed, those depressed sides may be seen distinctly to
-rise and approach the upper card, directly in proportion to the force of
-the current of air.
-
-Another fact to be shown with this simple apparatus appears equally
-inexplicable with the former. Lay the loose card upon the hand with the
-concave side up; blow forcibly through the tube, and, at the same time,
-bring the two cards towards each other; when within three eighths of an
-inch, if the current of air be strong, the loose card will suddenly rise,
-and adhere to the perforated card. If the card through which the quill
-passes has several holes made in it, the loose card may be instantly
-thrown off with the least puff of air.
-
-For the explanation of the above phenomenon, a gold medal and one hundred
-guineas were offered, some years since, by the Royal Society. Such
-explanation has been given by Dr. Robert Hare, late of the University of
-Pennsylvania, and is as follows:
-
-Supposing the diameters of the discs of card to be to that of the hole as
-8 to 1, the area of the former to the latter must be as 64 to 1. Hence,
-if the discs were to be separated (their surfaces remaining parallel)
-with a velocity as great as that of the air blast, a column of air must,
-meantime, be interposed, 64 times greater than that which would escape
-from the tube during the interim; consequently, if all the air necessary
-to preserve the balance be supplied from the tube, the discs must be
-separated with a velocity as much less than that of the blast, as the
-column required between them is greater than that yielded by the tube; and
-yet the air cannot be supplied from any other source, unless a deficit of
-pressure be created between the discs, unfavorable to their separation.
-
-It follows, then, that, under the circumstances in question, the
-discs cannot be made to move asunder with a velocity greater than one
-sixty-fourth of that of the blast. Of course all the force of the current
-of air through the tube will be expended on the moveable disc, and the
-thin ring of air, which exists round the orifice between the discs; and
-since the moveable discs can only move with one sixty-fourth the velocity
-of the blast, the ring of air in the interstice must experience nearly all
-the force of the jet, and must be driven outwards, the blast following it,
-in various currents radiating from the common center of the tube and discs.
-
-
-THE DIVING BELL.
-
-[Illustration]
-
-[Illustration]
-
-The diving-bell is a pneumatic engine, by means of which persons can
-descend to great depths in the sea, and recover from it valuable portions
-of wrecks and other matters. Its principle may be well illustrated by the
-following experiment. Take a glass tumbler, and plunge it into the water
-with the mouth downwards, and it will be found that the water will not
-rise much more than half way in the tumbler. This may be made very evident
-if a piece of cork be suffered to float inside of the glass on the surface
-of the water. The air within the tumbler does not entirely exclude the
-water, because air is elastic, and consequently compressible, and hence
-the air in the tumbler is what is called condensed. The diving-bell is
-formed upon the above principle, but instead of being of glass, it is a
-wooden or metal vessel, of very large dimensions, so as to hold three or
-four persons, who are supplied with air from above by means of a tube,
-having a corresponding tube to let off the breathed air, the circulation
-of which is kept up by pumps, which pump the air in and draw it out of the
-bell.
-
-
-THE AIR BALLOON.
-
-The art of sailing or navigating a body through the air is called
-aëronautics. In remote ages, Icarus is said to have risen so high in the
-air that the sun melted his wings, and he fell into the Ægean sea, and
-was drowned; and there is reason to believe, from some figures that have
-recently been discovered on Egyptian and Assyrian monuments, that the
-ancients possessed means of rising in the air with which we are not now
-acquainted.
-
-The air-balloon, as now constructed, is a bag of silk of large dimensions,
-usually cut in gores, and is, when expanded by gas, of a pear shape. It
-ascends in the atmosphere because its whole bulk is much lighter than the
-air would be in the space it occupies. It is, in fact, a vessel filled
-with a fluid which will float on another fluid lighter than itself.
-
-
-HOW TO MAKE AN AIR-BALLOON.
-
-[Illustration]
-
-The best shape for an air-balloon, or rather a gas-balloon, is that of a
-peg-top. And in preparing the gores proceed as follows: Get some close
-texture silk, and cut it into a form resembling a narrow pear with a very
-thin stalk. Fourteen of these pieces will be found to be the best number;
-and, of course, the breadths of each piece must be measured accordingly.
-When sewing them together, it will be of advantage to coat the parts
-that overlap with a layer of varnish, as this will save much trouble
-afterwards, and hold the silk firmer in its place during the stitching.
-The threads must be placed very regularly, or the balloon will be drawn
-out of shape, and it will be found useful if the gores are covered with
-an interior coating of varnish before they are finally sewn together.
-Take care not to have the varnish too thick. To the upper part of the
-balloon there should be a valve opening inwards, to which a string should
-be fastened, passing through a hole made in a small piece of wood fixed
-in the lower part of the balloon, so that the aëronaut may open the valve
-when he wishes to descend; and this should be imitated on a small scale,
-so that the young aëronaut may be perfectly familiar with the construction
-of a balloon. The gores are to be covered with a varnish of India rubber
-dissolved in a mixture of turpentine and naphtha. Over the whole of the
-upper part should be a net-work, which should come down to the middle,
-with various cords, proceeding from it to the circumference of a circle
-about two feet below the balloon. The circle may be made of wood, or of
-several pieces of slender cane bound together. The meshes should be small
-at the top, against which part of the balloon the inflammable air exerts
-the greatest force, and increase in size as they recede from the top.
-
-The car is made of wicker work; it is usually covered with leather, and
-is well varnished or painted. It is suspended by ropes proceeding from
-the net which goes over the balloon. Balloons of this kind cannot be made
-smaller than six feet in diameter, of oiled silk, as the weight of the
-material is too great for the air to buoy it up. They may be made smaller
-of thin slips of bladder, or other membrane glued together, or of thin
-gutta-percha cloth, which is now extensively used for this purpose; with
-this they may be made a foot in diameter, and will rise beautifully.
-
-
-HOW TO FILL A BALLOON.
-
-Procure a large stone bottle which will hold a gallon of water, into
-this put a pound of iron filings, or granulated zinc, with two quarts of
-water, and add to this by degrees one pint of sulphuric acid. Then take
-a tube, either of glass or metal, and introduce one end of it through a
-cork, which place in the bottle, then put the other end into the neck of
-the balloon, and the gas will rise into the body of it. When quite full
-withdraw the tube, and tie the neck of the balloon with strong cord very
-tightly. If freed it will now rise in the air.
-
-
-TO MAKE FIRE-BALLOONS.
-
-[Illustration]
-
-Cut the gores, according to the form already given, from well woven tissue
-paper, paste the gores nicely together, and look well over the surface of
-the paper for any small hole or slit, over which paste a piece of paper,
-and let it dry. Pass a wire round the neck of the balloon, and have two
-cross pieces at its diameter a little bent, so that a piece of soft cotton
-dipped in spirits of wine may be laid on them. When all is prepared let
-some one hold the balloon from its top by means of a stick, while you
-dip the cotton in spirits of wine till it is thoroughly saturated, place
-it under the balloon and set fire to it, but be very careful you do not
-set fire to the balloon. When the air is sufficiently heated within, the
-balloon will indicate a desire to rise, and when it pulls very hard, let
-it go, and it will ascend to a great height in the air, and at night
-present a very beautiful appearance.
-
-
-PARACHUTES.
-
-These are easily made by cutting a piece of paper in a circular form, and
-placing threads round the edges, which may be made to converge to a point,
-at which a cork may be placed as a balance. They ascend by the air getting
-under them, and are frequently blown to a great distance.
-
-[Illustration]
-
-
-THE MYSTERIOUS BOTTLE.
-
-Pierce a few holes with a glazier's diamond in a common black bottle;
-place it in a vase or jug of water, so that the neck only is above the
-surface. Then, with a funnel, fill the bottle and cork it well, and while
-it is in the jug or vase. Take it out, notwithstanding the holes in the
-bottom, it will not leak; wipe it dry, and give it to some person to
-uncork. The moment the cork is drawn, to the party's astonishment, the
-water will begin to run out of the bottom of the bottle.
-
-
-CAOUTCHOUC BALLOONS.
-
-Put a little ether into a bottle of caoutchouc, close it tightly, soak it
-in hot water, and it will become inflated to a considerable size. These
-globes may be made so thin as to be transparent.
-
-A piece of caoutchouc, the size of a walnut, has thus been extended to
-a ball fifteen inches in diameter; and a few years since a caoutchouc
-balloon, thus made, escaped from Philadelphia, and was found one hundred
-and thirty miles from that city.
-
-
-
-
-
-THE MAGIC OF
-
-OPTICS AND OPTICAL AMUSEMENTS.
-
-[Illustration:
-
-    "'Seeing is believing,' so the sages say,
-    To prove this false, hear me, my friends, I pray,
-    And very soon you all will be agreeing,
-    That nought is so deceptive as our _seeing_."--MARTIN.
-]
-
-Optics is the science of _light_ and _vision_. Concerning the nature
-of light, two theories are at present very ably maintained by their
-respective advocates. One is termed the Newtonian theory, and the other
-the Huygenean. The Newtonian theory considers light to consist of
-inconceivably small bodies emanating from the sun, or any other luminous
-body. The Huygenean conceives it to consist in the undulations of a highly
-elastic and subtle fluid, propagated round luminous centers in spherical
-waves, like those arising in a placid lake when a stone is dropped into
-the water.
-
-
-LIGHT AS AN EFFECT.
-
-Light follows the same laws as gravity, and its intensity or degree
-decreases as the square of the distance from the luminous body increases.
-Thus, at the distance of two yards from a candle we shall have four times
-less light than we should have, were we only one yard from it, and so on
-in the same proportion.
-
-[Illustration]
-
-
-REFRACTION.
-
-[Illustration]
-
-Bodies which suffer the rays of light to pass through them, such as water
-or glass, are called refracting media. When rays of light enter these,
-they do not proceed in straight lines, but are said to be refracted,
-or bent out of their course, as seen in the drawing. The ray of light
-proceeding from B through the glass L G is bent from the point C, instead
-of passing in the direction of the dotted line. But if the ray F C falls
-perpendicularly on the glass, there is no refraction, and it proceeds
-in a direct line to K; hence refraction only takes place when rays fall
-obliquely or aslant on the media.
-
-
-THE INVISIBLE COIN MADE VISIBLE.
-
-[Illustration]
-
-If a coin be placed in a basin, so that on standing at a certain distance
-it be just hid from the eye of an observer by the rim or edge of the
-basin, and then water be poured in by a second person, the first keeping
-his position; as the water rises the coin will become visible, and will
-appear to have moved from the side to the middle of the basin.
-
-
-THE MULTIPLYING GLASS.
-
-[Illustration]
-
-The multiplying glass is a semi-circular piece of glass cut into facets or
-distinct surfaces; and in looking through it we have an illustration of
-the laws of refraction, for if a small object, such as a fly, be placed at
-D, an eye at E will see as many flies as there are surfaces or facets on
-the glass.
-
-
-TRANSPARENT BODIES.
-
-[Illustration]
-
-Transparent bodies, such as glass, may be made of such form as to cause
-all the rays which pass through them from any given point to meet in any
-other given point beyond them, or which will disperse them from the given
-point. These are called lenses, and have different names according to
-their form. 1 is called the plano-convex lens; 2, plano-concave; 3, double
-convex; 4, double concave; 5, a meniscus, so called from its resembling
-the crescent moon.
-
-
-THE PRISM.
-
-[Illustration: P.]
-
-The prism is a triangular solid of glass, and by it the young optician
-may decompose a ray of light into its primitive and supplementary colors,
-for a ray of light is of a compound nature. By the prism the ray A is
-divided into its three primitive colors, blue, red, and yellow; and their
-four supplementary ones, violet, indigo, green, and orange. The best way
-to perform this experiment is to cut a small slit in a window-shutter, on
-which the sun shines at some period of the day, and directly opposite the
-hole place a prism P; a beam of light in passing through it will then be
-decomposed, and if let fall upon a sheet of white paper, or against a
-white wall, the seven colors of the rainbow will be observed.
-
-
-TO MAKE A PRISM.
-
-Provide two small pieces of window-glass and a lump of wax; soften and
-mould the wax, stick the two pieces of glass upon it, so that they meet,
-as in the cut, where _w_ is the wax, _g_ and _g_ the glasses stuck to it
-(Fig. 1). The end view (Fig. 2) will show the angle, _a_, at which the
-pieces of glass meet; into which angle put a drop of water.
-
-[Illustration: Fig. 1.]
-
-[Illustration: Fig. 2.]
-
-To use the instrument thus made, make a small hole, or a narrow horizontal
-slit, so that you can see the sky through it, when you stand at some
-distance from it in the room; or a piece of pasteboard placed in the upper
-part of the window-sash, with a slit cut in it, will serve the purpose of
-the hole in the shutter. The slit should be about one tenth of an inch
-wide, and an inch or two long, with even edges. Then hold the prism in
-your hand, place it close to your eye, and look through the drop of water,
-when you will see a beautiful train of colors, called a spectrum; at one
-end red, at the other violet, and in the middle yellowish green.
-
-[Illustration: Fig. 3.]
-
-The annexed Figure 3 will better explain the direction in which we look:
-here, _e_ is the eye of the spectator, _p_ is the prism, _h_ the hole in
-the shutter or pasteboard, _s_ the spectrum. By a little practice, you
-will soon become accustomed to look in the right direction, and will see
-the colors very bright and distinct.
-
-By means of this simple contrivance white light may be analyzed, and
-proved to consist of colored rays, and several of its properties be
-beautifully illustrated.
-
-
-COMPOSITION OF LIGHT.
-
-The beam of light passing through the prism is decomposed, and the spaces
-occupied by the colors are in the following proportions: red, 6; orange,
-4; yellow, 7; green, 8; blue, 8; indigo, 6; violet, 11. Now, if you paste
-a sheet of white paper on a circular piece of board about six inches in
-diameter, and divide it with a pencil into fifty parts, and paint colors
-in them in the proportions given above, painting them dark in the center
-parts, and gradually fainter at the edges, till they blend with the one
-adjoining; and if the board be then fixed to an axle, and made to revolve
-quickly, the colors will no longer appear separate and distinct, but
-becoming gradually less visible, they will ultimately appear _white_,
-giving this appearance to the whole surface of the paper.
-
-[Illustration]
-
-
-A NATURAL CAMERA OBSCURA.
-
-The human eye is a camera obscura, for on the back of it, on the retina,
-every object in a landscape is beautifully depicted in miniature. This may
-be proved by the
-
-
-BULLOCK'S EYE EXPERIMENT.
-
-Procure a fresh bullock's eye from the butcher, and carefully thin the
-outer coat of it behind; take care not to cut it, for if this should
-be done the vitreous humor will escape, and the experiment cannot be
-performed. Having so prepared the eye, if the pupil of it be directed
-to any bright objects, they will appear distinctly delineated on the
-back part precisely as objects appear in the instrument we are about to
-describe. The effect will be heightened if the eye is viewed in a dark
-room with a small hole in the shutter, but in every case the appearance
-will be very striking.
-
-
-THE CAMERA OBSCURA.
-
-[Illustration]
-
-This is a very pleasing and instructive optical apparatus, and may be
-purchased for four or five shillings. But it may be easily made by the
-young optician. Procure an oblong box, about two feet long, twelve inches
-wide, and eight high. In one end of this a tube must be fitted containing
-a lens, and be made to slide backwards and forwards so as to suit the
-focus. Within the box should be a plane mirror, reclining backwards from
-the tube at an angle of forty-five degrees. At the top of the box is a
-square of unpolished glass, upon which from beneath the picture will be
-thrown, and may be seen by raising the lid A. To use the camera, place the
-tube with the lens on it opposite to the object, and having adjusted the
-focus, the image will be thrown upon the ground-glass as above stated,
-where it may be easily copied by a pencil or in colors.
-
-[Illustration]
-
-The form of a camera obscura used in a public exhibition is as follows:
-D D is a large wooden box stained black in the inside, and capable of
-containing from one to eight persons. A B is a sliding piece, having a
-sloping mirror C, and a double convex lens F, which may, with the mirror
-C, be slid up or down so as to accommodate the lens to near and distant
-objects. When the rays proceeding from an object without fall upon the
-mirror, they are reflected upon the lens F, and brought to fall on the
-bottom of the box, or upon a table placed horizontally to receive them,
-which may be seen by the spectator whose eye is at E.
-
-
-THE MAGIC LANTERN.
-
-[Illustration]
-
-This is one of the most pleasing of all optical instruments, and it is
-used to produce enlarged pictures of objects, which being painted on a
-glass in various colors are thrown upon a screen or white sheet placed
-against the wall of a large room. It consists of a sort of tin box, within
-which is a lamp, the light of which (strongly reflected by the reflector
-T,) passes through a great plano-convex lens E fixed in the front. This
-strongly illuminates the objects which are painted on the slides or slips
-of glass, and placed before the lens in an inverted position, and the
-rays passing through them and the lens F, fall on a sheet, or other white
-surface, placed to receive the image. The glasses on which the figures are
-drawn are inverted, in order that the images of them may be erect.
-
-
-THE CAMERA LUCIDA.
-
-[Illustration]
-
-This instrument consists of a glass prism, C, D, D, E, having four sides
-covered. The sides C, D, being exposed to the object to be delineated,
-rays pass through the glass and fall on the sloping side D, E; from
-this they are reflected to the top, and finally pass out of the prism
-to the eye;[6] now from the direction at which the rays enter the eye,
-it receives them as if coming from an image at A, B, and if a sheet of
-paper be placed below the instrument, a perfect delineation of the object
-may be traced with a pencil. This is a very useful instrument to young
-draughtsmen.
-
-
-PAINTING THE SLIDES.
-
-The slides containing the objects usually shown in a magic lantern, are
-to be bought of opticians with the lantern, and can be procured cheaper
-and better in this way than by any attempt at manufacturing them. Should,
-however, the young optician wish to make a few slides of objects of
-particular interest to himself, he may proceed as follows:
-
-Draw first on paper the figures you wish to paint, lay it on the
-table, and cover it over with a piece of glass of this shape; now draw
-the outlines with a fine camel's hair pencil in black paint mixed with
-varnish, and when this is dry, fill up the other parts with the proper
-colors, shading with bistre also mixed with varnish. The transparent
-colors are alone to be used in this kind of painting.
-
-[Illustration]
-
-
-TO EXHIBIT THE MAGIC LANTERN.
-
-The room for the exhibition ought to be large, and of an oblong shape. At
-one end of it suspend a large sheet so as to cover the whole of the wall.
-The company being all seated, darken the room, and placing the lantern
-with its tube in the direction of the sheet, introduce one of the slides
-into the slit, taking care to invert the figures; then adjust the focus of
-the glasses in the tube by drawing it in or out as required, and a perfect
-representation of the object will appear.
-
-
-EFFECTS OF THE MAGIC LANTERN.
-
-Most extraordinary effects may be produced by means of the magic lantern;
-one of the most effective of which is a
-
-
-TEMPEST AT SEA.
-
-[Illustration]
-
-[Illustration]
-
-This is effected by having two slides painted, one with the tempest as
-approaching on one side, and continuing in intensity till it reaches the
-other. Another slide has ships painted on it, and while the lantern is in
-use, that containing the ships is dexterously drawn before the other, and
-represents _ships in the storm_.
-
-The effects of sunrise, moonlight, starlight, &c., may be imitated, also
-by means of double sliders; and figures may be introduced sometimes of
-fearful proportions.
-
-[Illustration]
-
-Heads may be made to nod, faces to laugh; eyes may be made to roll,
-teeth to gnash; crocodiles may be made to swallow tigers; combats may be
-represented; but one of the most instructive uses of the slides is to make
-them illustrative of astronomy, and to show the rotation of the seasons,
-the cause of eclipses, the mountains in the moon, spots on the sun, and
-the various motions of the planetary bodies, and their satellites.
-
-
-THE PHANTASMAGORIA.
-
-Between the phantasmagoria and the magic lantern there is this difference;
-in common magic lanterns the figures are painted on transparent glass,
-consequently the image on the screen is a circle of light having figures
-upon it; but in the phantasmagoria all the glass is made opaque, except
-the figures, which, being painted in transparent colors, the light shines
-through them, and no light can come upon the screen except that which
-passes through the figure, as is here represented.
-
-[Illustration]
-
-There is no sheet to receive the picture, but the representation is thrown
-on a thin screen of silk or muslin placed between _the spectators and
-the lantern_. The images are made to appear approaching and receding by
-removing the lantern further from the screen, or bringing it nearer to it.
-This is a great advantage over the arrangements of the magic lantern, and
-by it the most astonishing effects are often produced.
-
-
-DISSOLVING VIEWS.
-
-The dissolving views, by which one landscape or scene appears to pass into
-the other while the scene is changing, are produced by using two magic
-lanterns placed side by side, and that can be a little inclined towards
-each other when necessary, so as to mix the rays of light proceeding from
-the lenses of each together, which produces that confusion of images, in
-which one view melts as it were into the other, which gradually becomes
-clear and distinct.
-
-
-HOW TO RAISE A GHOST.
-
-[Illustration]
-
-The magic lantern or phantasmagoria, may be used in a number of marvelous
-ways, but in none more striking than in raising an apparent specter. Let
-an open box, A B, about three feet long, a foot and half broad, and two
-feet high, be prepared. At one end of this place a small swing dressing
-glass, and at the other let a magic lantern be fixed with its lenses in a
-direction towards the glass. A glass should now be made to slide up and
-down in the groove C D, to which a cord and pulley should be attached, the
-end of the cord coming to the part of the box marked A. On this glass the
-most hideous specter that can be imagined may be painted, but in a squat
-or contracted position, and when all is done, the lid of the box must be
-prepared by raising a kind of gable at the end of the box B, and in its
-lower part at E, an oval hole should be cut sufficiently large to suffer
-the rays reflected from the glass to pass through them. On the top of the
-box F place a chafing dish, upon which put some burning charcoal. Now
-light the lamp G in the lantern, sprinkle some powdered camphor or white
-incense on the charcoal, adjust the slide on which the specter is painted,
-and the image will be thrown upon the smoke. In performing this feat the
-room must be darkened, and the box should be placed on a high table, that
-the hole through which the light comes may not be noticed.
-
-
-THE THAUMATROPE.
-
-This word is derived from two Greek words, one of which signifies
-_wonder_, and the other _to turn_. It is a very pretty philosophical toy,
-and is founded upon the principle in optics, that an impression made upon
-the retina of the eye lasts for a short interval after the object which
-produced it has been withdrawn. The impression which the mind receives
-lasts for about the eighth part of a second, as may be easily shown by
-whirling round a lighted stick, which if made to complete the circle
-within that period, will exhibit not a fiery point, but a fiery circle in
-the air.
-
-
-THE BIRD IN THE CAGE.
-
-Cut a piece of cardboard of the size of a penny piece, and paint on one
-side a bird, and on the other a cage; fasten two pieces of thread, one on
-each side, at opposite points of the card, so that the card can be made to
-revolve by twirling the threads with the finger and thumb; while the toy
-is in its revolution, the bird will be seen within the cage. A bat may in
-the same manner be painted on one side of the card, and a cricketer upon
-the other, which will exhibit the same phenomenon, arising from the same
-principle.
-
-[Illustration]
-
-
-CONSTRUCTION OF THE PHANTASMASCOPE.
-
-The above-named figure is a Thaumatrope, as much as the one we are about
-to describe, although the term Phantasmascope is generally applied to the
-latter instrument; which consists of a disc of darkened tin-plate, with
-a slit or narrow opening in it, about two inches in length. It is fixed
-upon a stand, and the slit placed upwards, so that it may easily be looked
-through. Another disc of pasteboard, about a foot in diameter, is now
-prepared and fixed on a similar stand, but with this difference, that it
-is made to revolve round an axis in the center. On this pasteboard disc,
-paint in colors a number of frogs in relative and progressive positions
-of leaping; make between each figure a slit of about a quarter of an inch
-deep; and when this second disc is made to revolve at a foot distance
-behind the first, and the eye is placed near the slit, the whole of the
-figures, instead of appearing to revolve with the disc, will all appear
-in the attitudes of leaping up and down, increasing in agility as the
-velocity of the motion is increased. It is necessary, when trying the
-effect of this instrument, to stand before a looking-glass, and to present
-the painted face of the machine towards the glass.
-
-A very great number of figures may be prepared to produce similar
-effects--horses with riders in various attitudes of leaping, toads
-crawling, snakes twisting and writhing, faces laughing and crying, men
-dancing, jugglers throwing up balls, &c.; all of which, by the peculiar
-arrangement above detailed, will seem to be in motion. A little ingenuity
-displayed in the construction and painting of the figures upon the
-pasteboard disc will afford a great fund of amusement.
-
-
-CURIOUS OPTICAL ILLUSION.
-
-One of the most curious facts relating to the science of vision is
-the absolute insensibility of a certain portion of the retina to the
-impression of light, so that the image of any object falling on that point
-would be invisible. When we look with the right eye, this point will be
-about fifteen degrees to the right of the object observed, or to the right
-of the axis of the eye, or the point of most distinct vision. When looking
-with the left eye, the point will be as far to the left. The point in
-question is the basis of the optic nerve, and its insensibility to light
-was first observed by the French philosopher, Mariotte. This remarkable
-phenomenon may be experimentally proved in the following manner:
-
-Place on a sheet of writing-paper, at the distance of about three inches
-apart, two colored wafers; then, on looking at the left-hand wafer with
-the right eye, at the distance of about a foot, keeping the eye straight
-above the wafer, and both eyes parallel with the line which forms the
-wafers, the left eye being closed, the right-hand wafer will become
-invisible; and a similar effect will take place if we close the right eye,
-and look with the left.
-
-
-ANOTHER.
-
-Cut a circular piece of white paper, about two inches in diameter, which
-affix to a dark wall. At the distance of two feet on each side, but a
-little lower, make two marks; then place yourself directly opposite the
-paper, and hold the end of your finger before your face, so that when the
-right eye is open it shall conceal the mark on your left, and when the
-left eye is open the mark on your right. If you then look with both eyes
-at the end of your finger, the paper disc will be invisible.
-
-
-ANOTHER.
-
-Fix a similar disc of paper, two inches in diameter, at the height of your
-eye on a dark wall; a little lower than this, at the distance of two feet
-on the right hand, fix another of about three inches in diameter; now
-place yourself opposite the first sheet of paper, and, shutting the left
-eye, keep the right eye still fixed on the first object, and when at the
-distance of about ten feet, the second piece of paper will be invisible.
-
-Or, fix three pieces of paper against the wall of a room, at equal
-distances, at the height of the eye. Place yourself directly before them,
-at a few yards distance, close your right eye, and look at them with your
-left, when you will see only two of them, suppose the first and second;
-alter your position a second time, and you will see the second and third,
-but never the whole three pieces together.
-
-On a sheet of black paper, or other dark ground, place two white wafers,
-having their centers three inches distant. Vertically above the paper,
-and to the left, look with the right eye, at twelve inches from it, and
-so, that when looking down on it, the line joining the two eyes shall be
-parallel to that joining the center of the wafers. In this situation close
-the left eye, and look full with the right perpendicularly at the wafer
-below it, when this wafer only will be seen, the other being completely
-invisible. But if it be removed ever so little from its place, either to
-the right or left, above or below, it will become immediately visible, and
-start, as it were, into existence. "It will cease to be thought singular,"
-says Sir John Herschel, "that this fact of the absolute invisibility of
-objects in a certain point of the field of view of each eye should be one
-of which not one person in ten thousand is apprized, when we learn that
-it is not extremely uncommon to find persons who have for some time been
-totally blind with one eye without being aware of the fact."
-
-
-THE PICTURE IN THE AIR.
-
-One of the numerous optical illusions which have, from time to time,
-been evolved by scientific minds, is that of making an image or picture
-appear in the air. This is produced by means of a mirror, and an object in
-relief, upon which a strong light is thrown--the mirror being set at such
-an angle as to throw up the reflection of the image to a certain point,
-in the view of the spectator. This illusion is produced as follows: Let
-a screen be constructed in which is an arched aperture, the center of
-which may be five feet from the floor; behind the screen is placed a large
-mirror of an elliptical form. An object is now placed behind the screen,
-upon which the light of a strong lamp is thrown from a point above the
-mirror, and is received by the mirror and reflected to the center of the
-arched cavity in the screen, where it will appear to the spectator. Care
-should be taken to place the image in an inverted position, and the light
-should be so placed that none of it may reach the opening: the light must
-also be very powerful.
-
-
-BREATHING LIGHT AND DARKNESS.
-
-[Illustration]
-
-The following experiment, if performed with care, is exceedingly striking.
-Let S be a candle, whose light falls at an angle of 56° 45´ upon two plate
-glasses, A B, placed close to each other; and let the reflected rays, A C,
-B D, fall at the same angle upon two similar plates, C D, but so placed
-that the plane of reflection from the latter is at right angles to the
-plane of reflection from the former. An eye placed at E, and looking at
-the same time on the two plates, C and D, will see very faint images of
-the candle S; which by a slight adjustment of the plates, may be made
-to disappear almost wholly, allowing the plate C to remain where it is.
-Change the position of D till its inclination to the ray B D is diminished
-about 3°, or made nearly 53° 11´. The distance may be easily found by a
-little practice. When this is done, the image that had disappeared on
-looking into D, will be restored, so that the spectator at E, upon looking
-into the two mirrors, C D, will see no light in C, because the candle has
-nearly disappeared, while the candle is distinctly seen in D. If, while
-the spectator is looking into these two mirrors, either he or another
-person breathes upon them gently and quickly, the breath will revive the
-extinguished image in C, and will extinguish the visible image in D.
-
-EXPLANATION.--The light A, C, B, D is polarized by reflection from the
-plates A B, because it is incident at the polarizing angle 56° 45´ for
-glass. When we breathe upon the plates C D, we form upon their surface
-a thin film of water, whose polarizing angle is 53° 11´, so that if the
-polarized rays A C, B D, fall upon the plates C D, at an angle of 53° 11´,
-the candle from which they proceed would not be visible, or they would not
-suffer reflection from the plates C D. At all the other angles the light
-would be reflected, and the candle visible. Now the plate D is placed at
-an angle of 53° 11´, and C at an angle of 56° 45´, so that when a film of
-water is breathed upon them, the light will be reflected from the latter,
-and none from the former; that is, the act of breathing upon the glass
-plates will restore the invisible, and extinguish the visible image.
-
-
-TO SHOW WHAT RAYS OF LIGHT DO NOT OBSTRUCT EACH OTHER.
-
-[Illustration]
-
-Make a small hole in a sheet of pasteboard A, and placing it upright
-before three candles B, placed closely together, it will be found that the
-images of all the candle flames will be formed separately on a piece of
-paper C, laid on the table to receive them. This proves that the rays of
-light do not obstruct each other in their progress, although all cross in
-passing through the hole.
-
-
-HOW TO SEE THROUGH A PHILADELPHIA BRICK.
-
-Construct a hollow box or case, like the figure in the margin. One side is
-purposely removed in the engraving, to enable you to see the arrangement
-of the interior, A, B, C, and D, are four small pieces of looking-glass,
-all placed at an angle of 45°, with respect to those sides of the box on
-which they are fixed; at E and G, two flat pieces of glass are inserted,
-as in the eye-glass of a telescope. Supposing you look through the opening
-E, in the direction of an object placed at O, you would see it in the
-same manner as if there was an uninterrupted view between E and G, which
-is evidently not the case. The cause of this is readily explained. The
-image of the object at O is received on the looking-glass A, by which it
-is reflected to B, as it is again from B to C, and afterwards to D; and
-this last image in D is seen by the eye of the spectator placed at E, in
-the same direction as if in reality he was looking at the real object
-itself, in the direction of the dotted line from O to E. From this it is
-evident that the placing an opaque body at F, cannot prevent the object
-at O being seen. Of course all this arrangement of the instrument is
-concealed, and you place it in the hands of a companion, that he may look
-through E or G, it matters not which, at any object placed beyond. You may
-then safely lay a wager that your instrument is of so magical a nature
-that it will enable you to see through a brick wall; but as a single brick
-will be more convenient, and equally wonderful, you are willing to satisfy
-his doubts at once. Of course, the hand or the hat, or any other opaque
-object, will answer the same purpose.
-
-[Illustration]
-
-
-THE STEREOSCOPE.
-
-This is one of the newest and most interesting optical surprises invented,
-but, like many other instruments, it is indulged with a very hard name,
-which means, "Solids I see." For mere amusement, the instrument supplied
-with the necessary pictures may suffice, and they are now sold like the
-kaleidoscope at all optical instrument makers, toyshops, &c. The effect
-consists in obtaining the perfect solidity of a geometric object from two
-ordinary drawings, pictures of columns, statuary, figures, flowers, &c.,
-&c., having a rounded appearance, "breadth," and keeping, which induce
-the spectator to believe he is gazing at the natural figure. Our limits
-preclude a lengthened description of the philosophy of this instrument,
-the invention of Professor Wheatstone. We may, however, first recommend
-our readers to study the structure of the eye, in Brewster's Treatise
-on Optics, which may be thoroughly impressed on the mind by dissecting
-carefully the eye of a sheep or bullock. Now, if we cut open a portion of
-the eye of a recently killed animal, and look in upon the retina, which is
-a delicate network of nerves, and is considered the "mind of the eye," we
-shall behold all images inverted. How then, do we see them upright? Again,
-as we have two eyes at a distance from each other, the images formed on
-the two retinæ cannot be precisely alike: how is it that confusion is not
-the result, instead of perfect images, in which we can appreciate the
-geometric niceties of length, breadth, and thickness? Now the stereoscope
-assists us in understanding these difficult questions; and, quoting
-Professor Wheatstone, we find he states "that the theory which has
-obtained the greatest currency is that which assumes that an object is
-seen single because its pictures fall on corresponding points of the two
-retinæ; that is, on points which are similarly situated with respect to
-the two centers, both in distance and position. This theory supposes that
-the pictures projected on the retinæ, are exactly similar to each other
-corresponding points of the two pictures falling on corresponding points
-of the two retinæ."
-
-Now, the fact is, that an object presents an entirely different appearance
-to each eye. Sir D. Brewster remarks, "That were a painter called upon to
-take drawings of a statue, as seen by each eye, he would fix at the height
-of his eyes a metallic plate, with two small holes in it, and he would
-then draw the statue as seen through the holes by each eye." With the
-utmost care, however, he could not reproduce the statue by their union.
-In order to do this, a camera with _two lenses_ of the same aperture and
-focal length, placed at the same distance as the _two eyes_, must be
-constructed and used.
-
-The stereoscope is, consequently, an imitation of the powers of the eyes,
-giving solidity and a perfect relievo appearance to any two pictures
-which might be drawn separately from the two lenses in the camera obscura
-mentioned. That is to say, if it were possible to be behind the retina of
-each eye, and draw the two pictures of any object seen by our eyes, those
-pictures put into the stereoscope, would reproduce the solidity from
-which they were drawn.
-
-Two instruments are sold, and may be obtained with the photographic
-pictures, almost at any optician's, viz.: the reflecting and the
-refracting stereoscope, of which we give drawings.
-
-[Illustration: _Fig. 1_
-
-THE REFLECTING STEREOSCOPE.]
-
-[Illustration: _Fig. 2_
-
-REFRACTING STEREOSCOPE.]
-
-_a_ _a_, the two pictures, B B, the two mirrors, so adjusted that their
-backs form an angle of ninety degrees with each other, i. e., the quarter
-of a circle.
-
-
-OCULAR SPECTRA.
-
-One of the most curious affections of the eye is that in virtue of which
-it sees what are called _ocular spectra_, or accidental colors. If we
-place a red wafer on a sheet of white paper, and, closing one eye, keep
-the other directed for some time to the center of the wafer, then, if
-we turn the same eye to another part of the paper, we shall see a green
-wafer, the color of which will continue to grow fainter and fainter, as we
-continue to look at it.
-
-By using differently-colored wafers, we obtain the following results:
-
-    WAFER.      SPECIMEN.
-    Black,     White.
-    White,     Black.
-    Red,       Bluish Green.
-    Orange,    Blue.
-    Yellow,    Indigo.
-    Green,     Violet, with a little Red.
-    Blue,      Orange Red.
-    Indigo,    Orange Yellow.
-    Violet,    Bluish Green.
-
-
-BRILLIANT WATER MIRROR.
-
-Nearly fill a glass tumbler with water, and hold it, with your back to
-the window, above the level of the eye, as in the engraving. Then look
-obliquely, as in the direction E, _a_, _c_, and you will see the whole
-surface shining like burnished silver, with a strong metallic reflection;
-and any object, as a spoon, A, C, B, immersed in the water, will have its
-immersed part, C B, reflected on the surface, as in a mirror, but with a
-brilliancy far surpassing that which can be obtained from quicksilver, or
-from the most highly-polished metals, by any means whatever.
-
-[Illustration]
-
-
-OPTICS OF A SOAP BUBBLE.
-
-[Illustration]
-
-If a soap-bubble be blown up, and set under a glass, so that the motion
-of air may not affect it, as the water glides down the sides and the top
-grows thinner, several colors will successively appear at the top, and
-spread themselves from thence down the sides of the bubble, till they
-vanish in the same order in which they appear. At length, a black spot
-appears at the top, and spreads till the bubble bursts.[7]
-
-
-THE KALEIDOSCOPE.
-
-[Illustration]
-
-If any object be placed between two plane mirrors, inclined towards
-each other at an angle of thirty degrees, three several images will be
-perceived in the circumference of a circle. On this principle is formed
-the kaleidoscope, invented by Sir David Brewster, and by means of which
-the reflected images viewed from a particular point exhibit symmetrical
-figures, under an infinite arrangement of beautiful forms and colors.
-The kaleidoscope may be bought at any toy-shop, but it is requisite that
-every young person should be able to construct one for himself. He must,
-therefore, procure a tube of tin or paper, of about ten inches in length,
-and two and a half or three inches in diameter. One end of this should be
-stopped up with tin or paper, securely fastened, in which is to be made
-a hole, about the size of a small pea, for the eye to look through. Two
-pieces of well-silvered looking-glass, B B, are now to be procured; they
-must be not quite so long as the tube, and they should be placed in the
-tube lengthwise, at an angle of 60 degrees, meeting together in a point
-at A, and separating to the points C C, the polished surfaces looking
-inwards. A circular piece of glass is now to be laid on the top of the
-edges of the reflectors, B B; which, by their not being quite so long as
-the tube, will allow room for its falling in, and it will be supported by
-the edges of the tube, which may be slightly bent over, to prevent the
-glass from falling out. This having been done, now proceed to make the
-"cap" of the instrument. A rim of tin or pasteboard must be cut, so as
-to fit over the glass end of the tube; and in this, on the outer side,
-a piece of ground glass must be fastened, so that the whole may fit on
-the tube like the lid of a pill-box. Then, before putting it on, obtain
-some small pieces of broken glass of various colors, beads, little strips
-of wire, or any other object, and place them in the cap; and by passing
-it over the end, so that the broken glass, &c. has free motion, the
-instrument is complete. To use it, apply the eye to the small hole, and,
-on turning it, the most beautiful forms will appear, in the most wonderful
-combinations.
-
-[Illustration]
-
-The following curious calculation has been made of the number of changes
-this instrument will admit of. Supposing it to contain 20 small pieces
-of glass, and that you make 10 changes in a minute, it will take an
-inconceivable space of time, _i. e._ 462,880,899,576 years, and 360 days,
-to go through the immense number of changes of which it is capable.
-
-
-SIMPLE SOLAR MICROSCOPE.
-
-Having made a circular hole in a window-shutter, about three inches in
-diameter, place in it a glass lens of about twelve inches focal distance.
-To the inside of the hole adapt a tube, having at a small distance from
-the lens a slit, capable of receiving one or two very thin plates of
-glass, to which the object to be viewed must be affixed by means of a
-little gum water exceedingly transparent. Into this tube fit another,
-furnished at its extremity with a lens of half an inch focal distance.
-Place a mirror before the hole of the window-shutter on the outside, in
-such a manner as to throw the light of the sun into the tube, and you will
-have a solar magic lantern.
-
-The method of employing this arrangement of lenses for microscopic
-purposes is as follows: Having darkened the room, and by means of the
-mirror reflected the sun's rays on the glasses in a direction parallel
-to the axis, place some small object between the two moveable plates
-of glass, or affix it to one of them with very transparent gum water,
-and bring it exactly into the axis of the tube; if the moveable tube
-be then pushed out or drawn in, till the object be a little beyond the
-focus, it will be seen painted very distinctly on a card, or piece of
-white paper, held at a proper distance, and will appear to be greatly
-magnified. A small insect will appear as a large animal, a hair as big
-as a walking-stick, and the almost invisible eels in paste or vinegar as
-large as common eels.
-
-
-ANAMORPHOSES.
-
-This is a very curious optical effect, producing a distorted and grotesque
-figure from a regular one. The term is derived from two Greek words,
-signifying a distortion of figure, and by its means many optical puzzles
-may be produced geometrically.
-
-Take any subject, such as the portrait of a head; divide it vertically
-and horizontally with parallel lines, of which the outer sides shall form
-the boundary, A, B, C, D, and the whole shall be equi-distant. Then, on a
-separate piece of paper, or cardboard, prepare a drawing similar to Fig. 2
-by the following means:
-
-1. Draw a horizontal line, _a b_, equal to A B, and divide it into as many
-equal parts as the latter is divided.
-
-2. Let fall a perpendicular line, _e v_, from the middle of _a b_, and
-then draw _s v_ parallel to _a b_.
-
-3. Both _e v_ and _s v_ may be any length at pleasure, but the longer the
-first is, and the shorter the other, so will the anamorphoses be more and
-more deformed. The proportions in our figures are sufficiently different.
-
-4. After having drawn from the point _v_ right lines, _v_ 1, _v_ 2, _v_ 3,
-_v_ 4, to the divisions of _a b_, draw the line _s b_, and through each
-point where _s b_ intersects the divergent lines, draw other horizontal
-lines parallel to _a b_. We now have a _trapezium_, _a b c d_, divided
-into as many cells as the square in Fig. 1.
-
-[Illustration: _Fig. 1._]
-
-[Illustration: _Fig. 2._]
-
-The next step is to fill up all the cells of Fig. 2 with portions of the
-device, proportionate to their position in Fig. 1. For instance, in Fig.
-1 the nose is in the second vertical division from the left, and in the
-third and fourth horizontal divisions from the top, and that portion of
-the face must accordingly be placed in a corresponding part of Fig. 2.
-
-By these means we procure the anamorphosis seen in Fig. 2, which, when
-viewed from a particular position, will lose all its distortion, and
-assume an appearance resembling that in Fig. 1. This position lies
-immediately over the point _v_, and at a height above it equal to the
-length of the line _s v_; and the means of determining it are as follow:
-
-Place the drawing horizontally before a window; take a slip of card, and
-rest its lower edge on the line _s v_, the card being accurately vertical;
-pierce a small hole in the card vertically over the point _v_, and at
-a height from it equal to the length of the line _s v_, then, with the
-eye placed immediately behind the card, look through the orifice at the
-anamorphosis, and it will be found that as soon as the eye has become
-accustomed to the novelty of the experiment the anamorphosis will lose its
-distortion, and appear almost exactly like the symmetrical figure.
-
-It would be very difficult, and would require geometrical reasoning of a
-lengthened kind, to show why this particular form of construction should
-lead to such results.
-
-
-THE COSMORAMA.
-
-The principle upon which the cosmorama is formed is so simple, that any
-person may easily fit up one in a small summer house, &c. Nothing more is
-necessary than to fix in a hole a double convex lens of about three feet
-focus, A, and at rather less than this distance a picture, B, is to be
-hung. To absorb all the rays of light but those necessary for seeing the
-picture, a squared frame of wood blackened on the inside is placed between
-the lens and the picture. The picture may be hung in a large box having a
-light coming in upon it from above, or in a small closet illuminated in
-the same manner. Should it be wished to show the picture by candle-light,
-a lamp, _c_, may be placed on the top of the wooden frame, and if the
-light of this be converged by a lens to a moderate radius, it will be more
-effective.
-
-[Illustration]
-
-
-DISTORTED LANDSCAPES.
-
-[Illustration]
-
-Landscapes or other matters may be drawn so as to produce curious
-optical illusions by the following method. Take a piece of smooth white
-pasteboard, and sketch the design upon it. Prick the outlines in every
-part with a fine pin or needle, then place the pricked drawing in a
-perpendicular position, and put a lighted candle behind it. Place before
-it another piece of pasteboard, and follow with a pencil the lines given
-by the light, and you have produced a distorted landscape. Now take
-away the candle and the pricked drawing, and place your eye where the
-light was, and the drawing will assume the regular form. To get your
-eye in the proper position, it will be advisable to cut out a piece of
-card according to the preceding pattern, and raising it on its base, B,
-look through the hole at A, when the object will appear in its proper
-proportions.
-
-[Illustration]
-
-
-THE MAGIC COIN.
-
-Among the numerous experiments with which science astonishes and sometimes
-even strikes terror into the ignorant, there is none more calculated
-to produce this effect than that of displaying to the eye in absolute
-darkness the legend or inscription upon a coin. To do this, take a silver
-coin (I have always used an old one), and after polishing the surface
-as much as possible, make the parts of it which are raised rough by the
-action of an acid, the parts not raised, or those which are to be rendered
-darkest, retaining their polish. If the coin thus prepared is placed upon
-a mass of red-hot iron, and removed into a dark room, the inscription upon
-it will become less luminous than the rest, so that it may be distinctly
-read by the spectator. The mass of red-hot iron should be concealed from
-the observer's eye, both for the purpose of rendering the eye fitter for
-observing the effect, and of removing all doubt that the inscription is
-really read in the dark, that is, without receiving any light, direct or
-reflected, from any other body. If, in place of polishing the depressed
-parts, and roughening its raised parts, we make the raised parts polished,
-and roughen the depressed parts, the inscription will now be less luminous
-than the depressed parts.
-
-
-FOOTNOTES:
-
-[Footnote 6: The eye is to be applied to the little circular hole seen on
-the upper surface.]
-
-[Footnote 7: The thinnest substance ever observed is the aqueous film of
-the soap-bubble previous to bursting; yet it is capable of reflecting the
-faint image of a candle, or the sun. Hence its thickness must correspond
-with what Sir Isaac Newton calls the beginning of black, which appears in
-water at the thickness of the seven hundred and fifty thousandth part of
-an inch.]
-
-
-
-
-TRICKS IN MECHANICS.
-
-[Illustration: "These are machinations comical."--FORD.]
-
-
-There is no subject of such importance as Mechanics, as its principles
-are founded upon the properties of matter and the laws of motion; and
-in knowing something of these, the tyro will lay the foundation of all
-substantial knowledge.
-
-The properties of matter are the following: Solidity (or Impenetrability),
-Divisibility, Mobility, Elasticity, Brittleness, Malleability, Ductility,
-and Tenacity.
-
-The laws of motion are as follow:
-
-1. Every body continues in a state of rest or of uniform rectilineal
-motion, unless affected by some extraneous force.
-
-2. The change of motion is always proportionate to the impelling force.
-
-3. Action and reaction are always equal and contrary.
-
-
-EXPERIMENT OF THE LAW OF MOTION.
-
-In shooting at "taw," if the marble be struck "plump," as it is called,
-it moves forward exactly in the same line of direction; but if struck
-sideways, it will move in an oblique direction, and its course will be in
-a line situated between the direction of its former motion and that of
-the force impressed. This is called the resolution of forces.
-
-
-BALANCING.
-
-The center of gravity in a body is that part about which all the other
-parts equally balance each other. In balancing a stick upon the finger,
-or upon the chin, it is necessary only to keep the chin or finger exactly
-under the point which is called the center of gravity.
-
-
-THE PRANCING HORSE.
-
-[Illustration]
-
-Cut out the figure of a horse, and having fixed a curved iron wire to the
-under part of its body, place a small ball of lead upon it. Place the hind
-legs of the horse on the table, and it will rock to and fro. If the ball
-be removed, the horse would immediately tumble, because unsupported, the
-center of gravity being in the front of the prop; but upon the ball being
-replaced, the center of gravity immediately changes its position, and is
-brought under the prop, and the horse is again in equilibrio.
-
-
-    TO CONSTRUCT A FIGURE, WHICH, BEING PLACED UPON A CURVED SURFACE,
-    AND INCLINED IN ANY POSITION, SHALL, WHEN LEFT TO ITSELF, RETURN TO
-    ITS FORMER POSITION.
-
-The feet of the figure rest on a curved pivot, which is sustained by two
-loaded balls below; for the weight of these balls being much greater than
-that of the figure, their effect is to bring the center of gravity of the
-whole beneath the point on which it rests; consequently the equilibrium
-will resist any slight force to disturb it.
-
-
-TO MAKE A CARRIAGE RUN IN AN INVERTED POSITION WITHOUT FALLING.
-
-[Illustration]
-
-It is pretty well known to most boys, that if a tumbler of water be
-placed within a broad wooden hoop, the whole may be whirled round without
-falling, owing to the centrifugal force. On the same principle, if a small
-carriage be placed on an iron band or rail, it will ascend the curve,
-become inverted, and descend again, without falling.
-
-
-TO CAUSE A CYLINDER TO ROLL BY ITS OWN WEIGHT UP HILL.
-
-Procure a coffee canister, and loading it at F with a piece of lead, which
-may be fixed in with solder, the position of the center of gravity is thus
-altered. If a cylinder so constructed be placed on an inclined plane, and
-the loaded part above, it will roll up hill without assistance.
-
-[Illustration]
-
-
-THE BALANCED STICK.
-
-Procure a piece of wood, about nine inches in length and about half
-an inch in thickness, and thrust into its upper end the blades of two
-penknives, on either side one. Place the other end upon the tip of the
-fore-finger, and it will keep its place without falling.
-
-[Illustration]
-
-
-THE CHINESE MANDARIN.
-
-Construct out of the pith of elder a little mandarin; then provide a base
-for it to sit in, like a kettle-drum. Into this put some heavy substance,
-such as half a leaden bullet; fasten the figure to this, and in whatever
-position it may be placed, it will, when left to itself, immediately
-return to its upright position.
-
-
-TO MAKE A QUARTER DOLLAR TURN ON ITS EDGE ON THE POINT OF A NEEDLE.
-
-[Illustration]
-
-Take a bottle, with a cork in its neck, and in it, in a perpendicular
-position, a middle-sized needle. Fix a quarter dollar into another
-cork, by cutting a nick in it; and stick into the same cork two small
-table-forks, opposite each other, with the handles inclining downwards. If
-the rim of the quarter dollar be now poised on the point of the needle, it
-may easily be made to spin round without falling, as the center of gravity
-is below the the center of suspension.
-
-
-THE SELF-BALANCED PAIL.
-
-You lay a stick across the table, letting one third of it project over
-the edge; and you undertake to hang a pail of water on it, without either
-fastening the stick on the table, or letting the pail rest on any support;
-and this feat the laws of gravitation will enable you literally to
-accomplish.
-
-[Illustration]
-
-You take the pail of water, and hang it by the handle upon the projecting
-end of the stick, in such a manner that the handle may rest on it in an
-inclined position, with the middle of the pail within the edge of the
-table. That it may be fixed in this situation, place another stick with
-one of its ends resting against the side at the bottom of the pail, and
-its other end against the first stick, where there should be a notch to
-retain it. By these means, the pail will remain fixed in that situation,
-without being able to incline to either side; nor can the stick slide
-along the table, or move along its edge, without raising the center of
-gravity of the pail, and the water it contains.
-
-
-TO LIFT A BOTTLE WITH A STRAW.
-
-Take a straw, and having bent the thicker end of it in a sharp angle, as
-in figure subjoined, put this hooked end into the bottle, so that the bent
-part may rest against its side; you may then take the other end, and lift
-up the bottle by it, without breaking the straw, and this will be the
-more readily accomplished as the angular part of the straw approaches
-nearer to that which comes out of the bottle. It is necessary, in order
-to succeed in this feat, to be particularly careful in choosing a stout
-straw, which is neither broken nor bruised; if it have been previously
-bent or damaged, it is unfit for the purpose of performing this trick, as
-it will be too weak in the part so bent, or damaged, to support the bottle.
-
-[Illustration]
-
-
-THE DANCING PEA.
-
-[Illustration]
-
-If you stick through a pea, or small ball of pith, two pins[8] at right
-angles, and defend the points with pieces of sealing wax, it may be kept
-in equilibrio at a short distance from the end of a straight tube by means
-of a current of breath from the mouth, which imparts a rotary motion to
-the pea.
-
-
-THE TOPER'S TRIPOD.
-
-[Illustration]
-
-Place three tobacco pipes in the position shown in the engraving, the
-mouth of the bowls downwards, and the lower end of the stems upon the stem
-just by the bowls. This tripod, if carefully put together, will support
-considerably more than a pot of ale.
-
-
-OBLIQUITY OF MOTION.
-
-[Illustration]
-
-[Illustration]
-
-Cut a piece of pasteboard into the following shape, and describe on it a
-spiral line; cut this out with a penknife, and then suspend it on a large
-skewer or pin, as seen in the engraving. If the whole be now placed on a
-warm stove, or over the flame of a candle or lamp, it will revolve with
-considerable velocity. The card, after being cut into the spiral, may be
-made to represent a snake or dragon, and when in motion will produce a
-very pleasing effect.
-
-
-THE BRIDGE OF KNIVES.
-
-[Illustration]
-
-Place three glasses, A A A, in the form of a triangle, and arrange three
-knives upon them, as shown in the figure, the blade of No. 1 over that of
-No. 2, and that over No. 3, which rests on No. 1. The bridge so made will
-be self-supported.
-
-
-SAND IN THE HOUR-GLASS.
-
-It is a remarkable fact, that the flow of sand in the hour-glass is
-perfectly equable, whatever may be the quantity in the glass; that is, the
-sand runs no faster when the upper half of the glass is quite full than
-when it is nearly empty. It would, however, be natural enough to conclude
-that, when full of sand, it would be more swiftly urged through the
-aperture, than when the glass was only a quarter full, and near the close
-of the hour.
-
-The fact of the even flow of sand may be proved by a very simple
-experiment. Provide some silver sand, dry it over or before the fire, and
-pass it through a tolerably fine sieve. Then take a tube, of any length or
-diameter, closed at one end, in which make a small hole, say the eighth of
-an inch; stop this with a peg, and fill up the tube with the sifted sand.
-Hold the tube steadily, or fix it to a wall, or frame, at any height from
-a table; remove the peg, and permit the sand to flow in any measure for
-any given time, and note the quantity. Then, let the tube be emptied, and
-only half or a quarter filled with the sand; measure again, for a like
-time, and the same quantity of sand will flow: even if you press the sand
-in the tube with a ruler or stick, the flow of the sand through the hole
-will not be increased.
-
-The above is explained by the fact, that when the sand is poured into
-the tube, it fills it with a succession of conical heaps, and that all
-the weight which the bottom of the tube sustains is only that of the
-heap which _first_ falls upon it; as the succeeding heaps do not press
-downwards, but only against the sides or walls of the tube.
-
-
-RESISTANCE OF SAND.
-
-From the above experiment it may be concluded, that it is extremely
-difficult to thrust sand out of a tube by means of a fitting plug or
-piston; and this, upon trial, is found to be the case. Fit a piston to
-a tube (exactly like a boy's pop-gun,) pour some sand in, and try with
-the utmost strength of the arm to push out the sand. It will be found
-impossible to do this: rather than the sand should be shot out, the tube
-will burst at the sides.
-
-FOOTNOTES:
-
-[Footnote 8: The pins are only used to hold the pea steady before it is
-blown from the pipe, as the pea alone will dance quite as well.]
-
-
-
-
-TRICKS IN HYDRAULICS.
-
-
-The science of Hydraulics comprehends the laws which regulate non-elastic
-fluids in motion, and especially water, &c.
-
-[Illustration]
-
-Water can only be set in motion by two causes--the pressure of the
-atmosphere, or its own gravity. The principal law concerning fluids is,
-that they always preserve their own level. Hence water can be distributed
-over a town from any reservoir that is higher than the houses to be
-supplied; and the same principle will enable us to form fountains in a
-garden, or other place. Should any of our young friends wish to form
-a fountain, or jet-d'-eau, they may, by bringing a pipe from T, a
-water-tank, which should be at the upper part of the house, convey the
-water down to the garden. Then by leading it through the earth, underneath
-the path or grass plot, and turning it to a perpendicular position, the
-water will spring out, and rise nearly as high as the level of that in the
-tank. The part of the pipe at B should have a turnkey, so that the water
-may be let on or shut off at pleasure.
-
-
-THE PUMP.
-
-The action of the common pump is as follows: When the handle A is raised,
-the piston-rod B descends, and brings the piston-valve, called the
-sucker, or bucket, to another valve, C, which is fixed, and opens inwards
-towards the piston. When the handle is drawn down, the piston is raised,
-and, as it is air-tight, a vacuum is produced between the two valves; the
-air in the valve of the pump, betwixt the lower valve and the water, then
-forces open the lower valve, and rushes through to fill up this vacuum;
-and the air in the pump being less dense than the external atmosphere, the
-water is forced a short way up the barrel. When the piston again descends
-to the lower valve, the air between them is again forced out by forcing
-open the upper valve; and when the piston is raised, a vacuum is again
-produced, and the air below the lower valve rushes up, and the water in
-consequence is again raised a little further. This operation continues
-until the water rises above the lower valve; at every stroke afterwards,
-the water passes through the valve of the descending piston, and is raised
-by it, on its ascent, until it issues out of the spout.
-
-[Illustration]
-
-
-THE HYDRAULIC DANCER.
-
-[Illustration]
-
-Make a little figure of cork, in the shape of a dancing mountebank,
-sailor, &c. In this figure place a small hollow cone, made of thin leaf
-brass. When this figure is placed upon any jet-d'-eau, such as that of
-the fountain recommended to be constructed, it will be suspended on the
-top of the water, and perform a great variety of amusing motions. If a
-hollow ball of very thin copper, about an inch in diameter, be placed on
-a similar cone, it will remain suspended, turning round and spreading the
-water all about it.
-
-
-THE SYPHON.
-
-[Illustration]
-
-The syphon is a bent tube, having one leg shorter than the other. It acts
-by the pressure of the atmosphere being removed from the surface of a
-fluid, which makes it to rise above its common level at B. In order to
-make a syphon act, it is necessary first to fill both legs quite full of
-the fluid; and then the shorter leg must be placed in the vessel to be
-emptied. Immediately upon withdrawing the finger from the longer leg, the
-liquor will flow. Any young person may form a syphon by a small piece of
-leaden pipe, bent into the form above.
-
-
-THE WATER SNAIL, OR ARCHIMEDIAN SCREW
-
-may easily be constructed. Purchase a yard of small leaden pipe, and twist
-it round a pole, as in the following figure, A; place a handle at its
-upper end, B, and let its lower end rest in the water. Between the last
-turn of the pipe and the orifice place a paddle-wheel, C. Now, should
-the water be that of a running stream, the force of the stream will turn
-the pipe, and the water will rise in it till it empties itself into the
-trough at D. Should the water have no motion, the turning of the handle at
-B will elevate the water from the lower to the higher level.
-
-[Illustration]
-
-
-THE BOTTLE EJECTMENT.
-
-Fill a small white glass bottle, with a very narrow neck, full of wine;
-place it in a glass vase, which must previously have sufficient water in
-it to rise above the mouth of the bottle. Immediately you will perceive
-the wine rise, in the form of a little column, toward the surface of the
-water, and the water will, in the mean time, begin to take the place of
-the wine at the bottom of the bottle. The cause of this is, that the water
-is heavier than the wine, which it displaces, and forces it to rise toward
-the surface.
-
-
-THE MAGIC OF HYDROSTATICS WITH THE ANCIENTS.
-
-The principles of _Hydrostatics_ were available in the work of magical
-deception. The marvelous fountain which Pliny describes in the island
-of Andros as discharging wine for seven days, and water during the rest
-of the year,--the spring of oil which broke out in Rome to welcome the
-return of Augustus from the Sicilian war,--the three empty urns which
-filled themselves with wine at the annual feast of Bacchus in the city of
-Elis,--the glass tomb of Belus, which was full of oil, and which, when
-once emptied by Xerxes, could not again be filled,--the weeping statues,
-and the perpetual lamps of the ancients,--were all the obvious effect of
-the equilibrium and pressure of fluids.
-
-
-TO EMPTY A GLASS UNDER WATER.
-
-Fill a wine-glass with water, place over its mouth a card, so as to
-prevent the water from escaping, and put the glass, mouth downwards, into
-a basin of water. Next, remove the card, and raise the glass partly above
-the surface, but keep its mouth below the surface, so that the glass still
-remains completely filled with water. Then insert one end of a quill or
-reed in the water below the mouth of the glass, and blow gently at the
-other end, when air will ascend in bubbles to the highest part of the
-glass, and expel the water from it; and, if you continue to blow through
-the quill, all the water will be emptied from the glass, which will be
-filled with air.
-
-
-
-
-TRICKS IN ACOUSTICS.
-
-
-Acoustics is the science relating to sound and hearing. Sound is heard
-when any shock or impulse is given to the air, or to any other body which
-is in contact directly or indirectly with the ear.
-
-
-DIFFERENCE BETWEEN SOUND AND NOISE.
-
-Noises are made by the cracks of whips, the beating of hammers, the creak
-of a file or saw, or the hubbub of a multitude. But when a bell is struck,
-the bow of a violin drawn across the strings, or the wetted finger turned
-round a musical glass, we have what are properly called sounds.
-
-
-SOUNDS, HOW PROPAGATED.
-
-Sounds are propagated on all bodies much after the manner that waves are
-in water, with a velocity of 1,142 feet in a second. Sounds in liquids
-and in solids are more rapid than in air. Two stones rubbed together may
-be heard in water at half a mile; solid bodies convey sounds to great
-distances, and pipes may be made to convey the voice over every part of
-the house.
-
-
-VISIBLE VIBRATION.
-
-Provide a glass goblet about two thirds filled with colored water, draw
-a fiddle bow against its edge, and the surface of the water will exhibit
-a pleasing figure, composed of fans, four, six, or eight in number,
-dependent on the dimensions of the vessel, but chiefly on the pitch of the
-note produced.
-
-[Illustration]
-
-Or, nearly fill a glass with water, draw the bow strongly against its
-edge, the water will be elevated and depressed; and when the vibration has
-ceased, and the surface of the water has become tranquil, these elevations
-will be exhibited in the form of a curved line, passing round the interior
-surface of the glass, and above the surface of the water. If the action
-of the bow be strong, the water will be sprinkled on the inside of the
-glass, above the liquid surface, and this sprinkling will show the curved
-line very perfectly, as in the engraving. The water should be carefully
-poured, so that the glass above the liquid be preserved dry; the portion
-of the glass between the edge and curved line will then be seen partially
-sprinkled; but, between the level of the water and the curved line, it
-will have become wholly wetted, thereby indicating the height to which the
-fluid has been thrown.
-
-
-TRANSMITTED VIBRATION.
-
-[Illustration]
-
-Provide a long, flat glass ruler or rod, as in the engraving, and cement
-it with mastic to the edge of a drinking glass, fixed into a wooden
-stand; support the other end of the rod very lightly on a piece of cork,
-and strew its upper surface with sand; set the glass in vibration by a
-bow, at a point opposite where the rod meets it, and the motions will be
-communicated to the rod without any change in their direction. If the
-apparatus be inverted, and sand be strewed on the under side of the rod,
-the figures will be seen to correspond with those produced on the upper
-surface.
-
-
-DOUBLE VIBRATION.
-
-[Illustration]
-
-Provide two disks of metal or glass, precisely of the same dimensions, and
-a glass or metal rod; cement the two disks at their centers to the ends of
-the rod, as in the engraving, and strew their upper surfaces with sand.
-Cause one of the disks, viz., the upper one, to vibrate by a bow, and its
-vibration will be exactly imitated by the lower disk, and the sand strewed
-over both will arrange itself in precisely the same forms on both disks.
-
-
-CHAMPAGNE AND SOUND.
-
-Pour sparkling champagne into a glass, until it is half full, when the
-glass will lose its power of ringing by a stroke upon its edge, and will
-emit only a disagreeable and puffy sound. Nor will a glass ring while
-the wine is brisk, and filled with air-bubbles; but as the effervescence
-subsides, the sound will become clearer and clearer, and when the
-air-bubbles have entirely disappeared, the glass will ring as usual.
-If a crumb of bread be thrown into the champagne, and effervescence be
-reproduced, the glass will again cease to ring. The same experiment will
-also succeed with soda water, ginger wine, or any other effervescing
-liquid.
-
-
-MUSIC OF THE SNAIL.
-
-Place a garden snail upon a pane of glass, and in drawing itself along, it
-will frequently produce sounds similar to those of musical glasses.
-
-
-THE TUNING-FORK A FLUTE PLAYER.
-
-[Illustration]
-
-Take a common tuning-fork, and on one of its branches fasten with
-sealing-wax a circular piece of card, of the size of a small wafer, or
-sufficient nearly to cover the aperture of a pipe, as the sliding of the
-upper end of a flute with the mouth stopped: it may be tuned in unison
-with the loaded tuning-fork (a C fork), by means of the moveable stopper
-or card, or the fork may be loaded till the unison is perfect. Then set
-the fork in vibration by a blow on the unloaded branch, and hold the
-card closely over the mouth of the pipe, as in the engraving, when a
-note of surprising clearness and strength will be heard. Indeed, a flute
-may be made to "speak" perfectly well, by holding close to the opening a
-vibrating tuning-fork, while the fingering proper to the note of the fork
-is at the same time performed.
-
-
-MUSICAL BOTTLES.
-
-Provide two glass bottles, and tune them by pouring water into them, so
-that each corresponds to the sound of a different tuning-fork. Then apply
-both tuning-forks to the mouth of each bottle alternately, when that sound
-only will be heard, in each case, which is reciprocated by the unisonant
-bottle; or, in other words, by that bottle which contains a column of air,
-susceptible of vibrating in unison with the fork.
-
-
-THEORY OF WHISPERING.
-
-Apartments of a circular or elliptical form are best calculated for the
-exhibition of this phenomenon. If a person stand near the wall, with his
-face turned to it, and whisper a few words, they may be more distinctly
-heard at nearly the opposite side of the apartment, than if the listener
-was situated near to the speaker.
-
-
-THEORY OF THE VOICE.
-
-Provide a species of whistle, common as a child's toy or a sportsman's
-call, in the form of a hollow cylinder, about three fourths of an inch
-in diameter, closed at both ends by flat circular plates, with holes in
-their centers. Hold this toy between the teeth and lips; blow through
-it, and you may produce sounds varying in pitch with the force with
-which you blow. If the air be cautiously graduated, all the sounds
-within the compass of a double octave may be produced from it; and, if
-great precaution be taken in the management of the wind, tones even yet
-graver may be brought out. This simple instrument, or toy, has indeed the
-greatest resemblance to the larynx, which is the organ of voice.
-
-
-TO TUNE A GUITAR WITHOUT THE ASSISTANCE OF THE EAR.
-
-Make one string to sound, and its vibrations will, with much force, be
-transferred to the next string: this transference may be seen, by placing
-a saddle of paper (like an inverted Λ) upon the string, at first in a
-state of rest. When this string _hears_ the other, the saddle will be
-shaken, or fall off; when both strings are in harmony, the paper will be
-very little, or not at all shaken.
-
-
-PROGRESS OF SOUND.
-
-When a bow is drawn across the strings of a violin, the impulses produced
-may be rendered evident by fixing a small steel bead upon the bow; when
-looked at by light, or in sunshine, the bead will seem to form a series of
-dots during the passage of the bow.
-
-
-TO MAKE AN ÆOLIAN HARP.
-
-This instrument consists of a long narrow box of very thin pine, about
-six inches deep, with a circle in the middle of the upper side, of an
-inch and half in diameter, in which are to be drilled small holes. On
-this side seven, ten, or more strings of very fine catgut are stretched
-over bridges at each end like the bridge of a fiddle, and screwed up or
-relaxed with screw pins. The strings must all be tuned to one and the
-same note,[9] and the instrument should be placed in a window partly open,
-in which the width is exactly equal to the length of the harp, with the
-sash just raised to give the air admission. When the air blows upon these
-strings with different degrees of force it will excite different tones of
-sound. Sometimes the blast brings out all the tones in full concert, and
-sometimes it sinks them to the softest murmurs.
-
-A colossal imitation of the instrument just described was invented at
-Milan in 1786, by the Abbate Gattoni. He stretched seven strong iron
-wires, tuned to the notes of the gamut, from the top of a tower sixty feet
-high, to the house of a Signor Moscate, who was interested in the success
-of the experiment, and this apparatus, called the "giant's harp," in
-blowing weather yielded lengthened peals of harmonious music. In a storm
-this music was sometimes heard at the distance of several miles.
-
-
-THE INVISIBLE GIRL.
-
-[Illustration]
-
-The facility with which the voice circulates through tubes was known to
-the ancients, and no doubt has afforded the priests of all religions means
-of deception to the ignorant and credulous. But of late days the light
-of science dispels all such wicked deceptions. A very clever machine was
-produced at Paris several years ago, and afterwards exhibited in New York
-and other cities in the United States, under the name of the "Invisible
-Girl," since the apparatus was so constructed that the voice of a female
-at a distance was heard as if it originated from a hollow globe, not more
-than a foot in diameter. It consisted of a wooden frame something like a
-tent bedstead, formed by four pillars _a a a a_, connected by upper cross
-rails _b b_, and similar rails below, while it terminated above in four
-bent wires _c c_, proceeding at right angles of the frame, and meeting in
-a central point. The hollow copper ball _d_, with four trumpets, _t t_,
-crossing from it at right angles, hung in the center of the frame, being
-connected with the wires alone by four narrow ribbons _r r_. The questions
-were proposed close to the open mouth of one of these trumpets, and the
-reply was returned from the same orifice. The means used in the deception
-were as follows: a pipe or tube was attached to one of the hollow pillars,
-and carried into another apartment, in which a female was placed; and this
-tube having been carried up the leg or pillar of the instrument to the
-cross-rails, had apertures exactly opposite two of the trumpet mouths; so
-that what was spoken was immediately answered through a very simple mode
-of communication.
-
-
-THE MAGIC OF ACOUSTICS.
-
-The science of _Acoustics_ furnished the ancient sorcerers with some of
-their best deceptions. The imitation of thunder in their subterranean
-temples could not fail to indicate the presence of a supernatural agent.
-The golden virgins whose ravishing voices resounded through the temple of
-Delphos,--the stone from the river Pactolus, whose trumpet notes scared
-the robber from the treasure which it guarded,--the speaking head which
-uttered its oracular responses at Lesbos,--and the vocal statue of Memnon,
-which began at the break of day to accost the rising sun,--were all
-deceptions derived from science, and from a diligent observation of the
-phenomena of nature.
-
-
-TO SHOW HOW SOUND TRAVELS THROUGH A SOLID.
-
-Take a long piece of wood, such as the handle of a hair broom, and placing
-a watch at one end, apply your ear to the other, and the tickings will be
-distinctly heard.
-
-
-TO SHOW THAT SOUND DEPENDS ON VIBRATION.
-
-Touch a bell when it is sounding, and the noise ceases; the same may be
-done to a musical string with the same results. Hold a musical pitchfork
-to the lips, when it is made to sound, and a quivering motion will be felt
-from its vibrations. These experiments show that sound is produced by the
-quick motions and vibrations of different bodies.
-
-FOOTNOTES:
-
-[Footnote 9: D is a good note for it. The upper string may be tuned to the
-upper D, and the two lower to the lower D, and D D. The "harmonics," are
-the sounds produced.]
-
-
-
-
-THE MAGIC OF NUMBERS
-
-OR, CURIOUS PROBLEMS IN ARITHMETIC.
-
-[Illustration]
-
-
-As the principal object of this volume is to enable the young reader to
-learn something in his sports, and to understand what he is doing, we
-shall, before proceeding to the curious tricks and feats connected with
-the science of numbers, present him with some arithmetical aphorisms, upon
-which most of the following examples are founded.
-
-
-APHORISMS OF NUMBER.
-
-1. If two even numbers be added together, or subtracted from each other,
-their sum or difference will be an even number.
-
-2. If two uneven numbers be added or subtracted, their sum or difference
-will be an even number.
-
-3. The sum or difference of an even and an uneven number added or
-subtracted, will be an uneven number.
-
-4. The product of two even numbers will be an even number, and the product
-of two uneven numbers will be an uneven number.
-
-5. The product of an even and uneven number will be an even number.
-
-6. If two different numbers be divisible by any one number, their sum and
-their difference will also be divisible by that number.
-
-7. If several different numbers, divided by 3, be added or multiplied
-together, their sum and their product will also be divisible by 3.
-
-8. If two numbers, divisible by 9, be added together, the sum of the
-figures in the amount will be either 9, or a number divisible by 9.
-
-9. If any number be multiplied by 9, or by any other number divisible by
-9, the amount of the figures of the product will be either 9, or a number
-divisible by 9.
-
-10. In every arithmetical progression, if the first and last term be each
-multiplied by the number of terms, and the sum of the two products be
-divided by 2, the quotient will be the sum of the series.
-
-11. In every geometric progression, if any two terms be multiplied
-together, their product will be equal to that term, which answers to the
-sum of these two indices. Thus, in the series--
-
-    1  2  3   4   5
-    2  4  8  16  32
-
-If the third and fourth terms 8 and 16 be multiplied together, the product
-128 will be the seventh term of the series. In like manner, if the fifth
-term be multiplied into itself, the product will be the tenth term, and
-if that sum be multiplied into itself, the product will be the twentieth
-term. Therefore, to find the last, or any other term of a geometric
-series, it is not necessary to continue the series beyond a few of the
-first terms.
-
-Previous to the numerical recreations, we shall here describe certain
-mechanical methods of performing arithmetical calculations, such as are
-not only in themselves entertaining, but will be found more or less useful
-to the young reader.
-
-
-PALPABLE ARITHMETIC.
-
-The blind mathematician, Dr. Saunderson, adopted a very ingenious device
-for performing arithmetical operations by the sense of touch.
-
-Small cubes of wood were provided, and in one face of each, nine holes
-were pierced, thus:
-
-    1 2 3   o o o
-    4 5 6   o o o
-    7 8 9   o o o
-
-These holes represented the nine digits, as in the figure, and to denote
-any figure, a small peg was inserted into the hole corresponding to it.
-If the number consisted of several figures, more cubes were used, one for
-each. A cipher was represented by a peg of different shape from that of
-the others, and inserted in the central hole.
-
-To perform any arithmetical process, a square board was provided, divided
-by ridges into recesses of the same width as the cubes, and by this the
-cubes were retained in the required horizontal and perpendicular lines.
-Suppose it was necessary to add together the numbers 763, 124, 859, the
-cubes and pegs would be arranged thus:
-
-            o o o   o o o   o o ☻
-            o o o   o o o   o o o
-            o o o   o o o   o o o
-
-
-            ☻ o o   o ☻ o   o o o
-            o o o   o o o   ☻ o o
-            o o o   o o o   o o o
-
-
-            o o o   o o o   o o o
-            o o o   o ☻ o   o o o
-            o ☻ o   o o o   o o ☻
-
-    ☻ o o   o o o   o o o   o o o
-    o o o   o o o   ☻ o o   o o ☻
-    o o o   o o o   o o o   o o o
-
-
-THE ABACUS.
-
-This instrument is used for teaching numeration, and the first principles
-of arithmetic.
-
-[Illustration]
-
-Upon a frame are placed wires, parallel to one another, and at equal
-distances. Ten small balls are strung upon each wire, being placed as in
-the margin. The right wire denotes units, the next tens, and so on, the
-7th wire being the place of millions. In using the abacus, all the balls
-are first ranged at one end, and a number of them are then moved to the
-other end of each wire, to correspond to the figures required. The example
-given in the margin is 15,781, the height of Mount Blanc.
-
-
-NAPIER'S RODS.
-
-The object of this contrivance is to render arithmetical multiplication
-more easy, and to secure its correctness; it was much used by astronomers
-before the invention of logarithms.
-
-To appreciate the merits of this invention, we must consider the process
-of multiplication as usually performed. Suppose we had to multiply 8,679
-by 8:
-
-     8,679
-         8
-    ------
-    69,432
-
-We first multiply 9 by 8 = 72, and putting down 2 as the first figure in
-the product, carry the 7 to add to the next product of 7 by 8 = 56; this
-gives us 63, the 3 being put down as the second figure; 6 is carried to
-add to the product of 6 by 8, and so on.
-
-A blunder may be made in each part of this process; for 1st, we might
-reckon 8 times 9 as some other number than 72; 2d, after multiplying the 7
-by the 8, we might add to the resulting 56 some other figure than the 7,
-which we carried; 3d, we may add 56 to 7 inaccurately, making some other
-sum of it than the right one, 63. Errors in a long multiplication problem
-are usually made in one of these three ways, and to prevent such errors,
-Lord Napier[10] introduced this useful contrivance. Thin strips of card,
-wood, or bone, 9 times as long as they are broad, are each divided into 9
-equal squares, a figure is printed or written on the top square, and in
-each of the squares underneath is the product of multiplying that figure
-by 2, 3, 4, &c., up to 9.
-
-[Illustration:
-
-    +-----+-----+-----+-----+-----+
-    |     |     |     |     |     |
-    |  1  |  8  |  6  |  7  |  9  |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  2  | 1/6 | 1/2 | 1/4 | 1/8 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  3  | 2/4 | 1/8 | 2/1 | 2/7 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  4  | 3/2 | 2/4 | 2/8 | 3/6 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  5  | 4/0 | 3/0 | 3/5 | 4/5 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  6  | 4/8 | 3/6 | 4/2 | 5/4 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  7  | 5/6 | 4/2 | 4/9 | 6/3 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  8  | 6/4 | 4/8 | 5/6 | 7/2 |
-    |-----+-----+-----+-----+-----|
-    |     |     |     |     |     |
-    |  9  | 7/2 | 5/4 | 6/3 | 8/1 |
-    +-----+-----+-----+-----+-----+
-]
-
-To use these in multiplication, select the strips, the top figures of
-which make the number to be multiplied. For example:
-
-To multiply 8,679 by 8, look at the eighth line of squares from the top,
-and on that line will be found the product of each of the integers 8, 6,
-7, 9, when multiplied by 8. We have then to write down the 2 as the first
-figure of the product, add 7 and 6 together = 13; write 3 as the next
-figure, carry 1 to add to the sum of 8 and 5, and so on.
-
-The reason for dividing the figures in each square by a diagonal line, and
-for placing the left-hand figure higher than the right is, that the eye
-may be thus assisted in adding the carried figure of one slip to the unit
-of the next.
-
-To provide for the occurrence of more than one of the same figures in the
-multiplicand, there should be several slips or rods for each of the digits.
-
-In practice the rods are placed on a flat piece of wood, with two ridges
-at right angles, by which they are preserved in a proper position.
-
-This instrument can be made useful in "divisions," by making by means
-of it a table of the product of the divisor, multiplied by each of the
-numbers 1 to 9.
-
-
-THE ARITHMETICAL BOOMERANG.
-
-The boomerang is an instrument of peculiar form, used by the natives of
-New South Wales, for the purpose of killing wild fowl and other small
-animals. If projected forwards, it at first proceeds in a straight line,
-but afterwards rises in the air, and after performing sundry peculiar
-gyrations, returns in the direction of the place where it was thrown.
-
-The term is applied to those arithmetical processes by which you can
-divine a number thought of by another. You throw forwards the number by
-means of addition and multiplication, and then, by means of subtraction
-and division, you bring it back to the original starting point, making it
-proceed in a track so circuitous as to evade the superficial notice of the
-tyro.
-
-
-TO FIND A NUMBER THOUGHT OF.
-
-_First Method._
-
-This is an arithmetical trick which, to those who are unacquainted with
-it, seems very surprising; but, when explained, it is very simple. For
-instance, ask a person to _think_ of any number under 10. When he says
-he has done so, desire him to treble that number. Then ask him whether
-the sum of the number he has thought of (now multiplied by 3) be odd or
-even; if odd, tell him to add 1 to make the sum even. He is next to halve
-the sum, and then treble that half. Again ask whether the amount be odd
-or even. If odd, add 1 (as before) to make it even, and then halve it.
-Now ask how many nines are contained in the remainder. The secret is, to
-bear in mind whether the first sum be odd or even; if odd, retain 1 in
-the memory; if odd a second time, retain 2 more (making in all 3 to be
-retained in the memory;) to which add 4 for every nine contained in the
-remainder.
-
-For example, No. 7 is odd the first and also the second time; and the
-remainder (17) contains one nine; so that 1, added to 2, make 3, and 3,
-added to 4, make 7, the number thought of. No. 1 is odd the first time
-(retain 1), and even the second (of which no notice is taken), but the
-remainder is not equal to nine. No. 2 is even the first and odd the second
-time (retain 2), but the remainder contains no nine. No. 3 is odd the
-first and the second time, still there is no nine in the remainder. No.
-4 is even both times, and contains one nine. No. 5 is odd the first time
-and the remainder contains one nine. No. 6 is odd the second time, and
-contains one nine in the remainder. No. 8 is even both times, and the
-remainder contains two nines. No notice need be taken of any overplus of a
-remainder, after being divided by nine.
-
-The following are illustrations of the result with each number:
-
-        1     2     3     4     5     6     7     8     9
-        3     3     3     3     3     3     3     3     3
-       --    --    --    --    --    --    --    --    --
-        3   2)6     9  2)12    15  2)18    21  2)24    27
-    Add 1    -- Add 1    -- Add 1    -- Add 1    -- Add 1
-       --     3    --     6    --     9    --    12    --
-      2)4     3  2)10     3  2)16     3  2)22     3  2)28
-       --    --    --    --    --    --    --    --    --
-        2     9     5  2)18     8    27    11  2)36    14
-        3 Add 1     3    --     3 Add 1     3    --     3
-       --    --     --  9)9    --    --    --  9)18    --
-      2)6  2)10    15    --  2)24  2)28    33    --  2)42
-       --    -- Add 1     1    --    -- Add 1     2    --
-        3     5    --        9)12  9)14    --        9)21
-                 2)16          --    --  2)34          --
-                   --           1     1    --           2
-                    8                    9)17
-                                           --
-                                            1
-
-
-_Second Method._
-
-EXAMPLE.
-
-    Let a person think of a number, say          6
-      1. Let him multiply it by 3               18
-      2. Add 1                                  19
-      3. Multiply by 3                          57
-      4. Add to this the number thought of      63
-
-Let him inform you what is the number produced; it will always end with 3.
-Strike off the 3, and inform him that he thought of 6.
-
-
-_Third Method._
-
-EXAMPLE.
-
-    Suppose the number thought of to be      6
-      1. Let him double it                  12
-      2. Add 4                              16
-      3. Multiply by 6                      80
-      4. Add 12                             92
-      5. Multiply by 10                    920
-
-Let him inform you what is the number produced. You must in every case
-subtract 320; the remainder is, in this example, 600; strike off the two
-ciphers, and announce 6 as the number thought of.
-
-
-_Fourth Method._
-
-Desire a person to think of a number, say 6. He must then proceed--
-
-
-EXAMPLE.
-
-    1. To multiply this number by itself           36
-    2. So take 1 from the number thought of         5
-    3. To multiply this by itself                  25
-    4. To tell you the difference between this
-         product and the former                    11
-    You must then add 1 to it                      12
-    And halve this number                           6
-
-Which will be the number thought of.
-
-
-_Fifth Method._
-
-Desire a person to think of a number, say 6. He must then proceed as
-follows:
-
-
-EXAMPLE.
-
-    1. Add 1 to it                       7
-    2. Multiply by 3                    21
-    3. Add 1 again                      22
-    4. Add the number thought of        28
-
-Let him tell you the figures produced (28):
-
-    5. You then subtract 4 from it      24
-    6. And divide by 4                   6
-
-Which you can say is the number thought of.
-
-
-_Sixth Method._
-
-EXAMPLE.
-
-    Suppose the number thought of                6
-      1. Let him double it                      12
-      2. Desire him to add to this any number
-           you tell him, say 4                  16
-      3. To halve it                             8
-
-You can then tell him that if he will subtract from this the number he
-thought of, the remainder will be, in the case supposed, 2.
-
-_Note._--The remainder is always half of the number you tell him to add.
-
-
-TO DISCOVER TWO OR MORE NUMBERS THAT A PERSON HAS THOUGHT OF.
-
-_1st Case._--Where each of the numbers is less than 10. Suppose the
-numbers thought of were 2, 3, 5.
-
-
-EXAMPLE.
-
-    1. Desire him to double the first number making      4
-    2. To add 1 to it                                    5
-    3. To multiply by 5                                 25
-    4. To add the second number                         28
-
-There being a third number, repeat this process--
-
-    5. To double it                  56
-    6. To add 1 to it                57
-    7. To multiply by 5             285
-    8. To add the third number      290
-
-And to proceed in the same manner for as many numbers as were thought of.
-Let him tell you the last sum produced (in this case 290). Then, if there
-were two numbers thought of, you must subtract 5; if three, 55; if four,
-555. You must here subtract 55, leaving a remainder of 235, which are the
-numbers thought of, 2, 3 and 5.
-
-_2d Case._--Where one or more of the numbers are 10, or more than 10, and
-where there is an _odd_ number of numbers thought of.
-
-Suppose he fixes upon five numbers, viz. 4, 6, 9, 15, 16.
-
-He must add together the numbers as follows, and tell you the various sums:
-
-    1.  The sum of the 1st and 2d       10
-    2.  The sum of the 2d and 3d        15
-    3.  The sum of the 3d and 4th       24
-    4.  The sum of the 4th and 5th      31
-    5.  The sum of the 1st and last     20
-
-You must then add together the 1st, 3d and 5th sums, viz. 10 + 24 + 20 =
-54, and the 2d and 4th, 15 + 31 = 46; take one from the other, leaving 8.
-The half of this is the 1st number, 4; if you take this from the sum of
-the 1st and 2d you will have the 2d number, 6; this taken from the sum of
-the 2d and 3d will give you the 3d, 9; and so on for the other numbers.
-
-_3d Case._--Where one or more of the numbers are 10, or more than 10, and
-where an _even_ number of numbers has been thought of.
-
-Suppose he fixes on six numbers, viz. 2, 6, 7, 15, 16, 18. He must add
-together the numbers as follows, and tell you the sum in each case:--
-
-    1.  The sum of the 1st and 2d        8
-    2.  The sum of the 2d and 3d        13
-    3.  The sum of the 3d and 4th       22
-    4.  The sum of the 4th and 5th      31
-    5.  The sum of the 5th and 6th      34
-    6.  The sum of the 2d and last      24
-
-You must then add together the 2d, 4th and 6th sums, 13 + 31 + 24 = 68,
-and the 3d and 5th sums, 22 + 34 = 56. Subtract one from the other,
-leaving 12; the 2d number will be 6, the half of this; take the 2d from
-the sum of the 1st and 2d you will get the 1st; take the 2nd from the sum
-of the 2d and 3d, and you will have the 3d, and so on.
-
-
-HOW MANY COUNTERS HAVE I IN MY HANDS?
-
-A person having an equal number of counters in each hand, it is required
-to find how many he has altogether.
-
-Suppose he has 16 counters, or 8 in each hand. Desire him to transfer
-from one hand to the other a certain number of them, and to tell you the
-number so transferred. Suppose it be 4, the hands now contain 4 and 12.
-Ask him how many times the smaller number is contained in the larger; in
-this case it is 3 times. You must then multiply the number transferred,
-4, by the 3, making 12, and add the 4, making 16; then divide 16 by the 3
-_minus_ 1; this will bring 8, the number in each hand.
-
-In most cases fractions will occur in the process: when 10 counters are in
-each hand, and if 4 be transferred, the hands will contain 6 and 14.
-
-He will divide 14 by 6 and inform you that the quotient is 2 3/6 or 2⅓.
-
-You multiply 4 by 2⅓, which is 9⅓.
-
-Add 4 to this, making 13⅓, equal to 40/3.
-
-Subtract 1 from 2⅓, leaving 1⅓ or 4/3.
-
-Divide 40/3 by 4/3 giving 10, the number in each hand.
-
-
-THE MYSTERIOUS HALVINGS.
-
-_To tell the number a person has thought of._
-
-One of the company must fix upon any one of the numbers from 1 to 15;
-this he keeps secret, as well as the numbers produced by the succeeding
-operations:
-
-    Suppose he fixes on                                       8
-    He must add 1 to it, making                               9
-    Triple it                                                27
-    Halve it[11]--1st _halving_--(_larger half_)             14
-    Triple it                                                42
-    Halve it--2d _halving_                                   21
-    Triple it                                                63
-    Halve it--3d _halving_--(_larger half_)                  32
-    Triple it                                                96
-    Halve it--4th _halving_.                                 48
-
-He need not inform you that 48 is the figure produced, but he must let you
-know in which of the four halvings he was obliged to take a "larger half;"
-having ascertained this point, you discover the number fixed upon in the
-following manner. Carry in your mind, or on a slip of paper, the following
-list of names in which the letter a occurs in one or more of the three
-syllables of all except the last.
-
-The three syllables are intended to represent the 1st, 2d, and 3d
-halvings, and the occurrence of the letter A corresponds to the occurrence
-of a "larger half" in one or more of these three halvings. Having been
-informed where the _larger half_ was taken, refer to the word which has A
-in the corresponding syllable, and against it stand two numbers, one of
-which was the number thought of; and of these two, the right hand number
-is the correct one _if a larger half was taken in the 4th stage_, and the
-left hand one _if the, 4th halving was exact_.
-
-In the example given, a _larger half_ occurred in the 1st and 3d stage;
-this points us to _Car-ro-way_, and the halving in the 4th stage being
-exact, shows us that 8 was the number fixed upon.
-
-                         If the 4th halving   If a _larger half_ occurs
-                              is _exact_.        in the 4th halving.
-    WAsh-ing-ton                 4                    12
-    LA-fAy-ette                  2                    10
-    CAr-row-wAy                  8                     0
-    MAn-hAt-tAn                  6                    14
-    Ger-mA-ny                   13                     5
-    Tel-e-grAph                  3                    11
-    Bo-nA-pArte                  1                     9
-    Long-fel-low                15                     7
-
-It will be observed that there is always a difference of 8 between the
-numbers of the columns, so that it is necessary to recollect only one of
-them. Perhaps some of our readers who wish to be adepts in this game,
-would prefer recollecting the above table if put in this form:
-
-    2-3  1-2  3  1-2-3  1-3  2  none
-    --------------------------------
-     1    2   3    4     8  13  15
-
-where the upper line denotes the cases in which the "larger half" was
-taken, and the lower line the numbers of the left hand column above given.
-
-
-_Another Method._
-
-The person having chosen any number from one to fifteen, he is to add
-twenty-one to that number, and triple the amount. Then,
-
-1st. He is to take half of that triple, and triple that half.
-
-2nd. To take the half of the last triple, and triple that half.
-
-3rd. To take the half of the last triple.
-
-4th. To take the half of the last half.
-
-In this operation there are four distinct cases or stages where the half
-is to be taken. The three first are denoted by one of the eight following
-Latin words, each word being composed of three syllables, and the
-syllables containing the letter i corresponding in numerical order with
-the cases where the half cannot be taken without a fraction; consequently,
-in those cases the person who makes the deduction is to add one to the
-number to be divided. The fourth case shows which of the two numbers
-corresponding to each word has been chosen. For if the fourth half can be
-taken without adding one, the number chosen is in the first, or left-hand
-column; but if not, it is in the second column to the right.
-
-    The words.      The numbers denoted.
-    Mi-ser-is             8        0
-    Ob-tin-git            1        9
-    Ni-mi-um              2       10
-    No-tar-i              3       11
-    In-fer-nos            4       12
-    Or-di-nes            13        5
-    Ti-mi-di              6       14
-    Te-ne-ant            15        7
-
-_Example._--Suppose the number chosen to be nine, to which is to be added
-one, making ten, and which last, being tripled, gives thirty. Then:
-
-    1st case. The half of the triple is     15
-              which tripled, makes          45
-    2nd case. The half of that triple, 1
-              being added to make an
-              even number, is               23
-              and that tripled, makes       69
-    3rd case. The half of the last triple,
-              1 being added, is             35
-    4th case. The half of the last half, 1
-              being again added, is         18
-
-Here we see, that in the second and third case, one had to be added, and,
-looking at the table, we find that the only corresponding word having an
-i in its second and third syllables is _Ob-tin-git_, which represents the
-figures one and nine. Then, as one had to be added in the fourth case, we
-know by the rule, that the figure in the second column, 9, is the one
-required. Observe, that if no addition be required at any of the four
-stages, the number thought of will be fifteen; and if one addition only be
-required at the fourth stage, the number will be seven.
-
-
-WHO WEARS THE RING?
-
-This is an elegant application of the principles involved in discovering a
-number fixed upon. The number of persons participating in the game should
-not exceed nine. One of them puts a ring on one of his fingers, and it is
-your object to discover--1st. The wearer of the ring. 2d. The hand. 3d.
-The finger. 4th. The joint.
-
-The company being seated in order the persons must be numbered 1, 2, 3,
-&c.; the thumb must be termed the first finger, the fore finger being the
-second; the joint nearest the extremity must be called the first joint;
-the right hand is one, and the left hand two.
-
-These preliminaries having been arranged, leave the room in order that
-the ring may be placed unobserved by you. We will suppose that the third
-person has the ring on the right hand, third finger, and first joint; your
-object is to discover the figures 3131.
-
-Desire one of the company to perform secretly the following arithmetical
-operations:
-
-    1.  Double the number of the person who has the
-        ring; in the case supposed, this will produce 6
-    2.  Add 5                                        11
-    3.  Multiply by 5                                55
-    4.  Add 10                                       65
-    5.  Add the number denoting the hand             66
-    6.  Multiply by 10                              660
-    7.  Add the number of the finger                663
-    8.  Multiply by 10                             6630
-    9.  Add the number of the joint                6631
-    10. Add 35                                     6666
-
-He must apprise you of the figures now produced, 6666; you will then in
-all cases subtract from it 3535; in the present instance there will remain
-3131, denoting the person No. 3, the hand No. 1, the finger No. 3, and the
-joint No. 1.
-
-
-PROBABILITIES.[12]
-
-When we look around us at results happening daily, of the causes of which
-we are ignorant, we are led to regard them as isolated incidents subject
-to no law or rule; but could we see and understand the secret workings
-and connection existing between cause and effect, we might frequently
-discover that all works by rule. As it is, we may readily mark the
-boundaries, within which events must happen in very many instances; and
-do much to estimate their probability. We speak of _Chance_, as something
-without plan or design, but taking in a large range, our calculations will
-approximate closely to the truth. When we throw a copper into the air, the
-chances of "heads or tails," as the boys say, are equal, and though one or
-the other may occur most frequently for a few throws, in a large number,
-say a thousand, the results will be about equally divided. In this case
-the sides of the coin must be equal in weight, else it will be like the
-grumbler's bread and butter:
-
-    "I never had a piece of bread,
-      Particularly good and wide,
-    But fell upon the sanded floor,
-      And always on the buttered side."
-
-Had he put on less butter, perhaps the sides would have been more equal
-in weight, and the probability of the buttered side being uppermost would
-have been increased. Disturbing causes unknown to us, may often shape the
-result; but in the absence of these, we may pretty accurately estimate our
-chances.
-
-We see accidents from fire and flood, happening at times and points
-least expected; but the insurer has learned by observation to estimate
-probabilities, and by taking a wide range of country and a period of
-years, he does a comparatively safe business. Death takes the young and
-the old; but the life insurer has conned the bills of mortality and
-studied the ages of those who have died, until he can estimate at once
-the probability of duration of life, and determine what he can afford to
-pay for an annuity contingent on life, or engage for a present sum, or an
-annual sum paid for life, to pay the heirs at the death of the insured. In
-one instance his estimate may fall short, and in another exceed, but the
-average will be about right.
-
-So, too, the man who deals in lotteries and games of chance, knows the
-data and calculates carefully the probabilities, and though "luck" may
-sometimes be against him, his estimates of probabilities are based on
-mathematical principles, and he is secure in being ultimately the gaining
-party.
-
-How these chances are calculated, depends on the data in each case, and it
-is not within the range of our present plan to attempt more than giving a
-general idea of the subject; and this with any one of ordinary prudence,
-will be sufficient to prevent all intermeddling with lotteries and every
-other species of gambling. The probabilities are always against the casual
-operator, even if all be conducted fairly; what then must they be when
-fraud and dishonesty are superadded? It is downright swindling!
-
-In lottery schemes generally, fifteen per cent. is reserved as profit, but
-this is a small part of what may be secured; yet even this amounts to a
-great deal. If a man were to draw a prize nominally of $100,000, fifteen
-thousand would be deducted at once, and he would be entitled to only
-$85,000. It is true that in his good fortune he would not probably regard
-the abatement, but that does not change the principle.
-
-
-VARIATIONS.
-
-It is obvious that if we have a number of single things arranged in any
-order, we may change the arrangement into a variety of forms, and in
-doing so, we may take all together, or we may take only part at once.
-For instance, we may arrange the six vowels, a e, i, o, u, y, in a great
-number of ways, as a e i o u y, a i e o u y, e a i o u y, &c., &c.; or
-we may form them into groups, as ae, io, uy, ai, eu, oy, &c.; or, we may
-take three, four, five, or, as above, all at a time; and it is reasonable
-to suppose that the number of possible changes may, in all cases, be
-calculated.
-
-When all are taken together, the operation is called _Permutation_;
-but if a part only be taken, it is called either a _Variation_ or a
-_Combination_; a e, i o, u y, are distinct combinations, and are also
-considered one of the variations of two of which those six letters are
-susceptible; e a, o i, y u, are three other variations, but they are the
-same combinations; for a change of order will constitute a new variation
-but not a new combination; hence the number of variations will always
-exceed the number of combinations.
-
-The doctrine of variations and combinations forms the basis of many forms
-of lotteries, and of other calculations used in practical life.
-
-
-COMBINATIONS AND PERMUTATIONS.
-
-"Combinations" are the different ways in which a certain number of things
-can be selected out of a larger number, when taken 1 at a time, 2 at a
-time, or any other number each time, but without regard to the order in
-which the selected numbers can be arranged among themselves. The latter is
-the province of "Permutation," which refers to the different ways in which
-a number can be selected out of one that is larger, and, _in addition to
-this_, to the different ways of _grouping_ these selected numbers.
-
-Thus 4 things can be taken 2 at a time in 6 different ways; for instance,
-the letters a, b, c, d, can be taken 2 at a time thus, a and b, a and c, a
-and d, b and c, b and d, c and d; if we regard the _order_ of the selected
-letters we shall find that these 4 letters are capable of 12 different
-permutations, as ab, ba, ac, ca, ad, da, bc, cb, bd, db, cd, dc.
-
-If we selected 3 letters at a time we could make 4 different selections,
-and 24 different changes of grouping.
-
-The rule to compute the number of these different ways is very simple, but
-sometimes involves a multitude of figures.
-
-To determine the number of permutations, commence with unity, and multiply
-by the successive terms of the natural series 1, 2, 3, &c., until the
-highest multiplier shall express the number of individual things. The last
-product will indicate the number of possible changes.
-
-_Example 1._ How many changes can be made in the arrangement of 5 grains
-of corn, all of different colors, laid in a row?
-
-    _Solution._ 1 × 2 × 3 × 4 × 5 = 120, _Ans._
-
-This may seem improbable, the number being so great, but if there were but
-a single grain more, the possible changes would be 720; and another would
-extend the limit to 5040; and so onward in a constantly increasing ratio.
-The reason, however, will be obvious on a little scrutiny. If there were
-but one thing, as _a_, it would admit of but one position; but if two, as
-_a b_, it would admit of two positions, _ab_, _ba_. If three things, as
-_a b c_, then they will admit of 1 × 2 × 3 = 6 changes, for the last two
-will admit of two variations, as _a b c_, _a c b_, and each of the three
-may successively be placed first, and two changes made to each of the
-others, so that 3 × 2 = 6, the number of possible changes. In the same
-way we may show that if there be four individual things, each one will be
-first in each of the six changes which the other three will undergo, and
-consequently, there will be 24 changes in all. In this way we might show
-that when there are 5 individual things, there will be 5 times as many
-changes as when there were but 4; and when 6, there will be 6 times as
-many changes as when there are only 5; and so on _ad infinitum_, according
-to the same law.
-
-_Example 2._ In how many ways may a family of 10 persons seat themselves
-differently at dinner? _Ans._ 3,628,800.
-
-When we consider that this would require a period of 9935-55/487 years,
-the mind is lost in astonishment. The story of the man who bought a horse
-at a farthing for the first nail in his shoe, a penny for the second,
-&c., is thrown into the shade; and we incline to doubt whether there is
-not some mistake; and yet on just such chances as one to all these, do
-gamblers constantly risk their money!
-
-_Example 3._ I have written the letters contained in the word N I M R O D
-on 6 cards; being one letter on each, and having thrown them confusedly
-into a hat, I am offered $10 to draw the cards successively, so as to
-spell the name correctly. What is my chance of success worth? _Ans._
-1-7/18 cents.
-
-_Example 4._ In order to form a lottery scheme, I have put into the wheel
-as many cards as I can put 4 letters of the word Charleston on, without
-having the same letters in the same order upon any two cards. I offer $100
-to him who draws the card having on it the first four letters of the said
-word in their natural order (Char). What is the chance of drawing a prize
-worth?
-
-There are 10 letters in the word, and the combination is of the 4th class;
-and, according to the mode of determining combinations with repetitions,
-we find the whole number of combinations of the 4th class which the word
-admits of is 210. Then he has one chance in 210 of drawing the letters
-Char, in _some_ order. The number of permutations of four individual
-things is 1 × 2 × 3 × 4 = 24, and 210 × 24 = 5040 his chance of drawing
-them in the right order, and $100 divided by 5040 gives _Ans._ 1 52/63
-cents.
-
-Suppose that the numbers from 1 to 78, inclusive, be placed upon 78 cards,
-and the cards placed in a wheel by which they are thoroughly mixed; and
-then 13 cards be successively drawn out, by a person who has no means of
-choosing, and the numbers on them registered. Suppose also that tickets
-have been issued, containing each three of the 78 numbers, but no two
-having _all_ the same numbers, and that he who holds the ticket having on
-it the first three drawn numbers in their regular order, shall be entitled
-to $100,000; what would the probability of drawing such a ticket be worth?
-
-    _Ans._ 21 5183/5858 cents.
-
-_Note._--It is usual also, to give smaller prizes to the holders of
-tickets having the numbers in any order, or having any two or one of the
-drawn numbers. Lotteries may be arranged on a great diversity of plans,
-and in each the probability of drawing prizes will vary.
-
-A speaks the truth 3 times in 4; B 4 times in 5, and C 6 times in 7. What
-is the probability of an event which A and B assert, and C denies? _Ans._
-140/143
-
-Suppose a coin be thrown up, having two faces; what is the probability
-that the obverse (heads) side will fall upward, and what the reverse?
-
-Here there are only two possible cases, and one favors each of the
-contingencies the probability of each will be 1/(1 + 1) = 1/2; there being
-no reason why one side should fall uppermost rather than the other.
-
-What would be the probability of either side presenting upwards twice in
-two throws?
-
-Here we have 4 possible cases, viz.:
-
-    Obverse and reverse;
-    Obverse both times;
-    Reverse and obverse;
-    Reverse both times.
-
-Of the 4 possibilities there is only one which favors the turning up of
-the obverse twice in succession, and the same is true of the reverse,
-hence the probability of either is only 1/4.
-
-In like manner we might show that the probability of the obverse
-presenting upwards three times in succession will be 1/8, or 1/2 × 1/2 ×
-1/2; the general principle being to multiply successively together the
-independent probabilities of an event for the fraction expressing the
-chance of all the events happening.
-
-
-THE VISITORS TO THE CRYSTAL PALACE.
-
-In a family consisting of 8 young people, it was agreed that 3 at a time
-should visit the Crystal Palace, and that the visit should be repeated
-each day as long as a different trio could be selected. In how many days
-were the possible combinations of 3 out of 8 completed?
-
-We must multiply 8 × 7 × 6, and also 3 × 2 × 1, and divide the product of
-the former, 336, by the product of the latter, 6; the result is 56, the
-number of visits, a different three going each time. So much gratified
-were they with the results of their agreement, that they wished to be
-allowed another series of visits, to be continued as many days as they
-could group 3 together in different order when starting. If Paterfamilias
-had granted such permission he would have had to wait 56 multiplied by 3 ×
-2 × 1, or 336 days, before this "new series" of visits would have come to
-a _finis_.
-
-
-HOW MANY CHANGES CAN BE GIVEN TO 7 NOTES OF A PIANO?
-
-That is to say, in how many ways can 7 keys be struck in succession, so
-that there shall be some difference in the order of the notes each time?
-
-The result of multiplying
-
-    7 × 6 × 5 × 4 × 3 × 2 × 1
-
-is 5,040, the number of changes.
-
-
-THE ARITHMETICAL TRIANGLE.
-
-This name has been given to a contrivance said to have originated with the
-famous Pascal, or to have been perfected by him.
-
-    1
-    2   1
-    3   3   1
-    4   6   4  1
-    5  10  10  5  1
-    6  15  20 15  6  1
-    7  21  35 35 21  7  1
-    8  28  56 70 56 28  8  1
-    &c.            &c.
-
-This peculiar series of numbers is thus formed: Write down the numbers 1,
-2, 3, &c., as far as you please, in a vertical row. On the right hand of 2
-place 1, add them together, and place 3 under the 1; then 3 added to 3 =
-6, which place under the 3; 4 and 6 are 10, which place under the 6, and
-so on as far as you wish. This is the second vertical row, and the third
-is formed from the second in a similar way.
-
-This triangle has the property of informing us, without the trouble of
-calculation, how many combinations can be made, taking any number at a
-time out of a larger number.
-
-Suppose the question were that just given; how many selections can be made
-of 3 at a time out of 8? On the horizontal row commencing with 8, look for
-the third number; this is 56, which is the answer.
-
-
-HOW MANY DIFFERENT DEALS CAN BE MADE WITH 13 CARDS OUT OF 52?
-
-To discover this we must make a continued multiplication of 52 × 51 × 50 ×
-49 × 48 × 47 × 46 × 45 × 44 × 43 × 42 × 41 × 40, being 13 terms for the 13
-cards, also a continued multiplication of 13 × 12 × 11 × 10 × 9 × 8 × 7 ×
-6 × 5 × 4 × 3 × 2 × 1, and having found the two products, we must divide
-one by the other, and the quotient is the number of different deals out of
-52 cards. This "sum," that looks so formidable with natural figures, is a
-very short one by logarithms.
-
-
-THE THREE GRACES.
-
-Three articles, or three names inscribed on cards, having been distributed
-between three persons, you are to tell which article or card each person
-has.
-
-Designate the three persons in your own mind, as 1st, 2d, and 3d, and the
-three articles, A, E, I. Provide 24 counters, and give 1 to the first
-person, 2 to the 2d, 3 to the 3d. Place the remaining 18 on the table.
-Request that the three persons will distribute among themselves the three
-articles, and that, having done so, the person who has the one which you
-have secretly denoted by A, will take as many counters as he may have
-already; the holder of E must take twice as many as he may have; and the
-holder of I must take four times as many. Then leave the room, in order
-that the distribution of articles and of counters may be made unobserved
-by you. We will suppose that the three articles are three cards, on which
-are the words Clara, Rosa, Emily, which you will yourself secretly denote
-by the letters A, E, I. Suppose also that in the division the first person
-has Emily (I), the second has Clara (A), and the third has Rosa (E),
-then the 1st will take four times as many counters as he has (1), and
-will therefore take 4; the 2d will take as many as he has (2), and will
-therefore take 2; the 3d will take 6, being twice as many as he has (3).
-On the table will be left 6 counters. The distribution having been made,
-you will return and observe the number of counters on the table, from
-which you can find who is the holder of each card by the following method.
-
-It is plain that if the cards held by the 1st and 2d can be told, that
-held by the 3d will be known. It will be found that only six numbers can
-remain, viz. 1, 2, 3, 5, 6, 7; never 4, and never more than 7. Now the 6
-combinations of a, e, and i, here given, represent the articles held by
-the 1st and 2d persons.
-
-     1   2   3   4   5   6   7
-    ae  ea  ai  --  ei  ia  ie
-
-In the case supposed, 6 counters being on the table, the combination _ia_
-indicates that the first person has the card you have called I (Emily),
-the 2d has A (Clara), so that the 3d has E (Rosa).
-
-In order to recollect the combinations of A, E, and I, it will be best to
-keep in memory some 7 words which form a sentence, and which contain these
-vowels in the order just given.
-
-Our young friends can amuse themselves in forming a sentence for
-themselves, but as examples we supply three.
-
-       1        2       3       4       5        6         7
-      _ae_       _ea_      _ai_      --      _ei_       _ia_        _ie_
-    James     easy   admires   now  reigning  with a    bride.
-    Anger,    fear,  pain      may  be hid    with a    smile.
-    Graceful  Emma,  charming  she  reigns    in all    circles.
-
-Or, if they prefer Latin, they can use the pentameter made up by the
-inventor of this beautiful pastime:
-
-      1       2       3        5       6      7
-    Salve   certa   animæ   semita   vita   quies.
-
-
-ANOTHER METHOD.
-
-The performer must mentally distinguish the articles by the letters A,
-B, C, and the persons as 1st, 2d, and 3d. The persons having made their
-choice, give 12 counters to the 1st, 24 to the 2d, and 36 to the 3d. Then
-request the 1st person to add together the half of the counters of the
-person who has chosen A, the 3d of the person who has chosen B, and the
-4th of those of the person who has chosen C, and then ask the sum, which
-must be either 23, 24, 25, 27, 28, or 29, as in the following table:
-
-    First.  Second.  Third.
-      12      24      36
-       A       B       C    23
-       A       C       B    24
-       B       A       C    25
-       C       A       B    27
-       B       C       A    28
-       C       B       A    29
-
-This table shows that if the sum be 25, for example, the 1st person must
-have chosen B, the 2d A, and the 3d C; or if it be 28, the 1st must have
-chosen B, the 2d C, and the 3d A.
-
-
-ANOTHER METHOD.
-
-Three things having been divided between three persons, you are to
-determine the holder of each.
-
-Call the persons in your own mind 1st, 2d, 3d.
-
-Give to the 1st a card on which you have written the number 12; to the 2d
-the number 24; to the 3d 36.
-
-The three things you must denote as A, E, I.
-
-To simplify it you may have three cards with a name upon each, of which
-the initial letters are A, E, I, as Anna, Emma, Isabel.
-
-Request your friends to divide between them the three articles, and then
-to add together certain parts of the numbers on their cards, as follows:
-
-Whoever has A must supply one half of the number on his card;
-
-Whoever has E must supply one third;
-
-Whoever has I must supply one fourth;
-
-This half, third and fourth having been added together, the sum must be
-announced to you on your return; and from this number you can tell who has
-A, who has E, and who has I.
-
-    If the No. is   the 1st has    the 2d has    the 3d has
-          23             A             E             I
-          24             A             I             E
-          25             E             A             I
-          27             I             A             E
-          28             E             I             A
-          29             I             E             A
-
-The sum which will be given to you can be one of six only. There are only
-six ways in which the articles can be divided, and there is a definite
-number for each of them.
-
-The number 26 can never occur, and to recollect the six which do occur,
-and which you perceive are consecutive, you need take note only of what
-the 1st and 2d persons have.
-
-    23  24  25  26  27  28  29
-    ae  ai  ea  --  ia  ei  ie
-
-If you make up a line of good (or bad) English, having the vowels in the
-order here given, you will find it will aid you in their recollection. We
-give one as a specimen:
-
-      ae     ai    ea     --   ia      ei     ie
-    Brave dashing sea, like a giant revives itself.
-
-
-THE FORTUNATE NINTH.
-
-A sharp youth, fresh from school, having gone to visit a good-natured
-uncle, the latter placed on a table fifteen fine oranges and fifteen
-apples, and desired his young friend to take half. He, not liking the
-apples, was about to take the fifteen oranges; but this monopoly of the
-best fruit being objected to, the old gentleman told him to range all the
-fruit in a circle, and to take every ninth. The clever fellow ranged them
-in such a way as that, by taking away every ninth, all the apples were
-left on the table, and all the oranges were transferred to his capacious
-pockets. How did he arrange them?
-
-He placed them as in the margin, A representing apples, and O oranges; and
-it will be found that, by commencing at the four apples, and going round
-and round the circle, taking away every ninth, all the oranges will be
-removed, and all the apples will remain.
-
-[Illustration]
-
-    If we let the vowels a e i o u
-    denote the figures   1 2 3 4 5,
-
-the arrangement of the figures 4, 5, 2, 1, &c., can be easily recollected
-by the following line:
-
-        Our earth's final fate--enigma ever dark
-        45  21       3 1   1 2  2 3  1 2 2   1
-    or, Our dear Richard's tale begins at the sea.
-        45   21    3 1     1 2   2 3   1   2   21
-
-Our young friends may find amusement in forming lines for themselves as
-much superior to these as possible.
-
-
-THE TEN TENS.
-
-Take ten pieces of card, and upon each write any ten words; there is no
-restriction as to the initial letter of nine of the words, but the last
-word on each card must commence with certain letters which you must in
-your own mind associate with the numbers 1 to 10, so that by knowing the
-initial letter of the last word on each card, you can determine its number.
-
-Here are ten cards, (call these the _Selecting Cards_,) which we give by
-way of example, though our readers will perhaps prefer having words of
-their own selection.
-
-    Jane.        Ellen.       George.      James.       Newton.
-    Mary.        Fanny.       William.     Clement.     Davy.
-    Matilda.     Caroline.    Frederick.   Edward.      Morse.
-    Sarah.       Isabel.      Robert.      Ralph.       Fulton.
-    Rosa.        Flora.       Edmund.      Francis.     Franklin.
-    Elizabeth.   Laura.       John.        Edwin.       Arago.
-    Harriet.     Maria.       Alfred.      Walter.      Spurzheim.
-    Ann.         Frances.     Albert.      Charles.     Laplace.
-    Emily.       Edith.       Henry.       Samuel.      Steers.
-    =E=mma.     =D=orothea.    =I=saac.       =T=heodore.     =H=erschel.
-
-    Sister.      Rose.        Friendship.  Putnam.      Clay.
-    Brother.     Violet.      Happiness.   Lafayette.   Webster.
-    Uncle.       Lupin.       Industry.    Steuben.     Calhoun.
-    Aunt.        Daisy.       Ambition.    Scott.       Benton.
-    Grandmother. Tulip.       Energy.      Taylor.      Jefferson.
-    Grandfather. Peony.       Fidelity.    Green.       Adams.
-    Nephew.      Hyacinth.    Affection.   Harrison.    Madison.
-    Niece.       Pink.        Hope.        Hamilton.    Jackson.
-    Cousin.      Snowdrop.    Justice.     Wayne.       Monroe.
-    =F=ather.    =L=ily.        =O=rder.       =W=ashington.  =N=apoleon.
-
-For these the key words are, "Edith Flown," so that the letters
-
-               E D I T H F L O W N
-    Stand for  1 2 3 4 5 6 7 8 9 10
-
-For the success of the game, the key words and the numbers denoted by
-their letters, must be carefully concealed.
-
-Take ten other cards, which call the "_grouped cards_," and upon one
-write down the first word from each of the selecting cards, being careful
-to write them in the same order. Let another card contain all the words
-which are second from the top, and so on till all the words have been
-grouped together. As an example, we give the 1st and 4th grouped cards.
-
-      1st.         4th.
-    Jane.         Sarah.
-    Ellen.        Isabel.
-    George.       Robert.
-    James.        Ralph.
-    Newton.       Fulton.
-    Sister.       Aunt.
-    Rose.         Daisy.
-    Friendship.   Ambition.
-    Putnam.       Scott.
-    Clay.         Benton.
-
-The object of the game is to guess which of the words from any of the
-_selecting cards_ any person may have fixed upon.
-
-Let any one choose a card out of the _selecting cards_, and after he has
-fixed upon a word, give it back to you; when receiving it, carefully note
-the last word upon it, which will give you, by the aid of the key word,
-the number of the card; this you must keep secret, and you then give him
-all the _grouped cards_, and request him to show you the cards which
-contain the words he fixed upon.
-
-You can then announce the word; for the number of the word from the top
-on the grouped card is the same as the number of the selecting card, from
-which he made his choice.
-
-Suppose he made his choice from the card which has Theodore for its last
-word--this is No. 4; when he shows you the grouped card, which he says
-contains the selected word, you will know that Ralph, the fourth from the
-top, is the name he fixed upon.
-
-
-DIVIDING THE BEER.
-
-During the siege of Sebastopol, when the troops were on "short allowance,"
-a can of eight pints of porter was ordered to be equally divided between
-two messes; but having only a five pint can, and one which held three
-pints, it was found impossible to make this division, till one of the
-clever sappers suggested the following method; and, to understand it, we
-will put down the contents of each of the three cans at each stage of the
-process; commencing with
-
-                                                          8-pt. 5-pt. 3-pt.
-    The 8-pint can full, and the others empty,               8     0     0
-    1.  Filled the 5-pint can                                3     5     0
-    2.  Filled the 3-pint can from the 5-pint                3     2     3
-    3.  Pour the contents of the 3-pint into the 8-pint      6     2     0
-    4.  Transfer the 2 pints from the 5-pint to the 3-pint   6     0     2
-    5.  Filled the 5-pint from the 8-pint                    1     5     2
-    6.  Fill up the 3-pint from the 5-pint                   1     4     3
-    7.  Poured the 3 pints into the 8-pint; completing the
-          feat                                               4     4     0
-
-This was a dexterous expedient of the worthy sapper, the only objections
-to it being the time the thirty men had to wait, and the resulting flat
-condition of the beer.
-
-
-THE DIFFICULT CASE OF WINE.
-
-A gentleman had a bottle containing 12 pints of wine, 6 of which he was
-desirous of giving to a friend; but he had nothing to measure it, except
-two other bottles, one of 7 pints, and the other of 5. How did he contrive
-to put 6 pints into the 7-pint bottle?
-
-                                                         12-pt. 7-pt. 6-pt.
-    Before he commenced, the contents of the bottles were   12    0     0
-    1.  He filled the 5-pint                                 7    0     5
-    2.  Emptied the 5-pint into the 7-pint                   7    5     0
-    3.  Filled again the 5-pint from the 12-pint             2    5     5
-    4.  Filled up the 7-pint from the 5                      2    7     3
-    5.  Emptied the 7-pint into the 12-pint                  9    0     3
-    6.  Poured the 3 pints from the 5 into the 7             9    3     0
-    7.  Filled the 5-pint from the 12-pint                   4    3     5
-    8.  Filled up the 7-pint from the 5-pint                 4    7     1
-    9.  Emptied the 7-pint into the 12-pint                 11    0     1
-    10. Poured 1 pint from the 5-pint into the 7-pint       11    1     0
-    11. Filled the 5-pint from the 12-pint                   6    1     5
-    12. Poured the contents of the 5-pint into the 7-pint    6    6     0
-
-
-ANOTHER DECIMATION OF FRUIT.
-
-On the next visit of the youth to his uncle, the latter produced thirty
-apples and ten oranges, and offered him the favorite oranges, if his
-nephew could arrange them in an oval, so that by taking every twelfth
-the apples should remain. But this he could not accomplish, and the old
-gentleman, being well versed in the "Recreations in Science," proceeded to
-arrange them thus:
-
-[Illustration]
-
-The places which the oranges here occupy can be easily remembered, being
-Nos. 7, 8, 11, 12, 21, 22, 24, 34, 36, 37.
-
-
-THE WINE AND THE TABLES.
-
-A certain hotel-keeper was dexterous in contrivances to produce a large
-appearance with small means. In the dining-room were three tables, between
-which he could divide 21 bottles, of which 7 only were full, 7 half full,
-and 7 apparently just emptied, and in such a manner that each table had
-the same number of bottles, and the same quantity of wine. He did this in
-two ways:
-
-    Table.   Full    Hf. full.  Empty.   Table.   Full   Hf. full.  Empty.
-      1       2         3         2    |   1       3        1         3
-      2       2         3         2    |   2       3        1         3
-      3       3         1         3    |   3       1        5         1
-
-He also performed a similar exploit with 24 bottles, 8 full, 8 half-full,
-and 8 empty:
-
-    Table.   Full    Hf. full.  Empty.   Table.   Full   Hf. full.  Empty.
-      1       3          2         3   |   1       2         4         2
-      2       3          2         2   |   2       2         4         2
-      3       2          4         2   |   3       4         0         4
-
-Also with 27 bottles, 9 full, 9 half-full, and 9 empty:
-
-    Table.   Full    Hf. full.  Empty.   Table.   Full   Hf. full.  Empty.
-      1       2          5         2   |   1       1         7        1  }
-      2       3          3         3   |   2       4         1        4  }
-      3       4          1         4   |   3       4         1        4  }
-
-
-THE THREE TRAVELERS.
-
-Three men met at a caravansary or inn, in Persia; and two of them brought
-their provision along with them, according to the custom of the country;
-but the third not having provided any, proposed to the others that they
-should eat together, and he would pay the value of his proportion. This
-being agreed to, A produced 5 loaves, and B 3 loaves, all of which the
-travelers ate together, and C paid 8 pieces of money as the value of
-his share, with which the others were satisfied, but quarreled about
-the division of it. Upon this the matter was referred to the judge, who
-decided impartially. What was his decision?
-
-At first sight it would seem that the money should be divided according
-to the bread furnished; but we must consider that, as the 3 ate 8 loaves,
-each one ate 2⅔ loaves of the bread he furnished. This from 5 would
-leave 2⅓ loaves furnished the stranger by A; and 3 - 2⅔ = ⅓
-furnished by B, hence 2⅓ to ⅓ = 7 to 1, is the ratio in which the
-money is to be divided. If you imagine A and B to furnish, and C to
-consume all, then the division will be according to amounts furnished.
-
-
-WHICH COUNTER HAS BEEN THOUGHT OF OUT OF SIXTEEN?
-
-Take sixteen pieces of card, and number them 1 to 16. Arrange them in two
-rows, as at A B.
-
-    A  B   C  B  D   M   E  B  F   N   G  B  H
-    1  9   1  9  2   2   2  9  4   2   2  9  6
-    2 10   3 10  4   4   6 10  8   6   1 10  5
-    3 11   5 11  6   6   1 11  3   1   4 11  8
-    4 12   7 12  8   8   5 12  7   5   3 12  7
-    5 13     13      1     13      4     13
-    6 14     14      3     14      8     14
-    7 15     15      5     15      3     15
-    8 16     16      7     16      7     16
-
-Desire a person to think of one of the numbers, and to tell you in which
-row it is. Suppose he fixes on 6; he will tell you that the row A contains
-the number he thought of.
-
-Take up the row A, and arrange the numbers on each side of the row B, as
-shown at C D, so that the first number of the row A may be the first of
-the row C, the second of A be the first of D, the third of A be the second
-of C, and so on.
-
-Ask in which of the rows, C or D, is the number thought of: in the case
-supposed it is in D.
-
-Take up the rows C D, and put one underneath the other, as at M, taking
-care that the half-row in which is the number thought of, shall be above
-the other.
-
-Divide it again into two rows, as at E F, on each side of B, in the same
-way as before. Ask again in which row it is: it is now in E.
-
-Place one row under the other, as at N, and divide again into two rows,
-which will now be as G H.
-
-You will be informed that the number is in row H, and you may then
-announce it to be the top number of that row.
-
-The number thought of will always be _at the top of one of the rows after
-three transpositions_. If there were 32 counters it would be at the top
-after four transpositions.
-
-
-MAGIC SQUARES.
-
-The name "Magic Square" is given to a square divided into several smaller
-squares, in which numbers are placed in such a manner that every column
-of numbers, whether vertical, horizontal, or from corner to corner, shall
-amount to the same sum.
-
-They are divided into three principal classes: 1st, Those which have an
-odd number of squares in each band; 2d, Those which have an even number
-of squares in each band, this even number being divisible exactly by 4;
-3d, Where the even number of squares in each band cannot be divided by 4
-without a fraction.
-
-
-ODD MAGIC SQUARES.
-
-Squares of this kind are formed thus. Imagine an exterior line of squares
-above the magic square you wish to form, and another exterior line on the
-right hand of it These two imaginary lines are shown in the figure.
-
-Then attend to the two following rules:
-
-1st. In placing the numbers in the squares we must go in an ascending
-oblique direction from left to right; any number which, by pursuing this
-direction, would fall into the exterior line, must be carried along that
-line of squares, whether vertical or horizontal, to the last square.
-Thus, 1 having been placed in the center of the top line, (see the first
-table on p. 228,) 2 would fall into the exterior square above the fourth
-vertical line; it must be therefore carried down to the lowest square of
-that line; then, ascending obliquely 3 falls into the square, but four
-falls out of it, to the end of a horizontal line, and it must be carried
-along that line to the extreme left, and there placed. Resuming our
-oblique ascension to the right, we place 5, where the reader sees it, and
-would place 6 in the middle of the top band, but finding it occupied by
-1, we look for direction to the 2d Rule, which prescribes that, when in
-ascending obliquely, we come to a square already occupied, we must place
-the number, which according to the first rule should go into that occupied
-square, directly under the last number placed. Thus, in ascending with 4,
-5, 6, the 6 must be placed directly under the 5, because the square next
-to 5 in an oblique direction is "engaged."
-
-[Illustration:
-
-    ...........................................
-    .      .      .      .      .      .      .
-    .      .      .      .      .      .      .
-    .      .  18  .  25  .   2  .   9  .      .
-    .      .      .      .      .      .      .
-    +----------------------------------+.......
-    |      |      |      |      |      |      .
-    |      |      |      |      |      |      .
-    |  17  |  24  |   1  |   8  |  15  |  17  .
-    |      |      |      |      |      |      .
-    |------+------+------+------+------+.......
-    |      |      |      |      |      |      .
-    |      |      |      |      |      |      .
-    |  23  |   5  |   7  |  14  |  16  |  23  .
-    |      |      |      |      |      |      .
-    |------+------+------+------+------+.......
-    |      |      |      |      |      |      .
-    |      |      |      |      |      |      .
-    |   4  |   6  |  13  |  20  |  22  |   4  .
-    |      |      |      |      |      |      .
-    |------+------+------+------+------+.......
-    |      |      |      |      |      |      .
-    |      |      |      |      |      |      .
-    |  10  |  12  |  19  |  21  |   3  |  10  .
-    |      |      |      |      |      |      .
-    |------+------+------+------+------+.......
-    |      |      |      |      |      |      .
-    |      |      |      |      |      |      .
-    |  11  |  18  |  25  |   2  |   9  |      .
-    |      |      |      |      |      |      .
-    +------+------+------+------+------+.......
-]
-
-[Illustration:
-
-    +------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  30  |  39  |  48  |   1  |  10  |  19  |  28  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  38  |  47  |   7  |   9  |  18  |  27  |  29  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  46  |   6  |   8  |  17  |  26  |  35  |  37  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |   5  |  14  |  16  |  25  |  34  |  36  |  45  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  13  |  15  |  24  |  33  |  42  |  44  |   4  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  21  |  23  |  32  |  41  |  43  |   3  |  12  |
-    |      |      |      |      |      |      |      |
-    |------+------+------+------+------+------+------|
-    |      |      |      |      |      |      |      |
-    |      |      |      |      |      |      |      |
-    |  22  |  31  |  40  |  49  |   2  |  11  |  20  |
-    |      |      |      |      |      |      |      |
-    +------+------+------+------+------+------+------+
-]
-
-Magic squares of this class, however large in the number of compartments,
-can be easily filled up by attending to these two rules.
-
-We give opposite, a seven-placed square.
-
-There are various other kinds of magic squares; but explanations of them
-would be too lengthy for our work.
-
-The invention of these contrivances has been traced back to the early ages
-of science, and talismanic properties were attributed to them. Modern
-philosophers have amused themselves in bringing them to perfection, and
-none has contributed so much as "the model of practical wisdom," Dr.
-Franklin.
-
-
-THE SQUARE OF GOTHAM.
-
-The wise men of Gotham, famous for their eccentric blunders, once
-undertook the management of a school; they arranged their establishment
-in the form of a square divided into 9 rooms. The playground occupied the
-center, and 24 scholars the rooms around it, 3 being in each. In spite of
-the strictness of discipline, it was suspected that the boys were in the
-habit of playing truant, and it was determined to set a strict watch. To
-assure themselves that all the boys were on the premises, they visited the
-rooms, and found three in each, or 9 in each row. Four boys then went out,
-and the wise men soon after visited the rooms, and finding 9 in each row,
-thought all was right. The four boys then came back, accompanied by four
-strangers; and the Gothamites, on their third round, finding still 9 in
-each row, entertained no suspicion of what had taken place. Then 4 more
-"chums" were admitted; but the clever men, on examining the establishment
-a fourth time, still found 9 in each row, and so came to an opinion that
-their previous suspicions had been unfounded. How was all this possible?
-
-The following figures represent the contents of each room at the four
-different visits; the first, at the commencement of the watch; the second,
-when four had gone out; the third, when these 4, accompanied by another
-4, had returned; and the fourth, when 4 more had joined them.
-
-          I.            II.            III.           IV.
-     ___________    ___________    ___________    ___________
-    |   |   |   |  |   |   |   |  |   |   |   |  |   |   |   |
-    | 3 | 3 | 3 |  | 4 | 1 | 4 |  | 2 | 5 | 2 |  | 1 | 7 | 1 |
-    |___|___|___|  | __|___|___|  | __|___|___|  | __|___|___|
-    |   |   |   |  |   |   |   |  |   |   |   |  |   |   |   |
-    | 3 |   | 3 |  | 1 |   | 1 |  | 5 |   | 5 |  | 7 |   | 7 |
-    |___|___|___|  | __|___|___|  | __|___|___|  | __|___|___|
-    |   |   |   |  |   |   |   |  |   |   |   |  |   |   |   |
-    | 3 | 2 | 3 |  | 4 | 1 | 4 |  | 2 | 5 | 2 |  | 1 | 7 | 1 |
-    |___|___|___|  | __|___|___|  | __|___|___|  | __|___|___|
-
-On each change the boys arranged themselves in the rooms in such a manner
-that, when the corner rooms were counted as a part of two rows, each
-entire row of three rooms contained the same number of boys. The illusion
-of the wise men was due to their mistake in counting each corner room
-twice.
-
-
-THE MATHEMATICAL BLACKSMITH.
-
-A blacksmith had a stone weighing 40 lbs. A mason coming into the shop,
-hammer in hand, struck it and broke it into four pieces. "There," says the
-smith, "you have ruined my weight." "No," says the mason, "I have made it
-better, for whereas you could before weigh but 40 lbs. with it, now you
-can weigh every pound from 1 to 40." Required size of the pieces?
-
-_Ans._ 1, 3, 9, 27; for in any geometrical series proceeding in a triple
-ratio, each term is 1 more than twice the sum of all the preceding, and
-the above series might proceed to any extent. In using the weights, they
-must be put in one or both scales as may be necessary: as to weigh 2, put
-1 in one scale, and 3 in the other.
-
-
-CURIOUS PROPERTIES OF SOME FIGURES.
-
-Select any two numbers you please, and you will find that one of the two,
-their amount when added together, or their difference, is always 3, or a
-number divisible by 3.
-
-Thus, if the numbers are 3 and 8, the first number is 3; let the numbers
-be 1 and 2, their sum is 3; let them be 4 and 7, the difference is 3.
-Again, 15 and 22, the first number is divisible by 3: 17 and 26, their
-difference is divisible by 3, &c.
-
-All the odd numbers above 3, that can only be divided by 1, can be divided
-by 6, by the addition or subtraction of a unit. For instance, 13 can only
-be divided by 1; but after deducting 1, the remainder can be divided by 6;
-for example, 5 + 1 = 6 ; 7 - 1 = 6; 17 + 1 = 18; 19 - 1 = 18; 25 - 1 = 24,
-and so on.
-
-If you multiply 5 by itself, and the quotient again by itself, and the
-second quotient by itself, the last figure of each quotient will always
-be 5. Thus 5 × 5 = 25; 25 × 25 = 125; 125 × 125 = 625, &c. Again, if
-you proceed in the same manner with the figure 6, the last figure will
-constantly be 6; thus, 6 × 6 = 36; 36 × 36 = 216; 216 × 216 = 1,296, and
-so on.
-
-To multiply by 2 is the same as to multiply by 10 and divide by 5.
-
-Any number of figures you may wish to multiply by 5, will give the same
-result if divided by 2--a much quicker operation than the former; but you
-must remember to annex a cipher to the answer where there is no remainder,
-and where there is a remainder, annex a 5 to the answer. Thus, multiply
-464 by 5, the answer will be 2320; divide the same number by 2, and you
-have 232, and as there is no remainder you add a cipher. Now, take 357,
-and multiply by 5--the answer is 1785. On dividing 357 by 2, there is 178,
-and a remainder; you therefore place 5 at the right of the line, and the
-result is again 1785.
-
-There is something more curious in the properties of the number 9. Any
-number multiplied by 9 produces a sum of figures which, added together,
-continually makes 9. For example, all the first multiples of 9, as 18,
-27, 36, 45, 54, 63, 72, 81, sum up 9 each. Each of them multiplied by
-any number whatever produces a similar result; as 8 times 81 are 648,
-these added together make 18, 1 and 8 are 9. Multiply 648 by itself, the
-product is 419,904--the sum of these digits is 27, 2 and 7 are 9. The
-rule is invariable. Take any number whatever and multiply it by 9; or any
-multiple of 9, and the sum will consist of figures which, added together,
-continually number 9. As 17 × 18 = 306, 6 and 3 are 9; 117 × 27 = 3,159,
-the figures sum up 18, 8 and 1 are 9; 4591 × 72 = 330,552, the figures sum
-up 18, 8 and 1 are 9. Again, 87,363 × 54 = 4,717,422; added together the
-product is 27, or 2 and 7 are 9, and so always. If any row of two or more
-figures be reversed and subtracted from itself, the figures composing the
-remainder, will, when added horizontally, be a multiple of nine:
-
-    42          886          326
-    24          688          1623
-    --          ---          ----
-    18 - 9 × 2. 198 - 9 × 2. 1638 - 9 × 2.
-
-If a multiplicand be formed of the digits in their regular order, omitting
-the 8, a multiplier may be found by a rule, which will give a product,
-each figure of which shall be the same. Thus if 12345679 be given, and it
-be required to find a multiplier which shall give the product all in 2,
-that multiplier will be 18: if in 3, the multiplier will be 27: if all 4,
-it will be 36--and so forth.
-
-     12345679   12345679   12345679
-           18         27         36
-     --------   --------   -------
-     98765432   86419753   74074074
-    12345679   24691358   37037037
-    ---------  ---------  ---------
-    222222222  333333333  444444444
-
-The rule by which the multiplier is discovered (but which we do not
-attempt to explain) is this: Multiply the last figure (the 9) of the
-multiplicand by the figure of which you wish the product to be composed,
-and that number will be the required multiplier. Thus, when it was
-required to have the product composed of 2, the 2 multiplied by 9 gives
-18, the multiplier: 3 multiplied by 9 gives 27, the multiplier to give the
-product in 3; &c.
-
-If a figure, with a number of ciphers attached to it, be divided by 9, the
-quotient will be composed of one figure only, namely, the first figure of
-the dividend, as--
-
-    9)600,000       9)40,000
-     ----------      ---------
-       66,666-6        4,444-4
-
-                                                  { 9)549
-    If any sum of figures can be divided by 9 as, {------
-                                                  {    61
-
-the amount of these figures, when added together, can be divided by
-9:--thus, 5, 4, 9, added together, make 18, which is divisible by 9. If
-the sum 549 is multiplied by any figure, the product can also be divided
-by 9, as--
-
-           }                                         {    3
-    549    }                                         {    2
-    6      }                                         {    9
-    ------ }  And the amount of the figures of       {    4
-    9)3294 }  the product can also be divided by     { ----
-     ----- }  9, thus,                               { 2)18
-       366 }                                         {  ---
-           }                                         {    9
-
-To multiply by 9, add a cipher, and deduct the sum that is to be
-multiplied: thus,
-
-    43,260 }                                   {  4,326
-     4,326 }   Produces the same result as     {      9
-     ----- }                                   {   ----
-    38,934 }                                   { 38,934
-
-In the same manner, to multiply by 99, add two ciphers; by 999, three
-ciphers, &c. These properties of the figure 9 will enable the young
-arithmetician to perform an amusing trick, quite sufficient to excite the
-wonder of the uninitiated.
-
-Any series of numbers that can be divided by 9, as 365, 472,821,754, &c.,
-being shown, a person may be requested to multiply secretly either of
-these series by any figure he pleases, to strike out one number of the
-quotient, and to let you know the figures which remain, in any order he
-likes; you will then, by the assistance of the knowledge of the above
-properties of 9, easily declare the number which has been erased. Thus,
-suppose 365,472 are the numbers chosen, and the multiplier is six; if
-then, 8 is stuck out, the numbers returned to you will be
-
-                      }  2
-                      }  1
-                      }  9
-    365472            }  2
-         6            }  3
-    ------            }  2
-    219232            } --
-                      } 19
-
-The amount of these numbers is 19; but 19, divided by 9, leaves a
-remainder of 1; you, therefore, want 8 to complete another 9: 8, then, is
-the number erased.
-
-The component figures of the product made by the multiplication of every
-digit into the number 9, when added together, make NINE.
-
-The order of these component figures is reversed after the said number has
-been multiplied by 5.
-
-The component figures of the amount of the multipliers (viz. 45,) when
-added together, make NINE.
-
-The amount by the several products, or multiples of 9 (viz. 405,) when
-divided by 9, gives for a quotient, 45; that is, 4 + 5 = NINE.
-
-The amount of the first product (viz. 9,) when added to the other product,
-whose respective component figures make 9, is 81; which is the square of
-NINE.
-
-The said number 81, when added to the above mentioned amount of the
-several products, or multiples of 9 (viz. 405) makes 486, which, if
-divided by 9, gives for a quotient 54: that is, 5 + 4 = NINE.
-
-It is also observable, that the number of changes that may be rung on nine
-bells is 362,880; which figures, added together, make 27; that is, 2 + 7 =
-NINE.
-
-And the quotient of 362,880, divided by 9, will be 40,320; that is 4 + 0 +
-3 + 2 + 0 = NINE.
-
-If number 37 be multiplied by any of the progressive numbers arising
-from the multiplication of 3 with any of the units, the figures in the
-quotient will be similar, and the result may be known beforehand by merely
-inspecting the progressive numbers, thus, 3, 6, 9, 12, 15, 18, 21, 24,
-27, &c., are the progressive numbers formed by 3 multiplied by the units
-1 to 9; and the result of the multiplication of any of these numbers with
-37 may be seen in the following examples:--37 × 3 = 111; 37 × 6 = 222;
-37 × 12 = 444; 37 × 24 = 888; by which it appears that the numbers of
-which the quotient is formed are the same as the units by which number
-3 was multiplied to obtain the respective progressive numbers. Thus--3
-multiplied by 2 is equal to 6, and 37 multiplied by 9 is equal to 222; so,
-again, 4 multiplied by 3 produces 12, and 37 multiplied by 12 is equal to
-444, and so on.
-
-
-THE INDUSTRIOUS FROG.
-
-There was a well 30 feet deep, and at the bottom a frog anxious to get
-out. He got up 3 feet per day, but regularly fell back 2 feet at night.
-Required the number of days necessary to enable him to get out?
-
-The frog appears to have cleared one foot per day, and at the end of 27
-days, he would be 27 feet up, or within 3 feet of the top, and the next
-day he would get out. He would therefore be 28 days getting out.
-
-
-THE COUNCIL OF TEN.
-
-Ten cards or counters, numbered from one to ten, or the first ten playing
-cards of any suit disposed in a circular form may be employed with great
-convenience for performing this feat. The accompanying figure shows the
-cards thus arranged, number one, or the ace, designated by A, and the ten
-by K.
-
-                3
-                C
-          2 B       D 4
-     1 A                 E 5
-    10 K                 F 6
-          9 I       G 7
-                H
-                8
-
-Having placed the cards in the above order, desire a bystander to think
-of a card or number, and when he has done so, to touch any other card or
-number. Request him then to add to the number of the card touched the
-number of the cards employed, which in this case is ten. Then desire him
-to count the sum in an order contrary to that of the natural numbers,
-beginning at the card he touched, and assigning it the number of the card
-he thought of. By counting in this manner, he will end at the number or
-card he thought of, and consequently you will immediately know it.
-
-Thus, for example, suppose the person had thought of 3 C, and touched 6
-F; then, if 10 be added to 6, the sum will be 16; and if that number be
-counted from F, the number touched, towards E D B C A, and so on, in the
-retrograde order, counting F three, the number thought of, E five, D six,
-and so round to sixteen, that number will terminate at C, showing that the
-person thought of 3, the number which corresponds to C.
-
-A greater or less number of cards or counters may be employed at pleasure;
-but in every instance the whole number of cards must be added to the
-number of the card touched.
-
-
-THE TWO TRAVELERS.
-
-    Two travelers trudged along the road together,
-    Talking, as Yankees do, about the weather;
-    When, lo! beside their path the foremost spies
-    Three casks, and loud exclaims "A prize, a prize!"
-    One large, two small, but all of various size.
-    This way and that they gazed, and all around,
-    Each wondering if an owner might be found:
-    But not a soul was there--the coast was clear,
-    So to the barrels they at once drew near,
-    And both agree whatever may be there
-    In friendly partnership they'll fairly share.
-    Two they find empty, but the other full,
-    And straightway from his pocket one doth pull
-    A large clasp-knife. A heavy stone lay handy,
-    And thus in time they found their prize was brandy.
-    'Tis tasted and approved: their lips they smack,
-    And each pronounces 'tis the famed Cognac.
-    "Won't we have many a jolly night, my boy!
-    May no ill luck our present hopes destroy!"
-    'Twas fortunate one knew the mathematics,
-    And had a smattering of hydrostatics;
-    Then measured he the casks, and said, "I see
-    This is eight gallons, those are five and three."
-    The question then was how they might divide
-    The brandy, so that each should be supplied
-    With just four gallons, neither less nor more.
-    With eight, and five, and three they puzzle sore,
-    Filled up the five--filled up the three, in vain;
-    At length a happy thought came o'er the brain
-    Of one: 'twas done, and each went home content,
-    And their good dames declared 'twas excellent.
-    With those three casks they made division true;
-    I found the puzzle out, say, friend, can you?
-
-The five-gallon barrel was filled first, and from that the three-gallon
-barrel, thus leaving two gallons in the five-gallon barrel; the
-three-gallon barrel was then emptied into the eight-gallon barrel, and the
-two gallons poured from the five-gallon barrel into the empty three-gallon
-barrel; the five-gallon barrel was then filled, and one gallon poured into
-the three-gallon barrel, therefore leaving four gallons in the five-gallon
-barrel, one gallon in the eight-gallon barrel, and three gallons in the
-three-gallon barrel, which was then emptied into the eight-gallon barrel.
-Thus each person had four gallons of brandy in the eight and five-gallon
-barrels respectively.
-
-
-ARITHMETICAL PUZZLE.
-
-If from 6 you take 9, and from 9 you take 10; and if 50 from 40 be taken,
-there will just half a dozen remain.
-
-    ANSWER.
-
-    From SIX    From IX    From XL
-    Take  IX    Take  X    Take  L
-         ---         --         --
-          S          I          X Remains.
-
-
-THE MONEY GAME.
-
-A person having in one hand a piece of gold, and in the other a piece
-of silver, you may tell in which hand he has the gold, and in which the
-silver, by the following method: Some value, represented by an even
-number, such as 8, must be assigned to the gold; and a value represented
-by an odd number, such as three, must be assigned to the silver; after
-which, desire the person to multiply the number in the right hand by any
-even number whatever, such as 2, and that in the left by an odd number,
-as 3; then bid him add together the two products, and if the whole sum be
-odd, the gold will be in the right hand, and the silver in the left; if
-the sum be even, the contrary will be the case.
-
-To conceal the artifice better, it will be sufficient to ask whether the
-sum of the two products can be halved without a remainder; for in that
-case the total will be even, and in the contrary case odd.
-
-It may be readily seen, that the pieces, instead of being in the two hands
-of the same person, may be supposed to be in the hands of two persons,
-one of whom has the even number, or piece of gold, and the other the odd
-number, or piece of silver. The same operations may then be performed in
-regard to these two persons, as are performed in regard to the two hands
-of the same person, calling the one privately the right, and the other the
-left.
-
-
-THE PHILOSOPHER'S PUPILS.
-
-To find a number of which the half, fourth, and seventh added to three
-shall be equal to itself.
-
-This was a favorite problem among the ancient Grecian arithmeticians,
-who stated the question in the following manner: "Tell us, illustrious
-Pythagoras, how many pupils frequent thy school?" "One half," replied
-the philosopher, "study mathematics, one fourth natural philosophy, one
-seventh observe silence, and there are three females besides."
-
-The answer is, 28: 14 + 7 + 4 + 3 = 28.
-
-
-TO DISCOVER A SQUARE NUMBER.
-
-A square number is a number produced by the multiplication of any
-number into itself; thus, 4 multiplied by 4 is equal to 16, and 16 is
-consequently a square number, 4 being the square root from which it
-springs. The extraction of the square root of any number takes some time;
-and after all your labor you may perhaps find that the number is not a
-square number. To save this trouble, it is worth knowing that every square
-number ends either with a 1, 4, 5, 6, or 9, or with two cyphers, preceded
-by one of these numbers.
-
-Another property of a square number is, that if it be divided by 4, the
-remainder, if any, will be 1--thus, the square of 5 is 25, and 25 divided
-by 4 leaves a remainder of 1; and again, 16, being a square number, can be
-divided by 4 without leaving a remainder.
-
-
-THE SHEEP-FOLD.
-
-A farmer had a pen made of 50 hurdles, capable of holding 100 sheep only;
-supposing he wanted to make it sufficiently large to hold double that
-number, how many additional hurdles would he have occasion for?
-
-_Answer._--Two. There were 24 hurdles on each side of the pen; a hurdle at
-the top, and another at the bottom; so that, by moving one of the sides a
-little back, and placing an additional hurdle at the top and bottom, the
-size of the pen would be exactly doubled.
-
-
-COUNTRYWOMAN AND EGGS.
-
-A countrywoman carried eggs to a garrison, where she had three guards to
-pass, sold to the first guard half the number she had, and half an egg
-more; to the second, the half of what remained, and half an egg besides;
-and to the third guard she sold the half of the remainder, and half
-another egg. When she arrived at the market-place, she had three dozen
-still to sell; how was this possible, without breaking any of the eggs?
-It would seem at the first view that this is impossible, for how can half
-an egg be sold without breaking any of the eggs? The possibility of this
-seeming impossibility will be evident, when it is considered, that by
-taking the greater half of an odd number, we take the exact half + 1/2.
-When the countrywoman passed the first guard, she had 295 eggs; by selling
-to that guard 148, which is the half + 1/2, she had 147 remaining; to the
-second guard she disposed of 74, which is the major half of 147; and, of
-of course, after selling 37 out of 74 to the last guard, she had still
-three dozen remaining.
-
-
-HOW TO RUB OUT TWENTY CHALKS AT FIVE TIMES, RUBBING OUT EVERY TIME AN ODD
-ONE.
-
-To do this trick, you must make twenty chalks, or long strokes, upon a
-board, as in the margin:
-
-     1 ----
-     2 ----
-     3 ----
-     4 ----
-     5 ----
-     6 ----
-     7 ----
-     8 ----
-     9 ----
-    10 ----
-    11 ----
-    12 ----
-    13 ----
-    14 ----
-    15 ----
-    16 ----
-    17 ----
-    18 ----
-    19 ----
-    20 ----
-
-Then begin and count backwards, as 20, 19, 18, 17, rub out these four;
-then proceed saying, 16, 15, 14, 13, rub out these four; and begin again,
-12, 11, 10, 9, and rub out these; and proceed again, 8, 7, 6, 5, then rub
-out these; and lastly say, 4, 3, 2, 1, when these four are rubbed out. The
-whole twenty are rubbed out at five times, and every time an odd one, that
-is, 17th, 13th, 9th, 5th, and 1st.
-
-This is a trick which, if once seen, may be easily retained; and the
-puzzle at first is, it not occurring immediately to the mind to begin to
-rub them out backwards. It is as simple as any thing possibly can be.
-
-
-THE IMPOSSIBLE TRIANGLE.
-
-The longest side of a triangle is 100 rods; and each of the other sides
-50. Required the value of the grass at $5 per acre.
-
-This is a catch question, as a triangle cannot be formed unless any two of
-the lines are longer than the third.
-
-
-ODD OR EVEN.
-
-Every odd number multiplied by an odd number produces an odd number; every
-odd number multiplied by an even number produces an even number; and every
-even number multiplied by an even number also produces an even number. So,
-again, an even number added to an even number, and an odd number added to
-an odd number, produce an even number; while an odd and even number added
-together produce an odd number.
-
-If any one holds an odd number of counters in one hand, and an even number
-in the other, it is not difficult to discover in which hand the odd or
-even number is. Desire the party to multiply the number in the right hand
-by an even number, and that in the left hand by an odd number, then to add
-the two sums together, and tell you the last figure of the product; if it
-is even, the odd number will be in the right hand; and if odd, in the left
-hand; thus, supposing there are 5 counters in the right hand, and 4 in the
-left hand, multiply 5 by 2, and 4 by 3, thus: 5 × 2 = 10, 4 × 3 = 12, and
-then adding 10 to 12, you have 10 + 12 = 22, the last figure of which, 2,
-is even, and the odd number will consequently be in the right hand.
-
-
-    THE FIGURES, UP TO 100, ARRANGED SO AS TO MAKE 505 IN EACH COLUMN,
-    WHEN COUNTED IN TEN COLUMNS PERPENDICULARLY, AND THE SAME WHEN
-    COUNTED IN TEN FILES HORIZONTALLY.
-
-    +-----+----+----+----+----+----+----+----+----+----+
-    |  10 | 92 | 93 |  7 |  5 | 96 |  4 | 98 | 99 |  1 |
-    |  11 | 19 | 18 | 84 | 85 | 86 | 87 | 13 | 12 | 90 |
-    |  71 | 29 | 28 | 77 | 76 | 75 | 24 | 23 | 22 | 80 |
-    |  70 | 62 | 63 | 37 | 36 | 35 | 34 | 68 | 69 | 31 |
-    |  41 | 52 | 53 | 44 | 46 | 45 | 47 | 58 | 59 | 60 |
-    |  51 | 42 | 43 | 54 | 56 | 55 | 57 | 48 | 49 | 50 |
-    |  40 | 32 | 33 | 67 | 65 | 66 | 64 | 38 | 39 | 61 |
-    |  30 | 79 | 78 | 27 | 26 | 25 | 74 | 73 | 72 | 21 |
-    |  81 | 89 | 88 | 14 | 15 | 16 | 17 | 83 | 82 | 20 |
-    | 100 |  9 |  8 | 94 | 95 |  6 | 97 |  3 |  2 | 91 |
-    +-----+----+----+----+----+----+----+----+----+----+
-
-[Sidenote: Each of these files, when added up, makes 505.]
-
-Each of these ten columns, when added up, makes 505.
-
-
-THE OLD WOMAN AND HER EGGS.
-
-At a time when eggs were scarce, an old woman who possessed some
-remarkably good-laying hens, wishing to oblige her neighbors, sent her
-daughter round with a basket of eggs to three of them; at the first house,
-which was the squire's, she left half the number of eggs she had and half
-a one over; at the second she left half of what remained and half an egg
-over; and at the third she again left half of the remainder, and half a
-one over; she returned with one egg in her basket, not having broken any.
-Required--the number she set out with. _Ans._ 15 eggs.
-
-
-THE MATHEMATICAL FORTUNE TELLER.
-
-Procure six cards, and having ruled them the same as the following
-diagrams, write in the figures neatly and legibly.
-
-It is required to tell the number thought by any person, the numbers being
-contained in the cards, and such numbers not to exceed 60. How is this
-done?
-
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    |  3 |  5 |  7 |  9 | 11 |  1 |   |  5 |  6 |  7 | 13 | 12 |  4 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 13 | 15 | 17 | 19 | 21 | 23 |   | 14 | 15 | 20 | 21 |22  | 23 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 25 | 27 | 29 | 31 | 33 | 35 |   | 28 | 29 | 30 | 31 | 36 | 37 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 37 | 39 | 41 | 43 | 45 | 47 |   | 52 | 38 | 39 | 44 | 45 | 46 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 49 | 51 | 53 | 55 | 57 | 59 |   | 47 | 53 | 54 | 55 | 60 | 13 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    |  9 | 10 | 11 | 12 | 13 |  8 |   |  3 |  6 |  7 | 10 | 11 |  2 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 14 | 15 | 24 | 25 | 26 | 27 |   | 14 | 15 | 18 | 19 | 22 | 23 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 28 | 29 | 30 | 31 | 40 | 41 |   | 26 | 27 | 30 | 31 | 34 | 35 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 42 | 43 | 44 | 45 | 46 | 47 |   | 38 | 39 | 42 | 43 | 46 | 47 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 56 | 57 | 58 | 59 | 60 | 13 |   | 50 | 51 | 54 | 55 | 58 | 59 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 17 | 18 | 19 | 20 | 21 | 16 |   | 33 | 34 | 35 | 36 | 37 | 32 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 22 | 23 | 24 | 25 | 26 | 27 |   | 38 | 39 | 40 | 41 | 42 | 43 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 28 | 29 | 30 | 31 | 48 | 49 |   | 44 | 45 | 46 | 47 | 48 | 49 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 50 | 51 | 52 | 53 | 54 | 55 |   | 50 | 51 | 52 | 53 | 54 | 55 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-    | 56 | 57 | 58 | 59 | 30 | 60 |   | 56 | 57 | 58 | 59 | 60 | 41 |
-    +----+----+----+----+----+----+   +----+----+----+----+----+----+
-
-Request the person to give you the cards containing the number, and then
-add the right hand upper corner figures together, which will give the
-correct answer. For example: suppose 10 is the number thought of, the
-cards with 2 and 8 in the corners will be given, which makes the answer
-10, and so on with the others.
-
-
-THE DICE GUESSED UNSEEN.
-
-A pair of dice being thrown, to find the number of points on each die
-without seeing them. Tell the person who cast the dice to double the
-number of points upon one of them, and add 5 to it; then to multiply the
-sum produced by 5, and to add to the product the number of points upon the
-other die. This being done, desire him to tell you the amount, and, having
-thrown out 25, the remainder will be a number consisting of two figures,
-the first of which, to the left, is the number of points on the first die,
-and the second figure, to the right, the number on the other. Thus:
-
-Suppose the number of points of the first die which comes up to be 2, and
-that of the other 3; then, if to four, the double of the points of the
-first, there be added 5, and the sum produced, 9, be multiplied by 5, the
-product will be 45; to which, if 3, the number of points on the other die,
-be added, 48 will be produced, from which, if 25 be subtracted, 23 will
-remain; the first figure of which is 2, the number of points on the first
-die, and the second figure 3, the number on the other.
-
-
-THE SOVEREIGN AND THE SAGE.
-
-A sovereign being desirous to confer a liberal reward on one of his
-courtiers, who had performed some very important service, desired him
-to ask whatever he thought proper, assuring him it should be granted.
-The courtier, who was well acquainted with the science of numbers, only
-requested that the monarch would give him a quantity of wheat equal
-to that which would arise from one grain doubled sixty-three times
-successively. The value of the reward was immense; for it will be found
-by calculation that the sixty-fourth term of the double progression
-divided by 1, 2, 4, 8, 16, 32, &c., is 9223372036854775808. But the
-sum of all the terms of a double progression, beginning with 1, may
-be obtained by doubling the last term, and subtracting from it 1. The
-number of the grains of wheat, therefore, in the present case, will be
-18446744073709551615. Now, if a pint contain 9216 grains of wheat, a
-gallon will contain 73728; and, as eight gallons make one bushel, if we
-divide the above result by eight times 73728 we shall have 31274997411295
-for the number of the bushels of wheat equal to the above number of
-grains, a quantity greater than what the whole surface of the earth could
-produce in several years, and which in value would exceed all the riches,
-perhaps, on the globe.
-
-
-THE KNOWING SHEPHERD.
-
-A shepherd was going to market with some sheep, when he met a man who said
-to him, "Good morning, friend, with your score." "No," said the shepherd,
-"I have not a score; but if I had as many more, half as many more, and two
-sheep and a half, I should have just a score." How many sheep had he?
-
-He had 7 sheep: as many more 7; half as many more, 3½; and 2½;
-making in all 20.
-
-
-THE CERTAIN GAME.
-
-Two persons agree to take, alternately, numbers less than a given number,
-for example, 11, and to add them together till one of them has reached a
-certain sum, such as 100. By what means can one of them infallibly attain
-to that number before the other?
-
-The whole artifice in this consists in immediately making choice of
-the numbers 1, 12, 23, 34, and so on, or of a series which continually
-increases by 11, up to 100. Let us suppose that the first person, who
-knows the game, makes choice of 1; it is evident that his adversary, as
-he must count less than 11, can at most reach 11, by adding 10 to it. The
-first will then take 1, which will make 12; and whatever number the second
-may add the first will certainly win, provided he continually add the
-number which forms the complement of that of his adversary to 11; that is
-to say, if the latter take 8, he must take 3; if 9, he must take 2; and so
-on. By following this method he will infallibly attain to 89, and it will
-then be impossible for the second to prevent him from getting first to
-100; for whatever number the second takes he can attain only to 99; after
-which the first may say--"and 1 makes 100." If the second take 1 after 89,
-it would make 90, and his adversary would finish by saying--"and 10 make
-100." Between two persons who are equally acquainted with the game, he who
-begins must necessarily win.
-
-
-THE ASTONISHED FARMER.
-
-A and B took each 30 pigs to market, A sold his at 3 for a dollar, B at 2
-for a dollar, and together they received $25. A afterwards took 60 alone,
-which he sold _as before_, at 5 for $2, and received, but $24; what became
-of the other dollar?
-
-This is rather a catch question, the insinuation that the first lot were
-sold at the rate of five for $2, being only true in part. They commence
-selling at that rate, but after making ten sales, A's pigs are exhausted,
-and they have received $20: B still has 10 which he sells at "2 for a
-dollar" and of course receives $5; whereas had he sold them at the rate of
-5 for $2, he would have received but $4. Hence the difficulty is easily
-settled.
-
-
-MAGICAL CENTURY.
-
-If the number 11 be multiplied by any one of the nine digits, the two
-figures of the product will always be alike, as appears in the following
-example:--
-
-    11    11    11    11    11    11    11    11    11
-     1     2     3     4     5     6     7     8     9
-    --    --    --    --    --    --    --    --    --
-    11    22    33    44    55    66    77    88    99
-    --    --    --    --    --    --    --    --    --
-
-Now, if another person and yourself have fifty counters a-piece, and agree
-never to stake more than ten at a time, you may tell him that if he permit
-you to stake first, you always complete the even century before him.
-
-In order to succeed, you must first stake 1, and remembering the order of
-the above series, constantly add to what he stakes as many as will make
-one more than the numbers 11, 22, 33, &c., of which it is composed, till
-you come to 89, after which your opponent cannot possibly reach the even
-century himself, or prevent you from reaching it.
-
-If your opponent has no knowledge of numbers, you may stake any other
-number first, under 10, provided you subsequently take care to secure one
-of the last terms, 56, 67, 78, &c.; or you may even let him stake first,
-if you take care afterward to secure one of these numbers.
-
-This exercise may be performed with other numbers; but, in order to
-succeed, you must divide the number to be attained by a number which is
-a unit greater than what you can stake each time, and the remainder will
-then be the number you must first stake. Suppose, for example, the number
-to be attained be 52 (making use of a pack of cards instead of counters),
-and that you are never to add more than 6; then, dividing 52 by 7, the
-remainder, which is 3, will be the number which you must first stake; and
-whatever your opponent stakes, you must add as much to it as will make it
-equal to 7, the number by which you divided, and so in continuation.
-
-
-THE UNLUCKY HATTER.
-
-A blackleg passing through a town in Ohio, bought a hat for $8 and gave in
-payment a $50 bill. The hatter called on a merchant near by, who changed
-the note for him, and the blackleg having received his $42 change went his
-way. The next day the merchant discovered the note to be a counterfeit,
-and called upon the hatter, who was compelled forthwith to borrow $50
-of another friend to redeem it with; but on turning to search for the
-blackleg he had left town, so that the note was useless on the hatter's
-hands. The question is, what did he lose--was it $50 besides the hat, or
-was it $50 including the hat?
-
-This question is generally given with names and circumstances as a real
-transaction, and if the company knows such persons so much the better, as
-it serves to withdraw attention from the question; and in almost every
-case the first impression is, that the hatter lost $50 besides the hat,
-though it is evident he was paid for the hat, and had he kept the $8 he
-needed only to have borrowed $42 additional to redeem the note.
-
-
-THE BASKET OF NUTS.
-
-A person remarked that when he counted over his basket of nuts, two by
-two, three by three, four by four, five by five, or six by six, there was
-one remaining; but when he counted them by sevens, there was no remainder.
-How many had he?
-
-The least common multiple of 2, 3, 4, 5, and 6 being 60, it is evident,
-that if 61 were divisible by 7, it would answer the conditions of the
-question. This not being the case, however, let 60 × 2 + 1, 60 × 3 + 1,
-60 × 4 + 1, &c., be tried successively, and it will be found that 301 =
-60 × 5 + 1, is divisible by 7; and consequently this number answers the
-conditions of the question. If to this we add 420, the least common
-multiple of 2, 3, 4, 5, 6 and 7, the sum 721 will be another answer; and
-by adding perpetually 420, we may find as many answers as we please.
-
-
-THE UNITED DIGITS.
-
-Arrange the figures 1 to 9 in such order that, by adding them together,
-they amount to 100.
-
-     15
-     36
-     47
-     --
-     98
-      2
-    ---
-    100
-
-
-DECEMBER AND MAY.
-
-An old man married a young woman; their united ages amounted to C. The
-man's age multiplied by 4 and divided by 9, gives the woman's age. What
-were their respective ages?
-
-ANSWER.--The man's age, 60 years 12 weeks; the woman's age, 30 years 40
-weeks.
-
-
-THE TWO DROVERS.
-
-Two drovers, A and B, meeting on the road, began discoursing about the
-number of sheep they each had. Says B to A, "Pray give me one of your
-sheep and I will have as many as you." "Nay," replied A, "but give me one
-of your sheep and I will have as many again as you." Required to know the
-number of sheep they each had?
-
-A had seven and B had five sheep.
-
-
-THE BASKET AND STONES.
-
-If a hundred stones be placed in a straight line, at the distance of a
-yard from each other, the first being at the same distance from a basket,
-how many yards must the person walk who engages to pick them up, one
-by one, and put them into the basket? It is evident that, to pick up
-the first stone, and put it into the basket, the person must walk two
-yards; for the second, he must walk four; for the third, six: and so on
-increasing by two, to the hundredth.
-
-The number of yards, therefore, which the person must walk will be equal
-to the sum of the progression, 2, 4, 6, &c., the last term of which is 200
-(22). But the sum of the progression is equal to 202, the sum of the two
-extremes, multiplied by 50, or half the number of terms: that is to say,
-10,100 yards, which makes more than 5½ miles.
-
-
-THE FAMOUS FORTY-FIVE.
-
-How can number 45 be divided into four such parts that, if to the
-first part you add 2, from the second part you subtract 2, the third
-part you multiply by 2, and the fourth part you divide by 2, the sum
-of the addition, the remainder of the subtraction, the product of the
-multiplication, and the quotient of the division be all equal?
-
-    The 1st is  8; to which add  2, the sum is       10
-    The 2nd is 12;   subtract    2, the remainder is 10
-    The 3rd is  5; multiplied by 2, the product is   10
-    The 4th is 20;   divided by  2, the quotient is  10
-               --
-               45
-
-Required to subtract 45 from 45, and leave 45 as a remainder?
-
-    Solution.--9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 = 45
-               1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 = 45
-               --------------------------------------
-               8 + 6 + 4 + 1 + 9 + 7 + 5 + 3 + 2 = 45
-
-
-SUBTRACTION.
-
-From 1 mile subtract 7 furlongs, 39 rods, 5 yards, 1 foot, 5 inches.
-
-         miles, furlongs, rods, yards, feet, inches.
-    From   1       0        0      0     0      0
-    Take   0       7       39      5     1      5
-           --------------------------------------
-           0       0        0      0     0      1
-
-In this problem, instead of borrowing 1 foot, we borrow ½ a foot = 6
-inches, from which we take 5 inches, and 1 remains; we then carry ½ to
-1, and borrowing ½ a yard = 1½ feet, we have 1½ from 1½ = 0,
-and afterwards proceed as usual.
-
-
-THE EXPUNGED FIGURE.
-
-In the first place desire a person to write down secretly, in a line,
-any number of figures he may choose, and add them together as units;
-having done this, tell him to subtract that sum from the line of figures
-originally set down; then desire him to strike out any figure he pleases,
-and add the remaining figures in the line together as units, (as in the
-first instance,) and inform you of the result, when you will tell him the
-figure he has struck out.
-
-    76542-24
-       24
-    ------
-    76518
-
-Suppose, for example, the figures put down are 76542; these, added
-together, as units, make a total of 24: deduct 24 from the first line, and
-76518 remain; if 5, the center figure be struck out, the total will be 22.
-If 8, the first figure be struck out, 19 will be the total.
-
-In order to ascertain which figure has been struck out, you make a mental
-sum one multiple of 9 higher than the total given. If 22 be given as the
-total, then 3 times 9 are 27, and 22 from 27 show that 5 was struck out.
-If 19 be given, that sum deducted from 27 shows 8.
-
-Should the total be equal multiplies of 9, as 18, 27, 36, then 9 has been
-expunged.
-
-With very little practice any person may perform this with rapidity, it is
-therefore needless to give any further examples. The only way in which a
-person can fail in solving this riddle is, when either the number 9 or a
-cipher is struck out, as it then becomes impossible to tell which of the
-two it is, the sum of the figure in the line being an even number of nines
-in both cases.
-
-
-THE MYSTERIOUS ADDITION.
-
-It is required to name the quotient of five or three lines of
-figures--each line consisting of five or more figures--only seeing the
-first line before the other lines are even put down. Any person may write
-down the first line of figures for you. How do you find the quotient?
-
-EXAMPLE.--When the first line of figures is set down, subtract 2 from the
-last right-hand figure, and place it before the first figure of the line,
-and that is the quotient for five lines. For example, suppose the figures
-given are 86,214, the quotient will be 286,212. You may allow any person
-to put down the two first and the fourth lines, but you must always set
-down the third and fifth lines, and in doing so, always make up 9 with the
-line above, as in the following example:
-
-Therefore in the annexed diagram you will see that you have made 9 in the
-third and fifth lines with the lines above them. If the person desire to
-put down the figures should set down a 1 or 0 for the last figure, you
-must say we will have another figure, and another, and so on until he sets
-down something above 1 or 2.
-
-         86,214
-         42,680
-         57,319
-         62,854
-         37,145
-         ------
-    Qt. 268,212
-
-         67,856
-         47,218
-         52,781
-         ------
-    Qt. 167,855
-
-In solving the puzzle with three lines, you subtract 1 from the last
-figure, and place it before the first figure, and make up the third line
-yourself to 9. For example: 67,856 is given, and the quotient will be
-167,855, as shown in the above diagram.
-
-
-TO TELL AT WHAT HOUR A PERSON INTENDS TO RISE.
-
-Let the person set the hand of the dial of a watch at any hour he pleases,
-and tell you what hour that is; and to the number of that hour you add in
-your mind 12; then tell him to count privately the number of that amount
-upon the dial, beginning with the next hour to that on which he proposes
-to rise, and counting backwards, first reckoning the number of the hour at
-which he has placed the hand. For example:
-
-Suppose the hour at which he intends to rise be 8, and that he has placed
-the hand at 5; you will add 12 to 5, and tell him to count 17 on the
-dial, first reckoning 5, the hour at which the index stands, and counting
-backwards from the hour at which he intends to rise; and the number 17
-will necessarily end at 8, which shows that to be the hour he chose.
-
-
-TO FIND THE DIFFERENCE BETWEEN TWO NUMBERS, THE GREATEST OF WHICH IS
-UNKNOWN.
-
-Take as many nines as there are figures in the smallest number, and
-subtract that sum from the number of nines. Let another person add the
-difference to the largest number, and talking away the first figure of the
-amount add it to the last figure, and that sum will be the difference of
-the two numbers.
-
-For example: John, who is 22, tells Thomas, who is older, that he can
-discover the difference of their ages; he therefore privately deducts 22
-from 99 (his age consisting of two figures, he of course takes two nines);
-the difference, which is 77, he tells Thomas to add to his age, and to
-take away the first figure from the amount, and add it to the last figure
-and that will be the difference of their ages; thus,
-
-    The difference between John's age and 99 is           77
-    To which Thomas adding his age                        35
-                                                         ---
-                The sum is                               112
-    Then by taking away the first figure 1, and adding
-      it to the figure 2, the sum is                      13
-    Which add to John's age                               22
-                                                         ---
-    Gives the age of Thomas                               35
-
-
-THE REMAINDER.
-
-A very pleasing way to arrive at an arithmetical sum, without the use of
-either slate or pencil, is to ask a person to think of a figure, then to
-double it, then add a certain figure to it, now halve the whole sum, and
-finally to subtract from that the figure first thought of. You are then to
-tell the thinker what is the remainder.
-
-The key to this lock of figures is, that HALF of whatever sum you request
-to be added during the working of the sum is THE REMAINDER. In the example
-given, five is the half of ten, the number requested to be added. Any
-amount may be added, but the operation is simplified by giving only even
-numbers, as they will divide without fractions.
-
-
-_Example._
-
-    Think of                         7
-    Double it                       14
-    Add 10 to it                    10
-                                   ---
-    Halve it                      2)24
-                                   ---
-    Which will leave                12
-    Subtract the number thought of   7
-                                   ---
-    THE REMAINDER will be            5
-
-
-A PERSON HAVING AN EQUAL NUMBER OF COUNTERS, OR PIECES OF MONEY, IN EACH
-HAND, TO FIND HOW MANY HE HAS ALTOGETHER.
-
-Request the person to convey any number, as 4, for example, from the
-one hand to the other, and then ask how many times the less number
-is contained in the greater. Let us suppose that he says the one is
-the triple of the other; and, in this case, multiply 4, the number of
-the counters conveyed, by 3, and add to the product the same number,
-which will make 16. Lastly, take 1 from 3, and if 16 be divided by the
-remainder 2, the quotient will be the number contained in each hand, and
-consequently the whole number is 16.
-
-This curious problem deserves another example. Let us again suppose that
-4 counters are passed from one hand to the other, and the less number is
-contained in the greater 2⅓ times. In this case, we must, as before,
-multiply 4 by 2⅓, which will give 9⅓; to which, if 4 be added, we
-shall have 13⅓, or 40/3; if 1, then, be taken from 2⅓, the remainder
-will be 1⅓, or 4/3, by which, if 40/3 be divided, the quotient 10 will
-be the number of counters in each hand.
-
-
-THE THREE JEALOUS HUSBANDS.
-
-Three jealous husbands, A, B, and C, with their wives, being ready to
-pass by night over a river, find at the water side a boat which can carry
-but two at a time, and for want of a waterman they are compelled to row
-themselves over the river at several times. The question is how those six
-persons shall pass, two at a time, so that none of the three wives may be
-found in the company of one or two men, unless her husband be present?
-
-This may be effected in two or three ways; the following may be as good
-as any: Let A and wife go over--let A return--let B's and C's wives go
-over--A's wife returns--B and C go over--B and wife return, A and B go
-over--C's wife returns, and A's and B's wives go over--then C comes back
-for his wife. Simple as this question may appear, it is found in the works
-of Alcuin, who flourished a thousand years ago, hundreds of years before
-the art of printing was invented.
-
-
-THE FALSE SCALES.
-
-A cheese being put into one of the scales of a false balance, was found to
-weigh 16 lbs., and when put into the other only 9 lbs. What is the true
-weight?
-
-The true weight is a mean proportional between the two false ones, and is
-found by extracting the square root of their product. Thus 16 × 9 = 144;
-and square root 144 = 12 lbs., the weight required.
-
-
-THE APPLE WOMAN.
-
-A poor woman, carrying a basket of apples, was met by three boys, the
-first of whom bought half of what she had, and then gave her back 10; the
-second boy bought a third of what remained, and gave her back 2; and the
-third bought half of what she had now left, and returned her 1; after
-which she found she had 12 apples remaining. What number had she at first?
-
-From the 12 remaining, deduct 1, and 11 is the number she sold the last
-boy, which was half she had; her number at that time, therefore, was 22.
-From 22 deduct two, and the remaining 20 was 2/3 of her prior stock, which
-was therefore 30. From 30 deduct 10, and the remainder 20 is half her
-original stock; consequently she had at first 40 apples.
-
-
-THE GRACES AND MUSES.
-
-The three Graces, carrying each an equal number of oranges, were met by
-the nine Muses, who asked for some of them; and each Grace having given
-to each Muse the same number, it was then found that they had all equal
-shares. How many had the Graces at first?
-
-The least number that will answer this question is twelve; for if we
-suppose that each Grace gave one to each Muse, the latter would each have
-three, and there would remain three for each Grace. (Any multiple of 12
-will answer the conditions of the question.)
-
-
-THE JESUITICAL TEACHER.
-
-A teacher, having fifteen young ladies under her care, wished them to take
-a walk each day of the week. They were to walk in five divisions of three
-ladies each, but no two ladies were to be allowed to walk together twice
-during the week. How could they be arranged to suit the above conditions?
-
-     SUN.  MON. TUES. WEDN. THURS. FRID. SAT.
-    a b c|a d g|a k n|a e l|a h o|a f p|a i m
-    d e f|b e h|b l o|b f m|b i p|b d n|b g k
-    g h i|c m p|c f i|c g n|c d k|c h l|c e o
-    k l m|f k o|d h m|d i o|e m n|e i k|d l p
-    n o p|i l n|e g p|h k p|f g l|g m o|h f n
-
-
-QUAINT QUESTIONS.
-
-What is the difference between twenty four quart bottles, and four and
-twenty quart bottles?
-
-_Ans._--56 quarts difference.
-
-What three figures, multiplied by 4, will make precisely 5?
-
-_Ans._--1¼, or 1·25.
-
-What is the difference between six dozen dozen, and half-a-dozen dozen?
-
-_Ans._--792: Six dozen dozen being 864, and half-a-dozen dozen, 72.
-
-Place three sixes together, so as to make seven.
-
-_Ans._--6⁶/₆.
-
-Add one to nine and make it twenty.
-
-_Ans._ IX--cross the _1_, it makes XX.
-
-Place four fives so as to make six and a half. _Ans._--5⁵/₅ ·5.
-
-A room with eight corners had a cat in each corner, seven cats before each
-cat, and a cat on every cat's tail. What was the total number of cats?
-
-    _Ans._--Eight cats.
-
-Prove that seven is the half of twelve. _Ans._--Place the Roman figures on
-a piece of paper, and draw a line through the middle of it, the upper will
-be VII.
-
-
-THE FOX, GOOSE AND CORN.
-
-A countryman having a Fox, a Goose, and a peck of Corn, came to a river,
-where it so happened that he could carry but one over at a time. Now as no
-two were to be left together that might destroy each other, he was at his
-wit's end, for says he "Though the corn can't eat the goose, nor the goose
-eat the fox; yet the fox can eat the goose, and the goose eat the corn."
-How shall he carry them over, that they shall not destroy each other?
-
-Let him first take over the Goose, leaving the Fox and Corn; then let him
-take over the Fox and bring the Goose back; then take over the Corn; and
-lastly take over the Goose again.
-
-
-MULTIPLYING MONEY BY MONEY.
-
-Amongst the various questions that are given for the purpose of puzzling
-the unwary arithmetician, the multiplication of money by money is one of
-the most curious: take for instance the following problems:
-
-    Multiply £99 19_s._ 11-3/4_d._ by £99 19_s._ 11-3/4_d._
-    Multiply £11 11_s._ 11_d._ by £11 11_s._ 11_d._
-
-To the uninitiated they usually appear easy of solution but the various
-modes of working them out, and the different results obtained, prove that
-there is something absurd and wrong in the questions themselves. Some
-reduce all to farthings, and after multiplying one term by the other,
-return the product into pounds, shillings, and pence. Others convert them
-into decimals; whilst some work the problem in the style of duodecimals.
-
-Having sufficiently puzzled the tyros, the querist remarks: "The problem
-itself is absurd, it is incapable of solution; for what is the nature
-of the product of pounds, shillings, and pence multiplied by pounds,
-shillings and pence? We know that a yard multiplied by a yard is a square
-yard, but who can tell what is a penny multiplied by a penny, or a penny
-by a pound?"
-
-Now all this is quite correct, provided the question is limited, as
-above to the product of pounds, shillings, and pence, into pounds,
-shillings, and pence; but suppose the problem were put in this form--If
-a capital of £1 produces by compound interest, in a certain time, £99
-19_s._ 11¾_d._, how much would be produced by a capital of £99 19_s._
-11¾_d.?_ It is evident that, to answer this, we must multiply £99
-19_s._ 11¾_d._ by £99 19_s._ 11¾_d._: these are in fact the second
-and, third terms of an ordinary "rule of three;" and though one of the
-terms is a "concrete" quantity of pounds, shillings, and pence, the other
-must be regarded as an "abstract" mathematical quantity, being 99 and a
-fraction, of which the number of farthings in a pound is the denominator
-960, and the number of farthings in the third term is the numerator, 959;
-or, instead of this, the shillings and pence might be converted into
-decimals of a pound, or into aliquot parts. The product of multiplying
-£99 19_s._ 11¾_d._ by 99-959/960 is £9,999 15_s._ 10 1/3840_d._; the
-quickest way of doing this, is to multiply by 100, and to subtract from
-the product the 960th part of the multiplicand.
-
-In the other question proposed, the product of £11 11_s._ 11_d._ into £11
-11_s._ 11_d._, or 11 143/240, is £134 9_s._ 3 49/240_d._
-
-Number and value are distinct abstract ideas, and cannot, without
-committing a logical absurdity, be confused. To multiply is to repeat
-a certain number of _times_, and it is obviously impossible to bring
-_value_ into the question. Value is arbitrary; number is fixed. Put it
-in this way, and the absurdity is evident: One pound is equivalent to 20
-shillings, or 240 pence, or 960 farthings. In value there is no difference
-whatever; but what an enormous difference between multiplying by 1, 20,
-240, or 960!
-
-
-THE UNFAIR DIVISION.
-
-A gentleman rented a farm, and contracted to give to his landlord 2/5
-of the produce; but prior to the time of dividing the corn, the tenant
-used 45 bushels. When the general division was made, it was proposed to
-give to the landlord 18 bushels from the heap, in lieu of his share of
-the 45 bushels which the tenant had used, and then to begin and divide
-the remainder as though none had been used. Would this method have been
-correct?
-
-The landlord would lose 7⅕ bushels by such an arrangement, as the rent
-would entitle him to ⅖ of the 18. The tenant should give him 18 bushels
-from his own share after the division is completed, otherwise the landlord
-would receive but 2/7 of the first 63 bushels.
-
-
-A POPULAR FALLACY.
-
-It is often suggested from the pulpit and elsewhere, that enough persons
-have lived and died in the world to cover its whole surface with bodies;
-and even two or three strata deep. Is this probable?
-
-Say the earth has existed 6000 years, the population always having been
-800,000,000, and the average life of man 30 years; this being the utmost
-that could be claimed. Allow then the State of Virginia to contain 70,000
-square miles, and each grave to occupy a space of 6 feet by 2; the
-territory of the State would contain 162,624,000,000; while the mighty
-army of the dead would number only 160,000,000,000; leaving 2,624,000,000
-graves yet unoccupied. How wide of truth then is the position often set
-forth so positively!
-
-FOOTNOTES:
-
-[Footnote 10: Ancestor of the fighting and writing Napiers of our day.]
-
-[Footnote 11: When an _exact half_ cannot be taken without a fraction, he
-must take the _larger half_--you must tell him this before he commences.
-Here it is the _larger half_.]
-
-[Footnote 12: From Parkes' Philosophy of Arithmetic, a capital work
-published by Moss & Bro. Philadelphia.]
-
-
-
-
-TRICKS IN GEOMETRY.
-
-    "Let young beginners come and try
-    Their hands at our geometry."
-
-
-The word Geometry is derived from the Greek, and signifies the art of
-measuring land. The invention of it is ascribed by some to the Chaldeans
-and Babylonians, by others to the Egyptians, who were obliged to determine
-the boundaries of their fields after the inundation of the Nile, by
-geometrical measurements. According to Cassiodorus, the Egyptians either
-derived the art from the Babylonians, or invented it after it was known
-to them. Thales, a Phœnician, who died 548 years B.C., and Pythagoras
-of Samos, who flourished about 520 B.C., introduced it from Egypt into
-Greece. In elementary geometry, Euclid of Alexandria, as everybody knows,
-is particularly distinguished. Archimedes measured the sphere, and after
-him other philosophers prosecuted the science with the utmost assiduity.
-In Italy, where the sciences first revived after the dark ages, several
-mathematicians were distinguished in the 16th century. The French, and
-after them the Germans, followed; while in England, Hook, Newton, and
-others, carried the science to the highest pitch of usefulness, and
-through its aid made the most prodigious discoveries. It is not, however,
-our province to enter into a long disquisition on the subject, but simply
-to set before the young reader some of the more curious properties of
-the science, that he may be excited to study it for himself; and we will
-promise him that should he devote his mind to its study, he will be amply
-repaid for any amount of labor he may bestow upon it.
-
-
-GEOMETRICAL DEFINITIONS.
-
-In geometry a _point_ is said to have neither breadth, length, nor
-thickness. A _line_ is the distance between two points; parallel lines
-always keep at the same distance from each other. A _right_ line is what
-is commonly called a straight line. A _curve_ is a line which continually
-changes its direction. An _angle_ is the inclination or opening of two
-lines meeting in a point. A _figure_ is a bounded space, and is either
-a superficies or a solid. A _triangle_ is a figure with three sides and
-three angles. A _square_ has four equal sides, and four right angles.
-A _circle_ is a plane figure bounded by a curved line running into
-itself. Its diameter is a straight line drawn from one extremity of
-its circumference to the other, and its center is equally distant from
-every part of the circumference. A _solid_ is any body which has length,
-breadth, and thickness; and a sphere is a solid, terminated by a convex
-surface, every part of which is at an equal distance from a point within,
-called its center.
-
-
-THE FIVE GEOMETRICAL SOLIDS.
-
-[Illustration: _Fig. 1._]
-
-[Illustration: _Fig. 2._]
-
-[Illustration: _Fig. 3._]
-
-[Illustration: _Fig. 4._]
-
-The following figures will show how the five geometrical solids may be
-cut out of a piece of cardboard. Where the lines are drawn the board is
-to be partly cut through with a penknife, so as to render the angles
-of the models as sharp and as straight as possible. The edges which
-require joining are to be fastened together with a slip of thin paper and
-gum dissolved in just sufficient water to bring it to the consistence
-of treacle. Fig. 1 will form a tetrahedron, a figure with four sides,
-each shaped like an equilateral triangle. Fig. 2 forms a cube or
-hexahedron. Fig. 3 an octohedron, with eight triangular sides. Fig. 4,
-a dodecahedron, with twelve sides shaped like pentagons, with five equal
-sides. Fig. 5, an isocahedron, with twenty sides, formed of equilateral
-triangles.
-
-[Illustration: _Fig. 5._]
-
-
-HOW TO MAKE FIVE SQUARES INTO A LARGE ONE WITHOUT ANY WASTE OF STUFF.
-
-Suppose you have five squares of cloth, or anything else, as in Fig. 7;
-find the center of one side of four of these squares, and cut them from
-that point to the opposite corner, then place the perfect square in the
-centre, and the other pieces round, as seen in Fig. 8.
-
-[Illustration: _Fig. 7._]
-
-[Illustration: _Fig. 8._]
-
-
-DECEPTIVE VISION.
-
-[Illustration]
-
-The following sleight shows how easily the eye may be deceived. Take a
-piece of pasteboard, an inch and a half in width, and five inches in
-length, and divide it by inked lines into thirty squares, then cut it from
-corner to corner, so as to form two triangles. After this cut off the top
-of these triangles at C and D,[13] and arrange the pieces in this manner:--
-
-[Illustration]
-
-On counting the squares in the first figure, there appear to be thirty,
-but the other arrangement of the same card seems to contain thirty-two. It
-does so, however, only in appearance, but it is only a very correct eye
-that can detect the imperfection.
-
-
-THE CARPENTER PUZZLED.
-
-[Illustration]
-
-A carpenter having a piece of mahogany of a triangular form, (see Fig.)
-wished to know how he could make it up to the best advantage. His first
-idea was to make an oblong square table of it, but he found that if he
-did so the waste of the wood would be very great. After consideration he
-discovered that the most economical method of using the wood would be to
-form it into an oval. To make this oval contain as much wood as possible,
-he proceeded in the following manner: Let B G D be the triangular piece of
-wood; take G H one half of the base, and divide the triangle by drawing a
-line from H to B. Take G H in the compasses, and set it off on one of the
-sides from G to E, draw the line E F, and the point I will be the center
-of the oval; draw K L parallel to E F, and at the same distance from the
-center as the base G. The points A and C are found by dividing the line
-from E to K and drawing A C, or by drawing the dotted lines D A and G
-C through the center at I. These points being found, the oval must be
-completed by the eye of the draughtsman.
-
-
-THE BRICKLAYER PUZZLED.
-
-[Illustration: _Fig. 1._]
-
-A bricklayer had to construct a wall, whose length in the direction A B C
-was twenty-four feet. The one half of this wall, namely from B to C, had
-to be built over a piece of rising ground, so that the base of this part
-of the wall would necessarily be more than twelve feet. In making out his
-account he charged more for this half of the wall than for that which was
-built on level ground from A to B. A geometrician assured him that the
-square contents of both portions of the wall were exactly alike; which may
-be proved in the following manner:--
-
-[Illustration: _Fig. 2._]
-
-[Illustration: _Fig. 3._]
-
-[Illustration: _Fig. 4._]
-
-Cut two pieces of cardboard, in the form shown in Figs. 2 and 3, to
-represent the two parts of the wall; lay the piece representing the
-straight wall on the curved piece, and it will be found that the angles
-which project at A and B will exactly fill up the spaces at E and F.
-The piece of board representing the straight wall may thus be found to
-be exactly sufficient to form a piece equal to that representing the
-curved wall. You may then lay the curved piece upon the straight one, and
-reversing the experiment prove that the curved piece is capable of forming
-a rectangular piece equal to the other.
-
-
-TRIANGULAR PROBLEM.
-
-Take four square pieces of pasteboard of the same dimensions, and divide
-them diagonally, that is, by drawing a line from two opposite angles,
-as in the figures, into eight triangles. Paint seven of these triangles
-with the prismatic colors, red, orange, yellow, green, blue, indigo,
-violet, and let the eighth be white. To find how many chequers or regular
-four-sided figures, different either in form or color, may be made out of
-these eight triangles.
-
-[Illustration]
-
-First, by combining two of these triangles there may be formed, either the
-triangular square A, or the inclined square B, called a Rhomb. Secondly,
-by combining four of the triangles the large square C may be formed, or
-the long square D, called a parallelogram. Now the first two squares,
-consisting of two parts out of eight, may each of them by the eighth
-rank of the triangle be taken twenty-eight different ways, which makes
-fifty-six. And the last two squares, consisting of four parts, may each be
-taken by the same rank of the triangle seventy times, which makes 140.
-
-
-TO FORM A SQUARE.
-
-Take a piece of card of the shape and size or proportions of the
-subjoined, and cut it into three parts, and with these three form a
-perfect square.
-
-[Illustration]
-
-To do this, cut it in the direction of the dotted lines, and it will then
-be easy to lay down the pieces to form a perfect square.
-
-
-SQUARING THE CIRCLE.
-
-"Squaring the circle," as it is called, is the puzzle of puzzles, and
-there are many persons who fancy this can be accomplished, as there are
-also many who believe that they can discover "perpetual motion."
-
-The meaning of this phrase _squaring_ is scientifically expressed by the
-term finding the quadrature of the circle; that is, the act of producing a
-square equal to a given circle; and many persons but slightly acquainted
-with mathematics have puzzled their brains to effect this object. The
-Cardinal de Cusa rolled a cylinder over a plane, till the point which
-was first in contact with the plane touched it again; and then, by a
-train of reasoning very unmathematical, he endeavored to determine the
-length of the line thus described. Oliver de Serras worked a circle,
-and also a triangle equal to an equilateral triangle, inscribed within
-the circle, and imagined that the former was exactly equal to two of
-the latter, forgetting that the double of this triangle is equal to the
-hexagon inscribed within the circle, and therefore smaller than the circle
-itself. A Frenchman challenged the world, and deposited 10,000 livres as
-a stake, that he could accomplish the feat. He reduced the problem to
-the mechanical process of dividing a circle into four quarters, and then
-turning these with their angles outwards, so as to form a square, which
-he asserted to be equal to the circle; this however was soon proved to be
-ridiculous.
-
-Some persons have taken a piece of pasteboard, and cutting it out into a
-circular form, and by cutting that circular disc into pieces of a square
-form and definite dimensions, and fitting the same turned pieces one
-into the other, have come _near_ to a notion of the superficial area of
-a circle. But this kind of demonstration is purely mechanical, and is
-neither geometrical nor scientific, and, is in fact, no demonstration
-according to mathematics. For if we take the pieces of card, however
-exactly they may appear to be formed, and examine them with a microscope,
-we shall soon find that none of them are geometrically true, nor of the
-same length or breadth, and therefore the conclusion arrived at is a false
-one.
-
-[Illustration]
-
-The early mathematicians, in their attempts to solve this problem,
-generally proceeded on the following plan. If we draw a square exterior
-to a circle, that is, touching the square in four points, each side
-of the square being equal to the diameter of the circle, we can soon
-convince ourselves that the boundary of the square will be greater than
-the circumference of the circle, and the area of the former greater than
-that of the latter. But if the square be drawn within the circle, so
-that only the four corners touch it, then it is equally evident that the
-circle is larger, both in boundary and area, than the square. By this
-proceeding, we arrive at the conclusion that a circle is _smaller_ than a
-square _external_ to it, and _larger_ than one _internal_ to it. Let us
-next suppose that we draw a regular pentagon, that is, a figure of five
-equal sides, exterior to the circle, and touching it on five points; then
-it is evident that as the circle is wholly contained within the pentagon,
-it must be smaller than that which contains it. But if the pentagon be
-described within the circle, touching it at the five angular points, then
-of course the circle is larger than the pentagon which it contains.
-
-Now, in geometry, my young readers must bear in mind, the exact periphery
-or circumference, and the exact area of any figure bounded by straight
-lines, may be determined with rigorous accuracy; and if we draw two
-polygons--say of one hundred sides, one within and one without the
-circle--we can ascertain the exact area of those polygons, and affirm
-that the area of a circle is greater than a certain amount, and less than
-another certain amount. These two amounts, if the number of the sides of
-the polygon be so large as we here suppose, may be so very nearly alike,
-that either one will give the area of the circle with great closeness.
-
-[Illustration]
-
-By some such means as these Archimedes found that if the diameter of a
-circle be called 7, then the circumference will be nearly 22; and that
-if the square of the diameter be 14, then the area of the circle will be
-equal to about 11; but this computation was slightly in error, and gave to
-the area of the circle too great a measure by about one three-thousandth
-part of the whole. At a later period, however, a European mathematician,
-named Metius, discovered a method which makes an extraordinary approach
-to accuracy, and is at the same time easily remembered. He found that if
-the diameter be considered equal to 113, then the circumference would
-equal 355; or if we multiply the square of the radius by 355, and divide
-it by 113, the area will be given. Now this method is so very nearly
-correct, that the area of a circle one foot in diameter is given within
-the fifty-thousandth part of a square inch.
-
-Other mathematicians have carried the approximation still further. Ludolph
-Van Ceulen worked it out to 36 places of figures, showing that if the
-diameter be 1, the circumference will be
-
-    3.14,159,265,358,979,323,846,264,338,327,950,288.
-
-or that if the last figure be 8, the result will be a little below the
-truth, and if 9, a little above it.
-
-Since this, Mr. Sharp, an English mathematician, carried the approximation
-to 72 places of figures; Mr. John Machin to 100 figures, and eclipsed all
-others. M. de Lagny worked it out to 128 places of figures, and of the
-degree of _nearness_ to which this computation brings the proportion,
-Montucla says, "If we suppose a circle, the _diameter_ of which is a
-thousand million times greater than the distance between the sun and
-the earth, the error in the proportion of the circumference would be a
-thousand million times less than the thickness of a hair."
-
-But after all, none of these computations are quite correct; they all
-deviate from the truth, and bring us to the conclusion that there are
-no numbers or collection of numbers which will give the exact ratio of
-the circumference, or of the area of a circle to its diameter. We offer
-this explanation on the subject to our young friends that they may not
-be puzzled by the question; and that should they be asked to square the
-circle, or hear any one assert that he can do so, they may be able to show
-that they are "awake" to the question, and know how to explain it.
-
-[Illustration]
-
-FOOTNOTES:
-
-[Footnote 13: _I. e._, at the fourth square from the right angle.]
-
-
-
-
-PRACTICAL PARADOXES AND PUZZLES.
-
-[Illustration]
-
-    A puzzle is not solved, impatient sirs,
-    By peeping at its answer, in a trice--
-    When Gordius, the plow-boy, king of Phrygia,
-    Tied up his implements of husbandry
-    In the far-famed knot, rash Alexander
-    Did not undo, by cutting it in twain.
-
-
-Paradoxes and Puzzles, although by many persons looked upon as mere
-trifles, have, in numerous instances, cost their inventors considerable
-time, and exhibit a great degree of ingenuity. We can readily imagine
-that some of the complicated puzzles in the ensuing pages may have been
-originally constructed by captives, to pass away the hours of a long and
-dreary imprisonment; thus does the misery of a few frequently conduce
-to the amusement of many. We look upon a Paradox as a sort of superior
-riddle, and a tolerable Puzzle, in our opinion, takes precedence of a
-first-rate rebus. There is often considerable thought, calculation,
-patience, and management, required to solve some of these strange enigmas;
-and we have, ere now, followed the mazes of a Puzzle so ardently, as to
-be entirely absorbed in devising means to extricate ourself from its
-bewildering difficulties; and felt almost as much pleasure in eventually
-achieving victory over it, as we have in conquering an adversary at some
-superior game of skill. It is "in good sooth, a right dainty and pleasant
-pastime," to watch the stray wanderings of another person attempting to
-elucidate a Paradox, or perform a Puzzle, with which one is previously
-acquainted. It is laughable to see him elated with hope at the apparent
-speedy end of his troubles, when you know that, at that moment, he is
-actually farther from his object than he was when he began; and it is no
-less amusing to watch his increasing despair, as he conceives himself
-to be getting more and more involved, when you are well aware that he
-is within a single turn of a happy termination of his toils; but what a
-mirthful moment is that, when there being only two ways to turn, the one
-right and the other wrong, as is usually the case, he takes the latter,
-and becomes more than ever
-
-    "Pozed, puzzled, and perplexed."
-
-Puzzles are by no means of modern origin; the Sphynx puzzled the brains
-of some of the heroes of antiquity, and even Alexander the Great, as it
-is written, made several essays to untie the knot with which Gordius, the
-Phrygian king, who had been raised from the plow to the throne, tied up
-his implements of husbandry in the temple, in so intricate a manner, that
-universal monarchy was promised to the man who could undo it: after having
-been repeatedly baffled, he, at length, drew his sword, considering that
-he was entitled to the fulfillment of the promise, by cutting the Gordian
-knot.
-
-
-1. THE CHINESE CROSS.
-
-[Illustration]
-
-Have six pieces of wood, bone, or metal, made of the same length as No.
-6, in the above figures, and each piece of the same size as No. 7. It is
-required to construct a cross, with six arms, from these pieces, and in
-such a manner that it shall not be displaced when thrown upon the floor.
-
-The shaded parts of each figure represent the parts that are cut _out_ of
-the wood, and each piece marked _a_ is supposed to be facing the reader,
-while the pieces marked _b_ are the _right_ side of each piece turned over
-_towards_ the left, so as to face the reader. No. 7 represents the end of
-each piece of wood, &c., and is given to show the dimensions.
-
-
-2. THE PARALLELOGRAM.
-
-[Illustration]
-
-A parallelogram, as in the illustration, fig. 1, may be cut into two
-pieces, so that by shifting the position of the pieces, two other figures
-may be formed, as shown by figs. 2 and 3.
-
-
-3. THE DIVIDED GARDEN.
-
-[Illustration]
-
-A person let his house to several inmates, who occupied different floors,
-and having a garden attached to the house, he was desirous of dividing it
-among them. There were ten trees in the garden, and he was desirous of
-dividing it so that each of the five inmates should have an equal share of
-garden and two trees. How did he do it?
-
-
-4. THE ENDLESS STRING.
-
-[Illustration]
-
-          Now, sir, your coat is off!
-            And see--
-          Your right-hand pocketed!
-            So let it be:
-          While o'er your arm
-            An endless string--
-          Some three yards round--
-            Hangs like a sling.
-          Take the string off--
-            But, just for fun,
-            It must be done
-    Keeping your right-hand in its place,
-    And not a smile must stir your face.
-    Until you find this puzzle out,
-    No coat shall wrap your back about.
-
-
-5. CHINESE MAZE. THE WILLOW-PATTERN PLATE.
-
-[Illustration]
-
-    Ye fair ones who, in continent or isle,
-      Long for delights which love alone can bring;
-    Whilst ruby lips display affection's smile,
-      Haste through the maze, and reach the "wedding ring"
-    The sweet Koong-see, whose spirit hovers near,
-      Shall watch thee wand'ring through the doubtful way;
-    And when thou showest aught of hope or fear,
-      Shall whisper to thee, as thy footsteps stray!
-
-
-6. THE VERTICAL LINE PUZZLE.
-
-Draw six vertical lines, as below, and, by adding five other lines to
-them, let the whole form nine.
-
-[Illustration:
-
-    |  |  |  |  |  |
-    |  |  |  |  |  |
-    |  |  |  |  |  |
-]
-
-
-7. THE THREE RABBITS.
-
-Draw three rabbits, so that each shall appear to have two ears, while, in
-fact, they have only three ears between them.
-
-
-8. THE ACCOMMODATING SQUARE.
-
-Make eight squares of card, then divide four of them from corner to
-corner, so that you will now have twelve pieces. Form a square with them.
-
-
-9. THE CIRCLE PUZZLE.
-
-Draw a circle upon a piece of paper, and thrust a pin through it without
-crossing the circle, or thrusting it downward through the center.
-
-
-10. THE CARDBOARD PUZZLE.
-
-Take a piece of cardboard or leather, of the shape and measurement
-indicated by the diagram, cut it in such a manner that you yourself may
-pass through it, still keeping it in one piece.
-
-[Illustration:
-
-    +-----------+
-    | 3 Inches. |
-    |           |
-    |6          |
-    |           |
-    |I          |
-    |n          |
-    |c          |
-    |h          |
-    |e          |
-    |s          |
-    |.          |
-    |           |
-    +-----------+
-]
-
-
-11. THE BUTTON PUZZLE.
-
-[Illustration]
-
-In the center of a piece of leather make two parallel cuts with a
-penknife, and just below a small hole of the same width; then pass a piece
-of string under the slit and through the hole, as in the figure, and tie
-two buttons much larger than the hole to the ends of the string. The
-puzzle is, to get the string out again without taking off the buttons.
-
-
-12. THE QUARTO PUZZLE.
-
-[Illustration:
-
-    |\            /|
-    | \          / |
-    |  \        /  |
-    |   \      /   |
-    |    \    /    |
-    |     \  /     |
-    |      \/      |
-    |              |
-    |              |
-    |              |
-    +--------------+
-]
-
-Divide this figure into four equal parts, each of the same figure.
-
-
-13. THE PUZZLE OF FOURTEEN.
-
-[Illustration]
-
-Cut out fourteen pieces of paper, card, or wood, of the same size and
-shape as those shown in the diagram, and then form an oblong with them.
-
-
-14. THE SQUARE AND CIRCLE PUZZLE.
-
-[Illustration:
-
-    +---------------+
-    |o      o      o|
-    |               |
-    |               |
-    |o     oo      o|
-    |      oo       |
-    |               |
-    |               |
-    |o      o      o|
-    +---------------+
-]
-
-Get a piece of cardboard, the size and shape of the diagram, and punch in
-it twelve circles or holes in the position shown. The puzzle is, to cut
-the cardboard into four pieces of equal size, each piece to be of the same
-shape, and to contain three circles, without cutting into any of them.
-
-
-15. THE SCALE AND RING PUZZLE.
-
-[Illustration]
-
-Provide a thin piece of wood of about two inches and a half square; make a
-round hole at each corner, sufficiently large to admit three or four times
-the thickness of the cord you will afterwards use, and in the middle of
-the board make four smaller round holes in the form of a square, and about
-half an inch between each. Then take four pieces of thin silken cord, each
-about six inches long, pass one through each of the four corner holes,
-tying a knot underneath at the end, or affixing a little ball or bead to
-prevent its drawing through; take another cord, which, when doubled, will
-be about seven inches long, and pass the two ends through the middle
-holes _a a_, from the front to the back of the board, (one cord through
-each hole,) and again from back to front through the other holes _b b_;
-tie the six ends together in a knot, so as to form a small scale, and
-proportioning the length of the cords, so that when you hold the scale
-suspended, the middle cord, besides passing through the four center holes,
-will admit of being drawn up into a loop of about half an inch from the
-surface of the scale; provide a ring of metal or bone, of about three
-quarters of an inch in diameter, and place it on the scale, bringing the
-loop through its middle; then, drawing the loop a little through the scale
-toward you, pass it, double as it is, through the hole at the corner A,
-over the knot underneath, and draw it back; then pass it in the same way
-through the hole at corner B, over the knot, and draw it back; then,
-drawing up the loop a little more, pass it over the knot at top, and
-afterward through the holes C and D in succession, like the others, and
-the ring will be fixed.
-
-
-16. THE HEART PUZZLE.
-
-[Illustration]
-
-Cut a piece of thin wood the shape indicated by the diagram, and having
-perforated it as above, draw a piece of string, with a smaller heart
-attached at the end, through No. 1, pass it behind, and bring it through
-2 before, and through 3, and so on to 6, when a loop must be made so as to
-enclose that part of the string which runs from 2 to 3. The puzzle is to
-remove the string from the large heart altogether, without unfastening the
-loop.
-
-Care should be taken to avoid twisting or entangling the string. The
-length of the string should be proportioned to the size of the heart; if
-you make the heart two inches and a half high, the string when doubled
-should be about nine inches long.
-
-
-17. THE CROSS PUZZLE.
-
-[Illustration]
-
-Cut three pieces of paper to the shape of No. 1, one to the shape of No.
-2, and one to that of No. 3. Let them be of proportional sizes. Then place
-the pieces together so as to form a cross.
-
-
-18. THE YANKEE SQUARE.
-
-[Illustration]
-
-Cut as many pieces of each figure in cardboard as they have numbers marked
-on each; then form the pride of the American army.
-
-
-19. THE CARD PUZZLE.
-
-[Illustration]
-
-One of the best puzzles hitherto made is represented in the annexed cut. A
-is a piece of card; _b b_ a narrow slip divided from its bottom edge, the
-whole breadth of the card, except just sufficient to hold it on at each
-side; _c c_ is another small slip of card with two large square ends, _e
-e_; _d_ is a bit of tobacco-pipe, through which _c c_ is passed, and which
-is kept on by the two ends _e e_. The puzzle consists in getting the pipe
-off without breaking it or injuring any other part of the puzzle. This,
-which appears to be impossible, is done in the most simple manner. On a
-moment's consideration it will appear plainly that there must be as much
-difficulty in getting the pipe in its present situation, as there can be
-in taking it away. The way to put the puzzle together is as follows: The
-slip _c c e e_ is cut out of a piece of card in the shape delineated in
-Fig. 3. The card in the first figure must then be gently bent at A, so as
-to allow of the slip at the bottom of it being also bent sufficiently to
-pass double through the pipe, as in Fig. 2. The detached slip with the
-square ends (Fig. 3) is then to be passed half way through the loop _f_ at
-the bottom of the pipe; it is next to be doubled in the center at _a_, and
-pulled through the pipe, double; by means of the loop of the slip to the
-card. Upon unbending the card the puzzle will be complete, and appear as
-represented in Fig. 1.
-
-
-20. THREE SQUARE PUZZLE.
-
-[Illustration]
-
-Cut seventeen slips of cardboard of equal lengths, and place them on a
-table to form six squares, as in the diagram. It is now required to take
-away five of the pieces, yet to leave but three perfect squares.
-
-
-21. THE CYLINDER PUZZLE.
-
-[Illustration]
-
-Cut a piece of cardboard about four inches long, of the shape of the
-diagram, and make three holes in it, as represented. The puzzle is, to
-make one piece of wood to pass through, and also exactly to fill, each of
-the three holes.
-
-
-22. PUZZLE OF THE FOUR TENANTS.
-
-[Illustration]
-
-I have a square plot of ground, in one quarter of which I have built a
-house, which I have let to four tenants. I tell them that if they can
-divide the remaining ground into four equal plots, alike in shape, and
-each containing one of the four apple trees I have planted, they shall
-have it without any increase of rent. How may they succeed?
-
-
-23. THE PUZZLE WALL.
-
-Suppose there was a pond, around which four poor men built their houses,
-thus:
-
-[Illustration]
-
-Suppose four evil-disposed rich men afterwards built houses around the
-poor people, thus:
-
-[Illustration]
-
-and wished to have all the water of the pond to themselves. How could they
-build a high wall, so as to shut out the poor people from the pond?
-
-
-24. THE NUNS.
-
-[Illustration]
-
-Twenty-four nuns were arranged in a convent by night, by a sister, to
-count nine each way, as in the diagram. Four of them went out for a walk
-by moonlight. How were the remainder placed in the square so as still to
-count nine each way? The four who went out returned, bringing with them
-four friends; how were they all placed still to count nine each way, and
-thus to deceive the sister, as to whether there were 20, 24, 28, or 82, in
-the square?
-
-
-25. THE HORSE SHOE PUZZLE.
-
-[Illustration]
-
-Cut a piece of apple or turnip into the shape of a horse shoe, stick six
-pins in it for nails, and then, by two cuts, divide it into six parts,
-each to contain one pin.
-
-
-26. THE CARD SQUARE.
-
-[Illustration]
-
-With eight pieces of card or paper, of the shape of Fig. _a_, four of Fig.
-_b_, and four of Fig. _c_, and of proportionate sizes, form a perfect
-square.
-
-
-27. THE DOG PUZZLE.
-
-[Illustration]
-
-The dogs are, by placing two lines upon them, to be suddenly aroused to
-life and made to run. Query, How and where should these lines be placed,
-and what should be the forms of them?
-
-
-28. PUZZLE OF THE TWO FATHERS.
-
-Two fathers have each a square of land. One father divides his so as to
-reserve to himself one fourth; thus--
-
-[Illustration:
-
-    +----------------+
-    |                |
-    |                |
-    |                |
-    +------+         |
-    |      |         |
-    |      |         |
-    |      |         |
-    +------+---------+
-]
-
-The other father divides his so as to reserve to himself one fourth in the
-form of a triangle; thus--
-
-[Illustration:
-
-    +--------+
-    |        |
-    |        |
-    |   /\   |
-    |  /  \  |
-    | /    \ |
-    |/      \|
-    +--------+
-]
-
-They each have four sons, and each divides the remainder among his sons
-in such a way that each son will share equally with his brother, and in
-similar shape. How were the two farms divided?
-
-
-29. THE TRIANGLE PUZZLE.
-
-Cut twenty triangles out of ten square pieces of wood; mix them together,
-and request a person to make an exact square with them.
-
-
-30. CUTTING OUT A CROSS.
-
-[Illustration]
-
-How can be cut out of a single piece of paper, and with one cut of the
-scissors, a perfect cross, and all the other forms as shown in the cuts?
-
-
-31. ANOTHER CROSS PUZZLE.
-
-[Illustration]
-
-With three pieces of cardboard of the shape and size of No. 1, and one
-each of No. 2 and 3, to form a cross.
-
-
-32. THE FOUNTAIN PUZZLE.
-
-A is a wall, B C D three houses, and E F G three fountains or canals.
-
-[Illustration]
-
-It is required to bring the water from E to D, from G to B, and from F to
-C, without one crossing the other, or passing outside of the wall A.
-
-
-33. THE PUZZLE OF THE STARS.
-
-    Friends one and all, I pray you show
-    How you _nine stars_ would so bestow,
-    _Ten_ rows to form--in each row _three_--
-    Tell me, ye wits, how this can be?
-
-
-34. THE COUNTER PUZZLE.
-
-[Illustration]
-
-Place eight counters or coins, as in the diagram; it is then required to
-lay them in four couples, removing only one at a time, and in each removal
-passing the one in the hand over _two_ on the table.
-
-
-35. THE JAPAN SQUARE PUZZLE.
-
-[Illustration]
-
-Cut out ten pieces of card or wood of the same sizes and shapes as in the
-diagram, and then form a square with them.
-
-
-36. THE CABINET MAKER'S PUZZLE.
-
-A cabinet-maker has a circular piece of veneering with which he has to
-veneer the tops of two oval stools; but it so happens that the area of
-the stools, exclusive of the hand-holes in the center, and that of the
-circular piece, are the same. How must he cut his stuff so as to be
-exactly sufficient for his purpose?
-
-
-37. THE STRING AND BALLS PUZZLE.
-
-Get an oblong strip of wood or ivory, and bore three holes in it, as shown
-in the cut. Then take a piece of twine, passing the two ends through the
-holes at the extremities, fastening them with a knot, and thread upon it
-two beads or rings, as depicted above. The puzzle is to get both beads on
-the same side, without removing the string from the holes, or untying the
-knots.
-
-[Illustration]
-
-
-38. THE DOUBLE-HEADED PUZZLE.
-
-[Illustration]
-
-Cut a circular piece of wood as in the cut No. 1, and four others, like
-No. 2. The puzzle consists in getting them all into the cross-shaped slit,
-until they look like Fig. 3.
-
-
-39. ARITHMETICAL PUZZLE.
-
-    The sum of four figures in value will be.
-    Above seven thousand nine hundred and three;
-    But when they are halved, you'll find very fair
-    The sum will be nothing, in truth I declare.
-
-
-40. GRAMMATICAL PUZZLE.
-
-    Let the rich, great, and noble, banquet in the festal halls,
-      And pass the hours away, as the most thoughtless revel;
-    Then seek the poor man's dreary home, whose very dingy walls
-      Proclaim full well to all how low his rank and level.
-
-Take away one letter from a word in the above stanza, and substitute
-another, leaving the word so metamorphosed still a word of the English
-language; and, by that change, totally after the syntactical construction
-of the whole sentence, changing the moods and tenses of verbs, turning
-verbs into nouns, nouns into adjectives, and adjectives into adverbs, &c.,
-and so make the entire stanza bear quite a different meaning from that
-which it has as it stands above.
-
-
-41. THE TREE PUZZLE.
-
-Plant an orchard of twenty-one trees, so that there shall be nine straight
-rows, with five trees in each row, the _outline_ a regular geometrical
-figure, and the trees all at unequal distances from each other.
-
-
-42. AN EPITAPH ON ELLINOR BACHELLOR, AN OLD PYE WOMAN.
-
-        Bene A. Thin Thed Ustt HEMO. Uld yo
-             L.D.C. RUSTO! Fnel L.B.
-              Ach El Lor. Lat. ELY,
-    Wa. S. shove N. W. How--Ass! kill'd I. N. T. H.
-            Ear T. Sofp, I, Escu Star.
-        D. San D T Art. San D K. N E. W. E
-       Ver----Yus E.--Oft He ove N W. Hens He
-               'Dli V'DL. on geno
-      Ug H S hem A.D.E. he R. la Stp. Uf----fap
-              Uf. F. B Y he. R hu
-                 S. Ban D. M.
-          Uch pra is 'D. No. Wheres Hedot
-    HL. i. e. Tom. A kead I.R.T.P. Yein hop Esthathe
-                R. C. RUSTWI,
-            L L B. Era is '----D!
-
-
-43. A CURIOUS LETTER.
-
-    Friends      Sir,       friends,
-        stand your disposition;
-          I  bearing
-       a man       the world
-         is        whilst the
-       contempt,
-               ridicule.
-                  are
-              ambitious.
-
-
-44. A PUZZLING INSCRIPTION.
-
-    P R S V R Y P R F C T M N
-    V R K P T H S P R C P T S T N.
-
-The two lines above were affixed to the communion table of a small church
-in Wales, and continued to puzzle the learned congregation for several
-centuries, but at length the inscription was deciphered. What was it?
-
-
-45. THE PUZZLING RINGS.
-
-This perplexing invention is of great antiquity, and was treated on by
-Cardan, the mathematician, at the beginning of the sixteenth century.
-It consists of a flat piece of thin metal or bone, with ten holes in
-it; in each hole a wire is loosely fixed, beaten out into a head at one
-end, to prevent its slipping through, and the other fastened to a ring,
-also loose. Each wire has been passed through the ring of the next wire,
-previously to its own ring being fastened on; and through the whole of
-the rings runs a wire loop or bow, which also contains, within its oblong
-space, all the wires to which the rings are fastened; the whole presenting
-so complicated an appearance, as to make the releasing the rings from the
-bow appear an impossibility. The construction of it would be found rather
-troublesome to the amateur, but it may be purchased at most of the toy
-shops very lightly and elegantly made. It also exists in various parts of
-the country, forged in iron, perhaps by some ingenious village mechanic,
-and aptly named "The Tiring Irons." The following instructions will show
-the principle on which the puzzle is constructed, and will prove a key to
-its solution.
-
-Take the loop in your left hand, holding it at the end, B, and consider
-the rings as being numbered 1st to 10th. The 1st will be the extreme ring
-to the right, and the 10th the nearest your left hand.
-
-[Illustration]
-
-It will be seen that the difficulty arises from each ring passing round
-the wire of its right-hand neighbor. The extreme ring at the right hand,
-of course, being unconnected with any other wire than its own, may at any
-time be drawn off the end of the bow at A, raised up, dropped through
-the bow, and finally released. After you have done this, try to pass the
-second ring in the same way, and you will not succeed, as it is obstructed
-by the wire of the first ring; but if you bring the first ring on again,
-by reversing the process by which you took it off, viz., by putting it
-up through the bow, and on to the end of it, you will then find that by
-taking the first and second rings together, they will both draw off, lift
-up, and drop through the bow. Having done this, try to pass the third ring
-off, and you will not be able; because it is fastened on one side to its
-own wire, which is within the bow, and on the other side to the second
-ring, which is without the bow. Therefore, leaving the third ring for the
-present, try the fourth ring, which is now at the end all but one, and
-both of the wires which affect it being within the bow, you will draw it
-off without obstruction; and, in doing this, you will have to slip the
-third ring off, which will not drop through for the reasons before given;
-so, having dropped the fourth ring through, you can only slip the third
-ring on again. You will now comprehend that (with the exception of the
-first ring) the only ring which can at any time be released is that which
-happens to be second on the bow, at the right-hand end; because both the
-wires which affect it being within the bow, there will be no impediment to
-its dropping through. You have now the first and second rings released,
-and the fourth also--the third still fixed; to release which we must make
-it last but one on the bow, and to effect which pass the first and second
-rings together through the bow, and on to it; then release the first ring
-again by slipping it off and dropping it through, and the third ring will
-stand as second on the bow, in its proper position for releasing, by
-drawing the second and third off together, dropping the third through, and
-slipping the second on again. Now to release the second, put the first up,
-through and on the bow; then slip the two together off, raise them up,
-and drop them through. The sixth will now stand second, consequently in
-its proper place for releasing; therefore draw it toward the end, A, slip
-the fifth off, then the sixth, and drop it through; after which replace
-the fifth, as you cannot release it until it stands in the position of a
-second ring; in order to effect this you must bring the first and second
-rings together, through and on to the bow; then in order to get the third
-on, slip the first off and down through the bow; then bring the third up,
-through and on to the bow; then bring the first ring up and on again,
-and, releasing the first and second together, bring the fourth through
-and on to the bow, replacing the third; then bring the first and second
-together on, drop the first off and through, then the third the same,
-replace the first on the bow, take off the first and second together,
-and the fifth will then stand second, as you desired; draw it toward the
-end, slip it off and through, replace the fourth, bring the first and
-second together up and on again, release the first, bring on the third,
-passing the second ring on to the bow again, replace the first, in order
-to release the first and second together; then bring the fourth toward
-the end, slipping it off and through, replace the third, bring the first
-and second together up and on again, release the first, then the third,
-replacing the second, bring the first up and on, in order to release the
-first and second together, which having done, your eighth ring will then
-stand second, consequently you can release it, slipping the seventh on
-again. Then to release the seventh, you must begin by putting the first
-and second up and on together, and going through the movements in the same
-succession as before, until you find you have only the tenth and ninth
-on the bow; then slip the tenth off and through the bow, and replace the
-ninth. This dropping of the tenth ring is the first effectual movement
-toward getting the rings off, as all the changes you have gone through
-were only to enable you to get at the tenth ring. You will then find that
-you have only the ninth left on the bow, and you must not be discouraged
-on learning, that in order to get that ring off, all the others to the
-right hand must be put on again, beginning by putting the first and second
-together, and working as before, until you find that the ninth stands as
-second on the bow, at which time you can release it. You will then have
-only the eighth left on the bow; you must again put on all the rings to
-the right hand, beginning by putting up the first and second together,
-till you find the eighth standing as second on the bow, or in its proper
-position for releasing; and so you proceed until you find all the rings
-finally released. As you commence your operations with all the rings
-ready fixed on the bow, you will release the tenth ring in one hundred
-and seventy moves; but as you then have only the ninth on, and as it
-is necessary to bring on again all the rings up to the ninth, in order
-to release the ninth, and which requires fifteen moves more, you will,
-consequently, release the ninth ring in two hundred and fifty-six moves;
-and, for your encouragement, your labor will diminish, by one half, with
-each following ring which is finally released. The eighth comes off in
-one hundred and twenty-eight moves, the seventh in sixty-four moves, and
-so on, until you arrive at the second and first rings, which come off
-together, making six hundred and eighty-one moves, which are necessary to
-take off all the rings. With the experience you will by this time have
-acquired, it is only necessary to say, that to replace the rings, you
-begin by putting up the first and second together, and follow precisely
-the same system as before.
-
-
-46. MOVING THE KNIGHT OVER ALL THE SQUARES ALTERNATELY.
-
-[Illustration: EULER'S METHOD.]
-
-The problem respecting the placing the knight on any given square, and
-moving him from that square to any house on the board, has not been
-thought unworthy the attention of the first mathematicians. Euler, Ozanam,
-De Montmart, De Moivre, De Majron, and others, have all given methods by
-which this feat might be accomplished. It was reserved, however, for the
-present century to lay this down on a general plan; and the only English
-writer who has noticed this is Mr. George Walker, in his _Treatise on
-Chess_. The plan is this: Let the knight be placed on any square, and
-move him from square to square, on the principle of always playing him to
-that point, from which, in actual play, he would command the fewest other
-squares; observing, that in reckoning the squares commanded by him you
-must omit such as he has already covered. If, too, there are two squares,
-on both of which his powers would be equal, you may move him to either.
-Try this on the board, with some counters or wafers, placing one on
-every square; and, when you clearly understand it, you may astonish your
-friends by inviting them to station the knight on any square they like,
-and engaging to play him, from that square, over the remaining sixty-three
-in sixty-three moves. When the automaton Chessplayer was last exhibited
-in England, this was made part of the wonders he accomplished, though as
-the above plan was not then known here, he could not adopt it, but used
-something like the method laid down by Euler, and which we subjoin.
-
-Our young Chess-players must remember that it does not matter on which
-square the knight is placed at starting; as, by acquiring the plan by
-heart, which is soon done, he can play him over all the squares from any
-given point, his last square being at the distance of a knight's move from
-his first. It is obvious that this route may be varied many ways, and we
-have often amused ourselves by trying to work it on a slate.
-
-
-ANOTHER METHOD.
-
-The problem of the knight's covering successively each square of
-the board, has, in all ages, attracted the attention of the first
-mathematicians; it is only lately, however, that this very ingenious
-system for performing the feat without seeing the board, has been invented
-by an Edinburgh gentleman. We well recollect the surprise occasioned
-among chess-amateurs when it was first performed; indeed it was generally
-considered a greater mental effort than that of playing three games of
-chess at the same time, without seeing the board.
-
-The general rule for moving the Knight upon all the squares of the board,
-is to commence by moving him to that square which commands the fewest
-points of attack, and by continuing this principle he will occupy all
-the squares in rotation, observing, that if on any two or more squares
-his power would be equal, he may be placed indifferently on either
-of such squares. Thus we see, that there are different routes which
-the Knight-errant may take in his progress over all the board; still,
-whichever of these routes for covering the sixty-four squares may be
-adapted, each move forms, if we may so express ourselves, a link in an
-endless chain, so that whatever square we start from, by taking one known
-route, we are sure to arrive at a square, the last link of the chain,
-a Knight's move distant from the square of our departure. Consequently,
-if any person could commit to memory the consecutive moves of any one
-route over the board, he would be able to start from any one square in
-that route, in the same manner that any of us, if required to mention the
-numerals up to sixty-four, could as easily start at thirty and end at
-twenty-nine, as if we started at one and ended at sixty-four.
-
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Met. | Let. | Ket. | Het. | Get. | Fet. | Det. | Bet. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Men. | Len. | Ken. | Hen. | Gen. | Fen. | Den. | Ben. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Mix. | Lix. | Kix. | Hix. | Gix. | Fix. | Dix. | Bix. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Miv. | Liv. | Kiv. | Hiv. | Giv. | Fiv. | Div. | Biv. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Mor. | Lor. | Kor. | Hor. | Gor. | For. | Dor. | Bor. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Mee. | Lee. | Kee. | Hee. | Gee. | Fee. | Dee. | Bee. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Moo. | Loo. | Koo. | Hoo. | Goo. | Foo. | Doo. | Boo. |
-    +------+------+------+------+------+------+------+------+
-    |      |      |      |      |      |      |      |      |
-    | Mun. | Lun. | Kun. | Hun. | Gun. | Fun. | Dan. | Bun. |
-    +------+------+------+------+------+------+------+------+
-       M      L      K      H      G      F      D      B
-
-These considerations greatly reduce the apparent impossibility of
-performing the feat; but the reader will exclaim, "What an immense
-undertaking it would be, to commit to memory the moves forming a Knight's
-route over the sixty-four squares!" and we reply, "Certainly it would be,
-if we used the language of Chess to designate the squares;" and herein
-lies the beauty of the invention. A set of names, whose application can be
-understood at a glance, are invented for the squares, and the performer
-of the feat, having learned a route of the Knight, expressed by these
-invented names, thinks in the new language which he directs the moves in
-the terms of chess--just as many of us _think_ in English, when we are
-writing or speaking French.
-
-The diagram given above represents the chess-board; the distinction of
-white and black squares is not necessary for our purpose. The files,
-commencing from the right hand are distinguished by the consonants in
-alphabetical succession (C and J are, for obvious reasons, omitted.)
-Thus, the King's rook's file is known as B, the King's Knight's as D,
-the King's Bishops as F, the King's as G, the Queen's as H, the Queen's
-Bishop's as K, the Queen's Knight's as L, and the Queen's Rook's as M.
-This is all that has to be learned, in this system of Chess notation; for
-the lines of squares tell their own numbers--one being _un_, two _oo_,
-three _ee_, four _or_, six _ix_, seven _en_, eight _et_--being, in fact,
-the terminal sounds of the first eight numerals. Bun being B _one_, or
-King's Rook's square; Gix, G _six_, or King's sixth square. We consider
-it quite unnecessary to say another word in explanation of this system;
-its ingenious simplicity causes it to be understood and learned at a
-glance. All that is required now is, to select a Knight's route over all
-the squares of the board, and commit it to memory, not in the complicated
-terms of Chess, but in these simple equivalents. Suppose we start from the
-Queen's Knights seventh square, _len_, the route will be as follows:
-
-    Len  het  fen  bet.  Dix  bor  doo  gun
-    Koo  mun  lee  kun.  Moo  kee  goo  dun.
-    Bee  div  ben  fet.  Hen  let  mix  lor.
-    Hee  kiv  gor  hix.  Liv  men  ket  gen.
-    Kix  giv  fee  hor.  Gix  for  hiv  gee.
-    Fiv  den  biv  dee.  Bun  foo  hun  loo.
-    Mor  lix  met  ken.  Get  fix  det  bix.
-    Dor  boo  fun  hoo.  Lun  mee  kor  miv
-
-The only trouble is to commit this cabalistical-looking table to memory,
-which may be all accomplished in half an hour; the process will be greatly
-facilitated by the learner frequently playing the route over on the
-chess-board. He will be amply rewarded by the astonishment he will cause
-to the _natives_ of his locality, who may have the great misfortune of
-being unacquainted with our book's enlightening pages; and, if not quite
-a first-rate player, he will acquire an intimate knowledge of the peculiar
-powers and perplexing peregrinations of the eccentric _Caballeros_, who
-
-                "----fiery coursers guide
-    With headlong speed throng wars empurpled tide;
-    Alert and brave they spring amidst the fight,
-    From white to black, from black to candid white."
-
-[Illustration]
-
-
-ANOTHER METHOD.
-
-Let Black Queen's Rook's Square count 1, (as in the diagram,) Black King's
-Rook 8, and count all the other Squares in the same way from 9 to 64.
-Place the Knight upon Black King's Rook's Square, 8, and move as follows:
-23, 40, 55, 61, 51, 57, 42, 25, 10, 4, 14, 24, 39, 56, 62, 52, 58, 41, 26,
-9, 3, 13, 7, 22, 32, 47, 64, 54, 60, 50, 33, 18, 1, 11, 5, 15, 21, 6, 16,
-31, 48, 63, 53, 59, 49, 34, 17, 2, 12, 27, 44, 38, 28, 43, 37, 20, 35, 45,
-30, 36, 18, 29, and 46. It may be well to chalk the figures on the board,
-as a guide, until the feat is well understood.
-
-
-47. ROSAMOND'S BOWER.
-
-The subjoined cut represents, it is said, the Maze at Woodstock, in
-which King Henry placed Fair Rosamond to protect her from the Queen. It
-certainly is a most ingenious contrivance, and may be made productive of
-much amusement. The puzzle consists in getting, from one of the numerous
-outlets, to the bower in the center, without crossing any of the lines.
-
-
-ROSAMOND'S BOWER.
-
-[Illustration]
-
-
-48. A MAZE OR LABYRINTH.
-
-[Illustration]
-
-This maze is a correct ground-plan of one in the gardens of the Palace
-of Hampton Court. No legendary tale is attached to it, of which we are
-aware, but its labyrinthine walks occasion much amusement to the numerous
-holiday parties who frequent the palace grounds. The puzzle is to get into
-the center, where seats are placed under two lofty trees; and many are the
-disappointments experienced before the end is attained; and even then, the
-trouble is not over, it being quite as difficult to get _out_ as to get
-_in_.
-
-
-49. THE CHINESE PUZZLE.
-
-[Illustration]
-
-[Illustration]
-
-This puzzle, being one for the purpose of constructing different figures
-by arranging variously-shaped pieces of card or wood in certain ways,
-requires no separate explanation. Cut out of very stiff cardboard, or
-thin mahogany, which is decidedly preferable, seven pieces, in shape like
-the annexed figures and bearing the same proportion to each other; one
-piece must be made in the shape of figure 1, one of figure 2, and one of
-figure 3, and two of each of the other figures. The combinations of which
-these figures are susceptible, are almost infinite; and we subjoin a
-representation of a few of the most curious. It is to be borne in mind,
-that all the pieces of which the puzzle consists, must be employed to form
-each figure.
-
-
-50. TROUBLE-WIT.
-
-Take a sheet of stiff paper, fold it down the middle of the sheet,
-longways; then turn down the edge of each fold outward, the breadth of a
-penny; measure it as it is folded, into three equal parts, with compasses,
-which make six divisions in the sheet; let each third part be turned
-outward, and the other, of course, will fall right; then pinch it a
-quarter of an inch deep, in plaits, like a ruff, so that, when the paper
-lies pinched in its form, it is in the fashion represented by A; when
-closed together, it will be like B; unclose it again, shuffle it with each
-hand, and it will resemble the shuffling of a pack of cards; close it and
-turn each corner inward with your fore finger and thumb, it will appear as
-a rosette for a lady's shoe, as C; stretch it forth, and it will resemble
-a cover for an Italian couch, as D; let go your fore finger at the lower
-end, and it will resemble a wicket, as E; close it again, and pinch it at
-the bottom, spreading the top, and it will represent a fan, as F; pinch
-it half way, and open the top, and it will appear in the form shown by G;
-hold it in that form, and with the thumb of your left hand turn out the
-next fold, and it will be as H.
-
-[Illustration]
-
-In fact, by a little ingenuity and practice, Trouble-wit may be made
-to assume an infinite variety of forms, and be productive of very
-considerable amusement.
-
-
-
-
-ANSWERS TO PRACTICAL PUZZLES.
-
-
-1. THE CHINESE CROSS ANSWER.
-
-Place Nos. 1 and 2 close together, as in Fig. 1; then hold them together
-with the finger and thumb of the left hand horizontally and with the
-square hole to the right. Push No. 3--placed in the same position _facing
-you_ (_a_) in No. 4--through the opening at K, and slide it to the left at
-A, so that the profile of the pieces should be as in Fig. 2. Now push No.
-4 _partially_ through the space from below upwards, as seen in f, Fig. 2.
-Place No. 5 cross-ways upon the part Y, so that the point R is directed
-upwards to the right hand side; then push No. 4 quite through, and it
-will be in the position shown by the dotted lines in Fig. 2. All that now
-remains is to push No. 6--which is the key--through the opening M and the
-cross is completed as in Fig. 3.
-
-[Illustration:
-
-    Fig 1      Fig 2      Fig 3
-]
-
-
-2. ANSWER TO THE "PARALLELOGRAM."
-
-[Illustration]
-
-Divide the piece of card into five steps, and by shifting the position of
-the pieces, the desired figures may be obtained.
-
-
-3. THE DIVIDED GARDEN ANSWER.
-
-[Illustration]
-
-
-4. ANSWER TO THE ENDLESS STRING.
-
-The string must be put through the armhole, and over the head, then
-through the opposite armhole; then the hand must be put up underneath the
-waistcoat, and the string drawn down around the body until the former
-drops down about the waist, when the experimenter may jump out of it and
-claim his coat.
-
-
-5. ANSWER TO THE CHINESE MAZE.
-
-KOONG-SEE'S WHISPERS.
-
-    A Why linger near the fence? a word or two
-      Would kindle up a flame for ever true.
-    B Beware of rivals--mischief hovers near;
-      Or, worse mischance, parental frowns appear.
-    C Favored indeed, the open door to gain--
-      Let no dishonor now your conduct stain.
-    E The ground is rough, and difficult the road;
-      But, faint not, thou shalt reach thy love's abode!
-    F Against thy course runs the opposing tide,
-      And waves of trouble cast thy hopes aside.
-    G A modest competence thy lot will be;
-      But richer joys than wealth are stored for thee.
-    A Take heed! take heed! a strange transforming doom
-      May fix thy love, but never let it bloom.
-    J Be not too rash--nor leap the Bridge of Love,
-      Leaving fond eyelids, moist with tears, above.
-    K What dost thou on the house top? do not steal
-      Thy love, but win by dutiful appeal!
-    L A barren path this way thy footsteps tread;
-      Thy heart will soon grow cold, thy love be fled.
-    M Thou hast a friend can help thy onward way--
-      And such a friend will ne'er thy trust betray.
-    D Joy! thou hast reached, at length, the wedding ring;
-      Let white-robed maidens orange blossoms bring;
-      Oh may your years of happy wedlock be
-      Bright as your hopes, and from misgiving free.
-
-
-6. ANSWER TO VERTICAL LINE PUZZLE.
-
-[Illustration:
-
-    |\    |   |   |\    |   +-----
-    | \   |   |   | \   |   |
-    |  \  |   |   |  \  |   +-----
-    |   \ |   |   |   \ |   |
-    |    \|   |   |    \|   +-----
-]
-
-
-7. THE THREE RABBITS, ANSWER.
-
-[Illustration]
-
-
-8. THE ACCOMMODATING SQUARE.
-
-[Illustration]
-
-
-9. ANSWER TO THE CIRCLE PUZZLE.
-
-Thrust it upwards from the other side.
-
-
-10. ANSWER TO THE CUT CARD PUZZLE.
-
-[Illustration]
-
-Double the cardboard or leather lengthways down the middle, and then cut
-first to the right, nearly to the end, (the narrow way,) and then to the
-left, and so on to the end of the card; then open it and cut down the
-middle, except the two ends. The diagram shows the proper cuttings. By
-opening the card or leather, a person may pass through it. A laurel leaf
-may be treated in the same manner.
-
-
-11. ANSWER TO THE BUTTON PUZZLE.
-
-Draw the narrow slip of the leather through the hole, and the string and
-buttons may be easily released.
-
-
-12. ANSWER TO THE QUARTO PUZZLE.
-
-[Illustration]
-
-Divide the figure in the direction shown by the lines, and you will have
-four pieces of the same size and shape.
-
-
-13. ANSWER TO THE PUZZLE OF FOURTEEN.
-
-[Illustration]
-
-
-14. ANSWER TO THE SQUARE AND CIRCLE PUZZLE.
-
-[Illustration:
-
-    +---------------+
-    |o      o   |  o|
-    |-------+   |   |
-    |      o|o  |   |
-    |o  +---+---+  o|
-    |   |  o|o      |
-    |   |   +-------|
-    |o  |   o      o|
-    +---------------+
-]
-
-
-15. THE SCALE AND RING PUZZLE.
-
-The puzzle consists in releasing the ring; to effect which, you have only
-to reverse the former process, by passing the loop through the holes D, C,
-B, and A, in the manner before described.
-
-
-16. ANSWER TO THE HEART PUZZLE.
-
-Loosen the string, and draw the loop through the hole No. 2; pass it
-behind, and bring it through No. 1, and slip it over the smaller heart;
-then the string may be easily drawn out.
-
-
-17. ANSWER TO THE CROSS PUZZLE.
-
-[Illustration]
-
-
-18. ANSWER 10 THE YANKEE SQUARE.
-
-[Illustration]
-
-Arrange the pieces as shown in the figure above.
-
-
-19. ANSWER TO THE CARD PUZZLE.
-
-In order to take the pipe off, the card must be doubled (as in Fig. 2),
-the slip passed through it, until there is sufficient of the loop below
-the pipe to allow one of the square ends of the slip (Fig. 3) being passed
-through it. Fig. 3 is then to be taken away, and the pipe slipped off.
-The card for this puzzle must be cut very neatly, the puzzle handled
-gently, and great care taken that, in doubling the card to put on the pipe
-no creases are made in it, as they would in all probability spoil your
-puzzle, by betraying to an acute spectator the mode of operation.
-
-[Illustration: _Fig. 2_]
-
-[Illustration: _Fig. 3_]
-
-
-20. ANSWER TO THE THREE SQUARE PUZZLE.
-
-Takeaway the pieces numbered 8, 10, 1, 3, 13, and three squares only will
-remain.
-
-
-21. ANSWER TO THE CYLINDER PUZZLE.
-
-Take a round cylinder of the diameter of the circular hole, and of the
-height of the square hole. Having drawn a straight line across the end,
-dividing it into two equal parts, cut an equal section from either side
-to the edge of the circular base, a figure like that represented by the
-woodcut in the margin would then be produced, which would fulfill the
-required conditions.
-
-[Illustration]
-
-
-22. ANSWER TO THE FOUR TENANTS.
-
-[Illustration]
-
-    My ground is divided,
-      My tenants at work,
-    And he'll profit most
-      Who does not labor shirk
-    So let them toil on
-      Till cabbages rise,
-    And carrots and turnips
-      To gladden their eyes.
-    Gooseberries and currants,
-      And raspberries too,
-    Shall amply repay
-      The work they may do.
-
-
-23. THE PUZZLE WALL.
-
-[Illustration]
-
-
-24. ANSWER TO THE NUN'S PUZZLE.
-
-[Illustration]
-
-
-25. HORSE SHOE PUZZLE.
-
-By cutting off the upper circular part containing two of the pins, and by
-changing the position of the pieces, another cut will divide the horse
-shoe into six portions, each containing one pin.
-
-
-26. ANSWER TO CARD SQUARE PUZZLE.
-
-[Illustration]
-
-
-27. THE DOGS PUZZLE ANSWERED SEE DOTTED LINES.
-
-[Illustration]
-
-
-28. PUZZLE OF THE TWO FATHERS.
-
-The first father divided the land in this way:
-
-[Illustration]
-
-The second father divided the land in the following manner:
-
-[Illustration]
-
-The different colors represent the several sons' portions.
-
-
-29. THE TRIANGLE PUZZLE.
-
-[Illustration]
-
-The solution of this puzzle may be easily acquired by observing the dotted
-lines in the engraving; by which it will be seen that four triangles are
-to be placed at the corners, and a small square made in the center. When
-this is done, the rest of the square may be quickly formed.
-
-
-30. ANSWER TO CUTTING OUT A CROSS PUZZLE.
-
-Take a piece of writing paper about three times as long as it is broad,
-say six inches long and two wide. Fold the upper corner down, as shown
-in Fig. 1; then fold the other upper corner over the first, and it will
-appear as in Fig. 2; you next fold the paper in half lengthwise, and it
-will appear as in Fig. 3. Then the last fold is made lengthwise also, in
-the middle of the paper, and it will exhibit the form of Fig. 4, which,
-when cut through with the scissors in the direction of the dotted line,
-will give all the forms mentioned.
-
-[Illustration]
-
-
-31. ANSWER TO ANOTHER CROSS PUZZLE.
-
-[Illustration]
-
-
-32. ANSWER TO THE FOUNTAIN PUZZLE.
-
-[Illustration]
-
-
-33. ANSWER TO THE STAR PUZZLE.
-
-    Good-tempered friends! here _nine_ stars see:
-    _Ten_ rows there are, in each row _three!_
-
-[Illustration]
-
-
-34. THE COUNTER PUZZLE ANSWER.
-
-Place 4 on 7, 6 on 2, 1 on 3, and 8 on 5; _or_, 5 on 2, 3 on 7, 8 on 6, 4
-on 1, &c.
-
-
-35. ANSWER TO THE JAPAN SQUARE.
-
-[Illustration]
-
-
-36. ANSWER TO THE CABINET MAKERS' PUZZLE.
-
-[Illustration]
-
-The cabinet-maker must find the center of the circle, and strike another
-circle, half the diameter of the first, and having the same center. Then
-cut the whole into four parts, by means of two lines drawn at right
-angles to each other, then cut along the inner circle, and put the pieces
-together as in the above diagram.
-
-
-37. ANSWER TO THE STRING AND BALLS PUZZLE.
-
-Draw the loop well down, slipping either ball through it. Push it through
-the hole at the extremities, pass it over the knot, and draw it through
-again. The same process must be repeated with the other ball; the loop
-can then be drawn through the hole in the center, and the ball will
-slide along the cord until it reaches the other side. The string is then
-replaced, having both balls on the same side.
-
-There is another and perhaps a neater way of performing this trick. Draw
-the loop through the central hole, and bring it through far enough to pass
-one of the balls through. Having done this, draw the string back, and both
-balls will be found on the same side.
-
-
-38. ANSWER TO THE DOUBLE-HEADED PUZZLE.
-
-[Illustration]
-
-Arrange them side by side in the short arms of the cross, draw out the
-center piece, and the rest will follow easily. The reversal of the same
-process will put them back again.
-
-
-39. ARITHMETICAL PUZZLE.
-
-The four figures are 8888, which being divided by a line drawn through the
-middle, become 0000/0000, the sum of which is eight 0s, or nothing.
-
-
-40. GRAMMATICAL PUZZLE.
-
-Take away L in the subjunctive "Let" at the beginning of the first line,
-and substitute S, and so turn it into the imperative "Set," when the
-changes which necessarily follow will be immediately apparent.
-
-
-41. ANSWER TO THE TREE PUZZLE.
-
-[Illustration]
-
-
-42. ANSWER TO AN EPITAPH ON ELLINOR BACHELLOR, AN OLD PIE WOMAN.
-
-        Beneath in the dust
-        The mouldy old crust
-    Of Nell Bachellor lately was shoven:
-        Who was skilled in the arts
-        Of pies, custards, and tarts,
-    And knew every use of the oven.
-        When she'd liv'd long enough,
-        She made her last puff,
-    A puff by her husband much prais'd:
-        Now here she doth lie,
-        To make a dirt pie,
-    In hopes that her crust will be rais'd.
-
-
-43. ANSWER TO A CURIOUS LETTER.
-
-"Sir, between friends, I understand your overbearing disposition; a man
-even with the world is above contempt, whilst the ambitious are beneath
-ridicule."
-
-
-44. ANSWER TO THE PUZZLE INSCRIPTION.
-
-By the use of the single vowel E, the following couplet was formed,
-
-    PERSEVERE YE PERFECT MEN,
-    EVER KEEP THESE PRECEPTS TEN.
-
-[Illustration]
-
-
-
-
-THE MAGIC OF ART.
-
-    "Tired at first sight with what the Muse imparts,
-    In fearless youth we tempt the height of arts."
-
-
-An almost endless source of amusement, combining at the same time a
-considerable amount of instruction, may be obtained in the following
-manner. Take a card or piece of pasteboard, or even stiff paper, and
-draw upon it the form of an egg--an oval in outline. The dimensions of
-the oval are immaterial, and the experimenter may suit his own fancy in
-this respect. With a stout needle, or tracing point, prick quite through
-the outline, for the purposes of tracing. Some of our readers may be
-unacquainted with the mode of tracing an outline, and it may be advisable
-to particularize one method among many. Having pricked out the oval upon
-the card, get a little red or black lead, powdered, and placing the card
-upon apiece of drawing paper--any white paper will however do--rub it over
-the pricked-out oval, which will be found to be transferred to the white
-paper beneath, thus:
-
-[Illustration]
-
-The powder may be applied either with a piece of wool or wadding, or by
-means of a dry camel's-hair pencil; care should be taken not to let the
-tracing-powder get beyond the edge of the pricked card, as in that case a
-soiled, dirty appearance is given to the tracing. The pierced card will
-serve, if carefully done, for hundreds of tracings, and it is obviously
-the best plan to take a little extra pains with that in the first instance.
-
-With this traced oval for a basis, (a little further on we shall speak of
-other figures, to be used singly or in combination with each other) any
-one with a very little skill will be able to form an infinite number of
-objects.
-
-The best drawing tool will be found to be an ordinary black lead pencil.
-
-Figs. 1, 2, 3, 4, 5, 6 are very easy results, suggestive also of others.
-The rules of procedure are the same in all. Leaving the traced-out oval
-at first in its dotted form, with the pencil you draw a horizontal line
-as the basis of your figure. Let this and the other lines, which serve
-merely as the scaffolding of your figure, be done faintly or in dots.
-Next, draw a line through the center of the oval and perpendicular to
-the first. These will ensure your making the object square and properly
-balanced. After this you may draw lines parallel to the others: but these
-are not so material, although they serve as guides.
-
-[Illustration]
-
-Now the imagination and fancy may step in to produce forms having the oval
-for a foundation; and not only is a very rational source of amusement
-opened out, but the opportunity is given to a cultivation of the noble art
-of design, whether as applied to utility or ornament.
-
-[Illustration]
-
-[Illustration]
-
-It is obvious to remark that the hand of many an amateur artist will
-readily be able to form the oval without having recourse to the pierced
-card; but as this portion of our work is intended for _all_, we have
-suggested the above mode as sure to succeed under every circumstance.
-
-Following the same plan in every particular, we subjoin some examples of
-what may be done with the square.
-
-[Illustration]
-
-The dotted lines (_figs._ 7, 8) represent the traced or sketched square
-and plan lines; the firmer lines suggest objects formed upon that figure.
-In the same way the thin square outline (_fig._ 9) suggests the inner
-sketch of a church.
-
-I stated before that the size of the fundamental oval or square made
-little difference; but I would recommend my younger readers to get these
-as large as possible, or convenient. If a large black board, such as
-is used in most schools, could be obtained, and the tracings prepared
-proportionably large (pounded chalk being used instead of the black or red
-powder in transferring the forms thereto), and the designs made upon these
-with a piece of chalk, so much the better. However, this matters little;
-and each one will suit his or her own taste in that respect. I now proceed
-to submit some examples of what may be done with other rudimentary forms.
-
-[Illustration]
-
-Following the instructions previously given, in place of the square
-suggested in Figs. 7, 8, 9, describe a circle. This may be done with a
-pair of compasses, or simply sketched or traced by means of any round
-object, such as a coin laid flat upon the paper. Figs. 10, 11, 12, 13,
-14, 15, are given merely as suggestions, the circle forming an important
-part of their figure. The mind of the experimenter will immediately revert
-to other objects--thousands such are to be met with around us--having
-the circle or the sphere for their basis. And it will be no mean result
-of my labors, if any number of my younger readers are led thereby to a
-habit of observation, whereby they will not fail to notice that nearly all
-natural objects have the curved line for a basis, if they are not actually
-distinguishable thereby from those that are artificial.
-
-[Illustration]
-
-Fig. 16 is drawn upon two circles in combination with each other. The
-dotted lines of the plan will be readily perceived; but lest there should
-be any difficulty, they have been drawn separately in Fig. 17. With this
-duplex figure little skill will be required to present the lord of the
-farm yard. The three outlines, Figs. 18, 19, 20, are based upon the square
-turned diamond-wise, and will need no further remark: examples upon this
-plan may be multiplied easily. Those given will serve as hints in the
-several directions of flowers, foliage, and landscapes generally.
-
-[Illustration]
-
-Before proceeding to show what may easily be done by a simple combination
-of the figures we have constructed, _i. e._, the oval, square, and circle,
-let me introduce another, which enters, by a kind of natural law, into
-almost all forms or groups of forms, namely, the triangle. Observe in the
-annexed cut, Fig. 21, how naturally, although unconsciously, the girl
-seats herself within one.
-
-[Illustration]
-
-A moment's reflection will show, that from the little nymph in the cut
-to the great pyramid, everything that rests solidly upon the earth must
-take the form, more or less, of this broad-based tapering figure. Roofs of
-houses, churches, and towers, are all triangular in their form, as are all
-great trees, differing from each other only in the width of their angles.
-
-[Illustration]
-
-Construct a triangle,[14] and trace it according to former directions, and
-from the examples, Figs. 22, 23, 24, look around you for others, and make
-various exercises upon this foundation.
-
-[Illustration]
-
-Now, to proceed to something more complicated. Suppose you had either in
-your mind, or sketched out upon paper, the plan of a garden; that is to
-say, suppose you had the dimensions of a piece of ground, and intended
-to lay it out as a garden, allotting so much space to this and that bed,
-so much to gravel walks, and wanted to see how such an arrangement would
-look in perspective,--in other words, in reality, for perspective, however
-alarming it may look in books, with its net-work of lines, cross and
-across, like an insoluble riddle or a monster cobweb, is nothing more than
-the actual representation of things as they meet the eye.
-
-[Illustration: 25]
-
-[Illustration: 26]
-
-Let your plan be what is shown in the square portion of Fig. 25; at the
-top of this plan place your triangle, draw a line through the center of
-the square upwards, until it meets the top A of the triangle. Next draw
-lines from the corner of the beds parallel to the center line until they
-meet the base line of the triangle. From thence continue all these lines
-to the point A. These give you the width of the beds _in perspective_. The
-other sides of their figure may be easily enough found. Fig. 26 is the
-perspective view sought, and is what your experimental drawing would be
-if, having done the plan and guide-lines in pencil and the rest in pen
-and ink, you had erased the former with a piece of india rubber.
-
-[Illustration: 27]
-
-I do not know whether my readers regard the matter in the same light, but
-it appears to the present writer that this little figure--the triangle--is
-capable of working wonders in the hands of an amateur draughtsman, if only
-properly used. Of course, those regularly educated, or submitted to a long
-course of training as artists, are not referred to, but only the general
-public, which by the by, means nineteen out of every twenty individuals. I
-ask whether the preceding cut is any exaggeration on the average sort of
-result attained, not only amongst very juvenile experimenters, but those
-of maturer age?
-
-[Illustration: 28]
-
-Everybody possessed of vision can tell, ordinarily, whether a building
-or other object is upright, or in the position proper to it, or necessary
-to its stability. By accustoming the hand to form lines, ovals,
-circles, squares, and triangles, and by habituating the mind to form
-comparisons between objects, and these and other figures, a person is put
-imperceptibly, as it were, in the way of depicting them with accuracy.
-
-To proceed--let us take the above misrepresented country residence, and
-applying to it the previously given rules, see what we can make of it. We
-would first draw or trace the parallelogram shown in dotted lines; over
-this, we place a triangle; then drawing an upright line through the center
-of both, make that the base of another and lengthened triangle, as shown
-(see Fig. 28). Thus we get the three lines of the side and roofs; and
-if we knew the proportionate height of the side window, by marking the
-same at a, b, and carrying the lines from those points to the apex of the
-triangle, we get its true perspective dimensions.
-
-The difference between the two results is as great as possible.
-
-In Fig. 29 the triangle placed at the side of the soldier in front gives
-the perspective of the whole line.
-
-[Illustration: 29]
-
-[Illustration: 30]
-
-Fig. 30 shows how two parallelograms in combination assist in giving the
-perspective of a block of stone or bale of goods.
-
-Fig. 31 exhibits the parallelogram and triangle in combination.
-
-Perhaps nothing is more puzzling to the tyro in sketching than the
-interior of rooms and halls. In Fig. 32 a very easy method is given. Trace
-the outer parallelogram, and within it, a smaller one; then connect the
-corners of the two as shown in the cut.
-
-[Illustration: 31]
-
-[Illustration: 32]
-
-[Illustration: 33]
-
-Fig. 33 is the application of the preceding.
-
-[Illustration: 34]
-
-[Illustration: 35]
-
-By the present paper I intend to let you into a great secret, the secret,
-namely, of Comic or "Funny" Drawing--a method, in fact, which is at
-the bottom of all humorous, or caricature sketching. Don't let any one
-be alarmed, and suppose that it is intended to set you quizzing and
-caricaturing your friends. Far from it.
-
-[Illustration: 36]
-
-[Illustration: 37]
-
-Draw the oval, Fig. 34. Divide it by transverse lines into about equal
-portions. You have now the basis for a face. Let the central line (across)
-mark the position of the eyes, the line above that the top of the
-forehead, the one below the bottom of the nose. By Fig. 35 you will see
-this worked out, and have what is considered a well proportioned face.
-
-[Illustration: 38]
-
-Now oddity of feature or expression is simply the result of a deviation
-from this regularity; and if, as you will perceive by the other Figs.,
-36, 37 and 38, these lines are placed higher or lower, or out of their,
-strictly speaking, _proper places_, you have, as a necessary result
-of such disarrangement, oddity, or comicality, which is founded upon
-irregularity or incongruity in things.
-
-[Illustration: 39]
-
-[Illustration: 40]
-
-I shall carry out this hint more fully, at present merely pointing out,
-in reference to the next two figures, how the end is attained by placing
-a pair of dark spectacles upon a regularly-featured face, or adding a
-little flesh to the lower portion of that at Fig. 39.
-
-But not to forget the "Art" in the "Sport," let me add, that by sketching
-the plain oval, and remarking whereabout the lines of their features would
-cut it, you may, without difficulty, attempt likenesses of your friends
-and companions.
-
-Now fill your slates or sketch-books with ovals, and try the effects of
-which the above are but indications. Your imaginations will furnish an
-endless variety of subjects. The omission of one eye, or its being covered
-by a shade, or closed while the other stares; the nose slightly on one
-side, the mouth a little wider than usual--these are all sources of the
-humorous, which, however, is far from being heightened by _ugliness_.
-Indeed, it should be borne in mind, that great distortion or hideousness,
-so far from contributing to humor, destroys it by raising painful images
-in the mind. True humor is closely allied to kindness.
-
-Now let us take the simplest elements of the profile or side face. This
-is also formed upon the oval, with a slight variation. And here we must
-go a little more into the "Art" than at first sight the "Sport" seems
-to warrant. You will perceive by Fig. 41 that the oval used for profile
-purposes is divided as before into four about equal portions, which are
-appropriated in the same manner. That is to say, the central line across
-is for the eye, and the other two for the limit of the hair and the bottom
-of the nose.
-
-[Illustration: 41]
-
-But take notice that portions are cut off--_e. g._, at the back where the
-neck is inserted; a little has to be added for forehead, chin, and hair;
-and some modification takes place about the region of the eye.
-
-Suffice it that the oval forms essentially the basis of the structure of
-a well proportioned face, such as is shown in the Fig. (41). Draw for
-yourself, or trace from Fig. 41, a figure for your basis. Next make a
-number of these tracings upon a clean sheet of drawing paper, and marking
-them in very lightly, in pencil, proceed as directed in the case of the
-front face in the last lesson; altering the feature lines, lengthening or
-shortening the chin, nose, and forehead according to your fancy. This will
-be a sufficient guide for you, and illustrations of this are accordingly
-omitted here.
-
-[Illustration: 42]
-
-[Illustration: 43]
-
-Let us proceed a step further. The last hint only dealt with the depth
-relatively of the several parts of the face. Now, as to their prominence.
-How very easily, by means of a few magic touches, which, by this time, you
-are magicians enough to impart, may you summon up our ancient acquaintance
-Mother Hubbard, or the modern hero Punch. (See Figs. 42, 43.)
-
-[Illustration: 44]
-
-[Illustration: 45]
-
-Observe that the peculiarity of these comic physiognomies consists
-merely in their deviation from the regularly formed head of Fig. 41.
-They are constructed upon that figure, which may be seen underneath in
-dotted lines. The variety of ways in which this exercise may be worked
-is infinite. Subjoined are a few. In Figs. 44 and 45, beards, mustaches,
-eyebrows, the hair cut absurdly short, or left redundant, joined to the
-sinking in of the facial angle, produce the effect of comicality. In Figs.
-46, 47, the same end is attained by the simplest means, and with even
-less exaggeration. And here I again repeat, that the less deviation there
-is from the proper proportions the better.
-
-[Illustration: 46]
-
-[Illustration: 47]
-
-As a pendant to the comical landscape given No. 27 I give you the annexed
-(Fig. 48).
-
-[Illustration: 48]
-
-[Illustration: 49]
-
-Every one will recognize it as a model drawing--such as is to be found
-upon walls, and occasionally upon the margins of school-books. This the
-artist (!) intends from a comic drawing. Of course it is no such thing.
-
-We will new take up the grandest object of art the Human Figure. In
-designing the human figure, there are three principal rules to be
-observed:
-
-First, the standard height of the human body may be reckoned as eight
-times the length of the face. Dividing the entire length by eight, as
-shown in the annexed diagram (Fig. 49), it will be perceived that the face
-comprises one of the spaces: the second reaching to the chest: the third,
-to above the hips; the fourth cuts the entire length into two equal parts;
-the fifth extends to the center of the thigh: the sixth, to the knee
-joint; the seventh to half way down the leg; and the eighth, to the sole
-of the foot.
-
-The second rule is, that no part of the body, viewed laterally, is more
-than twice the thickness of the head. In very young children, however, the
-rule is, that where the head will go, any part of the body will follow, as
-the experience of most people has tested.
-
-The third rule concerns the center of gravity. By reference to the fig.
-(49), a vertical line will be perceived, drawn through the center of the
-figure. Whenever the body is at rest upon its legs, standing at ease, as
-one may say, this imaginary line must always pass through its center.
-
-We shall see more about this hereafter, at present confining ourselves to
-the consideration of the first two rules These must be considered as only
-generally true.
-
-[Illustration: 50]
-
-They have, however, to be well considered in connection with our present
-subject; for as we said with the face, any great deviation from them leads
-to oddity, and is at the root of caricature drawing.
-
-Trace out, or sketch out any size, the figures (Fig. 49 and 50), or any
-others for yourselves: or taking any well drawn figure in a print which
-may not be too costly to use so, draw with a black lead pencil upon the
-print similar lines to those in the figures, that is to say, divide its
-length into eight parts, first dropping a central line perpendicular to
-the ground.
-
-You will thus test the accuracy of the rule, and familiarize yourself with
-the proportions of the figure. Then, for the purpose of comic drawing,
-you will vary these proportions. A face too long or too short, a body too
-large or too small for the legs, or legs otherwise disproportionate to the
-rest of the body, will yield the desired results. It will be seen by the
-Figs. 51 and 52 that their oddity has been arrived at simply by this rule,
-or by the deviation from the strict rule of proportion.
-
-[Illustration: 51]
-
-[Illustration: 52]
-
-[Illustration: 53]
-
-Fig. 53 is given in illustration of the remarks upon the second rule. The
-form is correct enough as regards height, and deviates in the matter of
-lateral proportion.
-
-We now come to consider the third principle--that of the center of
-gravity.
-
-Observe in the annexed figures how the first (Fig. 54) being at rest,
-commends itself to the reason like a mathematical demonstration. The next
-diagram shows a partial deviation from the center of gravity, is in a
-false position, and we begin either to pity or to laugh--poor diagram!
-The two following figures are other cases of the same sort--we feel
-instinctively for them--they are very far gone. Try this rule upon your
-slates or sketching blocks; and after that we will go on to the next
-subject. In the diagrams (Figs. 58, 59), the same principle is enforced.
-The first is at rest, because the line passing through the center of the
-figure is a vertical line. In the next figure, that line being out of the
-vertical, the balance is disturbed, and the figure topples; so with the
-next. This is so plain that argument is not needed to demonstrate it.
-
-[Illustration: 54]
-
-[Illustration: 55]
-
-[Illustration: 56]
-
-[Illustration: 57]
-
-[Illustration: 58]
-
-[Illustration: 59]
-
-[Illustration: 60]
-
-Try this also for yourselves as before. Nor need we confine our
-experiments to figures comparatively at rest: forms in every variety of
-action come under the same rule--it is a law of nature. There is a central
-line drawn through the whole system of the universe, through every tree,
-and plant, and stone, and every upright thing, could we but see it.
-
-[Illustration: 61]
-
-[Illustration: 62]
-
-The first of the following figures is in full action, but it may go on
-for ever, as its balance is not in any way disturbed. The second is fast
-hastening to its fall. The third is much nearer still to that consummation.
-
-[Illustration: 63]
-
-[Illustration: 64]
-
-[Illustration: 65]
-
-[Illustration: 66]
-
-It will suggest itself to every reader to apply the rule to other objects
-than the human figure. Trees in the positions of Figs. 64 and 65 are never
-seen unless through some violent accident; they may bend, and twist, and
-meander, but taking the objects as a whole, a central line, vertical to
-the horizon, will be detected, as shown in Fig. 65.
-
-If we turn our attention in any direction upon natural objects, the
-clouds, the earth, the sea, flowers, trees, or animal bodies, we cannot
-fail to see that _a curved line_ is always to be made out in their forms.
-Indeed, just so far as they are graceful and pleasing objects to the eye,
-this curved line is distinguishable. On the contrary, square lines offend
-the eye when met with under such circumstances. It is almost impossible
-indeed to imagine a square cloud, a square flower, or a square horse. When
-we see a square headed man, we are not impressed in his favor. We may have
-met with representations of natural objects, such as rocks, hill tops,
-mountain precipices, and the like, which had a square or nearly square
-appearance; but such things are almost always presented to our view as
-phenomena--_i. e._ things violating the regular order or general rule of
-nature. This curved line, which is the line of beauty, must pervade all
-nature; it is the natural law; and we cannot sufficiently admire the truth
-that that which is most necessary is also most beautiful.
-
-Does any one ask what particular reference these observations have to
-"Art in Sport?" Let us say that they alone can properly understand what
-is comic who have learned to appreciate what is _not_ comic. The distance
-between the sublime and the ridiculous is said to be very small--only one
-step. At any rate, the student who best understands the first will best
-appreciate the second. Socrates did not disdain to write an essay upon
-this subject, insisting that the very same qualities were essential in the
-comic and the tragic artist. But this is digressive.
-
-[Illustration: 67]
-
-Let us resume: In the annexed figure (67) you perceive the curved line.
-In proportion as you are able to make this perfectly, you will succeed in
-drawing gracefully. I must presume that very many of my readers will have
-no difficulty in copying the few natural objects suggested below. Practice
-upon your slate or board the figure (67) until you can do it easily. Then,
-for the purposes of "sport," proceed as follows. You wish to produce a
-droll "bit" of landscape. Take any simple view, such as submitted in Fig.
-68.
-
-[Illustration: 68]
-
-In this you will readily discover, as I said above, the curved, graceful
-lines of beauty--in the clouds, the outline of the distant hills, the
-foliage, the meandering stream. Let me advise you to practice this lesson
-somewhat perseveringly; apart from the new source of amusement which it
-is the object of these papers to open up, a beautiful lesson could be
-impressed upon the mind. Nothing is more calculated to refine the mind,
-to ennoble the thoughts, than to withdraw one's self from the artificial
-world, and to gaze upon the fresh face of nature. And if we are able to
-do this intelligently--in other words, if, having learned the alphabet,
-we are able to peruse as it were the book of nature--the delight and the
-advantage is proportionably increased. Now turn to the example shown in
-Fig. 69. What do we see? The lines of beauty have given place to others
-less pleasing to the eye, and (except as a source of merriment) less
-acceptable to the mind. Fig. 69 is a comic landscape; how it has become so
-must be clearly apparent.
-
-[Illustration: 69]
-
-In Fig. 70, the same process is carried out, and the result is similar.
-
-[Illustration: 70]
-
-I hope that I shall not be understood to mean, that in order to be
-graceful everything must be round, or that everything round is graceful,
-or that every square object is ungraceful; or, again, that by making
-any curved line into a square or straight one the end we propose is to
-be obtained. Doubtless many round things are ungraceful, as many others
-composed entirely of straight lines at various angles to each other are
-exceedingly graceful. But what is meant is this: that natural objects, in
-which, left to themselves, the curved line predominates, are made odd and
-comic-looking when drawn upon the square.
-
-[Illustration: 71]
-
-In Fig. 71, not only the lines of the shepherd's form are curved lines,
-and, therefore, conducive in a degree to its general pleasing character,
-but the _attitude_ is formed upon a curved line. This will be perceived
-clearer by reference to the next figure, (72,) in which, without using a
-single straight line in the parts of the form, the oddity is attained by
-making the whole attitude stiff and angular.
-
-[Illustration: 72]
-
-The student will find no difficulty in multiplying examples for himself:
-those given will suffice as hints. We must now proceed to show how comic
-designs may be made and applied to the slides of magic lanterns. The
-proper course of procedure is as follows:
-
-Procure a piece of clear common window glass, without specks or scratches;
-let this be made perfectly clean. Prepare your design, which should be
-made the exact size you intend it to be painted upon the glass; color it;
-and when quite dry, place it beneath your slide of glass, to which it
-might be fastened at the corners by means of a little gum or varnish. Now
-commence to paint upon the glass an exact fac simile of the design, which,
-of course, you see clearly enough through the glass.
-
-Common camel's hair brushes will do; those made of sable are, however,
-much better; but the first will suffice for ordinary purposes.
-
-The colors necessary are what are called silica colors, and are procurable
-of most artist's color makers.
-
-It will be necessary to let your first colors dry before putting on your
-shades; and it is desirable not to work in too hot a room, as the nature
-of the varnish with which you work is to dry very rapidly.
-
-Bear in mind too, that upon glass you cannot wash in a tint. Broad
-surfaces, such as skies, must be stippled in, as in painting upon ivory.
-
-In originating this paper on "The Magic of Art," the author did not
-propose to himself to give a complete treatise, but simply to point out,
-by some very easy processes, at source of amusement and instruction,
-available to almost every intelligent reader. It is hoped that, in
-this subject, he has not entirely failed, and that all will find some
-entertainment from,
-
-    "Art in Sport."
-
-FOOTNOTES:
-
-[Footnote 14: This is done easily enough, but the following directions
-may not be needless for some. Draw a straight line for a base of any
-length. If you wish to form a equilateral triangle, _i. e._ one of which
-the three sides are equal, divide this base line by two, and at the point
-of division set up an upright line; then from each end of the base line
-slant against the central upright line one the length of the base. These,
-of course, will meet at the top, and the triangle is formed. Any other
-triangle may be formed in a similar manner, the length of the sides being
-at the choice of the artist.]
-
-
-
-
-SECRET WRITING.
-
-[Illustration]
-
-
-The art of communicating secret information by means of writing, which is
-intended to be illegible except by the person for whom it is destined,
-is very ancient. The ancients sometimes shaved the head of a slave, and
-wrote upon the skin with some indelible coloring matter, and then sent
-him, after his hair had been grown again, to the place of his destination.
-This is not, however, properly secret writing, but only a concealment of
-writing. Another kind, which corresponds better with the name, is the
-following, used by the ancients. They took a small stick, and wound around
-it bark or papyrus, upon which they wrote. The bark was then unrolled and
-sent to the correspondent, who was furnished with a stick of the same
-size. He wound the bark again round this, and thus was enabled to read
-what had been written.
-
-This mode of concealment is evidently very imperfect. Cryptography
-properly consists in writing with signs, which are legible only to him
-for whom the writing is intended, or who has a key or explanation of
-the signs. The most simple method is to choose for every letter of the
-alphabet some sign, or only another letter. But this sort of cryptography
-(chiffre) is also easy to be deciphered without a key. Hence many
-illusions are used. No separation is made between the words, or signs
-of no meaning are inserted between those of real meaning. Various keys
-are also used according to rules before agreed upon. By this means the
-deciphering of the writing becomes difficult for a third person not
-initiated, but it is also extremely troublesome to the correspondents
-themselves, and a slight mistake often makes it illegible even to them.
-
-Another mode of communicating intelligence secretly, viz. to agree upon
-some printed book, and mark the words out, is also troublesome, and not
-at all safe. The method of concealing the words which are to convey the
-information intended in matter of a very different character, in a long
-letter which the correspondent is enabled to read by applying a paper to
-it, with holes corresponding to the places of the significant words, is
-attended with many disadvantages: the paper may be lost, the repetition of
-certain words may lead to a discovery, and the difficulty of connecting
-the important with the unimportant matter, so as to give to the whole the
-appearance of an ordinary letter, is considerable.
-
-There are many kinds of sympathetic inks. They are so called because the
-writings or drawings made by them are illegible, till by the action of
-some chemical agents, such as light, heat, acids, or other substances
-are brought in contact with them, when they appear. A weak sulphate of
-iron will be invisible in writing till washed over with a weak solution
-of prussiate of potass, which turns it of a beautiful blue. If we write
-with the nitro-muriate of gold, and afterwards brush the letters over with
-dilute muriate of tin, the writing will appear of a beautiful purple.
-If we write with a diluted solution of muriate of copper, and when dry
-present it to the fire, it will be of a yellow color.
-
-Chemistry was also in great request for secret writing, and various
-substances were found to afford a fluid which would leave no mark behind
-the pen, until some chemical agent were applied. For example, if a letter
-be written with a pen dipped in the juice of lemon, the words will be
-invisible until the paper is held before the fire. This is caused by the
-action of the heat. Again, if a solution of nitrate of iron be the fluid
-used, the writing cannot be seen until it is dipped into a solution of
-galls, or even into tea, which will act upon the iron, and become ink.
-It was found that if a plain sheet of paper were sent, and intercepted,
-the very fact of its being plain rendered it suspicious, and every means
-were used to render visible any writing that might be on it. A letter was
-therefore written with ordinary ink, on indifferent subjects, and between
-the lines the required information was added in some sympathetic ink.
-But writing with these or other sympathetic inks is unsafe, because the
-agents employed to render them visible are too generally known. Hence,
-the chiffre indéchiffrable, as it is called, has come very much into use,
-because it is easily applied, difficult to be deciphered, and the key may
-be preserved in the memory and easily changed. It consists of a table in
-which the letters of the alphabet, or any other signs agreed upon, are
-arranged as follow:
-
-    z a b c d e f g h i k l m n o p q r s t u v w x y z
-    a b c d e f g h i k l m n o p q r s t u v w x y z a
-    b c d e f g h i k l m n o p q r s t u v w x y z a b
-    c d e f g h i k l m n o p q r s t u v w x y z a b c
-    d e f g h i k l m n o p q r s t u v w x y z a b c d
-    e f g h i k l m n o p q r s t u v w x y z a b c d e
-    f g h i k l m n o p q r s t u v w x y z a b c d e f
-    g h i k l m n o p q r s t u v w x y z a b c d c f g
-    h i k l m n o p q r s t u v w x y z a b c d e f g h
-    i k l m n o p q r s t u v w x y z a b c d e f g h i
-    k l m n o p q r s t u v w x y z a b c d e f g h i k
-    l m n o p q r s t u v w x y z a b c d e f g h i k l
-    m n o p q r s t u v w x y z a b c d e f g h i k l m
-    n o p q r s t u v w x y z a b c d e f g h i k l m n
-    o p q r s t u v w x y z a b c d e f g h i k l m n o
-    p q r s t u v w x y z a b c d e f g h i k l m n o p
-    q r s t u v w x y z a b c d e f g h i k l m n o p q
-    r s t u v w x y z a b c d e f g h i k l m n o p q r
-    s t u v w x y z a b c d e f g h i k l m n o p q r s
-    t u v w x y z a b c d e f g h i k l m n o p q r s t
-    u v w x y z a b c d e f g h i k l m n o p q r s t u
-    v w x y z a b c d e f g h i k l m n o p q r s t u v
-    w x y z a b c d e f g h i k l m n o p q r s t u v w
-    x y z a b c d e f g h i k l m n o p q r s t u v w x
-    y z a b c d e f g h i k l m n o p q r s t u v w x y
-    z a b c d e f g h i k l m n o p q r s t u v w x y z
-
-Any word is now taken for a key. The word _Paris_, for example. This is
-a short word, and for the sake of secresy it would be well to choose for
-the key some one or more words less striking. Suppose we wish to write in
-this cypher with this key the phrase, "We lost a battle," we must write
-_Paris_ over the phrase, repeating it as often as is necessary, thus:
-
-    Pa risP a risPar
-    We lost a battle.
-
-We now take cypher for _w_, the letter which we find in the square
-opposite _w_ in the left margin column, and under _p_ on the top, which is
-_m_. Instead of _e_ we take the letter opposite _e_, and under _a_, which
-is _f_; for _l_, the letter opposite _c_, and under _z_, and so on.
-
-Proceeding thus, we should obtain the following series of letters:
-
-    mf cxli b tkmimw
-
-The person who receives the epistle writes the key over the letters
-
-    P a r i s P a r i s P a r
-    m f c x l i b t k m i m w
-
-He now goes down in the perpendicular line, at the top of which is _p_,
-until he meets _m_, opposite to which, in the left marginal column, he
-finds _w_. Next, going in the line of _a_ down to _f_ he finds, on the
-left, _e_. In the same way _r_ gives _l_, _i_ gives _o_, and so on. Or you
-may reverse the process; begin with _p_, in the left marginal column, and
-look along horizontally till you find _m_, over which, in the top line,
-you will find _w_. It is easily seen that the same letter is not always
-designated by the same cypher; thus _e_ and _a_ occur twice in the phrase
-selected, and they are designated respectively by the cyphers _f_ and _w_,
-_b_ and _k_. Thus the possibility of finding out the secret writing is
-almost impossible.
-
-The key may be changed from time to time, and a different key may be used
-with each correspondent. The utmost accuracy is necessary, because one
-character accidentally omitted changes the whole cypher. The best way
-of determining the key word is to arrange that any word which occurs at
-a certain distance from the beginning or end shall be the key word--the
-tenth from the beginning, for example. The key word will thus change every
-time, and any combination of letters will make it. This will make it
-impossible to be guessed.
-
-The easiest method of working this square is to cut a piece of thin wood
-like a carpenter's square, and by applying it to the alphabet the letter
-is at once seen in the angle. For example, supposing such a square to be
-applied so that one side is on the letter _p_ at the top, and the other on
-the letter _w_ at the left hand, the letter _m_ will be in the angle, so
-that the trouble of following the lines with the eye will be avoided.
-
-Here is another specimen of secret writing.
-
-
-A LOCK FOR MR. HOBBS TO PICK.
-
-    T:2 21rt:(,)t:2 s21(,)t:2 st1rr6 s,6(,)
-      1r2 86p : 2rs wr3t 76 : 1-9 93v3-2(,)
-    T : 1t : 1-9 w:38: t5-29 t:23r : 1r ? 4-6(,)
-      1-9 7192 t:23r v1r329 .!4r325 s:3-2(:)
-    3- t:2? 22- :21t:2-s 262 ?16 s22
-      S6?74!s 3- 5-2 .r1-9 tr3t: 84?75-2(;)
-        76t 3- t:2 744, 40 744,s t:2r2 !32s
-        1 ,26 34 r219 t:23r ?6st2r32s (.)
-
-    T:2- !2t -4t 013t:!2ss t4-.52 19v1-82
-      3ts s:1!!4w v15-ts(,)-4r s84002r 91r2
-    5p4- t:2 71sl2 40 3.-4r1-82
-      T4 r13s2 1 str58t5r2 40 92sp13r(!)
-    T:45.: 044!s ?16 .3v2 t:2 w4r!9s t4 8:1-82(,)
-      92s3.- 1-9 pr4v392-82 1r2 t:2r2(.)
-        :4w 7!3-929(,)w:4 1t 921t: 1!4-2
-        T:23r 922p s3.-30381-86 4w-(!)
-
-
-HERE IS THE ANSWER.
-
-The letters are represented by the figures and symbols below them. With
-this key the lock may be opened.
-
-    a b c d e f g h i j k l m n o u y
-    1 7 8 9 2 0 . : 3 ; , ! ? - 4 5 6
-
-The stops enclosed in brackets, are used in their capacity of stops: thus,
-(,) (;) &c.
-
-    The earth, the sea, the starry sky,
-      Are cyphers writ by hand divine,
-    That hand which tuned their harmony,
-      And bade their varied glories shine;
-    In them e'en heathen's eye may see
-      Symbols in one grand Truth combine;
-        But in the book of books there lies
-        A key to read their mysteries.
-
-    Then let not faithless tongue advance
-      Its shallow vaunts, nor scoffer dare
-    Upon the base of ignorance
-      To raise a structure of despair!
-    Though fools may give the world to chance
-      Design and Providence are there:
-        How blinded, who at death alone
-        Their deep significancy own!
-
-
-THE CIRCULAR CYPHER.
-
-To carry on a correspondence without the possibility of the meaning of the
-letter being detected, in case it should be opened by any other person,
-has employed the ingenuity of many. No method will be found more effectual
-for this purpose, or more easy, than the following.
-
-[Illustration: Fig. 1.]
-
-Provide a piece of square card or pasteboard, and draw a circle on it,
-which circle is to be divided into 27 equal parts, in each of which parts
-must be written _one_ of the capital letters of the alphabet, and the
-&, as in the figure. Let the center of this circle be blank. Then draw
-another circle, also divided into 27 equal parts, in each of which write
-one of the small letters of the alphabet, and the &. This circle must be
-cut round, and made exactly to fit the blank space in the center of the
-large circle, and must run round a pivot or pin. The person with whom you
-correspond must have a similar dial, and at the beginning of your letter
-you must put the capital letter, and at the end the small letter, which
-answer to each other when you have fixed your dial.
-
-Suppose what you wish to communicate is as follows:
-
-_I am so watched I cannot see you as I promised; but I will meet you
-to-morrow in the park, with the letters, &c._
-
-You begin with the letter _T_, and end with the letter _m_, which shows
-how you have fixed the dial, and how your correspondent must fix his, that
-he may decipher your letter. Then, for _I am_, you write _b uf_, and so of
-the rest, as follows:
-
-    _T b uf lh pumwayx b wugghm lyy rhn ul b ikhfblyx vnm b pbee fyym
-    rhn mh fhkkhp bg may iukd pbma may eymmykl, tw._
-
-    _m._
-
-
-_Another Way._
-
-Take two pieces of card, pasteboard, or stiff paper, through which you
-cut long squares at different distances. One of these you keep yourself,
-and the other you give to your correspondent. You lay the pasteboard on
-a paper, and, in the spaces cut out write what you would have understood
-by him only; then fill the intermediate spaces with any words that will
-connect the whole together, and make a different sense. When he receives
-it, he lays his pasteboard over the whole, and those words which are
-between crotchets [ ] form the intelligence you wish to communicate. For
-example: suppose you want to express these words,
-
-    "_Don't trust Robert: I have found him a villain._"
-
-"[Don't] fail to send my books. I [trust] they will be ready when [Robert]
-calls on you. [I have] heard that you have [found] your dog. I call [him
-a villain] who stole him." You may place a pasteboard of this kind three
-other ways--the bottom at top--the top at bottom, or by turning it over;
-but in this case you must previously apprize your correspondent, or he may
-not be able to decipher your meaning.
-
-
-SECRET CORRESPONDENCE BY MUSIC.
-
-[Illustration: Fig. 2.]
-
-Form a circle like Fig. 2, divided into twenty-six parts, with a letter of
-the alphabet written in each. The interior of the circle is movable, like
-that in Fig. 1, and the circumference is to be ruled like music paper.
-Place in each division a note different in figure or position.
-
-Within the musical lines place the three keys, and on the outer circle the
-figures to denote time. Then get a ruled paper, and place one of the keys
-(suppose _ge-re-sol_) against the time 2-4ths, at the beginning of the
-paper, which will inform your correspondent how to place his circle. You
-then copy the notes that answer to the letters of the words you intend to
-write, in the manner expressed above.
-
-[Illustration]
-
-
-
-
-THE MAGIC OF STRENGTH.
-
-    "Not two strong men the enormous weight could raise,
-    Such men as live in these degenerate days."--POPE'S HOMER.
-
-
-The mechanical knowledge of the ancients was principally theoretical;
-and though they seem to have executed some minor pieces of mechanism
-which were sufficient to delude the ignorant, yet there is no reason
-for believing that they have executed any machinery that was capable
-of exciting much surprise, either by its ingenuity or its magnitude.
-The properties of the mechanical powers, however, seem to have been
-successfully employed in performing feats of strength which were beyond
-the reach even of strong men, and which could not fail to excite the
-greatest wonder when exhibited by persons of ordinary size.
-
-Firmus, a native of Seleucia, who was executed by the Emperor Aurelian for
-espousing the cause of Zenobia, was celebrated for his feats of strength.
-In his account of the life of Firmus, who lived in the third century,
-Vopiscus informs us that he could suffer iron to be forged upon an anvil
-placed upon his breast. In doing this, he lay upon his back, and, resting
-his feet and shoulders against some support, his whole body formed an
-arch, as we shall afterward more particularly explain. Until the end of
-the sixteenth century, the exhibition of such feats does not seem to have
-been common. About the year 1703, a native of Kent, of the name of Joyce,
-exhibited such feats of strength in London and other parts of England,
-that he received the name of the second Samson. His own personal strength
-was very great; but he had also discovered, without the aid of theory,
-various positions of his body in which men even of common strength could
-perform very surprising feats. He drew against horses, and raised enormous
-weights; but as he actually exhibited his powers in ways which evinced the
-enormous strength of his own muscles, all his feats were ascribed to the
-same cause. In the course of eight or ten years, however, his methods were
-discovered, and many individuals of ordinary strength exhibited a number
-of his principal performances, though in a manner greatly inferior to
-Joyce.
-
-Some time afterward, John Charles Van Eckeberg, a native of Harzgerode,
-in Anhault, traveled through Europe under the appellation of Samson,
-exhibiting very remarkable examples of his strength. This, we believe, is
-the same person whose feats are particularly described by Dr. Desaguliers.
-He was a man of the middle size, and of ordinary strength; and as Dr.
-Desaguliers was convinced that his feats were exhibitions of skill, and
-not of strength he was desirous of discovering his methods, and, with this
-view, he went to see him, accompanied with the Marquis of Tullibardine,
-Dr. Alexander Stuart, Dr. Pringle, and his own mechanical operator. They
-placed themselves round the German, so as to be able to observe accurately
-all that he did, and their success was so great, that they were able to
-perform most of the feats the same evening by themselves, and almost all
-the rest when they had provided the proper apparatus. Dr. Desaguliers
-exhibited some of the experiments before the Royal Society, and has given
-such a distinct explanation of the principles on which they depend, that
-we shall endeavor to give a popular account of them.
-
-[Illustration: FIG. 1.]
-
-1. The performer sat upon an inclined board A B, placed upon a frame C D
-E, with his feet abutting against the upright board C. Round his loins was
-placed a strong girdle FG, to the iron ring of which at G was fastened a
-rope by means of a hook. The rope passed between his legs through a hole
-in board C, and several men, or two horses, pulling at the other end of
-the rope, were unable to draw the performer out of his place. His hands
-at G seemed to pull against the men, but they were of no advantage to him
-whatever.
-
-2. Another of the German's feats is shown in Fig. 2. Having fixed the
-rope above mentioned to a strong post at A, and made it pass through
-a fixed iron eye at B, to the ring in his girdle, he planted his feet
-against the post at B, and raised himself from the ground by the rope, as
-shown in the figure. He then suddenly stretched out his legs and broke the
-rope, falling back on a feather bed at C, spread out to receive him.
-
-[Illustration: FIG. 2.]
-
-[Illustration: FIG. 3.]
-
-3. In imitation of Firmus, he laid himself down on the ground, as shown
-in Fig. 3, and when an anvil A was placed upon his breast, a man hammered
-with all his force the piece of iron B, with a sledge hammer, and
-sometimes two smiths cut in two with chisels a great cold bar of iron laid
-upon the anvil. At other times a stone of huge dimensions, half of which
-is shown at C, was laid upon his belly, and broken with a blow of the
-great hammer.
-
-[Illustration: FIG. 4.]
-
-4. The performer then placed his shoulders upon one chair, and his heels
-upon another, as in Fig. 4, forming, with his back-bone, thighs, and legs,
-an arch springing from its abutments at A and B. One or two men then stood
-upon his belly, rising up and down while the performer breathed. A stone,
-one and a half feet long, one foot broad, and half a foot thick, was then
-laid upon his belly and broken by a sledge hammer, an operation which may
-be performed with much less danger than when his back touched the ground,
-as in Fig. 3.
-
-5. His next feat was to lie down on the ground, as in Fig. 5. A man being
-then placed on his knees, he draws his heels towards his body, and,
-raising his knees, he lifts up the man gradually, till, having brought his
-knees perpendicularly under him, as in Fig. 6, he raises his own body up,
-and, placing his arms around the man's legs, he rises with him, and sets
-him down on some low table or eminence of the same height as his knees.
-This feat he sometimes performed with two men in place of one.
-
-[Illustration: FIG. 5.]
-
-[Illustration: FIG. 6.]
-
-[Illustration: FIG. 7.]
-
-6. The last, and apparently the most wonderful, performance of the German,
-is shown in Fig. 7, where he appears to raise a cannon A, placed upon a
-scale, the four ropes of the scale being fixed to a rope or chain attached
-to his girdle, in the manner already described. Previous to the fixing of
-the ropes, the cannon and scale rest upon two rollers B C, but when all is
-ready, the two rollers are knocked from beneath the scale, and the cannon
-is sustained by the strength of his loins.
-
-The German also exhibited his strength in twisting into a screw a flat
-piece of iron like A, Fig. 8. He first bent the iron into a right angle,
-as at B, and then wrapping his handkerchief about its broad upper end, he
-held that end in his left hand, and with his right applied to the other
-end, twisted about the angular point, as shown at C. Lord Tullibardine
-succeeded in doing the same thing, and even untwisted one of the irons
-which the German had twisted.
-
-It would lead into details by no means popular, were I to give a minute
-explanation of the mechanical principles upon which these feats depend. A
-few general observations will perhaps be sufficient for ordinary readers.
-The feats No. 1, 2, and 7, depend entirely on the natural strength of the
-bones of the pelvis, which form a double arch, which it would require an
-immense force to break, by any external pressure directed to the center
-of the arch; and, as the legs and thighs are capable of sustaining four
-or five thousand pounds when they stand quite upright, the performer has
-no difficulty in resisting the force of two horses, or of sustaining the
-weight of a cannon weighing two or three thousand pounds.
-
-[Illustration: FIG. 8.]
-
-The feat of the anvil is certainly a very surprising one. The difficulty,
-however, really consists in sustaining the anvil; for when this is done,
-the effect of the hammering is nothing. If the anvil were a thin piece of
-iron, or even two or three times heavier than the hammer, the performer
-would be killed by a few blows; but the blows are scarcely felt when the
-anvil is very heavy, for the more matter the anvil has, the greater is its
-inertia, and it is the less liable to be struck out of its place; for when
-it has received by the blow the whole momentum of the hammer, its velocity
-will be so much less than that of the hammer, as its quantity of matter
-is greater. When the blow, indeed, is struck, the man feels less of the
-weight of the anvil than he did before, because, in the reaction of the
-stone, all the parts of it round about the hammer rise towards the blow.
-This property is illustrated by the well known experiment of laying a
-stick with its ends upon two drinking glasses full of water, and striking
-the stick downwards in the middle with an iron bar. The stick will in this
-case be broken without breaking the glasses, or spilling the water. But if
-the stick is struck upwards, as if to throw it up in the air, the glasses
-will break if the blow be strong, and if the blow is not very quick, the
-water will be spilled without breaking the glasses.
-
-When the performer supports a man upon his belly, as in Fig. 4, he does it
-by means of the strong arch formed by his backbone, and the bones of his
-legs and thighs. If there were room for them, he could bear three or four,
-or, in their stead, a great stone to be broken with one blow.
-
-A number of feats of real and extraordinary strength were exhibited about
-a century ago, in London, by Thomas Topham, who was five feet ten inches
-high, and about thirty-one years of age. He was entirely ignorant of any
-of the methods for making his strength appear more surprising; and he
-often performed, by his own natural powers, what he learned had been done
-by others by artificial means. A distressing example of this occurred in
-his attempt to imitate the feat of the German Samson by pulling against
-horses. Ignorant of the method which we have already described, he seated
-himself on the ground with his feet against two stirrups, and by the
-weight of his body he succeeded in pulling against a single horse; but in
-attempting to pull against two horses, he was lifted out of his place, and
-one of his knees was shattered against the stirrups, so as to deprive him
-of most of the strength of one of his legs. The following are the feats of
-real strength which Dr. Desaguliers saw him perform.
-
-1. Having rubbed his fingers with coal-ashes to keep them from slipping,
-he rolled up a very strong and large pewter plate.
-
-2. Having laid seven or eight short and strong pieces of tobacco-pipe on
-the first and third fingers, he broke them by the force of his middle
-finger.
-
-3. He broke the bowl of a strong tobacco-pipe placed between his first and
-third fingers, by pressing his fingers together sideways.
-
-4. Having thrust such another bowl under his garter, his legs being bent
-he broke it to pieces by the tendons of his hams, without altering the
-bending of his leg.
-
-5. He lifted with his teeth, and held in a horizontal position for a
-considerable time, a table six feet long, with half a hundred weight
-hanging at the end of it. The feet of the table rested against his knees.
-
-6. Holding in his right hand an iron kitchen poker three feet long and
-three inches round, he struck upon his bare left arm, between the elbow
-and the wrist, till he bent the poker nearly to a right angle.
-
-7. Taking a similar poker, and holding the ends of it in his hands, and
-the middle against the back of his neck, he brought both ends of it
-together before him, and he then pulled it almost straight again. This
-last feat was the most difficult, because the muscles which separate the
-arms horizontally from each other are not so strong as those which bring
-them together.
-
-8. He broke a rope about two inches in circumference, which was partly
-wound about a cylinder four inches in diameter, having fastened the other
-end of it to straps that went over his shoulder.
-
-9. Dr. Desaguliers saw him lift a rolling stone of about 800 pounds'
-weight with his hands only, standing in a frame above it, and taking hold
-of a frame fastened to it. Hence Dr. Desaguliers gives the following
-relative view of the strengths of individuals:
-
-    Strength of the weakest men,     125 pounds.
-    Strength of very strong men,     400
-    Strength of Topham,              800
-
-The weight of Topham was about 200.
-
-One of the most remarkable and inexplicable experiments relative to the
-strength of the human frame, which we have ourselves seen and admired, is
-that in which a heavy man is raised with the greatest facility, when he
-is lifted up the instant that his own lungs, and those of the persons who
-raise him, are inflated with air. This experiment was, I believe, first
-shown in England a few years ago by Major H., who saw it performed in a
-large party at Venice under the direction of an officer of the American
-navy. As Major H. performed it more than once in my presence, I shall
-describe, as nearly as possible, the method which he prescribed. The
-heaviest person in the party lies down upon two chairs, his legs being
-supported by the one and his back by the other. Four persons, one at
-each leg and one at each shoulder, then try to raise him, and they find
-his dead weight to be very great, from the difficulty they experience
-in supporting him. When he is replaced in the chairs, each of the four
-persons takes hold of the body as before, and the person to be lifted
-gives two signals by clapping his hands. At the first signal he himself
-and the four lifters begin to draw a long and full breath, and when the
-inhalation is completed, or the lungs filled, the second signal is given,
-for raising the person from the chairs. To his own surprise and that of
-his bearers, he rises with the greatest facility, as if he were no heavier
-than a feather. On several occasions I have observed that when one of the
-bearers performs his part ill, by making the inhalation out of time, the
-part of the body which he tries to raise is left, as it were, behind. As
-we have repeatedly seen this experiment, and have performed the part both
-of the load and of the bearer, we can testify how remarkable the effects
-appear to all parties, and how complete is the conviction, either that
-the load has been lightened, or the bearer strengthened by the prescribed
-process.
-
-At Venice, the experiment was performed in a much more imposing manner.
-The heaviest man in the party was raised and sustained upon the points of
-the fore fingers of six persons. Major H. declared that the experiment
-would not succeed if the person lifted were placed upon a board, and
-the strength of the individuals applied to the board. He conceived it
-necessary that the bearers should communicate directly with the body to be
-raised. I have not had an opportunity of making any experiments relative
-to these curious facts; but whether the general effect is an illusion, or
-the result of known or of new principles, the subject merits a careful
-investigation.
-
-Among the remarkable exhibitions of mechanical strength and dexterity,
-we may enumerate that of supporting pyramids of men. This exhibition is
-a very ancient one. The simplest form of this feat consists in placing a
-number of men upon each other's shoulders, so that each row consists of a
-man fewer till they form a pyramid terminating in a single person, upon
-whose head a boy is sometimes placed with his feet upwards.
-
-
-
-
-MISCELLANEOUS
-
-CURIOUS TRICKS AND FANCIES.
-
-    "Youth loves and lives on change,
-    Till the soul sighs for sameness, which at last
-    Becomes variety, and takes its place."
-
-
-AN ARTIFICIAL MEMORY.
-
-The reader must have observed, that to perform several of the recreations
-in this book, it is necessary to have a good memory; but as that is a gift
-every one has not from nature, many methods have been contrived to supply
-that defect by art--the most material of which we shall here describe.
-
-An artificial memory respects either figures or words; for the former,
-let the five vowels, a, e, i, o, u, represent the first five digits; the
-diphthongs that begin with the first four vowels, as au, ea, ie, ou,
-representing the remaining four digits, let y stand for an 0, or cypher.
-Let the ten first consonants also stand for the nine digits and the
-cypher, as in the following table:
-
-    +----+----+----+----+----+----+----+----+----+----+
-    |  a |  e |  i |  o |  u | au | ea | ie | ou |  y |
-    |    |    |    |    |    |    |    |    |    |    |
-    |  1 |  2 |  3 |  4 |  5 |  6 |  7 |  8 |  9 |  0 |
-    |    |    |    |    |    |    |    |    |    |    |
-    |  b |  c |  d |  f |  g |  h |  k |  l |  m |  n |
-    +----+----+----+----+----+----+----+----+----+----+
-
-Then to represent any number, let the first letter be a vowel or
-diphthong, the second a consonant, the third a vowel, the fourth a
-consonant, &c. Thus for the number 1763, you write or remember the word
-_akaud_; if there are several sums to be retained, you place the words in
-form of verses--which will make them more pleasing to repeat and more
-easy to remember; for example, if you would remember the dates of the
-discovery of America by Columbus, the settlement of Virginia by Captain
-Smith, the landing of the Pilgrims at Plymouth, the Battle of Bunker Hill,
-the Declaration of Independence, and the Battle of New Orleans, which
-were in 1492, 1605, 1620, 1775, 1776, and 1815, you write as follows--for
-you are to observe that in this, as well as similar cases, when the first
-figure is always the same, it is unnecessary to write it after the first
-time:
-
-    Afouc hyh hen keag keah lag.
-
-When several cyphers come together, instead of repeating y or _n_, you may
-write y or _n_ 2, 3, &c.; thus, for 3400, write _ify_2, and for 256,000,
-write _ehun_3.
-
-To remember any number of words, select the initial letters of those
-words, and to the first add a, if it begins with a consonant, or b, if it
-begins with a vowel. In like manner e or c to the second initial letter;
-to the third add i or d; to the fourth o or f; to the fifth u or g, so
-that of the five initials you make five syllables, which are joined
-together in one word--then of the next five initials you make, in the
-same manner, another word, and of every two words you make a verse; for
-example, suppose you would remember the names of all the kings of England
-since the Norman conquest in the order in which they reigned, you then
-write as follows:
-
-    W_a_ w_e_ h_i_ s_o_ h_u_    R_a_ j_e_ h_i_ e_f_ e_g_
-    E_b_ r_e_ h_i_ h_o_ h_u_    E_b_ e_c_ r_i_ h_o_ h_u_
-    E_b_ m_e_ e_d_ j_o_ c_u_    C_a_ j_e_ w_i_ a_f_ g_u_ G_a_ g_e_
-                                               g_i_ g_o_ w_u_ V_a_.
-
-Or, if you would remember the letters that begin any number of verses,
-suppose the twenty first lines of Pope's Essay on Man, you write as
-follows:
-
-    A_b_t_e_l_i_t_o_e_g_     A_b_a_c_o_d_t_o_t_u_
-    T_a_o_c_e_d_a_f_l_u_     B_a_s_e_w_i_o_f_f_u_.
-
-
-THE MAGICIAN'S MIRROR.
-
-Construct a box of wood, of a cubical shape, A B C D, of about fifteen
-inches every way. Let it be fixed to the pedestal P, at the usual height
-of a man's head. In each side of this box let there be an opening, of an
-oval form, ten inches high, and seven wide. In this box place two mirrors,
-A D, with their backs against each other. Let them cross the box in a
-diagonal line, and in a vertical position. Decorate the openings in the
-side of this box with four oval frames and transparent glasses, and cover
-each with a curtain so contrived as all to draw up together.
-
-[Illustration]
-
-Place four persons in front of the four sides, and at equal distances
-from the box, and then draw them up that they may see themselves in the
-mirrors, when each of them, instead of his own figure, will see that of
-the person next to him, but who will appear to him to be placed on the
-opposite side. Their confusion will be the greater, as it will be very
-difficult, if not impossible, for them to discover the mirrors concealed
-in the box. The reason of this phenomenon is evident; for though the rays
-of light may be turned aside by a mirror, yet they always _appear_ to
-proceed in right lines.
-
-
-THE PERSPECTIVE MIRROR.
-
-[Illustration]
-
-Provide a box, A B C D, of about two feet long, fifteen inches wide, and
-12 inches high. At the end A C, place the concave mirror, the focus of
-whose parallel rays is eighteen inches from the reflecting surface. At I
-L place a pasteboard, blacked, in which a hole is cut, sufficiently large
-to see on the mirror H the object placed at B E F D. Cover the top of
-the box, from A to I, close, that the mirror H may be entirely darkened.
-The other part, I B, must be covered with glass, under which is placed
-a gauze or oiled paper, to prevent the inside from being seen. Make an
-aperture at G, near the top of the side E B, beneath which, on the inside,
-place in succession, paintings of vistas, landscapes, figures, &c. so
-that they may be in front of the mirror H. Let the box be placed that the
-object may be strongly illuminated by the sun, or by wax-lights placed
-under the inclosed part of the box A I. By this simple construction, the
-objects placed at G D will be thrown into their natural perspective, and
-if the subjects be properly chosen and well executed, the appearance will
-be both wonderful and pleasing.
-
-
-THE MAGICAL GYROSCOPE.
-
-A little instrument has been constructed lately, exhibiting such
-remarkable results in connection with rotary motion, that it has greatly
-puzzled most of those who have witnessed its strange performances.
-Although many of our readers may have seen the instrument, yet from the
-numberless inquiries that have been made for the rationale of its peculiar
-feats, and also from the fact that we have not yet heard a solution that
-appears to be the true one, we are induced to furnish a brief description
-and explanation of the whole.
-
-[Illustration: _Fig. 1_]
-
-It consists of a brass wheel, B, four or five inches in diameter, with
-a thick lead rim, or circumference, so as to impart to the wheel when
-revolving rapidly sufficient momentum to cause it to spin for some
-minutes. The axis of this wheel terminates in pivots, set in a circular
-ring at right angles to the wheel, as the figure represents. Two small
-flat pieces of brass (A and C) are soldered outside to opposite sides of
-this ring, and a small cavity is made on the under side of each piece,
-so that the whole may rest on a pointed upright wire, placed in one of
-these cavities, this wire being inserted in a heavy metallic base to give
-it solidity. A small hole is made in the axis of the wheel, so that the
-end of a cord may be thrust through, the cord wound around it, and rapid
-motion imparted to the wheel like the spinning of a top. This constitutes
-the whole of the apparatus, which is shown in Fig. 1.
-
-Now, by placing the wheel and its ring, on the upper end of the pointed
-wire, as shown in the figure, _only one side being supported_, the wheel
-and ring would of course, immediately fall by the force of gravity, there
-being no support at the other side, C. But if a rapid spinning motion
-is given to the wheel by means of the cord already described, and it be
-placed on the point at A, _it will not fall_, but will move slowly around
-on the upright point, performing a steady, revolving horizontal motion,
-as long as the rapid rotary motion of the wheel continues. So steady and
-uniform is this horizontal movement, that it generally suggests the motion
-of the planets round the sun.
-
-This _self-upholding_ property constitutes the wonder and puzzle of the
-instrument, and many explanations have been attempted. Some ascribe it to
-atmospheric influence; others to electricity; while others confidently
-remark, "Ah, yes, I understand it--it is the _motion_ which keeps it from
-falling--it is the momentum--the centrifugal force;" but _why_ this result
-is produced by centrifugal force, we are not told.
-
-The true explanation is this:
-
-1. The wheel when at rest, may of course be easily moved about so as to
-alter the position of its axis, in any direction. But this is not so when
-it is made to spin rapidly; if the ring is held in the hands, the wheel
-will be found strongly to resist any side or twisting movement--so much
-so, that a novice will start, and almost let it drop, supposing there is
-something _alive_ in it or, as they sometimes remark; "Why! it feels as
-if there was a _snake_ in the wheel!" This is owing to nothing but the
-strong momentum of the _lead rim_ (already described) tending to keep the
-wheel in its position; for an attempt to alter its position, throws all
-this swiftly flying matter into a different course, which, it is evident,
-cannot easily be done.
-
-2. The _slowly revolving_, horizontal motion on the pivot at A is in a
-contrary direction to the _spinning_ motion of the _top_ of the wheel,
-as the arrows show in Fig. 1. In other words, the forward portion of the
-wheel flies upwards, and the back portion downwards. This will be found to
-be always the case.
-
-3. Now, when the wheel is moving on horizontally around the pivot at _a_,
-the forward portion of the rim is continually moving to the _left_, and
-the hinder portion to the right, as represented in Fig. 2. The combined
-motion of the forward part of the wheel both upward and to the left, is
-therefore not perpendicularly upward, but inclined to the left, and the
-tendency of its momentum is to throw the top of the wheel also to the
-left. In the same way, the downward momentum behind throws the bottom to
-the right. Throwing the top to the left and the bottom to the right, of
-course raises the wheel as it rests on the pivot A. In other words, the
-combined motion of the wheel on its axis, and on the pivot A, constantly
-tends to raise it, thus overcoming gravity, and maintaining the wheel in
-its position, supported only at one end.
-
-[Illustration: Fig. 2]
-
-4. The momentum of the lead rim, as described in (1.) tending to keep the
-wheel in its position, keeps it also in a uniformly horizontal attitude;
-if placed by the hand, inclining upwards, it will move around on the pivot
-at _a_, without altering this inclination; or the same result takes place,
-if inclined below the horizontal.
-
-5. The reason of the forward horizontal movement, is this: the spinning
-force of the wheel tends to throw it to the left, and consequently to
-lift it upwards, as shown in (3.)--gravity, on the opposite hand, tends
-to draw it downward; the _resultant_ (or mid-way) motion is therefore
-between them, or horzontally. As a proof that gravity thus produces the
-onward movement--when the wheel spins with the greatest rapidity, and
-consequently has the greatest relative force to gravity, the horizontal
-movement is slowest; but it continues constantly to increase as the motion
-of the wheel is retarded, and as gravity assumes a greater proportionate
-force.
-
-
-THE ARTIFICIAL LANDSCAPE.
-
-Procure a box, as in cut, of about a foot long, eight inches wide, and six
-inches high, or any other dimensions you please, so they do not greatly
-vary from these proportions. At each of its opposite ends, on the inside
-of this box, place a piece of looking-glass, that shall exactly fit; but
-at that end where the sight hole A is, scrape the quicksilver off the
-glass, through which the eye can view the objects.
-
-Cover the box with gauze, over which place a piece of transparent glass,
-which is to be well fastened in. Let there be two grooves at each of the
-places C D E F, to receive two printed scenes, as follow: On two pieces
-of pasteboard, let there be skillfully painted, on both sides, any subject
-you think proper, as woods, bowers, gardens, houses, &c.; and on two other
-boards, the same subject on one side only, and cut out all the white
-parts: observe also, that there ought to be in one of them some object
-relative to the subject, placed at A, that the mirror placed at B may not
-reflect the hole on the opposite side.
-
-[Illustration]
-
-The boards painted on both sides are to slide in the grooves C D E F, and
-those painted on one side are to be placed against the opposite mirrors
-A and B; then cover the box with its transparent top. This box should be
-placed in a strong light, to have a good effect.
-
-When it is viewed through the sight hole, it will present an unlimited
-prospect of rural scenery, gradually losing itself in obscurity; and be
-found well worth the pains bestowed on its construction.
-
-
-EASY AND CURIOUS METHODS OF FORETELLING RAINY OR FINE WEATHER.
-
-If a line be made of good whipcord, that is well dried, and a plummet
-affixed to the end of it, and then hung against a wainscot, and a line
-drawn under it, exactly where the plummet reaches, in very moderate
-weather it will be found to rise above it before rain, and to sink below
-when the weather is likely to become fair. But the best instrument of all,
-is a good pair of scales, in one of which let there be a brass weight of
-a pound, and in the other a pound of salt, or of saltpeter, well dried;
-a stand being placed under the scale so as to hinder it falling to low.
-When it is inclined to rain, the salt will swell, and sink the scale: when
-the weather is growing fair, the brass weight will regain its ascendancy.
-
-Another very simple method is, to take a strip of pine wood, about twenty
-inches long, one wide, and a quarter thick, and cut across the grain. Then
-take a strip of cedar, of the same dimensions, but cut along the grain.
-Glue them firmly face to face, and set them upright in a stand. Some time
-before rain falls, the pores of the pine will absorb moisture from the
-atmosphere, and swell until the whole forms a bow, which will straighten
-itself as fine weather approaches. It is needless to say that the rods
-should not be painted or varnished.
-
-
-THE MAGICAL MEASURE.
-
-The line to be measured must not be extravagantly long, otherwise it will
-be difficult to measure it accurately; for the least failure of a just
-aim, or departure from an upright position, would make very sensible
-errors in the measure of a very long line, especially if the ground was
-very uneven. To measure then the line A B, accessible at the extremity
-A, suppose the breadth of a small river, he who pretends to measure must
-stand very straight at the extremity A, and support his chin with a little
-stick resting upon one of the buttons of his coat, so as to keep his head
-steady in one position. He must pull his hat down upon his forehead till
-the brim of his hat covers from his view the inaccessible extremity B of
-the line to be measured A B, then he must turn himself to a level, uniform
-piece of ground, and with the same position of his hat, observe the point
-of the ground where his view terminates, as C, then measuring with a line
-or chain the distance A C, he has the length of the line proposed A B.
-
-[Illustration]
-
-
-THE BOUNDLESS PROSPECT.
-
-Take a square box, about six inches long and twelve high, or of any other
-proportionate dimensions. Cover the inside with four flat pieces of
-looking glass placed perpendicular to the bottom of the box. Place at
-the bottom any objects you please, as a piece of fortification, a castle,
-tents, soldiers, &c. On the top, place a frame of glass shaped like the
-bottom of a pyramid, as in the figure, and so formed as to fit on the box
-like a cover. The four sides of this cover are to be composed of ground
-glass, or covered inside with gauze, so that the light may enter, and
-yet the inside be invisible, except at the top, which must be covered
-with transparent glass: when you look through this glass, the inside will
-present a pleasing prospect of a boundless extent; and, if managed with
-care, will afford a deal of amusement.
-
-[Illustration]
-
-
-THE HOUR OF THE DAY OR NIGHT TOLD BY A SUSPENDED SHILLING.
-
-However improbable the following experiment may appear, it has been proved
-by repeated trials:
-
-Sling a shilling or sixpence at the end of a piece of thread by means
-of a loop. Then resting your elbow on a table, hold the other end of
-the thread betwixt your fore finger and thumb, observing to let it pass
-across the ball of the thumb, and thus suspend the shilling into an empty
-goblet. Observe, your hand must be perfectly steady; and if you find it
-difficult to keep it in an immovable posture, it is useless to attempt the
-experiment. Premising, however, that the shilling is properly suspended,
-you will observe, that when it has recovered its equilibrium, it will for
-a moment be stationary: it will then of its own accord, and without the
-least agency from the person holding it, assume the action of a pendulum,
-vibrating from side to side of the glass, and, after a few seconds, will
-strike the hour nearest to the time of day; for instance, if the time be
-twenty-five minutes past six, it will strike six; if thirty-five minutes
-past six, it will strike seven; and so on of any other hour.
-
-It is necessary to observe, that the thread should lie over the pulse of
-the thumb, and this may in some measure account for the _vibration_ of
-the shilling; but to what cause its striking the precise hour is to be
-traced, remains unexplained; for it is no less astonishing than true, that
-when it has struck the proper number, its vibration ceases, it acquires a
-kind of rotary motion, and at last becomes stationary, as before.
-
-
-    CONTRIVANCE FOR A WATCH LAMP, PERFECTLY SAFE, WHICH WILL SHOW THE
-    HOUR OF THE NIGHT, WITHOUT ANY TROUBLE, TO A PERSON LYING IN BED.
-
-It consists of a stand, with three claws, the pillar of which is made
-hollow, for the purpose of receiving a water candlestick of an inch
-diameter. On the top of the pillar, by means of two hinges and a bolt,
-is fixed on a small proportionate table, a box of six sides, lined with
-brass, tin, or any shining metal, nine inches deep, and six inches in
-diameter. In the center of one of these sides is fixed a lens, double
-convex, of at least three inches and a half diameter. The center of the
-side directly opposite to the lens is perforated so as to receive the
-dial-plate of the watch, the body of which is confined on the outside, by
-means of a hollow slide. When the box is lighted by a common watch-light,
-the figures are magnified nearly to the size of those of an ordinary clock.
-
-
-THE ENCHANTED PALACE.
-
-[Illustration]
-
-On the six-sided plane A B C D E F of the figure, draw six semi-diameters;
-and on each of these place perpendicularly two plane mirrors, which must
-join exactly at the center, and which, placed back to back, must be thin
-as possible. Decorate the exterior boundary of this piece, (which is at
-the extremity of the angles of the hexagon,) with six columns, that at the
-same time serve to support the mirrors by grooves formed on their inner
-sides. Add to these columns their entablatures, and cover the edifice in
-whatever manner you please. In each one of these six triangular spaces,
-contained between two mirrors, place little figures of pasteboard, in
-relief, representing such subjects, as when seen in an hexagonal form,
-will produce an agreeable effect. To these add small figures of enamel,
-and take particular care to conceal by some object that has no relation to
-the subject, the place where the mirrors join, which, as before observed,
-all meet in the common center.
-
-When you look into any one of the six openings of this palace, the objects
-there contained, being reflected six times, will seem entirely to fill
-up the whole of the building. This illusion will appear very remarkable,
-especially if the objects chosen are properly adapted to the effect which
-the mirrors are intended to produce.
-
-If you place between two of these mirrors part of a fortification, as a
-curtain, and two demi-bastions, you will see an entire citadel with six
-bastions; or if you place part of a ball-room, ornamented with chandeliers
-and figures, all these objects being here multiplied, will afford a very
-pleasing prospect.
-
-
-TO KNOW WHICH OF TWO DIFFERENT WATERS IS THE LIGHTEST WITHOUT ANY SCALES.
-
-Take a solid body, the specific gravity of which is less than that of
-water, pine, or fir wood, for instance, and put it into each of the two
-waters, and rest assured that it will sink deeper in the lighter than in
-the heavier water; and so by observing the difference of the sinking, you
-will know which is the lightest water, and consequently the most wholesome
-for drinking.
-
-
-TO KNOW IF A SUSPICIOUS PIECE OF MONEY IS GOOD OR BAD.
-
-If it be a piece of silver that is not very thick, as a dollar or a half
-dollar, the goodness of which you want to try, take another piece of
-good silver of equal balance with it, and tie both pieces with thread or
-horse-hair to the scales of an exact balance (to avoid the wetting of the
-scales themselves) and dip the two pieces thus tied in water; for then,
-if they are of equal goodness, that is, of equal purity, they will hang
-in equilibrio in the water as well as in the air; but if the piece in
-question is lighter in the water than the other, it is certainly false,
-that is, there is some other metal mixed with it that has less specific
-gravity than silver, such as copper. If it is heavier than the other, it
-is likewise bad, as being mixed with a metal of greater specific gravity
-than silver, such as lead.
-
-If the piece proposed is very thick, such as that crown of gold that
-Hiero, king of Syracuse, sent to Archimedes to know if the goldsmith had
-put into it all the eighteen pounds of gold that he had given him for that
-end, take a piece of pure gold of equal weight with the crown proposed,
-viz., eighteen pounds, and without taking the trouble of weighing them in
-water, put them into a vessel full of water, one after another, and that
-which drives out most water must necessarily be mixed with another metal
-of less specific gravity than gold, as taking up more space, though of
-equal weight.
-
-
-PYRAMID OF ALUM.
-
-Put a lump of alum into a tumbler of water, and as the alum dissolves it
-will assume the shape of a pyramid. The cause of the alum decreasing in
-this peculiar form is briefly as follows: at first, the water dissolves
-the alum very fast, but as the alum becomes united with the water, the
-solvent power of the latter diminishes. The water, which combines first
-with the alum, becomes heavier by the union, and falls to the bottom of
-the glass, where it ceases to dissolve any more, although the water which
-it has displaced from the bottom has risen to the top of the glass, and is
-there acting upon the alum. When the solution has nearly terminated, if
-you closely examine the lump, you will find it covered with geometrical
-figures, cut out, as it were, in relief upon the mass; showing, not only
-that the cohesion of the atoms of the alum resists the power of solution
-in the water, but that, in the present instance, it resists it more in
-some directions than in others. Indeed, this experiment beautifully
-illustrates the opposite action of cohesion and solution.
-
-
-THE DANCING AUTOMATON.
-
-Procure a piece of silk thread about six feet long, and fasten a small
-wire hook at one end, and a fine needle at the other, then make a knot in
-the thread about ten inches from the end upon which the hook is fastened.
-You also procure a small pasteboard figure about four inches long, and
-pierce a hole through the center of the same just large enough to easily
-admit the needle. Having done this, take a convenient opportunity and
-fasten the hook in the carpet about five and a half feet from the chair
-upon which you intend to sit while performing the trick. You then can
-inform your audience that you intend to make the figure dance and keep
-time to any tune they may name. You then slip the needle through the hole
-in the figure and throw it down on the floor, with sufficient force to
-make it slip on the thread until it reaches the knot, being careful to
-retain the needle still in your hand, then whistle any air the company may
-suggest, and appear to beat time with your hands upon your knees. This
-will make the figure dance, to the great astonishment of the spectators.
-After you have continued this for a few minutes, you must drop the needle
-and pick up the figure, when the needle will again slide through the hole
-in the figure, and the automaton being free from the thread, you can hand
-it to the audience for examination. This is an excellent trick for the
-parlor, and, if well performed, will defy detection.
-
-
-TO MELT A PIECE OF MONEY IN A WALNUT SHELL, WITHOUT INJURING THE SHELL.
-
-Bend any thin coin, and put it into half a walnut shell; place the shell
-on a little sand, to keep it steady. Then fill the shell with a mixture
-made of three parts of very dry pounded niter, one part of flowers of
-sulphur, and a little sawdust well sifted. If you then set light to the
-mixture, you will find, when it is melted, that the metal will also be
-melted at the bottom of the shell, in form of a button, which will become
-hard when the burning matter round it is consumed: the shell will have
-sustained very little injury.
-
-
-THE INVISIBLE SPRINGS.
-
-Take two pieces of white cotton _cord_, precisely alike in length; double
-each of them separately, so that their ends meet; then tie them together
-very neatly, with a bit of fine cotton _thread_, at the part where they
-double (_i. e._ the middle). This must all be done beforehand. When you
-are going to exhibit the trick, hand round two other pieces of cord,
-exactly similar in length and appearance to those which you have prepared,
-but not tied, and desire your company to examine them. You then return to
-your table, placing these cords at the edge, so that they fall (apparently
-accidentally) to the ground, behind the table; stoop to pick them up, but
-take up the prepared ones instead, which you had previously placed there,
-and lay _them_ on the table. You then take round for examination three
-ivory rings; those given to children when teething, and which may be had
-at any of the toyshops, are the best for your purpose. When the rings have
-undergone a sufficient scrutiny, pass the prepared double cords through
-them, and give the two ends of one cord to one person to hold, and the two
-ends of the other to another. Do not let them pull hard, or the thread
-will break, and your trick be discovered. Request the two persons to
-approach each other, and desire each to give you one end of the cord which
-he holds, leaving to him the choice.
-
-You then say that, to make all fast, you will tie these two ends together,
-which you do, bringing the knot down so as to touch the rings; and
-returning to each person the end of the cord next to him, you state that
-this trick is performed by the rule of contrary, and that when you desire
-them to pull hard, they are to slacken, and _vice versa_, which is likely
-to create much laughter, as they are certain to make many mistakes at
-first. During this time you are holding the rings on the fore fingers of
-each hand, and with the other fingers preventing your assistants from
-separating the cords prematurely, during their mistakes; you at length
-desire them, in a loud voice, to slack, when they will pull hard, which
-will break the thread, the rings remaining in your hands, whilst the
-strings will remain unbroken: let them be again examined, and desire them
-to look for the springs in the rings.
-
-
-THE FLIGHT OF THE RING.
-
-You may cause a ring to shift from one hand to another and make it go on
-any finger required on the other hand, while somebody holds both your
-arms, in order to prevent communication between them, by attending to
-these instructions: Desire some lady in company to lend you a gold ring,
-recommending her at the same time to make a mark on it, that she may know
-it again. Have a gold ring of your own. which fasten by a small piece of
-catgut string to a watch barrel, and sew it to the left sleeve of your
-coat. Take the ring that is given you in your right hand; then putting,
-with dexterity, the other ring fastened to the watch-barrel near the
-entrance of your sleeve, draw it privately to the fingers' ends of your
-left hand. During this operation, hide the ring that has been lent you
-between the fingers of your right hand, and fasten it dexterously on a
-little hook sewed for the purpose, on your waistcoat, and hidden by your
-coat. After that, show your ring, which hold in your left hand; then ask
-the company on which finger of the other hand they wish it to pass. During
-this interval, and as soon as the answer has been given, put the before
-mentioned finger on the little hook, in order to slip the ring on it: at
-that moment let go the other ring, by opening your fingers. The spring
-which is in the watch-barrel, being confined no longer, will contract,
-and make the ring slip under the sleeve, without any body perceiving it,
-not even those who hold your arms, as their attention will be occupied
-to prevent your hands from communicating. After this operation, show the
-assembly that the ring is come on the other hand, and make them remark
-that it is the same that had been lent to you, or that the mark is right.
-Much dexterity is required in this trick, so that the deception may not be
-suspected.
-
-
-MUSICAL FIGURES RESULTING FROM SOUND.
-
-Cover the mouth of a wine glass, having a foot-stalk, with a thin sheet of
-membrane, over which scatter a layer of fine sand. The vibrations excited
-in the air by the sound of a musical instrument, held within a few inches
-of the membrane, will cause the sand on its surface to form regular lines
-and figures with astonishing celerity, which vary with the sound produced.
-
-
-TO MAKE A CARD JUMP OUT OF THE PACK.
-
-Let any person draw a card, and afterwards put it into the pack, but
-take care that you know where to find it at pleasure. This you may do by
-having _forced_ it. Then put a piece of wax under the thumb-nail of your
-right hand, and fasten a hair by it to your thumb, and the other end of
-the hair, by the same means, to the card chosen: spread the pack upon the
-table, and, making use of any words you think fit, make it jump from the
-pack about the table.
-
-
-THE TELL-TALE CARDS.
-
-Tell any one to shuffle the pack, to take off the upper card, and to
-notice it, then to lay it on the table, with its face downward, and put so
-many cards upon it as will make up thirteen with the number of spots on
-the noted card.
-
-For instance: if the card which the person first looked at was a king,
-queen, knave, or ten, bid him lay that card with its face downward,
-calling it ten; upon that let him lay another, calling it eleven; upon
-that, another, calling it twelve; and upon that, another, calling it
-thirteen; then bid him take off the next uppermost card: suppose it to be
-an eight, let him lay it down on another part of the table, calling it
-eight; upon the latter another, calling it nine, and so on in the same
-way, until he makes that heap up to thirteen; then let him go to the next
-uppermost card, and so proceed to lay out the third parcel in the same way
-as the two preceding, and should the uppermost card be an ace, he must lay
-it down, calling it one, the next two, &c.
-
-All this should be done either while you are out of the room, or your back
-is turned; upon your turning round, you take the cards which have been
-left; your object being to count, without its being perceived, how many
-there are remaining, you throw aside the three top cards, and lay the
-next three on the table, with their faces upward; then throw away one,
-then turn up one, and so on in the same way, until you ascertain how many
-cards they are; we will suppose that you find twenty-five cards left;
-deduct ten, when the remaining fifteen will be the number of all the spots
-contained in all the bottom cards of the three heaps, counting the court
-cards as ten; you must recollect that ten is, in all cases, the number to
-be deducted from the cards remaining. Having found that fifteen is the
-number of spots on the cards, do not declare it at once; but select from
-those cards which lie on the table, face uppermost, three or four which
-added together will make fifteen.
-
-For instance: should there be a deuce, a five, and an eight, lay them
-aside for a moment, and taking the other cards from which you selected the
-three, put them along with those which you previously rejected; you now
-hand the three telltale cards to any person, assuring him that the number
-of pips on those cards will be the same as those on the bottom cards of
-the three heaps, which will be found to be the case.
-
-
-THE DOUBLE DOZEN.
-
-Present a pack of cards to one of the company, desiring him to shuffle
-them well, and to get them shuffled by whomsoever he pleases; then
-make several persons cut them; after which you will propose to one of
-the company to take the pack and think of a card, and remember it,
-and likewise its order in the pack, by counting one, two, three, four,
-&c., till he comes, exclusively, to the one thought of; offer to go
-into another room, or to be blindfolded, while he is doing this. Now
-declare in what order the card shall be in the pack; say, for instance
-the twenty-fourth; and, by attending to the following instructions, it
-will prove to be so:--Suppose the person who thinks of the card stops at
-thirteen, and that the thirteenth card was the queen of hearts, the number
-you have stated it shall be in the pack being twenty-four; you return
-to the room, in case you had left it, or desire the handkerchief to be
-removed, if you have been blindfolded; and, without asking any question
-of the person who has thought of the card, ask only for the pack, and
-apply it to your nose, as if to smell it; then passing it behind your
-back, or under the table, take, from the bottom of the pack, twenty-three
-cards; that is to say, one less than the number you have stated the card
-thought of shall be; place these twenty-three cards on the top. This
-being done, return the pack to the person who had thought of the card,
-requesting him to reckon the cards from the top of the pack, beginning
-by the number of the card he thought of. His card being the thirteenth,
-he will be compelled to count fourteen, and you are to stop him when he
-comes to twenty-three, reminding him that the number you have mentioned
-is twenty-four, and that, consequently, the twenty-fourth card, which he
-is going to take up, will be the card thought of; and so it will most
-certainly be.[15]
-
-
-THE HOUSEBREAKERS.
-
-Take a pack of cards, and place all the aces together, the twos,
-the threes, and so on up to the kings. There will then be thirteen
-different heaps. You say, "Here are four houses (laying down the four
-aces separately), which four knaves enter for the purpose of robbing
-(laying a knave upon each ace), and take with them their implements for
-housebreaking (and upon each of the knaves you lay a two, three, four,
-five, six, seven, and eight). The mistresses of the houses come home
-(laying a queen upon each of the heaps), bringing their money with them
-(laying a nine upon each queen). Shortly after, their husbands also return
-(laying a king upon each queen), also bringing money with them" (laying
-a ten upon each heap). You have now disposed of all the cards, which form
-four distinct heaps. Then lay one heap over the other, and let as many
-persons cut them as please. When this is done, if you commence at the top
-of the pack, and lay the cards face downwards, one by one, so as to make
-thirteen separate heaps, you will find all the aces together, the twos,
-and so on, as you originally placed them.
-
-
-THE MAGIC BOOK.
-
-Provide an octavo book of plain paper, of whatever thickness you please.
-Turn over seven leaves from the beginning, and paint a group of flowers;
-then turn over seven more leaves, and paint the same again, and so on,
-until you have turned the book through to the end. Then paste a slip of
-paper or parchment to each of the painted leaves. Turn the book over
-again, and paint upon every sixth leaf a parrot, and then paste strips
-upon them as you did upon the first, only a little lower down. Proceed in
-this manner until you have painted the book full of pictures of various
-sorts, taking care one side of the leaves is left white paper. When you
-use the book, hold it in your left hand, and set the thumb of your right
-hand upon the first of the parchment stays; run the book through, and it
-will appear full of flowers; then stop and, blowing upon the book, run it
-through again, with the thumb upon the second slips of parchment, and it
-will, appear full of parrots. Afterwards, reverse the book, and run it
-through as before, and it will appear composed of blank paper.
-
-
-THE TAPE TRICK.
-
-This trick consists in suffering a person to tie your thumbs together
-tightly, and yet that you shall be able to release them in a moment,
-and tie them together again. The mode of performing this trick is as
-follows:--Lay a piece of tape across the palms of your hands, placed
-side by side, letting the ends hang down; then bring your palms quickly
-together, at the same time privately catching hold of the middle of the
-tape with your fourth and fifth fingers. Then direct any person to tie
-your thumbs together as tight as he pleases, but he will not, of course,
-in reality be tying them, because you have hold of the tape, yet it will
-nevertheless appear to him that he is doing so. Request him to place a hat
-over your hands; then blow upon the hat, and say, "Be loose," slipping
-your thumbs from under the tape; direct him to remove the hat, and show
-your thumbs free. You then request the hat may again be placed over your
-hands, and blowing upon it, you say "Be tied," slipping your thumbs under
-the tape again; and when the hat is removed, your thumbs will appear tied
-as at first. After performing the trick, convey the tape away, lest it be
-detected.
-
-
-MORE THAN FULL.
-
-Fill a glass to the brim with water, and you may add to it spirit of wine
-without causing the water to overflow.
-
-
-FLOATING NEEDLES.
-
-Fill a cup with water, gently lay on its surface small fine needles, and
-they will float.
-
-
-THE KNOTTED THREAD.
-
-Considerable amusement, not unmixed with wonder, may be occasioned among
-a party of ladies, by a clever performance of this trick. It is most
-frequently performed by a female, but the effect of it is considerably
-increased when it is displayed by a youth. A piece of calico, muslin, or
-linen, is taken in the left hand, a needle is threaded in the presence
-of the spectators, and the usual, or even a double or treble knot, made
-at the extremity of one of the ends of it. The operator commences his
-work by drawing the needle and the thread in it quite through the linen,
-notwithstanding the knot, and continues to make several stitches in like
-manner successively.
-
-The mode of performing this seeming wonder is as follows: A bit of thread,
-about a quarter of a yard long, is turned once round the top of the middle
-finger of the right hand, upon which a thimble is then placed, to keep
-it secure. This must be done privately, and the thread kept concealed,
-while a needle is threaded with a bit of thread of a similar length. The
-thread in the needle must have one of its ends drawn up nearly close,
-and be concealed between the forefinger and thumb; the other should hang
-down nearly as long as, and by the side of the thread, which is fastened
-under the thimble, so that these two may appear to be the two ends of the
-thread. The end of the piece that is fastened under the thimble is then
-knotted, and the performer begins to sew, by moving his hand quickly after
-he has taken up the stitch. It will appear as though he actually passed
-the knotted thread through the cloth.
-
-
-THE BACCHUS EXPERIMENT.
-
-This experiment, showing the elasticity of air, is performed with a
-pleasing toy. It represents a figure of Bacchus sitting across a cask,
-in which are two separate compartments. Put into one of them a portion
-of wine or colored liquid, and place the apparatus under the exhausted
-receiver of an air-pump, when the elastic force of the confined air will
-cause the liquid to ascend a transparent glass tube (fitted on purpose),
-into the mouth of the Bacchanalian figure. To render the experiment more
-striking, a bladder, with a small quantity of air therein, is fastened
-around the figure, and covered with a loose silken robe, when the air in
-the bladder will expand, and produce an apparent increase in the bulk of
-the figure, as if occasioned by the excess of liquor drunk.
-
-
-CURIOUS METHOD OF MEASURING THE HEIGHT OF A TREE.
-
-To ascertain the height of an object a peculiar method of measurement is
-in use among the Isthmus Indians. In measuring the height of a tree, for
-instance, a man proceeds from its base to a point where, on turning the
-back towards it, and putting the head between the legs, he can just see
-the top; at the spot where he is able to do this he makes a mark on the
-ground to the base of the tree; this distance will be equal to the height.
-
-
-THE TRANSPOSABLE PIECES.
-
-Take two quarter eagles and two dimes, and grind part of them away, on
-one side only, so that they may be but half the common thickness; and
-observe, that they must be quite thin at the edge; then rivet a quarter
-eagle and a dime together. Lay one of these double pieces, with the dime
-upwards, on the palm of your hand, at the bottom of your three first
-fingers, and lay the other piece with the quarter eagle upwards in like
-manner, in the other hand. Let the company take notice in which hand is
-the quarter eagle, and in which is the dime. Then, as you shut your hands,
-you naturally turn the pieces over, and when you open them again, the dime
-and the quarter eagle will appear to have changed their places.
-
-FOOTNOTES:
-
-[Footnote 15: Be sure and have the number you name greater than that of
-the first position of the card in the pack; for instance, twenty-four is
-greater than thirteen.]
-
-
-
-
-INQUIRE WITHIN
-
-For Anything You Wish to Know:
-
---OR,--
-
-OVER 3,700 FACTS FOR THE PEOPLE.
-
-A large Vol. of 436 pp., cloth, gilt, Price $1. Sent free of postage.
-
-
-This Book, as its title imports, will give you correct information on
-every possible subject that you ever heard or thought of! It tells you how
-to _cook a dinner_--to _cure a sick friend_, or _cut an acquaintance_--to
-_get up a dinner party_, or _dine abroad_--to _play at cards_, _chess_,
-or _any other popular game_,--whether you wish to establish yourself
-in life according to the _rules of etiquette_--to get up a _sumptuous
-entree for the dinner table_, or _arrange a plain dinner_--to _fold
-fancy napkins_--to _start business_--to _make money_--to _dress with
-taste_--to _conduct a courtship_--to _tie any kind of a knot_--to _get
-married_--to _give an evening party to your friends_--to _behave well
-in company_--to _keep house properly_--to _dance_--to _make ornamental
-vases_, by the new art of Potichomanie, or Wax work, and other _fancy
-employments for the ladies_--to _establish acquaintances according to
-the rules of etiquette_--to _enjoy an hour at curious puzzles_ and
-_arithmetical questions_--to _do up a neat parcel_--to _relieve the
-invalid_--to acquaint yourself with the _technical terms in literature,
-law, and medicine_--in short, to _do every useful thing that can be
-thought of or imagined_, whether at _home_ or _abroad_, or among your
-friends, or in _your business_, or _on your farm_, or _in your garden_,
-or at a _public meeting_, or at a _private assembly_. It contains tables
-of all weights and measures; _Interest Tables_ from $1 to $10,000 at
-six and seven per cent, besides innumerable tables on interesting and
-curious subjects. It gives complete directions how to _wash, starch, and
-iron_--how to _keep the eyes, hair, teeth, and complexion in perfect
-order_--how to _punctuate, spell, and write correctly_--how to _compose
-all kinds of letters_, from the billet-doux to the business letter--how to
-_clean furniture_, take care of _pet animals_--how to _measure all kinds
-of mechanics' work_--how to _detect fraudulent scales_--and all about the
-properties and uses of different medicines. Indeed this is really and
-truly one of the most wonderful and valuable books ever printed. Besides
-all this information--and we have not room to give an idea of a hundredth
-part of it--_it contains so many valuable and useful receipts_ that an
-enumeration of them requires
-
-
-SEVENTY-TWO COLUMNS OF FINE TYPE FOR THE INDEX.
-
-It is _no collection of ancient sayings and receipts_, but the whole are
-_fresh and new_, and _suited to the present times_. As a book to keep in
-the family for reference, it is unequaled, _comprising as it does all
-kinds of Books of Information in a single volume_.
-
-    Send cash orders to      =DICK & FITZGERALD,
-                             No. 18 Ann Street, N. Y.=
-
-
-
-
-THE REASON WHY SERIES
-
-
-    These useful works will, when completed, supply all the "Reasons"
-    which the human mind has discovered for the varied and interesting
-    phenomena of Nature; and for events, and their consequences, in
-    religious and civil history. Such a series, entirely original in
-    their plan, and executed with the most conscientious care--embracing
-    the very essence of demonstrative truth and inductive
-    reasoning--must become as widely diffused as the language in which
-    they are written. Each work is complete in itself.
-
-
-    The Reason Why: General Science. A careful collection of some
-    thousands of reasons for things, which, though generally known, are
-    imperfectly understood. A book of condensed scientific knowledge for
-    the million. By the author of "Inquire Within." It is a handsome
-    12mo volume, of 356 pages, printed on fine paper, bound in cloth,
-    gilt, and embellished with a large number of wood cuts, illustrating
-    the various subjects treated of. Price ONE DOLLAR. This work assigns
-    reasons for the thousands of things that daily fall under the eye of
-    the intelligent observer, and of which he seeks a simple and clear
-    explanation.
-
-    EXAMPLE.
-
-    _Why does silver tarnish when exposed to the light?
-       Why is the sky blue?_
-
-    This volume answers 1,325 similar questions.
-
-
-    The Biblical Reason Why: A HAND-BOOK FOR BIBLICAL STUDENTS, and
-    a Guide to Family Scripture Readings. By the author of "Inquire
-    Within," &c. Beautifully illustrated, large 12mo, cloth, gilt side
-    and back. Price ONE DOLLAR. This work gives Reasons, founded upon
-    the Bible, and assigned by the most eminent Divines and Christian
-    Philosophers, for the great and all-absorbing events recorded in the
-    History of the Bible, the Life of our Saviour, and the Acts of his
-    Apostles.
-
-    EXAMPLE.
-
-    _Why did the first patriarchs attain such extreme longevity?_
-
-    _Why is the Book of the Prophecies of Isaiah a strong proof of the
-       authenticity of the whole Bible?_
-
-    This volume answers upwards of 1,400 similar questions.
-
-
-    The Reason Why: Natural History. By the author of "Inquire Within,"
-    "The Biblical Reason Why," &c. 12mo, cloth, gilt side and back.
-    Price ONE DOLLAR. Giving Reasons for hundreds of interesting facts
-    in connection with Zoology, and throwing a light upon the peculiar
-    habits and instincts of the various Orders of the Animal Kingdom.
-
-    EXAMPLE.
-
-    _Why do dogs turn around two or three times before they lie down?_
-
-    _Why do birds often roost upon one leg?_
-
-    This volume answers about 1,500 similar questions.
-
-
-THE FOLLOWING BOOKS OF THIS SERIES ARE IN PRESS, AND WILL BE ISSUED IN
-RAPID SUCCESSION:
-
-    The Denominational Reason Why.
-    The Gardener's and Farmer's Reason Why.
-    The Housekeeper's Reason Why.
-    The Botanical Reason Why.
-    The Geological Reason Why.
-    The Astronomical Reason Why.
-    The Chemical Reason Why.
-    The Grammatical Reason Why.
-
-
-
-
-The Reason Why: Natural History.
-
-BY THE AUTHOR OF "INQUIRE WITHIN," "THE BIBLICAL REASON WHY," "REASON WHY
-OF GENERAL SCIENCE," "THAT'S IT, OR, PLAIN TEACHINGS," &c., &c.
-
-Profusely Illustrated. 12mo, Cloth, Gilt Side and Back. Price $1.
-
-Giving reasons for hundreds of interesting facts in connection with
-Zoology, and throwing a light upon the peculiar habits and instincts of
-the various Orders of the Animal Kingdom.
-
-
-EXAMPLE.
-
-    _Why has the lion such a large mane?_
-    _Why does the otter, when hunting for fish, swim
-      against the stream?_
-    _Why do dogs turn around two or three times
-      before they lie down?_
-    _Why have flat fishes their upper sides dark, and
-      their under sides white?_
-    _Why do sporting dogs make what is termed "a
-      point?"_
-    _Why do birds often roost upon, one leg?_
-    _Why do frogs keep their mouths closed while
-     breathing?_
-    _Why do cats, when being played with, lie on
-      their backs, seize the hand of the person playing
-      with them with their forepaws, and strike
-      with their hind feet?_
-    _Why does the wren build several nests, but occupies
-      only one?_
-
-This volume answers about 1500 similar questions.
-
-       *       *       *       *       *
-
-The Corner Cupboard; or, Facts for Everybody.
-
-_By the Author of "Inquire Within," "The Reason Why," &c._
-
-=Large 12mo, 400 pages. Cloth, Gilt Side and Back. Illustrated with over
-One Thousand Engravings.=
-
-PRICE ONE DOLLAR.
-
-Embracing Facts about I. Things not generally known, II. Things that ought
-to be known. III. Things worth knowing. The "Corner Cupboard" is
-
-    _A Complete Confectioner._
-    _A Complete Cook._
-    _A Complete Family Doctor._
-    _A Complete Gardener._
-    _A Complete Father's Book._
-    _A Complete Mother's Book._
-    _A Complete Family Book._
-    _A Complete Lady's Book._
-    _A Complete Gentleman's Book._
-    _A Complete Boy's Book._
-    _A Complete Girl's Book._
-    _A Complete Master's Book._
-    _A Complete Servant's Book._
-    _A Complete Amusement Book._
-    _A Friend at Everybody's Elbow in Time of Need._
-
-It tells about the food we consume, the clothes we wear, the house we live
-in, and facts from the Arts and Sciences, as well as from Literature,
-Manufacture, Commerce, Anatomy, Physiology, the Garden and Field, the
-whole forming a complete Encyclopedia of Useful Knowledge. Whether in the
-parlor or the kitchen, the chamber or the boudoir, at home or abroad, it
-may be very appropriately called the Family's Beady Adviser.
-
-       *       *       *       *       *
-
-10,000 WONDERFUL THINGS.
-
-Comprising the Marvellous and Rare, Odd, Curious, Quaint, Eccentric and
-Extraordinary, in all Ages and Nations, in Art, Nature and Science,
-including many Wonders of the World, enriched with Hundreds of Authentic
-Illustrations.
-
-EDITED BY EDMUND FILLINGHAM KING, M. A., AUTHOR OF "LIFE OF NEWTON," &c.
-
-12mo, Cloth, Gilt Side and Back. Price One Dollar.
-
-In the present work, interesting scenes from Nature, curiosities of art,
-costume, and customs of a bygone period, rather predominate; but we have
-devoted many of its pages to descriptions of remarkable occurrences,
-beautiful landscapes, stupendous waterfalls, and sublime sea pieces. It
-contains not a line that the nicest judgment could pronounce obnoxious;
-and yet, in every page is a mass of material to create both surprise and
-laughter. It is impossible to read the volume through, without feeling,
-not only that you have been well entertained, but well instructed.
-
-[pointing hand] Copies of either of the above books sent to any address in
-the United States or Canada, free of postage. Send cash orders to
-
-    DICK & FITZGERALD, 18 Ann Street, New York.
-
-
-
-
-The Reason Why:
-
-GENERAL SCIENCE.
-
-A CAREFUL COLLECTION OF
-
-Some Thousands of Reasons
-
-FOR THINGS WHICH, THOUGH GENERALLY KNOWN, ARE IMPERFECTLY UNDERSTOOD.
-
-A Book of Condensed Scientific Knowledge for the Million.
-
-BY THE AUTHOR OF "INQUIRE WITHIN."
-
-
-    "What 'Haydn's Dictionary of Dates' is in regard to Historical
-    events, this wonderful book is in respect to scientific facts. The
-    plan of the book and its execution leave nothing to be desired."
-
-    [Church of England Monthly Review.
-
-This Work assigns REASONS, for the thousands of things that daily fall
-under the eye of the intelligent observer, and of which he seeks a simple
-and clear explanation.
-
-
-EXAMPLE.
-
-    Why does silver tarnish when exposed to the light?
-
-    Why do some colors fade and others darken when exposed to the sun?
-
-    What develops electricity in the clouds?
-
-    Why does lightning sometimes appear red, at others yellow, at others
-    white?
-
-    Why does dew form round drops on the leaves of plants?
-
-    Why is the sky blue?
-
-This volume answers 1,325 similar questions.
-
-"THE REASON WHY" is a handsome 12mo volume, of 350 pages, printed on fine
-paper, bound in cloth, gilt, and embellished with a large number of Wood
-Cuts, illustrating the various subjects treated of.
-
-
-PRICE ONE DOLLAR.
-
-[pointing hand] Copies Mailed to any address in the United States or
-Canada, free of postage.
-
-
-
-
-Live and Learn;
-
-A GUIDE TO ALL WHO WISH TO
-
-SPEAK AND WRITE CORRECTLY.
-
-
-Particularly intended as a book of reference for the solution of
-difficulties connected with Grammar, Composition, Punctuation, &c., with
-explanations of Latin and French words and phrases of frequent occurrence
-in newspapers, reviews, periodicals, and books in general; containing
-examples of
-
-
-ONE THOUSAND MISTAKES
-
-Of daily occurrence in Speaking, Writing, and Pronunciation, together with
-detailed Instructions for Writing for the Press, and forms of articles in
-the various departments of Newspaper Literature.
-
-    "Such a book as this has long been wanted by those who entertain the
-    wish alluded to in the title. It is suitable for all classes. We
-    have attentively conned its pages, and can recommend it as one of
-    the best works of reference for the young student, or even the ripe
-    scholar, and as deserving to be generally consulted. The work is
-    altogether useful and indispensable."
-
-    [Tribune.
-
-
-    216 Pages, Bound in Cloth, 12mo.
-    PRICE FIFTY CENTS,
-    And sent to any address Free of Postage. Send Cash Orders to
-
-    DICK & FITZGERALD, 18 Ann Street, N. Y.
-
-
-
-
-The Secret Out;
-
-OR,
-
-1,000 TRICKS WITH CARDS AND OTHER RECREATIONS.
-
-ILLUSTRATED WITH OVER 300 ENGRAVINGS.
-
-
-    And containing clear and comprehensive explanations how to perform
-    with ease all the Curious Card Deceptions and Sleight-of-Hand Tricks
-    extant. With an endless variety of Entertaining Experiments in
-    Drawing-Room, or White Magic, including the celebrated Science of
-    Second Sight. Together with a choice collection of Intricate and
-    Puzzling Questions. Amusements in Chance, Natural Magic, etc., etc.,
-    etc.
-
-    By the Author of "The Sociable," "The Magician's Own Book," "Parlor
-    Theatricals," etc.
-
-    _Large 12mo, Cloth, Gilt Side and Back.    Price One Dollar._
-
-A Book which explains all the Tricks and Deceptions with Playing Cards,
-ever known or invented, and gives, besides, a great many new and
-interesting ones--the whole being described so accurately and carefully,
-with engravings to illustrate them, that anybody can easily learn how to
-practise these Tricks.
-
-This book contains, in addition to its numerous Card Tricks above
-described, full and easily understood explanations of some =Two Hundred
-and Forty= of the most
-
-    Curious, Amusing & Interesting Sleight-of-Hand & Legerdemain Tricks
-
-Ever invented, and which are illustrated with Engravings to make each
-trick understood with ease.
-
-
-
-
-The Magician's Own Book
-
-OR,
-
-THE WHOLE ART OF CONJURING.
-
-
-    Being a Complete Hand-Book of Parlor Magic, containing over One
-    Thousand Optical, Chemical, Mechanical, Magnetical, and Magical
-    Experiments, Amusing Transmutations, Astonishing Sleights and
-    Subtleties, Celebrated Card Deceptions, Ingenious Tricks with
-    Numbers, Curious and Entertaining Puzzles--together with all the
-    most Noted Tricks of Modern Performers.
-
-
-    The whole Illustrated with over 500 Wood Cuts,
-    And intended as a source of Amusement for
-    ONE THOUSAND AND ONE EVENINGS.
-
-    12mo, cloth, 400 pages, gilt side and back stamp. Price ONE DOLLAR,
-    sent free of postage.
-
-Here is a book for the long winter evenings, and one that will make all
-merry and happy. It contains over a THOUSAND TRICKS, of every description;
-and they are all explained so clear and explicitly, that any person can
-comprehend and perform them with ease. It also contains numerous CURIOUS
-PUZZLES, with patterns showing how they are done, any one of which will
-afford amusement enough for a whole evening.
-
-Copies sent to any address free of postage. Send Cash Orders to
-
-    DICK & FITZGERALD,
-    18 ANN STREET, NEW YORK.
-
-
-
-
-A Book of Never-Ending Entertainment.
-
-THE SOCIABLE;
-
-OR,
-
-One Thousand and One Home Amusements.
-
-CONTAINING
-
-ACTING PROVERBS, DRAMATIC CHARADES, ACTING CHARADES, OR DRAWING-ROOM
-PANTOMIMES, MUSICAL BURLESQUES, TABLEAUX VIVANTS, PARLOR GAMES, GAMES
-OF ACTION, FORFEITS, SCIENCE IN SPORT AND PARLOR MAGIC, AND A CHOICE
-COLLECTION OF CURIOUS MENTAL AND MECHANICAL PUZZLES, &c.
-
-By the author of "The Magician's Own Book."
-
-Illustrated with nearly 300 Engravings and Diagrams,
-
-THE WHOLE BEING A FUND OF NEVER-ENDING ENTERTAINMENT.
-
-Nearly 400 pages, 12mo., Cloth, gilt side stamp, $1.00.
-
-
-"The Sociable" will be found one of the most extensively popular
-family books ever issued from the press. As its title implies, it is a
-collection--a complete _repertoire_--of the
-
-
-AMUSEMENTS OF HOME,
-
-Embracing a large and comprehensive list of recreative pastimes, arranged
-as follows:
-
-Parlor Theatricals, including Acting Proverbs, Acting Charades, Dramatic
-Charades and Tableaux Vivants; Games of Action; Games requiring Memory and
-Attention; Games requiring Wit and Intelligence; Ruses, or Catch Games;
-Forfeits; Puzzles; Fireside Games for Winter Evenings, and Science in
-Sport, and Parlor Magic.
-
-Many of these Games--the majority of them--are ENTIRELY NEW, as are, also,
-the
-
-
-PARLOR THEATRICALS
-
-AND
-
-TABLEAUX VIVANTS,
-
-Which were PREPARED EXPRESSLY FOR THIS WORK. Everything in the book is
-superior of its kind--the greatest care hiving been taken to exclude
-everything that was not above the standard of mediocrity in interest and
-ingenuity. It is
-
-
-THE ONLY BOOK
-
-OF THIS KIND
-
-Ever Published in America,
-
-And as it will be invaluable to Families, Schools, Social Clubs, etc., as
-a book of reference on all matters of Amusement and Recreation, there must
-be a steady and permanent demand for it at all seasons and in all years,
-although few of the so-called "Holiday Books" are as appropriate for Gifts
-as THE SOCIABLE.
-
-Each department is AMPLY ILLUSTRATED with
-
-
-BEAUTIFUL WOOD ENGRAVINGS
-
-Which render the Text clear, and fully explain all the Puzzles, the
-Mechanical Contrivances mentioned, and other things difficult to describe
-in writing. It is elegantly bound, so as to be an ornament to any
-center-table, and its typographical execution is a specimen of the highest
-excellence.
-
-The need of such a collection of HOME GAMES has long been felt, and the
-publishers believe that this endeavor on their part, to supply that want,
-must meet with the fullest success. They have spared neither trouble nor
-expense to render it a complete and invaluable _vade mecum_ of Domestic
-Amusements, so that its name may be familiar as a "Household Word" in all
-families, north, south, east and west, where the value of wholesome and
-innocent recreation is recognized.
-
-Price only One Dollar, bound in cloth, with gilt side and back stamp, sent
-to any address in the United States, free of postage. Send cash orders to
-
-    DICK & FITZGERALD, Publishers,
-    18 Ann Street, New York.
-
-
-
-
-The Perfect Gentleman;
-
-Or, ETIQUETTE AND ELOQUENCE.
-
-    A Book of Information and Instruction for those who desire to become
-    Brilliant or Conspicuous in General Society, or at Parties, Dinners
-    or Popular Gatherings, &c.
-
-A handsome volume of 335 pages, beautifully bound and gilt. Price $1 00.
-
-
-This is not only a valuable book of reference, but it contains minute
-Instructions for Gentlemen in all those modern accomplishments which
-have become almost a necessity in this age of refinement. It gives
-directions how to use Wine at Table, with rules for judging the quality
-thereof--Rules for Carving, and a complete Etiquette of the Dinner Table,
-including Dinner Speeches, Toasts and Sentiments, Wit and Conversation at
-Table, &c. It has also an American Code of Etiquette and Politeness for
-all occasions--Model Speeches, with directions how to deliver them--Duties
-of the Chairman at Public Meetings, Forms of Preambles and Resolutions,
-&c. In short, this book will give a man every possible information he
-may desire to enable him to appear to good advantage in either public or
-private life. It is a choice book that any gentleman will find a valuable
-addition to his library. We expect to sell at least one hundred thousand
-copies of this work, and the price is correspondingly low.
-
-
-
-
-Art of Dancing without a Master;
-
-Or, Ball Room Guide and Instructor.
-
-TO WHICH IS ADDED
-
-Hints on Etiquette; also, The Figures, Music and Necessary Instruction for
-the Performance of the most Modern and Improved Dances.
-
-By EDWARD FERRERO, Professor of Dancing at West Point.
-
-
-By the aid of which any one can attain a knowledge of the Art of Dancing
-without a Master. This work also contains
-
-
-ONE HUNDRED AND FIVE PAGES OF THE CHOICEST MUSIC,
-
-Arranged for the Piano Forte by the most celebrated Professors. The whole
-forming the most valuable and useful _melange_ for the centre-table of the
-drawing-room ever published. The MUSIC alone, if purchased in separate
-sheets at any of the music stores, would cost ten times the price of the
-book. Thus you can obtain =a History of Dancing, Hints on Etiquette, the
-Figures and Steps of all Dances, and Ten Dollars' worth of the Choicest
-Music FOR ONE DOLLAR=.
-
-
-
-
-SONGS OF IRELAND.
-
-
-Embracing Songs of the Affections, Convivial and Comic Songs, Patriotic
-and Military Songs, Historical and Political Songs, Moral, Sentimental,
-Satirical, and Miscellaneous Songs. Edited and Annotated by SAMUEL LOVER,
-Esq., Author of "Handy Andy," "Rory O'More," "Legends and Stories of
-Ireland," &c. Embellished with numerous fine Illustrations, engraved by
-the celebrated Dalziel. 12mo, Cloth, Gilt Side and Back. Price $1 25.
-
-[Hand] _Copies of the above Books sent to any address in the United States
-free of postage. Send cash orders to_
-
-    DICK & FITZGERALD, 18 Ann Street, N. Y.
-
-
-
-
-DICK & FITZGERALD'S LIST OF PUBLICATIONS.
-
-
-Judge Haliburton's Works.
-
-=Sam Slick in Search of a Wife.=
-
-    12mo., Paper                  $0 50
-    Cloth,                   price 1 00
-
-Everybody has heard of "Sam Slick, the Clockmaker," and he has given
-his opinion on almost everything. This book contains his opinion about
-"_Courtin the Gals!_" and his laughable adventures after the petticoats.
-Buy this book if you want many good hearty laughs. There is a book
-called "The Horse," and another "The Cow," and "The Dog," and so on; why
-shouldn't there be one on "The Gals?" They are about the most difficult to
-choose and to manage of any created critter, and there aint any dependable
-directions about pickin' and choosin' of them. Is it any wonder then so
-many fellows get taken in when they go for to swap hearts with them?
-
-=Sam Slick's Nature and Human= _Nature_.
-
-    Large 12mo., Paper              50
-    Cloth                   price 1 00
-
-=The Attache=; _or, Sam Slick in England_.
-
-    Largo 12mo., Paper              50
-    Cloth                   price 1 00
-
-=Sam Slick's Sayings and Doings.=
-
-    Paper                           50
-    Cloth                   price 1 00
-
-This is the most amusing collection of the Opinions, Sayings and Doings
-of the famous Sam Slick, that has ever been published. It gives the
-experiences of the Yankee Clockmaker, and the incidents that occurred in
-his journeyings over the world, together with his observations on men and
-things in general; also containing his opinions on Matrimony.
-
-
-Miscellaneous Books.
-
-    =Courtship Made Easy; or, the= _Mysteries of Making Love Fully
-    Explained_. With specimen Love Letters. Containing also a Treatise
-    on the general qualifications necessary for Marriage, and the proper
-    age and condition for Wedlock, &c. By HARRY HAZEN, Jr., a widower
-    who has been thrice married, but is still young enough to be an
-    especial favorite of the ladies.
-
-    price 13
-
-    =The Ladies' Love Oracle; or, Counsellor= _to the Fair Sex_. Being
-    a complete Fortune Teller and Interpreter to all questions upon
-    the different events and situations of life, but more especially
-    relating to all circumstances connected with Love, Courtship and
-    Marriage. By MADAM LE MARCHAND. Illustrated cover, printed in colors.
-
-    price $0 25
-
-    =Chesterfield's Art of Letter-writing= _Simplified_. A Guide to
-    Friendly, Affectionate, Polite and Business Correspondence.
-
-    price 13
-
-Containing a large collection of the most valuable information relative
-to the Art of Letter-Writing, with clear and complete instructions how to
-begin and end Correspondence, Rules for Punctuation and Spelling, &c.,
-together with numerous examples of Letters and Notes on every subject of
-Epistolary intercourse, with several Important Hints on Love Letters.
-
-    =The Laws of Love. A Complete= Code of Gallantry. 12mo. Paper,
-
-    price 25
-
-Containing concise rules for the conduct of Courtship through its entire
-progress, aphorisms of love, rules for telling the characters and
-dispositions of women, remedies for love, and an Epistolary Code.
-
-    =Gamblers' Tricks with Cards Exposed= _and Explained_. By J. H.
-    GREEN, Reformed Gambler. 12mo.
-
-    Paper.             price 25
-
-This work contains one hundred tricks with cards, explained, and shows
-the numerous cheats which Gamblers practice upon their unwary dupes. The
-uninitiated will stare when they here see how easily they can be swindled
-by dealing, cutting, and shuffling cards.
-
-    =How to Win and How to Woo;= Containing Rules for the Etiquette of
-    Courtship, with directions showing how to win the favor of Ladies,
-    how to begin and end a Courtship, and how Love Letters should be
-    written.
-
-    price 13
-
-    =Bridal Etiquette; A Sensible Guide= to the Etiquette and
-    Observances of the Marriage Ceremonies; containing complete
-    directions for Bridal Receptions, and the necessary rules for
-    bridesmaids, groomsmen, sending cards, &c., &c.
-
-    price 13
-
-    =How to Behave; or, The Spirit of= _Etiquette_: A complete guide to
-    Polite Society, for Ladies and Gentlemen; containing rules for good
-    behavior at the dinner table, in the parlor, and in the street; with
-    important hints on introduction, and the art of conversation.
-
-    price 13
-
-
-[Hand] Any Book on this List will be sent to any address in the United
-States or Canada, _Free of Postage_. Send Cash Orders to
-
-    =DICK & FITZGERALD, 18 Ann St., N. Y.=
-
-    =Dashes of American Humor.= With numerous laughable illustrations,
-    on tinted paper, from designs from John Leach, 320 pages, paper
-    cover,
-
-                           $0 50
-    Cloth, gilt,      price 1 00
-
-This work contains in its 320 pages, some thirty of the most amusing
-articles we have ever perused, redolent with not only humor, but with
-wisdom and pathos; the happiest days and most innocent recreations of our
-youth are here recalled.
-
-    =Dr. Valentine's Comic Lectures.= A Budget of Wit and Humor; or,
-    Morsels of Mirth for the Melancholy. A certain cure for the Blues,
-    and all other serious complaints. Comprising Comic Lectures on
-    Heads, Faces, Noses, Mouths, Animal Magnetism, etc., with Specimens
-    of Eloquence, Transactions of Learned Societies, Delineations of
-    Eccentric Characters, Comic Songs, etc., etc. By Dr. W. VALENTINE,
-    the favorite delineator of Eccentric Characters. Illustrated with
-    twelve portraits of Dr. Valentine in his most celebrated characters.
-    12mo., Cloth, gilt
-
-                                  1 00
-    Ornamented paper cover   price  50
-
-    =Dr. Valentine's Comic Metamorphoses.= Being the second series of
-    Dr. Valentine's Lectures, with characters as given by the late
-    Yankee Hill. Embellished with numerous portraits.
-
-    Ornamental Paper Cover     50
-    Cloth, gilt        price 1 00
-
-    =Laughable Adventures of Messrs.= _Brown, Jones and Robinson_,
-    showing where they went, and how they went; what they did, and how
-    they did it. With nearly 200 most thrillingly comic engravings.
-
-    price 25
-
-    =Laughing Gas.= An Encyclopedia of Wit, Wisdom and Wind. By SAM
-    SLICK, Jr. Comically illustrated with 103 original and laughable
-    engravings, and near 500 side-extending jokes, and other things to
-    get fat on; and the best of it is, that everything about the book is
-    new and fresh--all new; new designs, new stories, new type--no comic
-    almanac stuff. It will be found a complete antidote to "hard times."
-
-    price 25
-
-    =The Courtship of Chevalier Sly-=_Fox-Wikoff_, showing his
-    heart-rending, astounding, and most wonderful love adventures with
-    Fanny Elssler and Miss Gambol. Illustrated with 200 comic engravings
-
-    price $0 25
-
-    =The Extraordinary and Mirth-=_Provoking Adventures by Sea and Land,
-    of Oscar Shanghai_. Illustrated by nearly 200 comic engravings
-
-    price 25
-
-All told in a series of nearly two hundred of the most risible, quizzible,
-provoking, peculiar, saucy and spicy cuts ever gathered within the leaves
-of any one book. All fond of a hearty laugh, here is amusement for many a
-merry hour.
-
-    =Charley White's Ethiopian Joke= _Book_. Being a perfect Casket of
-    Fun, the first and only work of the kind ever published. Containing
-    a full expose of all the most laughable Jokes, Stories, Witticisms,
-    &c., as told by the celebrated Ethiopian Comedian, Charles White.
-    18mo., 94 pages
-
-    price 12½
-
-    =Black Wit and Darkey Conversations.= By Charles White. Containing a
-    large collection of Laughable Anecdotes, Jokes, Stories, Witticisms,
-    and Darkey Conversations. 18mo.,
-
-    price 12½
-
-    =Chips from Uncle Sam's Jack= _Knife_. Illustrated with over one
-    hundred Comical Engravings, and comprising a collection of over 500
-    Laughable Stories, Funny Adventures, Comic Poetry, Queer Conundrums,
-    Terrific Puns, Witty Sayings, Sublime Jokes and Sentimental
-    Sentences. The whole being a most perfect portfolio for those who
-    love to laugh. Large Octavo
-
-    price 25
-
-    =The Comical Adventures of David= _Dufficks_. Illustrated with over
-    100 Funny engravings. Large Octavo,
-
-    price 25
-
-    =Yale College Scrapes; or How the= _Boys Go It at New Haven_.
-
-    price 25
-
-This is a book of 114 pages, containing accounts of all the noted and
-famous "Scrapes" and "Sprees," of which students at Old Yale have been
-guilty for the last quarter of a century.
-
-    =The Comic Wandering Jew.= Full of Fun and containing 100 Humorous
-    engravings
-
-    price 25
-
-
-[Hand] Any Book on this List will be sent to any address in the United
-States or Canada, _Free of Postage_. Send Cash Orders to
-
-    =DICK & FITZGERALD, 18 Ann St., N. Y.=
-
-
-
-
-The Harp of a Thousand Strings
-
-OR, LAUGHTER FOR A LIFETIME.
-
-And peculiarly prepared to produce prolific PEALS OF LAUGHTER. The very
-quintessence of HUMAN WIT, WAGGERY and WISDOM.
-
-400 Pages of the most Mirth-Provoking Literature ever printed.
-
-It contains more than a Million Laughs, and is Illustrated with 200 Comic
-Cuts.
-
-
-The pictures are all original, designed by some of our best artists
-(including Darley), and the collection of droll conceits and queer stories
-is unsurpassed, having been several years in preparation.
-
-_Large 12 mo, nearly 400 pages, Illustrated with 200 Comic Engravings, and
-bound in fine Cloth, with gilt side and back stamp._
-
-
-PRICE ONE DOLLAR AND TWENTY-FIVE CENTS.
-
-
-
-
-THE BOOK OF
-
-One Thousand Comical Stories
-
-Or, ENDLESS REPAST OF FUN.
-
-A rich Banquet for Every Day in the Year, with several courses and a
-dessert.
-
-
-    BILL OF FARE: Comprising Tales of Humor, Laughable Anecdotes,
-    Irresistible Drolleries, Jovial Jokes, Comical Conceits, Puns and
-    Pickings, Quibbles and Queries, Bon Mots and Broadgrins, Oddities,
-    Epigrams, &c., &c. Merry Songs for Merry Moments; Conundrums for
-    the Million; an inexhaustible store of Nuts to Crack, and Sports
-    and Pastimes for all Seasons--forming a Welcome Guest for Spring,
-    a Cheerful Friend for Summer, a Jovial Host for Autumn, a Pleasant
-    Companion for Winter, and a varied Feast of Mirth for Everybody's
-    Enjoyment.
-
-_Appropriately Illustrated with 300 Comic Engravings. By the author of
-"Mrs. Partington's Carpet Bag of Fun."_
-
-
-Large 12 mo. Cloth. Price One Dollar.
-
-
-
-
-Mrs. Partington's Carpet Bag of Fun.
-
-
-    Illustrated with over 150 of the most laughable engravings ever
-    designed, from drawings by Darley, McLennan, Leach, Phiz, Henning,
-    Hine, Tenniel, Crowquill, Cruikshank, Meadows, Doyle, Goder and
-    others; and a collection of over 1,000 of the most Comical Stories,
-    Amusing Adventures, Side-splitting Jokes, Cheek-extending Poetry,
-    Funny Conundrums, QUEER SAYINGS OF MRS. PARTINGTON, Heart-rending
-    Puns, Witty Repartees, etc., etc.
-
-
-Bound in Paper, Price 50 Cents; Cloth, $1 00.
-
-In offering this book to the public, we must caution all weakly and
-nervous people against buying it. It is only intended for those hearty and
-robust persons who can laugh long and loud, and grow fat, being a perfect
-Encyclopedia of Wit and Witty Sayings. To those fond of Fun it will be a
-treasure.
-
-[Hand] _Copies of either of the above Books sent to any address in the
-United States, free of postage._
-
-    DICK & FITZGERALD, 18 Ann Street, N. Y.
-
-       *       *       *       *       *
-
-    +--------------------------------------------------------------------+
-    | Transcriber notes:                                                 |
-    |                                                                    |
-    | p. vi. 'Cumbustion without Flame,' changed 'Cumbustion' to         |
-    | 'Combustion'.                                                      |
-    | P. 18. 'diaphonous' changed to 'diaphanous' as in 'diaphanous      |
-    |    bodies'.                                                        |
-    | P. 29. 'here it' changed to 'here is'.                             |
-    | P. 32. 'the stall' changed to 'the stalk.'.                        |
-    | P. 38. 'the performed', changed 'performed' to 'performer'.        |
-    | P. 61. 'Several t icks', should read 'Several tricks', fixed.      |
-    | P. 74. 'convinience' changed to 'convenience'.                     |
-    | P. 76. 'supicion' changed to 'suspicion'.                          |
-    | P. 93. 'the smooth', changed 'the' to 'them'.                      |
-    | P. 94. 'sacer' changed to 'saucer'.                                |
-    | P. 101. 'appearence' changed to 'appearance'.                      |
-    | P. 103. 'lines will will', changed to 'lines will'.                |
-    | P. 105. 'salt of strontian', changed 'strontian' to 'strontium'.   |
-    | P. 105. 'will loose', changed 'loose' to 'lose'.                   |
-    | P. 122. 'seperated' changed to 'separated'.                        |
-    | P. 130. 'ja' changed to 'jar'.                                     |
-    | P. 141. 'the crd, aon' changed to 'the crd, on'.                   |
-    | P. 142. 'thst the' changed to 'that the'.                          |
-    | P. 160. 'these are are' changed to 'these are'.                    |
-    | P. 167. 'sprinke some powdered camphor', changed 'sprinke' to      |
-    |    'sprinkle'.                                                     |
-    | P. 169. 'preduce similar effects', changed 'preduce' to 'produce'. |
-    | P. 175. Fig. 2 'REFRACTING STERESCOPE' changed to 'REFRACTING      |
-    |     STEREOSCOPE'.                                                  |
-    | P. 192. 'blow throw the quill' changed 'throw' to 'through'.       |
-    | P. 195. 'calcuated' changed to 'calculated'.                       |
-    | P. 196. 'abou' chanaged to 'about'.                                |
-    | P. 198. 'phemomena of nature.', changed 'phemomena' to 'phenomena'.|
-    | P. 201. 'perpindicular' changed to 'perpendicular'.                |
-    | P. 210. 'half of tha triple', changed 'tha' to 'that'.             |
-    | P. 214. 'a little scrunity' changed 'scrunity' to 'scrutiny'.      |
-    | P. 216. 'in successsion' changed to 'in succession'.               |
-    | P. 225. 'proceded' changed to 'proceeded'.                         |
-    | P. 253. Added two missing em dashes to answers.                    |
-    | P. 254. 'put suppose the', changed 'put' to 'but'.                 |
-    | P. 255. 'put prior', changed 'put' to 'but'.                       |
-    | P. 284. 'when you clearl', changed 'clearl' to 'clearly'.          |
-    | P. 288. '48. A MAZE OR LABRYINTH.'; changed 'LABRYINTH' to         |
-    |     'LABYRINTH'.                                                   |
-    | P. 303. 'line us the basis', changed 'us' to 'as'.                 |
-    | P. 305. 'will readly', changed 'readly' to 'readily'.              |
-    | P. 306. 'the forms therto)', changed 'therto' to 'thereto'.        |
-    | P. 307. 'Fig 10, 11, 12, 13, 14, 15,', changed 'Fig' to 'Figs.'    |
-    | P. 307. 'With this uplex', changed 'uplex' to 'duplex'.            |
-    | P. 307. 'several direetions', changed 'direetions' to 'directions'.|
-    | P. 316. 'illustrations o', changed 'o' to 'of'.                    |
-    | P. 317. 'In desigining' changed 'desigining' to 'designing'.       |
-    | P. 320. 'first (Fig.', changed to 'first (Fig. 54)'.               |
-    | P. 349. 'and unlimited' changed to 'an unlimited'.                 |
-    | P. 351. 'the flottom' changed to 'the bottom'.                     |
-    | P. 353. 'beng reflected' changed to 'being reflected'.             |
-    | P. 353. 'mithltiplied' changed to 'multiplied'.                    |
-    | Add: Inquire Within... 'populur' changed to 'popular'.             |
-    | Changed 'fradulent' to 'fraudulent'.                               |
-    | Add: 'The Reason Why:' changed 'lightining' to 'lightning'.        |
-    | Add: 'Live and Learn;' changed 'recommonded' to 'recommend'.       |
-    | Add: 'Amusements of Home,' changed 'pastime' to 'pastimes'.        |
-    | Add: 'PARLOR THEATRICALS' changed 'everthing' to 'everything'.     |
-    | Add: 'Chesterfield's Art of Letter-writing' changed 'Busines'      |
-    | to 'Business'.                                                     |
-    +--------------------------------------------------------------------+
-
-
-
-
-
-End of the Project Gutenberg EBook of The Magician's Own Book, by Anonymous
-
-*** END OF THIS PROJECT GUTENBERG EBOOK THE MAGICIAN'S OWN BOOK ***
-
-***** This file should be named 60687-0.txt or 60687-0.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/6/0/6/8/60687/
-
-Produced by Chris Curnow, Jane Robins and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  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.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org Section 3. Information about the Project Gutenberg
-Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
diff --git a/old/60687-0.zip b/old/60687-0.zip
deleted file mode 100644
index 493509d..0000000
--- a/old/60687-0.zip
+++ /dev/null
diff --git a/old/60687-h.zip b/old/60687-h.zip
deleted file mode 100644
index 1aff4ae..0000000
--- a/old/60687-h.zip
+++ /dev/null
diff --git a/old/60687-h/60687-h.htm b/old/60687-h/60687-h.htm
deleted file mode 100644
index c970646..0000000
--- a/old/60687-h/60687-h.htm
+++ /dev/null
@@ -1,24156 +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 The Magician's Own Book or The Whole Art of Conjuring, by Dick and Fitzgerald.
-    </title>
-    <style type="text/css">
-
-body {
-    margin-left: 10%;
-    margin-right: 10%;
-}
-
-    h1,h2,h3,h4,h5,h6 {
-    text-align: center; /* all headings centered */
-    clear: both;
-}
-
-h1 {font-size: 200%;}
-
-h2 {font-size: 180%;}
-
-h3 {font-size: 150%;}
-
- /* No page break */
-
-h2.no-break
-  {
-    page-break-before: avoid;
-    padding-top: 0;}
-
-@media handheld
-{
-  h2.no-break
-  {
-    page-break-before: avoid;
-    padding-top: 0;
-  }
-}
-
-
-h3.no-break
-  {
-    page-break-before: avoid;
-    padding-top: 0;}
-
-@media handheld
-{
-  h3.no-break
-  {
-    page-break-before: avoid;
-    padding-top: 0;
-  }
-}p {
-    margin-top: .51em;
-    text-align: justify;
-    margin-bottom: .49em;
-}
-
-.p5       {margin-top: 2em; text-align: center; font-weight: bold; font-size: 120%;}
-.p5a      {margin-top: 1em; font-weight: bold; font-size: 120%;}
-.p5b      {font-size: 120%;}
-.p5c      {font-size: 120%; text-align: center; }
-.p6       {margin-top: 1em; text-align: center; font-weight: bold; font-size: 115%;}
-.p6a      {margin-top: 1em; text-align: center; font-weight: bold; font-size: 120%;}
-.p6b      {margin-top: 1em; text-align: center; font-weight: bold; font-size: 115%; font-family: "Arial Black", Gadget, sans-serif;}
-.p6c      {font-weight: bold; font-size: 115%;}
-.p7       {margin-top: 2em; text-align: center; font-weight: bold; font-size: 130%; font-family: "Old English Text MT", serif;}
-.p8       {margin-top: 1em; text-align: center; font-weight: bold; font-size: 130%;}
-.small50    {font-size: 50%;}
-.small60    {font-size: 60%;}
-.small80    {font-size: 80%;}
-.small90    {font-size: 90%;}
-
-.mleft0 {margin-left: .8em;}
-.mleft0a {margin-left: .6em;}
-.mleft1 {margin-left: 1em;}
-.mleft1a {margin-left: 1.7em;}
-.mleft1b {margin-left: 1.6em;}
-.mleft2 {margin-left: 2em;}
-.mleft3 {margin-left: 3em;}
-.mleft3a {margin-left: 3.8em;}
-.mleft3b {margin-left: 3.6em;}
-.mleft3c {margin-left: 3.2em;}
-.mleft4 {margin-left: 4em;}
-.mleft4a {margin-left: 4.5em;}
-.mleft4b {margin-left: 4.2em;}
-.mleft5 {margin-left: 5em;}
-.mleft5b {margin-left: 5.3em;}
-.mleft6 {margin-left: 6em;}
-.mleft7 {margin-left: 7em;}
-.mleft7a {margin-left: 7.3em;}
-.mleft8a {margin-left: 8.7em;}
-.mleft8b {margin-left: 8.4em;}
-.mleft9b {margin-left: 9.4em;}
-.mleft10 {margin-left: 10em;}
-.mleft10a {margin-left: 10.2em;}
-.mleft10b {margin-left: 10.4em;}
-.mleft11a {margin-left: 11.2em;}
-.mleft12 {margin-left: 12em;}
-.mleft14 {margin-left: 14em;}
-.mleft18 {margin-left: 18em;}
-
-hr {
-    width: 33%;
-    margin-top: 2em;
-    margin-bottom: 2em;
-    margin-left: auto;
-    margin-right: auto;
-    clear: both;
-}
-
-hr.tb   {width: 45%; margin-top: 1em; margin-bottom: 1em; margin-bottom: 1em; margin-left: 27.5%; margin-right: 27.5%; clear: both;}
-hr.chap {width: 65%; margin-top: 1em; margin-bottom: 1em; margin-left: 17.5%; margin-right: 17.5%; clear: both;}
-hr.chapter {width: 65%; margin-top: 1em; margin-bottom: 1em; margin-left: 17.5%; border-bottom: 6px double gray; margin-right: 17.5%; clear: both;}
-hr.full {width: 95%; margin-top: 1em; margin-bottom: 1em; margin-bottom: 1em; margin-left: 2.5%; margin-right: 2.5%; clear: both;}
-
-hr.r5  {width: 5%; margin-top: 1em; margin-bottom: 1em; margin-left: 47.5%; margin-right: 47.5%;}
-hr.r20 {width: 10%; margin-top: 3em; margin-bottom: 1em; margin-left: 45%; margin-right: 45%; clear: both;}
-
-div.titlepage {
-  page-break-before: always;
-  page-break-after: always;
-}
-
-div.titlepage p {
-  text-indent: 0em;
-  font-weight: bold;
-  line-height: 1.5;
-  margin-top: 3em;
-}
-
-.break-before {
- page-break-before: always;
-}
-
-div.chapter {page-break-before: always;}
-
-table {
-    margin-left: auto;
-    margin-right: auto;
-}
-
-th   {text-align: center; font-weight: bold; font-size: 1.2em;}
-tbody {color:black;}
-.tha  {text-align: center; font-weight: bold; font-size: 1em;}
-    .tdl      {text-align: left;}
-    .tdla     {text-align: left; text-indent: 1em;}
-    .tdlb     {text-align: left; text-indent: 1.5em;}
-    .tdlc     {text-align: left; text-indent: 2em;}
-    .tdr      {text-align: right;}
-    .tdc      {text-align: center;}
-    .valign   {text-align: left;}
-    .top      {vertical-align: top;}
-    .bottom   {vertical-align: bottom;}
-
-.pagenum { /* uncomment the next line for invisible page numbers */
-    /*  visibility: hidden;  */
-    position: absolute;
-    color: gray;
-    left: 92%;
-    font-size: smaller;
-    text-align: right;
-} /* page numbers */
-
-.blockquote {
-    margin-left: 5%;
-    margin-right: 10%;
-    font-size: 90%;
-}
-
-div.blockquotea {
-    margin-left: 5%;
-    margin-right: 10%;
-    font-size: 90%;
-    font-weight: bold;
-}
-
- /* Fractions  */
-
-span.frac {
-  display: inline-block;
-  font-size: .70em;
-  text-align: center;
-  vertical-align: sub;
-}
-span.frac > sup {
-  display: block;
-  font-size: .70em;
-  border-bottom: 1px solid;
-  font: inherit;
-}
-span.frac > span {
-  display: none;
-}
-span.frac > sub {
-  display: block;
-  font: inherit;
-}
-
-@media handheld {
-span.frac {
-  font-size: 50%;
-  vertical-align: sub;
- }
-span.frac > sup {
-  font-size: 50%;
-  font: inherit;
-}
-span.frac > span {
-  display: none;
-}
-span.frac > sub {
-  font: inherit;
-}
-}
-
-.bb       {border-bottom: solid 2px;}
-
-.bl       {border-left: solid 2px;}
-
-.bt       {border-top: solid 2px;}
-
-.br       {border-right: solid 2px;}
-
-.bdouble   {border-style: double;
-    padding-bottom: 1em;
-    padding-top: 1em;
-    padding-left: 1em;
-    padding-right: 1em;
-}
-
-.center   {text-align: center;}
-
-.right   {text-align: right;}
-
-.smcap    {font-variant: small-caps;}
-
-.smcapa   { font-size: 70%;}
-
-em  {font-style: italic;}
-
-strong {font-weight: bold;}
-
-/* Captions */
-.caption  {font-weight: bold;}
-
-.caption p {
-    text-align: center;
-    text-indent: 0;
-    margin: 0.25em 0;
-    font-weight: bold;
-    font-size:small;
-}
-
-.caption p.left {
-    text-align:left;
-    margin: 0.25em 0;
-    font-weight: bold;
-}
-
-.caption p.right {
-    text-align: right;
-    text-indent: 0.5em;
-    margin: 0.25em 0;
-    font-weight: bold;
-}
-
-/* Images */
-
-img {max-width: 100%; height: auto;}
-
-.figcenter   {
-    margin: auto;
-    text-align: center;
-    padding-left: 20px;
-    padding-right: 20px;
-}
-
-.figleft {
-    float: left;
-    clear: left;
-    margin-left: 0;
-    margin-bottom: 1em;
-    margin-top: 1em;
-    margin-right: 1em;
-    padding: 0;
-    text-align: center;
-}
-
-@media handheld {
-.figleft {
-    float: left;
-    clear: left;
-    margin-left: 0;
-    margin-bottom: 1em;
-    margin-top: 1em;
-    margin-right: 1em;
-    padding: 0;
-    text-align: center;
- }
-}
-
-.figright {
-    float: right;
-    clear: right;
-    margin-left: 1em;
-    margin-bottom:
-    1em;
-    margin-top: 1em;
-    margin-right: 0;
-    padding: 0;
-    text-align: center;
-}
-
-@media handheld {
-.figright {
-    float: right;
-    clear: right;
-    margin-left: 1em;
-    margin-bottom:
-    1em;
-    margin-top: 1em;
-    margin-right: 0;
-    padding: 0;
-    text-align: center;
- }
-}
-
-img.alignright { float: right; margin: 0 0 1em 1em; }
-
-img.aligncenter { text-align: center; margin: 0 0 1em 1em;
-                 position: relative;
-                 top: 4em;
-                 clear: both;}
-
-/* Footnotes */
-.footnotes        {border: dashed 1px;}
-
-.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;
-}
-
-ins {
-     text-decoration:none;
-     border-bottom: thin dotted gray;
-}
-
-.container {text-align: center;}
-
-.imagl {
-    display: inline-block;
-    margin-left:5%;
-    margin-right:10%;
-    text-align: left;
-    font-weight: bold;
-    font-size:small;
-}
-
-.containerl {text-align: left;
-             display: block;
-}
-
-@media handheld {
-.containerl {text-align: left;
-             display: block;
- }
-}
-
-/* Poetry */
-.poem {
-    display: inline-block;
-    margin-left:5%;
-    margin-right:10%;
-    text-align: left;
-}
-
-@media handheld {
-  .poem {
-    display: block;
-    margin-left: 1.5em;
-  }
-}
-
-.poem br {display: none;}
-
-.poem .stanza {margin: 1em 0em 1em 0em;}
-
-.poem .i0 {
-    display: block;
-    margin-left: 0em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i1 {
-    display: block;
-    margin-left: 1em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i2 {
-    display: block;
-    margin-left: 2em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i3 {
-    display: block;
-    margin-left: 3em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i4 {
-    display: block;
-    margin-left: 4em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i5 {
-    display: block;
-    margin-left: 5em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i6 {
-    display: block;
-    margin-left: 6em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-.poem .i7 {
-    display: block;
-    margin-left: 7em;
-    padding-left: 3em;
-    text-indent: -3em;
-}
-
-/* Transcriber's notes */
-.transnote {background-color: #E6E6FA;
-     color: black;
-     font-size:smaller;
-     padding: 1.5em;
-     margin-right: 10%;
-     margin-left: 10%;
-     font-family:sans-serif, serif;
-}
-    </style>
-  </head>
-<body>
-
-
-<pre>
-
-The Project Gutenberg EBook of The Magician's Own Book, by Anonymous
-
-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: The Magician's Own Book
-       or the Whole Art of Conjuring. etc.
-
-Author: Anonymous
-
-Other: Unknown Dick and Fitzgerald
-
-Release Date: November 14, 2019 [EBook #60687]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE MAGICIAN'S OWN BOOK ***
-
-
-
-
-Produced by Chris Curnow, Jane Robins and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-
-
-
-
-</pre>
-
-
-
-<p><span class="pagenum"><a name="Page_i" id="Page_i"></a></span></p>
-
-<div class="figcenter">
-<img src="images/cover.jpg" width="473" height="700" alt="" />
-</div>
-
-<hr class="chap" />
-
-<div class="titlepage">
-<h1><span class="small60">THE</span><br />
-
-MAGICIAN'S OWN BOOK,<br />
-
-<span class="small60">OR THE</span><br />
-
-<span class="small90">WHOLE ART OF CONJURING.</span></h1>
-
-<p class="center"><strong>BEING A</strong></p>
-
-<p class="p6">COMPLETE HAND-BOOK OF PARLOR MAGIC,</p>
-
-<p class="center"><strong>AND CONTAINING</strong></p>
-
-<p class="p8">OVER ONE THOUSAND</p>
-
-<p class="center"><strong>OPTICAL, CHEMICAL, MECHANICAL, MAGNETICAL, AND MAGICAL EXPERIMENTS,<br />
-AMUSING TRANSMUTATIONS, ASTONISHING SLEIGHTS AND SUBTLETIES,<br />
-CELEBRATED CARD DECEPTIONS, INGENIOUS TRICKS WITH NUMBERS,<br />
-CURIOUS AND ENTERTAINING PUZZLES, TOGETHER WITH<br />
-ALL THE MOST NOTED TRICKS OF MODERN PERFORMERS.<br />
-THE WHOLE</strong></p>
-
-<p class="p6">ILLUSTRATED WITH OVER 500 WOOD CUTS,</p>
-
-<p class="center"><strong>AND INTENDED AS A SOURCE OF AMUSEMENT FOR</strong></p>
-
-<p class="p6">ONE THOUSAND AND ONE EVENINGS.</p>
-
-<p class="p6">NEW YORK:<br />
-DICK &amp; FITZGERALD, 18 ANN STREET.<br />
-1862.</p>
-</div>
-
-<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[ii]</a></span></p>
-
-
-<hr class="chap" />
-
-<p class="center">Entered according to Act of Congress, in the year 1857, by</p>
-
-<p class="center">DICK &amp; FITZGERALD,</p>
-
-<p class="center">in the Clerk's Office of the District Court for the Southern District of New York.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p>
-
-
-
-
-<h2>PREFACE.</h2>
-
-
-<p>The publishers of this interesting volume do not conceive that it
-requires an elaborate introduction to the reading public. Some brief
-remarks, however, may not be inappropriate as a preface to T<span class="smcapa">HE</span> M<span class="smcapa">AGICIAN'S</span> O<span class="smcapa">WN</span> B<span class="smcapa">OOK</span>,
-since the "black art," as in lessen lightened
-ages the practice of all these innocent and interesting feats was termed,
-is not yet as popularly understood in this country as it is abroad.
-There is a charm in legerdemain, or sleight of hand, that all, whether
-young or old, can readily appreciate. There is a mystery in it that
-piques the understanding as well as provokes the curiosity of the
-spectator. If the trick be executed with address, it excites our admiration;
-and the simpler it appears, the more it engages our fancy and
-fascinates our attention. And it is not only when we are mystified in
-public, cajoled in great saloons, and in the presence of crowds, that
-these effects are developed. They are called forth by the performances
-even of some humble artist in the family circle, whose ingenuity of
-mind has enabled him to gather up the more available of these practical
-puzzles. It would seem, therefore, a useful thing to place this
-source of harmless amusement within the reach of all who can relish
-its eccentricities, and instead of leaving it in the hands of "professors,"
-as a pecuniary speculation, to enable the domestic group to master and
-enjoy it in all its ever-varying phases of novelty and gratification. To
-do this is what the publishers propose in the issue of this volume;
-and they flatter themselves, that if carefully studied, it will prepare the
-Young Conjuror to convert the parlor, at any desirable moment, into
-a place of genuine entertainment for himself and his companions, and
-ample repay him for the little time and thought he may devote to the
-acquisition of the necessary skill and dexterity.</p>
-
-<p>Sleight of hand, magic, necromancy, &amp;c., are all terms of art
-applicable to the same series of performances. The parlor student,<span class="pagenum"><a name="Page_iv" id="Page_iv">[iv]</a></span>
-therefore, once familiar with the general principles upon which these
-"experiments" are effected, will find little difficulty in comprehending
-at a glance, notwithstanding all the show of gorgeous paraphernalia
-and auxiliary machinery employed, the <em>modus operandi</em> of every one
-of them he may witness in public. This will be a new source of
-pleasure to him, independent of his ability to turn "Conjuror" on
-his own account at home. Nor can we well conceive of any rational
-objection likely to be urged against a kind of knowledge, so unimpeachable
-in its nature, and so mirth provoking in its results. Acting
-Charades are common, even among the most fastidious families.
-Enigmas and puzzles, in pantomime and speech, afford innoxious amusement
-to thousands. The publishers only consider T<span class="smcapa">HE</span> M<span class="smcapa">AGICIAN'S</span> O<span class="smcapa">WN</span> B<span class="smcapa">OOK</span>
-a new addition to the current list of entertainments of that
-character; for what is a sleight of hand feat but an enigma placed
-before the spectator for solution? What is a trick in "natural magic"
-but a puzzle repeated to those who behold it, each one of whom is
-tacitly expected to guess how it is accomplished, while the little
-practitioner only holds the key to the mystery? In truth, the parlor
-needs some increase in its means of social amusement. The number
-it embraces is extremely limited. They soon weary. This weariness
-creates an appetite for outside attractions, not always wholesome, and
-too often insidiously pernicious. T<span class="smcapa">HE</span> M<span class="smcapa">AGICIAN'S</span> O<span class="smcapa">WN</span> B<span class="smcapa">OOK</span> nicely
-fills up, therefore, the void in the category of parlor recreations. It
-may be made to present an ever-changing, always tempting, stay-at-home
-inducement, and in this shape becomes a moral assistant of no
-unimportant description, as well as the piquant source of good humored
-bamboozlement.</p>
-
-<p>In conclusion we would say, that the  T<span class="smcapa">HE</span> M<span class="smcapa">AGICIAN'S</span> O<span class="smcapa">WN</span> B<span class="smcapa">OOK</span> contains
-a great variety of curious tricks and deceptions, many of which
-have never before appeared in print, and for many of which the
-publishers beg to acknowledge their indebtedness to Mr. John Wyman,
-Junior, the celebrated magician, that gentleman having kindly
-furnished clear and simple explanations to many of his most surprising
-parlor feats and fancies.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span></p>
-
-
-
-
-<h2>INDEX.</h2>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="INDEX">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr"><span class="smcapa">PAGE</span></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#SLEIGHT_OF_HAND_TRICKS">Sleight of Hand Tricks.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">The Flying Dime,</td>
- <td class="tdr"><a href="#Page_3">3</a></td>
-</tr>
-<tr>
- <td class="tdl">The Flying Dime, (another method,)</td>
- <td class="tdr"><a href="#Page_4">4</a></td>
-</tr>
-<tr>
- <td class="tdl">The Beads and Strings,</td>
- <td class="tdr"><a href="#Page_5">5</a></td>
-</tr>
-<tr>
- <td class="tdl">To get a Ring out of a Handkerchief,</td>
- <td class="tdr"><a href="#Page_5">5</a></td>
-</tr>
-<tr>
- <td class="tdl">To tie a Knot in a Handkerchief which Cannot be drawn Tight,</td>
- <td class="tdr"><a href="#Page_6">6</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Cups,</td>
- <td class="tdr"><a href="#Page_7">7</a></td>
-</tr>
-<tr>
- <td class="tdl">To tie a Handkerchief round your Leg, and get it off Without Untying the Knot,</td>
- <td class="tdr"><a href="#Page_8">8</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Bond,</td>
- <td class="tdr"><a href="#Page_8">8</a></td>
-</tr>
-<tr>
- <td class="tdl">The Old Man and his Chair,</td>
- <td class="tdr"><a href="#Page_8">8</a></td>
-</tr>
-<tr>
- <td class="tdl">To tie a Knot on the Left Wrist, without letting the right hand approach it,</td>
- <td class="tdr"><a href="#Page_10">10</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Handcuffs,</td>
- <td class="tdr"><a href="#Page_11">11</a></td>
-</tr>
-<tr>
- <td class="tdl">To pull a String through your Button-hole,</td>
- <td class="tdr"><a href="#Page_11">11</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cut String Restored,</td>
- <td class="tdr"><a href="#Page_12">12</a></td>
-</tr>
-<tr>
- <td class="tdl">The Gordian Knot,</td>
- <td class="tdr"><a href="#Page_12">12</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knot Loosened,</td>
- <td class="tdr"><a href="#Page_13">13</a></td>
-</tr>
-<tr>
- <td class="tdl">To Conjure Nuts in your Ear,</td>
- <td class="tdr"><a href="#Page_13">13</a></td>
-</tr>
-<tr>
- <td class="tdl">To Crack Walnuts in your Elbow,</td>
- <td class="tdr"><a href="#Page_14">14</a></td>
-</tr>
-<tr>
- <td class="tdl">To Take Feathers out of an Empty Handkerchief,</td>
- <td class="tdr"><a href="#Page_14">14</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knotted Handkerchief,</td>
- <td class="tdr"><a href="#Page_14">14</a></td>
-</tr>
-<tr>
- <td class="tdl">Houdin's Nut Trick,</td>
- <td class="tdr"><a href="#Page_16">16</a></td>
-</tr>
-<tr>
- <td class="tdl">Conjuring a Ring,</td>
- <td class="tdr"><a href="#Page_17">17</a></td>
-</tr>
-<tr>
- <td class="tdl">The Erratic Egg,</td>
- <td class="tdr"><a href="#Page_18">18</a></td>
-</tr>
-<tr>
- <td class="tdl">The Obedient Dime,</td>
- <td class="tdr"><a href="#Page_19">19</a></td>
-</tr>
-<tr>
- <td class="tdl">The Prisoner Released,</td>
- <td class="tdr"><a href="#Page_19">19</a></td>
-</tr>
-<tr>
- <td class="tdl">Advantageous Wager,</td>
- <td class="tdr"><a href="#Page_19">19</a></td>
-</tr>
-<tr>
- <td class="tdl">The Double Meaning,</td>
- <td class="tdr"><a href="#Page_20">20</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Spoons,</td>
- <td class="tdr"><a href="#Page_20">20</a></td>
-</tr>
-<tr>
- <td class="tdl">The Juggler's Joke,</td>
- <td class="tdr"><a href="#Page_20">20</a></td>
-</tr>
-<tr>
- <td class="tdl">To Cause Water and Wine to Change Places,</td>
- <td class="tdr"><a href="#Page_21">21</a></td>
-</tr>
-<tr>
- <td class="tdl">The Wizard's Wit, or Is it Possible,</td>
- <td class="tdr"><a href="#Page_21">21</a></td>
-</tr>
-<tr>
- <td class="tdl">The Toper's Stratagem,</td>
- <td class="tdr"><a href="#Page_21">21</a></td>
-</tr>
-<tr>
- <td class="tdl">The Impossible Omelet,</td>
- <td class="tdr"><a href="#Page_21">21</a></td>
-</tr>
-<tr>
- <td class="tdl">New Perpetual Rotary Motion,</td>
- <td class="tdr"><a href="#Page_22">22</a></td>
-</tr>
-<tr>
- <td class="tdl">The Miraculous Apple,</td>
- <td class="tdr"><a href="#Page_22">22</a></td>
-</tr>
-<tr>
- <td class="tdl">An Omelet Cooked in a Hat,</td>
- <td class="tdr"><a href="#Page_23">23</a></td>
-</tr>
-<tr>
- <td class="tdl">The Infallible Prophet,</td>
- <td class="tdr"><a href="#Page_23">23</a></td>
-</tr>
-<tr>
- <td class="tdl">Philosophy Cheated,</td>
- <td class="tdr"><a href="#Page_24">24</a></td>
-</tr>
-<tr>
- <td class="tdl">The Disappearing Dime,</td>
- <td class="tdr"><a href="#Page_26">26</a></td>
-</tr>
-<tr>
- <td class="tdl">The Hat and Die Trick,</td>
- <td class="tdr"><a href="#Page_27">27</a></td>
-</tr>
-<tr>
- <td class="tdl">The Penetrative Cents,</td>
- <td class="tdr"><a href="#Page_27">27</a></td>
-</tr>
-<tr>
- <td class="tdl">The Doll Trick,</td>
- <td class="tdr"><a href="#Page_29">29</a></td>
-</tr>
-<tr>
- <td class="tdl">The Flying Coins,</td>
- <td class="tdr"><a href="#Page_30">30</a></td>
-</tr>
-<tr>
- <td class="tdl">The Vanished Half Dime,</td>
- <td class="tdr"><a href="#Page_30">30</a></td>
-</tr>
-<tr>
- <td class="tdl">The Restored Document,</td>
- <td class="tdr"><a href="#Page_30">30</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Rings,</td>
- <td class="tdr"><a href="#Page_31">31</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fish and Ink Trick,</td>
- <td class="tdr"><a href="#Page_32">32</a></td>
-</tr>
-<tr>
- <td class="tdl">The Hat and Cannon Ball Trick,</td>
- <td class="tdr"><a href="#Page_32">32</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dime in the Ball of Cotton,</td>
- <td class="tdr"><a href="#Page_33">33</a></td>
-</tr>
-<tr>
- <td class="tdl">The Egg and Bag Trick,</td>
- <td class="tdr"><a href="#Page_33">33</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dancing Egg,</td>
- <td class="tdr"><a href="#Page_34">34</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bell and Shot Trick,</td>
- <td class="tdr"><a href="#Page_34">34</a></td>
-</tr>
-<tr>
- <td class="tdl">The Burned Handkerchief Restored,</td>
- <td class="tdr"><a href="#Page_35">35</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fire Eater,</td>
- <td class="tdr"><a href="#Page_35">35</a></td>
-</tr>
-<tr>
- <td class="tdl">The Egg Box Trick,</td>
- <td class="tdr"><a href="#Page_36">36</a></td>
-</tr>
-<tr>
- <td class="tdl">The Globe Box Trick,</td>
- <td class="tdr"><a href="#Page_36">36</a></td>
-</tr>
-<tr>
- <td class="tdl">The Coffee Trick,</td>
- <td class="tdr"><a href="#Page_37">37</a></td>
-</tr>
-<tr>
- <td class="tdl">The Handkerchief Trick,</td>
- <td class="tdr"><a href="#Page_38">38</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Funnel,</td>
- <td class="tdr"><a href="#Page_41">41</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Bottle,</td>
- <td class="tdr"><a href="#Page_41">41</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bottle Trick,</td>
- <td class="tdr"><a href="#Page_42">42</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Quarter,</td>
- <td class="tdr"><a href="#Page_44">44</a></td>
-</tr>
-<tr>
- <td class="tdl">To change a Dime to a Quarter,</td>
- <td class="tdr"><a href="#Page_44">44</a></td>
-</tr>
-<tr>
- <td class="tdl">Wyman's Gun Trick,</td>
- <td class="tdr"><a href="#Page_46">46</a></td>
-</tr>
-<tr>
- <td class="tdl">The Hatched Bird,</td>
- <td class="tdr"><a href="#Page_46">46</a></td>
-</tr>
-<tr>
- <td class="tdl">The Apple and Orange Trick,</td>
- <td class="tdr"><a href="#Page_47">47</a></td>
-</tr>
-<tr>
- <td class="tdl">A Magician's Box Explained,</td>
- <td class="tdr"><a href="#Page_47">47</a></td>
-</tr>
-<tr>
- <td class="tdl">The Enchanted Coin,</td>
- <td class="tdr"><a href="#Page_48">48</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Coin, or How to Make Dollars pass through a Wine Glass,<br /> &nbsp; a China Plate, a Table, and fall into the Hand,</td>
- <td class="tdr bottom"><a href="#Page_49">49</a></td>
-</tr>
-<tr>
- <td class="tdl">The Egyptian Fluids, or Impossibilities Accomplished,</td>
- <td class="tdr"><a href="#Page_50">50</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magician's Snow Ball,</td>
- <td class="tdr"><a href="#Page_51">51</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magnetized Cane,</td>
- <td class="tdr"><a href="#Page_52">52</a></td>
-</tr>
-<tr>
- <td class="tdl">Wyman's Mode of performing the Egg Bag Trick,</td>
- <td class="tdr"><a href="#Page_52">52</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dancing Automaton,</td>
- <td class="tdr"><a href="#Page_354">354</a></td>
-</tr>
-<tr>
- <td class="tdl">The Invisible Springs,</td>
- <td class="tdr"><a href="#Page_355">355</a></td>
-</tr>
-<tr>
- <td class="tdl">The Flight of the Ring,</td>
- <td class="tdr"><a href="#Page_356">356</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Book,</td>
- <td class="tdr"><a href="#Page_360">360</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tape Trick,</td>
- <td class="tdr"><a href="#Page_360">360</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knotted Thread,</td>
- <td class="tdr"><a href="#Page_361">361</a></td>
-</tr>
-<tr>
- <td class="tdl">The Transposable Pieces,</td>
- <td class="tdr"><a href="#Page_362">362</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#TRICKS_AND_DECEPTIONS_WITH_CARDS">Tricks and Deceptions with Cards.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">To Make the Pass,</td>
- <td class="tdr"><a href="#Page_55">55</a></td>
-</tr>
-<tr>
- <td class="tdl">To Tell a Card by its Back,</td>
- <td class="tdr"><a href="#Page_55">55</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card named without being seen,</td>
- <td class="tdr"><a href="#Page_56">56</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card told by an Opera Glass,</td>
- <td class="tdr"><a href="#Page_56">56</a></td>
-</tr>
-<tr>
- <td class="tdl">The Four Kings,</td>
- <td class="tdr"><a href="#Page_58">58</a></td>
-</tr>
-<tr>
- <td class="tdl">The Four Accomplices,</td>
- <td class="tdr"><a href="#Page_58">58</a></td>
-</tr>
-<tr>
- <td class="tdl">To Tell the Card thought of, in a Circle of Ten,</td>
- <td class="tdr"><a href="#Page_59">59</a></td>
-</tr>
-<tr>
- <td class="tdl">To guess the Card thought of,</td>
- <td class="tdr"><a href="#Page_59">59</a></td>
-</tr>
-<tr>
- <td class="tdl">To tell the number of Cards by Weight,</td>
- <td class="tdr"><a href="#Page_60">60</a></td>
-</tr>
-<tr>
- <td class="tdl">Audacity,</td>
- <td class="tdr"><a href="#Page_61">61</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card found at the second guess,</td>
- <td class="tdr"><a href="#Page_61">61</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card found under the Hat,</td>
- <td class="tdr"><a href="#Page_61">61</a></td>
-</tr>
-<tr>
- <td class="tdl">To call the Cards out of the Pack,</td>
- <td class="tdr"><a href="#Page_61">61</a></td>
-</tr>
-<tr>
- <td class="tdl">Heads and Tails,</td>
- <td class="tdr"><a href="#Page_62">62</a></td>
-</tr>
-<tr>
- <td class="tdl">The Surprise,</td>
- <td class="tdr"><a href="#Page_62">62</a></td>
-</tr>
-<tr>
- <td class="tdl">The Revolution,</td>
- <td class="tdr"><a href="#Page_63">63</a></td>
-</tr>
-<tr>
- <td class="tdl">The Slipped Card,</td>
- <td class="tdr"><a href="#Page_63">63</a></td>
-</tr>
-<tr>
- <td class="tdl">The Nailed Card,</td>
- <td class="tdr"><a href="#Page_63">63</a></td>
-</tr>
-<tr>
- <td class="tdl">To ascertain the number of Points on three unseen Cards,</td>
- <td class="tdr"><a href="#Page_64">64</a></td>
-</tr>
-<tr>
- <td class="tdl">To tell the numbers on two unseen Cards,</td>
- <td class="tdr"><a href="#Page_64">64</a></td>
-</tr>
-<tr>
- <td class="tdl">>The Knaves and the Constable,</td>
- <td class="tdr"><a href="#Page_64">64</a><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span></td>
-</tr>
-<tr>
- <td class="tdl">The Pairs Re-paired,</td>
- <td class="tdr"><a href="#Page_65">65</a></td>
-</tr>
-<tr>
- <td class="tdl">The Queens Digging for Diamonds,</td>
- <td class="tdr"><a href="#Page_66">66</a></td>
-</tr>
-<tr>
- <td class="tdl">The Triple Deal,</td>
- <td class="tdr"><a href="#Page_67">67</a></td>
-</tr>
-<tr>
- <td class="tdl">The Quadruple Deal,</td>
- <td class="tdr"><a href="#Page_67">67</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card Discovered by the Touch or Smell,</td>
- <td class="tdr"><a href="#Page_67">67</a></td>
-</tr>
-<tr>
- <td class="tdl">The Ingenious Confederacy,</td>
- <td class="tdr"><a href="#Page_67">67</a></td>
-</tr>
-<tr>
- <td class="tdl">Hold it Fast,</td>
- <td class="tdr"><a href="#Page_69">69</a></td>
-</tr>
-<tr>
- <td class="tdl">The Charmed Twelve,</td>
- <td class="tdr"><a href="#Page_69">69</a></td>
-</tr>
-<tr>
- <td class="tdl">The Trick of "Thirty-one,"</td>
- <td class="tdr"><a href="#Page_70">70</a></td>
-</tr>
-<tr>
- <td class="tdl">To tell the Names of the Cards by their Weight,</td>
- <td class="tdr"><a href="#Page_71">71</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cards in the Vase,</td>
- <td class="tdr"><a href="#Page_73">73</a></td>
-</tr>
-<tr>
- <td class="tdl">The Metamorphosis,</td>
- <td class="tdr"><a href="#Page_74">74</a></td>
-</tr>
-<tr>
- <td class="tdl">To hold Four Kings, or Four Knaves in your Hand, and to<br /> &nbsp; Change them suddenly into Blank Cards, and then to Four Aces,</td>
- <td class="tdr bottom"><a href="#Page_76">76</a></td>
-</tr>
-<tr>
- <td class="tdl">To Change a Card in a Person's Hand,</td>
- <td class="tdr"><a href="#Page_76">76</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card in the Egg,</td>
- <td class="tdr"><a href="#Page_77">77</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fifteen Thousand Livres,</td>
- <td class="tdr"><a href="#Page_78">78</a></td>
-</tr>
-<tr>
- <td class="tdl">Hints to Amateurs,</td>
- <td class="tdr"><a href="#Page_79">79</a></td>
-</tr>
-<tr>
- <td class="tdl">Cure for Troublesome Spectators,</td>
- <td class="tdr"><a href="#Page_80">80</a></td>
-</tr>
-<tr>
- <td class="tdl">To make a Card jump out of the Pack,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tell-Tale Cards,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdl">The Double Dozen,</td>
- <td class="tdr"><a href="#Page_358">358</a></td>
-</tr>
-<tr>
- <td class="tdl">The Housebreakers,</td>
- <td class="tdr"><a href="#Page_359">359</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_CHEMISTRY">The Magic of Chemistry.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Sympathetic or Invisible Inks,</td>
- <td class="tdr"><a href="#Page_84">84</a></td>
-</tr>
-<tr>
- <td class="tdl">The Silver Tree,</td>
- <td class="tdr"><a href="#Page_85">85</a></td>
-</tr>
-<tr>
- <td class="tdl">Cleopatra's Pearls,</td>
- <td class="tdr"><a href="#Page_86">86</a></td>
-</tr>
-<tr>
- <td class="tdl">Wonderful Experiments in Combustion,</td>
- <td class="tdr"><a href="#Page_86">86</a></td>
-</tr>
-<tr>
- <td class="tdl">Mimic Rain,</td>
- <td class="tdr"><a href="#Page_86">86</a></td>
-</tr>
-<tr>
- <td class="tdl">Marine Illumination,</td>
- <td class="tdr"><a href="#Page_87">87</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mimic Explosion,</td>
- <td class="tdr"><a href="#Page_88">88</a></td>
-</tr>
-<tr>
- <td class="tdl">The Shower of Fire,</td>
- <td class="tdr"><a href="#Page_88">88</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Heat,</td>
- <td class="tdr"><a href="#Page_88">88</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Lamp,</td>
- <td class="tdr"><a href="#Page_89">89</a></td>
-</tr>
-<tr>
- <td class="tdl">Surprising Experiments with Potassium,</td>
- <td class="tdr"><a href="#Page_89">89</a></td>
-</tr>
-<tr>
- <td class="tdl">The Water Demon,</td>
- <td class="tdr"><a href="#Page_89">89</a></td>
-</tr>
-<tr>
- <td class="tdl">A Flame produced with Ice,</td>
- <td class="tdr"><a href="#Page_89">89</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chemical Chimney Sweep,</td>
- <td class="tdr"><a href="#Page_90">90</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Illumination,</td>
- <td class="tdr"><a href="#Page_90">90</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chemical Chameleon,</td>
- <td class="tdr"><a href="#Page_91">91</a></td>
-</tr>
-<tr>
- <td class="tdl">Crystallizations of Metals,</td>
- <td class="tdr"><a href="#Page_92">92</a></td>
-</tr>
-<tr>
- <td class="tdl">Beauties of Crystallization,</td>
- <td class="tdr"><a href="#Page_93">93</a></td>
-</tr>
-<tr>
- <td class="tdl">To Crystallize Camphor,</td>
- <td class="tdr"><a href="#Page_93">93</a></td>
-</tr>
-<tr>
- <td class="tdl">To do. Tin,</td>
- <td class="tdr"><a href="#Page_94">94</a></td>
-</tr>
-<tr>
- <td class="tdl">Crystals in Hard Water,</td>
- <td class="tdr"><a href="#Page_94">94</a></td>
-</tr>
-<tr>
- <td class="tdl">Varieties of Crystals,</td>
- <td class="tdr"><a href="#Page_94">94</a></td>
-</tr>
-<tr>
- <td class="tdl">A Liquid Changed to a Solid, and Heat from Crystallization,</td>
- <td class="tdr"><a href="#Page_94">94</a></td>
-</tr>
-<tr>
- <td class="tdl">Beautiful Experiment,</td>
- <td class="tdr"><a href="#Page_95">95</a></td>
-</tr>
-<tr>
- <td class="tdl">A Solid Changed to a Liquid, and intense Cold from the Liquefaction,</td>
- <td class="tdr"><a href="#Page_95">95</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic of Heat,</td>
- <td class="tdr"><a href="#Page_95">95</a></td>
-</tr>
-<tr>
- <td class="tdl">Sublimation by Heat,</td>
- <td class="tdr"><a href="#Page_96">96</a></td>
-</tr>
-<tr>
- <td class="tdl">Heat Passing through Glass,</td>
- <td class="tdr"><a href="#Page_96">96</a></td>
-</tr>
-<tr>
- <td class="tdl">Metals unequally Influenced by Heat,</td>
- <td class="tdr"><a href="#Page_97">97</a></td>
-</tr>
-<tr>
- <td class="tdl">Spontaneous Combustion,</td>
- <td class="tdr"><a href="#Page_97">97</a></td>
-</tr>
-<tr>
- <td class="tdl">Inequality of Heat in Fire Irons,</td>
- <td class="tdr"><a href="#Page_97">97</a></td>
-</tr>
-<tr>
- <td class="tdl">Expansion of Metal by Heat,</td>
- <td class="tdr"><a href="#Page_97">97</a></td>
-</tr>
-<tr>
- <td class="tdl">Evaporation of a Metal,</td>
- <td class="tdr"><a href="#Page_98">98</a></td>
-</tr>
-<tr>
- <td class="tdl">A Floating Metal on Fire,</td>
- <td class="tdr"><a href="#Page_98">98</a></td>
-</tr>
-<tr>
- <td class="tdl">Ice Melted by Air,</td>
- <td class="tdr"><a href="#Page_98">98</a></td>
-</tr>
-<tr>
- <td class="tdl">Splendid Sublimation,</td>
- <td class="tdr"><a href="#Page_98">98</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic Inks,</td>
- <td class="tdr"><a href="#Page_98">98</a></td>
-</tr>
-<tr>
- <td class="tdl">Chameleon Liquids,</td>
- <td class="tdr"><a href="#Page_99">99</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Dyes,</td>
- <td class="tdr"><a href="#Page_99">99</a></td>
-</tr>
-<tr>
- <td class="tdl">Wine Changed into Water,</td>
- <td class="tdr"><a href="#Page_99">99</a></td>
-</tr>
-<tr>
- <td class="tdl">Two colorless Transparent Liquids become Black and Opaque,</td>
- <td class="tdr"><a href="#Page_100">100</a></td>
-</tr>
-<tr>
- <td class="tdl">Two colorless Fluids, Make a colored one,</td>
- <td class="tdr"><a href="#Page_100">100</a></td>
-</tr>
-<tr>
- <td class="tdl">Change of Color, by colorless Fluids,</td>
- <td class="tdr"><a href="#Page_100">100</a></td>
-</tr>
-<tr>
- <td class="tdl">To Change Blue Liquid to White,</td>
- <td class="tdr"><a href="#Page_100">100</a></td>
-</tr>
-<tr>
- <td class="tdl">Veritable "Black" Tea,</td>
- <td class="tdr"><a href="#Page_100">100</a></td>
-</tr>
-<tr>
- <td class="tdl">Restoration of Color by Water,</td>
- <td class="tdr"><a href="#Page_101">101</a></td>
-</tr>
-<tr>
- <td class="tdl">Two Liquids Make a Solid,</td>
- <td class="tdr"><a href="#Page_101">101</a></td>
-</tr>
-<tr>
- <td class="tdl">Two Solids Make a Liquid,</td>
- <td class="tdr"><a href="#Page_101">101</a></td>
-</tr>
-<tr>
- <td class="tdl">A Solid, Opaque Mass, Makes a Transparent Liquid,</td>
- <td class="tdr"><a href="#Page_101">101</a></td>
-</tr>
-<tr>
- <td class="tdl">Two cold Liquids Make a Hot one,</td>
- <td class="tdr"><a href="#Page_101">101</a></td>
-</tr>
-<tr>
- <td class="tdl">Quintuple Transmutation,</td>
- <td class="tdr"><a href="#Page_102">102</a></td>
-</tr>
-<tr>
- <td class="tdl">The Same Agent may Produce and Destroy Color,</td>
- <td class="tdr"><a href="#Page_102">102</a></td>
-</tr>
-<tr>
- <td class="tdl">Union of two Metals without Heat,</td>
- <td class="tdr"><a href="#Page_102">102</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic Breath,</td>
- <td class="tdr"><a href="#Page_102">102</a></td>
-</tr>
-<tr>
- <td class="tdl">Two Bitters Make a Sweet,</td>
- <td class="tdr"><a href="#Page_103">103</a></td>
-</tr>
-<tr>
- <td class="tdl">Visible and Invisible,</td>
- <td class="tdr"><a href="#Page_103">103</a></td>
-</tr>
-<tr>
- <td class="tdl">To Form a Liquid of two Solids,</td>
- <td class="tdr"><a href="#Page_103">103</a></td>
-</tr>
-<tr>
- <td class="tdl">The Spectral Lamp,</td>
- <td class="tdr"><a href="#Page_104">104</a></td>
-</tr>
-<tr>
- <td class="tdl">Curious Change of Colors,</td>
- <td class="tdr"><a href="#Page_105">105</a></td>
-</tr>
-<tr>
- <td class="tdl">The Protean Light,</td>
- <td class="tdr"><a href="#Page_105">105</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chameleon Flowers,</td>
- <td class="tdr"><a href="#Page_105">105</a></td>
-</tr>
-<tr>
- <td class="tdl">To Change the Colors of Flowers,</td>
- <td class="tdr"><a href="#Page_105">105</a></td>
-</tr>
-<tr>
- <td class="tdl">Changes of the Poppy,</td>
- <td class="tdr"><a href="#Page_106">106</a></td>
-</tr>
-<tr>
- <td class="tdl">Changes of the Rose,</td>
- <td class="tdr"><a href="#Page_106">106</a></td>
-</tr>
-<tr>
- <td class="tdl">Light changing White into Black,</td>
- <td class="tdr"><a href="#Page_106">106</a></td>
-</tr>
-<tr>
- <td class="tdl">The Visibly Growing Acorn,</td>
- <td class="tdr"><a href="#Page_106">106</a></td>
-</tr>
-<tr>
- <td class="tdl">Colored Flames,</td>
- <td class="tdr"><a href="#Page_107">107</a></td>
-</tr>
-<tr>
- <td class="tdl">Orange colored Flame,</td>
- <td class="tdr"><a href="#Page_107">107</a></td>
-</tr>
-<tr>
- <td class="tdl">Emerald Green Flame,</td>
- <td class="tdr"><a href="#Page_107">107</a></td>
-</tr>
-<tr>
- <td class="tdl">Instantaneous Flame,</td>
- <td class="tdr"><a href="#Page_107">107</a></td>
-</tr>
-<tr>
- <td class="tdl">To Cool Flame by Metal,</td>
- <td class="tdr"><a href="#Page_108">108</a></td>
-</tr>
-<tr>
- <td class="tdl">Proof that Flame is Hollow,</td>
- <td class="tdr"><a href="#Page_108">108</a></td>
-</tr>
-<tr>
- <td class="tdl">To Hold a Hot Tea Kettle on the Hand,</td>
- <td class="tdr"><a href="#Page_108">108</a></td>
-</tr>
-<tr>
- <td class="tdl">Incombustible Linen,</td>
- <td class="tdr"><a href="#Page_108">108</a></td>
-</tr>
-<tr>
- <td class="tdl">The Burning Circle,</td>
- <td class="tdr"><a href="#Page_108">108</a></td>
-</tr>
-<tr>
- <td class="tdl">Water of different Temperatures in the same Vessel,</td>
- <td class="tdr"><a href="#Page_109">109</a></td>
-</tr>
-<tr>
- <td class="tdl">Warmth of Different Colors,</td>
- <td class="tdr"><a href="#Page_109">109</a></td>
-</tr>
-<tr>
- <td class="tdl">Substitute for Fire,</td>
- <td class="tdr"><a href="#Page_109">109</a></td>
-</tr>
-<tr>
- <td class="tdl">Laughing Gas,</td>
- <td class="tdr"><a href="#Page_109">109</a></td>
-</tr>
-<tr>
- <td class="tdl">Flame from Cold Metals,</td>
- <td class="tdr"><a href="#Page_110">110</a></td>
-</tr>
-<tr>
- <td class="tdl">Phosphorus in Chlorine,</td>
- <td class="tdr"><a href="#Page_110">110</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic Vapor,</td>
- <td class="tdr"><a href="#Page_111">111</a></td>
-</tr>
-<tr>
- <td class="tdl">Gas from the Union of Metals,</td>
- <td class="tdr"><a href="#Page_111">111</a></td>
-</tr>
-<tr>
- <td class="tdl">Camphor Sublimated by Flame,</td>
- <td class="tdr"><a href="#Page_111">111</a></td>
-</tr>
-<tr>
- <td class="tdl">Green Fire,</td>
- <td class="tdr"><a href="#Page_111">111</a></td>
-</tr>
-<tr>
- <td class="tdl">Brilliant Red Fire,</td>
- <td class="tdr"><a href="#Page_112">112</a></td>
-</tr>
-<tr>
- <td class="tdl">Purple Fire,</td>
- <td class="tdr"><a href="#Page_112">112</a></td>
-</tr>
-<tr>
- <td class="tdl">Silver Fire,</td>
- <td class="tdr"><a href="#Page_112">112</a></td>
-</tr>
-<tr>
- <td class="tdl">Fiery Fountain,</td>
- <td class="tdr"><a href="#Page_112">112</a></td>
-</tr>
-<tr>
- <td class="tdl"><ins title="Transcriber's Note: original reads 'Cumbustion'">Combustion</ins> without Flame,</td>
- <td class="tdr"><a href="#Page_112">112</a></td>
-</tr>
-<tr>
- <td class="tdl">Combustion of Three Metals,</td>
- <td class="tdr"><a href="#Page_113">113</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make Paper Apparently Incombustible,</td>
- <td class="tdr"><a href="#Page_113">113</a></td>
-</tr>
-<tr>
- <td class="tdl">Heat not to be estimated by Touch,</td>
- <td class="tdr"><a href="#Page_113">113</a></td>
-</tr>
-<tr>
- <td class="tdl">Flame upon Water,</td>
- <td class="tdr"><a href="#Page_113">113</a></td>
-</tr>
-<tr>
- <td class="tdl">Rose Colored Flame upon Water,</td>
- <td class="tdr"><a href="#Page_113">113</a></td>
-</tr>
-<tr>
- <td class="tdl">To Set a Mixture on Fire by Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Waves of Fire on Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span>Water from the Flame of a Candle,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Formation of Water by Fire,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Boiling upon Cold Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Currents in Boiling Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Hot Water Lighter than Cold,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">Expansion of Water by Cold,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cup of Tantalus,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Whirlpool,</td>
- <td class="tdr"><a href="#Page_116">116</a></td>
-</tr>
-<tr>
- <td class="tdl">Artificial Fire Balls,</td>
- <td class="tdr"><a href="#Page_117">117</a></td>
-</tr>
-<tr>
- <td class="tdl">To Melt Steel as Easily as Lead,</td>
- <td class="tdr"><a href="#Page_118">118</a></td>
-</tr>
-<tr>
- <td class="tdl">To Tell a Lady if She is in Love,</td>
- <td class="tdr"><a href="#Page_118">118</a></td>
-</tr>
-<tr>
- <td class="tdl">To put an Egg in a Phial,</td>
- <td class="tdr"><a href="#Page_118">118</a></td>
-</tr>
-<tr>
- <td class="tdl">To Astonish a Large Party,</td>
- <td class="tdr"><a href="#Page_118">118</a></td>
-</tr>
-<tr>
- <td class="tdl">Magical Test Papers,</td>
- <td class="tdr"><a href="#Page_119">119</a></td>
-</tr>
-<tr>
- <td class="tdl">Infinite Divisibility,</td>
- <td class="tdr"><a href="#Page_119">119</a></td>
-</tr>
-<tr>
- <td class="tdl">Chemistry an Agent in Secret Writing,</td>
- <td class="tdr"><a href="#Page_327">327</a></td>
-</tr>
-<tr>
- <td class="tdl">To Melt a Piece of Money in a Walnut Shell, without Injuring the Shell,</td>
- <td class="tdr"><a href="#Page_355">355</a></td>
-</tr>
-<tr>
- <td class="tdl">The Pyramid of Alum,</td>
- <td class="tdr"><a href="#Page_354">354</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#EXPERIMENTS_IN_ELECTRICITY">Experiments in Electricity.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">The Rotary Tobacco Pipe,</td>
- <td class="tdr"><a href="#Page_123">123</a></td>
-</tr>
-<tr>
- <td class="tdl">The Erratic Feather,</td>
- <td class="tdr"><a href="#Page_123">123</a></td>
-</tr>
-<tr>
- <td class="tdl">The Attractive Sealing Wax,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Unneighborly Balls,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Electrified Paper,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Sociable Feather,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Eccentric Feather,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Discontented Pith Ball,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dancing Bran,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">The Electrical Cat,</td>
- <td class="tdr"><a href="#Page_124">124</a></td>
-</tr>
-<tr>
- <td class="tdl">Electrical Shock from a Sheet of Paper,</td>
- <td class="tdr"><a href="#Page_125">125</a></td>
-</tr>
-<tr>
- <td class="tdl">Light under Water,</td>
- <td class="tdr"><a href="#Page_126">126</a></td>
-</tr>
-<tr>
- <td class="tdl">Simple means of Producing Electricity,</td>
- <td class="tdr"><a href="#Page_126">126</a></td>
-</tr>
-<tr>
- <td class="tdl">Attraction and Repulsion Exhibited,</td>
- <td class="tdr"><a href="#Page_127">127</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Make an Electrical Machine,</td>
- <td class="tdr"><a href="#Page_127">127</a></td>
-</tr>
-<tr>
- <td class="tdl">Conductor,</td>
- <td class="tdr"><a href="#Page_128">128</a></td>
-</tr>
-<tr>
- <td class="tdl">The Plate Electrical Machine,</td>
- <td class="tdr"><a href="#Page_129">129</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Draw Sparks from the Tip of the Nose,</td>
- <td class="tdr"><a href="#Page_129">129</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Get a Jar full of Electricity,</td>
- <td class="tdr"><a href="#Page_129">129</a></td>
-</tr>
-<tr>
- <td class="tdl">The Electrical Battery,</td>
- <td class="tdr"><a href="#Page_130">130</a></td>
-</tr>
-<tr>
- <td class="tdl">Dancing Balls and Dolls,</td>
- <td class="tdr"><a href="#Page_131">131</a></td>
-</tr>
-<tr>
- <td class="tdl">The Electrical Kiss,</td>
- <td class="tdr"><a href="#Page_131">131</a></td>
-</tr>
-<tr>
- <td class="tdl">Ringing Bells,</td>
- <td class="tdr"><a href="#Page_131">131</a></td>
-</tr>
-<tr>
- <td class="tdl">Working Power of Electricity,</td>
- <td class="tdr"><a href="#Page_132">132</a></td>
-</tr>
-<tr>
- <td class="tdl">The Electrified Wig,</td>
- <td class="tdr"><a href="#Page_132">132</a></td>
-</tr>
-<tr>
- <td class="tdl">Imitation Thunder Clouds,</td>
- <td class="tdr"><a href="#Page_133">133</a></td>
-</tr>
-<tr>
- <td class="tdl">The Lightning Stroke Imitated,</td>
- <td class="tdr"><a href="#Page_133">133</a></td>
-</tr>
-<tr>
- <td class="tdl">The Sportsman,</td>
- <td class="tdr"><a href="#Page_134">134</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#EXPERIMENTS_IN_GALVANISM">Experiments in Galvanism.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Singular Galvanic Shock,</td>
- <td class="tdr"><a href="#Page_135">135</a></td>
-</tr>
-<tr>
- <td class="tdl">The Flash of Light,</td>
- <td class="tdr"><a href="#Page_135">135</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Cup,</td>
- <td class="tdr"><a href="#Page_135">135</a></td>
-</tr>
-<tr>
- <td class="tdl">The Prisoner Leech,</td>
- <td class="tdr"><a href="#Page_136">136</a></td>
-</tr>
-<tr>
- <td class="tdl">The Metamorphosed Knife,</td>
- <td class="tdr"><a href="#Page_136">136</a></td>
-</tr>
-<tr>
- <td class="tdl">With Plates in Water,</td>
- <td class="tdr"><a href="#Page_136">136</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make a Magnet by Galvanism,</td>
- <td class="tdr"><a href="#Page_137">137</a></td>
-</tr>
-<tr>
- <td class="tdl">Effects of Galvanism on a Magnet,</td>
- <td class="tdr"><a href="#Page_137">137</a></td>
-</tr>
-<tr>
- <td class="tdl">Change of Color by Galvanism,</td>
- <td class="tdr"><a href="#Page_137">137</a></td>
-</tr>
-<tr>
- <td class="tdl">The Galvanic Shock,</td>
- <td class="tdr"><a href="#Page_138">138</a></td>
-</tr>
-<tr>
- <td class="tdl">A Galvanic Tongue,</td>
- <td class="tdr"><a href="#Page_138">138</a></td>
-</tr>
-<tr>
- <td class="tdl">Influence of Galvanism on Porter and Ale,</td>
- <td class="tdr"><a href="#Page_188">188</a></td>
-</tr>
-<tr>
- <td class="tdl">The Galvanized Flounder,</td>
- <td class="tdr"><a href="#Page_188">188</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#EXPERIMENTS_IN_MAGNETISM">Experiments in Magnetism.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">The Impromptu Magnet,</td>
- <td class="tdr"><a href="#Page_139">139</a></td>
-</tr>
-<tr>
- <td class="tdl">The Merry Iron Filings,</td>
- <td class="tdr"><a href="#Page_140">140</a></td>
-</tr>
-<tr>
- <td class="tdl">Test of Magnetic Power,</td>
- <td class="tdr"><a href="#Page_140">140</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make Artificial Magnets,</td>
- <td class="tdr"><a href="#Page_140">140</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Magnetize a Poker,</td>
- <td class="tdr"><a href="#Page_140">140</a></td>
-</tr>
-<tr>
- <td class="tdl">To Show Magnetic Attraction and Repulsion,</td>
- <td class="tdr"><a href="#Page_141">141</a></td>
-</tr>
-<tr>
- <td class="tdl">Variation of the Needle,</td>
- <td class="tdr"><a href="#Page_141">141</a></td>
-</tr>
-<tr>
- <td class="tdl">Dip of the Needle,</td>
- <td class="tdr"><a href="#Page_141">141</a></td>
-</tr>
-<tr>
- <td class="tdl">To Suspend a Needle in the Air, by Magnetism,</td>
- <td class="tdr"><a href="#Page_141">141</a></td>
-</tr>
-<tr>
- <td class="tdl">Magnetism by Hammering,</td>
- <td class="tdr"><a href="#Page_142">142</a></td>
-</tr>
-<tr>
- <td class="tdl">Power of the Electro-Magnet,</td>
- <td class="tdr"><a href="#Page_142">142</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mariner's Compass,</td>
- <td class="tdr"><a href="#Page_142">142</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make Artificial Magnets without the Aid of either Natural Loadstone, or Artificial Magnets,</td>
- <td class="tdr"><a href="#Page_143">143</a></td>
-</tr>
-<tr>
- <td class="tdl">The Watch Magnetized,</td>
- <td class="tdr"><a href="#Page_144">144</a></td>
-</tr>
-<tr>
- <td class="tdl">North and South Poles of the Magnet,</td>
- <td class="tdr"><a href="#Page_144">144</a></td>
-</tr>
-<tr>
- <td class="tdl">Polarity of the Magnet,</td>
- <td class="tdr"><a href="#Page_144">144</a></td>
-</tr>
-<tr>
- <td class="tdl">Magnetic Action and Reaction,</td>
- <td class="tdr"><a href="#Page_145">145</a></td>
-</tr>
-<tr>
- <td class="tdl">To Pass Magnetism through a Table,</td>
- <td class="tdr"><a href="#Page_145">145</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magnetic Table,</td>
- <td class="tdr"><a href="#Page_145">145</a></td>
-</tr>
-<tr>
- <td class="tdl">Interesting Particulars Concerning the Magnet,</td>
- <td class="tdr"><a href="#Page_145">145</a></td>
-</tr>
-<tr>
- <td class="tdl">Exaggerated Magnetism,</td>
- <td class="tdr"><a href="#Page_146">146</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_PNEUMATICS">The Magic of Pneumatics and Aerostatics.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Weight of the Air Proved by a Pair of Bellows,</td>
- <td class="tdr"><a href="#Page_148">148</a></td>
-</tr>
-<tr>
- <td class="tdl">The Pressure of Air Shown by a Wine Glass,</td>
- <td class="tdr"><a href="#Page_148">148</a></td>
-</tr>
-<tr>
- <td class="tdl">The Pressure of Air Shown by a Glass Jar,</td>
- <td class="tdr"><a href="#Page_148">148</a></td>
-</tr>
-<tr>
- <td class="tdl">Elasticity of the Air,</td>
- <td class="tdr"><a href="#Page_149">149</a></td>
-</tr>
-<tr>
- <td class="tdl">The Air Pump,</td>
- <td class="tdr"><a href="#Page_149">149</a></td>
-</tr>
-<tr>
- <td class="tdl">To Prove that Air has Weight,</td>
- <td class="tdr"><a href="#Page_150">150</a></td>
-</tr>
-<tr>
- <td class="tdl">To Prove Air Elastic,</td>
- <td class="tdr"><a href="#Page_150">150</a></td>
-</tr>
-<tr>
- <td class="tdl">Air in the Egg,</td>
- <td class="tdr"><a href="#Page_150">150</a></td>
-</tr>
-<tr>
- <td class="tdl">The Descending Smoke,</td>
- <td class="tdr"><a href="#Page_151">151</a></td>
-</tr>
-<tr>
- <td class="tdl">Half Eagle and Feather,</td>
- <td class="tdr"><a href="#Page_151">151</a></td>
-</tr>
-<tr>
- <td class="tdl">The Soundless Bell,</td>
- <td class="tdr"><a href="#Page_152">152</a></td>
-</tr>
-<tr>
- <td class="tdl">The Floating Fish,</td>
- <td class="tdr"><a href="#Page_152">152</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Circles,</td>
- <td class="tdr"><a href="#Page_152">152</a></td>
-</tr>
-<tr>
- <td class="tdl">The Diving Bell,</td>
- <td class="tdr"><a href="#Page_154">154</a></td>
-</tr>
-<tr>
- <td class="tdl">The Air Balloon,</td>
- <td class="tdr"><a href="#Page_154">154</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Make an Air Balloon,</td>
- <td class="tdr"><a href="#Page_155">155</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Fill a Balloon,</td>
- <td class="tdr"><a href="#Page_156">156</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make Fire Balloons,</td>
- <td class="tdr"><a href="#Page_156">156</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Bottle,</td>
- <td class="tdr"><a href="#Page_157">157</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Make a Parachute,</td>
- <td class="tdr"><a href="#Page_157">157</a></td>
-</tr>
-<tr>
- <td class="tdl">Caoutchouc Balloons,</td>
- <td class="tdr"><a href="#Page_157">157</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bacchus Experiment,</td>
- <td class="tdr"><a href="#Page_362">362</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_OPTICS">The Magic of Optics.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Light as an Effect,</td>
- <td class="tdr"><a href="#Page_159">159</a></td>
-</tr>
-<tr>
- <td class="tdl">Refraction,</td>
- <td class="tdr"><a href="#Page_159">159</a></td>
-</tr>
-<tr>
- <td class="tdl">The Invisible Coin Made Visible,</td>
- <td class="tdr"><a href="#Page_159">159</a></td>
-</tr>
-<tr>
- <td class="tdl">The Multiplying Glass,</td>
- <td class="tdr"><a href="#Page_160">160</a></td>
-</tr>
-<tr>
- <td class="tdl">Transparent Bodies,</td>
- <td class="tdr"><a href="#Page_160">160</a></td>
-</tr>
-<tr>
- <td class="tdl">The Prism,</td>
- <td class="tdr"><a href="#Page_160">160</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make a Prism,</td>
- <td class="tdr"><a href="#Page_161">161</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>Composition of Light,</td>
- <td class="tdr"><a href="#Page_161">161</a></td>
-</tr>
-<tr>
- <td class="tdl">A Natural Camera Obscura,</td>
- <td class="tdr"><a href="#Page_162">162</a></td>
-</tr>
-<tr>
- <td class="tdl">Bullock's Eyes Experiment,</td>
- <td class="tdr"><a href="#Page_162">162</a></td>
-</tr>
-<tr>
- <td class="tdl">The Camera Obscura,</td>
- <td class="tdr"><a href="#Page_162">162</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Lantern,</td>
- <td class="tdr"><a href="#Page_163">163</a></td>
-</tr>
-<tr>
- <td class="tdl">The Camera Lucida,</td>
- <td class="tdr"><a href="#Page_164">164</a></td>
-</tr>
-<tr>
- <td class="tdl">Painting the Slides,</td>
- <td class="tdr"><a href="#Page_164">164</a></td>
-</tr>
-<tr>
- <td class="tdl">To Exhibit the Magic Lantern,</td>
- <td class="tdr"><a href="#Page_164">164</a></td>
-</tr>
-<tr>
- <td class="tdl">Effects of the Magic Lantern,</td>
- <td class="tdr"><a href="#Page_165">165</a></td>
-</tr>
-<tr>
- <td class="tdl">Tempest at Sea,</td>
- <td class="tdr"><a href="#Page_165">165</a></td>
-</tr>
-<tr>
- <td class="tdl">The Phantasmagoria,</td>
- <td class="tdr"><a href="#Page_166">166</a></td>
-</tr>
-<tr>
- <td class="tdl">Dissolving Views,</td>
- <td class="tdr"><a href="#Page_167">167</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Raise a Ghost,</td>
- <td class="tdr"><a href="#Page_167">167</a></td>
-</tr>
-<tr>
- <td class="tdl">The Thaumatrope,</td>
- <td class="tdr"><a href="#Page_168">168</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bird in the Cage,</td>
- <td class="tdr"><a href="#Page_168">168</a></td>
-</tr>
-<tr>
- <td class="tdl">Construction of the Phantasmascope,</td>
- <td class="tdr"><a href="#Page_168">168</a></td>
-</tr>
-<tr>
- <td class="tdl">Curious Optical Illusion,</td>
- <td class="tdr"><a href="#Page_169">169</a></td>
-</tr>
-<tr>
- <td class="tdl">Another,</td>
- <td class="tdr"><a href="#Page_170">170</a></td>
-</tr>
-<tr>
- <td class="tdl">Another,</td>
- <td class="tdr"><a href="#Page_170">170</a></td>
-</tr>
-<tr>
- <td class="tdl">The Picture in the Air,</td>
- <td class="tdr"><a href="#Page_171">171</a></td>
-</tr>
-<tr>
- <td class="tdl">Breathing Light and Darkness,</td>
- <td class="tdr"><a href="#Page_171">171</a></td>
-</tr>
-<tr>
- <td class="tdl">To Show what Rays of Light do not Obstruct each other,</td>
- <td class="tdr"><a href="#Page_172">172</a></td>
-</tr>
-<tr>
- <td class="tdl">To See through a Philadelphia Brick,</td>
- <td class="tdr"><a href="#Page_172">172</a></td>
-</tr>
-<tr>
- <td class="tdl">The Stereoscope,</td>
- <td class="tdr"><a href="#Page_173">173</a></td>
-</tr>
-<tr>
- <td class="tdl">Ocular Spectra,</td>
- <td class="tdr"><a href="#Page_175">175</a></td>
-</tr>
-<tr>
- <td class="tdl">Brilliant Water Mirror,</td>
- <td class="tdr"><a href="#Page_175">175</a></td>
-</tr>
-<tr>
- <td class="tdl">Optics of a Soap Bubble,</td>
- <td class="tdr"><a href="#Page_176">176</a></td>
-</tr>
-<tr>
- <td class="tdl">The Kaleidoscope,</td>
- <td class="tdr"><a href="#Page_176">176</a></td>
-</tr>
-<tr>
- <td class="tdl">Simple Solar Microscope,</td>
- <td class="tdr"><a href="#Page_177">177</a></td>
-</tr>
-<tr>
- <td class="tdl">Anamorphoses,</td>
- <td class="tdr"><a href="#Page_178">178</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cosmorama,</td>
- <td class="tdr"><a href="#Page_180">180</a></td>
-</tr>
-<tr>
- <td class="tdl">Distorted Landscapes,</td>
- <td class="tdr"><a href="#Page_180">180</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Coin,</td>
- <td class="tdr"><a href="#Page_181">181</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magician's Mirror,</td>
- <td class="tdr"><a href="#Page_344">344</a></td>
-</tr>
-<tr>
- <td class="tdl">The Perspective Mirror,</td>
- <td class="tdr"><a href="#Page_345">345</a></td>
-</tr>
-<tr>
- <td class="tdl">The Artificial Landscape,</td>
- <td class="tdr"><a href="#Page_348">348</a></td>
-</tr>
-<tr>
- <td class="tdl">The Boundless Prospect,</td>
- <td class="tdr"><a href="#Page_350">350</a></td>
-</tr>
-<tr>
- <td class="tdl">The Enchanted Palace,</td>
- <td class="tdr"><a href="#Page_352">352</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#TRICKS_IN_MECHANICS">Tricks in Mechanics.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Importance of Mechanics,</td>
- <td class="tdr"><a href="#Page_182">182</a></td>
-</tr>
-<tr>
- <td class="tdl">The Laws of Motion,</td>
- <td class="tdr"><a href="#Page_182">182</a></td>
-</tr>
-<tr>
- <td class="tdl">Experiment of the Law of Motion,</td>
- <td class="tdr"><a href="#Page_182">182</a></td>
-</tr>
-<tr>
- <td class="tdl">Balancing,</td>
- <td class="tdr"><a href="#Page_183">183</a></td>
-</tr>
-<tr>
- <td class="tdl">The Prancing Horse,</td>
- <td class="tdr"><a href="#Page_183">183</a></td>
-</tr>
-<tr>
- <td class="tdl">To Construct a Figure, which, being Placed on a Curved Surface,<br /> &nbsp; and Inclined in any Position, shall, when left to itself,<br /> &nbsp; Return to its Former Position,</td>
- <td class="tdr bottom"><a href="#Page_183">183</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make a Carriage Run in an Inverted Position, without Falling,</td>
- <td class="tdr"><a href="#Page_183">183</a></td>
-</tr>
-<tr>
- <td class="tdl">To Cause a Cylinder to Roll of its own Weight, up Hill,</td>
- <td class="tdr"><a href="#Page_184">184</a></td>
-</tr>
-<tr>
- <td class="tdl">The Balanced Stick,</td>
- <td class="tdr"><a href="#Page_184">184</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chinese Mandarin,</td>
- <td class="tdr"><a href="#Page_184">184</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make a Quarter Dollar Turn on its Edge on the Point of a Needle,</td>
- <td class="tdr"><a href="#Page_184">184</a></td>
-</tr>
-<tr>
- <td class="tdl">The Self-Balanced Pail,</td>
- <td class="tdr"><a href="#Page_185">185</a></td>
-</tr>
-<tr>
- <td class="tdl">To Lift a Bottle with a Straw,</td>
- <td class="tdr"><a href="#Page_185">185</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dancing Pea,</td>
- <td class="tdr"><a href="#Page_186">186</a></td>
-</tr>
-<tr>
- <td class="tdl">The Toper's Tripod,</td>
- <td class="tdr"><a href="#Page_186">186</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Snake, or the Obliquity of Motion,</td>
- <td class="tdr"><a href="#Page_187">187</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bridge of Knives,</td>
- <td class="tdr"><a href="#Page_187">187</a></td>
-</tr>
-<tr>
- <td class="tdl">Sand in the Hour Glass,</td>
- <td class="tdr"><a href="#Page_188">188</a></td>
-</tr>
-<tr>
- <td class="tdl">Resistance of Sand,</td>
- <td class="tdr"><a href="#Page_188">188</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Gyroscope,</td>
- <td class="tdr"><a href="#Page_346">346</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#TRICKS_IN_HYDRAULICS_AND_HYDROSTATICS">Tricks in Hydraulics and Hydrostatics.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">The Science of Hydraulics,</td>
- <td class="tdr"><a href="#Page_189">189</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fountain and Pump,</td>
- <td class="tdr"><a href="#Page_189">189</a></td>
-</tr>
-<tr>
- <td class="tdl">The Hydraulic Dancer,</td>
- <td class="tdr"><a href="#Page_190">190</a></td>
-</tr>
-<tr>
- <td class="tdl">The Syphon,</td>
- <td class="tdr"><a href="#Page_191">191</a></td>
-</tr>
-<tr>
- <td class="tdl">The Water Snail, or Archimedean Screw,</td>
- <td class="tdr"><a href="#Page_191">191</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bottle Ejectment,</td>
- <td class="tdr"><a href="#Page_192">192</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic of Hydrostatics with the Ancients,</td>
- <td class="tdr"><a href="#Page_192">192</a></td>
-</tr>
-<tr>
- <td class="tdl">To Empty a Glass under Water,</td>
- <td class="tdr"><a href="#Page_192">192</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Bottle,</td>
- <td class="tdr"><a href="#Page_157">157</a></td>
-</tr>
-<tr>
- <td class="tdl">Boiling upon Cold Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Currents in Boiling Water,</td>
- <td class="tdr"><a href="#Page_114">114</a></td>
-</tr>
-<tr>
- <td class="tdl">Hot Water Lighter than Cold,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">Expansion of Water by Cold,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Whirlpool,</td>
- <td class="tdr"><a href="#Page_116">116</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cup of Tantalus,</td>
- <td class="tdr"><a href="#Page_115">115</a></td>
-</tr>
-<tr>
- <td class="tdl">To Weigh Water without Scales,</td>
- <td class="tdr"><a href="#Page_353">353</a></td>
-</tr>
-<tr>
- <td class="tdl">More than Full,</td>
- <td class="tdr"><a href="#Page_361">361</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#TRICKS_IN_ACOUSTICS">Tricks in Acoustics.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">The Science of Acoustics,</td>
- <td class="tdr"><a href="#Page_193">193</a></td>
-</tr>
-<tr>
- <td class="tdl">Difference between Sound and Noise,</td>
- <td class="tdr"><a href="#Page_193">193</a></td>
-</tr>
-<tr>
- <td class="tdl">Visible Vibration,</td>
- <td class="tdr"><a href="#Page_193">193</a></td>
-</tr>
-<tr>
- <td class="tdl">Transmitted Vibration,</td>
- <td class="tdr"><a href="#Page_194">194</a></td>
-</tr>
-<tr>
- <td class="tdl">Double Vibration,</td>
- <td class="tdr"><a href="#Page_194">194</a></td>
-</tr>
-<tr>
- <td class="tdl">Champagne and Sound,</td>
- <td class="tdr"><a href="#Page_194">194</a></td>
-</tr>
-<tr>
- <td class="tdl">Music of the Snail,</td>
- <td class="tdr"><a href="#Page_195">195</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tuning Fork a Flute Player,</td>
- <td class="tdr"><a href="#Page_195">195</a></td>
-</tr>
-<tr>
- <td class="tdl">Musical Bottles,</td>
- <td class="tdr"><a href="#Page_195">195</a></td>
-</tr>
-<tr>
- <td class="tdl">Theory of Whispering,</td>
- <td class="tdr"><a href="#Page_195">195</a></td>
-</tr>
-<tr>
- <td class="tdl">Theory of the Voice,</td>
- <td class="tdr"><a href="#Page_196">196</a></td>
-</tr>
-<tr>
- <td class="tdl">To Tune a Guitar without the Assistance of the Ear,</td>
- <td class="tdr"><a href="#Page_196">196</a></td>
-</tr>
-<tr>
- <td class="tdl">Progress of Sound,</td>
- <td class="tdr"><a href="#Page_196">196</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make an Æolian Harp,</td>
- <td class="tdr"><a href="#Page_196">196</a></td>
-</tr>
-<tr>
- <td class="tdl">The Invisible Girl,</td>
- <td class="tdr"><a href="#Page_197">197</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic of Acoustics with the Ancients,</td>
- <td class="tdr"><a href="#Page_198">198</a></td>
-</tr>
-<tr>
- <td class="tdl">The Secret of Ventriloquism,</td>
- <td class="tdr"><a href="#Page_81">81</a></td>
-</tr>
-<tr>
- <td class="tdl">To Show how Sound Travels through a Solid,</td>
- <td class="tdr"><a href="#Page_198">198</a></td>
-</tr>
-<tr>
- <td class="tdl">To Show that Sound depends upon Vibration,</td>
- <td class="tdr"><a href="#Page_198">198</a></td>
-</tr>
-<tr>
- <td class="tdl">Musical Figures Resulting from Sound,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_NUMBERS">The Magic of Numbers, or Curious Tricks in Arithmetic.</a></span></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Aphorisms of Number,</td>
- <td class="tdr"><a href="#Page_199">199</a></td>
-</tr>
-<tr>
- <td class="tdl">Palpable Arithmetic,</td>
- <td class="tdr"><a href="#Page_200">200</a></td>
-</tr>
-<tr>
- <td class="tdl">The Abacus,</td>
- <td class="tdr"><a href="#Page_201">201</a></td>
-</tr>
-<tr>
- <td class="tdl">Napier's Rods,</td>
- <td class="tdr"><a href="#Page_202">202</a></td>
-</tr>
-<tr>
- <td class="tdl">The Arithmetical Boomerang,</td>
- <td class="tdr"><a href="#Page_203">203</a></td>
-</tr>
-<tr>
- <td class="tdl">To Find a Number Thought of,</td>
- <td class="tdr"><a href="#Page_203">203</a></td>
-</tr>
-<tr> <td class="tdl"><span class="mleft1">Second Method,</span></td>
- <td class="tdr"><a href="#Page_204">204</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Third Method,</span></td>
- <td class="tdr"><a href="#Page_205">205</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Fourth</span> <span class="mleft1">do.,</span></td>
- <td class="tdr"><a href="#Page_205">205</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Fifth</span> <span class="mleft1a">do.,</span></td>
- <td class="tdr"><a href="#Page_206">206</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Sixth</span> <span class="mleft1b">do.,</span></td>
- <td class="tdr"><a href="#Page_206">206</a></td>
-</tr>
-<tr>
- <td class="tdl">To Discover two or more Numbers that a Person has Thought of,</td>
- <td class="tdr"><span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span><a href="#Page_206">206</a></td>
-</tr>
-<tr>
- <td class="tdl">How many Counters have I in my Hands?</td>
- <td class="tdr"><a href="#Page_207">207</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Halvings, to tell a Number a Person has Thought of,</td>
- <td class="tdr"><a href="#Page_208">208</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Second Method,</span></td>
- <td class="tdr"><a href="#Page_209">209</a></td>
-</tr>
-<tr>
- <td class="tdl">Who Wears the Ring?</td>
- <td class="tdr"><a href="#Page_211">211</a></td>
-</tr>
-<tr>
- <td class="tdl">What is Probable?</td>
- <td class="tdr"><a href="#Page_212">212</a></td>
-</tr>
-<tr>
- <td class="tdl">Variations,</td>
- <td class="tdr"><a href="#Page_213">213</a></td>
-</tr>
-<tr>
- <td class="tdl">Amusing Combinations,</td>
- <td class="tdr"><a href="#Page_214">214</a></td>
-</tr>
-<tr>
- <td class="tdl">The Visitors to the Crystal Palace,</td>
- <td class="tdr"><a href="#Page_217">217</a></td>
-</tr>
-<tr>
- <td class="tdl">How many Changes can be Given to Seven Notes of a Piano?</td>
- <td class="tdr"><a href="#Page_217">217</a></td>
-</tr>
-<tr>
- <td class="tdl">The Arithmetical Triangle,</td>
- <td class="tdr"><a href="#Page_217">217</a></td>
-</tr>
-<tr>
- <td class="tdl">How many Different Deals can be made with Thirteen Cards out of Fifty-two,</td>
- <td class="tdr"><a href="#Page_218">218</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Graces,</td>
- <td class="tdr"><a href="#Page_218">218</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Second Method,</span></td>
- <td class="tdr"><a href="#Page_219">219</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Third Method,</span></td>
- <td class="tdr"><a href="#Page_220">220</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fortunate Ninth,</td>
- <td class="tdr"><a href="#Page_221">221</a></td>
-</tr>
-<tr>
- <td class="tdl">The Ten Ten's,</td>
- <td class="tdr"><a href="#Page_222">222</a></td>
-</tr>
-<tr>
- <td class="tdl">Dividing the Beer,</td>
- <td class="tdr"><a href="#Page_223">223</a></td>
-</tr>
-<tr>
- <td class="tdl">The Difficult Case of Wine,</td>
- <td class="tdr"><a href="#Page_224">224</a></td>
-</tr>
-<tr>
- <td class="tdl">Decimation of Fruit,</td>
- <td class="tdr"><a href="#Page_224">224</a></td>
-</tr>
-<tr>
- <td class="tdl">The Wine and the Tables,</td>
- <td class="tdr"><a href="#Page_225">225</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Travelers,</td>
- <td class="tdr"><a href="#Page_225">225</a></td>
-</tr>
-<tr>
- <td class="tdl">What Counter has been Thought of out of Sixteen,</td>
- <td class="tdr"><a href="#Page_226">226</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic Squares,</td>
- <td class="tdr"><a href="#Page_227">227</a></td>
-</tr>
-<tr>
- <td class="tdl">Odd Magic Squares,</td>
- <td class="tdr"><a href="#Page_227">227</a></td>
-</tr>
-<tr>
- <td class="tdl">The Square of Gotham,</td>
- <td class="tdr"><a href="#Page_229">229</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mathematical Blacksmith,</td>
- <td class="tdr"><a href="#Page_230">230</a></td>
-</tr>
-<tr>
- <td class="tdl">Curious Properties of some Figures,</td>
- <td class="tdr"><a href="#Page_230">230</a></td>
-</tr>
-<tr>
- <td class="tdl">The Industrious Frog,</td>
- <td class="tdr"><a href="#Page_234">234</a></td>
-</tr>
-<tr>
- <td class="tdl">The Council of Ten,</td>
- <td class="tdr"><a href="#Page_235">235</a></td>
-</tr>
-<tr>
- <td class="tdl">The Two Travelers,</td>
- <td class="tdr"><a href="#Page_235">235</a></td>
-</tr>
-<tr>
- <td class="tdl">Arithmetical Trick,</td>
- <td class="tdr"><a href="#Page_237">237</a></td>
-</tr>
-<tr>
- <td class="tdl">The Money Trick,</td>
- <td class="tdr"><a href="#Page_237">237</a></td>
-</tr>
-<tr>
- <td class="tdl">The Philosopher's Pupils,</td>
- <td class="tdr"><a href="#Page_237">237</a></td>
-</tr>
-<tr>
- <td class="tdl">To Discover a Square Number,</td>
- <td class="tdr"><a href="#Page_238">238</a></td>
-</tr>
-<tr>
- <td class="tdl">The Sheep, and the Sheep Fold,</td>
- <td class="tdr"><a href="#Page_238">238</a></td>
-</tr>
-<tr>
- <td class="tdl">The Countrywoman and the Eggs,</td>
- <td class="tdr"><a href="#Page_238">238</a></td>
-</tr>
-<tr>
- <td class="tdl">To Rub out Twenty Chalks at Five Times, Rubbing out every Time an Odd one,</td>
- <td class="tdr"><a href="#Page_239">239</a></td>
-</tr>
-<tr>
- <td class="tdl">The Impossible Triangle,</td>
- <td class="tdr"><a href="#Page_239">239</a></td>
-</tr>
-<tr>
- <td class="tdl">Odd or Even,</td>
- <td class="tdr"><a href="#Page_239">239</a></td>
-</tr>
-<tr>
- <td class="tdl">The Figures, up to 100, arranged as to make 505 in each Column,<br /> &nbsp; when Counted in Ten Columns Perpendicularly, and the<br /> &nbsp; Same when Counted in Ten Files Horizontally,</td>
- <td class="tdr bottom"><a href="#Page_240">240</a></td>
-</tr>
-<tr>
- <td class="tdl">The Old Woman and Her Eggs,</td>
- <td class="tdr"><a href="#Page_240">240</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mathematical Fortune Teller,</td>
- <td class="tdr"><a href="#Page_241">241</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dice Guessed Unseen,</td>
- <td class="tdr"><a href="#Page_242">242</a></td>
-</tr>
-<tr>
- <td class="tdl">The Sovereign and the Sage,</td>
- <td class="tdr"><a href="#Page_242">242</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knowing Shepherd,</td>
- <td class="tdr"><a href="#Page_243">243</a></td>
-</tr>
-<tr>
- <td class="tdl">The Certain Game,</td>
- <td class="tdr"><a href="#Page_243">243</a></td>
-</tr>
-<tr>
- <td class="tdl">The Astonished Farmer,</td>
- <td class="tdr"><a href="#Page_244">244</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Century,</td>
- <td class="tdr"><a href="#Page_244">244</a></td>
-</tr>
-<tr>
- <td class="tdl">The Hatter Cheated,</td>
- <td class="tdr"><a href="#Page_245">245</a></td>
-</tr>
-<tr>
- <td class="tdl">The Basket of Nuts,</td>
- <td class="tdr"><a href="#Page_245">245</a></td>
-</tr>
-<tr>
- <td class="tdl">The United Digits,</td>
- <td class="tdr"><a href="#Page_246">246</a></td>
-</tr>
-<tr>
- <td class="tdl">December and May,</td>
- <td class="tdr"><a href="#Page_246">246</a></td>
-</tr>
-<tr>
- <td class="tdl">The Two Drovers,</td>
- <td class="tdr"><a href="#Page_246">246</a></td>
-</tr>
-<tr>
- <td class="tdl">The Basket and Stones,</td>
- <td class="tdr"><a href="#Page_246">246</a></td>
-</tr>
-<tr>
- <td class="tdl">The Famous Forty-Five,</td>
- <td class="tdr"><a href="#Page_247">247</a></td>
-</tr>
-<tr>
- <td class="tdl">Trick in Subtraction,</td>
- <td class="tdr"><a href="#Page_247">247</a></td>
-</tr>
-<tr>
- <td class="tdl">The Expunged Figure,</td>
- <td class="tdr"><a href="#Page_247">247</a></td>
-</tr>
-<tr>
- <td class="tdl">The Mysterious Addition,</td>
- <td class="tdr"><a href="#Page_248">248</a></td>
-</tr>
-<tr>
- <td class="tdl">To tell at what Hour a Person Intends to rise,</td>
- <td class="tdr"><a href="#Page_249">249</a></td>
-</tr>
-<tr>
- <td class="tdl">To find the Difference between Two Numbers, the Greater of which is Unknown,</td>
- <td class="tdr"><a href="#Page_249">249</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Remainder,</td>
- <td class="tdr"><a href="#Page_250">250</a></td>
-</tr>
-<tr>
- <td class="tdl">A Person having an equal Number of Counters, or Pieces of Money, in each Hand,<br /> &nbsp; to find how many he has altogether,</td>
- <td class="tdr bottom"><a href="#Page_250">250</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Jealous Husbands,</td>
- <td class="tdr"><a href="#Page_251">251</a></td>
-</tr>
-<tr>
- <td class="tdl">The False Scales,</td>
- <td class="tdr"><a href="#Page_251">251</a></td>
-</tr>
-<tr>
- <td class="tdl">The Apple Woman,</td>
- <td class="tdr"><a href="#Page_252">252</a></td>
-</tr>
-<tr>
- <td class="tdl">The Graces and Muses,</td>
- <td class="tdr"><a href="#Page_252">252</a></td>
-</tr>
-<tr>
- <td class="tdl">The Jesuitical Teacher,</td>
- <td class="tdr"><a href="#Page_252">252</a></td>
-</tr>
-<tr>
- <td class="tdl">Nine Quaint Questions,</td>
- <td class="tdr"><a href="#Page_253">253</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fox, Goose and Corn,</td>
- <td class="tdr"><a href="#Page_253">253</a></td>
-</tr>
-<tr>
- <td class="tdl">Multiplying Money by Money,</td>
- <td class="tdr"><a href="#Page_253">253</a></td>
-</tr>
-<tr>
- <td class="tdl">The Unfair Division,</td>
- <td class="tdr"><a href="#Page_255">255</a></td>
-</tr>
-<tr>
- <td class="tdl">A Popular Fallacy,</td>
- <td class="tdr"><a href="#Page_255">255</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#CURIOUS_TRICKS_IN_GEOMETRY">Curious Tricks in Geometry.</a></span>
-</td>
- <td>&nbsp;</td></tr>
-<tr>
- <td class="tdl">The Inventor of Geometry,</td>
- <td class="tdr"><a href="#Page_256">256</a></td>
-</tr>
-<tr>
- <td class="tdl">Geometrical Definitions,</td>
- <td class="tdr"><a href="#Page_256">256</a></td>
-</tr>
-<tr>
- <td class="tdl">The Five Geometrical Solids,</td>
- <td class="tdr"><a href="#Page_257">257</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Make Five Squares into a large one without any Waste of Stuff,</td>
- <td class="tdr"><a href="#Page_258">258</a></td>
-</tr>
-<tr>
- <td class="tdl">Deceptive Vision,</td>
- <td class="tdr"><a href="#Page_258">258</a></td>
-</tr>
-<tr>
- <td class="tdl">The Carpenter Puzzled,</td>
- <td class="tdr"><a href="#Page_259">259</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bricklayer Puzzled,</td>
- <td class="tdr"><a href="#Page_260">260</a></td>
-</tr>
-<tr>
- <td class="tdl">Triangular Problem,</td>
- <td class="tdr"><a href="#Page_260">260</a></td>
-</tr>
-<tr>
- <td class="tdl">To Form a Square,</td>
- <td class="tdr"><a href="#Page_261">261</a></td>
-</tr>
-<tr>
- <td class="tdl">Squaring the Circle,</td>
- <td class="tdr"><a href="#Page_262">262</a></td>
-</tr>
-<tr>
- <td class="tdl">The Perplexed Cabinet Maker,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#CURIOUS_AND_AMUSING_PUZZLES">Curious and Amusing Puzzles.</a></span>
-</td>
- <td>&nbsp;</td></tr>
-<tr>
- <td class="tdl">Alexander the Great's Puzzle,</td>
- <td class="tdr"><a href="#Page_266">266</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chinese Cross,</td>
- <td class="tdr"><a href="#Page_266">266</a></td>
-</tr>
-<tr>
- <td class="tdl">The Parallelogram,</td>
- <td class="tdr"><a href="#Page_267">267</a></td>
-</tr>
-<tr>
- <td class="tdl">The Divided Garden,</td>
- <td class="tdr"><a href="#Page_267">267</a></td>
-</tr>
-<tr>
- <td class="tdl">The Endless String,</td>
- <td class="tdr"><a href="#Page_267">267</a></td>
-</tr>
-<tr>
- <td class="tdl">Chinese Maze, the Willow Pattern Plate,</td>
- <td class="tdr"><a href="#Page_268">268</a></td>
-</tr>
-<tr>
- <td class="tdl">The Vertical Line Puzzle,</td>
- <td class="tdr"><a href="#Page_268">268</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Rabbits,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Accommodating Square,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Circle Puzzle,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cardboard Puzzle,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Button Puzzle,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Quarto Puzzle,</td>
- <td class="tdr"><a href="#Page_269">269</a></td>
-</tr>
-<tr>
- <td class="tdl">The Puzzle of Fourteen,</td>
- <td class="tdr"><a href="#Page_270">270</a></td>
-</tr>
-<tr>
- <td class="tdl">The Square and Circle Puzzle,</td>
- <td class="tdr"><a href="#Page_270">270</a></td>
-</tr>
-<tr>
- <td class="tdl">The Scale and Ring Puzzle,</td>
- <td class="tdr"><a href="#Page_270">270</a></td>
-</tr>
-<tr>
- <td class="tdl">The Heart Puzzle,</td>
- <td class="tdr"><a href="#Page_271">271</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cross Puzzle,</td>
- <td class="tdr"><a href="#Page_272">272</a></td>
-</tr>
-<tr>
- <td class="tdl">The Yankee Square,</td>
- <td class="tdr"><a href="#Page_272">272</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card Puzzle,</td>
- <td class="tdr"><a href="#Page_272">272</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Square Puzzle,</td>
- <td class="tdr"><a href="#Page_273">273</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cylinder Puzzle,</td>
- <td class="tdr"><a href="#Page_273">273</a></td>
-</tr>
-<tr>
- <td class="tdl">The Four Tenants,</td>
- <td class="tdr"><a href="#Page_273">273</a></td>
-</tr>
-<tr>
- <td class="tdl">The Puzzle Wall,</td>
- <td class="tdr"><a href="#Page_274">274</a></td>
-</tr>
-<tr>
- <td class="tdl">The Twenty-Four Nuns,</td>
- <td class="tdr"><a href="#Page_274">274</a></td>
-</tr>
-<tr>
- <td class="tdl">The Horse Shoe Puzzle,</td>
- <td class="tdr"><a href="#Page_274">274</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card Square,</td>
- <td class="tdr"><a href="#Page_275">275</a><span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span></td>
-</tr>
-<tr>
- <td class="tdl">The Dog Puzzle,</td>
- <td class="tdr"><a href="#Page_275">275</a></td>
-</tr>
-<tr>
- <td class="tdl">Puzzle of the Two Fathers,</td>
- <td class="tdr"><a href="#Page_275">275</a></td>
-</tr>
-<tr>
- <td class="tdl">The Triangular Puzzle,</td>
- <td class="tdr"><a href="#Page_276">276</a></td>
-</tr>
-<tr>
- <td class="tdl">Cutting out a Cross,</td>
- <td class="tdr"><a href="#Page_276">276</a></td>
-</tr>
-<tr>
- <td class="tdl">Another Cross Puzzle,</td>
- <td class="tdr"><a href="#Page_276">276</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fountain Puzzle,</td>
- <td class="tdr"><a href="#Page_276">276</a></td>
-</tr>
-<tr>
- <td class="tdl">The Puzzle of the Stars,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdl">The Counter Puzzle,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdl">Japan Square Puzzle,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cabinet Maker's Puzzle,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdl">String and Balls Puzzle,</td>
- <td class="tdr"><a href="#Page_277">277</a></td>
-</tr>
-<tr>
- <td class="tdl">Double Headed Puzzle,</td>
- <td class="tdr"><a href="#Page_278">278</a></td>
-</tr>
-<tr>
- <td class="tdl">Arithmetical Puzzle,</td>
- <td class="tdr"><a href="#Page_278">278</a></td>
-</tr>
-<tr>
- <td class="tdl">Grammatical Puzzle,</td>
- <td class="tdr"><a href="#Page_278">278</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tree Puzzle,</td>
- <td class="tdr"><a href="#Page_279">279</a></td>
-</tr>
-<tr>
- <td class="tdl">Puzzling Epitaph,</td>
- <td class="tdr"><a href="#Page_279">279</a></td>
-</tr>
-<tr>
- <td class="tdl">Curious Letter,</td>
- <td class="tdr"><a href="#Page_279">279</a></td>
-</tr>
-<tr>
- <td class="tdl">A Puzzling Inscription,</td>
- <td class="tdr"><a href="#Page_279">279</a></td>
-</tr>
-<tr>
- <td class="tdl">Puzzling Kings,</td>
- <td class="tdr"><a href="#Page_279">279</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knight's Puzzle,</td>
- <td class="tdr"><a href="#Page_283">283</a></td>
-</tr>
-<tr> <td class="tdl"><span class="mleft1">Another Method,</span></td>
- <td class="tdr"><a href="#Page_284">284</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Another Method,</span></td>
- <td class="tdr"><a href="#Page_287">287</a></td>
-</tr>
-<tr>
- <td class="tdl">Rosamond's Bower,</td>
- <td class="tdr"><a href="#Page_287">287</a></td>
-</tr>
-<tr>
- <td class="tdl">The Labyrinth,</td>
- <td class="tdr"><a href="#Page_288">288</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chinese Puzzle,</td>
- <td class="tdr"><a href="#Page_289">289</a></td>
-</tr>
-<tr>
- <td class="tdl">Trouble-Wit,</td>
- <td class="tdr"><a href="#Page_290">290</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#ANSWERS_TO_PUZZLES">Answers to Puzzles.</a></span></td>
-</tr>
-<tr>
- <td class="tdl">The Chinese Cross,</td>
- <td class="tdr"><a href="#Page_291">291</a></td>
-</tr>
-<tr>
- <td class="tdl">The Parallelogram,</td>
- <td class="tdr"><a href="#Page_291">291</a></td>
-</tr>
-<tr>
- <td class="tdl">The Divided Garden,</td>
- <td class="tdr"><a href="#Page_292">292</a></td>
-</tr>
-<tr>
- <td class="tdl">The Endless String,</td>
- <td class="tdr"><a href="#Page_292">292</a></td>
-</tr>
-<tr>
- <td class="tdl">Chinese Maze,</td>
- <td class="tdr"><a href="#Page_292">292</a></td>
-</tr>
-<tr>
- <td class="tdl">The Vertical Line Puzzle,</td>
- <td class="tdr"><a href="#Page_293">293</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Rabbits,</td>
- <td class="tdr"><a href="#Page_293">293</a></td>
-</tr>
-<tr>
- <td class="tdl">The Accommodating Square,</td>
- <td class="tdr"><a href="#Page_293">293</a></td>
-</tr>
-<tr>
- <td class="tdl">The Circle Puzzle,</td>
- <td class="tdr"><a href="#Page_293">293</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cut Card Puzzle,</td>
- <td class="tdr"><a href="#Page_294">294</a></td>
-</tr>
-<tr>
- <td class="tdl">The Button Puzzle,</td>
- <td class="tdr"><a href="#Page_294">294</a></td>
-</tr>
-<tr>
- <td class="tdl">The Quarto Puzzle,</td>
- <td class="tdr"><a href="#Page_294">294</a></td>
-</tr>
-<tr>
- <td class="tdl">The Puzzle of Fourteen,</td>
- <td class="tdr"><a href="#Page_294">294</a></td>
-</tr>
-<tr>
- <td class="tdl">The Square and Circle Puzzle,</td>
- <td class="tdr"><a href="#Page_295">295</a></td>
-</tr>
-<tr>
- <td class="tdl">The Scale and Ring Puzzle,</td>
- <td class="tdr"><a href="#Page_295">295</a></td>
-</tr>
-<tr>
- <td class="tdl">The Heart Puzzle,</td>
- <td class="tdr"><a href="#Page_295">295</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cross Puzzle,</td>
- <td class="tdr"><a href="#Page_295">295</a></td>
-</tr>
-<tr>
- <td class="tdl">The Yankee Square,</td>
- <td class="tdr"><a href="#Page_295">295</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card Puzzle,</td>
- <td class="tdr"><a href="#Page_296">296</a></td>
-</tr>
-<tr>
- <td class="tdl">The Three Square Puzzle,</td>
- <td class="tdr"><a href="#Page_296">296</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cylinder Puzzle,</td>
- <td class="tdr"><a href="#Page_296">296</a></td>
-</tr>
-<tr>
- <td class="tdl">The Four Tenants,</td>
- <td class="tdr"><a href="#Page_296">296</a></td>
-</tr>
-<tr>
- <td class="tdl">The Puzzle Wall,</td>
- <td class="tdr"><a href="#Page_297">297</a></td>
-</tr>
-<tr>
- <td class="tdl">The Twenty-Four Nuns,</td>
- <td class="tdr"><a href="#Page_297">297</a></td>
-</tr>
-<tr>
- <td class="tdl">The Horse Shoe Puzzle,</td>
- <td class="tdr"><a href="#Page_297">297</a></td>
-</tr>
-<tr>
- <td class="tdl">The Card Square,</td>
- <td class="tdr"><a href="#Page_297">297</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dog Puzzle,</td>
- <td class="tdr"><a href="#Page_298">298</a></td>
-</tr>
-<tr>
- <td class="tdl">The Two Fathers,</td>
- <td class="tdr"><a href="#Page_298">298</a></td>
-</tr>
-<tr>
- <td class="tdl">The Triangular Puzzle,</td>
- <td class="tdr"><a href="#Page_298">298</a></td>
-</tr>
-<tr>
- <td class="tdl">Cutting out a Cross,</td>
- <td class="tdr"><a href="#Page_299">299</a></td>
-</tr>
-<tr>
- <td class="tdl">Another Cross Puzzle,</td>
- <td class="tdr"><a href="#Page_299">299</a></td>
-</tr>
-<tr>
- <td class="tdl">The Fountain Puzzle,</td>
- <td class="tdr"><a href="#Page_299">299</a></td>
-</tr>
-<tr>
- <td class="tdl">The Star Puzzle,</td>
- <td class="tdr"><a href="#Page_300">300</a></td>
-</tr>
-<tr>
- <td class="tdl">The Counter Puzzle,</td>
- <td class="tdr"><a href="#Page_300">300</a></td>
-</tr>
-<tr>
- <td class="tdl">Japan Square Puzzle,</td>
- <td class="tdr"><a href="#Page_300">300</a></td>
-</tr>
-<tr>
- <td class="tdl">Cabinet Maker's Puzzle,</td>
- <td class="tdr"><a href="#Page_300">300</a></td>
-</tr>
-<tr>
- <td class="tdl">String and Balls Puzzle,</td>
- <td class="tdr"><a href="#Page_301">301</a></td>
-</tr>
-<tr>
- <td class="tdl">Double Headed Puzzle,</td>
- <td class="tdr"><a href="#Page_301">301</a></td>
-</tr>
-<tr>
- <td class="tdl">Arithmetical Puzzle,</td>
- <td class="tdr"><a href="#Page_301">301</a></td>
-</tr>
-<tr>
- <td class="tdl">Grammatical Puzzle,</td>
- <td class="tdr"><a href="#Page_301">301</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tree Puzzle,</td>
- <td class="tdr"><a href="#Page_301">301</a></td>
-</tr>
-<tr>
- <td class="tdl">Puzzling Epitaph,</td>
- <td class="tdr"><a href="#Page_302">302</a></td>
-</tr>
-<tr>
- <td class="tdl">A Curious Letter,</td>
- <td class="tdr"><a href="#Page_302">302</a></td>
-</tr>
-<tr>
- <td class="tdl">A Puzzling Inscription,</td>
- <td class="tdr"><a href="#Page_302">302</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_ART">The Magic of Art.</a></span></td>
-</tr>
-<tr>
- <td class="tdl">To Trace an Oval,</td>
- <td class="tdr"><a href="#Page_303">303</a></td>
-</tr>
-<tr>
- <td class="tdl">An Endless Source of Amusement,</td>
- <td class="tdr"><a href="#Page_303">303</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic of the Oval,</td>
- <td class="tdr"><a href="#Page_303">303</a></td>
-</tr>
-<tr>
- <td class="tdl">Variations of the Oval,</td>
- <td class="tdr"><a href="#Page_304">304</a></td>
-</tr>
-<tr>
- <td class="tdl">What may be done with a Square,</td>
- <td class="tdr"><a href="#Page_305">305</a></td>
-</tr>
-<tr>
- <td class="tdl">How to make a Circle,</td>
- <td class="tdr"><a href="#Page_306">306</a></td>
-</tr>
-<tr>
- <td class="tdl">Importance of the Circle in Drawing,</td>
- <td class="tdr"><a href="#Page_307">307</a></td>
-</tr>
-<tr>
- <td class="tdl">Variation of the Square and Circle,</td>
- <td class="tdr"><a href="#Page_307">307</a></td>
-</tr>
-<tr>
- <td class="tdl">Importance of the Triangle,</td>
- <td class="tdr"><a href="#Page_308">308</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Construct a Triangle,</td>
- <td class="tdr"><a href="#Page_309">309</a></td>
-</tr>
-<tr>
- <td class="tdl">The Triangle Works Wonders in Perspective,</td>
- <td class="tdr"><a href="#Page_310">310</a></td>
-</tr>
-<tr>
- <td class="tdl">Exaggerated Drawing,</td>
- <td class="tdr"><a href="#Page_311">311</a></td>
-</tr>
-<tr>
- <td class="tdl">The Parallelogram and Triangle in Combination,</td>
- <td class="tdr"><a href="#Page_312">312</a></td>
-</tr>
-<tr>
- <td class="tdl">Two Parallelograms in Combination,</td>
- <td class="tdr"><a href="#Page_312">312</a></td>
-</tr>
-<tr>
- <td class="tdl">Magic of the Parallelogram,</td>
- <td class="tdr"><a href="#Page_313">313</a></td>
-</tr>
-<tr>
- <td class="tdl">The Secret of Comic Drawing,</td>
- <td class="tdr"><a href="#Page_313">313</a></td>
-</tr>
-<tr>
- <td class="tdl">Caricature Sketching,</td>
- <td class="tdr"><a href="#Page_314">314</a></td>
-</tr>
-<tr>
- <td class="tdl">Simple Elements of the Profile,</td>
- <td class="tdr"><a href="#Page_315">315</a></td>
-</tr>
-<tr>
- <td class="tdl">Comic Profiles,</td>
- <td class="tdr"><a href="#Page_316">316</a></td>
-</tr>
-<tr>
- <td class="tdl">"Punch," and "Mother Hubbard,"</td>
- <td class="tdr"><a href="#Page_316">316</a></td>
-</tr>
-<tr>
- <td class="tdl">Comical Beards,</td>
- <td class="tdr"><a href="#Page_316">316</a></td>
-</tr>
-<tr>
- <td class="tdl">The Human Figure,</td>
- <td class="tdr"><a href="#Page_317">317</a></td>
-</tr>
-<tr>
- <td class="tdl">Proportions of the Human Figure,</td>
- <td class="tdr"><a href="#Page_318">318</a></td>
-</tr>
-<tr>
- <td class="tdl">Standard Height of the Body,</td>
- <td class="tdr"><a href="#Page_318">318</a></td>
-</tr>
-<tr>
- <td class="tdl">Comical Drawing of the Human Figure,</td>
- <td class="tdr"><a href="#Page_319">319</a></td>
-</tr>
-<tr>
- <td class="tdl">The Centre of Gravity,</td>
- <td class="tdr"><a href="#Page_320">320</a></td>
-</tr>
-<tr>
- <td class="tdl">A Central Line through Everything,</td>
- <td class="tdr"><a href="#Page_320">320</a></td>
-</tr>
-<tr>
- <td class="tdl">The Curved Line Pervades all Nature,</td>
- <td class="tdr"><a href="#Page_321">321</a></td>
-</tr>
-<tr>
- <td class="tdl">The Droll Landscape,</td>
- <td class="tdr"><a href="#Page_323">323</a></td>
-</tr>
-<tr>
- <td class="tdl">Attitude Formed upon the Curved Line,</td>
- <td class="tdr"><a href="#Page_324">324</a></td>
-</tr>
-<tr>
- <td class="tdl">How to Draw upon Glass, for Magic Lantern Slides,</td>
- <td class="tdr"><a href="#Page_325">325</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_SECRET_WRITING">The Magic of Secret Writing.</a></span></td>
-</tr>
-<tr>
- <td class="tdl">The Art of Secret Writing very Ancient,</td>
- <td class="tdr"><a href="#Page_326">326</a></td>
-</tr>
-<tr>
- <td class="tdl">Various Modes of Communicating Secret Intelligence,</td>
- <td class="tdr"><a href="#Page_327">327</a></td>
-</tr>
-<tr>
- <td class="tdl">Chemistry an Agent in Secret Writing,</td>
- <td class="tdr"><a href="#Page_327">327</a></td>
-</tr>
-<tr>
- <td class="tdl">Ingenious Mode of Secret Writing,</td>
- <td class="tdr"><a href="#Page_328">328</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chiffre Indéchiffrable,</td>
- <td class="tdr"><a href="#Page_328">328</a></td>
-</tr>
-<tr>
- <td class="tdl">A Lock for Mr. Hobbs to Pick,</td>
- <td class="tdr"><a href="#Page_330">330</a></td>
-</tr>
-<tr>
- <td class="tdl">The Circular Cypher,</td>
- <td class="tdr"><a href="#Page_331">331</a></td>
-</tr>
-<tr>
- <td class="tdl"><span class="mleft1">Another Method,</span></td>
- <td class="tdr"><a href="#Page_332">332</a></td>
-</tr>
-<tr>
- <td class="tdl">The Musical Cypher,</td>
- <td class="tdr"><a href="#Page_333">333</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#THE_MAGIC_OF_STRENGTH">The Magic of Strength.</a></span></td>
-</tr>
-<tr>
- <td class="tdl">Mechanical Inventions of the Ancients few in Number,</td>
- <td class="tdr"><a href="#Page_334">334</a></td>
-</tr>
-<tr>
- <td class="tdl">Ancient and Modern Feats of Strength,</td>
- <td class="tdr"><a href="#Page_334">334</a></td>
-</tr>
-<tr>
- <td class="tdl">Feats of Eckeberg particularly described,</td>
- <td class="tdr"><a href="#Page_335">335</a></td>
-</tr>
-<tr>
- <td class="tdl">One Man Drawing against Two Horses,</td>
- <td class="tdr"><a href="#Page_335">335</a></td>
-</tr>
-<tr>
- <td class="tdl">Breaking the Rope,</td>
- <td class="tdr"><a href="#Page_336">336</a><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span></td>
-</tr>
-<tr>
- <td class="tdl">The Anvil Feat,</td>
- <td class="tdr"><a href="#Page_336">336</a></td>
-</tr>
-<tr>
- <td class="tdl">Breaking Stones,</td>
- <td class="tdr"><a href="#Page_337">337</a></td>
-</tr>
-<tr>
- <td class="tdl">The Chair Feat,</td>
- <td class="tdr"><a href="#Page_337">337</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knee Feat,</td>
- <td class="tdr"><a href="#Page_338">338</a></td>
-</tr>
-<tr>
- <td class="tdl">The Cannon Feat,</td>
- <td class="tdr"><a href="#Page_338">338</a></td>
-</tr>
-<tr>
- <td class="tdl">Twisting Iron Bars,</td>
- <td class="tdr"><a href="#Page_339">339</a></td>
-</tr>
-<tr>
- <td class="tdl">General Explanation on all the Above Feats,</td>
- <td class="tdr"><a href="#Page_339">339</a></td>
-</tr>
-<tr>
- <td class="tdl">Real Feats of Strength Performed by Thomas Topham,</td>
- <td class="tdr"><a href="#Page_340">340</a></td>
-</tr>
-<tr>
- <td class="tdl">Remarkable Power of Lifting Heavy Persons when the Lungs are Inflated,</td>
- <td class="tdr"><a href="#Page_341">341</a></td>
-</tr>
-<tr>
- <td class="tdl">Pyramids of Men,</td>
- <td class="tdr"><a href="#Page_342">342</a></td>
-</tr>
-<tr>
- <td class="tdc"><span class="p5"><a href="#MISCELLANEOUS_CURIOUS_TRICKS_AND_FANCIES">Miscellaneous Curious Tricks and Fancies.</a></span></td>
-</tr>
-<tr>
- <td class="tdl">An Artificial Memory,</td>
- <td class="tdr"><a href="#Page_343">343</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magician's Mirror,</td>
- <td class="tdr"><a href="#Page_344">344</a></td>
-</tr>
-<tr>
- <td class="tdl">The Perspective Mirror,</td>
- <td class="tdr"><a href="#Page_345">345</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Gyroscope,</td>
- <td class="tdr"><a href="#Page_346">346</a></td>
-</tr>
-<tr>
- <td class="tdl">Artificial Landscape,</td>
- <td class="tdr"><a href="#Page_348">348</a></td>
-</tr>
-<tr>
- <td class="tdl">Easy and Curious Method of Foretelling Rainy or Fine Weather,</td>
- <td class="tdr"><a href="#Page_349">349</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Measure,</td>
- <td class="tdr"><a href="#Page_350">350</a></td>
-</tr>
-<tr>
- <td class="tdl">The Boundless Prospect,</td>
- <td class="tdr"><a href="#Page_350">350</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magical Watch Lamp,</td>
- <td class="tdr"><a href="#Page_352">352</a></td>
-</tr>
-<tr> <td class="tdl">The Hour of the Day or Night told by a Suspended Shilling,</td>
- <td class="tdr"><a href="#Page_351">351</a></td>
-</tr>
-<tr>
- <td class="tdl">The Enchanted Palace,</td>
- <td class="tdr"><a href="#Page_352">352</a></td>
-</tr>
-<tr>
- <td class="tdl">To Know which of Two Different Waters is the Lightest, without any Scales,</td>
- <td class="tdr"><a href="#Page_353">353</a></td>
-</tr>
-<tr>
- <td class="tdl">To Know if a Suspicious Piece of Money is Good or Bad,</td>
- <td class="tdr"><a href="#Page_353">353</a></td>
-</tr>
-<tr>
- <td class="tdl">The Pyramid of Alum,</td>
- <td class="tdr"><a href="#Page_354">354</a></td>
-</tr>
-<tr>
- <td class="tdl">The Dancing Automaton,</td>
- <td class="tdr"><a href="#Page_354">354</a></td>
-</tr>
-<tr>
- <td class="tdl">To Melt a Piece of Money in a Walnut Shell without Injuring the Shell,</td>
- <td class="tdr"><a href="#Page_355">355</a></td>
-</tr>
-<tr>
- <td class="tdl">The Invisible Springs,</td>
- <td class="tdr"><a href="#Page_355">355</a></td>
-</tr>
-<tr>
- <td class="tdl">The Flight of the Ring,</td>
- <td class="tdr"><a href="#Page_356">356</a></td>
-</tr>
-<tr>
- <td class="tdl">Musical Figures resulting from Sound,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdl">To Make a Card Jump out of the Pack,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tell-Tale Cards,</td>
- <td class="tdr"><a href="#Page_357">357</a></td>
-</tr>
-<tr>
- <td class="tdl">The Double Dozen,</td>
- <td class="tdr"><a href="#Page_358">358</a></td>
-</tr>
-<tr>
- <td class="tdl">The Housebreakers,</td>
- <td class="tdr"><a href="#Page_359">359</a></td>
-</tr>
-<tr>
- <td class="tdl">The Magic Book,</td>
- <td class="tdr"><a href="#Page_360">360</a></td>
-</tr>
-<tr>
- <td class="tdl">The Tape Trick,</td>
- <td class="tdr"><a href="#Page_360">360</a></td>
-</tr>
-<tr>
- <td class="tdl">More than Full,</td>
- <td class="tdr"><a href="#Page_361">361</a></td>
-</tr>
-<tr>
- <td class="tdl">Floating Needles,</td>
- <td class="tdr"><a href="#Page_361">361</a></td>
-</tr>
-<tr>
- <td class="tdl">The Knotted Thread,</td>
- <td class="tdr"><a href="#Page_361">361</a></td>
-</tr>
-<tr>
- <td class="tdl">The Bacchus Experiment,</td>
- <td class="tdr"><a href="#Page_362">362</a></td>
-</tr>
-<tr>
- <td class="tdl">Curious Method of Measuring the Height of a Tree,</td>
- <td class="tdr"><a href="#Page_362">362</a></td>
-</tr>
-<tr>
- <td class="tdl">The Transposable Pieces,</td>
- <td class="tdr"><a href="#Page_362">362</a></td>
-</tr>
-</tbody>
-</table></div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p>
-
-
-<h2>THE YOUNG CONJUROR.</h2>
-
-<div class="figcenter">
-<img src="images/i_001.jpg" width="500" height="407" alt="" />
-</div>
-
-<p class="p6">INCLUDING SLEIGHT OF HAND, WITH OBJECTS OR CARDS, WITH AND
-WITHOUT APPARATUS.</p>
-
-
-<p>That there has been "Jugglery" in all ages of the world,
-the pages of history abundantly prove. The ancient religions
-of the heathen were mixed up with an extensive system
-of legerdemain, and were, more or less, tissues of trickery.
-Sleight of hand, tricks of the tongue by which the word
-was kept to the ear, but broken to the hope, and various
-miraculous deceptions, were the means by which the priests
-of Egypt, Greece, and Rome used to subjugate mankind.
-Happy ought we to be, in living in an age when humbug
-of every kind is sure to meet exposure by the daylight
-beams of truth.</p>
-
-<p>The Eastern nations, from the earliest times, possessed,<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
-besides these religious jugglers, others who made a livelihood
-by going from place to place, and performing various
-tricks and feats by which the judgement was bewildered and
-the reason bamboozled; and even now the performers of
-the East infinitely exceed those of the West. In the Norman
-times the juggler was termed jongleur, or joculator, and
-united in one the minstrel, astrologer, and merry-andrew.
-In the fourteenth century, he seems to have become more
-entirely a performer of tricks and feats, and bore the name
-of Tregetour. The tregetours were adepts at every kind
-of sleight of hand, and by the assistance of machinery of
-various kinds, deceived the eyes of the spectators, and produced
-such illusions as were usually supposed to be the
-effect of enchantment, for which reason they were frequently
-ranked with sorcerers, magicians, and witches. Chaucer,
-who no doubt had frequently an opportunity of seeing the
-tricks exhibited by the tregetours of his time, says, "There
-I sawe playenge jogelours, magyciens, trageteours, phetonysses,
-charmeresses, old witches, and sorceresses;" and
-the old poet goes on to say to them, "Sometimes they will
-bring on the similitude of a grim lion, or make flowers
-spring up as in a meadow; sometimes they cause a vine to
-flourish, bearing white and red grapes, or show a castle built
-with stone, and when they please, they cause the whole to
-disappear:" and in another part of his work, he says:</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"There saw I Coll Tregetour,</div>
-  <div class="i0">Upon a table of sycamour,</div>
-  <div class="i0">Play an uncouthe thynge to tell;</div>
-  <div class="i0">I sawe hym cary a wyndemell,</div>
-  <div class="i0">Under a walnot shale."&mdash;<cite>House of Fame</cite>, book iii.</div>
- </div>
-</div>
-</div>
-
-<p>The learned monarch, James I, was perfectly convinced
-that these and other inferior feats exhibited by the tregetours
-of his day, could only be performed by the agency
-of the "old gentleman," whom it is not polite to name. The
-profession had already fallen very low, and at the close of
-the reign of Queen Elizabeth, the performers were ranked
-by the moral writers of that time, not only with ruffians,
-blasphemers, thieves, and vagabonds, but also with Jews,
-Turks, heretics, pagans, and sorcerers; and in more modern
-times, by way of derision, the juggler was called a mocus-pocus,
-or hocus-pocus, a term applicable to a pick-pocket,
-or a common cheat.</p>
-
-<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p>
-
-<p>The following pages are not intended to make the young
-reader either a cheat or a trickster; there is nothing, perhaps,
-so utterly contemptible in every-day life, as trickery
-and deception, and we would caution our young master
-not to obtain by these amusements a love of deception, which
-is only allowable in such feats of amusement, and which
-is in no way culpable, when every one knows he is deceived.
-But we would advise him strongly to cultivate in his own
-mind the virtues of sincerity, straightforwardness, candor,
-openness, and truth; to shun subterfuge and deception as
-he would a venomous reptile; and to hate a lie as he would
-hate that same old gentleman whom we were too polite to
-name, and who is the father of it.</p>
-
-<p>With this sage advice, we shall present a collection of
-amusing conjuring tricks.</p>
-
-
-<h3><a name="SLEIGHT_OF_HAND_TRICKS" id="SLEIGHT_OF_HAND_TRICKS"></a>SLEIGHT OF HAND.</h3>
-
-<p>It is my intention, in the following pages, to lay more
-stress upon those tricks which require no apparatus, than
-upon those for which special apparatus, or the assistance
-of a confederate, is required. No one is nearly so well
-pleased by a trick whose essence evidently lies in the machinery,
-while every one feels pleasure at seeing a sleight
-of hand trick neatly executed. For my own part, I despise
-all the numerous boxes, bottles, variegated covers,
-and other gimcracks which are generally seen on a conjuror's
-table; and I have never been so pleased with any
-performer as with one who did not even require a table, but
-pressed into his service articles borrowed from his audience,
-as he stood before them, or walked among them. The spectators
-should never be able to say, "Ah! the trick lies in
-the box; he dares not show it to us!"</p>
-
-<p>The following tricks have almost all been successfully
-performed by myself, and have caused me some reputation
-in the magic art. Some are my own invention:</p>
-
-
-<p class="p6">1. THE FLYING DIME.</p>
-
-<p>This trick must be frequently practiced before it is produced
-in public.</p>
-
-<p>Borrow two colored silk handkerchiefs from the company,
-and have <em>three</em> dimes in your hand, but only show <em>two</em>, keeping
-the other one firmly fixed against the first joint of the<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
-second and third fingers. You must also have a fine needle
-and thread stuck inside the cuff of your coat. Then take one
-of the handkerchiefs, and put in <em>both</em> dimes, but pretend
-that only <em>one</em> is in the handkerchief; then put the handkerchief
-into a hat, leaving one corner hanging out. Now hold
-up the <em>third</em> dime (which the spectators imagine is the
-<em>second</em>), and ask one of the company to lay the second handkerchief
-over it. You then ask him to hold the dime tight
-between his finger and thumb, while you twist up the handkerchief.
-While doing so, with both hands concealed under
-the handkerchief, you pass a few stitches under the dime,
-and replace the needle. This being done, spread one corner
-of the handkerchief over the hand of the person who is still
-holding the dime, and, taking hold of another corner, tell him
-to drop the dime when you have counted three. At the
-word "three," he lets go the dime, and you whisk the handkerchief
-into the air, when the dime appears to have vanished,
-but is really held in the handkerchief. You then tell
-the astonished individual to draw the other handkerchief out
-of the hat by the corner that is hanging out. The two dimes
-are heard to fall into the hat, and every one is persuaded
-that you have conjured one of the dimes out of a person's
-hand, and sent it into the hat.</p>
-
-
-<p class="p6">2. ANOTHER METHOD.</p>
-
-<p>Perhaps the spectators may ask to see it again, or demand
-to mark the dime. In this case, vary it as follows. Ask
-some one (always choose the most incredulous of the party)
-to mark a dime of his own, and give it you. Take the same
-handkerchief, and give him the dime to hold that is already
-enclosed in it, as in the last trick, dropping the marked dime
-into the palm of your hand. Twist it up as before, and then
-leave it entirely in his hands. Direct him to place it on
-a table, and cover it with a basin or saucer. Ask him to
-give you a cup or tumbler, and hold it under the table,
-beneath the place where the saucer is. Then tell him to
-knock three times on the saucer, and at the third knock let
-the marked dime fall into the tumbler. Hand him the tumbler,
-and while he is examining the dime to see if it is the
-same one that he marked, take up the saucer, and shake out
-the handkerchief that is lying under it, as in the last trick.
-You must then return the handkerchief, and while you pretend
-to be searching for the marks, draw out the thread that<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
-held the dime, and drop the coin into the palm of your hand,
-taking care to rub between your finger and thumb the spot
-where the threads had been, in order to eradicate the marks.
-This variation seldom fails to confuse the company.</p>
-
-<p>You must remember to keep talking the whole time, and
-always try to make a joke, or otherwise to distract the
-attention of the audience, while you are executing the
-necessary changes.</p>
-
-
-<p class="p6">3. THE BEADS AND STRINGS.</p>
-
-<div class="figright" style="width: 200px;">
-<img src="images/i_005.jpg" width="200" height="85" alt="" />
-</div>
-
-<p>Ask some lady to lend you the beads off her bracelet, or
-have by you five or six beads, which you may hand round
-for examination. Then get some one
-to cut two pieces of thin string of
-equal length, and twist them about
-your fingers, appearing to lay them
-side by side, but in reality placing
-them as in the figure, and then, by twisting them together
-with apparent carelessness, the manner in which they are
-arranged will not be seen, particularly if you keep the
-point of junction hidden either by a finger, or by throwing
-the shade of your hand upon it.</p>
-
-<p>When the beads are returned, thread them all, taking care
-to pass the center bead over the point of juncture. You
-then bring the ends of the string 1 and 2 together, and tie
-them so, doing the same with 3 and 4. Now give the tied
-ends to two persons, directing them to hold them tight.
-You need not fear that the beads will come off, even if they
-pull hard. Then grasp the beads with both hands, directing
-the holders to slacken the strings. You then, under
-cover of the left hand, which is placed above the beads, slip
-the center bead to one side, and draw out the two loops
-which have been hidden in it. The beads will then easily
-come off into your right hand. Tell the holders to pull hard,
-which they will do, and the same moment remove your
-hands, showing the empty strings, and all the beads in
-your right hand. Then hand round the beads and strings
-as before. Remember to rub out the marks in the strings
-caused by the loops, before you remove your hands.</p>
-
-
-<p class="p6">4. TO GET A RING OUT OF A HANDKERCHIEF.</p>
-
-<p>Bend a piece of gold wire into the form of a ring, having
-previously sharpened both ends. You have a real ring<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
-made of the same piece of wire, and concealing the false
-ring in the palm of your hand, offer the real one to be inspected.
-When it is returned, borrow a handkerchief, and
-while taking it from the lender, slip the real ring into your
-left hand, and take the false one at its point of junction.
-Throw the handkerchief over the ring, and give it to some
-one to hold between his finger and thumb. Let the handkerchief
-fall over it, and give a piece of string to a second
-spectator, directing him to tie it round the handkerchief,
-about two inches below the ring, so as to enclose it in a
-bag, and tell him to do so as tightly as he can. While he
-is doing this, take up your conjuring wand, a rod of some
-hard wood, about eighteen inches long, and when the knot
-is tied, step forward, passing the rod into your left hand,
-taking care to slip over it the real ring, which has lain
-concealed there. Slip your left hand to the center of the
-rod, and direct each of the two persons to hold one end
-of it in his right hand. Then tell the one who has the ring
-and handkerchief, to lay them on your left hand, which you
-immediately cover with your right. Then tell them to
-spread another handkerchief over your hands, and to say
-after you any nonsense that you like to invent.</p>
-
-<p>While they are so doing, unbend the false ring, and draw
-it through the handkerchiefs by one of its points, carefully
-rubbing between the thumb and finger the place
-where it came through. Hang the empty handkerchief
-over the ring which is on the rod, and take away your hands,
-which you exhibit empty, as you have stuck the false ring
-inside your cuff. Take away the upper handkerchief, and
-let a third person come to examine, when he will find the
-ring gone out of the handkerchief, and hung upon the rod.</p>
-
-
-<p class="p6">5. TO TIE A KNOT IN A HANDKERCHIEF WHICH CANNOT BE
-DRAWN TIGHT.</p>
-
-<div class="figleft" style="width: 200px;">
-<img src="images/i_006.jpg" width="200" height="133" alt="" />
-</div>
-
-<p>Cast an ordinary knot on a handkerchief, and give the
-end out of your right hand to
-some spectator, and tell him to
-pull hard and sharp when you
-count three. Just as he pulls,
-slip your left thumb under the
-handkerchief, as drawn in the
-cut, and it will be pulled out
-quite straight, without any knot<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
-at all. You must let go the end that hangs over the left
-hand, and grasp the handkerchief between the thumb and
-fore finger.</p>
-
-
-<p class="p6">6. THE THREE CUPS.</p>
-
-<div class="figright" style="width: 200px;">
-<img src="images/i_007.jpg" width="200" height="94" alt="" />
-</div>
-
-<p>This is an admirable delusion, but requires very careful
-management, and should be practiced repeatedly before it
-is exhibited publicly. You get three tin cups, of the shape
-shown in the cut. They should have two or three ridges
-running round them at the mouth, in order to give a better
-hold. Four balls should now be
-made of cork, and carefully blackened.
-One of the balls is held concealed
-between the roots of the
-third and fourth fingers, while the
-other three are handed round for
-examination, together with the cups. When they are returned,
-the young conjuror begins by placing each ball
-under a cup, or, if he chooses, asking one of the spectators to
-do so for him. While this is being done, he slips the fourth
-ball to the tips of the second and third fingers. He then lifts
-up cup No. 1, replaces it on the table a few inches from its
-first position, and at the same time slips the fourth ball
-under it. He takes up ball No. 1, and pretends to throw it
-away, but in reality he slips it into the place which the
-fourth ball had occupied. He does the same with the three
-cups, and then commences a sham search after the lost ball,
-in which he accidentally (!) knocks over one of the cups,
-and, to his pretended astonishment, finds a ball under it.
-He then knocks over both the other cups, and finds in them
-the two missing balls.</p>
-
-<p>He again places the balls under the cups, taking care to
-slip the fourth ball under cup No. 3. He then takes up cup
-No. 1, and pretends to throw the ball into No. 3, but hides it
-as before. As there are already two balls in No. 3, the spectators
-imagine that he really has thrown the ball into it.
-He replaces cup No. 3 over both balls, and slips among them
-ball No. 1. He then takes up cup No. 2, and goes through
-the same process, and on knocking over cup No. 3, all three
-balls are found together under it, and while the spectators
-are being astonished, ball No 2 can be quickly got rid of.</p>
-
-<p>A rather startling termination to this trick can be managed
-by taking up one of the cups, with its mouth upwards<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
-holding the finger and thumb close to its mouth. Then by
-throwing another cup into it, letting go the first and catching
-the second, you appear to have thrown the second cup
-through the first.</p>
-
-
-<p class="p6">7. TO TIE A HANDKERCHIEF ROUND YOUR LEG, AND GET IT OFF
-WITHOUT UNTYING THE KNOT.</p>
-
-<div class="figleft" style="width: 150px;">
-<img src="images/i_008a.jpg" width="150" height="113" alt="" />
-</div>
-
-<p>Hold the handkerchief by both ends, lay the center of the
-handkerchief on your knee, and pass the two ends below,
-appearing to cross them, but in reality hitching them within
-each other, as represented in the engraving,
-which shows the manner in
-which this is managed. Draw this loop
-tight, and bring back the ends to the
-same side on which they were originally,
-and tie them above. If the loop
-is properly made, it will stand a good
-pull. Then, after showing the spectators
-how firmly it is tied, put your hand under the knot, and
-by giving it a sharp pull, it will come off.</p>
-
-<p>The engraving represents the manner in which the loop is
-made, but it must be made considerably smaller than it is
-shown, or it will be seen. In fact, it ought not to be a loop
-at all, as it should be almost concealed under the fold of the
-handkerchief. Do not show this in public until you can tie
-it with rapidity and precision.</p>
-
-
-<p class="p6">8. THE MAGIC BOND.</p>
-
-<div class="figright" style="width: 93px;">
-<img src="images/i_008b.jpg" width="93" height="150" alt="" />
-</div>
-
-<p>Take a piece of string, and tie the two ends
-together with a weaver's knot, as that holds
-the best, and arrange it over the fingers, as represented
-in the engraving. Having done so,
-let the long loop hang loose, lift both loops off
-the thumb, draw them forward until the string
-is quite tight, and then put them behind the
-hand, by passing them between the second and
-third fingers. Then pull the part of the string
-that lies across the roots of the fingers, and
-the whole affair will come off.</p>
-
-<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p>
-
-<hr class="tb" />
-
-<p class="p6">9. THE OLD MAN AND HIS CHAIR.</p>
-
-<div class="figleft" style="width: 95px;">
-<img src="images/i_009a.jpg" width="95" height="150" alt="" />
-<div class="caption"><p><em>Fig. 1</em></p></div>
-</div>
-
-<div class="figright" style="width: 90px;">
-<img src="images/i_009b.jpg" width="90" height="337" alt="" />
-<div class="caption"><p><em>Fig. 2</em></p>
-
-<p>1. Right fore finger<br />
-2. Right middle finger</p>
- </div>
-</div>
-
-<p>Take the same piece of string as in the last trick, hold
-your left hand with the palm uppermost, and hang the string
-over the palm. Spread all the fingers, and with the right
-hand bring forward the loops that hang behind, by passing
-it over the second and third fingers. Loose the loop,
-take hold of the part of the string that crosses the hand,
-and pull it forwards. When tight, pass it to the back of
-the hand, the reversal of the movement that
-brought it forwards. Loose the loop, insert
-the fore-finger and little finger of the right
-hand under the string that encircles the left
-fore-finger and little finger, and pass the two
-loops to the back of the hand, as shown in the
-cut, Fig. 1. Tuck both loops under the cross-strings
-at the back, and your preliminaries are
-completed. Then begin your story: "There
-was once upon a time, an old man, who stole
-a pound of candles. Here they are." You then hold your
-left hand as at the commencement, hook the right fore-finger
-under the cross-piece at the back, and
-draw it downward until it is long enough to
-be passed over the second and third fingers to
-the front. Pass it over, and draw it slowly
-upwards, when the similitude of a pound of
-candles hanging by their strings will be seen.
-(See Fig. 2.) "The old man being tired hung
-up his candles," you then hang the long loop
-over your thumb, "and sat down in his high-backed
-chair, which you see here." You then
-hitch the right fore finger and middle finger
-under the two loops that will be found hanging
-behind the left hand, bring them to the
-front, raise them perpendicularly, and the
-chair will be seen as in Fig. 3. The thumb
-must be raised perpendicularly, and brought
-as much as possible into the center of the hand,
-or the chair will be all aside.</p>
-
-<p>"When the old man was rested, it began to
-become dark, and he took a pair of scissors to
-cut down a candle for himself. Here are the
-scissors." While you are saying this, you
-slip the loop off the thumb, and you get Fig. 4.
-Move the blades and handles of the scissors,
-as if cutting something with them. "Just as
-he had lighted it, in came a policeman, and produced his<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
-staff, with the Queen's crown at the top." Now let go the
-little finger of the left hand and the loop will run up the
-string towards the right hand, producing Fig. 5. "The old
-man in vain tried to resist, for the policeman called a comrade
-to his assistance, and they tied a cord round the old
-man's arms in a tight knot, like this"&mdash;slip the right middle
-finger out of its loop, and you will obtain Fig. 6&mdash;"and
-carried him off to prison."</p>
-
-<div class="figcenter" style="width: 210px;">
-<img src="images/i_010a.jpg" width="210" height="94" alt="" />
-<div class="caption"><p><em>Fig. 4</em></p>
-
-<p>1. Fore finger of left
-hand,</p>
-
-<p>2. Little finger of left
-hand.</p>
-
-<p>3. Fore finger of right
-hand.</p>
-
-<p>4. Middle finger of right
-hand.</p>
- </div>
-</div>
-
-<div class="figcenter" style="width: 300px;">
-<img src="images/i_010b.jpg" width="300" height="100" alt="" />
-<div class="caption"><p><em>Fig. 5</em></p>
-
-<p>1. Right middle finger.</p>
-
-<p>2. Right fore finger.</p>
-
-<p><em>Fig. 6</em></p>
-
-<p>1. Right fore</p>
-
-<p>1. finger.</p>
-
-<p>2. Left hand.</p>
- </div>
-</div>
-
-
-
-<p class="p6">10. TO TIE A KNOT ON THE LEFT WRIST, WITHOUT LETTING THE
-RIGHT HAND APPROACH IT.</p>
-
-<div class="figcenter">
-<img src="images/i_010c.jpg" width="300" height="107" alt="" />
-<div class="caption"><p><em>Fig. 1</em></p></div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_010d.jpg" width="300" height="108" alt="" />
-<div class="caption"><p><em>Fig. 2</em></p></div>
-</div>
-
-<p>Take a piece of thick pliant string by each end, and with
-a quick jerk of the right hand cast a loop on it as in Fig. 1.
-The jerk must be given upwards and towards the left hand,
-and its impetus will cause the loop to run up the string
-until it falls over the left wrist, as in Fig. 2. The moment
-that the forward jerk is given the right hand should be
-drawn back, so that the loop is drawn tight directly it has<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
-settled on the wrist. Both ends should be let fall when the
-knot is firm. This is a very nice little sleight of hand trick
-to practice in the intervals between more showy ones, and,
-although rather difficult to learn, is soon acquired.</p>
-
-
-<p class="p6">11. THE HANDCUFFS.</p>
-
-<div class="figcenter">
-<img src="images/i_011a.jpg" width="400" height="208" alt="" />
-</div>
-
-<p>Let two persons, <span class="smcapa">A</span> and <span class="smcapa">B</span>, have their hands tied together
-with string, so that the strings cross, as represented in the
-engraving. The object is, to free themselves from each
-other without untying the knot. It is executed in the following
-manner:</p>
-
-<p>Let <span class="smcapa">B</span> gather up the string that joins his hands, pass the
-loop under the string that binds either of <span class="smcapa">A</span>'s wrists, slip it
-over <span class="smcapa">A</span>'s hand, and both will be free. By a reversal of the
-same process, the string may be replaced.</p>
-
-
-<p class="p6">12. TO PULL A STRING THROUGH YOUR BUTTON-HOLE.</p>
-
-<p>Take a piece of string about two feet in length, and tie
-the ends together. Pass it through a button-hole of your
-coat; hitch one thumb at each end,
-hook the little fingers into the upper
-strings of the opposite hand. Then
-draw the hands well outward, and
-the string will look very complicated,
-as in the engraving.</p>
-
-<div class="figright" style="width: 210px;">
-<img src="images/i_011b.jpg" width="210" height="212" alt="" />
-</div>
-
-<p>To get out the string, loose the
-hold of the right thumb and left
-little finger, and separate the hands
-smartly, when the string will appear
-to have been pulled out <em>through</em>
-the substance of your coat.</p>
-
-<p>It is an improvement of the trick, if, immediately on
-loosing the hold of the right thumb, you change the string
-from the right little finger on to the thumb.</p>
-
-<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p>
-
-
-<p class="p6">13. THE CUT STRING RESTORED.</p>
-
-<p>Tie together the ends of a piece of string, pass one hand
-through each end, twist it once round, and put both ends into
-the left hand. Draw the right hand rapidly along the double
-strings until you come to the place where the strings have
-crossed each other, as seen in the engraving. Conceal the
-junction with the thumb and finger of the right hand; hold
-the strings in a similar manner with the left hand, and tell
-some one to cut the string between them. You show that
-the string has been divided into two pieces, and say that
-you will join them with your teeth. Put all four ends into
-your mouth, and remove with your tongue the little loop that
-has been cut off. When you take the string out of your
-mouth, the spectators will not notice the absence of so small
-a portion of its length, and will fancy that you really have
-joined them.</p>
-
-<div class="figcenter" style="width: 400px;">
-<img src="images/i_012a.jpg" width="400" height="119" alt="" />
-<div class="caption"><p>1. The twisted string.  <span class="mleft3">2. The manner of holding it.</span></p>
- </div>
-</div>
-
-
-<p class="p6">14. THE GORDIAN KNOT.</p>
-
-<div class="figleft">
-<img src="images/i_012b.jpg" width="125" height="220" alt="" />
-</div>
-
-<p>Take a silk handkerchief, and lay it on a table. Take each
-of the corners, and lay them across each other in the middle
-of the handkerchief, which will then be
-square, as in the cut, Fig. 1. Do the same
-with the new corners, and go on until the
-handkerchief is reduced to the size of your
-hand. Then with your left finger and thumb
-take hold of the center, taking care to grasp
-all the four corners that lie there, and with
-the right finger and thumb take hold of the
-outer layer of silk, and pull it towards you
-as far as it will come. Then turn it a little
-on your left hand, and repeat the operation
-until it is all screwed up into a tight ball,
-as is represented in the engraving, Fig. 2.
-No ends will be then perceptible, and a person
-who is unacquainted with the mode will never be able<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>
-to untie it. Of course you must prepare it previously.
-When the person to whom you give it has failed to untie
-it, you take the ball in your hand, and holding it behind your
-back, you reverse the method by which it was tied, and
-when it is loose a good shake will release it.</p>
-
-
-<p class="p6">15. THE KNOT LOOSENED.</p>
-
-<p>This is a very amusing deception. You ask any one for
-a handkerchief, and tie the ends firmly together in a double
-knot, allowing him to feel it, or
-pull the ends as tight as he pleases.
-You then throw the center of the
-handkerchief over the knot, ask
-the person to hold it tight between
-his finger and thumb. You ask
-him if the knot is still there, to
-which he will answer in the affirmative. You then take
-hold of any part of the handkerchief, and direct the holder
-to drop the handkerchief at the word "three." You count,
-"one, two, three," at which word he looses his hold of the
-handkerchief, and there is no vestige left of the knot.</p>
-
-<div class="figright">
-<img src="images/i_013.jpg" width="175" height="95" alt="" />
-</div>
-
-<p>The method of managing this trick is as follows: Take
-the handkerchief and tie the ends in a simple knot, keeping
-<em>one end tight</em>, and the other end loose. We will call the tight
-end <span class="smcapa">A</span>, and the loose one <span class="smcapa">B</span>. Keep <span class="smcapa">A</span> <em>always</em> in the right hand,
-and on the stretch horizontally, and the handkerchief will
-look as in the cut. Do this when you tie it the second time,
-and draw <span class="smcapa">B</span> tight, which will then form a double tie round
-<span class="smcapa">A</span>, but will not hold it firm. When you throw the handkerchief
-over the knot, you draw out <span class="smcapa">A</span> with the finger and
-thumb of the left hand, and the knot will apparently remain
-firm, although in reality it is nothing but a double twist of
-silk, which of course falls loose when the handkerchief is
-dropped.</p>
-
-
-<p class="p6">16. TO PUT NUTS INTO YOUR EAR.</p>
-
-<p>Take three nuts in the left hand, show them, and take
-out one of them between your right finger and thumb, and
-another between the first and third finger. This latter is
-not seen by the company. You then put one of them in your
-mouth and retain it there, unknown to the spectators, while
-you exhibit the second as the one that you put into your
-mouth. This second one you carry to your ear, as if you
-meant to insert it there, and on replacing it in your left<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
-hand, only two nuts will be left instead of three, the third of
-which appears to have gone into your ear.</p>
-
-
-<p class="p6">17. TO CRACK WALNUTS IN YOUR ELBOW.</p>
-
-<p>Conceal a very strong walnut in your right hand, and
-take two other walnuts out of the dish. Place one of them
-on the joint of your arm, and say that you are going to
-break it by the power of your muscles. You will now have
-one walnut in your arm and two in your right hand. Close
-your left arm, and strike it an apparently violent blow with
-the right hand, at the same time clenching the right hand
-violently, which will smash the second walnut in it, and
-the spectators hearing the crash will be sure to fancy that it
-is caused by the demolition of the walnut in your arm.
-Then open your arm very gently (for fear of dropping any
-of the fragments, you must say), and, when pretending to
-take out the walnut which you had placed there, you substitute
-for it the broken one from your right hand.</p>
-
-
-<p class="p6">18. TO TAKE FEATHERS OUT OF AN EMPTY HANDKERCHIEF.</p>
-
-<p>Procure at the military clothier's four or five large plumes,
-such as are worn by officers. Take off your coat, and lay
-the plumes along your arms, the stem being toward your
-hand. Now put on your coat again, and the feathers will lie
-quite smoothly and unsuspected. Borrow a handkerchief
-from one of the spectators, and wave it about to show that
-it is empty. Throw it over your left hand, and with the
-right draw out one of the plumes from up the coat-sleeve,
-at the same time giving it a flourish in the air, which will
-loosen all the fibers of the feather, and make it appear much
-too large to have been concealed about the person. Wave
-the handkerchief again, and repeat the operation until all
-the plumes are gone. You can carry enough plumes under
-the sleeve to cover a table with, and if you prepare a board
-or an ornamental vase full of holes, you can place the
-plumes upright as you take them out.</p>
-
-
-<p class="p6">19. THE KNOTTED HANDKERCHIEF.</p>
-
-<p>This feat consists in tying a number of hard knots in a
-pocket-handkerchief borrowed from one of the company,
-then letting any person hold the knots, and by the operator
-merely shaking the handkerchief, all the knots become<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
-unloosened, and the handkerchief is restored to its original
-state.</p>
-
-<p>To perform this excellent trick, get as soft a handkerchief
-as possible, and taking the opposite ends, one in each
-hand, throw the right hand over the left, and draw it through,
-as if you were going to tie a knot in the usual way. Again
-throw the right-hand end over the left, and give the left-hand
-end to some person to pull, you at the same time pulling
-the right-hand end with your right hand, while your
-left hand holds the handkerchief just behind the knot.
-Press the thumb of your left hand against the knot to prevent
-its slipping, always taking care to let the person to
-whom you gave one end pull first: so that, in fact, he is
-only pulling against your <em>left hand</em>.</p>
-
-<p>You now tie another knot exactly in the same way as the
-first, taking care always to throw the right-hand end over
-the left. As you go on tying the knots, you will find the
-right-hand end of the handkerchief decreasing considerably
-in length, while the left-hand one remains nearly as long
-as at first; because, in fact, you are merely tying the right-hand
-end <em>round the left</em>. To prevent this from being noticed,
-you should stoop down a little after each knot, and pretend
-to pull the knots tighter; while, at the same time, you
-press the thumb of the right hand against the knot, and
-with the fingers and palm of the same hand, draw the handkerchief,
-so as to make the left-hand end shorter, keeping it
-at each knot as nearly the length of the right-hand end as
-possible.</p>
-
-<p>When you have tied as many knots as the handkerchief
-will admit of, hand them round for the company to feel that
-they are firm knots; then hold the handkerchief in your
-right hand, just below the knots, and with the left hand
-turn the loose part of the center of the handkerchief over
-them, desiring some person to hold them. Before they take
-the handkerchief in hand, you draw out the right-hand end
-of the handkerchief, which you have in the right hand, and
-which you may easily do, and the knots being still held together
-by the loose part of the handkerchief, the person
-who holds the handkerchief will declare he feels them:
-you then take hold of one of the ends of the handkerchief
-which hangs down, and desire him to repeat after you,
-one, two, three; then tell him to let go, when, by giving
-the handkerchief a smart shake, the whole of the knots will become
-unloosed.</p>
-
-<p><span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span></p>
-
-<p>Should you, by accident, whilst tying the knots, give the
-wrong end to be pulled, a hard knot will be the consequence,
-and you will know when this has happened the
-instant you try to draw the left-hand end of the handkerchief
-shorter. You must, therefore, turn this mistake to
-the best advantage, by asking any one of the company to
-see how long it will take him to untie one knot, you counting
-the seconds. When he has untied the knot, your other
-knots will remain right as they were before. Having finished
-tying the knots, let the same person hold them, and
-tell him that, as he took two minutes to untie one knot, he
-ought to allow you fourteen minutes to untie the seven;
-but as you do not wish to take any advantage, you will be
-satisfied with fourteen seconds.</p>
-
-<p>You may excite some laughter during the performance of
-this trick, by desiring those who pull the knots along with
-you, to pull as hard as they please, and not to be afraid, as
-the handkerchief is not yours; you may likewise go to the
-owner of the handkerchief, and desire him to assist you in
-pulling a knot, saying, that if the handkerchief is to be torn,
-it is only right that he should have a share of it; you may
-likewise say that he does not pull very hard, which will
-cause a laugh against him.</p>
-
-
-<p class="p6">20. HOUDIN'S NUT TRICK.</p>
-
-<p>To perform a clever trick with dexterity before a "small
-party" is at once to become the hero of the evening. If you
-cannot sing, you must solve conundrums, or dance a horn-pipe;
-if neither of these be "your forte," a good trick or
-two will give equal pleasure to the "bright blue eyes" peering
-at you. The nut trick is exhibited thus: The professor
-hands the audience a dessert plate and a cambric handkerchief
-for examination; these being returned, he places the
-plate upon a table near to him; the handkerchief is then
-spread out quite flat over the plate. At command, sugared
-almonds, nuts, and comfits pour into the dessert plate the
-instant the kerchief is lifted up, producing an effect that
-would have astonished the magi of old. The way in which
-it is done is this: Make a calico bag large enough to hold
-the nuts and sweetmeats you intend to distribute, exactly
-to the pattern of a nightcap, or the letter A: a small selvage
-is turned up at the bottom of the bag; procure two pieces
-of watch spring, and bend them quite flat, each spring to<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
-be exactly half the diameter of the bag. These are put into
-the selvage, and sewn up firm. When the bag is opened, it
-will close itself in consequence of the springs. A long pin
-is passed through the top of the bag and bent round hook-shape.
-If the bag be now filled with nuts, &amp;c., it may be
-suspended by the hook, without any danger of the nuts or
-anything else falling out; because, although the mouth of
-the bag is downwards, the springs keep it shut. When this
-trick is to be shown, the prepared bag is hung on the side
-of the table that is away from the audience. The plate is
-also placed on that side; and when the handkerchief is laid
-over the plate a portion is left to fall over the side of the
-table. Now the kerchief is picked up with the <em>right</em> hand
-in the center (just as a lady does when she wishes to exhibit
-the lace edge), and with it the bag of nuts; the folds of the
-cambric hide the bag. The left hand is now used to draw
-over the handkerchief and to press the bag; this causes
-the springs to open, and out fall the "good things" upon
-the plate. This causes sufficient diversion for the merest
-tyro of a conjuror to drop the bag behind the table unseen,
-while he advances to the audience, politely inquiring, "Will
-you take a few nuts or sweetmeats?"</p>
-
-
-<p class="p6">21. CONJURING A RING.</p>
-
-<p>Several very marvelous tricks can be shown with an ordinary
-finger ring, such as passing it through the table,
-through a basin, an ale-glass or a plate, then into a box or
-nest of boxes, and other feats of legerdemain of a similar
-kind. These tricks are so good that they are always shown
-by the professors of magic at evening parties, but are never
-explained; however, we will attempt it. Procure a soft
-clean silk handkerchief and a sham gold ring; now a needleful
-of black silk, double; sew the silk to the middle of the
-handkerchief, and let the ring hang from it, suspended by
-the end of the silk, say at about three or four inches from
-the kerchief. When the handkerchief is held up by two
-corners, the suspended ring must always hang on the side
-facing the magician; the handkerchief can then be shaken,
-folded, and crumpled up in the hands, so as to make it appear
-"all fair." Now, to pass a ring through a drinking-glass
-and plate, and through the table on which it is placed.
-"If any lady or gentleman will kindly lend me a ring, I
-shall be happy to exhibit the electric and magnetic action<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
-of metallic substances on <ins title="Transcriber's Note: original reads 'diaphonous'">diaphanous</ins> bodies and ceramic
-manufactures, by showing their imperviousness, and the porosity
-of ligneous products of the Honduras." "Hem!"
-says Aunt Caroline, "what an extraordinary youth!" Do
-not, however, allow yourself to be carried away by any
-flattery of this kind, but determine to do the trick well, and
-<em>deserve</em> praise. Take the borrowed ring in the <span class="smcapa">LEFT</span> hand,
-and keep it there; pretend to pass it to the right hand, and
-say, "I will place it in the handkerchief. Who will kindly
-hold it for me while I put the glass on the plate in the center
-of the table?" While you thus freely ask who will
-hold the kerchief, you will secure the most bashful lady or
-gentleman in the company to hold the (your) ring in the
-handkerchief. "You will perceive, ladies and gentlemen,
-that the glass and the plate are now quite empty. I shall
-now place the glass in the plate on to the center of the
-table, and request the lady (or gent) to place the ring and
-the handkerchief over the glass. I particularly draw your
-attention to the fact that you will <em>hear</em> the ring fall into the
-glass when I request it to be released. You will then be
-certain that it is in the glass; but at my command it shall
-pass into this box (show the box round), which I shall place
-under the table. Now, miss (or sir) be good enough to let
-the ring fall into the glass. Silence! Ting! You heard
-it fall?" "Yes," all must reply, except the deaf. Presto!
-It is now in the box. You lift the handkerchief, smooth
-down your brow with it, and put it into your pocket. The
-audience are now left to themselves. They rush to the
-plate and glass, it is not there; now the box, behold! it is
-as sound as ever: how it got there Aunt Carry could never
-tell, but you could, for you put it there out of your left hand
-when you placed the box under the table.</p>
-
-
-<p class="p6">22. THE ERRATIC EGG.</p>
-
-<div class="figleft" style="width: 85px;">
-<img src="images/i_018.jpg" width="85" height="106" alt="" />
-</div>
-
-<p>Transfer the egg from one wine-glass
-to the other, and back again to its original
-position, without touching the egg
-or glasses, or allowing any person or
-any thing to touch them. To perform
-this trick, all that you have to do, is to
-blow smartly on one side of the egg, and
-it will hop into the next glass; repeat
-this and it will hop back again.</p>
-
-<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span></p>
-
-
-<p class="p6">23. THE OBEDIENT DIME.</p>
-
-<p class="center">A CAPITAL TRICK AT THE DINNER TABLE.</p>
-
-<div class="figright" style="width: 120px;">
-<img src="images/i_019a.jpg" width="120" height="129" alt="" />
-</div>
-
-<p>Lay a dime between two half-dollars,
-and place upon the larger coins a glass, as
-in the diagram. Remove the dime without
-displacing either of the half-dollars or
-the glass. After having placed the glass and
-coins as indicated, simply scratch the tablecloth
-with the nail of the fore finger in the direction
-you would have the dime to move,
-and it will answer immediately. The table cloth is necessary;
-for this reason the trick is best suited to the breakfast or
-dinner table. The amusement will be heightened by reciting
-the following words prior to moving the finger:</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Little dime, do not stay</div>
-  <div class="i0">In a place so out-of-the-way;</div>
-  <div class="i0">But when my finger moved shall be,</div>
-  <div class="i0">Like a good fellow come to me."</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">24. THE PRISONER RELEASED.</p>
-
-<div class="figright" style="width: 97px;">
-<img src="images/i_019b.jpg" width="97" height="180" alt="" />
-</div>
-
-<p>Place a dime in the bottom of a glass, and over the latter
-put a quarter, as in the diagram. The puzzle
-is to remove the small coin from beneath the
-larger one, without touching either of the coins,
-or touching or upsetting the glass. To do this
-capital trick you must blow with considerable
-force down one side of the glass upon the edge
-of the quarter. The dime will be expelled by
-the force of the air, and will fall either upon
-the upper surface of the quarter or upon the
-table. A little practice will render the performance
-of this feat very easy.</p>
-
-
-<p class="p6">25. ADVANTAGEOUS WAGER.</p>
-
-<p>Request a lady to lend you a watch. Examine it, and
-give a guess as to its value; then offer to lay the owner
-a wager, considerably below the real value of the watch,
-that she will not answer to three questions which you will
-put to her consecutively, "My watch." Show her the
-watch, and say, "What is this which I hold in my hand?"
-she, of course, will not fail to reply, "My watch." Next<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
-present to her notice some other object, repeating the same
-question. If she name the object you present, she loses
-the wager; but if she be on her guard, and remembering
-her stake, she says, "My watch," she must, of course, win;
-and you, therefore, to divert her attention, should observe
-to her, "You are certain to win the stake, but supposing I
-lose, what will you give me?" and if, confident of success,
-she replies for the third time, "My watch," then take it and
-leave her the wager agreed on.</p>
-
-
-<p class="p6">26. THE DOUBLE MEANING.</p>
-
-<p>Place a glass of any liquor upon the table, put a hat over
-it, and say, "I will engage to drink the liquor under that
-hat, and yet I'll not touch the hat." You then get under
-the table, and after giving three knocks, you make a noise
-with your mouth as if you were swallowing the liquor.
-Then getting from under the table, you say, "Now, gentlemen,
-be pleased to look." Some one, eager to see if you
-drank the liquor, will raise up the hat, when you instantly
-take the glass, and drink the contents, saying, "Gentlemen,
-I have fulfilled my promise. You are all witnesses that <em>I</em>
-did not touch the hat."</p>
-
-
-<p class="p6">27. THE THREE SPOONS.</p>
-
-<p>This is a most capital trick, but it requires a confederate's
-aid. Place three silver spoons crosswise on a table,
-request any person to touch one, and assure him you will
-find out the one he touches by a single inspection; although
-you will leave the room while he does so, and even if he
-touches it so gently as not to disarrange the order in which
-they are once put in the slightest degree. You retire; and
-when he gives you notice to enter, walk up to the table
-and inspect the spoons, as if trying to ascertain whether
-there are any finger-marks upon them, and then decide.
-Your confederate, of course, makes some sign, previously
-agreed upon, to give you notice which is the identical
-spoon; the actions may be, touching a button of his jacket
-for the top spoon, touching his chin for the second, and putting
-his finger to his lips may signify the lowest; but the
-precise actions are immaterial, so that the spoon they indicate
-be understood.</p>
-
-
-<p class="p6">28. THE JUGGLER'S JOKE.</p>
-
-<p>Take a little ball in each hand, and stretch your hands as<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
-far apart as you possibly can, one from the other; then tell
-the company that you will make both the balls come into
-whichever hand they please, without bringing the hands
-into contact with each other. If any of the lookers-on
-challenge your ability of achieving this feat, all you have
-to do is to lay one of the balls down upon a table, turn
-yourself round, and take it up with your other hand.
-Both the balls will thus be in one of your hands, without the
-latter approaching the other, agreeably to your promise.</p>
-
-
-<p class="p6">29. TO CAUSE WINE AND WATER TO CHANGE PLACES.</p>
-
-<p>Fill a small narrow-necked bulb with port wine, or with
-water and colored spirit of wine, and put the bulb into a
-tall, narrow glass jar, which is then to be filled up with cold
-water: immediately, the colored fluid will issue from the
-bulb, and accumulate on the surface of the water in the
-jar, while colorless water will be seen accumulating at the
-bottom of the bulb. By close inspection, the descending
-current of the water may also be observed, and the colored
-and the colorless liquids be seen to pass each other in the
-narrow neck of the bulb without mixing. The whole of
-the colored fluid will shortly have ascended, and the bulb
-will be entirely filled with clear water.</p>
-
-
-<p class="p6">30. IS IT POSSIBLE?</p>
-
-<p>Side by side place three pieces of anything, (money is
-most convenient,) then take away the middle piece without
-touching it.</p>
-
-<p>By removing the right hand piece to the side of the left,
-you thus take away the center without touching it.</p>
-
-
-<p class="p6">31. THE TOPER'S STRATAGEM.</p>
-
-<p>Get a bottle full of water, with the cork driven tightly
-in, and the top of it level with the neck of the bottle. You
-must remove the cork from the bottle without touching the
-cork with anything, and without injuring the bottle.</p>
-
-<p>Wrap a towel round the bottom of the bottle, and strike
-it evenly and repeatedly, but not too hard, against a wall,
-post, or tree, and after some time the cork will be driven
-out of the bottle.</p>
-
-
-<p class="p6">32. THE IMPOSSIBLE OMELET.</p>
-
-<p>Produce some butter, eggs, and other ingredients for making
-an omelet, together with a frying-pan, in a room where<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
-there is a fire, and offer to bet a wager, that the cleverest
-cook will not be able to make an omelet with them. The
-wager is won by having previously caused the eggs to be
-boiled very hard.</p>
-
-
-<p class="p6">33. NEW PERPETUAL ROTARY MOTION.</p>
-
-<p>By an accidental occurrence, it has recently been discovered
-that a piece of rock-crystal, or quartz, cut in a
-peculiar form, produces, upon an inclined plane, and without
-any apparent impetus, an extraordinary rotary motion,
-which maybe kept up for an indefinite period of time. The
-curiosity of this philosophical toy having excited general
-interest in the scientific world, Professor Leslie, in his lecture,
-thus explains the phenomenon:</p>
-
-<p>"The crystal has six sides, and being cut accurately from
-the faces to a perfect convex surface, if placed upon a
-wetted smooth surface, and held parallel, no motion will take
-place, because the center of gravity of each face is balanced
-and supported in this position of the plane surface; but if
-a slight inclination is given to the plane, a rotary motion
-commences, in consequence of the support being removed
-from the center of gravity. The impetus once given, the
-centrifugal force increases the rotary motion to such a
-degree, as for an observer to be unable to distinguish the
-form of the crystal.</p>
-
-<p>"<em>To produce the effect.</em>&mdash;Place the crystal on a piece of plate
-or common window glass, a china or glazed plate, or any
-smooth surface, perfectly clean, as grease or a particle of
-dust would impede its motion. Wet the surface, and give
-the plane a slight inclination, when, if properly managed,
-a rotatory motion will commence, which may be kept up for
-any length of time by giving alternate inclinations to the
-plane surface, according to the movements of the crystal;
-to heighten the pleasing effect of which, a variety of paper
-figures, harlequins, waltzers, &amp;c., may be attached. The first
-trial of the experiment had better be made by giving a
-slight rotatory motion to the crystal."</p>
-
-
-<p class="p6">34. THE MIRACULOUS APPLE.</p>
-
-<p>To divide an apple into several parts, without breaking
-the rind. Pass a needle and thread under the rind of the
-apple, which is easily done by putting the needle in again
-at the same hole it came out of; and so passing on till you<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
-have gone round the apple. Then take both ends of the
-thread in your hands and draw it out, by which means the
-apple will be divided into two parts. In the same manner,
-you may divide it into as many parts as you please, and yet
-the rind will remain entire. Present the apple to any one
-to peel, and it will immediately fall to pieces.</p>
-
-
-<p class="p6">35. AN OMELET COOKED IN A HAT, OVER THE FLAME OF A CANDLE.</p>
-
-<p>State that you are about to cook an omelet; then you
-break four eggs in a hat, place the hat for a short time over
-the flame of a candle, and shortly after produce an omelet,
-completely cooked, and quite hot.</p>
-
-<p>Some persons will be credulous enough to believe that by
-the help of certain ingredients you have been enabled to
-cook the omelet without fire; but the secret of the trick is,
-that the omelet had been previously cooked and placed in
-the hat, but could not be seen, because the operator, when
-breaking the eggs, placed it too high for the spectators to
-observe the contents. The eggs were empty ones, the contents
-having been previously extracted, by being sucked
-through a small aperture; but to prevent the company from
-suspecting this, the operator should, as if by accident, let a
-full egg fall on the table, which breaking, induces a belief
-that the others are also full.</p>
-
-
-<p class="p6">36. THE INFALLIBLE PROPHET.</p>
-
-<p>In this trick one of three articles being taken by each of
-three persons, you propose to tell the article each person has
-taken. We will suppose the articles to be a ring, dime or
-shilling, and a key. The performer must in his own mind,
-term the ring <em>a</em>, the shilling or dime <em>e</em>, and key <em>i</em>: (this
-being the alphabetical order of the vowels, can be easily
-recollected) and he must also mentally distinguish the persons
-as first, second and third. Then taking twenty-four counters
-or cards, he gives one to the first person, two to the second
-and three to the third; and placing the remainder of the
-counters on the table, he turns his back or leaves the room,
-telling the persons each to take an article, and that whoever
-takes the ring is to take also as many counters as he already
-has; he who takes the shilling, twice as many; and he who
-takes the key, four times as many. This being done, the performer
-advances, and reckons the remaining counters, and
-according to their number and the underneath line, which<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
-he must have previously acquired, he tells who has taken
-each of the different articles.</p>
-
-<blockquote><p><span class="mleft1">1.</span>   <span class="mleft1">2.</span>  <span class="mleft2">3.</span> <span class="mleft2">5.</span>   <span class="mleft1">6.</span> <span class="mleft1">7.</span><br />
-Salve    certa    animæ    semita    vita    quies.</p></blockquote>
-
-<p>Thus, if there had been a remainder of six counters, the
-position of the vowels in the corresponding word <em>vita</em>, shows
-that the first person took <em>i</em>, the key; and the second person
-took <em>a</em>, the ring; and, consequently, the third person must
-have taken the shilling. It must be observed, that in no instance
-can there be a remainder of four counters; and that
-the first syllable of each word represents the first person,
-and the second syllable the second person. This ingenious
-feat is founded on the permutation of the three articles, or
-their representative vowels, which can only be placed in six
-different positions, and the corresponding numerical
-arrangement of the counters, thus:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="numerical arrangement of the counters">
-<tr>
- <td class="tdl">1.</td>
- <td class="tdl"><em>a</em> <em>e</em> <em>i</em></td>
- <td class="tdl">salve.</td>
-</tr>
-<tr>
- <td class="tdl">2.</td>
- <td class="tdl"><em>e</em> <em>a</em> <em>i</em></td>
- <td class="tdl">certa.</td>
-</tr>
-<tr>
- <td class="tdl">3.</td>
- <td class="tdl"><em>a</em> <em>i</em> <em>e</em></td>
- <td class="tdl">animæ.</td>
-</tr>
-<tr>
- <td class="tdl">5.</td>
- <td class="tdl"><em>e</em> <em>i</em> <em>a</em></td>
- <td class="tdl">semita.</td>
-</tr>
-<tr>
- <td class="tdl">6.</td>
- <td class="tdl"><em>i</em> <em>a</em> <em>e</em></td>
- <td class="tdl">vita.</td>
-</tr>
-<tr>
- <td class="tdl">7.</td>
- <td class="tdl"><em>i</em> <em>e</em> <em>a</em></td>
- <td class="tdl">quies.</td>
-</tr>
-</table></div>
-
-<p>The three vowels, in their different positions, are made
-easy of recollection, by being united with consonants and
-formed in their regular succession into the above Latin line,
-or into this similarly constructed French one:</p>
-
-<blockquote><p><span class="mleft1">1.</span>  <span class="mleft2">2.</span>  <span class="mleft1">3.</span> <span class="mleft2">5.</span>  <span class="mleft2">6.</span>  <span class="mleft2">7.</span><br />
-Par fer   Cesar   jadis   devint   si grand   prince.</p></blockquote>
-
-
-<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p>
-
-<p class="p6">37. PHILOSOPHY CHEATED.</p>
-
-<div class="figright" style="width: 150px;">
-<img src="images/i_025a.jpg" width="150" height="155" alt="" />
-</div>
-
-<div class="figright" style="width: 110px;">
-<img src="images/i_025b.jpg" width="110" height="172" alt="" />
-</div>
-
-<p>This feat is really an excellent one, and has astonished
-crowds of spectators in different parts of the United States.
-It was one of the favorites of a late professor, by whom it
-was promulgated. Before you perform it in public, you
-must practice it until you are quite perfect, in private, for
-it would be a pity to spoil its effect by making a blunder in
-it. Begin by stating that you are about performing what
-you have no doubt will be regarded as a
-very extraordinary maneuver, and you
-will leave the company to decide upon
-what principle of natural philosophy it is
-accomplished. The mode of performance
-is as follows: Lay the piece of wood
-across the palm of your left hand, which
-keep wide open, with the thumb and all
-the fingers far apart, lest you be suspected
-of supporting the wood with them. Next,
-take your left wrist in your right hand, and grasp it tightly,
-for the purpose, as you state, of giving the hand more
-steadiness. Now, suddenly turn the back of your left hand
-uppermost, and as your wrist moves in your right hand,
-stretch out the forefinger of your right hand, and as soon as
-the wood comes undermost, support it with such forefinger.
-You may now shake the hand, and, after a moment or two,
-suffer the wood to drop. It is two to one but the spectators
-will suppose it to be produced by the action of the air, and
-try to do it themselves; but, of course, they must, unless
-you have performed the feat so awkwardly
-as to be discovered, fail in its performance.
-If you have no objection to reveal the
-secret, you can do it again, and while they
-are gravely philosophizing upon it, suddenly
-lift up your hand (<em>vide</em> Cut), and
-expose the trick. This will, doubtless,
-create much amusement. Observe that, in
-doing this feat, you must keep your fingers
-so low that no one can see the palm of
-your left hand; and move your finger so
-carefully, that its action may not be detected;
-and if it be not, you may rest satisfied
-that its absence from round the wrist of the left hand
-will not be discovered, some of the fingers being naturally
-supposed to be under the coat; so that, if the spectators
-only see two or even one, they will imagine the others are
-beneath the cuff. When you have turned your hand over, do
-not keep the stick too long upheld, lest the spectators should
-take hold of your hands, and discover the trick; before their
-surprise is over, remove your forefinger, and suffer the stick
-to fall.</p>
-
-<p><span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span></p>
-
-
-<p class="p6">38. THE DISAPPEARING DIME.</p>
-
-<p>Provide yourself with a piece of India rubber cord about
-twelve inches long, and a dime with a hole on the edge;
-attach the dime to the cord with a piece of white sewing
-silk, and after having done this, sew the cord to your coat
-sleeve lining, but be very careful and ascertain that the end
-upon which the dime is attached does not extend lower than
-within two inches of the extreme end of the sleeve when the
-coat is on. It is better to have the dime in the left arm
-sleeve. Having done this, bring down the dime with the
-right hand, and place it between the thumb and index finger
-of the left hand, and, showing it to the company, tell them
-that you will give the coin to any one present who will not
-let it slip away. You must then select one of the audience
-to whom you proffer the dime, and just as he is about to receive
-it you must let it slip from between your fingers, and
-the contraction of the elastic cord will make the coin disappear
-up your sleeve, much to the astonishment of the person
-who thinks he is about to receive it. This feat can be varied
-by pretending to wrap the coin in a piece of paper, or
-a handkerchief. Great care should be taken not to let any
-part of the cord be seen, as this would, of course, discover
-the trick. This is one of the most surprising feats of legerdemain,
-and its chief beauty consists in its extreme simplicity.
-The writer has frequently astonished a whole room
-full of company by the performance of this trick.</p>
-
-<hr class="tb" />
-
-
-<p class="p6">TRICKS REQUIRING SPECIAL APPARATUS.</p>
-
-<p>I admit no tricks that are wholly managed by the apparatus,
-as I think they are unworthy of notice. Therefore,
-every trick mentioned in the following pages must be carefully
-practiced in private before it is produced in public.
-The apparatus, of course, cannot be inspected by the
-audience, and for that reason it is better to mix them with
-those tricks that have been already mentioned, in order that
-suspicious persons may be quieted by an occasional permission
-to inspect the objects used in the performances.</p>
-
-<p>The young conjuror should always vary the mode of performance
-in the non-essentials, and should study combinations
-of one trick with another, by which means he will
-produce more astonishing results than if he restricted himself
-to the methods mentioned in this work. He should also invariably<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
-make a little speech, acknowledging that he is only
-deceiving the eye and not the mind, and should therefore
-request the company not to ask any questions, or to demand
-inspection of any of his apparatus.</p>
-
-
-<p class="p6">39. THE DIE TRICK.</p>
-
-<p>Get a wooden die about two inches and a half square (1),
-and a hollow tin die exactly the size of the wooden one, but
-without one of the sides (2). Then paint them both exactly
-alike, as in the engraving. It will be better to let an <em>accidental</em>
-flaw appear on the same side of each. Then get a tin
-cover (4) that exactly fits the dice. Now for the trick itself.</p>
-
-<div class="figright" style="width: 240px;">
-<img src="images/i_027.jpg" width="240" height="205" alt="" />
-</div>
-
-<p>Borrow two hats, and while you turn your back upon the
-audience as you go to your table, slip into one of them the
-false die. Place both hats on the table, and send round the
-real die and cover for inspection.
-When they are returned, say, "Now,
-ladies and gentlemen, it is my intention
-to place these hats one
-above another, thus." You then
-place the two hats as in No. 3, the
-hollow die being in the bottom hat.
-"I shall then cover the die thus,"
-which you do, "and after I have
-knocked on the cover, I shall take
-it off, and you will find that the die is not under the cover,
-as it is now," taking it off, "but inside the hat, like this."
-You then put the real die into the hat. "You do not believe
-me, ladies and gentlemen, but I will soon convince you."
-You then take out the false die, and replacing the upper hat,
-put the die on the upper hat (of course, with the open side
-downward,) and place the cover over it. Pick up your conjuring
-wand, give it a few flourishes, and bring it down on
-the cover. Grasp the cover tightly near the bottom, when
-both cover and false die will come up together; put the end
-of your wand into them, and give them a good rattle. Then
-knock off the upper hat with a blow of the wand, and push
-the lower one off the table, so that the die tumbles out of it.
-Always use plenty of gesture about your tricks.</p>
-
-
-<p class="p6">40. THE PENETRATIVE CENTS.</p>
-
-<p>Get a brazier to cut out all the interior of five cents, only<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
-leaving the rims. He must then bore out nearly all the interior
-of a sixth cent, merely leaving a shell of copper at
-the top. A long rivet must then be
-let into the rim, as shown in Fig. 1,
-No. 2, and a hole must be drilled in
-each of the five rings, as in No. 3.
-The rivet is to be passed through the
-holes in the rings, and fastened below,
-so that all the rings can play easily
-upon it. Fig. 1, No. 1, is a section of
-the entire apparatus, the dotted lines
-representing the rivet. They can then
-be placed as shown in Fig. 2, No. 1,
-and no one will imagine that they are
-only shams, as you can rattle them or
-move them about upon each other. A leathern cover, Fig.
-2, No. 2, is then made, which passes easily over the heap
-of cents, but being pliable, is capable of picking up the
-hollow cents with it, when it is held firmly. To the under
-surface of the table you fasten a little shelf, Fig. 2, No. 3,
-which moves on a hinge, and is let fall by placing the foot
-on the pedal, Fig. 2, No. 4, which draws the catch.</p>
-
-<div class="figleft" style="width: 150px;">
-<img src="images/i_028.jpg" width="150" height="191" alt="" />
-</div>
-
-<p>To perform the trick, place six real cents on the little shelf,
-and have the sham cents on the table. Take them up and
-rattle them, and put them down as in Fig. 2, No. 1. Keep
-a sixpence in the palm of your hand, pick up the sham cents,
-and as you put them down, slip the sixpence under them, as
-you do the ball in trick 6. Take the cover, and put it over
-the sham cents, make a short speech, and knock the cover
-with your wand, at the same time pressing the pedal with
-your foot, which will cause all the six real cents to tumble
-down with a great crash. Take up the cover and false cents
-together, put the end of your wand into them and hold them
-up triumphantly, showing the spectators that the six cents
-have been replaced by a silver sixpence. While you are
-picking up the cents, slip the sham ones out of the cover
-into your left hand, and take some opportunity of letting the
-empty cover roll towards the audience, one of whom you
-ask to pick it up and bring it to you. This maneuver generally
-disarms all suspicion, for the picker-up is sure to examine
-it very closely.</p>
-
-<p>I have only given mere outlines of this really excellent
-trick, which may be varied in a hundred ways, and is capable<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
-of combination with other tricks to a large extent. For
-the pedal may be substituted a lever running immediately
-under the surface of the table, if the performer prefers to
-have a short cloth on it. There should be always two cloths
-on the table; the lower one thick and soft, to prevent jingling
-of objects, and the upper one white, as it displays
-everything better than a colored one. The ingenuity of
-the young conjuror will easily find methods of varying this
-trick. <em>See Trick</em> 67, <em>page</em> 48.</p>
-
-
-<p class="p6">41. THE DOLL TRICK.</p>
-
-<p>Get a comical looking doll, and cut off his head diagonally,
-taking care to do it very neatly. Drive a peg into the neck,
-and bore a hole in the body, into which the peg fits, as in the
-cut. Paint his body and head carefully,
-and if you put a gold chain or
-two round his neck, it will conceal the
-line of junction. Make also a coat of
-silk, and sew a pocket inside the edge
-of the skirt.</p>
-
-<div class="figright" style="width: 210px;">
-<img src="images/i_029.jpg" width="210" height="239" alt="" />
-</div>
-
-<p>Take up the doll, and say, "Now,
-ladies and gentlemen, here is a very
-learned man. Observe the development
-of his forehead, the sagacity of
-his nose, the eloquence of his lips, the
-dignity of his spectacles, and the philosophy of his pigtail.
-He is professor of astronomy at Timbuctoo, and here is his
-gown of office. See how handsome he looks in it. He is
-going to Amsterdam to see the eclipse of the last new comet.
-He has the honor to wish you all farewell before starting on
-his journey. Now, professor, we are waiting to see you go.
-Oh! you want funds, do you? I beg your pardon; <ins title="Transcriber's Note: original reads 'here it'">here is</ins>
-a quarter for you." So saying, you take your right hand
-from under the gown, taking with it the body, and put the
-body into your pocket, while you jingle some silver. The
-head is now supported by your left hand. Pretend to give
-him some money, and then say, "What! you won't go unless
-you have more! Get along!" Hit the head a hard rap
-with your right hand, which drives it into the pocket, which
-you hold open for it with your left thumb and little finger.
-"O dear! the doctor is dead, and cannot be found." Saying
-this, you grasp the gown by the place where the head
-is, and shake it about to show that it is empty. If you like<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
-you can make another oration and hold a dialogue, making
-the doctor resuscitate himself, which is of course done by
-taking the head out of the pocket with the left hand, and
-working it about by the peg.</p>
-
-
-<p class="p6">42. THE FLYING COINS.</p>
-
-<p>Take two eagles, or rather brass imitations, and grind
-them down until they are reduced to half their thickness.
-Do the same with two quarter dollars, and fasten
-them accurately together, so that you will have two coins,
-each having one silver face, and one brass face. Take one
-of them in each hand, showing the silver side of one and the
-brass side of another, and offer to change them without moving
-your arms. Shut your hands and the coins will turn
-over. Then, on opening them again, they will appear to
-have changed from one hand into the other.</p>
-
-
-<p class="p6">43. THE VANISHED HALF-DIME.</p>
-
-<p>Put a little wax on the nail of the middle finger of the
-right hand, and take a half-dime into the palm of the same
-hand. Close the hand, pressing the wax on the coin. Then
-rapidly open it, and the silver piece will adhere to the wax,
-and be quite concealed behind the finger when you hold
-your hand up.</p>
-
-
-<p class="p6">44. THE RESTORED DOCUMENT.</p>
-
-<p>Make a memorandum book, and line the cover with paper
-which has been previously rubbed with a mixture of lamp-black
-and oil. The paper must be loosely affixed, so that it
-can be raised up, and a leaf from the memorandum book
-placed under it. You must also make a flat box, having a
-double opening.</p>
-
-<p>You now take a leaf out of the memorandum book, and
-ask some one to write a sentence, at the same time offering
-him the book to write upon. The pencil with which you
-furnish him is very hard, and he is forced to press upon the
-paper in order to mark. In so doing, the black is transferred
-by the pressure of the pencil from the blackened paper to
-the white leaf that has been placed under it, and of course
-makes an exact copy of the writing. You then give the man
-his document, put the memorandum book in your pocket,
-and go out of the room to fetch your box, which you have
-<em>forgotten</em>. While you are out of the room, you take out the
-leaf from under the black paper, and put it into one side of<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
-the flat box, and shut down the cover that hides it. You
-bring in the box, apologising for your absence, and give the
-box, open at the <em>other</em> side, into the writer's hands. Tell him
-to burn his writing in a candle, and to place the ashes in the
-box. He does so, and closing the box, returns it to you.
-You then flourish about a little with the box, wave it in the
-air, bring it down with a bang on the table, strike it with
-your wand, and then, opening it as at first, you produce the
-duplicate leaf, which the writer acknowledges to be in his
-own hand-writing. If the lamp-black should have come off
-and smeared the paper, you can account for it by observing
-that it is very difficult to get rid of all traces of the burning.</p>
-
-
-<p class="p6">45. THE MAGIC RINGS.</p>
-
-<p>Get a blacksmith to make a number of rings, about six or
-seven inches in diameter, as in the cut. A is made with a
-spring opening on one side, <span class="smcapa">B</span> is a set of two rings forged
-permanently within each other, <span class="smcapa">C</span> is a set of three rings
-formed in the same manner, and <span class="smcapa">D</span> <span class="smcapa">D</span> are two simple rings.
-The rings should be about the thickness of a rather large
-black-lead pencil.</p>
-
-<div class="figright" style="width: 200px;">
-<img src="images/i_031.jpg" width="200" height="237" alt="" />
-</div>
-
-<p>Lay the rings on one another, and they will all appear to be
-separate and distinct: <span class="smcapa">D</span> <span class="smcapa">D</span> should be the uppermost rings,
-then <span class="smcapa">B</span>, then <span class="smcapa">A</span>, and then <span class="smcapa">C</span>. Hand round <span class="smcapa">D</span> for inspection
-and if any more are desired, hand
-round the other <span class="smcapa">D</span>. When returned,
-hang them over your left arm, or grasp
-them in your hand, and tell the company
-that you are going to weave all
-the rings together. You clash them
-together, and after going through some
-complicated movements, bring out <span class="smcapa">B</span>,
-which the spectators will think you
-have just fastened together. Hand
-them round. When they are returned
-mix them all up, and bring out <span class="smcapa">C</span>. Then take <span class="smcapa">A</span> in your
-hand, and passing one of the outer rings of <span class="smcapa">C</span> through the
-opening, you have four rings together. Then add <span class="smcapa">D</span> and
-you have five. Take off <span class="smcapa">D</span> and substitute <span class="smcapa">B</span> which will give
-you six. So you go on weaving them into all kinds of
-fantastic shapes. You must always conceal the joint
-in <span class="smcapa">A</span> with your thumb, and contrive as often as you
-can to have one at least of the rings <span class="smcapa">D</span> at liberty<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
-This is a capital trick, and may be diversified to any
-extent, especially if the number of rings is increased.</p>
-
-
-<p class="p6">46. THE FISH AND INK TRICK.</p>
-
-<p>This is really a first-rate delusion. You bring before
-the spectators a glass vase, full of ink. You dip a ladle
-into it, and pour out some of the ink upon a plate, in order
-to convince the audience that the substance in the vase
-is really ink. You then throw a handkerchief over the
-vase and instantly withdraw it, when the vase is found to
-be filled with pure water, in which a couple of gold fish
-are swimming.</p>
-
-<p>This apparent impossibility is performed as follows. To
-the interior of the vessel is fitted a black silk lining, which
-adheres closely to the sides when pressed by the water,
-and which is withdrawn inside the handkerchief during the
-performance of the trick. The ladle has a hollow handle
-with an opening into the bowl. In the handle is a spoonful
-or so of ink, which runs into the bowl when it is held
-downward, during the act of dipping it into the vase.</p>
-
-
-<p class="p6">47. THE CANNON BALLS.</p>
-
-<p>The performer of this trick borrows a number of hats,
-and places them on the table. He then returns each
-person his hat, and on turning it over, a thirty-two pounder
-cannon ball rolls out.</p>
-
-<div class="figleft" style="width: 220px;">
-<img src="images/i_032.jpg" width="220" height="192" alt="" />
-</div>
-
-<p>The method of performing this delusion is as follows.
-Get a turner to make a number of wooden balls, each the
-size of a thirty-two pounder cannon ball, and let a hole
-be bored in each which will admit the middle finger. The
-balls are arranged hole upwards on a shelf on your table
-on the side opposite to your audience,
-so that the balls are nearly
-level with the top of the table. When
-you take a hat off the table, you slip
-your fore or middle finger into the
-ball just as you would into a thimble,
-and by bending the finger, bring the
-ball into the hat.</p>
-
-<p>Any object may be brought into a
-hat in this manner, a great cabbage, for instance, having
-a hole cut in the <ins title="Transcriber's Note: original reads 'stall'">stalk</ins>.</p>
-
-<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p>
-
-
-<p class="p6">48. THE DIME IN THE BALL OF COTTON.</p>
-
-<p>Get a tinman to make a flat tin tube, which will just
-allow a dime to pass through it. Wind a quantity of
-worsted round it, so as to make it into a ball.</p>
-
-<p>These preliminaries having been accomplished, perform
-any trick that will get a dime out of sight, such as number
-1 or 2. Then tell the spectators that you will bring the
-marked dime into the middle of a ball of worsted. Take
-down the ball from the place where it is lying, drop the
-dime into the tube, and withdraw the tube, leaving the
-dime in the ball. A good squeeze or two will hold it tight,
-and obliterate every mark of the tube. Place the ball in
-a tumbler, take the end of the worsted, and give it to some
-one to unwind. This being done, the dime will be found
-in the very center of the ball, with the end of the worsted
-wrapped tightly round it.</p>
-
-
-<p class="p6">49. THE EGG AND BAG TRICK.</p>
-
-<p>Get a chintz or cloth bag made double,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> and between the
-two bags make six or seven pockets, each of which will
-hold an egg, and have an opening into the bag. Fill the
-pockets with eggs, and you are ready for the performance.</p>
-
-<p>Hold the bag by the place where the eggs are, shake it,
-turn it inside out, and show that there is nothing in it.
-Then tell the spectators, that you are sure there is a hen
-in the bag. Put your head near the mouth of the bag,
-and make a clucking like a hen. You then say "I knew
-I was right, and she has laid an egg." So saying, you
-put your hand into the bag and take out one of the eggs,
-taking care to pretend to grope in one of the corners
-for it.</p>
-
-<p>This is repeated until all the eggs but one are gone.
-You then, after taking out the last egg, say that some
-people think the eggs are not real, but you will convince
-them by ocular inspection. Saying this, you break the
-egg in a saucer with your right hand, and while the people
-are occupied with it, you drop the bag behind your table,
-or hang it on a hook out of sight, and take up another
-exactly like it, into which you have put a hen. "These are
-real eggs," you then say, "and if any one doubts their
-reality, they cannot doubt that this is a real hen." You
-then turn the bag upside down, and shake out the hen.
-If any one wishes to inspect that bag, he can do so without
-being much wiser for it.</p>
-
-<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p>
-
-<p class="p6">50. THE DANCING EGG.</p>
-
-<p>Send for some eggs, and take care to place among them
-one which has been emptied of its contents, and to which
-is fastened a long hair, at the other end of which is tied a
-crooked pin. Borrow a small stick from one of the spectators,
-and as you go behind your table contrive to hook the
-bent pin into your coat, passing it over the stick. Then
-place the egg on an inverted hat, and ask for some music,
-and directly it begins to sound, a slight and imperceptible
-depression or elevation of the stick will cause the egg to
-twist and roll about upon it as if it had life. You must
-be careful to turn gently round now and then, so as apparently
-to vary the distance of the egg from the body.</p>
-
-
-<p class="p6">51. BELL AND SHOT.</p>
-
-<p>Get a wooden bell made, so thick that there is a considerable
-space between the outer and inner surfaces, especially
-on the upper part of the bell.
-A hollow must be cut in this, and the
-handle so made, that when it is at
-rest, it is forced upwards by a spring,
-and draws up the round piece of wood
-to which the clapper chain is attached,
-and closes the aperture, as shown in
-the engraving.</p>
-
-<div class="figleft" style="width: 180px;">
-<img src="images/i_034.jpg" width="180" height="237" alt="" />
-</div>
-
-<p>You have a cardboard measure,
-which is of precisely the same capacity
-as the cavity in the bell, and
-just wide enough to hold a cent.
-Into this you privately put a cent,
-and then fill up the measure with shot, heaping it
-a little, to compensate for the cent. You make up a
-tale about a man going out shooting, and ringing the bell
-of the gunmaker's shop. (You then ring your wooden bell.)
-How the man bought a measure full of shot for a cent,
-(you pour the shot into the bell and back again two or
-three times,) but was so long haggling over three shots,
-that the gunmaker took away the shot, (here you again
-pour the shot into the bell, and by pressing on the handle,
-allow them all to run into the hollow,) and kept the
-cent for his trouble. The man went out of the shop, but
-soon came in again, and rang furiously. (Here you again
-ring the bell which is now apparently empty, and invert<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
-the measure on the table. The cent not being held
-by the finger and thumb, will now fall on the tablecloth.)
-Then finish the story with an account of the manner in
-which the man got back his cent. When you have
-finished, invert the bell over the empty measure, and on
-pressing the handle, the shots will refill it. Do not touch
-it until you have done another trick or two, and then, when
-you put the bell aside, ring it again, and remark that the
-purchaser was a silly fellow ofter all, for here are his shots
-in his measure.</p>
-
-
-<p class="p6">52. THE BURNED HANDKERCHIEF RESTORED.</p>
-
-<p>Get a tinman to make a double canister, such as is
-shown in the cut, with an opening at each end. This
-must so slide within a tin tube, that either end can be
-concealed within it alternately, as seen in the engraving,
-where the end <span class="smcapa">A</span> is shown, and <span class="smcapa">B</span> is concealed.
-In this position it looks like an ordinary
-canister. The interior is divided into two
-parts. Into <span class="smcapa">B</span> put a piece of cambric made
-to look like a handkerchief.</p>
-
-<div class="figright" style="width: 123px;">
-<img src="images/i_035.jpg" width="123" height="190" alt="" />
-</div>
-
-<p>Borrow a cambric handkerchief, and say,
-"Now ladies and gentlemen, I shall burn
-this handkerchief to ashes, place them in this
-canister," (so saying you put it into <span class="smcapa">A</span>,) "and
-when I have uttered a spell, it will be restored
-perfectly whole. Will the owner say
-what mark it has?" While the audience are looking towards
-the owner, you turn the canister over, and push up
-the canister until the shoulder of <span class="smcapa">B</span> is on a level with the
-top of the tube. When the mark has been declared, you
-open <span class="smcapa">B</span>, take out the cambric, and pretend to verify the
-mark. You then put it into a candle flame, and when it
-has burned entirely to ashes, put the ashes into <span class="smcapa">B</span>, shut it up,
-and rapidly reverse it as you turn round to your audience,
-so that <span class="smcapa">A</span> is uppermost again. Then utter any nonsense
-you like, open <span class="smcapa">A</span>, and take out the handkerchief uninjured.
-It rather adds to the trick if you drop a little eau de cologne
-into <span class="smcapa">A</span> before commencing.</p>
-
-
-<p class="p6">53. THE FIRE EATER.</p>
-
-<p>If the young conjuror is desirous of appearing in the
-character of a fire-eater, it is very easily managed. He<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
-must prepare a piece of thick string, by soaking it in a
-solution of niter, and then drying it. He cuts off a piece
-about an inch in length, lights one end, and wraps it up
-in a piece of tow which he holds in his left hand. The
-trifling smoke will be concealed by a huge bundle of loose
-tow also carried in the left hand.</p>
-
-<p>He takes a handful of tow in his right hand, puts it into
-his mouth, chews it up, and appears to swallow it. He
-then takes another handful, and with it the piece in which
-is the string. As he puts this into his mouth, he takes out
-the piece which he has already chewed. By taking breath
-through the nostrils, and breathing it out through the
-mouth, smoke begins to issue forth, and the whole interior
-of the mouth is soon lighted up with a glow. When the
-mouth is shut, and the tow pressed together, the fire goes
-out, except the piece of prepared string. More tow is then
-taken into the mouth, and treated in the same manner.</p>
-
-
-<p class="p6">64. THE EGG-BOX.</p>
-
-<div class="figleft" style="width: 210px;">
-<img src="images/i_036.jpg" width="210" height="154" alt="" />
-</div>
-
-<p><span class="smcapa">A</span>, the egg-box; <span class="smcapa">B</span>, the upper shell; <span class="smcapa">C</span>, the inner shell,
-covered over with the shell of an egg; <span class="smcapa">D</span>, the lower part
-of the box. To do the trick, call for an egg, then bid all the
-by-standers look at it, and see that
-it is a real egg, set the box on the
-table, take off the upper part, with
-your fore finger and thumb, then
-placing the egg in the box, say,
-"You see it fairly in," and uncovering
-it again, likewise say, "You
-shall see me take it out, and put it
-in my pocket in your sight;" open
-your box again and say, "There is nothing," close your hand
-about the middle of your box, and taking <span class="smcapa">B</span> by the bottom,
-say, "There is the egg again," which it appears to the spectators
-to be, so clapping that in again, and taking the lid of
-<span class="smcapa">C</span> in your finger and thumb, say, "There it is gone again."</p>
-
-
-<p class="p6">55. THE GLOBE-BOX.</p>
-
-<p>This trick is not inferior to the best that is shown with
-boxes. It is done with a box made of four pieces, and a
-ball as big as may be conveniently contained therein; the
-ball serves as the egg does in the egg-box, to deceive the<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
-hand and eyes of spectators. This ball, made of wood or
-ivory, is thrown out of the box upon the table, for every
-one to see that it is substantial; then put the ball into the
-box, which close up with all the pieces one within another;
-remove the upper shell with your fore finger and thumb,
-and there will appear another of a different color, red, blue,
-yellow, or any other color you may fancy; this will seem
-to be another ball, though, in fact, it is no more than a shell
-of wood, ingeniously turned and fitted to the box, as you
-may perceive by the cuts. <span class="smcapa">L</span> is the outer shell of the globe,
-taken off the figure <span class="smcapa">M</span>, the top of which represents the ball;
-<span class="smcapa">N</span> is an inner shell; <span class="smcapa">O</span>, the cover of the same; <span class="smcapa">P</span> another
-inner shell; <span class="smcapa">Q</span>, the cover of the same; <span class="smcapa">R</span>, a third shell; <span class="smcapa">S</span>,
-that which covers it. These globes may be made with more
-or less varieties, according to the desire of the practitioner.</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_037.jpg" width="500" height="278" alt="" />
-</div>
-
-
-<p class="p6">56. THE COFFEE AND HANDKERCHIEF TRICKS.</p>
-
-<p>One of the greatest means of wonder-working is that of
-<em>ingenious contrivance</em>. We will illustrate this by two popular
-feats. A number of handkerchiefs taken from the audience
-by more than one popular performer, were placed in a small
-washing tub, into which water was poured, and they were
-washed for a few minutes. They were then placed in a vessel
-like the figure (*) on the next page, and immediately
-afterwards the performer said to the persons in front: "I
-will give you these;" and taking off the top, when he was
-expected to throw out the wet handkerchiefs, all that fell
-was a number of flowers. He now brought out a box, which
-he opened, and showed it to be empty; then shutting it,
-and uttering a few cabalistic words, he opened it again,<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
-and there were the handkerchiefs, all dry, folded, and
-scented, which he distributed to their respective claimants.</p>
-
-<p>Another experiment of a popular performer was called
-"coffee for the million." Producing a vessel like the diagram
-<span class="smcapa">A</span>, the <ins title="Transcriber's Note: original reads 'performed'">performer</ins> filled it with unground coffee, and
-placing it under a cover <span class="smcapa">B</span>, he said, "There, when you have
-done that, let it simmer for three quarters of an hour; but,
-perhaps, you will not like to wait so long; here then it is;"
-and on removing the cover, the vessel appeared full of hot
-liquid coffee. In another vessel of the same kind he obtained
-lump-sugar from rape-seed; and in a third, warm
-milk from horse-beans; and pouring out the coffee into
-cups, sent them round to regale his auditory, amidst their
-loud and approving shouts at so great a transformation.</p>
-
-<div class="figcenter">
-<img src="images/i_038.jpg" width="495" height="450" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p>
-
-<div class="figleft" style="width: 105px;">
-<img src="images/i_039.jpg" width="105" height="250" alt="" />
-</div>
-
-<p>These feats are the result of considerable ingenuity. It
-is probable that the devices employed would not readily
-occur to spectators in general, while they would utterly
-escape those whose object is merely amusement, and who,
-if they thought at all, would be likely to describe the result
-as supernatural. We proceed, then, to the unraveling
-of the mystery. Let it be observed, in reference to the
-first experiment, that a number of handkerchiefs are
-collected in the early part of the evening for various
-illusions, and that many of them appear for a time
-on the performer's table. Provided with a collection of
-these articles, from the handsome silk handkerchief to one
-trimmed with lace, used by a fashionable lady, he could
-easily substitute his own of the same kind for those of his
-auditory, as the curtain falls, according to the arrangements
-of the evening, between the collection of the handkerchiefs
-and the subsequent processes. His own handkerchiefs, therefore,
-are washed and placed in the
-vase already described; and the so-called
-change into flowers is nothing
-more than the retention of the handkerchiefs
-in the lower part of the apparatus,
-which the figure illustrates,
-while the upper part holds the flowers
-till they are scattered among the spectators.
-Meanwhile, all that is required
-is done to their handkerchiefs. It is
-not absolutely necessary that they
-should be washed; for folding, pressing,
-and a little eau-de-Cologne, would
-complete the preparation; but granting
-that they are washed, there is
-still no difficulty, though this mystifies
-the spectators, who have the idea that
-drying is a long affair; for it may be
-effected in a minute or two by a machine
-that is readily obtained. The
-box brought out has them deposited
-in it, but as it is double, one interior
-is first shown, which, of course, contains
-nothing, for the inner drawer
-holding the handkerchiefs remains in the case; but when a
-few sounds are uttered, and the professor touches a secret
-spring behind, which disengages the inner box, he draws it
-out with the outer one, and presents the handkerchiefs to
-the audience. In the diagram <span class="smcapa">A</span>, the box is shown as empty.
-At <span class="smcapa">B</span>, we have a representation of the box containing the
-handkerchiefs. It is only necessary to add that the box is
-very nicely made; the part within the other drawn out to
-the end, defies detection. <em>See Trick No.</em> 65.</p>
-
-<p>The preparation of coffee, milk, and sugar, may be easily
-explained; for if the vessels containing respectively the<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
-unground coffee, the rape-seed, and the horse-beans, always
-placed under a cover, be put on a part of the table having
-a circular trap-door&mdash;and for this there is full provision in
-the cover of the table extending to the floor&mdash;a confederate
-may readily substitute one for the other.</p>
-
-<div class="figcenter" style="width: 560px;">
-<img src="images/i_040a.jpg" width="560" height="404" alt="" />
-</div>
-
-<div class="figcenter" style="width: 332px;">
-<img src="images/i_040b.jpg" width="332" height="400" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p>
-
-
-<p class="p6">57. THE MAGIC FUNNEL.</p>
-
-<p>This favorite and simple trick is carried out by the assistance
-of a double funnel, that is to say, one funnel soldered
-into the other so as to leave a space between them for
-water, and communicating with the hollow of the funnel by
-a hole in the tube. Our drawing will assist the explanation.</p>
-
-<div class="imagl">
-<div class="containerl">
-<p><img src="images/i_041.jpg" width="120" height="109" alt="" class="alignright" />
-<span class="smcapa">S</span> <span class="smcapa">S</span>, space for water between the funnels, which is
-filled by stopping end of tube <span class="smcapa">T</span> with the finger: the
-water flows in and out at <span class="smcapa">K</span>.</p>
-
-<p><span class="smcapa">N</span>, a pin-hole at the top, which is covered with the
-finger. When the funnel is prepared for use, every
-time the finger is withdrawn water flows out from tube <span class="smcapa">T</span>.</p>
- </div>
-</div>
-
-<p>The funnel is always prepared before the
-audience by pouring in water, occasionally stopping the
-end of the pipe <span class="smcapa">T</span> with the finger, so that the inner space
-may be filled; whilst this is being effected the conjuror
-must fill up the time with a philosophical disquisition on
-funnels, all ending, however, in the fact, that if there is a
-hole in a vessel the water will flow out. One of the audience
-is now requested to step up to the table, and you
-proceed to draw water from his hair, ears, eyes, &amp;c., as
-every time the finger is withdrawn from the hole <span class="smcapa">N</span> the
-pressure of the air is admitted, and the water flows out.</p>
-
-
-<p class="p6">58. THE MAGIC BOTTLE.</p>
-
-<p>This trick, if well managed, is one of the most wonderful
-that can be performed in a drawing-room without
-apparatus; but it requires dexterity at the conclusion.</p>
-
-<p>The person performing the trick offers to pour from a
-common wine bottle, port wine, sherry, milk, and champagne
-in succession, and in any order.</p>
-
-<p>To accomplish the trick, you must make solutions of the
-following chemicals, and label the bottles with numbers,
-thus:</p>
-
-<p>1. A saturated solution of the sulphocyanate of potash.</p>
-
-<p>2. A diluted solution of the above&mdash;one part of the solution
-to four of water.</p>
-
-<p>3. A saturated solution of nitrate of lead.</p>
-
-<p>4. A saturated solution of perchloride of iron.</p>
-
-<p>5. A saturated solution of bicarbonate of potash.</p>
-
-<p>6. Sulphuric acid.</p>
-
-<p>7. A clear solution of gum-arabic.</p>
-
-<p><span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span></p>
-
-<p>Procure a champagne bottle, and wash it out well, then
-pour three teaspoonfuls of No. 4 into it. As the quantity
-is very small, it will not be observed, especially if you are
-quick in your movements. Pour some distilled or rain
-water into a common water-bottle or jug, and add a tablespoonful
-of No. 7 to it; then set it aside ready for use.</p>
-
-<p>Provide some wine glasses of four different patterns,
-and into one pattern pour the solution marked No. 1, into
-another that marked No. 2, and so on for Nos. 3 and 5.
-Return the solutions to their respective bottles, and arrange
-the glasses on a small tray, remembering the solutions that
-were poured into each pattern.</p>
-
-<p>Everything being ready, take the champagne bottle that
-you have prepared, from two or three others, and holding it
-up to show the company that it is clear and empty, you
-must desire some person to hand you the water bottle or
-jug, and then fill up the bottle with the water.</p>
-
-<p>Pour some of the contents of the bottle into an unprepared
-glass, in order to show that it is water; then say,
-"change to champagne," and pour the liquid from the bottle
-into one of the glasses rinsed with No. 5; then pour into a
-glass rinsed with No. 1, and it will change to port wine;
-but if poured into No. 3, it will change to milk, and if into
-No. 2, it will produce sherry. Be careful in pouring the
-fluid from the bottle, not to hold it high above the glasses,
-but to keep the mouth of it close to the edges of the glasses,
-otherwise persons will observe that it undergoes change of
-color after it is poured into the wine glasses, and on this
-account the glasses should be held rather high.</p>
-
-<p>∵ As the solutions used in the above trick are deleterious,
-they must not be left about in the way of children,
-and of course the fluid in the wine glasses must not even
-be tasted; but if any of the company wish to drink the
-wines you have made, then the tray must be adroitly
-exchanged for another with the proper wines placed on it.</p>
-
-<p>This is an excellent parlor trick if well managed, and is
-not difficult to comprehend.</p>
-
-
-<p class="p6">59. THE BOTTLE TRICK.</p>
-
-<p>The chemical method of performing this delusion has
-been already explained, the mechanical one will be easily
-understood from the "Magic Funnel Trick." It is usually
-carried out with a bottle, the body of which is constructed<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
-of tin, the neck of glass; the body is divided into sundry
-compartments, three of which are sufficient, with a center
-one, for ordinary use: by cutting the bottle in two, the
-arrangement will be understood as shown beneath.</p>
-
-<div class="container">
-<div class="blockquotea"><p>O, center of bottle, from
-which milk may be poured.
-<img src="images/i_043.jpg" width="107" height="100" alt="" class="aligncenter" />
-1, 2, 3, compartments holding
-port, sherry, and alcohol.</p></div>
-</div>
-
-<hr class="r20" />
-
-<p>It must be understood that little tubes from each compartment
-terminate in the neck, and they are filled with their
-respective liquids by the pear-shaped vessel already explained.
-Each compartment is perforated with a little hole
-at the top, so that when the fingers are placed over them
-(as on the holes of a flute) the liquid cannot run out on
-inverting the bottle.</p>
-
-<p>On showing the trick, the performer alludes to his wonderful
-bottle full of the milk of human kindness, which he
-pours out carefully from the center compartment, keeping
-the three holes tight with his fingers, the center being filled
-and emptied in the ordinary manner; after pouring out and
-handing round a few glasses of milk, he may pour the rest
-into a jug, in the bottom of which some milk has been
-already placed, so that the company may believe the bottle
-was originally filled with it; he may now wash out the
-bottle (that is to say, the center compartment), still keeping
-his fingers over the holes, and for the sake of a little
-mystification put the bottle upright under a hat, commanding
-the bottle to change its temperance habits. He may
-now ask the company to call for port, sherry, gin, brandy,
-noyeau, &amp;c.</p>
-
-<p>The sherry and port are poured from their compartments,
-the spirit supplies the others, as a number of wine-glasses
-can be prepared with drops of burnt sugar for brandy, syrup
-and juniper for gin. A small drop of oil of almonds or
-other flavoring materials may be used for the different
-liquors. A thick wine-glass must be employed, holding a
-very small quantity of fluid.</p>
-
-<p>A magic coffee-pot may be arranged in a similar manner,
-with three compartments to hold hot tea, coffee, and punch;
-the middle compartment may hold the tea and coffee berries,
-into which the assistant may pour by mistake the contents
-of the bottle labeled "<em>Ink</em>." The performer, after scratching<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
-his head, as if in deep thought, will take a lump of
-whiting and powder up, placing it in the center compartment,
-which can be fastened up with a cork or proper lid.
-Then, if the holes from the compartments terminate in the
-handle and the pipes in the spout, when the fingers are
-removed the three liquids pour out separately, as in the
-Bottle Trick. This mode of showing the trick is good,
-because, however large your audience, you can provide
-everybody with something to drink, and it is displayed with
-great effect by Signor Blitz, and Wyman.</p>
-
-
-<p class="p6">60. THE MAGIC QUARTER.</p>
-
-<p>Procure a small round box, about one inch deep, to which
-fit accurately a quarter or cent: line the box with any dark
-paper (crimson, for instance), and paste some of it on one
-side of the coin, so that when it lies in the lower part of
-the box it shall appear like the real box. This quarter or
-cent is concealed in the hand, and before performing the
-trick, it will heighten the effect if a number of single quarters
-or cents are hidden about the room, in places known to
-yourself. Having borrowed a coin, you dexterously place
-this on one side, and substitute the prepared one; and putting
-it gravely into the box, ask all to be sure they have
-seen it enter: when the lid is on, shake up and down&mdash;the
-noise betrays the metal; now command it to disappear,
-and shake laterally from side to side; as the quarter is
-made to fit accurately, no noise is apparent&mdash;the coin seems
-to be gone; in proof of which you open the box, and display
-the interior; the paper on the coin conceals it, whilst
-you direct the audience to look into a book, or a pair of
-slippers, for the missing quarter; the prepared coin can be
-slipped out, and the box handed round for examination, in
-which, of course, nothing will be found. This trick may be
-repeated two or three times with the greatest success, and
-is so simple that nobody guesses the manner of performance.</p>
-
-
-<p class="p6">61. TO CHANGE A DIME TO A QUARTER.</p>
-
-<p>This is quite a simple parlor trick, but when performed
-with dexterity is calculated to produce much astonishment
-at an evening party. In fact, it surprises on account of
-its very simplicity. Procure two pieces of marbled paper
-about seven inches square, and having put the marble backs
-of the paper together, cut them the shape of diagram<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
-Fig. 1. Be very careful to have them exactly the same size, as
-the success of the trick depends in a great measure upon
-the regularity of the paper. After cutting the paper in the
-manner described, place a dime in the center of one of the
-pieces at the place marked <span class="smcapa">A</span>, then fold it carefully over at
-the crease on the side marked <span class="smcapa">B</span>, and also again at the side
-marked <span class="smcapa">C</span>. When you have done this turn down the end
-marked <span class="smcapa">D</span> upon the center <span class="smcapa">A</span>, and again fold over on <span class="smcapa">E</span>.
-When this is accomplished, you will discover that you
-have formed a small parcel the same shape as Fig. 2, with a
-dime in the center. You must then place a quarter of a dollar
-in the center of the other piece of paper, and fold it up
-exactly the same size and shape as the first piece. When
-you have done this, gum the two parcels together at the
-back of the ends marked <span class="smcapa">F</span>, in Fig. 2, and the sides will be
-so even that both parcels will appear as one. You can then
-open the side of the paper containing the dime and show
-it to your audience, at the same time informing them that
-you are going to open a mint on a small plan, and coin a
-quarter from a dime. Having done this, mutter some cabalistic
-words and dexterously turn over the side containing
-the quarter, and upon opening the paper, to the astonishment
-of the company, instead of a dime they will behold
-a genuine quarter. I have seen much merriment created
-by this excellent feat.</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_045.jpg" width="500" height="334" alt="" />
-</div>
-
-
-<p class="p6">62. DESCRIPTION OF THE MAGICIAN'S TABLE.</p>
-
-<p>When a secret confederate is required, have a table four
-and a half feet long, two feet eight inches high, two feet
-nine inches wide, with a curtain round it, twenty-two inches<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
-deep. In the top of this table are several secret square
-holes, of different sizes, from three to five inches across;
-these having covers which exactly fit, and hung upon concealed
-hinges, so that they may be let down; but when
-lying flat, the top of the table appears to present a perfect
-surface. Under this surface are buttons, which prevent
-those lids from falling down when not made use of. Under
-the top of the table is fastened a box, or drawer, open at
-the top, and at the side which is farthest from the spectators.
-This box is about twenty inches deep, and concealed
-by the curtain; and in this box is placed the secret agent
-who assists the performer.</p>
-
-
-<p class="p6">63. WYMAN'S GUN TRICK.</p>
-
-<p>Having provided yourself with a fowling-piece, permit
-any person to load it, retaining for yourself the privilege
-of putting in the ball, to the evident satisfaction of the
-company, but instead of which you must provide yourself
-with an artificial one made of black lead, which may be
-easily concealed between your fingers, and retain the real
-ball in your possession, producing it after the gun has been
-discharged; and a mark having been previously put upon
-it, it will instantly be acknowledged. This trick is quite
-simple, as the artificial ball is easily reduced to a powder
-on the application of the ramrod; besides the smallness of
-the balls preclude all discovery of the deception.</p>
-
-
-<p class="p6">64. THE HATCHED BIRD.</p>
-
-<p>Separate an egg in the middle as nearly as possible,
-empty it, and then, with a fine piece of paper and a little
-glue, join the two halves together, having first put a live
-canary bird inside it, which will continue unhurt in it for
-some time, provided you make a small pinhole in the shell to
-supply the bird with air; have, also, a whole egg in readiness.
-Present the two eggs for one to be chosen; put the
-egg, which contains the bird, next to the person who is to
-choose, and for this purpose be sure to select a lady; she
-naturally chooses the nearest to her, because, having no
-idea of the trick to be performed, there, is no apparent reason
-to take the further one; at any rate, if the wrong one
-be taken, you do not fail in the trick, for you break the egg,
-and say, "You see that this egg is fair and fresh madam;<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
-so you would have found the other, if you had chosen it.
-Now, do you choose to find in it a mouse, or a canary bird?"
-She naturally declares for the bird; nevertheless, if she
-ask for the mouse, there are means to escape; you ask the
-same question of several ladies, and gather the majority of
-votes, which, in all probability, will be in favour of the bird
-which you then produce.</p>
-
-
-<p class="p6">65. THE APPLE AND ORANGE TRICK.</p>
-
-<div class="figcenter" style="width: 560px;">
-<img src="images/i_047.jpg" width="560" height="466" alt="" />
-</div>
-
-<p>Have a box made with a drawer fitted to it as in the
-figure No. 2, marked A. The back part of the drawer B,
-which slides into the box A, has no end piece; then have
-another drawer made, marked C, open at the top, that will
-fit the drawer B rather easy, when put into it the sides and
-ends of the drawer C, made of rather thin wood, with their
-end and sides sloping towards the sides of the drawer B,
-so that when it is in the drawer B, it cannot be discovered
-without minute examination; then push them both into the<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
-box A, and have a small hole bored through the top of the
-box A, in which you put a small pin with a flat top, as
-marked D in the plate; this pin is so long that it will just
-catch drawer C, inside of the box A, to prevent it from
-coming out with the drawer B, when not necessary to be
-exposed. It is now ready to perform experiments with.
-You are aware, as has already been described, that the
-drawer B is open at the inner end, consequently, when that
-with the loose drawer C is pushed into the box A, and you
-put the pin D in its place, the drawer B may be pulled out,
-or pushed back, without interruption; but if you remove
-the pin out of the box, C will come out inside of the drawer
-B without the trick being discovered; it being understood
-that the false drawer C is invariably concealed from the
-spectator. When the drawer C is in the box A, and the
-drawer B has been drawn out, the end of the drawer C will
-then appear as if it was the end of the drawer B as represented
-in the plate. You can then show it to the company,
-and you may also measure the inside of the drawer B, and
-the outside of the box A, and convince them that, apparently,
-nothing is concealed. Care must be taken in pulling
-the drawer C out alone, that the drawer C will not slip from
-the bottom of the drawer B, which otherwise would prevent
-it from being pushed back. A little catch may be affixed
-in the bottom of the drawer C, so as to prevent the same
-from slipping out of its place.</p>
-
-<p><em>To Perform the Experiment.</em>&mdash;Fill, privately, the drawer C
-with fruit, close the drawer B, and exhibit it; then pull the
-drawer B out, alone, as represented in the plate, figure 2,
-which will convince the spectators that it is empty. When
-you have satisfied them on that point, slide back the drawer
-B, then place the left hand on the secret pin D, and take it
-out; then with the right hand pull out the drawer B, with
-the secret drawer C, which is full of fruit, to the great
-astonishment of the company; take the fruit out and present
-it to the spectators. This concludes the performance.</p>
-
-
-<p class="p6">66. ENCHANTED COIN, AS PERFORMED BY PROFESSOR WYMAN.</p>
-
-<p>Put fifteen pieces of money into a hat, take out five and
-mysteriously pass them back into the hat and it covered.
-To do this trick you must have in your left hand a plate,
-and under the plate and in your left hand have previously<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
-placed five pieces of coin such as you will have placed in
-the hat; after you have counted the fifteen pieces into the
-hat, you then ask the person whom you have selected from
-the audience to assist you in performing the tricks, to count
-the money out of the hat into the plate, to see that there is
-no mistake, after which you turn the money out of the plate
-into the hat, and at the same time let fall the five pieces
-you have secreted in your hand under the plate; you then
-ask him to draw out five pieces, which will still leave fifteen,
-you take the five that is drawn out and place them in a
-drawer (see the orange and apple trick), then you go
-through the magic words, <em>Presto</em>, <em>Pacillo</em>, <em>Pass</em>; you then
-open the drawer, (after placing your finger on the spring to
-hold the inside drawer in which the five pieces were placed,)
-and show the audience that the five pieces are gone; you
-then tell him to get the hat and see how many pieces are in
-it; he gets the hat, and to the surprise of all, he counts
-the original number, fifteen.</p>
-
-
-<p class="p6">67. MYSTERIOUS COIN, OR HOW TO MAKE DOLLARS PASS THROUGH A
-WINE GLASS, A CHINA PLATE, A TABLE, AND FALL INTO THE HAND.</p>
-
-<p>After performing trick 40, (p. 27,) you may address the
-company again, and say: "I will show you the nature of
-this trick, if you will only look sharp enough to see how
-it is done. Therefore, watch closely, and if you have <em>very</em>
-penetrating eyes, you may see the money go through
-this glass and fall upon the plate, and from that through
-the table into my hand. I will do it deliberately, so that
-you may have every opportunity of detecting the deception,
-which will make you as wise as myself."</p>
-
-<p>Now you take a plate and place it on the table, place
-upon that a wine glass upside down, and take the empty
-leathern case and hold it before the audience, to convince
-them that nothing is inside. Place it, in a careless manner,
-over the riveted money, which you had before put a
-little aside from the view of the spectators. Place a
-small ball on the bottom of the glass, then take the case
-with the concealed coins therein, and place them over
-the ball, which will be secreted therein. Now tell the
-company to keep a sharp look out, and they may discover
-the whole process. Take the loose coins and throw them on
-the table; bring them again under the table, and exchange
-them for a ball previously deposited on the shelf, and lay<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
-the same upon the table. Remove the case alone, which,
-of course, will leave the money exposed on the top of the
-glass. "Now," says the performer, "I presume that you have
-discovered the whole mystery; but if not, I will give you
-another opportunity, and will return the money whence it
-came." Cover the money with the case, and bring the ball
-which you previously exposed to the spectator under the
-table, and exchange it for the money on the shelf, which
-you again toss upon the table. Remove the case with the
-coins concealed therein, and the ball will appear on the top
-of the glass, as at first. Our performer makes the following
-concluding speech: "Now, as you have, I suppose, discovered
-the whole mystery, I hope, ladies, that <em>you</em> will not
-set up an opposition line against me; since, if you do, you
-will very seriously injure my pockets, and, of course,
-<em>attract</em> all the company, and leave me in an empty house
-with empty pockets."</p>
-
-
-<p class="p6">68. PROFESSOR WYMAN'S GREAT TRICK OF THE EGYPTIAN FLUIDS, OR
-IMPOSSIBILITIES ACCOMPLISHED.</p>
-
-<p>Mix wine and water together, then separate them by means
-of a red and white tape. To perform this trick you must
-have three covers (tin) made, of an obeliatic form, terminating
-at about one inch and a half on top, upon the top of two
-of these covers is soldered a piece of thick brass, copper,
-or lead, say about a quarter of an inch in thickness, in the
-center make a hole about the same in diameter, about two
-inches from the top, and on the inside will be a partition or
-floor, through the center of which make a small a hole, (this
-partition must be water tight.) Previous to performing the
-trick fill the two covers (the tops of them) one with water,
-the other with wine, then cork them well which excludes the
-air, consequently keeps the liquid from coming out at the
-small hole made in the center of the partition, then take two
-sound tumblers and put about as much water in one as there
-is water in one of the covers, place the cover over that, the
-tumbler that has the water, then put about the same quantity
-of wine in the other tumbler, as there is in the other cover,
-and place that cover over it; now have a tumbler with a hole
-through the center of the bottom (made with a drill), have
-this hole closed with a long peg from the under side, then
-through your trick table have a small auger hole made to<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
-admit the peg, this tumbler must also be covered with a
-similar cover in external appearance; you then take the covers
-off the tumblers containing water and wine, and in presence
-of the audience mix the two liquids, then pour both
-into the tumbler that has the hole through the bottom, place
-the tumblers back and cover them over, now lift the tumbler
-up containing the mixture that the audience may see it,
-(keeping your hand in front of the peg,) place it back with
-peg through the hole, cover it over, then take a red and
-white tape string that has previously been fastened to a
-small stick, and place it in the top of the cover that is over
-the false tumbler, then take the end of the red tape, which
-has a small wire to it, and after removing the cork from the
-cover over the wine, drop the end of the wire into the whole;
-the air is then let into the wine, which lets it run down into
-the tumblers underneath, do likewise with the white tape,
-then reach your hand under the table and draw the peg out
-of the tumbler and let the mixture run down into a tumbler
-or cup secreted there for that purpose; now remove the
-covers and show the audience that the tumbler you poured
-the mixture into is empty, and the one you poured it out
-of contains it again, which will greatly astonish them.
-That accomplished magician, Professor Wyman, has astonished
-applauding and delighted thousands in every city
-in the United States and Canada, by the performance of
-this wonderful experiment.</p>
-
-
-<p class="p6">69. THE MAGICIAN'S SNOW BALL. ONE OF THE FAKER OF AVA'S FEATS.</p>
-
-<p>Take a cup and fill it with rice, then change it into a handkerchief.
-To do this trick you have two cups (tin) made
-to fit one within the other, but let the outside cup be about
-two inches deeper than the inside one, let the rims be turned
-square down all round, but let that of the inside cup be a
-trifle larger than the outside one, so that when the tin cover
-(which you must also have) is put over them it will fit
-sufficiently tight to lift out the inside cup when it is taken
-off. Previous to performing this trick you must place in the
-bottom of the deep cup a white pocket handkerchief, then
-place the other cup in it, after which bring it out in presence
-of the audience, then fill the inside cup (which to the
-audience appears to be the only cup) with rice, place the
-cover over it, after which repeat the mystic words <em>Presto</em>,
-<em>Pacillo</em>, <em>Pass</em>, then remove the cover and the inside cup will<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
-have stuck to it and be concealed from view, now take out
-the handkerchief, and it will greatly astonish those who see
-it.</p>
-
-
-<p class="p6">70. THE MAGNETIZED CANE.</p>
-
-<div class="figleft" style="width: 185px;">
-<img src="images/i_052.jpg" width="185" height="250" alt="" />
-</div>
-
-<p>Is a very surprising little fancy, and is calculated to
-create much astonishment in
-the parlor or drawing room.
-To perform this trick, take a
-piece of black silk thread or
-horse hair, about two feet
-long, and fasten to each end
-of the same bent hooks of a
-similar color. When unobserved,
-fasten the hooks in
-the back part of your pantaloon-legs,
-about two inches
-below the bend of the knees.
-Then place the cane (it should
-be a dark one and not too
-heavy), within the inner part
-of the thread, as represented
-in the engraving, and by a
-simple movement of the legs,
-you can make the cane dance about, and perform a great
-variety of fantastic movements. At night your audience
-cannot perceive the thread, and apparently the cane will
-have no support whatever. The performer should inform
-the company before commencing this trick, that he intends
-to magnetize the cane, and by moving his hands as professors
-of magnetism do, the motion of the legs will not be
-noticed.</p>
-
-
-<p class="p6">71. PROFESSOR WYMAN'S MODE OF PERFORMING THE EGG BAG TRICK.</p>
-
-<p>Take a bag and exhibit it to the audience, turn the bag inside
-out, then back again, after which take several eggs out
-of it. To perform this trick, have you a bag about a half
-yard wide, and about five eighths deep, made of black cambric,
-then take strips of the same cloth about three inches
-wide and sew them on each side of the strip lengthwise of
-the bag, these are called cells, it is in these that the eggs
-are placed; let the end of the cells be closed at the mouth
-of the large bag, so that the mouth of the cells will be<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
-the reverse of that of the large bag, these are filled with
-eggs made of wood, with the exception of one or two
-natural eggs, which you take out first, and break, to convince
-the audience that they are genuine. When you turn
-the bag you keep these cells next to you, and as the large
-bag is turned upside down, the eggs are in the bottom of
-the cells at the mouth of the large bag. The performer will
-then catch the bag just above the eggs, and give it a few
-wraps across the other hand, to convince the audience that
-there is nothing in it, after which he turns the bag again
-and takes out several eggs, which to the audience is a great
-mystery.</p>
-
-<hr class="tb" />
-
-<p>In this account of conjuring, I have purposely avoided
-such tricks as require expensive apparatus. Such apparatus
-is either entirely beyond a boy's reach, or at all events
-he ought not to be encouraged in the notion of spending
-much money on objects of no real use. A boy of any ingenuity
-will make the greater part of the apparatus himself,
-or at least he can do the painting and polishing of his
-machinery. I have mentioned no machinery that need cost
-more than a dollar at the outside, and not that, if a boy is
-acquainted with the use of tools. It has also been my
-especial care to introduce only such experiments as are
-adapted for performance at the parlor or drawing-room table
-or fireside, and by imparting interesting facts, to stimulate
-the young experimentalist to inquire into the laws that
-regulate them; by aiding him to acquire dexterity of practice,
-to smoothe the road to the development of principles;
-and, above all, to enable him to escape an imputation which
-every boy of spirit would consider the depth of disgrace&mdash;that
-of being</p>
-
-<p class="p7">"No Conjuror!"</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p>
-
-
-
-
-<h2><a name="TRICKS_AND_DECEPTIONS_WITH_CARDS" id="TRICKS_AND_DECEPTIONS_WITH_CARDS"></a>TRICKS WITH CARDS.</h2>
-
-
-<p>Although proficiency in games with cards, is, in our
-opinion, a most pernicious accomplishment for youth, and
-one which cannot be too severely reprobated, we do not
-consider <span class="smcapa">SLEIGHT-OF-HAND TRICKS</span> with a pack of cards, at
-all objectionable, but rather a source of much harmless
-amusement; and, under this impression, we do not hesitate
-to insert the following series of excellent deceptions and
-sleight-of-hand tricks.</p>
-
-<p>Playing cards are believed to have been invented in
-Spain as early as the fourteenth century; for, in 1378, John
-the First, king of Castile, forbade card-playing in his dominions,
-in an edict which is anterior to any similar
-legislative measure in other parts of Europe. The figures
-upon the cards themselves, add to the strength of the
-supposition; for the suits answering to those of spades
-and clubs have not the same inverted heart and trefoil
-shape which ours of the present day display, but <em>espadas</em>,
-or swords, and <em>bastos</em>, or cudgels, or clubs; so that in fact
-we retain their names, though we have altered the figures.
-At the present time, too, cards are a favorite diversion of
-the Spaniards, and the monopoly of selling them is vested
-in the hands of the sovereign.</p>
-
-<p>In the reign of Henry the Seventh, card-playing was
-a very fashionable court amusement in England. The
-cards then used, differed materially in their figures from
-those now in vogue, as instead of clubs, spades, diamonds,
-and hearts, they had rabbits, pinks, roses, and the flowers
-called columbines, upon them; as also bells, hearts, leaves,
-acorns, deer, &amp;c. Let us now turn to the tricks that
-can be played with cards.</p>
-
-<p>In accordance with my rule, I shall lay the principal
-stress on card tricks that require no apparatus, and may
-be performed with ordinary cards.</p>
-
-<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span></p>
-
-
-<p class="p6">1. TO MAKE THE PASS.</p>
-
-<p>This is a necessary beginning for card tricks. "Making
-the pass," is the technical term for shifting either the top
-or the bottom card to any place in the pack that you like.
-It is almost impossible to describe it, and I can only say
-that it will be learned better in five minutes from a friend,
-than in as many hours from a book. As, however, a friend
-is not always to be found who can perform the pass,
-I will endeavor to describe it.</p>
-
-<div class="figcenter" style="width: 300px;">
-<img src="images/i_055.jpg" width="300" height="231" alt="" />
-</div>
-
-<p>The cards are held in both hands, right hand underneath
-and left above, as in the engraving, where, as the <em>bottom</em>
-card is to be raised to the top, the little finger is seen between
-that card and those above it. By a quick movement
-of the right hand, the bottom card is slipped away towards
-the left, and is placed upon the top card, under shadow
-of the left hand, which is raised for the moment to allow of
-its passage.</p>
-
-<p>This movement must be assiduously practiced before
-it is exhibited in public, as nothing looks more awkward
-than to see it clumsily performed, in which case two or
-three cards generally tumble on the floor.</p>
-
-
-<p class="p6">2. TO TELL A CARD BY ITS BACK.</p>
-
-<p>While shuffling the pack, cast a glance at the bottom
-card, make the pass, and bring it to the top. Continue to
-shuffle, and lay upon it by degrees as many cards as you
-like, say six. Then lay the pack on the table, face downwards,
-and divide it into seven heaps, beginning at the<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>
-bottom, and leave the seventh heap larger than any of
-the others.</p>
-
-<p>When you have done this, take one card from the top of
-the seventh heap, appear to calculate, and lay it, face
-upwards, on one of the other heaps. Do so with five more
-cards, thus leaving your slipped card at the top of the
-seventh heap. You then announce that by the aid of the
-six cards you will name the seventh. You name it accordingly,
-after carefully studying the other cards, and on asking
-a spectator to take it up, it will be seen that you are right.</p>
-
-<p>If you place five cards above the slipped card, you will
-lay out six heaps, and if eight cards, there will of course
-be nine heaps.</p>
-
-
-<p class="p6">3. THE CARD NAMED WITHOUT BEING SEEN.</p>
-
-<p>As in the last trick, cast a glance at the bottom card, say
-the ace of spades. Lay out the pack in as many heaps as
-you like, noting where that one is laid which contains that
-bottom card. Ask any one to take up the top card of any
-heap, look at it, and replace it. You then gather up the
-heaps apparently by chance, but you take care to put the
-heap containing the bottom card upon the card which has
-been chosen. You then give any one the cards to cut, and
-on counting them over, the card that immediately follows
-the ace of spades is the card chosen.</p>
-
-<p>If by any accident the two cards should be separated
-when cut, the upper card of the pack is the chosen one, and
-can be picked out with seeming care.</p>
-
-
-<p class="p6">4. THE CARD TOLD BY THE OPERA GLASS.</p>
-
-<p>Make out a table, such as is given in Fig. 1, and place
-it in an opera-glass, so that the figures will be visible when
-you look through it. For convenience, I have made mine as
-seen in Fig. 2, the numbers 1, 2, 3 in each series being
-understood. The best plan is to write the numbers, or cut
-them out of a book, and paste them on a circular piece of
-cardboard, which must then be soaked in oil, so as to make
-it semi-transparent. The light will then easily pierce
-through it, and the figures will be better visible than if it
-were opaque.</p>
-
-<p>It will be seen that Fig. 2 contains as much matter as
-Fig. 1, and that two thirds of the figures are saved by it.</p>
-
-<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></p>
-
-<div class="figcenter" style="width: 268px;">
-<img src="images/i_057.jpg" width="268" height="500" alt="" />
-</div>
-
-<p>These preliminaries being arranged, tell any one to take
-any twenty-seven cards out of a pack, and to think of any
-one of them. Deal them into three heaps, and ask him
-in which heap it is, and what number from the top he would
-like it to come after the third deal. Suppose he chooses it
-to be the twenty-sixth card, you take up your opera-glass
-and look for the number 26. This you will find last but one,
-arranged thus&mdash;26 213 The meaning is, that if the chosen<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
-card is to be the twenty-sixth, the heap in which it was
-found must be for the first time placed second, the second
-time first, and the last time third. So you pick up the cards,
-taking care to keep that heap number two. You again
-deal them in three heaps, and this time you place the heap
-in which is the chosen card at the top, being number one.
-Deal them a third time, and on gathering up the heaps, place
-it at the bottom.</p>
-
-<p>Then, on counting from the top, the chosen card will be
-found to be the twenty-sixth.</p>
-
-
-<p class="p6">5. THE FOUR KINGS.</p>
-
-<p>Take the four kings out of a pack of cards, and also two
-other court cards, which are not to be shown. Spread out
-the kings before the spectators, but conceal the two
-court cards between the third and fourth kings. Lay the
-cards face downwards on the table. Take off the bottom
-card, which is, of course one of the kings; show it as if by
-accident, and place it on the top. Take the next card,
-(which is one of the court cards,) and place that in the
-middle of the pack. Take the third card, (i. e., the second
-court card,) and place that also near the middle of the pack.
-There will then be one king at the top and three at the bottom.
-Ask any one to cut the cards, and to examine them,
-when he will find all four kings together in the middle of
-the pack.</p>
-
-<p>It is better to use court cards to place between the third
-and fourth kings, because if the cards should slip aside,
-they would not be so readily distinguished as common
-cards.</p>
-
-
-<p class="p6">6. THE FOUR ACCOMPLICES.</p>
-
-<p>Let a person draw four cards from the pack, and tell him
-to think of one of them. When he returns you the four
-cards, dexterously place two of them under the pack, and
-two on the top. Under those at the bottom you place four
-cards of any sort, and then, taking eight or ten from the
-bottom cards, you spread them on the table, and ask the
-person if the card he fixed on be among them. If he say no,
-you are sure it is one of the two cards on the top. You then
-pass two cards to the bottom, and drawing off the lowest of
-them, you ask if that be not his card. If he again say no,
-you take that card up, and bid him draw his card from the<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
-bottom of the pack. If the person say his card is among
-those you first drew from the bottom, you must dexterously
-take up the four cards that you put under them, and placing
-those on the top, let the other two be the bottom cards of
-the pack, which draw in the manner before described.</p>
-
-
-<p class="p6">7. TO TELL THE CARD THOUGHT OF IN A CIRCLE OF TEN.</p>
-
-<div class="figleft" style="width: 230px;">
-<img src="images/i_059.jpg" width="230" height="210" alt="" />
-</div>
-
-<p>Place the first ten cards of any suit in a circular form, as
-in the annexed figure; the ace being counted as one.
-Request a person to think of a
-number or card, and to touch also
-any other number or card; desire
-him to add to the number of the
-card he touched the number of
-the cards laid out, that is, ten;
-then bid him count that sum backward,
-beginning at the card he
-touched, and reckoning that card
-at the number he thought of;
-when he will thus end it at the
-card or number he first thought of, and thereby enable you
-to ascertain what that was. For example, suppose he
-thought of the number three, and touched the sixth card, if
-ten be added to six, it will of course make sixteen; and if
-he count that number from the sixth card, the one touched,
-in a retrograde order, reckoning three on the sixth, four on
-the fifth, five on the fourth, six on the third cards, and so
-on; it will be found to terminate on the third card, which
-will therefore show you the number the person thought of.
-When the person is counting the numbers, he should not, of
-course, call them out aloud.</p>
-
-
-<p class="p6">8. TO GUESS THE CARD THOUGHT OF.</p>
-
-<p>To perform this trick, the number of cards must be divisible
-by 3, and it is more convenient that the number should
-be odd. Desire a person to think of a card; place the cards
-on the table with their faces downward, and, taking them
-up in order, arrange them in three heaps, with their faces
-upward, and in such a manner that the first card of the
-pack shall be first in the first heap, the second the first in
-the second heap, and the third the first of the third; the
-fourth the second of the first, and so on. When the heaps<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
-are completed, ask the person in which heap the card he
-thought of is, and when he tells you, place that heap in the
-middle; then turning up the packet, form three heaps, as
-before, and again inquire in which heap the card thought
-of is; form the three heaps afresh, place the heap containing
-the card thought of again in the center, and ask which
-of them contains the card. When this is known, place it
-as before, between the other two, and again form three
-heaps, asking the same question. Then take up the heaps
-for the last time, put that containing the card thought of
-in the middle, and place the packet on the table with the
-faces downward, turn up the cards till you count half the
-number of those contained in the packet; twelve, for example,
-if there be twenty-four, in which case the twelfth card
-will be the one the person thought of. If the number of
-the cards be at the same time odd, and divisible by three,
-such as fifteen, twenty-one, twenty-seven, &amp;c., the trick will
-be much easier, for the card thought of will always be that
-in the middle of the heap in which it is found the third time,
-so that it may be easily distinguished without counting the
-cards; in reality, nothing is necessary but to remember,
-while you are arranging the heap for the third time, the
-card which is the middle one of each. Suppose, for example,
-that the middle card of the first heap be the ace of spades;
-that the second be the king of hearts; and that the third
-be the knave of hearts: if you are told that the heap containing
-the required card is the third, that card must be
-the knave of hearts. You may therefore have the cards
-shuffled, without troubling them any more; and then, looking
-them over for form's sake, may name the knave of hearts
-when it occurs.</p>
-
-
-<p class="p6">9. TO TELL THE NUMBER OF CARDS BY THE WEIGHT.</p>
-
-<p>Take a pack of cards, say forty, and privately insert
-among them two cards rather larger than the others;
-let the first be the fifteenth, and the other the twenty-sixth,
-from the top. Seem to shuffle the cards, and cut them at
-the first long card; poise those you have taken off in your
-hand, and say, "There must be fifteen cards here;" then
-cut them at the second long card, and say, "There are but
-eleven here;" and poising the remainder, exclaim, "And
-here are fourteen cards." On counting them, the spectators
-will find your calculations correct.</p>
-
-<p><span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span></p>
-
-
-
-<h3>AUDACITY.</h3>
-
-<p>Several <ins title="Transcriber's Note: original reads 't icks'">tricks</ins> may be successfully played by sheer audacity.
-I once astonished a whole party by holding a pack
-of cards over my head, and naming each. The fact was,
-that I was standing exactly opposite a large mirror, in
-which the cards were reflected, while the spectators, having
-their backs to the mirror, suspected nothing.</p>
-
-<p>I will give one or two tricks that depend on audacity for
-success.</p>
-
-
-<p class="p6">10. THE CARD FOUND AT THE SECOND GUESS.</p>
-
-<p>Offer the cards to any one, and let him draw one. You
-then hold the cards behind your back, and tell him to place
-his card on the top. Pretend to make a great shuffling, but
-only turn that card with its back to the others, still keeping
-it at the top. Then hold up the cards with their faces
-towards the spectator, and ask him if the bottom card is
-his. While doing so, you inspect his card at your leisure.
-He of course denies it, and you begin shuffling again furiously.
-"Let me do that," he will probably say; so, as
-you are perfectly acquainted with his card, you let him
-shuffle as much as he likes, and then, when you get the
-cards back again, shuffle until his card is at the bottom.
-Then pass them behind your back, make a ruffling noise
-with them, and show him his own card at the bottom.</p>
-
-
-<p class="p6">11. THE CARD FOUND UNDER THE HAT.</p>
-
-<p>Have a needle stuck just inside your sleeve. Hand the
-cards, &amp;c., just as in the preceding trick, and tell the taker
-to put the card on the top. Take out the needle, and prick
-a hole nearly through the top <em>left</em>-hand corner. Replace the
-needle, shuffle the cards, or let any one shuffle them. Place
-the pack on the table, cover them with a hat, and the marked
-card will be known by a little raised knob on the <em>right</em>-hand
-top corner. Draw out card by card, saying whether
-it is that card or not, until you come to the marked one,
-which you throw on the table carelessly, and when you are
-about taking out another card, stop suddenly, and pretend
-to find, by some magic process, that it is the chosen card.</p>
-
-
-<p class="p6">12. TO CALL THE CARDS OUT OF THE PACK.</p>
-
-<p>Tell the spectators that you will call six cards out of the<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
-pack. Secure a card, say the ace of spades, in the palm
-of your hand. Throw the pack on the table, face downwards,
-spread out the cards, give one of the spectators your
-conjuring wand, and tell him, when you name a card to
-touch one, which you will take up.</p>
-
-<p>First name the ace of spades. He touches a card, which
-you take up without showing the face of it. This card may
-be, say the eight of diamonds. Put it into your left hand,
-and place it upon the ace of spades, which is already there,
-so that the two look like one card. Then call for the eight
-of diamonds. Another card is touched, say the queen of
-clubs. This you put with the others, and, after pretending
-to calculate, call for the queen of clubs.</p>
-
-<p>Proceed in this manner until six cards have been drawn.
-Then substitute the last card drawn (which is of course a
-wrong one) for the ace of spades, and conceal it in the palm
-of your hand. Then strew the others on the table, and
-while the eyes of the spectators are fixed upon them, get
-rid of the card in your left hand.</p>
-
-<p>It is a good plan to ask some one to write down the names
-of the cards as they are called, and then to have the list
-called over, in order that every one may see that there has
-been no mistake.</p>
-
-
-<p class="p6">13. HEADS AND TAILS.</p>
-
-<p>While you are shuffling the cards, contrive to arrange
-quietly all their heads one way, or as many as possible, rejecting
-all the diamonds except the king, queen, knave, and
-seven, and passing them to the bottom. Put the pack upon
-the table, take off a number of the upper cards, and offer
-them for some one to choose a card from. While he is
-looking at it, turn the cards round, and offer them to him, in
-order that he may replace it. Shuffle the cards, and on
-looking them over, the chosen card will be standing with
-its head one way, while the others are reversed.</p>
-
-
-<p class="p6">14. THE SURPRISE.</p>
-
-<p>When you have discovered a card, the following plan
-will make a <em>striking</em> termination to the trick. Get the card
-to the bottom of the pack, and tell one of the spectators to
-hold the cards by one corner as tightly as he can. Give
-them a sharp rap with your finger, not with your hand,
-and all the cards will be struck out of his hold, and fall<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
-on the floor, except the bottom card, which will remain
-between his finger and thumb. It has a rather more dashing
-effect, if you put the chosen card at the top, and strike
-them upwards, when the whole pack will fly about the room,
-like a flock of butterflies, only leaving the top card in the
-person's grasp.</p>
-
-
-<p class="p6">15. THE REVOLUTION.</p>
-
-<p>Another neat way of finishing a trick is as follows. Get
-the card to the top of the pack; and taking care that all
-the cards are even, drop the pack on the floor, taking care
-just as you let go, to slip the top card a little off the rest of
-the pack. In falling, the resistance of the air will turn the
-card over, and it will rest with its face upwards on the top
-of the pack.</p>
-
-
-<p class="p6">16. THE SLIPPED CARD.</p>
-
-<p>Ascertain the bottom card of the pack; hold the cards
-in your left hand, with their faces downwards. Place your
-right hand upon them, and with your right fore finger slide
-them slowly over each other, asking some one to stop any
-card he chooses, by putting his finger upon it. When he
-has done so, open the pack at that card, but while opening
-it, make the pass, and bring the bottom card under the one
-touched. Hold up the cards, and ask the chooser to be sure
-of his card; hand all the cards to him, and let him shuffle
-as much as he chooses. Afterwards discover the card in
-any manner that you prefer. The following is a good plan.</p>
-
-
-<p class="p6">17. THE NAILED CARD.</p>
-
-<p>Take a flat-headed nail, and file it down until its point is
-as sharp as a needle, and the head quite flat. The nail
-should be about half an inch long, or even shorter if anything.
-Pass the nail through the center of any card, say
-the ace of spades, and conceal it in your left hand.</p>
-
-<p>Take another pack of cards, get the ace of spades to the
-bottom, and perform the preceding trick. When the cards
-are returned, shuffle them about, and exchange the pierced
-card for the other. Put the pierced card at the bottom of
-the pack, and throw the cards violently against a door,
-when the nail will be driven in by the pressure of the other
-cards against its head, and the chosen card will be seen
-nailed to the door. The nail should be put through the face<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
-of the card, so that when the others fall on the floor, it remains
-facing the spectators.</p>
-
-
-<p class="p6">18. TO ASCERTAIN THE NUMBER OF POINTS ON THREE UNSEEN CARDS.</p>
-
-<p>In this amusement the ace counts eleven, the court cards
-ten each, and the others according to the number of their
-spots.</p>
-
-<p>Ask any one to choose any three cards, and lay them on
-the table, with their faces downwards. On each of these
-he must place as many as with the number of the card will
-make fifteen. He gives you the remaining cards, and when
-you have them in your hand, you count them over on the
-pretence of shuffling them, and by deducting four, you will
-have the number of points on the three cards.</p>
-
-<p>For example, the spectator chooses a four, an eight, and a
-king. On the four he places eleven cards, on the eight seven,
-and on the king five. There will then be twenty-six cards
-left. Deduct from this twenty-six four, and the result will be
-twenty-two, which is the number of points on the three cards,
-the king counting ten, added to the eight and the four.</p>
-
-
-<p class="p6">19. TO TELL THE NUMBERS ON TWO UNSEEN CARDS.</p>
-
-<p>As in the preceding trick, the ace counts eleven, and the
-court cards ten each. Let the person who chooses the two
-cards lay them on the table with their faces downward, and
-place on each as many as will make their number twenty-five.</p>
-
-<p>Take the remaining cards and count them, when they will
-be found to be just as many as the points in the two cards.
-For example, take an ace and a queen, <em>i. e.</em> eleven and ten,
-and lay them on the table. On the ace you must put fourteen
-cards, and on the queen fifteen. There will be then
-fifteen cards in one heap, and sixteen in the other: these
-added together make thirty-one cards: these subtracted
-from the number of cards in the pack, <em>i. e.</em> fifty-two, leave
-twenty-one, the joint number of the ace and queen.</p>
-
-
-<p class="p6">20. THE KNAVES AND THE CONSTABLE.</p>
-
-<p>Select the four knaves from a pack of cards, and one of
-the kings to perform the office of constable. Secretly place
-one of the knaves at the bottom of the pack, and lay the
-other three, with the constable, down upon the table. Proceed
-with a tale to the effect that three knaves once we<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>re
-to rob a house; one got in at the parlor window (putting a
-knave at the bottom of the pack, taking care not to lift the
-pack so high that the one already at the bottom can be
-seen); one effected his entrance at the first floor window
-(putting another knave in the middle of the pack); and
-the other, by getting on the parapet from a neighboring
-house, contrived to scramble in at the garret window (placing
-the third knave at the top of the pack); the constable
-vowed he would capture them, and closely followed the last
-knave (putting the king likewise upon the top of the pack).
-Then request as many of the company to cut the cards as
-please; and tell them that you have no doubt the constable
-has succeeded in his object, which will be quite evident,
-when you spread out the pack in your hands; as the king
-and three knaves will, if the trick is neatly performed, be
-found together. A very little practice only is required to
-enable you to convey a knave or any other card secretly to
-the bottom of the pack.</p>
-
-
-<p class="p6">21. THE PAIRS RE-PAIRED.</p>
-
-<p>Tell out twenty cards in pairs, and ask ten people to take
-a pair each, and remember them. Take up the pairs in
-their order, and lay them on the table in order, according to
-the accompanying table, which forms a memoria technica,
-and may be construed, "Mutus gave a name to the Coci,"
-(a people who have yet to be discovered.)</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="2" summary="THE PAIRS">
-<tbody>
-<tr>
- <td class="tdc">M</td>
- <td class="tdc">U</td>
- <td class="tdc">T</td>
- <td class="tdc">U</td>
- <td class="tdc">S<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></td>
-</tr>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">2</td>
- <td class="tdc">4</td>
-</tr>
-<tr>
- <td class="tdc">D</td>
- <td class="tdc">E</td>
- <td class="tdc">D</td>
- <td class="tdc">I</td>
- <td class="tdc">T</td>
-</tr>
-<tr>
- <td class="tdc">5</td>
- <td class="tdc">6</td>
- <td class="tdc">5</td>
- <td class="tdc">7</td>
- <td class="tdc">3</td>
-</tr>
-<tr>
- <td class="tdc">N</td>
- <td class="tdc">O</td>
- <td class="tdc">M</td>
- <td class="tdc">E</td>
- <td class="tdc">N</td>
-</tr>
-<tr>
- <td class="tdc">8</td>
- <td class="tdc">9</td>
- <td class="tdc">1</td>
- <td class="tdc">6</td>
- <td class="tdc">8</td>
-</tr>
-<tr>
- <td class="tdc">C</td>
- <td class="tdc">O</td>
- <td class="tdc">C</td>
- <td class="tdc">I</td>
- <td class="tdc">S</td>
-</tr>
-<tr>
- <td class="tdc">10</td>
- <td class="tdc">9</td>
- <td class="tdc">10</td>
- <td class="tdc">7</td>
- <td class="tdc">4</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Arranging these words in your mind on the table, take
-the first card of the first pair, lay it on <span class="smcapa">M</span> in Mutus, and the
-second on the <span class="smcapa">M</span> in Nomen. The next pair goes entirely in
-Mutus, being two <span class="smcapa">U</span>'s. The first card of the second pair<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
-goes on <span class="smcapa">T</span> in Mutus, and the second on <span class="smcapa">T</span> in Dedit; and so
-on until all the cards are laid in their places.</p>
-
-<p>Ask each person in succession in which rows his cards
-are, and you can immediately point them out. For example,
-if he says the second and third row, you point out the
-second and fourth cards in those rows, because they both
-represent the letter <span class="smcapa">E</span>. If another says the first and last
-rows, you point out the last cards in each, because the cards
-represent <span class="smcapa">S</span> in Mutus and <span class="smcapa">S</span> in Cocis. It will be seen that
-the whole table consists of ten letters, each repeated,
-which will always point out the positions of the pairs if
-they are put in the places of those letters. Any number
-of bystanders may choose pairs, and to make the trick more
-mysterious, the pairs may be placed on the table back
-upwards.</p>
-
-
-<p class="p6">23. THE QUEENS DIGGING FOR DIAMONDS.</p>
-
-<p>Select from a pack the aces, kings, queens, and knaves,
-together with four common cards of each suit. Lay down
-the four queens in a row, and say, "Here are four queens
-going to dig for diamonds. (<em>Lay a common diamond over each
-queen.</em>) They each took a spade with them (<em>place a common
-spade on each diamond</em>) and dug until they were nearly tired.
-Their four kings, thinking that they might be attacked by
-robbers, sent four soldiers to keep guard. (<em>Lay an ace on
-each spade.</em>) Evening came, and the queens had not returned,
-so the kings, fearing that they might have come to harm,
-became uneasy and set off themselves. (<em>Place a king on
-each ace.</em>) They were only just in time, for as they came
-along, they met their queens being carried off by four villains
-(<em>lay a knave on each king</em>), who, although only armed
-with clubs (<em>place a common club on each knave</em>), had overpowered
-the guards and driven them off. But the four kings,
-being possessed of bold hearts (<em>lay a common heart over each
-king</em>), soon vanquished the villains, and bound them."
-Gather up the cards, place the heaps upon each other and
-direct some one to cut them. Have them cut four or five
-times, and continue to do so until a common heart appears
-at the bottom. Then continue the tale, and say, "The party
-then returned home in the following order. First the queen,
-(<em>lay down the top card</em>) with the diamonds which she had found
-(<em>lay down the second card, which will be a diamond</em>) in one hand,
-and her spade (<em>the third card will be a spade</em>) in the other, &amp;c.<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>,
-&amp;c." You continue dealing out the cards in that manner,
-and it will be found that they will be in precisely the same
-order as when they were taken up.</p>
-
-
-<p class="p6">24. THE TRIPLE DEAL.</p>
-
-<p>Take any twenty-one cards, and ask some person to
-choose one from them. Lay them out in three heaps, and
-ask the person who took the card in which heap it is. You
-may turn your back while he searches. Gather them up and
-put that heap between the other two. Do this twice more,
-and the chosen card will always be the eleventh from the
-top.</p>
-
-
-<p class="p6">25. THE QUADRUPLE DEAL.</p>
-
-<p>This is a variation of the preceding. Take twenty-four
-cards, and lay them in four heaps. Act as in No. 24, putting
-the heap in which is the chosen card second. The
-tenth card will be the one thought of.</p>
-
-
-<p class="p6">26. THE CARD DISCOVERED BY THE TOUCH OR SMELL.</p>
-
-<p>Offer the long card, or any other that you thoroughly
-well know; and, as the person who has drawn it holds it in
-his hand, pretend to feel the pips or figures on the under side
-with your fore finger, or smell it, and then sagaciously declare
-what card it is.</p>
-
-<p>If it be the long card, you may give the pack to the person
-who drew it, and allow him either to replace it or not.
-Then take the pack, and feel whether it be there or not;
-shuffle the cards in a careless manner, and without looking
-at it, decide accordingly.</p>
-
-
-<p class="p6">27. THE INGENIOUS CONFEDERACY.</p>
-
-<p>Lay sixteen cards on the table, in four divisions, four
-cards in each, with their faces upwards. You then state
-that you will leave the room, and, on your return, will name
-any one card which may have been touched in your absence,
-on one of the company (your confederate) pointing out a
-passage from any author to be read to you, on your return,
-by any person present. To perform this trick, the cards
-should be placed in the order in which they appear in the
-cut inserted on the next page, you previously making your
-confederate acquainted with your mode of proceeding,
-which is thus: The cards are supposed to be divided into
-four classes, as A, B, C, D; you likewise agree to class every<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>thing
-in the world under the four denominations
-of biped, quadruped, vegetable,
-and mineral: class A stands for bipeds,
-B for quadrupeds, C for vegetables, and
-D for minerals. Each class must now be
-subdivided in the same manner: in class
-A, No. 1 is the biped, 2 the quadruped,
-3 the vegetable, and 4 the mineral; and
-so with the other classes. When performing
-the trick, your confederate must
-take care to select an appropriate passage.
-For example, we will suppose the
-card No. 4 to have been touched, and that a volume of
-Moore having been presented to your confederate to select
-from, he gives the following lines to be read:</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Breathes there the <em>slave</em> so lowly,</div>
-  <div class="i0">Condemned to <em>chains</em> unholy,</div>
-  <div class="i0">Who, could he burst his bonds at first,</div>
-  <div class="i0">Would pine beneath them slowly?" &amp;c.</div>
- </div>
-</div>
-</div>
-
-<p>The first word which can be classed as above is <em>slave</em>, you
-may thus be certain that the card touched is in class A, a
-slave being a biped. The next word you can fix upon is
-<em>chains</em>, which being commonly made of some metal, you rank
-in the mineral class, and know that card No. 4 was the one
-touched, it being the mineral of the biped class.</p>
-
-<div class="figcenter" style="width: 159px;">
-<img src="images/i_068.jpg" width="159" height="230" alt="" />
-</div>
-
-<p>Supposing the trick to be repeated, as is very likely, and
-that a volume of Byron is given to your confederate, who
-selects the passage commencing&mdash;</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Know ye the land, where the cypress and myrtle</div>
-  <div class="i0">Are emblems of deeds that are done in their clime?" &amp;c.</div>
- </div>
-</div>
-</div>
-
-<p>you know, "cypress" being the first word that can be
-classed, the card touched must be in class C (vegetable),
-and the next word "myrtle" being also a vegetable, the card
-touched must have been No. 11, which is the vegetable of
-the vegetable class. Many appropriate passages may be
-easily selected, and your confederate should select a long
-passage to be read, as it gives greater scope, and helps to
-mislead the rest of the company; for should they imagine
-that the card is discovered by the number of lines read, and
-they touch the same card again, he can select another passage,
-desiring them to read only as many lines as they
-choose.</p>
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span></p>
-
-
-<p class="p6">29. "HOLD IT FAST."</p>
-
-<p>You commence by asking the most athletic person in company
-whether he is nervous; he will most probably answer
-in the negative; you then ask whether he thinks he can
-hold a card tightly. If he answers, No, ask the question of
-some one else, till you obtain an answer in the affirmative.
-You then desire the party to stand in the middle of the room,
-and holding up the pack of cards, you show him the bottom
-card, and request him to proclaim what card it is; he will
-say it is the knave of hearts; you then tell him to hold the
-card tightly at the bottom, and look to the ceiling. While
-he is looking up, you ask him if he recollects his card; if
-he says, Yes, desire him to draw it away, and ask him what
-it is; he will, of course, answer, the knave of hearts; tell
-him he has made a mistake, for if he look at his card, he will
-find it to be the knave of spades, which will be the case.
-You then give him the remainder of the pack, telling him
-that if he looks over it, he will find the knave of hearts in
-quite a different situation.</p>
-
-<p>This feat, though it excites much admiration, is very simple.
-You procure an extra knave of hearts, and cut it in
-half, keeping the upper part, and throwing away the lower.
-When commencing your feat, get the knave of spades to
-the bottom of the pack, and lay over the upper part of it,
-unperceived, your half knave of hearts; and, under pretence
-of holding the pack very tight, throw your thumb across
-the middle of the knave, so that the joining may not be perceived,
-for the legs of those two knaves are so much alike
-that there is no danger of detection. You, of course, give
-him the legs of the knave of spades to hold, and when he
-has drawn the card away, hold your hand so that the faces
-of the cards will be turned towards the floor, and take an
-opportunity of removing the half-knave: you may vary the
-feat by having a half-knave of spades.</p>
-
-
-<p class="p6">30. THE CHARMED TWELVE.</p>
-
-<p>Let any one take a pack of cards, shuffle, take off the
-upper card, and, having noticed it, lay it on the table, with
-its face downward, and put so many cards upon it as will
-make up twelve with the number of spots on the noted card.
-For instance: if the card which the person drew was king,
-queen knave, or ten, bid him lay that card, with its face
-downward, calling it ten; upon that card let him lay another,<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
-calling it eleven, and upon that card, another, calling it
-twelve; then bid him take off the next uppermost card: suppose
-it to be nine, let him lay it down on another part of the
-table, calling it nine, upon it let him lay another, calling it ten,
-upon the latter another, calling it eleven, and upon that
-another, calling it twelve; then let him go to the next uppermost
-card, and so proceed to lay out in heaps, as before,
-until he has gone through with the whole pack.</p>
-
-<p>If there be any cards at the last, that is, if there be not
-enough to make up the last noted card, the number twelve,
-bid him give them to you; then, in order to tell all the number
-of spots contained in all the bottom cards of the heaps,
-do thus: from the number of heaps subtract four, multiply
-the remainder by thirteen, and, to the product, add the number
-of remaining cards, which he gave you; but if there
-were but four heaps, then those remaining cards alone will
-show the number of spots on the four bottom cards. You
-need not see the cards laid out, nor know the number of
-cards in each heap, it being sufficient to know the number
-of heaps, and the number of remaining cards, if there be
-any, and therefore you may perform this feat as well
-standing in another room, as if you were present.</p>
-
-
-<p class="p6">31. THE TRICK OF THIRTY-ONE.</p>
-
-<p>A trick often introduced by "<em>sporting men</em>," for the purpose
-of deceiving and making money by it. It is called "thirty-one."
-I caution all not to play or bet with a man who introduces
-it: for, most probably, if he does not propose betting
-on it at first, he will after he gets you interested, and
-pretend to teach you all the secrets of it, so that you can
-play it with him; and perhaps he will let you beat him if
-you should play in fun; but if you bet, he will surely beat
-you. It is played with the first six of each suit&mdash;the <em>aces</em>
-in one row, the <em>deuces</em> in another, the <em>threes</em> in another; then
-the <em>fours</em>, <em>fives</em> and <em>sixes</em>&mdash;all laid in rows. The object now
-will be to turn down cards alternately, and endeavor to
-make thirty-one points by so turning, or as near to it as
-possible, without overrunning it; and the man who turns
-down a card, the spots of which make him thirty-one, or so
-near it that the other cannot turn down one without overrunning
-it, wins. This trick is very deceiving, as all other
-tricks are, and requires much practice to be well understood.<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
-The persons using it I have known to attach great importance
-to it, and say that Mr. Fox, of England, was the first
-to introduce it; and that it was a favorite amusement of
-his. The chief point of this celebrated trick is to count so
-as to end with the following numbers, viz., 3, 10, 17 or 24. For
-example, we will suppose it your privilege to commence the
-count: you would commence with 3, and your adversary
-would add 6, which would make 9; it would then be your
-policy to add 1, and make 10; then, no matter what number
-he adds, he cannot prevent you counting 17, which
-number gives you the command of the trick. We will suppose
-he add 6, and make 16; then, you add 1, and make 17,
-then he to add 6, and make 23, you add 1, and make 24,
-then he cannot possibly add any number to count 31: as
-the highest number he can add is 6, which would only count
-30, so that you can easily add the remaining 1, or ace, and
-make 31. There are, however, many variations to the
-trick.</p>
-
-
-<p class="p6">32. TO TELL THE NAMES OF THE CARD BY THE WEIGHT.</p>
-
-<p>You desire any person to cut a pack of cards as often as
-he pleases, and undertake, by weighing each card for a
-moment on your finger, not only to tell the color, but the
-suit and number of spots, and, if a court-card, whether it
-be king, queen, or knave.</p>
-
-<p>You must have two packs of cards exactly alike: one
-pack to be constantly in use during the evening in performing
-your other tricks; the second, or prepared pack, in
-your pocket, which take an opportunity of exchanging, so
-that it may be believed that the pack of cards of which you
-tell the names is the same as that you have been using with
-your other tricks, and which they must know have been
-well shuffled.</p>
-
-<p>The manner of preparing your pack (which must be done
-previously) is by the following line, which you commit to
-memory, the words in italics forming the key:</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Eight Kings threa-tened to save nine fair Ladies for one sick Knave.</div>
-  <div class="i0"><em>Eight King three ten two seven nine five Queen four ace six Knave</em>,</div>
- </div>
-</div>
-</div>
-
-<p>You will perceive that this is a kind of artificial memory,
-formed by the circumstances of the initial letter of the words
-in the line and the names of the cards being identical, as<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
-well as the near resemblance of some of the words. The
-word "threatened" is divided into two words, in order that
-it may answer for the three and ten; you should pay attention
-to this, or you will be very likely to forget the ten
-altogether, which would set you entirely wrong; you should
-likewise commit to memory the order in which the suits
-come viz.: <em>hearts</em>&mdash;<em>spades</em>&mdash;<em>diamonds</em>&mdash;<em>clubs</em>.</p>
-
-<p>You should now separate the different suits, and lay
-them on the table, face upwards, placing heart first, spades
-next, diamonds next, and clubs last. Having done so, begin
-to sort (to yourself), according to your key: take up the
-eight of hearts, placing it in the left hand with its back to
-the palm; then the king of spades, which you lay over it,
-next the three of diamonds, next the ten of clubs, then the
-two of hearts, and so on, until you finish your line, which
-will terminate with the knave of hearts. You then take up
-the eight of spades, and go on in the same way till you
-come to the knave of spades, when you begin again with
-the eight of diamonds, and go on until you come to the
-knave of diamonds, and beginning again with the eight of
-clubs, you go on until you come to the knave of clubs, which
-finishes the pack, and which is now ready for use; when
-you have made your exchange, and brought forward your
-prepared pack, hand it round to be cut.</p>
-
-<p>You now want to know the first card, as a clue to the rest;
-and therefore take off the top card, and holding it up between
-you and the light, you see what the card is, saying at the
-same time, that the old way of performing the trick was by
-doing so, but that this was very easily detected.</p>
-
-<p>Having thus obtained a knowledge of the first card,
-which we will suppose to be the ten of diamonds, you then
-take the next card on your finger, and while pretending to
-weigh it, you have time to recollect what is the next
-word in your key, to <em>ten'd</em>, which is <em>to</em>&mdash;you consequently
-know that this card is a <em>two</em>; you must then recollect what
-suit comes after diamonds, which is <em>clubs</em>; you, therefore,
-declare the card you are now weighing on your finger to
-be the <em>two of clubs</em>; the next will of course be the seven of
-hearts, the next to that the nine of spades, and so on as
-long as you please.</p>
-
-<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p>
-
-
-
-<h3>TRICKS WITH CARDS, THAT REQUIRE APPARATUS.</h3>
-
-
-<p>I shall only give one or two of these tricks, because, in
-general, the apparatus required for cards is exceedingly expensive.
-Those that I shall give require but little apparatus,
-and any boy with the use of his hands can make it.</p>
-
-
-<p class="p6">33. THE CARDS IN THE VASE.</p>
-
-<p>Make a vase with five divisions, two of which hold an
-entire pack of cards, and the remaining three are only large
-enough just to admit one card each, as in the figure. A
-strong silk thread is fastened at <span class="smcapa">A</span>, passes over the three
-little compartments, through the bottom of the vase, and running
-over two pulleys, terminates in the weight at <span class="smcapa">B</span>.</p>
-
-<div class="figcenter">
-<img src="images/i_073.jpg" width="348" height="350" alt="" />
-</div>
-
-<p>Take three cards, say the ace of spades, the ten of diamonds,
-and the king of hearts, out of a pack of cards, and
-put one into each of the little divisions pressing the thread
-down into the bottom of each division. If the cards are
-left, the weight will descend, and the string being tightened,
-will push the cards upwards. So a kind of trigger shelf is
-made, on which the weight rests. The remainder of the
-pack you put into division 2.</p>
-
-<p>When you show the trick, you take another pack of cards
-exactly like that which is already in the vase, and handing
-it to three persons successively, compel them to choose the
-ace of spades, the ten of diamonds, and the king of hearts.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a>
-Let some one shuffle the cards, and when this is done, put
-the pack into division 1. Tell the spectators that when you<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span>
-have struck three times on the table, the cards will come out
-of the vase. At the third stroke, loosen the catch on which
-the weight stands, by means of the string that communicates
-with your table, and the three cards will rise slowly
-up. In order to show that the cards have really vanished
-from the pack, take the pack out of division 2 and let
-any one examine it.</p>
-
-<p>If you prefer, you can draw the thread yourself, by having
-a kind of a pedal under your table, to which the other end
-of the string is attached, instead of being fastened to the
-weight <span class="smcapa">B</span>. If you prefer the weight, you must have a small
-shelf for the weight to rest upon, when it has descended sufficiently
-low, or the cards will be forced entirely out by the
-thread. <span class="smcapa">C</span> is a representation of one of the divisions, showing
-the semi-circular cut that is made in them for the <ins title="Transcriber's Note: original reads 'convinience'">convenience</ins>
-of taking out the cards.</p>
-
-
-<p class="p6">34. THE METAMORPHOSIS.</p>
-
-<p>In this most excellent trick you choose from the pack the
-four eights and the two of diamonds; you put the four
-eights in your left hand and the two on the table; you take
-in the two, placing an eight on the table, and they are all
-twos. You exchange the two for the eight, and they all
-become black cards; you again exchange the eight for
-the two, and they all turn red; and after again exchanging,
-you have, as before, the four eights and the two of diamonds.</p>
-
-<div class="figcenter" style="width: 400px;">
-<img src="images/i_074.jpg" width="400" height="223" alt="Fig one" />
-</div>
-
-<p>The method of accomplishing this trick is as follows:
-Get three plain white cards, exactly like playing cards,
-and paint them as in the engraving. Mix them with an ordinary
-pack, and when you are searching for the four eights,
-with which you say you are going to perform a trick, take
-them from the pack, and with them an ordinary eight of
-clubs and a two of diamonds.</p>
-
-<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p>
-
-<div class="figcenter" style="width: 550px;">
-<img src="images/i_075.jpg" width="550" height="210" alt="Fig two three" />
-</div>
-
-<div class="figcenter" style="width: 550px;">
-<img src="images/i_075a.jpg" width="550" height="204" alt="Fig four five" />
-</div>
-
-<p>Show the cards as in fig. 2, making the spectators observe
-that there are the four eights. Put the two of diamonds
-behind the eight of clubs, and lay the eight on the
-table. The two must be inserted before the eight is removed,
-or the mystery of the marking will be apparent.
-Close the cards, turn them over, and spread them out, when
-they will appear as in Fig. 3. Take in the eight and lay the
-two on the table; close the cards, and while shuffling them,
-turn card No. 2 the other way upwards. The cards will
-then all appear black, as in Fig. 4. Take in the two and remove
-the eight, turn them over, and spread them out, when
-they will appear all red, as in Fig. 5. Finally, take the
-eight, replacing the two on the table, reverse No. 2, and you
-will have the four eights and the two of diamonds, just as
-they were at first. You must invent plenty of talk during
-your changes. If the spectators say that the cards are
-double, spread them out, and hold them up to the light, (for
-the light cannot penetrate through the places where the
-cards are placed over each other,) and if they are still skeptical,
-hand them the two of diamonds to look at, and in a
-moment or two hand them the eight of clubs, asking them<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
-whether they would like to examine a black card also.
-This will effectually disarm <ins title="Transcriber's Note: original reads 'supicion'">suspicion</ins>.</p>
-
-
-<blockquote>
-
-<p class="p6">35. TO HOLD FOUR KINGS OR FOUR KNAVES IN YOUR HAND, AND TO
-CHANGE THEM SUDDENLY INTO BLANK CARDS, AND THEN TO FOUR
-ACES.</p></blockquote>
-
-<p>It is necessary to have cards made on purpose for this
-trick; half cards, as they may be properly termed, that is,
-one half kings or knaves, and the other half aces. When
-you lay the aces one over the other, of course nothing but
-the kings or knaves can be seen; and on turning the kings
-or knaves downward, the four aces will make their appearance.
-You must have two perfect cards, one a king or
-knave, to put over one of the aces, else it will be seen; and
-the other an ace, to lay over the kings or knaves. When
-you wish to make them all appear blank, lay the cards a little
-lower, and by hiding the aces, they will appear white on
-both sides; you may then ask which they wish to have, and
-may show kings, aces, or knaves, as they are called for.</p>
-
-
-<p class="p6">36. TO CHANGE A CARD IN A PERSON'S HAND.</p>
-
-<p>Cut very neatly the spots from a three of spades. Lay
-the pierced card on an ace of diamonds, and rub pomatum
-on the ace of diamonds through the places which the spades
-occupied. Remove the pierced card, and sprinkle the ace
-of diamonds with jet powder, which adhering to the pomatum,
-will transform the card into a three of spades.</p>
-
-<p>Place the transformed card at the bottom of the pack, and
-show a person what card it is. Make him declare it that
-every one may hear, then place it on the table, face downwards,
-and push it over the cloth to the spectator, which
-action will rub off all the jet powder. Tell him to place his
-hand on the card. Let a three of spades be at the top of
-the pack, and an ace of diamonds the second from the bottom.
-Show another person the ace of diamonds, and ask
-him to tell the name of the card openly. Put the pack
-down, face downwards, and in so doing make the pass, and
-bring the three of spades to the bottom.</p>
-
-<p>Tap the hand of the person who is guarding the card, and
-then tell him to take up the card and show it to the spectators,
-when it will be seen to be the ace of diamonds. Simultaneously,
-you take up the pack, and show the three of
-spades at the bottom.</p>
-
-<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p>
-
-
-<p class="p6">37. THE CARD IN THE EGG.</p>
-
-<p>To perform this feat, provide a round hollow stick, about
-ten inches long and three quarters of an inch in diameter,
-the hollow being three eighths of an inch in diameter. Also,
-have another round stick to fit this hollow, and slide in it
-easily, with a knob to prevent its coming through. Our
-young readers will clearly understand our meaning, when
-we say, that in all respects it must resemble a pop-gun, with
-the single exception that the stick which fits the tube, must
-be of the full length of the tube exclusively of the knob.</p>
-
-<p>Next steep a card in water for a quarter of an hour, peel
-off the face of it, and double it twice across, till it becomes
-one fourth of the length of a card, then roll it up tightly, and
-thrust it up the tube till it becomes even with the bottom.
-You then thrust in the stick at the other end of the tube till
-it just touches the card.</p>
-
-<p>Having thus provided your magic wand, let it lie on the
-table until you have occasion to make use of it, but be careful
-not to allow any person handle it.</p>
-
-<p>Now take a pack of cards, and let any person draw one;
-but be sure to let it be a similar card to the one which you
-have in the hollow stick. This must be done by forcing.
-The person who has chosen it will put it into the pack
-again, and, while you are shuffling, you let it fall into your
-lap. Then, calling for some eggs, desire the person who
-drew the card, or any other person in the company, to
-choose any one of the eggs. When he has done so, ask if
-there be anything in it? He will answer there is not.
-Place the egg in a saucer; break it with the wand, and
-pressing the knob with the palm of your right hand, the
-card will be driven into the egg. Then show it to the spectators.</p>
-
-<p>A great improvement may be made in this feat, by presenting
-the person who draws the card with a saucer and a
-pair of forceps, and instead of his returning the card to the
-pack, desire him to take it by the corner with the forceps
-and burn it, but to take care and preserve the ashes; for
-this purpose you present him with a piece of paper (prepared
-as hereafter described), which he lights at the candle;
-but a few seconds after, and before he can set the card on
-fire, it will suddenly divide in the middle and spring back,
-burning his fingers if he do not drop it quickly. Have another<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
-paper ready and desire him to try that; when he will
-most likely beg to be excused, and will prefer lighting it
-with the candle.</p>
-
-<p>When the card is consumed, say that you do not wish to
-fix upon any particular person in company to choose an egg,
-lest it might be suspected he was a confederate; therefore,
-request any two ladies in company to choose each an egg,
-and having done so, to decide between themselves which
-shall contain the card; when this is done, take a second
-saucer, and in it receive the rejected egg, break it with
-your wand, and show the egg round to the company; at the
-same time drawing their attention to the fact of those two
-eggs having been chosen from among a number of others,
-and of its not being possible for you to have told which of
-them would be the chosen one.</p>
-
-<p>You now receive the chosen egg in the saucer containing
-the ashes, and having rolled it about until you have blacked
-it a little, blow the ashes from around it into the grate;
-you then break the egg with the same wand, when, on
-touching the spring, the card will be found in the egg.</p>
-
-<p>The method of preparing the paper mentioned in the
-above feat is as follows: Take a piece of letter paper,
-about six inches in length and three quarters of an inch in
-breadth, fold it longitudinally, and with a knife cut it in the
-crease about five inches down; then take one of the sides
-which are still connected at the bottom, and with the back
-of the knife under it, and the thumb of the right hand over
-it, curl it outwards as a boy would the tassels of his kite;
-repeat the same process with the other side, and lay them
-by for use. When about using them, (but not till then, as
-the papers will soon lose their curl if stretched,) draw them
-up so as to make them their original length, and turn the
-ends over a little, in order that they may remain so; when
-set on fire, they will burn for a minute or two, until the
-turn-over is burnt out, when the lighted ends will turn over
-quickly, burning the fingers of the holder: this part of the
-trick never fails to excite the greatest merriment.</p>
-
-
-<p class="p6">38. THE FIFTEEN THOUSAND LIVRES.</p>
-
-<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p>
-
-<div class="figleft" style="width: 171px;">
-<img src="images/i_079.jpg" width="171" height="300" alt="" />
-</div>
-
-<p>For this trick, prepare two cards like the accompanying
-engraving; and have a common ace and five of diamonds.
-Hold down the five of diamonds and the two prepared cards,
-as shown in the next engraving; and
-say, "A certain Frenchman left fifteen
-thousand livres, which are represented
-by these three cards, to his three sons;
-the two youngest agreed to leave their
-five thousand, each of them, in the hands
-of the elder, that he might improve it."
-While you are telling this story lay the
-five on the table, and put the ace in its
-place; at the same time artfully change
-the position of the other two cards, so
-that the three cards appear as in this
-engraving. Then, resuming the tale,
-relate that "The eldest brother, instead
-of improving the money, lost it all by
-gaming, except three thousand livres,
-as you here see (laying the ace on the table, and taking
-up the five). Sorry for having lost the money, he went to
-the East Indies with these three thousand, and brought
-back fifteen thousand." Then show the cards in the same
-position as at first. To render this deception agreeable, it
-must be performed with dexterity, and should not be repeated,
-but the cards immediately put in the packet; and
-you should have five common cards ready to show, if any
-one desire to see them.</p>
-
-
-<h3>HINTS TO AMATEURS.</h3>
-
-<p>The following hints are of considerable importance to the
-amateur exhibitor.</p>
-
-<p>1. Never acquaint the company beforehand with the particulars
-of the feat you are about to perform, as it will give
-them time to discover your mode of operation.</p>
-
-<p>2. Endeavor, as much as possible, to acquire various
-methods of performing the same feat, in order that if you
-should be likely to fail in one, or have reason to believe
-that your operations are suspected, you may be prepared
-with another.</p>
-
-<p>3. Never yield to the request of any one to repeat the
-same feat, as you thereby hazard the detection of your mode
-of operation; but do not absolutely refuse, as that would
-appear ungracious. Promise to perform it in a different<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
-way, and then exhibit another which somewhat resembles
-it. This maneuver seldom fails to answer the purpose.</p>
-
-<p>4. Never venture on a feat requiring manual dexterity,
-till you have previously practiced it so often, as to acquire
-the necessary expertness.</p>
-
-<p>5. As diverting the attention of the company from too
-closely inspecting your maneuvers is a most important
-object, you should manage to talk to them during the whole
-course of your proceedings. It is the plan of vulgar operators
-to gabble unintelligible jargon, and attribute their feats
-to some extraordinary and mysterious influence. There are
-few persons at the present day credulous enough to believe
-such trash, even among the rustic and most ignorant; but,
-as the youth of maturer years might inadvertently be
-tempted to pursue this method, while exhibiting his skill
-before his younger companions, it may not be deemed superfluous
-to caution him against such a procedure. He
-may state, and truly, that everything he exhibits can be
-accounted for on rational principles, and is only in obedience
-to the unerring laws of Nature; and although we
-have just cautioned him against enabling the company
-themselves to detect his operations, there can be no objection
-(particularly when the party comprises many younger
-than himself) to occasionally show by what simple means
-the most apparently marvelous feats are accomplished.</p>
-
-
-<p class="p6">CURE FOR TROUBLESOME SPECTATORS.</p>
-
-<p>It will sometimes happen at an early stage of the performance,
-that the ultimate success of the whole is likely
-to be endangered by a troublesome person, (generally a
-naughty boy,) who will persist in crying out, "I know
-how it is done!"&mdash;at the same time continually advancing
-to the table, from which it is, of course, the business of the
-conjurer to keep his youthful admirers. Should this be the
-case, the magic whistles may be produced, and the remark
-made, that now the troublesome boy shall show the company
-a trick. Having taken up one of the whistles, which
-has previously been filled with flour or magnesia, dust or
-soot, proceed to give a few directions, particularly impressing
-on him the necessity of blowing hard, because the
-whistle you place in his hand is perforated with a number
-of holes. The would-be magician is, therefore, excessively<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
-mortified, on applying his mouth and blowing hard, to receive
-the powder in his face. Any turner will make such
-a whistle, it being nothing more than the usual shaped toy
-perforated at the top with a number of holes.</p>
-
-
-<hr class="tb" />
-
-<h3>THE SECRET OF VENTRILOQUISM.</h3>
-
-<p>The main secret of this surprising art simply consists in
-first making a strong, deep inspiration, by which a considerable
-quantity of air is introduced into the lungs, to be
-afterwards acted upon by the flexible powers of the larynx,
-or cavity situated behind the tongue, and the trachea, or
-windpipe; thus prepared, the expiration should be slow
-and gradual. Any person, by practice, can, therefore, obtain
-more or less expertness in this exercise; in which,
-though not apparently, the voice is still modified by the
-mouth and tongue; and it is in the concealment of this aid,
-that much of the perfection of ventriloquism lies.</p>
-
-<p>But the distinctive character of ventriloquism consists in
-its imitations being performed by the voice <em>seeming</em> to come
-from the stomach: hence its name, from <em>venter</em>, the stomach,
-and <em>loquor</em>, to speak. Although the voice does not actually
-come from that region, in order to enable the ventriloquist to
-utter sounds from the larynx without moving the muscles of
-his face, he strengthens them by a powerful action of the
-abdominal muscles. Hence, he speaks by means of his
-stomach; although the throat is the real source from whence
-the sound proceeds. It should, however, be added, that
-this speaking distinctly, without any movement of the lips
-at all, is the highest perfection of ventriloquism, and has
-but rarely been obtained. Thus, MM. St. Gille and Louis
-Brabant, two celebrated French ventriloquists, appeared to
-be absolutely mute while exercising their art, and no change
-in their countenances could be discovered.</p>
-
-<p>It has lately been shown, that some ventriloquists have
-acquired by practice the power of exercising the veil of<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
-the palate in such a manner, that, by raising or depressing
-it, they dilate or contract the inner nostrils. If they are
-closely contracted, the sound produced is weak, dull, and
-seems to be more or less distant; if, on the contrary, these
-cavities are widely dilated, the sound will be strengthened,
-the voice become loud, and apparently close to us.</p>
-
-<p>Another of the secrets of ventriloquism, is the uncertainty
-with respect to the direction of sounds. Thus, if we place
-a man and a child in the same angle of uncertainty, and the
-man speaks with the accent of a child, without any corresponding
-motion in his mouth or face, we shall necessarily
-believe that the voice comes from the child. In this case,
-the belief is strengthened by the imagination; for if we
-were directed to a statue, as the source from which we
-were to expect sounds to issue, we should still be deceived,
-and refer the sounds to the lifeless stone or marble. This
-illusion will be greatly assisted by the voice being totally
-different in tone and character from that of the man from
-whom it really comes. Thus, we see how easy is the deception
-when the sounds are required to proceed from any
-given objects, and are such as they actually yield.</p>
-
-<p>The ventriloquists of our time have carried their art still
-further. They have not only spoken by the muscles of the
-throat and the abdomen, without moving those of the face,
-but have so far overcome the uncertainty of sound, as to
-become acquainted with modifications of distance, obstruction,
-and other causes, so as to imitate them with the greatest
-accuracy. Thus, each of these artists has succeeded in carrying
-on a dialogue; and each, in his own single person and
-with his own single voice, has represented a scene apparently
-with several actors. These ventriloquists have likewise possessed
-such power over their faces and figures that, aided by
-rapid changes of dress, their personal identity has scarcely
-been recognized among the range of personations.</p>
-
-<p>Vocal imitations are much less striking and ingenious
-than the feats of ventriloquism. Extraordinary varieties of
-voice may be produced, by speaking with a more acute or
-grave pitch than usual, and by different contractions of the
-mouth. Thus may be imitated the grinding of cutlery on a
-wheel, the sawing of wood, the frying of a pancake, the
-uncorking of a bottle, and the gurgling noise in emptying
-its contents.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_CHEMISTRY" id="THE_MAGIC_OF_CHEMISTRY"></a>THE MAGIC OF CHEMISTRY.</h2>
-
-<hr class="tb" />
-
-<div class="figcenter">
-<img src="images/i_083.jpg" width="560" height="466" alt="" />
-</div>
-
-
-<p>C<span class="smcapa">HEMISTRY</span> is one of the most attractive sciences. From
-the beginning to the end, the student is surprised and delighted
-with the developments of the exact discrimination,
-as well as the power and capacity, which are displayed in
-various forms of chemical action. Dissolve two substances
-in the same fluid, and then by evaporation, or otherwise,
-cause them to reassume a solid form, and each particle will
-unite with its own kind, to the entire exclusion of all others.
-Thus, if sulphate of copper and carbonate of soda are dissolved
-in boiling water, and then the water is evaporated,
-each salt will be re-formed as before. This phenomenon is
-the result of one of the first principles of the science, and
-as such is passed over without thought; but it is a wonderful
-phenomenon, and made of no account only by the fact
-that it is so common and so familiar.</p>
-
-<p>It is by the action of this same principle, "chemical
-affinity," that we produce the curious experiments with<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
-<span class="smcapa">SYMPATHETIC INKS</span>. By means of these, we may carry on a
-correspondence which is beyond the discovery of all not in
-the secret. With one class of these inks, the writing
-becomes visible only when moistened with a particular
-solution. Thus, if we write to you with a solution of sulphate
-of iron, the letters are invisible. On the receipt of
-our letter, you rub over the sheet a feather or sponge, wet
-with a solution of nut-galls, and the letters burst forth into
-sensible being at once, and are permanent.</p>
-
-<p>2. If we write with a solution of sugar of lead, and you
-moisten with a sponge or pencil dipped in water impregnated
-with sulphuretted hydrogen, the letters will appear
-with metallic brilliancy.</p>
-
-<p>3. If we write with a weak solution of sulphate of copper,
-and you apply ammonia, the letters assume a beautiful blue.
-When the ammonia evaporates, as it does on exposure to
-the sun or fire, the writing disappears, but may be revived
-again as before.</p>
-
-<p>4. If you write with oil of vitriol very much diluted, so
-as to prevent its destroying the paper, the manuscript will
-be invisible except when held to the fire, when the letters
-will appear black.</p>
-
-<p>5. Write with cobalt dissolved in diluted muriatic acid;
-the letters will be invisible when cold, but when warmed
-they will appear a bluish green.</p>
-
-<p>We are almost sure that our secrets thus written will not
-be brought to the knowledge of a stranger, because he
-does not know the solution which was used in writing, and
-therefore knows not what to apply to bring out the letters.</p>
-
-<p>Other forms of elective affinity produce equally novel
-results. Thus, two invisible gases, when combined, form
-sometimes a <em>visible solid</em>. Muriatic acid and ammonia are
-examples, also ammonia and carbonic acid.</p>
-
-<p>On the other hand, if a solution of sulphate of soda be
-mixed with a solution of muriate of lime, the whole becomes
-solid.</p>
-
-<p>Some gases when united form liquids, as oxygen and
-hydrogen, which unite and form water. Some solids, when
-combined, form liquids.</p>
-
-<p>Chemical affinity is sometimes called <em>elective</em>, or the effect
-of <em>choice</em>, as if one substance exerted a kind of <em>preference</em> for
-another, and chose to be united to it rather than to that
-with which it was previously combined; thus, if you pour<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span>
-some vinegar, which is a weak acetic acid, upon some
-pearlash, (a combination of potassa and carbonic acid,) or
-some carbonate of soda, (a combination of the same acid
-with soda,) a violent effervescence will take place, occasioned
-by the escape of the carbonic acid, displaced in consequence
-of the potash or soda preferring the acetic acid, and forming
-a compound called an acetate. Then, if some sulphuric
-acid be poured on this new compound, the acetic acid will
-in its turn be displaced by the greater attachment of either
-of the bases, as they are termed, for the sulphuric acid.
-Again, if into a solution of blue vitriol, (a combination of
-sulphuric acid with oxide of copper,) the bright blade of a
-knife be introduced, the knife will speedily be covered with
-a coat of copper, deposited in consequence of the acid <em>preferring</em>
-the iron of which the knife is made, a quantity of it
-being dissolved in exact proportion to the quantity of copper
-deposited.</p>
-
-<div class="figleft" style="width: 174px;">
-<img src="images/i_085.jpg" width="174" height="250" alt="" />
-</div>
-
-<p>It is on the same principle that a very beautiful preparation,
-called a silver-tree, or a lead-tree, may be formed,
-thus: Fill a wide bottle, capable of holding from half a
-pint to a pint, with a tolerably strong solution of nitrate of
-silver, (lunar caustic,) or acetate of lead, in pure distilled
-water; then attach a small piece of zinc by a string to the
-cork or stopper of the bottle, so that the zinc shall hang
-about the middle of the bottle, and set it by where it may
-be quite undisturbed; in a short time, brilliant plates of
-silver or lead, as the case may be, will be
-seen to collect around the piece of zinc,
-assuming more or less of the crystalline
-form. This is a case of elective affinity;
-the acid with which the silver or lead was
-united <em>prefers</em> the zinc to either of those
-metals, and in consequence discards them
-in order to attach the zinc to itself; and
-this process will continue until the whole
-of the zinc is taken up, or the whole of the
-silver or lead deposited.</p>
-
-<p>Again, many animal and vegetable substances consist
-for the most part of carbon or charcoal, united with oxygen
-and hydrogen in the proportion which forms water. Now
-oil of vitriol (strong sulphuric acid) has so powerful an
-affinity, or so great a <em>thirst</em> for water, that it will abstract it
-from almost any body in which it exists; if you then pour<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
-some of this acid on a lump of sugar, or place a chip of
-wood in it, the sugar or wood will speedily become quite
-black, or be <em>charred</em>, as it is called, in consequence of the
-oxygen and hydrogen being removed by the sulphuric acid,
-and only the carbon, or charcoal, left.</p>
-
-<p>When Cleopatra dissolved pearls of wondrous value in
-vinegar, she was exhibiting unwittingly an instance of
-chemical elective affinity; the pearl being simply carbonate
-of lime, which was decomposed by the greater affinity or
-fondness of lime for its new acquaintance, (the acetic acid
-of the vinegar,) than for the carbonic acid, with which it
-had been united all its life; an example of inconstancy in
-strong contrast with the conduct of its owner, who chose
-death rather than become the mistress of her lover's
-conqueror.</p>
-
-
-<p class="p6">EXPERIMENTS ON COMBUSTION.</p>
-
-<p>Into an ordinary wine bottle put some pieces of granulated
-zinc, and pour on them a mixture of sulphuric acid and
-water, in the proportion of about one part of acid to four
-of water, then close the bottle with a cork having a hole
-bored through the middle, in which a piece of glass tube is
-inserted; wait some minutes that the atmospheric air in the
-bottle may be expelled by the hydrogen gas set free by the
-decomposition of the water, then apply a lighted taper to
-the end of the tube, when the gas will inflame, giving out
-so little light as to be barely visible by daylight, but producing
-so intense a heat that a piece of platinum wire
-instantly becomes white hot when held in the flame. If
-you hold a glass tumbler inverted over the flame, it becomes
-covered with minute drops of water, the result of the union
-of the hydrogen with the oxygen of the air, and in this case
-water is the only product.</p>
-
-<p>If a piece of charcoal, which is pure carbon or nearly so,
-be ignited, and introduced into a jar, containing oxygen or
-common atmospheric air, the product will be carbonic acid
-gas only. As most combustible bodies contain both carbon
-and hydrogen, the result of their combination is carbonic
-acid and water. This is the case with the gas used for illumination;
-and in order to prevent the water so produced
-from spoiling goods in shops, various plans have been
-devised for carrying off the water when in the state of
-steam. This is generally accomplished by suspending over<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
-the burners glass bells, communicating with tubes opening
-into the chimney, or passing outside the house.</p>
-
-<p>To show that oxygen, or some equivalent, is necessary
-for the support of combustion, fix two or three pieces of
-wax taper on flat pieces of cork, and set them floating on
-water in a soup-plate, light them, and invert over them a
-glass jar; as they burn, the heat produced may perhaps
-at first expand the air so as to force a small quantity out of
-the jar, but the water will soon rise in the jar, and continue
-to do so until the tapers expire, when you will find that a
-considerable portion of the air has disappeared, and what
-remains will no longer support flame; that is, the oxygen
-has been converted partly into water, and partly into carbonic
-acid gas, by uniting with the carbon and hydrogen
-of which the taper consists, and the remaining air is principally
-nitrogen, with some carbonic acid: the presence of
-the latter may be proved by decanting some of the remaining
-air into a bottle, and then shaking some lime-water with
-it, which will absorb the carbonic acid and form chalk.</p>
-
-<p>Into an ale-glass, two thirds full of water at about 140°,
-drop one or two pieces of phosphorus about the size of peas,
-and they will remain unaltered. Then take a bladder containing
-oxygen gas, to which is attached a stop-cock and a
-long fine tube; pass the end of the tube to the bottom of
-the water, turn the stop-cock, and press the bladder gently;
-as the gas reaches the phosphorus it will take fire, and burn
-under the water with a brilliant flame, filling the glass with
-brilliant flashes of light dashing through the water.</p>
-
-<div class="figleft" style="width: 176px;">
-<img src="images/i_087.jpg" width="176" height="210" alt="" />
-</div>
-
-<p>Into another glass put some cold water; introduce carefully
-some of the salt called chlorate
-of potassa, upon that drop a piece of
-phosphorus; then let some strong
-sulphuric acid (oil of vitriol) trickle
-slowly down the side of the glass, or
-introduce it by means of a dropping
-bottle. As soon as it touches the salt
-it decomposes it, and liberates a gas
-which ignites the phosphorus, producing
-much the same appearance as in the last experiment.</p>
-
-<p>Into the half of a broken phial put some chlorate of potassa,
-and pour in some oil of vitriol. The phial will soon
-be filled with a heavy gas of a deep yellow color. Tie a
-small test tube at right angles to the end of a stick not less<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
-than a yard long, put a little ether into the tube, and pour
-it gently into the phial of gas, when an instantaneous explosion
-will take place, and the ether will be set on fire.
-This experiment should be performed in a place where there
-are no articles of furniture to be damaged, as the ingredients
-are often scattered by the explosion, and the oil of vitriol
-destroys all animal and vegetable substances.</p>
-
-<p>Into a jar containing oxygen gas, introduce a coil of soft
-iron wire, suspended to a cork that fits the neck of the jar,
-and having attached a small piece of charcoal to the lower
-part of the wire, ignite the charcoal. The iron will take fire
-and burn with a brilliant light, throwing out bright scintillations,
-which are oxide of iron, formed by the union of the
-gas with the iron; and they are so intensely hot, that some
-of them will probably <em>melt</em> their way into the sides of the
-jar, if not through them.</p>
-
-<div class="figright" style="width: 150px;">
-<img src="images/i_088.jpg" width="150" height="252" alt="" />
-</div>
-
-<p>But by far the most intense heat, and most brilliant light,
-may be produced by introducing a piece of phosphorus into
-a jar of oxygen. The phosphorus may be placed in a small
-copper cup, with a long handle of thick wire
-passing through a hole in a cork that fits the
-jar. The phosphorus must first be ignited; and
-as soon as it is introduced into the oxygen, it
-gives out a light so brilliant that no eye can
-bear it, and the whole jar appears filled with
-an intensely luminous atmosphere. It is well
-to dilute the oxygen with about one fourth
-part of common air, to moderate the intense
-heat, which is nearly certain to break the jar,
-if pure oxygen is used.</p>
-
-<p>The following experiment shows the production of heat
-by chemical action alone. Bruise some fresh prepared
-crystals of nitrate of copper, spread them over a piece of
-tin foil, sprinkle them with a little water; then fold up the
-foil tightly, as rapidly as possible, and in a minute or two
-it will become red hot, the tin apparently burning away.
-This heat is produced by the energetic action of the tin on
-the nitrate of copper, taking away its oxygen in order to
-unite with the nitric acid, for which, as well as for the oxygen,
-the tin has a much greater affinity than the copper has.</p>
-
-<p><span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span></p>
-
-<div class="figleft" style="width: 143px;">
-<img src="images/i_089.jpg" width="143" height="150" alt="" />
-</div>
-
-<p>Combustion without flame may be shown in a very elegant
-and agreeable manner, by making a coil of platinum wire
-by twisting it round the stem of a tobacco pipe, or any
-cylindrical body, for a dozen times or so, leaving about an
-inch straight, which should be inserted into the wick of a
-spirit lamp; light the lamp, and after it has burned for a
-minute or two, extinguish the flame quickly; the wire will
-soon become red hot, and, if kept from draughts of air, will
-continue to burn until all the spirit is consumed.
-Spongy platinum, as it is called,
-answers rather better than wire, and has
-been employed in the formation of fumigators
-for the drawing-room, in which, instead of
-pure spirit, some perfume, such as lavender
-water, is used; by its combustion an agreeable
-odor is diffused through the apartment. These little
-lamps were much in vogue a few years ago, but are now
-nearly out of fashion.</p>
-
-<p>Experiments on combustion might be multiplied, almost to
-any amount, but the above will be sufficient for our purpose.</p>
-
-
-<p class="p6">POTASSIUM.</p>
-
-<p>Potassium was discovered by Sir H. Davy, in the beginning
-of the present century, while acting upon potash with
-the enormous galvanic battery of the Royal Institution, consisting
-of two thousand pairs of four inch plates. It is a
-brilliant white metal, so soft as to be easily cut with a penknife,
-and so light as to swim upon water, on which it acts
-with great energy, uniting with the oxygen, and liberating
-the hydrogen, which takes fire as it escapes.</p>
-
-
-<p class="p6a">EXPERIMENT.</p>
-
-<p>Trace some continuous lines on paper with a camel's-hair
-brush, dipped in water, and place a piece of potassium
-about the size of a pea, on one of the lines, and it will follow
-the course of the pencil, taking fire as it runs, and
-burning with a purplish light. The paper will be found
-covered with a solution of ordinary potash. If turmeric
-paper be used, the course of the potassium will be marked
-with a deep brown color. Corollary: hence, if you touch
-potassium with <em>wet</em> fingers, you will burn them!</p>
-
-<p>If a small piece of the metal be placed on a piece of ice,
-it will instantly take fire, and form a deep hole, which will
-be found to contain a solution of potash.</p>
-
-<p>In consequence of its great affinity for oxygen, potassium
-must be kept in some fluid destitute of it, such as naphtha.</p>
-
-<p><span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span></p>
-
-<p>Saltpeter, or niter, is a compound of this metal (or rather
-its oxide) with nitric acid. It is one of the ingredients of
-gunpowder, and has the property of quickening the combustion
-of all combustible bodies.</p>
-
-
-<p class="p6a">EXPERIMENT.</p>
-
-<p>Rub together in a <em>warm</em> mortar, three parts of powdered
-niter, two of dry carbonate of potash, and one of flour of
-brimstone; place a small quantity of the mixture in an iron
-ladle, and heat it over the fire, when it will speedily melt,
-and then explode with a very loud noise; and if held under
-a foul chimney, will save the expense of a chimney sweep:
-but avoid cooking time.</p>
-
-<p>Another salt of potash remarkable for the same property,
-in even a greater degree, is the <em>chlorate</em> of potash.</p>
-
-
-<p class="p6a">EXPERIMENTS.</p>
-
-<p>1. Triturate together in a <em>dry</em> mortar a few grains of flowers
-of sulphur, with a small quantity of the chlorate of potash,
-and a succession of sharp explosions, like the crack of a
-whip, will be produced.</p>
-
-<p>2. Substitute half a grain of phosphorus for the sulphur,
-and the action will be much more violent. The hand should
-be defended by a thick glove, and the eyes carefully guarded,
-in making this experiment.</p>
-
-<p>3. Mix very carefully a little of this salt, reduced to
-powder, with a little lump sugar, also powdered, and drop
-on the mixture a little strong sulphuric acid, and it will instantly
-burst into a flame. This experiment also requires
-caution.</p>
-
-<p>Want of space precludes us from considering the individual
-metals and their compounds in detail; it must suffice to
-describe some experiments, showing some of their properties.</p>
-
-<p>The different affinities of the metals for oxygen, may be
-exhibited in various ways. The silver or zinc tree has
-already been described.</p>
-
-
-<p class="p6a">EXPERIMENTS.</p>
-
-<p>1. Into a solution of nitrate of silver, in distilled water,
-immerse a clean plate or slip of copper. The solution, which
-was colorless, will soon begin to assume a greenish tint, and
-the piece of copper will be covered with a coating of a light
-gray color, which is the silver formerly united to the nitric<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span>
-acid, which has been displaced by the greater affinity or
-<em>liking</em> of the oxygen and acid for the copper.</p>
-
-<p>2. When the copper is no longer coated, but remains clean
-and bright when immersed in the fluid, all the silver has been
-deposited, and the glass now contains a solution of <em>copper</em>.</p>
-
-<p>Place a piece of clean iron in the solution, and it will
-almost instantly be coated with a film of <em>copper</em>, and this will
-continue until the whole of that metal is removed, and its
-place filled by an equivalent quantity of <em>iron</em>, so that nitrate
-of <em>iron</em> is found in the liquid. The oxygen and nitric acid
-remain unaltered in quantity or quality during these changes,
-being merely transferred from one metal to another.</p>
-
-<p>A piece of zinc will displace the iron in like manner, leaving
-a solution of nitrate of zinc.</p>
-
-<p>Nearly all the colors used in the arts, are produced by
-metals and their combinations; indeed, one is named
-<em>chromium</em>, from a Greek word signifying color, on account
-of the beautiful tints obtained from its various combinations
-with oxygen and the other metals. All the various tints of
-green, orange, yellow, and red, are obtained from this
-metal.</p>
-
-<p>Solutions of most of the metallic salts give precipitates
-with solutions of alkalies and their salts, as well as with
-many other substances, such as what are usually called
-prussiate of potash, hydro-sulphuret of ammonia, &amp;c.; and
-the colors differ according to the metal employed; and so
-small a quantity is required to produce the color, that the
-solutions before mixing may be nearly colorless.</p>
-
-
-<p class="p6a">EXPERIMENTS.</p>
-
-<p>1. To a solution of sulphate of iron, add a drop or two of
-a solution of prussiate of potash, and a blue color will be
-produced.</p>
-
-<p>2. Substitute sulphate of copper for iron, and the color
-will be a rich brown.</p>
-
-<p>3. Another blue, of quite a different tint, may be produced
-by letting a few drops of a solution of ammonia fall into one
-of sulphate of copper, when a precipitate of a light blue falls
-down, which is dissolved by an additional quantity of the
-ammonia, and forms a transparent solution of the most
-splendid rich blue color.</p>
-
-<p>4. Into a solution of sulphate of iron, drop a few drops of
-a strong infusion of galls, and the color will become a bluish-black&mdash;in<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
-fact, <em>ink</em>. A little <em>tea</em> will answer as well as the
-infusion of galls. This is the reason why certain stuffs
-formerly in general use for dressing gowns for gentlemen
-were so objectionable; for as they were indebted to a salt
-of iron for their color, buff, as it was called, a drop of tea
-accidentally spilled, produced all the effect of a drop of ink.</p>
-
-<p>5. Put into a largish test tube, two or three small pieces
-of granulated zinc, fill it about one third full of water, put
-in a few grains of iodine, and boil the water, which will at
-first acquire a dark purple color, gradually fading as the
-iodine combines with the zinc. Add a little more iodine
-from time to time, until the zinc is nearly all dissolved. If
-a few drops of this solution be added to an equally colorless
-solution of corrosive sublimate (a salt of mercury), a precipitate
-will take place of a splendid scarlet color, brighter,
-if possible, than vermilion, which is also a preparation of
-mercury.</p>
-
-
-<p class="p6">CRYSTALLIZATION OF METALS.</p>
-
-<p>Some of the metals assume certain definite forms in return
-from the fluid to the solid state. Bismuth shows this
-property more readily than most others.</p>
-
-
-<p class="p6a">EXPERIMENT.</p>
-
-<p>Melt a pound or two of bismuth in an iron ladle over the
-fire; remove it as soon as the whole is fluid; and when the
-surface has become solid break a hole in it, and pour out
-the still fluid metal from the interior; what remains will exhibit
-beautifully-formed crystals of a cubic shape.</p>
-
-<p>Sulphur may be crystallized in the same manner, but its
-fumes, when heated, are so very unpleasant, that few would
-wish to encounter them.</p>
-
-<p>One of the most remarkable facts in chemistry&mdash;a science
-abounding in wonders&mdash;is the circumstance that the mere
-contact of hydrogen, the <em>lightest</em> body known, with the metal
-platinum, the heaviest, when in a state of minute division,
-called spongy platinum, produces an intense heat, sufficient
-to inflame the hydrogen: of course this experiment must be
-made in the presence of atmospheric air or oxygen. If a
-small piece of the metal in the state above named be introduced
-into a mixture of oxygen and hydrogen, it will cause
-them to explode. A very small quantity of gas should be
-employed, and placed in a jar lightly covered with a card,
-or the explosion would be dangerous.</p>
-
-<p><span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p>
-
-
-<p class="p6">BEAUTIES OF CRYSTALLIZATION.</p>
-
-<p>Dissolve alum in hot water until no more can be dissolved
-in it; place in it a smooth glass rod and a stick of the same
-size; next day, the stick will be found covered with crystals,
-but the glass rod will be free from them: in this case,
-the crystals cling to the rough surface of the stick, but have
-no hold upon the smooth surface of the glass rod. But if
-the rod be roughened with a file at certain intervals, and
-then placed in the alum and water, the crystals will adhere
-to the rough surfaces, and leave <ins title="Transcriber's Note: original reads 'the'">them</ins> smooth bright
-and clear.</p>
-
-<p>Tie some threads of lamp-cotton irregularly around a copper
-wire or glass rod; place it in a hot solution of blue vitriol,
-strong as above, and the threads will be covered with
-beautiful blue crystals, while the glass rod will be bare.</p>
-
-<p>Bore a hole through a piece of coke, and suspend it by a
-string from a stick, placed across a hot solution of alum; it
-will float; but, as it becomes loaded with crystals, it will
-sink in the solution according to the length of the string.
-Gas-coke has mostly a smooth, shining, and almost metallic
-surface, which the crystals will avoid, while they will cling
-only to the most irregular and porous parts.</p>
-
-<p>If powdered turmeric be added to the hot solution of
-alum, the crystals will be of a bright yellow; litmus will
-cause them to be of a bright red; logwood will yield purple;
-and common writing ink, black; and the more muddy
-the solution, the finer will be the crystals.</p>
-
-<p>To keep colored alum crystals from breaking or losing
-their color, place them under a glass shade with a saucer
-of water; this will preserve the atmosphere moist, and prevent
-the crystals getting too dry.</p>
-
-<p>If crystals be formed on wire, they will be liable to break
-off, from the expansion and contraction of the wire by
-changes of temperature.</p>
-
-
-<p class="p6">TO CRYSTALLIZE CAMPHOR.</p>
-
-<p>Dissolve camphor in spirit of wine, moderately heated,
-until the spirit will not dissolve any more; pour some of the
-solution into a cold glass, and the camphor will instantly
-crystallize in beautiful tree-like forms, such as we see in the
-show-glasses of camphor in druggists' windows.</p>
-
-<p><span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span></p>
-
-
-<p class="p6">CRYSTALLIZED TIN.</p>
-
-<p>Mix half an ounce of nitric acid, six drams of muriatic
-acid, and two ounces of water; pour the mixture upon a
-piece of tin plate previously made hot, and after washing it
-in the mixture it will bear a beautiful crystalline surface, in
-feathery forms. This is the celebrated <em xml:lang="fr" lang="fr">moirée métallique</em>, and,
-when varnished, is made into ornamental boxes, &amp;c. The
-figures will vary according to the degree of heat previously
-given to the metal.</p>
-
-
-<p class="p6">CRYSTALS IN HARD WATER.</p>
-
-<p>Hold in a wine-glass of hard water a crystal of oxalic
-acid, and white threads, <em>i. e.</em> oxalate of lime, will instantly
-descend through the liquid suspended from the crystal.</p>
-
-
-<p class="p6">VARIETIES OF CRYSTALS.</p>
-
-<p>Make distinct solutions of common salt, niter, and alum;
-set them in three saucers in any warm place, and let part
-of the water dry away or evaporate; then remove them to
-a warm room. The particles of the salts in each <ins title="Transcriber's Note: original reads 'sacer'">saucer</ins> will
-begin to attract each other, and form crystals, but not all
-of the same figure: the common salt will yield crystals
-with six square and equal faces, or sides; the niter six-sided
-crystals; and the alum, eight-sided crystals; and if these
-crystals be dissolved over and over again, they will always
-appear in the same forms.</p>
-
-
-<p class="p6">A LIQUID CHANGED TO A SOLID, AND HEAT FROM CRYSTALLIZATION.</p>
-
-<p>A strong saline solution excluded from the <em>air</em> will frequently
-crystallize the instant that air is admitted. For
-this purpose make a solution of Glauber's salt (sulphate
-of soda) in boiling water (3 lbs. of the salt to 2 lbs. of
-water); bottle and cork quickly; also tie over the neck a
-piece of wet bladder. When perfectly cold, or even a few
-days afterwards, remove the cork, and the salt will immediately
-crystallize, shooting out the most beautiful crystals,
-at last becoming nearly solid: at the same time the whole
-becomes warm, in consequence of the latent heat generated
-by the change of the liquid to the solid state. If the liquid
-will not crystallize quickly on removing the cork, tie a crystal
-of Glauber's salt to a bit of wire, touch the surface of<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
-the liquid, and the crystallization will then generally
-occur.</p>
-
-
-<p class="p6a">ANOTHER EXPERIMENT.</p>
-
-<p>Heat some blue vitriol (sulphate of copper) in an
-iron ladle till all the water contained in the crystals
-is driven off, and the color changes to a gray.
-Take the lumps out without breaking them, and lay the
-dried blue vitriol on a plate; if this be moistened with
-water, steam is produced; and if a slice of phosphorus is
-then laid on the sulphate of copper, it ignites, demonstrating
-again that the condensation of a liquid produces heat.
-The addition of the water restores the blue color, thus proving
-that water was necessary to the composition of blue
-vitriol.</p>
-
-
-<p class="p6">A SOLID CHANGED TO A LIQUID, AND INTENSE COLD FROM THE LIQUEFACTION.</p>
-
-<p>Mix five parts by weight of powdered muriate of ammonia,
-commonly termed sal ammoniac, five parts of niter in powder,
-and sixteen parts of water. A temperature of twenty-two
-degrees below the freezing point of water is produced; and
-if a phial of water, or any convenient metallic cylinder containing
-water, be surrounded with a sufficient quantity of
-the freezing mixture, ice is obtained. The ice clings to the
-interior of the tube, but may easily be removed by dipping
-it in tepid water.</p>
-
-<p>This experiment is the reverse of the last, and proves
-that a sudden reduction of a solid to the liquid condition
-always affords cold.</p>
-
-<p>An amusing combination of two experiments may be
-made by putting some fresh-burned lime into one tea-pot
-and this freezing mixture into another. When water is
-poured on the one containing lime, it gives out steam from
-the spout; while the addition of water to the other produces
-so much cold, that it can hardly be kept in the hand. Thus
-heat and cold are afforded by the same medium, water.</p>
-
-
-<p class="p6">MAGIC OF HEAT.</p>
-
-<p>Melt a small quantity of the sulphate of potassa and copper
-in a spoon over a spirit lamp; it will be fused at a heat
-just below redness, and produce a liquid of a dark green
-color. Remove the spoon from the flame, when the liquid<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
-will become a solid of a brilliant emerald green color, and
-so remain till its heat sinks nearly to that of boiling water;
-when suddenly a commotion will take place throughout the
-mass, beginning from the surface, and each atom, as if animated,
-will start up and separate itself from the rest, till,
-in a few moments, the whole will become a heap of powder.</p>
-
-
-<p class="p6">SUBLIMATION BY HEAT.</p>
-
-<p>Provide two small pieces of glass; sprinkle a minute portion
-of sulphur upon one piece, lay thin slips of wood
-around it, and place upon it the other piece of glass.
-Move them slowly over the flame of a lamp or candle, and
-the sulphur will become sublimed, and form gray nebulous
-patches, which are very curious microscopic objects. Each
-cluster consists of thousands of transparent globules, imitating
-in miniature the nebulæ which we see figured in
-treatises on astronomy. By observing the largest particles,
-we shall find them to be flattened on one side. Being very
-transparent, each of them acts the part of a little lens, and
-forms in its focus the image of a distant light, which can
-be perceived even in the smaller globules, until it vanishes
-from minuteness. If they are examined again after a certain
-number of hours, the smaller globules will generally
-be found to have retained their transparency, while the
-larger ones will have become opaque, in consequence of
-the sulphur having undergone some internal spontaneous
-change. But the most remarkable circumstance attending
-this experiment is, that the globules are found adhering to
-the upper glass only; the reason of which is, that the
-upper glass is somewhat cooler than the lower one: by
-which means we see that the vapor of sulphur is very powerfully
-repelled by heated glass. The flattened form of the
-particles is owing to the force with which they endeavor to
-recede from the lower glass, and their consequent pressure
-against the surface of the upper one. This experiment is
-considered by its originator, Mr. H. F. Talbot, F.R.S., England,
-to be a satisfactory argument in favor of the repulsive power
-of heat.</p>
-
-
-<p class="p6">HEAT PASSING THROUGH GLASS.</p>
-
-<p>The following experiment is also by Mr. Talbot: Heat a
-poker bright red hot, and having opened a window, apply
-the poker quickly very near to the outside of a pane, and<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
-the hand to the inside; a strong heat will be felt at the
-instant, which will cease as soon as the poker is withdrawn,
-and may be again renewed, and made to cease as quickly
-as before. Now, it is well known that if a piece of glass
-be so much warmed as to convey the impression of heat to
-the hand, it will retain some part of that heat for a minute
-or more; but in this experiment the heat will vanish in a
-moment. It will not, therefore, be the heated pane of glass
-that we shall feel, but heat which has come through the
-glass, in a free or radiant state.</p>
-
-
-<p class="p6">METALS UNEQUALLY INFLUENCED BY HEAT.</p>
-
-<p>All metals do not conduct heat at the same rate, as may
-be proved by holding in the flame of a candle at the same
-time, a piece of silver wire and a piece of platina wire,
-when the silver wire will become too hot to hold, much
-sooner than the platina. Or, cut a cone of each wire, tip
-it with wax, and place it upon a heated plate, (as a fire-shovel,)
-when the wax will melt at different periods.</p>
-
-
-<p class="p6">SPONTANEOUS COMBUSTION.</p>
-
-<p>Mix a small quantity of chlorate of potassa with spirit of
-wine in a strong saucer; add a little sulphuric acid, and
-an orange vapor will arise and burst into flame with a loud
-crackling sound.</p>
-
-
-<p class="p6">INEQUALITY OF HEAT IN FIRE-IRONS.</p>
-
-<p>Place before a brisk fire a set of polished fire-irons, and
-beside them a rough unpolished poker, such as is used in a
-kitchen, instead of a bright poker. The polished irons
-will remain for a long time without becoming warmer than
-the temperature of the room, because the heat radiated from
-the fire is all reflected, or thrown off, by the polished surface
-of the irons, and none of it is absorbed. The rough
-poker will, however, become speedily hot, so as not to be
-used without inconvenience. Hence, the polish of fire-irons
-is not merely ornamental, but useful.</p>
-
-
-<p class="p6">EXPANSION OF METAL BY HEAT.</p>
-
-<p>Provide an iron rod, and fit it exactly into a metal ring:
-heat the rod red hot, and it will no longer enter the ring.</p>
-
-<p>Observe an iron gate on a warm day, when it will shut
-with difficulty; whereas it will shut loosely and easily on
-a cold day.</p>
-
-<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p>
-
-
-<p class="p6">EVAPORATION OF A METAL.</p>
-
-<p>Rub a globule of mercury upon a silver spoon, and the
-two metals will combine with a white appearance; heat the
-spoon carefully in the flame of a spirit lamp, when the mercury
-will volatilize and disappear, and the spoon may then
-be polished until it recovers its usual luster: if, however,
-the mercury be left for some time on the spoon, the solid
-texture of the silver will be destroyed throughout, and then
-the silver can only be recovered by heating it in a ladle.
-Care must be taken to avoid the fumes of mercury, which
-are very poisonous.</p>
-
-
-<p class="p6">A FLOATING METAL ON FIRE.</p>
-
-<p>Throw a small piece of that marvelous substance, potassium,
-into a basin of water, and it will swim upon the surface
-and burn with a beautiful light, of a red color mixed with
-violet. When moderately heated in the air, potassium takes
-fire, and burns with a red light.</p>
-
-
-<p class="p6">ICE MELTED BY AIR.</p>
-
-<p>If two pieces of ice be placed in a warm room, one of
-them may be made to melt much sooner than the other, by
-blowing on it with a pair of bellows.</p>
-
-
-<p class="p6">SPLENDID SUBLIMATION.</p>
-
-<p>Put into a flask a small portion of iodine; hold the flask
-over the flame of a spirit-lamp, and from the state of bluish-black
-crystals, the iodine, on being heated, will become a
-violet-colored transparent gas; but, in cooling, will resume
-its crystalline form.</p>
-
-
-<p class="p6">MAGIC INKS.</p>
-
-<p>Dissolve oxide of cobalt in acetic acid, to which add a
-little niter: write with this solution; hold the writing to
-the fire, and it will be of pale rose color, which will disappear
-on cooling.</p>
-
-<p>Dissolve equal parts of sulphate of copper and muriate
-of ammonia in water; write with the solution, and it will
-give a yellow color when heated, which will disappear
-when cold.</p>
-
-<p>Dissolve nitrate of bismuth in water; write with the solution,
-and the characters will be invisible when dry, but
-will become legible on immersion in water.</p>
-
-<p>Dissolve, in water, muriate of cobalt, which is of a<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
-bluish-green colour, and the solution will be pink; write
-with it, and the characters will be scarcely visible: but, if
-gently heated, they will appear in brilliant green, which
-will disappear as the paper cools.</p>
-
-<p>Dissolve in water a few grains of prussiate of potash;
-write with this liquid, which is invisible when dry; wash
-over with a dilute solution of iron, made by dissolving a
-nail in a little aqua fortis; a blue and legible writing is
-immediately apparent.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p>
-
-
-<p class="p6">CHAMELEON LIQUIDS.</p>
-
-<p>Put a small portion of the compound called mineral
-chameleon into several glasses, pour upon each water at
-different temperatures, and the contents of each glass will
-exhibit a different shade of color. A very hot solution
-will be of a beautiful green color; a cold one, a deep purple.</p>
-
-<p>Make a colorless solution of sulphate of copper; add to
-it a little ammonia, equally colorless, and the mixture will
-be of an intense blue color; add to it a little sulphuric
-acid, and the blue color will disappear; pour in a little solution
-of caustic ammonia, and the blue color will be restored.
-Thus may the liquor be changed at pleasure.</p>
-
-
-<p class="p6">THE MAGIC DYES.</p>
-
-<p>Dissolve indigo in diluted sulphuric acid, and add to it
-an equal quantity of solution of carbonate of potassa. If
-a piece of white cloth be dipped in the mixture, it will be
-changed to blue; yellow cloth, in the same mixture, may
-be changed to green; red to purple; and blue litmus paper
-to red.</p>
-
-<p>Nearly fill a wine-glass with the juice of beet-root, which
-is of a deep red color; add a little lime-water, and the
-mixture will be colorless; dip into it a piece of white cloth,
-dry it rapidly, and in a few hours the cloth will become red.</p>
-
-
-<p class="p6">WINE CHANGED INTO WATER.</p>
-
-<p>Mix a little solution of subacetate of lead with port wine;
-filter the mixture through blotting-paper, and a colorless
-liquid will pass through; to this add a small quantity of
-dry salt of tartar; distil in a retort, when a spirit will arise,
-which may be inflamed.</p>
-
-<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p>
-
-<p class="p6">TWO COLORLESS TRANSPARENT LIQUIDS BECOME BLACK AND OPAQUE.</p>
-
-<p>Have in one vessel some dilute hydrosulphate of ammonia,
-and in another a solution of acetate of lead; they are both
-colorless and transparent; mix them, and they will become
-black and opaque.</p>
-
-
-<p class="p6">TWO COLORLESS FLUIDS MAKE A COLORED ONE.</p>
-
-<p>Put into a wine-glass of water a few drops of prussiate
-of potash, and into a second glass of water a little weak
-solution of sulphate of iron in water; pour the colorless
-mixtures together into a tumbler, and they will be immediately
-changed to a bright deep blue.</p>
-
-<p>Or, mix the solution of prussiate of potash with that of
-nitrate of bismuth, and a yellow will be the product.</p>
-
-<p>Or, mix the solution of prussiate of potash with that of
-sulphate of copper, and the mixture will be of a reddish-brown
-color.</p>
-
-
-<p class="p6">CHANGE OF COLOR BY COLORLESS FLUIDS.</p>
-
-<p>Three different colors may be produced from the same infusion,
-merely by the addition of three colorless fluids.
-Slice a little red cabbage, pour boiling water upon it, and
-when cold decant the clear infusion, which divide into
-three wine-glasses: to one, add a small quantity of solution
-of alum in water; to the second, a little solution of potash
-in water; and to the third, a few drops of muriatic acid.
-The liquor in the first glass will assume a purple color, the
-second a bright green, and the third a rich crimson.</p>
-
-
-<p class="p6">TO CHANGE A BLUE LIQUID TO WHITE.</p>
-
-<p>Dissolve a small lump of indigo in sulphuric acid by the
-aid of moderate heat, and you will obtain an intense blue
-color; add a drop of this to half a pint of water, so as to
-dilute the blue; then pour some of it into strong chloride
-of lime, and the blue will be bleached with almost magical
-velocity.</p>
-
-
-<p class="p6">VERITABLE "BLACK" TEA.</p>
-
-<p>Make a cup of strong green tea; dissolve a little green
-copperas in water, which add to the tea, and its color will
-be black.</p>
-
-<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p>
-
-
-<p class="p6">RESTORATION OF COLOR BY WATER.</p>
-
-<p>Water being a colorless fluid, ought, one would imagine,
-when mixed with other substances of no decided color,
-to produce a colorless compound. Nevertheless, it is to
-water only that blue vitriol, or sulphate of copper, owes its
-vivid blueness, as will be plainly evinced by the following
-simple experiment. Heat a few crystals of the vitriol in a
-fire-shovel, pulverize them, and the powder will be of a dull
-and dirty white <ins title="Transcriber's Note: original reads 'appearence'">appearance</ins>. Pour a little water upon this,
-when a slight hissing noise will be heard, and at the same
-moment the blue color will instantly reappear.</p>
-
-<p>Under the microscope the beauty of this experiment will
-be increased, for the instant that a drop of water is placed
-in contact with the vitriol, the powder may be seen to shoot
-into blue prisms. If a crystal of prussiate of potash be
-similarly heated, its yellow color will vanish, but reappear
-on being dropped into water.</p>
-
-<p class="p6"><a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a>TWO LIQUIDS MAKE A SOLID.</p>
-
-<p>Dissolve muriate of lime in water until it will dissolve
-no more; measure out an equal quantity of oil of vitriol;
-both will be transparent fluids; but if equal quantities of
-each be slowly mixed and stirred together, they will become
-a solid mass, with the evolution of smoke or fumes of
-muriatic acid.</p>
-
-
-<p class="p6">TWO SOLIDS MAKE A LIQUID.</p>
-
-<p>Rub together in a mortar, equal quantities of the crystals
-of Glauber salts and nitrate of ammonia, and the two salts
-will slowly become a liquid.</p>
-
-
-<p class="p6">A SOLID OPAQUE MASS MAKES A TRANSPARENT LIQUID.</p>
-
-<p>Take the solid mixture of the solutions of muriate of lime
-and carbonate of potash, pour upon it a very little nitric
-acid, and the solid opaque mass will be changed to a transparent
-liquid.</p>
-
-
-<p class="p6">TWO COLD LIQUIDS MAKE A HOT ONE.</p>
-
-<p>Mix four drams of sulphuric acid (oil of vitriol) with one
-dram of cold water, suddenly, in a cup, and the mixture
-will be nearly half as hot again as boiling water.</p>
-
-<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p>
-
-<p class="p6">QUINTUPLE TRANSMUTATION.</p>
-
-<p>Take five ale-glasses: place into the first a solution of
-iodide of potassium; into the second, a solution of corrosive
-sublimate, sufficiently strong to yield a scarlet precipitate
-with the iodide in the first glass, without redissolving, as
-the effect of the experiment depends on the adjustment of
-this beforehand; into the third, a strong solution of iodide
-of potassium with some oxalate of ammonia; into the fourth,
-a solution of muriate of lime; into the fifth, a solution of
-hydrosulphate of ammonia. The following changes occur.</p>
-
-<p>No. 1 added to No. 2 produces a yellow, quickly changing
-to a scarlet; No. 2, poured into No. 3, becomes clear and
-transparent again; No. 3, into No. 4, changes a milky
-white; No. 4, poured into No. 5, produces a black precipitate.</p>
-
-<p>Thus, a clear and colorless liquid is changed to scarlet;
-the scarlet again becomes colorless; the colorless liquid,
-milky white; and the white, black.</p>
-
-
-<p class="p6">THE SAME AGENT MAY PRODUCE AND DESTROY COLOR.</p>
-
-<p>Procure a bottle of chlorine, and arrange two tall cylindrical
-glasses: fill one half full with a dilute solution of
-iodide of potassium and starch, and the other with a very
-dilute solution of sulphate of indigo; provide each vessel
-with a plate glass or cardboard valve, laid on the top; carefully
-open the bottle of chlorine, invert it slowly over one
-cylindrical vessel, so as to pour out half the gas, which is
-very heavy; add the remainder to the other, and shake up
-both vessels. The chlorine will bleach the indigo, and
-afford a magnificent purple in the iodide of potassium and
-starch, because it sets free iodine, which combines with the
-starch, producing a purple compound.</p>
-
-
-<p class="p6">UNION OF TWO METALS WITHOUT HEAT.</p>
-
-<p>Cut a circular piece of gold leaf, called "dentists' gold,"
-about half an inch in diameter; drop upon it a globule of
-mercury, about the size of a small pea, and if they be left
-for a short time, the gold will lose its solidity and yellow
-color, and the mercury its liquid form, making a soft mass
-of the color of mercury.</p>
-
-
-<p class="p6">MAGIC BREATH.</p>
-
-<p>Half fill a glass tumbler with lime-water; breathe into
-it frequently, at the same time stirring it with a piece of<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
-glass. The fluid, which before was perfectly transparent,
-will presently become quite white, and if allowed to remain
-at rest, real chalk will be deposited.</p>
-
-
-<p class="p6">TWO BITTERS MAKE A SWEET.</p>
-
-<p>It has been discovered, that a mixture of nitrate of silver
-with hyposulphate of soda, both of which are remarkably
-bitter, will produce the sweetest known substance.</p>
-
-
-<p class="p6">VISIBLE AND INVISIBLE.</p>
-
-<p>Write with French chalk on a looking-glass; wipe it with
-a handkerchief, and the lines <ins title="Transcriber's Note: original reads 'will will'">will</ins> disappear; breathe
-on it, and they will reappear. This alternation will take
-place for a great number of times, and after the lapse of a
-considerable period.</p>
-
-
-<p class="p6">TO FORM A LIQUID FROM TWO SOLIDS.</p>
-
-<p>Rub together in a Wedgewood mortar a small quantity
-of sulphate of soda and acetate of lead, and as they mix they
-will become liquid.</p>
-
-<p>Carbonate of ammonia and sulphate of copper, previously
-reduced to powder separately, will also, when mixed, become
-liquid, and acquire a most splendid blue color.</p>
-
-<p>The greater number of salts have a tendency to assume
-regular forms, or become <em>crystallized</em>, when passing from the
-fluid to the solid state; and the size and regularity of the
-crystals depends in a great measure on the slow or rapid
-escape of the fluid in which they were dissolved. Sugar is
-a capital example of this property; the ordinary loaf-sugar
-being rapidly boiled down, as it is called: while to make
-rock-candy, which is nothing but sugar in a crystallized
-form, the solution is allowed to evaporate slowly, and as it
-cools it forms into those beautiful crystals termed rock-candy.
-The threads found in the center of some of the
-crystals are merely placed for the purpose of hastening the
-formation of the crystals.</p>
-
-<p>E<span class="smcapa">XPERIMENT</span> N<span class="smcapa">O</span>. 1.&mdash;Make a strong solution of alum, or of
-sulphate of copper, or blue vitriol, and place in them rough
-and irregular pieces of clinker from stoves, or wire baskets,
-and set them by in a cool place, where they will be free
-from dust, and in a few days crystals of the several salts
-will deposit themselves on the baskets, &amp;c. They should
-then be taken out of the solutions, and dried in an oven not
-too hot, when they form very pretty ornaments for a room.</p>
-
-<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p>
-
-<p>E<span class="smcapa">XPERIMENT</span> N<span class="smcapa">O</span>. 2.&mdash;Fill a Florence flask up to the neck
-with a strong solution of sulphate of soda, or Glauber salt,
-boil it, and tie the mouth over with a piece of moistened
-bladder while boiling, and set it by in a place where it cannot
-be disturbed. After twenty-four hours it will probably
-still remain fluid. Pierce the bladder covering with a penknife,
-and the percussion of the air will cause the whole
-mass instantly to crystallize, and the flask will become quite
-warm from the latent caloric, of which we have spoken before,
-given out by the salt in passing from the fluid to the
-solid state. It is better to prepare two or three flasks at
-the same time, to provide against accidents, for the least
-shake will often cause the crystallization to take place before
-the proper time.</p>
-
-
-<p class="p6">THE SPECTRAL LAMP.</p>
-
-<p>Mix some common salt with spirit of wine in a platinum
-or metallic cup; set the cup upon a wire frame over a
-spirit-lamp, which should be inclosed on each side, or in a
-dark-lantern: when the cup becomes heated, and the spirit
-ignited, it will burn with a strong yellow flame: if, however,
-it should not be perfectly yellow, throw more salt into
-the cup. The lamp being thus prepared, all other lights
-should be extinguished, and the yellow lamp introduced,
-when an appalling change will be exhibited; all the objects
-in the room but of one color, and the complexions of the
-several persons, whether old or young, fair or brunette, will
-be metamorphosed to a ghastly, death-like yellow; whilst
-the gayest dresses, as the brightest crimson, the choicest
-lilac, the most vivid blue or green&mdash;all will be changed into
-one monotonous yellow: each person will be inclined to
-laugh at his neighbor, himself insensible of being one of
-the spectral company.</p>
-
-<p>Their astonishment may be heightened by removing the
-yellow light to one end of the room, and restoring the usual
-or white light at the other; when one side of each person's
-dress will resume its original color, while the other will
-remain yellow; one cheek may bear the bloom of health,
-and the other, the yellow of jaundice. Or if, when the yellow
-light only is burning, the white light be introduced
-within a wire sieve, the company and the objects in the
-apartment will appear yellow, mottled with white.</p>
-
-<p>Red light may be produced by mixing with the spirit in<span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
-the cup over the lamp, salt of <ins title="Transcriber's Note: original reads 'strontian'">strontium</ins> instead of common
-salt; and the effect of the white or yellow lights, if introduced
-through a sieve upon the red light, will be even
-more striking than the white upon the yellow light.</p>
-
-
-<p class="p6">CURIOUS CHANGE OF COLORS.</p>
-
-<p>Let there be no other light than a taper in the room; then
-put on a pair of dark green spectacles, and having closed
-one eye, view the taper with the other. Suddenly remove
-the spectacles, and the taper will assume a bright red appearance;
-but if the spectacles be instantly replaced, the
-eye will be unable to distinguish anything for a second or
-two. The order of colors will, therefore, be as follows:
-green, red, green, black.</p>
-
-
-<p class="p6">THE PROTEAN LIGHT.</p>
-
-<p>Soak a cotton wick in a strong solution of salt and water,
-dry it, place it in a spirit lamp, and when lit it will give a
-bright yellow light for a long time. If you look through a
-piece of blue glass at the flame, it will <ins title="Transcriber's Note: original reads 'loose'">lose</ins> all its yellow
-light, and you will only perceive feeble violet rays. If, before
-the blue glass, you place a pale yellow glass, the lamp
-will be absolutely invisible, though a candle may be distinctly
-seen through the same glasses.</p>
-
-
-<p class="p6">THE CHAMELEON FLOWERS.</p>
-
-<p>Trim a spirit lamp, add a little salt to the wick, and light
-it. Set near it a scarlet geranium, and the flower will appear
-yellow. Purple colors, in the same light, appear blue.</p>
-
-
-<p class="p6">TO CHANGE THE COLORS OF FLOWERS.</p>
-
-<p>Hold over a lighted match a purple columbine, or a blue
-larkspur, and it will change first to pink, and then to black.
-The yellow of other flowers, held as above, will continue unchanged.
-Thus, the purple tint will instantly disappear
-from a heart's-ease, but the yellow will remain; and the
-yellow of a wall-flower will continue the same, though the
-brown streak will be discharged. If a scarlet, crimson, or
-maroon dahlia be tried, the color will change to yellow; a
-fact known to gardeners, who by this mode variegate their
-growing dahlias.</p>
-
-<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p>
-
-
-<p class="p6">CHANGES OF THE POPPY.</p>
-
-<p>Some flowers, which are red, become blue by merely
-bruising them. Thus, if the petals of the common corn-poppy
-be rubbed upon white paper, they will stain it purple,
-which may be made green by washing it over with a strong
-solution of potash in water. Put poppy petals into very
-dilute muriatic acid, and the infusion will be of a florid red
-color; by adding a little chalk, it will become of the color
-of port wine; and this tint, by the addition of potash, may
-be changed to green or yellow.</p>
-
-
-<p class="p6">TO CHANGE THE COLOR OF A ROSE.</p>
-
-<p>Hold a red rose over the blue flame of a common match,
-and the color will be discharged wherever the fume touches
-the leaves of the flower, so as to render it beautifully variegated,
-or entirely white. If it be then dipped into water,
-the redness, after a time, will be restored.</p>
-
-
-<p class="p6">LIGHT CHANGING WHITE INTO BLACK.</p>
-
-<p>Write upon linen with permanent ink (which is a strong
-solution of nitrate of silver), and the characters will be
-scarcely visible; remove the linen into a dark room, and
-they will not change; but expose them to a strong light,
-and they will be of an indelible black.</p>
-
-
-<p class="p6">THE VISIBLY GROWING ACORN.</p>
-
-<div class="figright" style="width: 169px;">
-<img src="images/i_106.jpg" width="169" height="293" alt="" />
-</div>
-
-<p>Cut a circular piece of card to fit the top of a hyacinth-glass,
-so as to rest upon the ledge, and exclude the air.
-Pierce a hole through the center of the
-card, and pass through it a strong
-thread, having a small piece of wood
-tied to one end, which, resting transversely
-on the card, prevents its being
-drawn through. To the other end of
-the thread attach an acorn; and having
-half filled the glass with water, suspend
-the acorn at a short distance from the
-surface.</p>
-
-<p>The glass must be kept in a warm
-room; and, in a few days, the steam
-which has generated in the glass will
-hang from the acorn in a large drop.
-Shortly afterwards the acorn will burst,<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>
-the root will protrude and thrust itself into the water; and
-in a few days more a stem will shoot out at the other end,
-and rising upwards, will press against the card, in which
-an orifice must be made to allow it to pass through. From
-this stem, small leaves will soon be observed to sprout;
-and in the course of a few weeks you will have a handsome
-oak plant, several inches in height.</p>
-
-
-<p class="p6">COLORED FLAMES.</p>
-
-<p>A variety of rays of light are exhibited by colored flames,
-which are not to be seen in white light. Thus, pure hydrogen
-gas will burn with a blue flame, in which many of the
-rays of light are wanting. The flame of an oil lamp contains
-most of the rays which are wanting in the sunlight.
-Alcohol, mixed with water, when heated or burned, affords
-a flame with no other rays but yellow. The following
-salts, if finely powdered, and introduced into the exterior
-flame of a candle, or into the wick of a spirit lamp, will
-communicate to the flame their peculiar colors:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="COLORED FLAMES">
-<tbody>
-<tr>
- <td class="tdl">Muriate of Soda (common salt)&nbsp; &nbsp;</td>
- <td class="tdl">Yellow.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Potash</td>
- <td class="tdl">Pale violet.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Lime</td>
- <td class="tdl">Brick red.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Strontia</td>
- <td class="tdl">Bright crimson.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Lithia</td>
- <td class="tdl">Red.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Baryta</td>
- <td class="tdl">Pale apple-green.</td>
-</tr>
-<tr>
- <td class="tdl">Muriate of Copper</td>
- <td class="tdl">Bluish green.</td>
-</tr>
-<tr>
- <td class="tdl">Borax</td>
- <td class="tdl">Green.</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Or, either of the above salts may be mixed with spirit of
-wine, as directed for Red Fire.</p>
-
-
-<p class="p6">ORANGE COLORED FLAME.</p>
-
-<p>Burn spirit of wine on chloride of calcium, a substance
-obtained by evaporating muriate of lime to dryness.</p>
-
-
-<p class="p6">EMERALD GREEN FLAME.</p>
-
-<p>Burn spirit of wine on a little powdered nitrate of copper.</p>
-
-
-<p class="p6">INSTANTANEOUS FLAME.</p>
-
-<p>Heat together potassium and sulphur, and they will
-instantly burn very vividly.</p>
-
-<p>Heat a little niter on a fire-shovel, sprinkle on it flour of
-sulphur, and it will instantly burn. If iron filings be thrown
-upon red-hot niter, they will detonate and burn.</p>
-
-<p><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></p>
-
-<p>Pound, separately, equal parts of chlorate of potash and
-lump sugar; mix them, and put upon a plate a small quantity;
-dip a glass rod into sulphuric acid, touch the powder
-with it, and it will burst into a brilliant flame.</p>
-
-<p>Or, put a few grains of chlorate of potash into a tablespoonful
-of spirit of wine; add one or two drops of sulphuric
-acid, and the whole will burst into a beautiful flame.</p>
-
-
-<p class="p6">TO COOL FLAME BY METAL.</p>
-
-<p>Encircle the very small flame of a floating night light,
-with a cold iron wire, which will instantly cause its
-extinction.</p>
-
-
-<p class="p6">PROOF THAT FLAME IS HOLLOW.</p>
-
-<p>Pour some spirit of wine into a watch-glass, and inflame
-it; place a straw across this flame, and it will only be ignited
-and charred at the outer edge; the middle of the straw
-will be uninjured, for there is no ignited matter in the center
-of the flame.</p>
-
-
-<p class="p6">TO HOLD A HOT TEA KETTLE ON THE HAND.</p>
-
-<p>Be sure that the bottom of the kettle is well covered
-with soot; when the water in it boils, remove it from the
-fire, and place it upon the palm of the hand; no inconvenience
-will be felt, as the soot will prevent the heat being
-transmitted from the water within and the heated metal,
-to the hand.</p>
-
-
-<p class="p6">INCOMBUSTIBLE LINEN.</p>
-
-<p>Make a strong solution of borax in water, and steep in it
-linen, muslin, or any article of clothing; when dry, they
-cannot easily be inflamed. A solution of phosphate of
-ammonia with sal ammoniac answers much better.</p>
-
-
-<p class="p6">THE BURNING CIRCLE.</p>
-
-<p>Light a stick, and whirl it round with a rapid motion,
-when its burning end will produce a complete circle of
-light, although that end can only be in one part of the circle
-at the same instant. This is caused by the duration of
-the impression of light upon the retina. Another example
-is, that during the winking of the eye we never lose sight
-of the object we are viewing.</p>
-
-<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p>
-
-
-<p class="p6">WATER OF DIFFERENT TEMPERATURES IN THE SAME VESSEL.</p>
-
-<p>Of heat and cold, as of wit and madness, it may be said
-that "thin partitions do their bounds divide." Thus, paint
-one half of the surface of a tin pot with a mixture of lamp-black
-and size, and leave the other half, or side, bright;
-fill the vessel with boiling water, and by dipping a thermometer,
-or even the finger, into it shortly after, it will be
-found to cool much more rapidly upon the blackened than
-upon the bright side of the pot.</p>
-
-
-<p class="p6">WARMTH OF DIFFERENT COLORS.</p>
-
-<p>Place upon the surface of snow, as upon the window sill,
-in bright daylight or sunshine, pieces of cloth of the same
-size and quality, but of different colors, black, blue, green,
-yellow, and white: the black cloth will soon melt the snow
-beneath it, and sink downwards; next the blue, and then
-the green; the yellow but slightly; but the snow beneath
-the white cloth will be as firm as at first.</p>
-
-
-<p class="p6">SUBSTITUTE FOR FIRE.</p>
-
-<p>Put into a cup a lump of quicklime, fresh from the kiln,
-pour water upon it, and the heat will be very great. A
-pailful of quicklime, if dipped in water, and shut closely
-into a box constructed for the purpose, will give out sufficient
-heat to warm a room, even in very cold weather.
-This is the source of steam vapor in theatrical representations.</p>
-
-
-<p class="p6">LAUGHING GAS.</p>
-
-<p>The above fanciful appellation has been given to nitrous
-oxide, from the very agreeable sensations excited by inhaling
-it. In its pure state it destroys animal life, but loses
-this noxious quality when inhaled, because it becomes
-blended with the atmospheric air which it meets in the
-lungs. This gas is made by putting three or four drams
-of nitrate of ammonia, in crystals, into a small glass retort,
-which being held over a spirit lamp, the crystals will melt,
-and the gas be evolved.</p>
-
-<p>Having thus produced the gas, it is to be passed into a
-large bladder, having a stop-cock; and when you are desirous
-of exhibiting its effects, you cause the person who
-wishes to experience them, to first exhale the atmospheric
-air from the lungs, and then quickly placing the cock in his
-mouth, you turn it, and bid him inhale the gas. Immediately,<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>
-a sense of extraordinary cheerfulness, fanciful flights
-of imagination, an uncontrollable propensity to laughter,
-and a consciousness of being capable of great muscular
-exertion, supervene. It does not operate in exactly the
-same manner on all persons; but in most cases the sensations
-are agreeable, and have this important difference
-from those produced by wine or spirituous liquors, that
-they are not succeeded by any depression of mind.</p>
-
-
-<p class="p6">FLAME FROM COLD METALS.</p>
-
-<p>Provide a bottle of the gas chlorine, which may be purchased
-of any operative chemist, and with it you may
-exhibit some brilliant experiments.</p>
-
-<p>For example, reduce a small piece of the metal antimony
-to a very fine powder in a mortar; place some of this on
-a bent card, then loosen the stopper of the bottle of chlorine,
-and throw in the antimony; it will take fire spontaneously,
-and burn with much splendor, thus exhibiting a cold
-metal spontaneously bursting into flame.</p>
-
-<p>If, however, a lump of antimony be dropped into the
-chlorine, there will be no spontaneous combustion, nor immediate
-change; but, in the course of time, the antimony will
-become incrusted with a white powder, and no chlorine will
-be found in the bottle.</p>
-
-<p>Or, provide copper in fine leaves, known as "Dutch
-metal;" slightly breathe on one end of a glass rod, about
-ten inches long, and cause one or two leaves of the metal
-to adhere to the damp end; then open a bottle of chlorine,
-quickly plunge in the leaves, when they will instantly take
-fire, and burn with a fine red light, leaving in the bottle a
-greenish-yellow solid substance.</p>
-
-<p>A small <em>lump</em> of copper, or "Dutch metal," will not burn
-as above, but will be slowly acted upon, like the antimony.</p>
-
-<p>Immerse gold leaf in a jar of chlorine gas, and combustion
-with a beautiful green flame will take place.</p>
-
-
-<p class="p6">PHOSPHORUS IN CHLORINE.</p>
-
-<p>Put into a deflagrating spoon about four grains of phosphorus,
-and let it down into a bottle of chlorine, when the
-phosphorus will ignite instantaneously.</p>
-
-<p>Or, fold a slip of blotting-paper into a match five inches
-long; dip it into oil of turpentine, drain it an instant, drop<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
-it into another bottle of chlorine, when it will burst into a
-flame, and deposit much carbon.</p>
-
-
-<p class="p6">MAGIC VAPOR.</p>
-
-<p>Provide a glass tube, about three feet long and half an
-inch in diameter; nearly fill it with water, upon the surface
-of which pour a little colored ether; then close the open
-end of the tube carefully with the palm of the hand, invert
-it in a basin of water, and rest the tube against the wall:
-the ether will rise through the water to the upper end of
-the tube; pour a little hot water over the tube, and it will
-soon cause the ether to boil within, and its vapor may thus
-be made to drive nearly all the water out of the tube into
-the basin; if, however, you then cool the tube by pouring
-cold water over it, the vaporized ether will again become a
-liquid, and float upon the water as before.</p>
-
-
-<p class="p6">GAS FROM THE UNION OF METAL.</p>
-
-<p>Nearly fill a wine-glass with diluted sulphuric acid, and
-place in it a wire of silver and another of zinc, taking care
-that they do not touch each other; when the zinc will be
-changed by the acid, but the silver will remain inert. But
-cause the upper ends of the wires to touch each other, and
-a stream of gas will issue from them.</p>
-
-
-<p class="p6">CAMPHOR SUBLIMED BY FLAME.</p>
-
-<p>Set a metallic plate over the flame of a spirit lamp; place
-upon it a small portion of camphor under a glass funnel;
-and the camphor will be beautifully sublimed by the heat of
-the lamp, in an efflorescent crust on the sides of the funnel.</p>
-
-
-<p class="p6">GREEN FIRE.</p>
-
-<p>A beautiful green fire may be thus made. Take of flour
-of sulphur thirteen parts, nitrate of baryta seventy-seven,
-oxymuriate of potassa five, metallic arsenic two, and
-charcoal three. Let the nitrate of baryta be well dried and
-powdered; then add to it the other ingredients, all finely
-pulverized, and exceedingly well mixed and rubbed together.
-Place a portion of the composition in a small tin pan, having
-a polished reflector fitted to one side, and set light to it;
-when a splendid green illumination will be the result. By
-adding a little calamine, it will burn more slowly.</p>
-
-<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p>
-
-
-<p class="p6">BRILLIANT RED FIRE.</p>
-
-<p>Weigh five ounces of dry nitrate of strontia, one ounce
-and a half of finely powdered sulphur, five drams of chlorate
-of potash, and four drams of sulphuret of antimony. Powder
-the chlorate of potash and the sulphuret of antimony separately
-in a mortar, and mix them on paper; after which add
-them to the other ingredients, previously powdered and
-mixed. No other kind of mixture than rubbing together on
-paper is required. For use, mix with a portion of the
-powder a small quantity of spirits of wine, in a tin pan resembling
-a cheese toaster, light the mixture, and it will shed a
-rich crimson hue. When the fire burns dim and badly, a
-very small quantity of finely powdered charcoal or lamp
-black will revive it.</p>
-
-
-<p class="p6">PURPLE FIRE.</p>
-
-<p>Dissolve chloride of lithium in spirit of wine, and when
-lighted, it will burn with a purplish flame.</p>
-
-
-<p class="p6">SILVER FIRE.</p>
-
-<p>Place upon a piece of burning charcoal a morsel of the
-dried crystals of nitrate of silver (not the lunar caustic),
-and it will immediately throw out the most beautiful sparks
-that can be imagined, whilst the surface of the charcoal will
-be coated with silver.</p>
-
-
-<p class="p6">THE FIERY FOUNTAIN.</p>
-
-<p>Put into a glass tumbler fifteen grains of finely granulated
-zinc, and six grains of phosphorus, cut into very small pieces
-beneath water. Mix in another glass, gradually, a dram
-of sulphuric acid, with two drams of water. Remove both
-glasses into a dark room, and there pour the diluted acid
-over the zinc and phosphorus in the glass; in a short time
-beautiful jets of bluish flame will dart from all parts of the
-surface of the mixture; it will become quite luminous, and
-beautiful luminous smoke will rise in a column from the
-glass, thus representing a fountain of fire.</p>
-
-
-<p class="p6">COMBUSTION WITHOUT FLAME.</p>
-
-<p>Light a small <em>green</em> wax taper; in a minute or two, blow
-out the flame, and the wick will continue red hot for
-many hours; and if the taper were regularly and carefully
-uncoiled, and the room kept free from the current of air, the
-wick would burn on in this manner until the whole was<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
-consumed. The same effect is not produced when the color
-of the wax is red, on which account red wax tapers are
-safer than green, for the latter, if left imperfectly extinguished,
-may set fire to any object with which they are in
-contact.</p>
-
-
-<p class="p6">COMBUSTION OF THREE METALS.</p>
-
-<p>Mix a grain or two of potassium with an equal quantity
-of sodium; add a globule of quicksilver, and the three
-metals, when shaken, will take fire, and burn vividly.</p>
-
-
-<p class="p6">TO MAKE PAPER APPARENTLY INCOMBUSTIBLE.</p>
-
-<p>Take a smooth cylindrical piece of metal, about one inch
-and a half in diameter, and eight inches long; wrap very
-closely round it a piece of clean writing paper, then hold
-the paper in the flame of a spirit lamp, and it will not take
-fire; but it may be held there for a considerable time, without
-being in the least affected by the flame. If the paper
-be strained over a cylinder of wood, it is quickly scorched.</p>
-
-
-<p class="p6">HEAT NOT TO BE ESTIMATED BY TOUCH.</p>
-
-<p>Hold both hands in water which causes the thermometer
-to rise to ninety degrees, and when the liquid has become
-still, you will be insensible to the heat, and that the hand is
-touching anything. Then remove one hand to water that
-causes the thermometer to rise to two hundred degrees, and
-the other in water at thirty-two degrees. After holding the
-hands thus for some time, remove them, and again immerse
-them in the water at ninety degrees; when you will find
-<em>warmth</em> in one hand and <em>cold</em> in the other. To the hand
-which had been immersed in the water at thirty-two degrees,
-the water at ninety degrees will feel hot; and to the hand
-which had been immersed in the water at two hundred
-degrees, the water at ninety degrees will feel cool. If, therefore,
-the touch in this case be trusted, the same water will
-be judged to be hot and cold at the <em>same</em> time.</p>
-
-
-<p class="p6">FLAME UPON WATER.</p>
-
-<p>Fill a wine glass with cold water, pour lightly upon its
-surface a little ether; light it by a slip of paper, and it will
-burn for some time.</p>
-
-
-<p class="p6">ROSE-COLORED FLAME UPON WATER.</p>
-
-<p>Drop a globule of potassium, about the size of a large pea,
-into as small cup, nearly full of water, containing a drop or<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>
-two of strong nitric acid; the moment that the metal touches
-the liquid, it will float upon its surface, enveloped with a
-beautiful rose-colored flame, and entirely dissolve.</p>
-
-
-<p class="p6">TO SET A MIXTURE ON FIRE WITH WATER.</p>
-
-<p>Pour into a saucer a little sulphuric acid, and place upon
-it a chip of sodium, which will float and remain uninflamed;
-but the addition of a drop of water will set it on fire.</p>
-
-
-<p class="p6">WAVES OF FIRE ON WATER.</p>
-
-<p>On a lump of refined sugar let fall a few drops of phosphuretted
-ether, and put the sugar into a glass of warm
-water, which will instantly appear on fire at the surface,
-and in waves, if gently blown with the breath. This experiment
-should be exhibited in the dark.</p>
-
-
-<p class="p6">WATER FROM THE FLAME OF A CANDLE.</p>
-
-<p>Hold a cold and dry bell glass over a lighted candle, and
-watery vapor will be directly condensed on the cold surface;
-then close the mouth of the glass with a card or plate, and
-turn the mouth uppermost; remove the card, quickly pour
-in a little lime-water, a perfectly clear liquid, and it will
-instantly become turbid and milky, upon meeting with the
-contents of the glass, just as lime-water changes when
-dropped into a glass full of water.</p>
-
-
-<p class="p6">FORMATION OF WATER BY FIRE.</p>
-
-<p>Put into a tea cup a little spirit of wine, set it on fire, and
-invert a large bell-glass over it. In a short time, a thick
-watery vapor will be seen upon the inside of the bell, which
-may be collected by a dry sponge.</p>
-
-
-<p class="p6">BOILING UPON COLD WATER.</p>
-
-<p>Provide a tall glass jar, filled with cold water, and place
-in it an air thermometer, which will nearly reach the surface;
-upon the surface place a small copper basin, into
-which put a little live charcoal: the surface of the water
-will soon be made to boil, while the thermometer will show
-that the water beneath is scarcely warmer than it was at
-first.</p>
-
-
-<p class="p6">CURRENTS IN BOILING WATER.</p>
-
-<p>Fill a large glass tube with water, and throw into it a
-few particles of bruised amber, then hold the tube by a<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
-handle for the purpose, upright in the flame of a lamp, and
-as the water becomes warm, it will be seen that currents,
-carrying with them the pieces of amber, will begin to ascend
-in the center, and to descend towards the circumference of
-the tube. These currents will soon become rapid in their
-motions, and continue till the water boils.</p>
-
-
-<p class="p6">HOT WATER LIGHTER THAN COLD.</p>
-
-<p>Pour into a glass tube, about ten inches long, and one
-inch in diameter, a little water colored with pink or other
-dye; then fill it up gradually and carefully with colorless
-water, so as not to mix them; apply heat at the bottom of
-the tube, and the colored water will ascend and be diffused
-throughout the whole.</p>
-
-<p>The circulation of warm water may be very pleasingly
-shown, by heating water in a tube similar to the foregoing;
-the water having diffused in it some particles of any light
-substance not soluble in water.</p>
-
-
-<p class="p6">EXPANSION OF WATER BY COLD.</p>
-
-<p>All fluids, except water, diminish in bulk till they freeze.
-Thus, fill a large thermometer tube with water, say of the
-temperature of eighty degrees, and then plunge the bulb
-into pounded ice and salt, or any other freezing mixture:
-the water will go on shrinking in the tube till it has attained
-the temperature of about forty degrees; and then, instead
-of continuing to contract till it freezes, (as in the case
-with all other liquids), it will be seen slowly to expand,
-and consequently to rise in the tube, until it congeals. In
-this case, the expansion below forty degrees, and above
-forty degrees, seem to be equal; so that the water will be
-of the same bulk at thirty-two degrees as at forty-eight
-degrees, that is, at eight degrees above or below forty degrees.</p>
-
-
-<p class="p6">THE CUP OF TANTALUS.</p>
-
-<p>This pretty toy may be purchased at any optician's for
-two or three shillings. It consists of a cup, in which is
-placed a standing human figure, concealing a syphon, or
-bent tube with one end longer than the other. This rises
-in one leg of the figure to reach the chin, and descends
-through the other leg, through the bottom of the cup to a
-reservoir beneath. If you pour water in the cup, it will rise<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
-in the shorter leg by its upward pressure, driving out the
-air before it through the longer leg; and when the cup is
-filled above the bend of the syphon, (that is, level with the
-chin of the figure,) the pressure of the water will force it
-over into the longer leg of the syphon, and the cup will be
-emptied: the toy thus imitating Tantalus of mythology, who
-is represented by the poets as punished in Erebus with an
-insatiable thirst, and placed up to the chin in a pool of
-water, which, however, flowed away as soon as he attempted
-to taste it.</p>
-
-
-<p class="p6">THE MAGIC WHIRLPOOL.</p>
-
-<p>Fill a glass tumbler with water, throw upon its surface a
-few fragments or thin shavings of camphor, and they will
-instantly begin to move, and acquire a motion both progressive
-and rotary, which will continue for a considerable
-time. During these rotations, if the water be touched
-by any substance which is at all greasy, the floating particles
-will quickly dart back, and as if by a stroke of magic,
-be instantly deprived of their motion and vivacity.</p>
-
-<p>In like manner, if thin slices of cork be steeped in sulphuric
-ether in a closed bottle for two or three days, and
-then placed upon the water, they will rotate for several
-minutes, like the camphor; until the slices of cork having
-discharged all their ether, and become soaked with water,
-they will keep at rest.</p>
-
-<p>If the water be made hot, the motion of the camphor will
-be more rapid than in cold water, but it will cease in proportionately
-less time. Thus, provide two glasses, one containing
-water at fifty-eight degrees, and the other at two
-hundred and ten degrees; place raspings of camphor upon
-each at the same time; the camphor in the first glass will
-rotate for about five hours, until all but a very minute portion
-has evaporated, while the rotation of the camphor in
-the hot water will last only nineteen minutes: about half
-the camphor will pass off, and the remaining pieces, instead
-of being dull, white, and opaque, will be vitreous and transparent,
-and evidently soaked with water. The gyrations,
-too, which at first will be very rapid, will gradually decline
-in velocity, until they become quite sluggish.</p>
-
-<p>The stilling influence of oil upon waves has become proverbial:
-the extraordinary manner in which a small quantity
-of oil instantly spreads over a very large surface of<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
-troubled water, and the stealthy manner in which even a
-rough wind glides over it, must have excited the admiration
-of all who have witnessed it.</p>
-
-<p>By the same principle a drop of oil may be made to stop
-the motion of the camphor, as follows: Throw some camphor,
-both in slices and in small particles, upon the surface
-of water, and while they are rotating, dip a glass rod into
-oil of turpentine, and allow a single drop thereof to trickle
-down the inner side of the glass to the surface of the water;
-the camphor will instantly dart to the opposite point of the
-liquid surface, and cease to rotate. If a piece of hard tallow
-or lard be employed, the motion of the camphor will be
-more slowly stopped than by oil or fluid grease, as the latter
-spreads over the surface of the water with greater rapidity.</p>
-
-<p>If a few drops of sulphuric or muriatic acid be let fall
-into the water, they will gradually stop the motion of the
-camphor; but if camphor be dropped into nitric acid diluted
-with its own bulk of water, it will rotate rapidly for a few
-seconds, and then stop.</p>
-
-<p>If a piece of the rotating camphor be attentively examined
-with a lens, the currents of the water can be well distinguished,
-jetting out, chiefly from the corners of the camphor,
-and bearing it round with irregular force.</p>
-
-<p>The currents, as given out by the camphor, may also be
-seen by means of the microscope; a drop or two of pure
-water being placed upon a slip of glass, with a particle of
-camphor floating upon it. By this means the current may
-be detected, and it will be seen that they cause the rotations.</p>
-
-<p>Or a flat watch-glass, called a <em>lunar</em>, may be employed,
-raised a few inches, and supported on a wire ring, kept
-steady by thrusting one end into an upright piece of wood,
-like a retort stand. Then put the camphor and water in
-the watch-glass, and place under the frame a sheet of white
-paper, so that it may receive the shadow of the glass, camphor,
-&amp;c., to be cast by a steady light, placed above, and
-somewhat on one side of the watch glass. On observing
-the shadow, which may be considered a magnified representation
-of the object itself, the rotations and currents can
-be distinguished.</p>
-
-
-<p class="p6">ARTIFICIAL FIRE BALLS.</p>
-
-<p>Put thirty grains of phosphorus into a bottle, which contains
-three or four ounces of water. Place the vessel over<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
-a lamp, and give it a boiling heat. Balls of fire will soon
-be seen to issue from the water, after the manner of an artificial
-fire-work, attended with the most beautiful coruscations.</p>
-
-
-<p class="p6">TO MELT STEEL AS EASILY AS LEAD.</p>
-
-<p>Make a piece of steel red in the fire, then hold it with a
-pair of pincers or tongs; take in the other hand a stick of
-brimstone, and touch the piece of steel with it. Immediately
-after their contact, you will see the steel melt and drop like
-a liquid.</p>
-
-
-<p class="p6">TO TELL A LADY IF SHE IS IN LOVE.</p>
-
-<p>Put into a phial some sulphuric ether, color it red with
-orchanet, then saturate the tincture with spermaceti. This
-preparation is solid ten degrees above freezing point, and
-melts and boils at twenty degrees. Place the phial which
-contains it in a lady's hand, and tell her that if in love, the
-solid mass will dissolve. In a few minutes the substance
-will become fluid.</p>
-
-
-<p class="p6">AN EGG PUT INTO A PHIAL.</p>
-
-<p>To accomplish this seemingly incredible act, requires the
-following preparation: You must take an egg and soak it
-in strong vinegar; and in process of time its shell will
-become quite soft, so that it may be extended lengthways
-without breaking; then insert it into the neck of a small
-bottle, and by pouring cold water upon it, it will reassume
-its former figure and hardness. This is really a complete
-curiosity, and baffles those who are not in the secret to find
-out how it is accomplished. If the vinegar used to saturate
-the egg is not sufficiently strong to produce the required
-softness of shell, add one teaspoonful of strong acetic acid
-to every two tablespoonfuls of vinegar. This will render
-the egg perfectly flexible, and of easy insertion into the
-bottle, which must then be filled with cold water.</p>
-
-
-<p class="p6">TO ASTONISH A LARGE PARTY.</p>
-
-<p>With some lycopodium, powder the surface of a large or
-small vessel of water; you may then challenge any one to
-drop a piece of money into the water, and that you will get
-it with the hand without wetting your skin. The lycopodium
-adheres to the hand, and prevents its contact with the
-water. A little shake of the hand, after the feat is over,
-will dislodge the powder.</p>
-
-<p><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span></p>
-
-
-<p class="p6">TEST PAPERS.</p>
-
-<p>On the otherwise barren rocks which fringe the shore of
-the Cape de Verd Islands, grows the archil&mdash;a famous seaweed
-or lichen, renowned among dyers. By a particular
-process of manufacture, this archil yields a beautiful blue
-pigment, known in the chemical laboratory by the name of
-<em>litmus</em>. Few colors are more fugitive than litmus. Being a
-fine violet-blue, it is changed to red by so minute a portion
-of any acid, that it becomes, when properly applied, <em>a test</em>
-of the presence of the latter substance. As it is so frequently
-desirable to know whether a fluid be acid or
-alkaline, one of the first practical lessons to a student in
-chemistry, is to prepare litmus test paper, thus: Put into
-a flask half an ounce of litmus, and three ounces of water;
-let them remain together in a warm place for a few hours,
-then filter the dark blue liquid from its impurities, divide
-the solution obtained into two parts, pour one portion into
-a saucer, and soak strips of white writing paper in it until
-it has acquired a distinct blue color. If not colored enough
-by once dipping and drying, repeat the operation. When
-dry, preserve these strips in a box, labeled "Blue litmus
-test papers." These serve to <em>test</em> any fluid, to ascertain if
-it has an <em>acid</em> reaction. It is instructive to learn how very
-small a portion of any acid in water will be indicated by
-the reddening of the litmus. With the second portion of
-the fluid, mix, cautiously, a few drops of lemon juice, until
-it is red; then color paper as before. When dry, this "red
-litmus test paper" serves to indicate the presence of alkalies,
-a class of bodies opposed to acids. Red litmus test
-paper, on being put into any fluid that is <em>alkaline</em>, such as
-lime-water, is immediately restored to its original blue color.
-Put the ashes of a cigar into water, the liquid, when "tested,"
-will indicate the presence of an alkali. Test some stale
-milk. If your blue paper becomes red, the milk is sour; it
-is acid.</p>
-
-
-<p class="p6">INFINITE DIVISIBILITY OF MATTER.</p>
-
-<p>Dissolve a single grain of copper in about one dram of
-nitric acid, and dilute the solution with about one ounce of
-water, when it will be evident that a single drop of the mixture
-must contain an almost immeasurably small portion of
-copper. Yet, if the blade of a knife be dipped into it, it will
-become covered with a coat of copper; thus showing that
-the copper can be infinitely divided without any alteration
-in its properties.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p>
-
-
-
-
-<h2><a name="AMUSEMENTS_IN_ELECTRICITY" id="AMUSEMENTS_IN_ELECTRICITY"></a><span class="small90">AMUSEMENTS</span><br />
-
-<span class="small50">IN</span><br />
-
-ELECTRICITY, GALVANISM AND MAGNETISM.</h2>
-
-<hr class="r20" />
-
-<div class="figcenter">
-<img src="images/i_120.jpg" width="560" height="469" alt="" />
-</div>
-
-
-<p class="p6">THE ORIGIN OF GALVANISM.</p>
-
-<p>Electricity is one of the most active principles in nature.
-It exists in all bodies, and is exhibited by various means,
-one of which, and the most generally employed, is friction;
-but the bodies rubbed together must consist of different
-substances; for, if they are alike, electricity will not be
-evolved. Some substances, such as soot, charcoal, iron,
-gold, silver, copper, and other metals, water, &amp;c., are called
-<em>good conductors</em>, because they transfer with great facility to
-other bodies the electric fluid, which glides over the surface
-with the velocity of light; while others, such as silk, wool,
-hair, feathers, dry paper, leather, glass, wax, &amp;c., are called
-<em>non-conductors</em>, because they resist the progress of the fluid,<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
-which accumulates all the time the friction continues. It
-is from these media that are obtained the usual phenomena
-of electricity, as exhibited in the experiments which we shall
-hereafter describe. Its effects are felt in almost every part
-of nature; the awful lightning is the exhibition of the electric
-fluid, which accumulates in the clouds, and which is
-discharged when the heavy lurid masses come in contact
-with each other; the mysterious sweeping whirlwind, the
-terrific rising and rolling of the sand in the desert wilds of
-Africa, and the beautiful yet evanescent Aurora Borealis of
-the northern climes, are amongst a few of its effects.</p>
-
-<p>The next branch of the science of Electricity is G<span class="smcapa">ALVANISM</span>,
-or, as it is sometimes called, Voltaic Electricity; it is obtained
-through the simple contact of different conducting
-bodies with each other. It was first discovered at Bologna,
-in the year 1791, by the lady of Louis Galvani, an Italian
-philosopher of great merit, and professor of anatomy; from
-whom, indeed, the science received its name. His wife
-being possessed of a penetrating understanding, and passionately
-loving him, took a lively interest in the science
-which so much occupied his attention. At the time the incident
-we are about to narrate took place, she was in a declining
-state of health, and taking soup made of frogs, by
-way of restorative. Some of these animals, skinned for the
-purpose, happened to be lying on the table of Galvani's
-laboratory, where also stood an electrical machine, when
-the point of a knife was unintentionally brought into contact
-with the nerves of one of the frog's legs, which lay close
-to the conductor of the machine, and immediately the muscles
-of the limb were violently agitated. Madame Galvani
-having observed the phenomenon, instantly informed her
-husband of it, and this incident led to the experiments and
-interesting discoveries which will transmit his name to the
-latest posterity.</p>
-
-<p>The uses of Galvanic Electricity for scientific purposes
-are incalculable; and its phenomena are so various and
-extraordinary, as to render the study of this science exceedingly
-interesting. Through means of a galvanic battery,
-substances are decomposed, colors changed, water is made
-inflammable, and motion is given to lifeless bodies.</p>
-
-<p>The experiments we give on Galvanism show the effect
-of the combination which forms what is called a simple<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
-galvanic circle, by means of two metals, zinc and silver, or
-zinc and copper, and water.</p>
-
-<p>Galvanic action is always accompanied by chemical action,
-and all that is necessary to disturb the galvanic fluid
-is to unite two metals together, and subject them to the
-action of a fluid, which will act chemically upon one of
-them, differently to what it does upon the other.</p>
-
-<p>A galvanic circle may also be formed of one metal, and
-two different fluids, which have a different action upon the
-metal.</p>
-
-<p>Magnetism is a modification of electricity: at least, there
-is sufficient evidence that these causes are intimately connected,
-if not identical; but philosophers are as yet ignorant
-of its nature.</p>
-
-<p>The property designated by the word magnetism is found
-in an iron ore of a certain composition, and of a dark gray
-color and peculiar luster. This ore alone is the local habitation
-of magnetism, whilst all others are subject to its
-influence, or to be attracted by it. Still, so little difference
-is there between the magnetic ore, or loadstone, and those
-which do not possess the property, that only practiced mineralogists
-can discern one from the other; and an experienced
-eye may see two ores join each other by the principle
-of attraction, without knowing in which resides the power,
-until another ore, non-magnetic, is brought within the sphere
-of attraction, when it will adhere only to that which contains
-the principle.</p>
-
-<p>This singular property of the loadstone is imparted to
-other metallic substances, by rubbing and keeping them
-close together for some length of time: if a metal be of a
-hard texture like steel, it retains the magnetic principle
-permanently; but if soft, it loses the power as soon as <ins title="Transcriber's Note: original reads 'seperated'">separated</ins>
-from the magnet. The metals thus prepared, acquire
-the same directive and attractive power as the loadstone or
-natural magnet, and are employed for purposes of the
-utmost importance.</p>
-
-<p>We proceed to give the youthful amateur the opportunity
-of exemplifying the principles of electricity, galvanism, and
-magnetism, by several simple experiments.</p>
-
-<hr class="tb" />
-
-<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p>
-
-
-
-
-<div class="figcenter">
-<img src="images/i_123a.jpg" width="551" height="450" alt="" />
-</div>
-
-<h3 class="no-break"><a name="EXPERIMENTS_IN_ELECTRICITY" id="EXPERIMENTS_IN_ELECTRICITY"></a>EXPERIMENTS IN ELECTRICITY.</h3>
-
-<div class="figright" style="width: 235px;">
-<img src="images/i_123b.jpg" width="235" height="111" alt="" />
-</div>
-
-<p>1.&mdash;Lay a watch down upon
-a table, and on its face balance
-a tobacco-pipe very carefully.
-Next take a wine-glass, rub it
-quickly with a silk handkerchief,
-and hold it for half a minute
-before the fire; then apply it near to the end of the pipe,
-and the latter, attracted by the electricity evolved by the
-friction and warmth in the former, will immediately follow
-it; and by carrying the glass around, always in front of
-the pipe, the latter will continue its rotatory motion; the
-watch-glass being the center or pivot on which it acts.</p>
-
-<p>2.&mdash;Warm a glass tube, rub it with a warm flannel, and
-then bring a downy feather near it. On the first moment
-of contact, the feather will adhere to the glass, but soon
-after will fly rapidly from it, and you may drive it about
-the room by holding the glass between it and the surrounding
-objects; should it, however, come in contact with anything
-not under the influence of electricity, it will instantly
-fly back to the glass.</p>
-
-<p><span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span></p>
-
-<p>3.&mdash;A stick of sealing-wax rubbed against a warm piece
-of flannel or cloth, acquires the property of attracting light
-substances, such as small pieces of paper, lint, &amp;c., if
-instantly applied at the distance of about an inch.</p>
-
-<p>4.&mdash;Suspend two small pith balls, by fine silken threads
-of about six inches in length, in such a manner, that when
-at rest they may hang in contact with each other; on applying
-a piece of sealing wax, excited as in the former experiment,
-they will repel each other.</p>
-
-<p>5.&mdash;Take a piece of common brown paper, about the size
-of an octavo book, hold it before the fire till quite dry and
-hot, then draw it briskly under the arm several times, so as
-to rub it on both sides at once by the coat. The paper will
-be found so powerfully electrical, that if placed against a
-wainscoted or papered wall of a room, it will remain there
-for some minutes without falling.</p>
-
-<p>6.&mdash;And if, while the paper adheres to the wall, a light
-fleecy feather be placed against it, it will be attracted to
-the paper, in the same way as the paper is attracted to the
-wall.</p>
-
-<p>7.&mdash;If the paper be again warmed, and drawn under the
-arm as before, and hung up by a thread attached to one
-corner of it, it will hold up several feathers on each side;
-should these fall off from different sides at the same time,
-they will cling together very strongly; and if after a minute
-they be all shaken off, they will fly to one another in a
-very singular manner.</p>
-
-<p>8.&mdash;Warm and excite the paper as before, lay it on a
-table, and place upon it a ball made of elder pith, about the
-size of a pea; the ball will immediately run across the
-paper, and if a needle be pointed towards it, it will again
-run to another part, and so on for a considerable time.</p>
-
-<p>9.&mdash;Support a pane of glass, previously warmed, upon
-two books, one at each end, and place some bran underneath;
-then rub the upper side of the glass with a black
-silk handkerchief, or a piece of flannel, and the bran will
-dance up and down under it with much rapidity.</p>
-
-<p>10.&mdash;Place your left hand upon the throat of a cat, and
-with the middle finger and the thumb, press slightly the
-bones of the animal's shoulders; then, if the right hand be
-gently passed along the back, perceptible shocks of electricity
-will be felt in the left hand. Shocks may also be
-obtained by touching the tips of the ears after rubbing the<span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
-back. If the color of the cat be black, and the experiment
-be made in a dark room, the electric sparks may be very
-plainly seen. Very distinct charges of electricity may also
-be obtained by touching the tips of the ears after applying
-friction to the back, and the same may be obtained from the
-foot. Placing the cat on your knees, apply the right hand
-to the back; the left fore paw resting on the palm of your
-left hand, apply the thumb to the upper side of the paw, so
-as to extend the claws, and by this means, bring your fore
-finger into contact with one of the bones of the leg, where
-it joins the paw; when, from the knob or end of this bone,
-the finger slightly pressing on it, you may feel distinctly
-successive shocks, similar to those obtained from the ears.
-It is, perhaps, unnecessary to add, that, in order to this
-experiment being conveniently performed, the experimenter
-must be on good terms with the cat.</p>
-
-
-<p class="p6">ELECTRICAL SHOCK FROM A SHEET OF PAPER.</p>
-
-<p>Place an iron japanned tea tray on a dry, clean, beaker
-glass; then take a sheet of foolscap writing paper, and
-hold it close to the fire until all its hygrometric moisture is
-dissipated, but not so as to scorch it; in this state it is one
-of the finest electrics we have. Hold one end down on a
-table with the finger and thumb, and give it about a dozen
-strokes with a large piece of India rubber from the left to
-the right, beginning at the top. Now take it up by two of
-the corners and bring it over the tray, and it will fall down
-on it like a stone; if one finger be now brought under the
-tray, a sensible shock will be felt. Now lay a needle on
-the tray with its point projecting outwards, remove the
-paper, and a star sign of the negative electricity will be
-seen: return the paper, and the positive brush will appear.
-In fact, it forms a very extemporaneous electrophorus,
-which will give a spark an inch long, and strong enough to
-set fire to some combustible bodies, and to exhibit all the
-electric phenomena not requiring coated surfaces. If four
-beaker glasses are placed on the floor, and a book laid
-on them, a person may stand on them insulated; if he then
-holds the tray vertically, the paper will adhere strongly to
-it, and sparks may be drawn from any part of his body;
-or he may draw sparks from any other person, as the case
-may be; or he may set fire to some inflammable bodies, by
-touching them with a piece of ice.</p>
-
-<p><span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span></p>
-
-
-<p class="p6">LIGHT UNDER WATER.</p>
-
-<p>Rub two pieces of fine lump sugar together in the dark,
-and a bright electric light will be produced. The same
-effect, but in a more intense degree, may be produced with
-two pieces of silex or quartz, the white quartz being best
-for this purpose. The same effect may also be witnessed
-by rubbing the pieces of quartz together, <em>under water</em>.</p>
-
-
-<p class="p6">SIMPLE MEANS OF PRODUCING ELECTRICITY.</p>
-
-<div class="figleft" style="width: 48px;">
-<img src="images/i_126a.jpg" width="48" height="216" alt="" />
-</div>
-
-<p>To show the nature of electrical action, rub a piece of
-sealing-wax or amber upon the coat sleeve, and it will be
-found that while warm by the friction, it attracts light
-bodies, such as straws or small pieces of paper. In our experiments
-we have shown that if a clean glass tube be
-rubbed several times through a silken or leather cloth, and
-presented to any substance, it will immediately attract or
-repel them; and if a poker suspended by a dry silk
-string be presented to its upper end, then the lower
-end of the poker will exhibit the same phenomena
-as the tube itself, which shows that the electrical
-fluid passes through the metal. But if for a metallic
-body a stick of glass or sealing wax be substituted,
-these phenomena will not occur, which proves that
-the electrical fluid does not pass through these substances.</p>
-
-<p>By this it will be perceived that besides the class
-of bodies called electrics, there is another which we
-call conductors. These bodies cannot be excited
-themselves, but have the power of transmitting the
-electric fluid through them. These bodies comprise all the
-metals, some metal and metallic ores; the fluids of animal
-bodies; water, and other fluids, except oil; ice, snow, earthy
-substances, smoke, steam, and even a vacuum.</p>
-
-<div class="figright" style="width: 143px;">
-<img src="images/i_126b.jpg" width="143" height="205" alt="" />
-</div>
-
-<p>When any electrified conductor is wholly
-surrounded by non-conductors, so that the
-electric fluid cannot pass from the conductor
-along conductors to the earth, it is
-said to be insulated. Thus the human body
-is a conductor of electricity; but if a
-person standing on a glass stool (as represented
-in the drawing) be charged
-with electricity, the electric fluid cannot
-pass from him to the earth, and he is said
-to be <em>positively electrified</em>, because he has<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span>
-more than his natural share; he is also <em>insulated</em>, and if he
-be touched by another person standing on the ground, sparks
-will be exhibited at the point of contact, where also the
-person touching will feel a pricking sensation.</p>
-
-
-<p class="p6">ATTRACTION AND REPULSION EXHIBITED.</p>
-
-<div class="figright" style="width: 134px;">
-<img src="images/i_127a.jpg" width="134" height="188" alt="" />
-</div>
-
-<p>In order to illustrate certain remarkable facts in this
-science of an amusing character, attention must be directed
-to the figure <span class="smcapa">A B</span>, which is a metal stand; <span class="smcapa">C</span> is a small piece
-of cork or pith, which is suspended from the hook by a dry
-silken thread. Having rubbed an electron, as a dry rod of
-glass, and presented it to <span class="smcapa">C</span>, the ball will be instantaneously
-attracted to the glass, and will adhere to it.
-After they remain in contact for a few
-seconds, if the glass be withdrawn without
-being touched by the fingers, and again
-presented to the ball, the latter will be <em>repelled</em>
-instead of attracted, as in the first instance.
-By being touched with the finger,
-the ball can be deprived of its electricity,
-and if, after this has been done, we present
-a piece of sealing-wax in place of the glass
-formerly employed, the very same phenomena
-will take place. On the first application the ball will be
-<em>attracted</em>, and on the second <em>repelled</em>.</p>
-
-<p>Before the young reader can perform any very important
-experiments with electricity, he must become possessed of
-an <span class="smcapa">ELECTRICAL MACHINE</span>, which is an instrument contrived for
-the purpose of rubbing together the surfaces of electrics
-and non-electrics. They generally consist of a cylinder, or
-plate of glass, and a piece of silk for it to rub against,
-covered with an amalgam, the method of preparing which
-we shall hereafter describe.</p>
-
-
-<p class="p6">HOW TO MAKE AN ELECTRICAL MACHINE.</p>
-
-<div class="figcenter" style="width: 279px;">
-<img src="images/i_127b.jpg" width="279" height="76" alt="" />
-</div>
-
-<p>It is very easy to make a glass machine of the cylindrical
-form, if the maker cannot afford to buy one. First procure
-a common wine bottle of good dimensions, and thickish glass<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
-Drill a hole through its bottom, by igniting a piece of worsted
-tied round round it, dipped in turpentine, which will do
-this. Through this hole and the mouth pass a spindle, as
-represented in the cut. The end of <span class="smcapa">B</span> should be squared to
-fix a handle on, and the spindle should be fixed firmly in the
-bottle. The bottle is then to be fixed in a frame, in the following
-manner: The end of the spindle <span class="smcapa">C</span> passes through
-a hole at <span class="smcapa">B</span>; and the other end at <span class="smcapa">C</span> has the handle for turning
-the machine.</p>
-
-<div class="figcenter" style="width: 400px;">
-<img src="images/i_128a.jpg" width="400" height="167" alt="" />
-</div>
-
-<div class="figleft" style="width: 101px;">
-<img src="images/i_128b.jpg" width="101" height="102" alt="" />
-<div class="caption"><p>CUSHION.</p></div>
-</div>
-
-<p>Next make a cushion of wash-leather, stuffed with wool,
-and fastened to the top of a frame of the following figure.
-This frame is to be of such a height that the
-cushion shall press against the sides of the
-bottle, and a piece of black silk is sewn on to
-the top of the cushion, and hangs over the
-bottle <span class="smcapa">D</span>. The cushion should be smeared with
-an amalgam, formed by melting together in
-the bowl of a tobacco pipe, one part of tin with
-two of zinc; to which, while fluid, should be added six parts
-of mercury. These should be stirred about till quite cold,
-and then reduced to a fine powder in a mortar, and mixed
-with a sufficient quantity of lard to form a thickish paste.
-When all is done, the machine is complete.</p>
-
-
-<p class="p6">CONDUCTOR.</p>
-
-<p>The electricity being generated by the friction produced
-between the rubber and the bottle from the motion imparted
-by the handle, it is necessary to draw it off for use. This
-is performed by what is called a conductor. This is made
-in the following manner: At right angles to one end of a
-cylinder of wood, about two inches and a half in diameter,
-and six inches long, fix a small wooden cylinder about three
-quarters of an inch in diameter, and three inches long, rounded
-at both ends&mdash;the other end of the larger cylinder is also
-to be rounded. Cover the whole with tinfoil, and mount it<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
-on a stand on a glass rod. When used, it is to be placed
-with the even piece in a line even with, and about half an
-inch from the bottle, and it should be of such a height as to
-come just below the silk apron. When it is wished to charge
-a Leyden jar, it is to be placed at the round end of the conductor.
-By these simple means a great variety of pleasing
-experiments may be performed; but to show the various
-phenomena connected with this interesting study, we shall
-now describe an electrical machine of the newest construction,
-and perform our experiments with it.</p>
-
-
-<p class="p6">THE PLATE ELECTRICAL MACHINE.</p>
-
-<div class="figright" style="width: 182px;">
-<img src="images/i_129.jpg" width="182" height="213" alt="" />
-</div>
-
-<p>Formerly the electrical machine was
-made in the form of a cylinder, but now
-it consists of a plate <span class="smcapa">A</span>, as seen in the
-engraving. The plate is turned by the
-handle <span class="smcapa">F</span>, through the rubber <span class="smcapa">B B</span>, which
-diffuses the excitement over the glass.
-The points or balls at each side of the
-plate carry off a constant stream of
-positive electricity to the prime conductor
-<span class="smcapa">C</span>. Negative electricity is generated
-by insulating the conductor to
-which the cushion is attached, and continuing the prime
-conductor with the ground, so as to carry off the fluid collected
-from the plate.</p>
-
-
-<p class="p6">HOW TO DRAW SPARKS FROM THE TIP OF THE NOSE.</p>
-
-<p>If the person who works the machine be supported on a
-stool having glass legs, and connected with the conductor
-by means of a glass rod, the electricity will pass from the
-conductor to him, and as it cannot get away, owing to the
-glass on which he stands being a non-conductor, any person
-on touching him can draw the electricity from him, which
-will exhibit itself in small sparks as it passes to the person
-who touches him. If touched on the nose, sparks of fire
-will issue from it.</p>
-
-<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p>
-
-
-<p class="p6">HOW TO GET A JAR FULL OF ELECTRICITY.</p>
-
-<div class="figleft" style="width: 131px;">
-<img src="images/i_130a.jpg" width="131" height="208" alt="" />
-</div>
-
-<p>A most useful piece of electrical apparatus is called the
-Leyden jar, here represented. It is employed for the purpose
-of obtaining a quantity of electricity, which may be
-applied to any substance. It consists of a glass jar, coated
-both inside and without, four fifths of the
-way up, with tinfoil. A knob rises through
-a wooden top, communicating with the inside
-of the jar. When it is wished to charge
-the jar, this knob is applied to the prime conductor
-of the electrical machine when in
-action, and a quantity of electricity being
-given off, the jar will remain charged with
-it till a connection is made, by some good
-conductor of electricity, between the knob
-and the outside tinfoil. A piece of brass
-chain must hang from the stem that carries the knob, and
-connect it with the interior of the <ins title="Transcriber's Note: original reads 'ja'">jar</ins>.</p>
-
-
-<p class="p6">THE ELECTRICAL BATTERY.</p>
-
-<div class="figright" style="width: 233px;">
-<img src="images/i_130b.jpg" width="233" height="321" alt="" />
-</div>
-
-<p>If several of these jars be united, an enormous quantity
-of electricity can be collected; but in arranging them, all
-the interior coatings must be made to communicate by metallic
-rods, and a similar union must be effected among the
-exterior coatings. When thus
-arranged, the whole series may
-be charged as if they formed but
-one jar.</p>
-
-<p>For the purpose of making a
-direct communication between
-the inner or outer coatings of a jar
-or battery, by which a discharge
-is effected, an instrument called
-a discharging rod is employed.
-It consists of two bent metallic
-rods, terminating at one end by
-brass balls, and connected at
-another by a joint which is fixed
-to the end of a glass handle, and
-which, acting like a pair of compasses,
-allows of the balls being
-separated at certain distances. When opened to the
-proper degree, one of the balls is made to touch the exterior
-coating, and the other ball is then brought into contact
-with the knob of the jar, when a discharge is effected;
-while the glass handle secures the person holding it from
-the effects of the shock.</p>
-
-<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p>
-
-
-<p class="p6">DANCING BALLS AND DOLLS.</p>
-
-<div class="figleft" style="width: 198px;">
-<img src="images/i_131.jpg" width="198" height="365" alt="" />
-</div>
-
-<p>Get two round pieces of wood, <span class="smcapa">A B</span>, and coat them with
-tin foil, or two pieces of metal plate; attach one of them to
-the prime conductor by a chain, and
-let it hang about two or three inches
-from the knob. Place some pith balls
-upon the bottom piece of wood <span class="smcapa">B</span>, and
-bring it under the other. Immediately
-this is done, and the upper
-piece is charged by electricity from
-the machine, the pith balls will jump
-up and down, and from one to the
-other with great rapidity. If some
-of the pith be formed into little figures,
-they will also dance and leap about in
-the most grotesque manner. The
-same may be made to dance by merely
-holding the inside of a dry glass tumbler
-to the prime conductor for a few
-minutes, while the machine is in action,
-and then whelming it over them,
-when they will jump about to the no
-small astonishment of the spectators, as the cause of their
-motion is not quite so apparent.</p>
-
-
-<p class="p6">THE ELECTRICAL KISS.</p>
-
-<p>This amusing experiment is performed by means of the
-electrical stool. Let any lady challenge a gentleman not acquainted
-with the experiment, to favor her with a salute.
-The lady thereupon mounts the glass stool, and takes hold
-of a chain connected with the prime conductor. The machine
-being then put in motion, the gentleman approaches the
-lady, and immediately he attempts to imprint the seal of
-soft affection upon her coral lips, a spark will fly in his face,
-which generally deters him from his rash and wicked intention.</p>
-
-
-<p class="p6">RINGING BELLS.</p>
-
-<div class="figright" style="width: 218px;">
-<img src="images/i_132a.jpg" width="218" height="196" alt="" />
-</div>
-
-<p>Bells may be made to ring by electricity in the following
-manner. Let three small bells be suspended from a brass
-wire <span class="smcapa">D D</span>, and supported by a glass pillar <span class="smcapa">A</span>, passing through
-bell <span class="smcapa">B</span> to the bell <span class="smcapa">E</span>. The electrical apparatus being attached
-to the knob <span class="smcapa">F</span> the electricity passes down the wires <span class="smcapa">D</span> <span class="smcapa">D</span><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span>
-to the bells, which are then positively
-electrified, and attract the
-clappers <span class="smcapa">C</span> <span class="smcapa">C</span>, that are negatively
-so, in consequence of being insulated
-by the silken strings, which
-are not conductors. The bells
-therefore attract the clappers till
-they are charged, when they strike
-against the center bell to discharge
-themselves, and thus a
-peal is rung on the bells until the electricity is driven off.</p>
-
-
-<p class="p6">WORKING POWER OF ELECTRICITY.</p>
-
-<div class="figleft" style="width: 232px;">
-<img src="images/i_132b.jpg" width="232" height="71" alt="" />
-</div>
-
-<p>This may be shown in a variety of ways. The subjoined
-machine will exhibit the principle upon which many ingenious
-toys may be made by the young philosopher. In the
-figure <span class="smcapa">A</span> is a wooden board or stand, <span class="smcapa">B B B B</span>, four pillars
-having fine wires, <span class="smcapa">C</span> <span class="smcapa">C</span>, stretched
-above. On these rest the rotatory
-wire or wheel <span class="smcapa">F</span>, having its points
-turned the reverse way. By
-means of a chain attached to the conductor, and to the instrument
-at <span class="smcapa">B</span>, the electricity passes over the pillar <span class="smcapa">B</span>, up
-the wire <span class="smcapa">C</span> into the wheel, and off at the points, which causes
-it to be turned round on an inclined plane till it reaches
-the top.</p>
-
-
-<p class="p6">THE ELECTRIFIED WIG.</p>
-
-<p>While a person is on the electrical stool, if he be charged
-with much electricity,</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Each hair will stand on end,</div>
-  <div class="i0">Like quills upon the fretful porcupine."</div>
- </div>
-</div>
-</div>
-
-<div class="figright" style="width: 177px;">
-<img src="images/i_132c.jpg" width="177" height="230" alt="" />
-</div>
-
-<p>A wooden head, not your own, but a
-real wooden head, with a wig of
-streaming hair, and a handsome face
-to correspond, may be made in the following
-form, with a wire in the neck
-to support it by, and fixed in the conductor
-of an electrical machine. When
-this is put in motion, the hair will
-rise up as in figure 2, to astonish even
-"Whigs," who are seldom astonished
-by, or deterred from anything.</p>
-
-<p><span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span></p>
-
-
-<p class="p6">IMITATION THUNDERCLOUDS.</p>
-
-<p>To show the manner in which thunderclouds perform their
-operations in the air. <span class="smcapa">A A</span> is a wooden stand, on which are
-erected two uprights, <span class="smcapa">B</span> <span class="smcapa">B</span>; <span class="smcapa">C</span> <span class="smcapa">C</span> are two small pulleys, over
-which a silken cord can pull easily; <span class="smcapa">E</span> is another silken line
-stretched across from one upright to another; on these
-silken cords two pieces of thin cardboard, covered with tin
-foil, and cut so as to represent clouds, are to be fixed horizontally,
-and made to communicate by means of thin wires,
-<span class="smcapa">F</span> and <span class="smcapa">G</span>, one with the <em>inside</em>, and the other with the outside
-of a charged jar, <span class="smcapa">D</span>. Now, by pulling the loop of the silk
-line <span class="smcapa">E</span>, the cloud 1 will be brought near the cloud 2; continue
-this slowly until the clouds (which are furnished with two
-small brass balls) are within an inch of each other, when a
-beautiful flash, strongly resembling lightning in miniature,
-will pass from one cloud to the other, restoring electrical
-equilibrium.</p>
-
-<div class="figcenter" style="width: 311px;">
-<img src="images/i_133a.jpg" width="311" height="128" alt="" />
-</div>
-
-
-<p class="p6">THE LIGHTNING-STROKE IMITATED.</p>
-
-<p>If the jar <span class="smcapa">D</span> be put behind the stand, and the cloud 2 removed,
-a vessel communicating by means of a wire with
-the outside of the jar, may be swum in water under the remaining
-cloud; the mast being made of separate pieces,
-and but slightly joined together. When the cloud is passed
-over the vessel, the mast will be struck and shattered to
-pieces.</p>
-
-<div class="figcenter">
-<img src="images/i_133b.jpg" width="303" height="164" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span></p>
-
-<p class="p6">THE SPORTSMAN.</p>
-
-<p>This apparatus is capable of affording much amusement:
-<span class="smcapa">A</span> is a stand of wood, <span class="smcapa">B</span> is a common Leyden jar, out of
-which proceed the wires <span class="smcapa">H</span> <span class="smcapa">H</span>, one terminating in ball <span class="smcapa">F</span>, the
-other in the ball <span class="smcapa">D</span>, to which are attached a number of pith
-birds, by silken strings; <span class="smcapa">E</span> is a shelf for the birds to rest
-upon; <span class="smcapa">C</span> is the sportsman; <span class="smcapa">G</span> his gun.</p>
-
-<p>To put this operation in motion, the Leyden jar is to be
-charged with electricity, by affixing a chain to the bottom
-part of it, and connecting it with an electrical machine in
-the usual manner, or by applying it to a prime conductor,
-when the birds will fly off the knob to which they are fixed,
-in consequence of their being repelled. If the sportsman
-and gun be then turned, so that the end of his gun shall
-touch the knob <span class="smcapa">F</span>, an electric spark will pass from one to
-the other, a report will be heard, and the birds will fall
-down as if shot, in consequence of the electricity having
-been taken from the Leyden jar. There should be a communication
-between the sportsman and the jar, formed of
-tinfoil, or some metal, as shown by the dotted line on the
-stand.</p>
-
-<div class="figcenter">
-<img src="images/i_134.jpg" width="400" height="295" alt="" />
-</div>
-
-<p>Such are a few of many experiments which may be made
-by the young experimenter, who is fond of science and has
-any ingenuity; but should he possess little love of research,
-no ingenuity, and would like to amuse himself with an
-electrifying machine of little cost, he may sit himself down
-to a</p>
-
-
-<p class="p6a">BLACK TOM CAT,</p>
-
-<p>and be a Katterfelto at once.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_135.jpg" width="560" height="462" alt="" />
-</div>
-
-
-
-<h2 class="no-break"><a name="EXPERIMENTS_IN_GALVANISM" id="EXPERIMENTS_IN_GALVANISM"></a>EXPERIMENTS IN GALVANISM.</h2>
-
-
-<p>1. Place a thin plate of zinc upon the upper surface of the
-tongue, and a half dollar or a piece of silver on the under
-surface. Allow the metals to remain for a little time in contact
-with the tongue before they are made to touch each
-other, that the taste of the metals themselves may not be
-confounded with the sensation produced by their contact.
-When the edges of the metals, which project beyond the
-tongue, are then suffered to touch, a galvanic sensation is
-produced, which it is difficult accurately to describe.</p>
-
-<p>2. Place a silver teaspoon as high as possible between
-the gums and the upper lip, and a piece of zinc between the
-gums and the under lip. On bringing the extremities of the
-metals into contact, a very vivid sensation, and an effect like
-a flash of light across the eyes, will be perceived. It is singular
-that this light is equally vivid in the dark and in the
-strongest light, and whether the eyes be shut or open.</p>
-
-<p>3. Put a silver cup or mug, filled with water, upon a plate
-of zinc on a table, and just touch the water with the tip of
-the tongue; it will be tasteless so long as the zinc plate is
-not handled, for the body does not form a voltaic circle with<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span>
-the metals. Moisten your hand well, take hold of the plate
-of zinc, and touch the water with your tongue, when a very
-peculiar sensation, and an acid taste, will be experienced.</p>
-
-<p>4. Take a piece of copper of about six inches in width,
-and put upon it a piece of zinc of rather smaller dimensions,
-inserting a piece of cloth, of the same size as the zinc, between
-them; place a leech upon the piece of zinc, and though
-there appear nothing to hinder it from crawling away, yet
-it will not pass from the zinc to the copper, because its damp
-body acting as a conductor to the fluid disturbed, as soon as
-it touches the copper it receives a galvanic shock, and of
-course retires to its resting-place.</p>
-
-<p>5. Plunge an iron knife into a solution of sulphate of copper
-(blue-stone); by chemical action, only, it will become
-covered with metallic copper. Immerse in the same solution
-a piece of platinum, taking care not to let it touch the iron,
-and no deposition of copper will take place upon it; but if
-the upper ends of the metals be brought into contact with
-each other, a copious deposition of copper will soon settle
-upon the platinum likewise.</p>
-
-
-<p class="p6">WITH METAL PLATES IN WATER.</p>
-
-<div class="figleft" style="width: 181px;">
-<img src="images/i_136.jpg" width="181" height="187" alt="" />
-</div>
-
-<p>If we take two plates of different kinds of metal, platinum
-or copper, and zinc, for example, and immerse them in pure
-water, having wires attached to them
-above, then if the wire of each is brought
-into contact in another vessel of water,
-a galvanic circle will be formed, the
-water will be slowly decomposed, its
-oxygen will be fixed on the zinc wire,
-and at the same time a current of electricity
-will be transmitted through the
-liquid to the platinum or copper wire, on
-the end of which the other element of
-water, namely, the hydrogen, will make its appearance in the
-form of minute gas bubbles. The electrical current passes
-back again into the zinc at the points of its contact with the
-platinum, and thus a continued current is kept up, and hence
-it is called a galvanic circle. The moment the circuit is
-broken by separating the wires, the current ceases, but is
-again renewed by making them touch either in or out of the
-water. If a small quantity of sulphuric acid be added to<span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
-the water, the phenomenon will be more apparent. The end
-of the wire attached to the piece of platinum or copper is
-called the positive pole of the battery, and that of the wire
-attached to the zinc is the negative pole.</p>
-
-<div class="figcenter">
-<img src="images/i_137.jpg" width="500" height="98" alt="" />
-</div>
-
-<p>The current of electricity here generated will be extremely
-feeble, but this can be easily increased by multiplying the
-glasses and the number of the pieces of metal. If we take
-six such glasses instead of one, partially fill them with dilute
-sulphuric acid, and put a piece of zinc and copper into each,
-connecting them by means of copper wire from glass to
-glass through the whole series, a stronger current of electricity
-will be the result. The experimenter must be careful
-not to let the wire and zinc touch each other at the bottom
-of the tumblers, and must also remember that the copper of
-glass 1 is connected with the zinc of glass 2, and so on.</p>
-
-
-<p class="p6">TO MAKE A MAGNET BY GALVANISM.</p>
-
-<p>To effect this, make a connection between the poles of the
-above or any excited battery with the two ends of a wire
-formed into a spiral coil, by bending common bonnet wire
-closely round a cylinder, or tube, of about an inch in diameter;
-into this coil introduce a needle, or piece of steel
-wire, laying it lengthways down the circles of the coil. In
-a few minutes after the electric fluid has passed through the
-spiral wire, and consequently round the needle or wire, the
-latter will be found to be strongly magnetized, and to possess
-all the properties of a magnet.</p>
-
-
-<p class="p6">EFFECTS OF GALVANISM ON A MAGNET.</p>
-
-<p>If a galvanic current, or any electric current, be made to
-pass along a wire, under which and in a line with it a compass
-is placed, it will be found that the needle will no longer
-point north and south, but will take a direction nearly across
-the current, and point almost east and west.</p>
-
-
-<p class="p6">CHANGE OF COLOR BY GALVANISM.</p>
-
-<p>Put a teaspoonful of sulphate of soda into a cup, and
-dissolve it in hot water; pour a little cabbage blue into the<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
-solution, and put a portion into two glasses, connecting
-them by a piece of linen or cotton cloth previously moistened
-in the same solution. On putting one of the wires of the
-galvanic pole into each glass, the acid accumulates in the
-one, turning the blue to a red, and the alkali in the other,
-rendering it green. If the wires be now reversed, the acid
-accumulates eventually in the glass where the alkali appeared,
-while the alkali passes to the glass where the acid was.</p>
-
-
-<p class="p6">THE GALVANIC SHOCK.</p>
-
-<p>If the ends of the wires of a galvanic battery be placed
-in separate basins of water, then, on dipping the fingers of
-each hand in the basin, a smart shock will be felt, with a
-particular aching accompanied with trembling. With a
-strong battery this effect is felt as high as the shoulders.
-The shock will also be felt by simply holding the galvanic
-wires, one in each hand, provided the hands be moistened
-with salt and water. Several persons may receive the shock
-together by joining hands.</p>
-
-
-<p class="p6">FAMILIAR GALVANIC EFFECTS.</p>
-
-<p>Coat the point of your tongue with tin-foil, and its middle
-part with gold or silver leaf, so that the two metals touch,
-when a sourish taste will be produced. This simple effect is
-termed "A Galvanic Tongue."</p>
-
-<p>Ale and porter drink better out of a pewter or tin pot,
-than from glass or earthenware; because of the galvanic
-influence of the green copper as used to give the beer a
-frothy head.</p>
-
-<p>Galvanic experiments may be made with the legs of a
-frog. A live flounder will answer nearly the same purpose.
-Lay the fish in a plate, upon a slip of zinc, to which is attached
-a piece of wire, and put a quarter dollar upon the
-flounder's back; then touch the quarter dollar with the wire,
-and at each contact strong muscular contractions will be
-produced.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>
-
-
-
-
-<div class="figcenter">
-<img src="images/i_139.jpg" width="560" height="461" alt="" />
-</div>
-
-
-<h2 class="no-break"><a name="EXPERIMENTS_IN_MAGNETISM" id="EXPERIMENTS_IN_MAGNETISM"></a>EXPERIMENTS IN MAGNETISM.</h2>
-
-
-<p>1. We have said that the agency of the magnet can be
-imparted to hard metallic bodies; this may be done in a very
-easy way. If you pass a magnet (which may be either
-natural or artificial) over a sewing-needle several times
-from the eye to the point, the needle will acquire the principle,
-and attract iron filings in the same manner as a natural
-magnet would do. But the part of the magnet which
-you apply to the needle must be the north pole; and you
-must not pass it over the needle backward and forward, but
-lift it always from the point and again begin from the eye.
-Suppose you wish to impart the principle to a small bar of
-tempered steel, tie the piece to be magnetized to a poker
-with a piece of silk, and hold the part of the poker to which
-it is attached in the left hand; take hold of the tongs, a
-little below the middle, with the right hand, and rub the
-steel bar with them, moving the tongs from the bottom
-to the top, and keeping them steadily in a vertical position
-all the time. About a dozen strokes on each side will impart<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
-sufficient magnetic power to the bar to enable the
-operator to lift up small pieces of iron and steel with it.
-The lower end of the bar should be marked before it is fastened
-to the poker, so that the poles may be readily distinguished
-from each other when it is taken off; the upper end
-being the south pole, and the lower the north.</p>
-
-<div class="figleft" style="width: 205px;">
-<img src="images/i_140.jpg" width="205" height="120" alt="" />
-</div>
-
-<p>2. Scatter some iron filings upon
-a piece of paper, and hold a magnet
-underneath it. The instant
-the contact takes place, the filings
-will raise themselves upright, and
-fall down as soon as the magnet is
-withdrawn. The effect is singular,
-and indeed very amusing; the diminutive iron particles
-rising and falling, as if by supernatural agency.</p>
-
-
-<p class="p6">TEST OF MAGNETIC POWER.</p>
-
-<p>To ascertain whether a piece of metal, or mineral, is magnetic,
-present it to one of the poles of a poised magnet. If
-it be attracted at both poles, you may then conclude that
-the substance so tested is not magnetic.</p>
-
-<p>Dip a magnet into boiling water, and it will lose half of
-its magnetism; but as the magnet cools, its full power will
-return.</p>
-
-
-<p class="p6">TO MAKE ARTIFICIAL MAGNETS.</p>
-
-<p>This may be done by stroking a piece of hard steel with a
-natural or artificial magnet. Take a common sewing-needle,
-and pass the north pole of a magnet from the eye to the
-point, pressing it gently in so doing. After reaching the
-end of the needle, the magnet must not be passed back again
-towards the eye, but must be lifted up and applied again to
-that end, the friction being always in the same direction.
-After repeating this for a few times, the needle will become
-magnetized, and attract iron filings, &amp;c.</p>
-
-
-<p class="p6">HOW TO MAGNETIZE A POKER.</p>
-
-<p>Hold it in the left hand in a position slightly inclined from
-the perpendicular, the lower end pointing to the north, and
-then strike it smartly several times with a large iron hammer,
-and it will be found to possess the powers of a magnet,
-although but slightly.</p>
-
-<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p>
-
-
-<p class="p6">TO SHOW MAGNETIC REPULSION AND ATTRACTION.</p>
-
-<div class="figright" style="width: 163px;">
-<img src="images/i_141.jpg" width="163" height="218" alt="" />
-</div>
-
-<p>Suspend two short pieces of iron wire, <span class="smcapa">N S</span>, <span class="smcapa">N S</span>, so that
-they will hang in contact in a vertical
-position. If the north pole of a magnet
-<span class="smcapa">N</span> be now brought to a moderate distance
-between the wires, they will recede from
-each other as in figure 1.</p>
-
-<p>The ends <span class="smcapa">S</span> <span class="smcapa">S</span> being made south poles
-by induction from the north pole <span class="smcapa">N</span>, will
-repel each other, and so will the north
-poles <span class="smcapa">N</span> <span class="smcapa">N</span>. This separation of the wires
-will increase as the magnet approaches
-them, but there will be a particular distance
-at which the attractive force of <span class="smcapa">N</span>
-overcomes the repulsive force of the poles <span class="smcapa">S</span> <span class="smcapa">S</span>, and causes
-the wires to converge as in figure 2; the north poles <span class="smcapa">N</span> <span class="smcapa">N</span>
-still exhibiting their mutual repulsion.</p>
-
-
-<p class="p6">VARIATION OF THE NEEDLE.</p>
-
-<p>The magnetic needle does not point exactly north and
-south, but the north pole of the needle takes a direction considerably
-to the west of the true north. It is constantly
-changing, and varies at different parts of the earth, and at
-different times of the day.</p>
-
-
-<p class="p6">DIP OF THE NEEDLE.</p>
-
-<p>Another remarkable and evident manifestation of the
-influence of the magnetism of the earth upon the needle is
-the inclination or dip of the latter, which is a deviation from
-its horizontal place in a downward direction in northern regions
-of its north, and in southern regions of its south pole.
-The causes of the dipping of the needle are yet unexplained.
-In balancing the needle on the crd, <ins title="Transcriber's Note: original reads 'aon'">on</ins> account of this dipping,
-a small weight or moveable piece of brass is placed
-on one end of the needle, by the shifting of which either
-nearer to or further from the center, the needle will always
-be balanced.</p>
-
-
-<p class="p6">TO SUSPEND A NEEDLE IN THE AIR BY MAGNETISM.</p>
-
-<p>Place a magnet on a stand to raise it a little above the
-table; then bring a small sewing-needle containing a thread,
-within a little distance of the magnet, keeping hold of the
-thread to prevent the needle from attaching itself to the magnet.<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
-The needle in endeavoring to fly to the magnet, and
-being prevented by the thread, will remain curiously suspended
-in the air, like Mahommed's coffin.</p>
-
-
-<p class="p6">MAGNETISM BY HAMMERING.</p>
-
-<p>Place a bar of iron in a vertical position, and give it a
-series of slight blows with a hammer or poker, when it will
-acquire a feeble degree of magnetism; hence it happens,
-<ins title="Transcriber's Note: original reads 'thst'">that</ins> the anvils and other tools employed in smithies are
-endowed with magnetism.</p>
-
-<p>It is, however, a remarkable circumstance, that if you
-strike a magnet its magnetizing force will be either very
-much impaired, or altogether destroyed.</p>
-
-<p>Percussion and friction in the required position would
-seem, from this and preceding experiments, to be the chief
-means of magnetizing iron and steel. These operations, as
-it were, waken up the inert particles of the metal to admit
-new magnetism, or to develop that which already resides in
-it, originally derived from the earth.</p>
-
-
-<p class="p6">POWER OF THE ELECTRO MAGNET.</p>
-
-<div class="figleft" style="width: 80px;">
-<img src="images/i_142.jpg" width="80" height="220" alt="" />
-</div>
-
-<p>The same influence which affects the magnetic needle
-already described, will also communicate magnetism
-to soft iron. If a bar of that metal, bent as in
-the drawing, be surrounded with a common bonnet
-wire, or a copper wire prevented from touching
-the iron by a winding of cotton or thread, and
-then if a current of voltaic electricity be sent
-through the wire, the bar becomes a powerful
-magnet, and will continue so as long as the connection
-with the battery is preserved. On breaking
-the contact, the magnetism disappears. This
-experiment may be easily made by the young
-reader with a horse-shoe magnet, surrounded by
-several coils of wire. <span class="smcapa">P</span> is the positive and <span class="smcapa">N</span> the negative
-pole.</p>
-
-
-<p class="p6">THE MARINER'S COMPASS.</p>
-
-<p>The mariner's compass is an artificial magnet fitted in a
-proper box, and consists of three parts&mdash;1, the box; 2, the
-card or fly; and 3, the needle. The box is suspended in a
-square wooden case, by means of two concentric brass
-circles called gimbals, so fixed by brazen axes to the two<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
-boxes, that the inner one, or compass-box, retains a horizontal
-position in all motions of the ship. The card is a circular
-piece of paper which is fastened upon the needle, and
-moves with it. The outer edge of the card is divided into
-thirty-two points, as shown in the engraving, called points
-of the compass. The needle is a slender bar of hardened
-steel, having a hollow agate cup in the center, which moves
-upon the point of a pivot made of brass.</p>
-
-<div class="figcenter">
-<img src="images/i_143a.jpg" width="500" height="209" alt="" />
-</div>
-
-
-<p class="p6">TO MAKE ARTIFICIAL MAGNETS WITHOUT THE AID EITHER OF NATURAL
-LOADSTONES OR ARTIFICIAL MAGNETS.</p>
-
-<div class="figright" style="width: 177px;">
-<img src="images/i_143b.jpg" width="177" height="279" alt="" />
-</div>
-
-<p>Take an iron poker and tongs, or two bars of iron, the
-larger and the older the better, and fixing the poker upright,
-hold to it with the left hand near the top <span class="smcapa">P</span> by a silk thread,
-a bar of soft steel about three inches long, one fourth of
-an inch broad, and one twentieth thick;
-mark one end, and let this end be
-downwards. Then grasping the tongs
-<span class="smcapa">T</span> with the right hand a little below
-the middle, and keeping them nearly
-in a vertical line, let the bar <span class="smcapa">B</span> be rubbed
-with the lower end <span class="smcapa">L</span> of the tongs,
-from the marked end of the bar to its
-upper end, about ten times on each side
-of it. By this means the bar <span class="smcapa">B</span> will
-receive as much magnetism as will
-enable it to lift a small key at the
-marked end; and this end, the bar
-being suspended by its middle or made
-to rest on a joint, will turn to the
-north, and is called its north pole, the unmarked end being<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
-the south pole. This is the method recommended by Mr. Caxton,
-in his process, which he regarded superior to those in
-former use, and of which a more detailed account will be
-found in his interesting volume.</p>
-
-
-<p class="p6">THE WATCH MAGNETIZED.</p>
-
-<p>Borrow a watch from the company, and inquire if it will
-go when laid on the table. Then place it just over the
-point at which a magnet is fixed underneath the top of the
-table, and the magnet will attract the balance-wheel of the
-watch, and cause it to stop.</p>
-
-
-<p class="p6">NORTH AND SOUTH POLES OF THE MAGNET.</p>
-
-<div class="figleft" style="width: 101px;">
-<img src="images/i_144a.jpg" width="101" height="155" alt="" />
-</div>
-
-<p>Each magnet has its poles, north and south,
-the north or south poles of one magnet, repel
-the north and south pole of another. If a
-magnet, as in the following figure, be dipped
-in some iron filings, they will be immediately
-attracted to one end. Supposing this to be
-the north pole, each of the ends of the filings,
-not in contact with the magnet, will become
-north poles, while the ends in contact will by
-induction become south poles. Both will have a tendency
-to repel each other, and the filings will stand on the magnet
-as in the figure.</p>
-
-
-<p class="p6">POLARITY OF THE MAGNET.</p>
-
-<p>The best method of proving this is to take a magnet or a
-piece of steel rendered magnetic, and to place it on a piece
-of cork by laying it in a groove cut to receive it. If the
-cork be placed in the center of a basin of water, and allowed
-to swim freely on its surface, so that it is not attracted by
-the sides of the basin, it will be
-found to turn its north pole to the
-north, and its south pole to the south,
-the same as the mariner's compass.
-If you fix two magnets in two pieces
-of cork, and place them also in a
-basin of water, and they are in a parallel position with the
-same poles together, that is, north to north, and south to
-south, they will mutually repel each other; but if the contrary
-poles point to one another, as north to south, they will
-be attracted.</p>
-
-<div class="figright" style="width: 185px;">
-<img src="images/i_144b.jpg" width="185" height="110" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span></p>
-
-
-<p class="p6">MAGNETIC ACTION AND REACTION.</p>
-
-<p>A magnet and a piece of iron attract each other equally,
-whatever disproportion there is between their sizes. If
-either be balanced in a scale, and the other be brought within
-a certain distance beneath it, the very same counterpoise
-will be required to prevent their approach, whichever be in
-the scale. If the two were hanging near each other, as
-pendulums, they would approach and meet, but the little
-one would perform more of the journey in proportion to its
-littleness.</p>
-
-
-<p class="p6">TO PASS MAGNETISM THROUGH A BOARD.</p>
-
-<p>Place a common sewing-needle on a smooth horizontal
-board, and move a strong magnet underneath the board,
-when the needle will revolve along the board, according to
-the peculiar motion given to the magnet.</p>
-
-
-<p class="p6">THE MAGNETIC TABLE.</p>
-
-<p>Under the top of a common table, place a magnet that
-turns on a pivot, and fix a board under it that nothing may
-appear. There may also be a drawer under the table,
-which you pull out, to show that there is nothing concealed.
-At one end of the table there must be a pin that communicates
-with a magnet, and by which it may be placed in
-different positions; this pin must be so placed as not to be
-visible to the spectators. Strew some steel filings, or very
-small nails, over that part of the table where the magnet
-is. Then ask any one to lend a knife, or a key, which will
-then attract part of the nails or filings. Then placing your
-hand, in a careless manner, on the pin at the end of the
-table, you alter the position of the magnet; and giving the
-key to any person, you desire him to make the experiment,
-which he will then not be able to perform. You then give
-the key to another person, at the same time placing the
-magnet, by means of the pin, in the first position, when
-that person will immediately perform the experiment.</p>
-
-
-<p class="p6">INTERESTING PARTICULARS CONCERNING THE MAGNET.</p>
-
-<p>Fire-irons which have rested in one position in a room
-during the summer months are often highly magnetic.</p>
-
-<p>Iron bars standing erect, such as the gratings of a prison
-cell, or the iron railings before houses, are often magnetic.</p>
-
-<p>The uppermost of the iron tires round a carriage wheel<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
-attracts the north end of a magnet, and has hence south
-polarity, while the lower end attracting the south end of
-the same, has north polarity.</p>
-
-
-<p class="p6a">CONCLUSION.</p>
-
-<p>The preceding experiments in Electricity, Galvanism, and
-Magnetism, we have selected for the simple yet clear expositions
-which they offer of the fundamental principles of
-those branches of philosophy; more elaborate experiments
-we have refrained from inserting, as although, perhaps,
-more astonishing and impressive in their effects, the costly
-and cumbrous apparatus which they require, raise them far
-above the means of most boys, for whose instruction and
-amusement we cater.</p>
-
-
-<p class="p6">EXAGGERATED MAGNETISM.</p>
-
-<p>Our readers will, doubtless, recollect several stories, in
-which the powers of the magnet are greatly exaggerated.
-Other accounts of its virtues, though true in fact, yet really
-appear, without some consideration, to be fictitious.</p>
-
-<p>In a German collection of fairy tales, in which the ancient
-chivalry of the court of the famous Charlemagne, the faithful
-squires who attended on his heroic knights, the damsels
-in distress whom they relieved, the dwarfs who were their
-friends, and the giants and magicians who "worked their
-earthly woe," are the principal characters, we remember a
-passage to the effect following: "The knight, who volunteered
-to adventure forward from the body of cavalry that
-were bent on this exploit, to reconnoitre the position of this
-gigantic enchanter's castle, had scarcely approached within
-sight of it, when he beheld the enormous bulk of the giant
-himself leaning against the outward wall. Pursuant to
-the instructions he had received, the knight, forthwith,
-turned his gallant steed's head towards his companions in
-arms, and, at a swift pace, came pricking o'er the plain.
-He now heard the giant in pursuit, and struck his spurs
-into his good steed's flank; but, alas! he had scarcely approached
-within view of the chivalric troop, when the
-mighty hand of the giant magician was stretched forth,
-armed only with one of his horse's shoes, which was made
-of loadstone, and, by its attractive powers on his steel
-armor, his grieved associates had the mortification of seeing
-the knight unhorsed."</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_PNEUMATICS" id="THE_MAGIC_OF_PNEUMATICS"></a><span class="small80">THE MAGIC OF</span><br />
-
-PNEUMATICS AND AËROSTATICS.</h2>
-
-<div class="figcenter" style="width: 227px;">
-<img src="images/i_147.jpg" width="227" height="350" alt="" />
-</div>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"There is a tricksey spirit in the air</div>
-  <div class="i0">That plays sad gambols."&mdash;B<span class="smcapa">EN</span> J<span class="smcapa">ONSON</span>.</div>
- </div>
-</div>
-</div>
-
-
-<p>The branch of the physical sciences which relates to the
-air and its various phenomena is called Pneumatics. By it
-we learn many curious particulars. By it we find that
-the air has weight and pressure, color, density, elasticity,
-compressibility, and some other properties with which we
-shall endeavor to make the young reader acquainted by
-many pleasing experiments, earnestly impressing upon him
-to lose no opportunity of making physical science his study.</p>
-
-<p>To show that the air has weight and pressure, the common
-leather sucker by which boys raise stones will show
-the pressure of the atmosphere. It consists of a piece of
-soft but firm leather, having a piece of string drawn through
-its center. The leather is made quite wet and pliable, and
-then its under part is placed on the stone and stamped down
-by the foot. This pressing of the leather excludes the air
-from between the leather and the stone, and by pulling the
-string a vacuum is left underneath its center; consequently
-the weight of the air about the edges of the leather, not<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
-being counterbalanced by any air between it and the stone,
-enables the boy to lift it.</p>
-
-
-<p class="p6">WEIGHT OF THE AIR PROVED BY A PAIR OF BELLOWS.</p>
-
-<p>Shut the nozzle and valve-hole of a pair of bellows, and
-after having squeezed the air out of them, if they are perfectly
-air-tight, we shall find that a very great force, even
-some hundreds of pounds, is necessary for separating the
-boards. They are kept together by the weight of the heavy
-air which surrounds them in the same manner as if they
-were surrounded by water.</p>
-
-
-<p class="p6">THE PRESSURE OF THE AIR SHOWN BY A WINE-GLASS.</p>
-
-<p>Place a card on a wine-glass filled with water, then invert
-the glass, the water will not escape, the pressure of the atmosphere
-on the outside of the card being sufficient to support
-the water.</p>
-
-<div class="figcenter" style="width: 180px;">
-<img src="images/i_148a.jpg" width="180" height="291" alt="" />
-</div>
-
-
-<p class="p6">ANOTHER.</p>
-
-<div class="figleft" style="width: 156px;">
-<img src="images/i_148b.jpg" width="156" height="152" alt="" />
-</div>
-
-<p>Invert a tall glass jar in a dish of water, and place a
-lighted taper under it; as the taper consumes the air in the
-jar, the water from the pressure without
-<em>rises up</em> to supply the place of the air removed
-by the combustion. In the operation
-of cupping, the operator holds the
-flame of a lamp under a bell-shaped glass.
-The air within this being rarefied and expanded,
-a considerable portion is given off.
-In this state the glass is placed upon the<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
-flesh, and as the air within it cools, it contracts, and the glass
-adheres to the flesh by the difference of the pressure of the
-internal and external air.</p>
-
-
-<p class="p6">ELASTICITY OF THE AIR.</p>
-
-<div class="figright" style="width: 145px;">
-<img src="images/i_149a.jpg" width="145" height="241" alt="" />
-</div>
-
-<p>This can be shown by a beautiful philosophical toy which
-may easily be constructed. Procure a glass jar, such as is
-here represented. Then mould three or four little figures in
-wax, and make them hollow within, and having each a minute
-opening at the heel, by which water may pass in and
-out. Place them in the jar, as seen in the figure, and adjust
-them by the quantity of water admitted to them, so that
-in specific gravity they differ a little from each other. The
-mouth of the jar should now be covered
-with a piece of skin or India-rubber, and
-then, if the hand be pressed upon the top
-or mouth of the jar, the figures will be seen
-to rise or descend as the pressure is gentle
-or heavy, rising and falling, or standing
-still, according to the pressure made.</p>
-
-
-<p class="p6">REASON FOR THIS.</p>
-
-<p>The reason of this is, that the pressure
-on the top of the jar condenses the air between
-the cover and the water surface;
-this condensation then presses on the water
-below, and influences it through its whole extent, compressing
-also the air in the figures, forcing as much more water
-into them as to render them heavier than water, and therefore
-heavy enough to sink.</p>
-
-
-<p class="p6">THE AIR-PUMP.</p>
-
-<div class="figleft" style="width: 178px;">
-<img src="images/i_149b.jpg" width="178" height="194" alt="" />
-</div>
-
-<p>The time was, and that not very long ago, when the air-pump
-was only obtainable by the philosophical
-professor, or by persons of
-enlarged means. But now, owing to
-our "cheap way of doing things," a
-small air-pump may be obtained for
-about five or six dollars, and we would
-strongly advise our young friend to
-procure one, as it will be a source of
-endless amusement to him; and, supposing
-that he takes our advice, we
-give him the following experiments.</p>
-
-<p><span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span></p>
-
-<p>The air-pump consists of a bell glass, called the receiver,
-<span class="smcapa">A</span>, and a stand, upon which is a perforated plate <span class="smcapa">B</span>. The hole
-in this plate is connected with two pistons, the rods of which
-are moved by a wheel handle backwards and forwards, and
-thus pump the air out of the receiver. When the air is taken
-out, a stop-cock is turned, and then the experiments may be
-performed.</p>
-
-<p>Under the receiver of an air-pump, when the air has been
-thoroughly exhausted, light and heavy bodies fall with the
-same swiftness. Animals quickly die for want of air, combustion
-ceases, gunpowder will not explode, a bell sounds
-faint, magnets are powerless, and waters and other fluids turn
-to vapor.</p>
-
-
-<p class="p6">TO PROVE THAT AIR HAS WEIGHT.</p>
-
-<p>Take a florence flask, fitted up with a screw and fine oiled
-silk valve. Screw the flask on the plate of the air-pump,
-exhaust the air, take it off the plate and weigh it. Then let
-in the air, and again weigh the whole, and it will be found
-to have increased by several grains.</p>
-
-<div class="figcenter">
-<img src="images/i_150.jpg" width="400" height="208" alt="" />
-</div>
-
-
-<p class="p6">TO PROVE AIR ELASTIC.</p>
-
-<p>Place a bladder, out of which all the air has apparently
-been squeezed, under the receiver, upon it lay a weight, exhaust
-the air, and it will be seen that the small quantity of
-air left within the bladder will so expand itself as to lift the
-weight. Put a corked bottle into the receiver, exhaust the
-air, and the cork will fly out.</p>
-
-
-<p class="p6">AIR IN THE EGG.</p>
-
-<p>Take a fresh egg and cut off a little of the shell and film
-from its smaller end, then put the egg under a receiver and<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
-pump out the air, upon which all the contents of the egg
-will be forced out by the expansion of the small bubble of
-air contained in the great end between the shell and the
-film.</p>
-
-<div class="figcenter">
-<img src="images/i_151a.jpg" width="400" height="209" alt="" />
-<div class="caption"><p>AIR IN THE EGG. <span class="mleft10">DESCENDING SMOKE.</span></p>
- </div>
-</div>
-
-
-<p class="p6">THE DESCENDING SMOKE.</p>
-
-<p>Set a lighted candle on a plate, and cover it with a tall
-receiver. The candle will continue to burn while the air
-remains, but when exhausted, will go out, and the smoke
-from the wick, instead of rising, will descend in dense clouds
-towards the bottom of the glass, because the air which
-would have supported it has been withdrawn.</p>
-
-
-<p class="p6">HALF EAGLE AND FEATHER.</p>
-
-<div class="figright" style="width: 148px;">
-<img src="images/i_151b.jpg" width="148" height="246" alt="" />
-</div>
-
-<p>Place a nicely-adjusted pair of forceps
-at the top of the receiver, communicating
-with the top at the outside
-through a hole, so that they may be
-opened by the fingers. Then place on
-each of the little plates a <em>half-eagle</em> and
-a <em>feather</em>. Exhaust the air from the receiver,
-and having done so, detach the
-objects, so that they may fall. In the
-open air the half-eagle will fall long before
-the feather, but in vacuo, as in the
-receiver now exhausted of its air, they
-will fall both together, and reach the bottom of the glass at
-same instant.</p>
-
-
-<p class="p6">THE SOUNDLESS BELL.</p>
-
-<p>Set a bell on the pump-plate, having a contrivance so as
-to ring it at pleasure, and cover it with a receiver, then<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
-make the clapper sound against the bell, and it will be
-heard to sound very well; now exhaust the receiver of air,
-and then, when the clapper strikes against the sides of the
-bell, the sound can be scarcely heard.</p>
-
-<div class="figcenter" style="width: 408px;">
-<img src="images/i_152.jpg" width="408" height="245" alt="" />
-<div class="caption"><p>SOUNDLESS BELL. <span class="mleft10">FLOATING FISH.</span></p></div>
-</div>
-
-
-<p class="p6">THE FLOATING FISH.</p>
-
-<p>If a glass vessel, containing water, in which a couple of
-fish are put be placed under the receiver, upon exhausting
-the air, the fish will be unable to keep at the bottom of the
-glass, owing to the expansion of the air within their bodies,
-contained in the air bladder. They will consequently rise
-and float, belly upwards, upon the surface of the water.</p>
-
-
-<p class="p6">THE MYSTERIOUS CIRCLES.</p>
-
-<p>Cut from a card two discs or circular pieces, about two
-inches in diameter. In the center of one of them make a
-hole, into which put the tube of a common quill, one end
-being even with the surface of the card. Make the other
-piece a little convex, and lay its center over the end of the
-quill, with the concave side of the card downwards, the
-center of the upper card being from one eighth to one fourth
-of an inch above the end of the quill&mdash;attempt to blow off
-the upper card by blowing through the quill, and <em>it will be
-found impossible</em>.</p>
-
-<p>If, however, the edges of the two cards be made to fit
-each other very accurately, the upper card will move, and
-sometimes it will be thrown off; but when the edges of the
-cards are, on two sides, sufficiently far apart to permit the<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
-air to escape, the loose card will retain its position, even
-when the current of air sent against it be strong. The experiment
-will succeed equally well, whether the current of
-air be made from the mouth or from a pair of bellows.
-When the quill fits the card rather loosely, a comparatively
-light puff will throw both cards three or four feet in height.
-When, from the humidity of the breath, the upper surface
-of the perforated card has a little expanded, and the two
-opposite sides are somewhat depressed, those depressed
-sides may be seen distinctly to rise and approach the upper
-card, directly in proportion to the force of the current of air.</p>
-
-<p>Another fact to be shown with this simple apparatus appears
-equally inexplicable with the former. Lay the loose
-card upon the hand with the concave side up; blow forcibly
-through the tube, and, at the same time, bring the two
-cards towards each other; when within three eighths of an
-inch, if the current of air be strong, the loose card will suddenly
-rise, and adhere to the perforated card. If the card
-through which the quill passes has several holes made in it,
-the loose card may be instantly thrown off with the least
-puff of air.</p>
-
-<p>For the explanation of the above phenomenon, a gold
-medal and one hundred guineas were offered, some years
-since, by the Royal Society. Such explanation has been
-given by Dr. Robert Hare, late of the University of Pennsylvania,
-and is as follows:</p>
-
-<p>Supposing the diameters of the discs of card to be to that
-of the hole as 8 to 1, the area of the former to the latter
-must be as 64 to 1. Hence, if the discs were to be separated
-(their surfaces remaining parallel) with a velocity as
-great as that of the air blast, a column of air must, meantime,
-be interposed, 64 times greater than that which would
-escape from the tube during the interim; consequently, if
-all the air necessary to preserve the balance be supplied
-from the tube, the discs must be separated with a velocity
-as much less than that of the blast, as the column required
-between them is greater than that yielded by the tube; and
-yet the air cannot be supplied from any other source, unless
-a deficit of pressure be created between the discs, unfavorable
-to their separation.</p>
-
-<p>It follows, then, that, under the circumstances in question,
-the discs cannot be made to move asunder with a velocity
-greater than one sixty-fourth of that of the blast. Of course<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
-all the force of the current of air through the tube will be
-expended on the moveable disc, and the thin ring of air,
-which exists round the orifice between the discs; and since
-the moveable discs can only move with one sixty-fourth the
-velocity of the blast, the ring of air in the interstice must
-experience nearly all the force of the jet, and must be driven
-outwards, the blast following it, in various currents radiating
-from the common center of the tube and discs.</p>
-
-
-<p class="p6">THE DIVING BELL.</p>
-
-<div class="figcenter" style="width: 195px;">
-<img src="images/i_154a.jpg" width="195" height="132" alt="" />
-</div>
-
-<div class="figleft" style="width: 163px;">
-<img src="images/i_154b.jpg" width="163" height="215" alt="" />
-</div>
-
-<p>The diving-bell is a pneumatic engine, by means of which
-persons can descend to great depths in the sea, and recover
-from it valuable portions of wrecks
-and other matters. Its principle may
-be well illustrated by the following
-experiment. Take a glass tumbler,
-and plunge it into the water with the
-mouth downwards, and it will be
-found that the water will not rise much
-more than half way in the tumbler. This may be made
-very evident if a piece of cork be suffered to float inside of
-the glass on the surface of the water.
-The air within the tumbler does not entirely
-exclude the water, because air is
-elastic, and consequently compressible,
-and hence the air in the tumbler is what
-is called condensed. The diving-bell is
-formed upon the above principle, but
-instead of being of glass, it is a wooden
-or metal vessel, of very large dimensions,
-so as to hold three or four persons,
-who are supplied with air from above
-by means of a tube, having a corresponding
-tube to let off the breathed air, the circulation of which
-is kept up by pumps, which pump the air in and draw it out
-of the bell.</p>
-
-
-<p class="p6">THE AIR BALLOON.</p>
-
-<p>The art of sailing or navigating a body through the air is
-called aëronautics. In remote ages, Icarus is said to have
-risen so high in the air that the sun melted his wings, and
-he fell into the Ægean sea, and was drowned; and there is<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
-reason to believe, from some figures that have recently been
-discovered on Egyptian and Assyrian monuments, that the
-ancients possessed means of rising in the air with which
-we are not now acquainted.</p>
-
-<p>The air-balloon, as now constructed, is a bag of silk of
-large dimensions, usually cut in gores, and is, when expanded
-by gas, of a pear shape. It ascends in the atmosphere
-because its whole bulk is much lighter than the air
-would be in the space it occupies. It is, in fact, a vessel
-filled with a fluid which will float on another fluid lighter
-than itself.</p>
-
-
-<p class="p6">HOW TO MAKE AN AIR-BALLOON.</p>
-
-<div class="figleft" style="width: 140px;">
-<img src="images/i_155.jpg" width="140" height="246" alt="" />
-</div>
-
-<p>The best shape for an air-balloon, or rather a gas-balloon,
-is that of a peg-top. And in preparing the gores proceed
-as follows: Get some close texture silk, and cut it into a
-form resembling a narrow pear with a very thin stalk.
-Fourteen of these pieces will be found to be the best number;
-and, of course, the breadths of each piece must be
-measured accordingly. When sewing them together, it will
-be of advantage to coat the parts that overlap with a layer
-of varnish, as this will save much trouble afterwards, and
-hold the silk firmer in its place during the stitching. The
-threads must be placed very regularly, or the balloon will
-be drawn out of shape, and it will be found useful if the
-gores are covered with an interior coating of varnish before
-they are finally sewn together. Take care not to have the
-varnish too thick. To the upper part of the balloon there
-should be a valve opening inwards, to which a string should
-be fastened, passing through a hole made
-in a small piece of wood fixed in the lower
-part of the balloon, so that the aëronaut may
-open the valve when he wishes to descend;
-and this should be imitated on a small
-scale, so that the young aëronaut may be
-perfectly familiar with the construction of
-a balloon. The gores are to be covered
-with a varnish of India rubber dissolved
-in a mixture of turpentine and naphtha.
-Over the whole of the upper part should be
-a net-work, which should come down to
-the middle, with various cords, proceeding
-from it to the circumference of a circle about two feet<span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span>
-below the balloon. The circle may be made of wood, or
-of several pieces of slender cane bound together. The
-meshes should be small at the top, against which part of
-the balloon the inflammable air exerts the greatest force,
-and increase in size as they recede from the top.</p>
-
-<p>The car is made of wicker work; it is usually covered
-with leather, and is well varnished or painted. It is suspended
-by ropes proceeding from the net which goes over
-the balloon. Balloons of this kind cannot be made smaller
-than six feet in diameter, of oiled silk, as the weight of the
-material is too great for the air to buoy it up. They may
-be made smaller of thin slips of bladder, or other membrane
-glued together, or of thin gutta-percha cloth, which is now
-extensively used for this purpose; with this they may be
-made a foot in diameter, and will rise beautifully.</p>
-
-
-<p class="p6">HOW TO FILL A BALLOON.</p>
-
-<p>Procure a large stone bottle which will hold a gallon of
-water, into this put a pound of iron filings, or granulated
-zinc, with two quarts of water, and add to this by degrees
-one pint of sulphuric acid. Then take a tube, either of
-glass or metal, and introduce one end of it through a cork,
-which place in the bottle, then put the other end into the
-neck of the balloon, and the gas will rise into the body of
-it. When quite full withdraw the tube, and tie the neck
-of the balloon with strong cord very tightly. If freed it
-will now rise in the air.</p>
-
-
-<p class="p6">TO MAKE FIRE-BALLOONS.</p>
-
-<div class="figleft" style="width: 119px;">
-<img src="images/i_156.jpg" width="119" height="78" alt="" />
-</div>
-
-<p>Cut the gores, according to the form already given, from
-well woven tissue paper, paste the gores nicely together,
-and look well over the surface of the paper
-for any small hole or slit, over which paste
-a piece of paper, and let it dry. Pass a
-wire round the neck of the balloon, and
-have two cross pieces at its diameter a little
-bent, so that a piece of soft cotton dipped in spirits of wine
-may be laid on them. When all is prepared let some one
-hold the balloon from its top by means of a stick, while you
-dip the cotton in spirits of wine till it is thoroughly saturated,
-place it under the balloon and set fire to it, but be<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
-very careful you do not set fire to the balloon.
-When the air is sufficiently heated
-within, the balloon will indicate a desire
-to rise, and when it pulls very hard, let it
-go, and it will ascend to a great height in
-the air, and at night present a very beautiful
-appearance.</p>
-
-
-<p class="p6">PARACHUTES.</p>
-
-<p>These are easily made by cutting a
-piece of paper in a circular form, and placing
-threads round the edges, which may be made to converge
-to a point, at which a cork may be placed as a
-balance. They ascend by the air getting under them, and
-are frequently blown to a great distance.</p>
-
-<div class="figleft" style="width: 137px;">
-<img src="images/i_157.jpg" width="137" height="185" alt="" />
-</div>
-
-
-<p class="p6">THE MYSTERIOUS BOTTLE.</p>
-
-<p>Pierce a few holes with a glazier's diamond in a common
-black bottle; place it in a vase or jug of water, so that the
-neck only is above the surface. Then, with a funnel, fill
-the bottle and cork it well, and while it is in the jug or vase.
-Take it out, notwithstanding the holes in the bottom, it will
-not leak; wipe it dry, and give it to some person to uncork.
-The moment the cork is drawn, to the party's astonishment,
-the water will begin to run out of the bottom of the bottle.</p>
-
-
-<p class="p6">CAOUTCHOUC BALLOONS.</p>
-
-<p>Put a little ether into a bottle of caoutchouc, close it
-tightly, soak it in hot water, and it will become inflated to
-a considerable size. These globes may be made so thin as
-to be transparent.</p>
-
-<p>A piece of caoutchouc, the size of a walnut, has thus been
-extended to a ball fifteen inches in diameter; and a few
-years since a caoutchouc balloon, thus made, escaped from
-Philadelphia, and was found one hundred and thirty miles
-from that city.</p>
-
-<p><span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span></p>
-
-
-
-
-<hr class="chap" />
-
-<h2><a name="THE_MAGIC_OF_OPTICS" id="THE_MAGIC_OF_OPTICS"></a><span class="small90">THE MAGIC OF</span><br />
-
-OPTICS AND OPTICAL AMUSEMENTS.</h2>
-
-<hr class="r20" />
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_158.jpg" width="444" height="450" alt="" />
-<div class="caption">
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"'Seeing is believing,' so the sages say,</div>
-  <div class="i0">To prove this false, hear me, my friends, I pray,</div>
-  <div class="i0">And very soon you all will be agreeing,</div>
-  <div class="i0">That nought is so deceptive as our <em>seeing</em>."&mdash;M<span class="smcapa">ARTIN.</span></div>
- </div>
-</div>
-</div>
- </div>
-</div>
-
-<p>Optics is the science of <em>light</em> and <em>vision</em>. Concerning the
-nature of light, two theories are at present very ably maintained
-by their respective advocates. One is termed the
-Newtonian theory, and the other the Huygenean. The
-Newtonian theory considers light to consist of inconceivably
-small bodies emanating from the sun, or any other luminous<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
-body. The Huygenean conceives it to consist in the undulations
-of a highly elastic and subtle fluid, propagated
-round luminous centers in spherical waves, like those arising
-in a placid lake when a stone is dropped into the water.</p>
-
-
-<p class="p6">LIGHT AS AN EFFECT.</p>
-
-<p>Light follows the same laws as gravity, and its intensity
-or degree decreases as the square of the distance from the
-luminous body increases. Thus, at the distance of two yards
-from a candle we shall have four times less light than we
-should have, were we only one yard from it, and so on in the
-same proportion.</p>
-
-<div class="figcenter">
-<img src="images/i_159a.jpg" width="269" height="96" alt="" />
-</div>
-
-
-<p class="p6">REFRACTION.</p>
-
-<div class="figright" style="width: 190px;">
-<img src="images/i_159b.jpg" width="190" height="165" alt="" />
-</div>
-
-<p>Bodies which suffer the rays of light to pass through
-them, such as water or glass, are called refracting media.
-When rays of light enter these, they
-do not proceed in straight lines, but
-are said to be refracted, or bent out
-of their course, as seen in the drawing.
-The ray of light proceeding
-from <span class="smcapa">B</span> through the glass <span class="smcapa">L G</span> is bent
-from the point <span class="smcapa">C</span>, instead of passing
-in the direction of the dotted line.
-But if the ray <span class="smcapa">F C</span> falls perpendicularly
-on the glass, there is no refraction, and it proceeds in a
-direct line to <span class="smcapa">K</span>; hence refraction only takes place when
-rays fall obliquely or aslant on the media.</p>
-
-
-<p class="p6">THE INVISIBLE COIN MADE VISIBLE.</p>
-
-<div class="figcenter">
-<img src="images/i_159c.jpg" width="200" height="128" alt="" />
-</div>
-
-<p>If a coin be placed in a basin, so that on standing at a
-certain distance it be just hid from the eye of an observer<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span>
-by the rim or edge of the basin, and then water be poured
-in by a second person, the first keeping his position; as the
-water rises the coin will become visible, and will appear to
-have moved from the side to the middle of the basin.</p>
-
-
-<p class="p6">THE MULTIPLYING GLASS.</p>
-
-<div class="figright" style="width: 213px;">
-<img src="images/i_160a.jpg" width="213" height="76" alt="" />
-</div>
-
-<p>The multiplying glass is a semi-circular piece of glass cut
-into facets or distinct surfaces;
-and in looking through it we have
-an illustration of the laws of refraction,
-for if a small object, such
-as a fly, be placed at <span class="smcapa">D</span>, an eye at
-<span class="smcapa">E</span> will see as many flies as there are surfaces or facets on
-the glass.</p>
-
-
-<p class="p6">TRANSPARENT BODIES.</p>
-
-<div class="figleft" style="width: 203px;">
-<img src="images/i_160b.jpg" width="203" height="62" alt="" />
-</div>
-
-<p>Transparent bodies, such as glass, may be made of such
-form as to cause all the rays which
-pass through them from any given
-point to meet in any other given
-point beyond them, or which will
-disperse them from the given point. These <ins title="Transcriber's Note: original reads 'are are'">are</ins> called
-lenses, and have different names according to their form.
-1 is called the plano-convex lens; 2, plano-concave; 3,
-double convex; 4, double concave; 5, a meniscus, so called
-from its resembling the crescent moon.</p>
-
-
-<p class="p6">THE PRISM.</p>
-
-<div class="figleft" style="width: 201px;">
-<img src="images/i_160c.jpg" width="201" height="142" alt="" />
-<div class="caption"><p>P.</p></div>
-</div>
-
-<p>The prism is a triangular solid of glass, and by it the
-young optician may decompose a ray of light into its primitive
-and supplementary colors, for a ray of light is of a compound
-nature. By the prism the ray
-<span class="smcapa">A</span> is divided into its three primitive
-colors, blue, red, and yellow; and
-their four supplementary ones, violet,
-indigo, green, and orange. The best
-way to perform this experiment is
-to cut a small slit in a window-shutter,
-on which the sun shines at some
-period of the day, and directly opposite the hole place a
-prism <span class="smcapa">P</span>; a beam of light in passing through it will then be
-decomposed, and if let fall upon a sheet of white paper, or<span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
-against a white wall, the seven colors of the rainbow will be
-observed.</p>
-
-
-<p class="p6">TO MAKE A PRISM.</p>
-
-<p>Provide two small pieces of window-glass and a lump of
-wax; soften and mould the wax, stick the two pieces of
-glass upon it, so that they meet, as in the cut, where <em>w</em> is
-the wax, <em>g</em> and <em>g</em> the glasses stuck to it (Fig. 1). The end
-view (Fig. 2) will show the angle, <em>a</em>, at
-which the pieces of glass meet; into
-which angle put a drop of water.</p>
-
-<div class="figright" style="width: 185px;">
-<img src="images/i_161a.jpg" width="185" height="102" alt="" />
-<div class="caption"><p>Fig. 1. <span class="mleft3">&nbsp;</span>Fig. 2.</p></div>
-</div>
-
-<p>To use the instrument thus made,
-make a small hole, or a narrow horizontal
-slit, so that you can see the sky
-through it, when you stand at some distance from it in the
-room; or a piece of pasteboard placed in the upper part of
-the window-sash, with a slit cut in it, will serve the purpose
-of the hole in the shutter. The slit should be about one
-tenth of an inch wide, and an inch or two long, with even
-edges. Then hold the prism in your hand, place it close to
-your eye, and look through the drop of water, when you will
-see a beautiful train of colors, called a spectrum; at one
-end red, at the other violet, and in the middle yellowish
-green.</p>
-
-<div class="figright" style="width: 260px;">
-<img src="images/i_161b.jpg" width="260" height="173" alt="" />
-<div class="caption"><p>Fig. 3.</p></div>
-</div>
-
-<p>The annexed Figure 3 will
-better explain the direction in
-which we look: here, <em>e</em> is the
-eye of the spectator, <em>p</em> is the
-prism, <em>h</em> the hole in the shutter
-or pasteboard, <em>s</em> the spectrum.
-By a little practice,
-you will soon become accustomed
-to look in the right
-direction, and will see the
-colors very bright and distinct.</p>
-
-<p>By means of this simple contrivance white light may be
-analyzed, and proved to consist of colored rays, and several
-of its properties be beautifully illustrated.</p>
-
-
-<p class="p6">COMPOSITION OF LIGHT.</p>
-
-<p>The beam of light passing through the prism is decomposed,
-and the spaces occupied by the colors are in the following
-proportions: red, 6; orange, 4; yellow, 7; green,<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
-8; blue, 8; indigo, 6; violet, 11. Now, if you paste a
-sheet of white paper on a circular piece of board about six
-inches in diameter, and divide it with
-a pencil into fifty parts, and paint
-colors in them in the proportions
-given above, painting them dark in
-the center parts, and gradually fainter
-at the edges, till they blend with
-the one adjoining; and if the board be
-then fixed to an axle, and made to
-revolve quickly, the colors will no
-longer appear separate and distinct,
-but becoming gradually less visible,
-they will ultimately appear <em>white</em>, giving this appearance to
-the whole surface of the paper.</p>
-
-<div class="figcenter">
-<img src="images/i_162a.jpg" width="194" height="191" alt="" />
-</div>
-
-
-<p class="p6">A NATURAL CAMERA OBSCURA.</p>
-
-<p>The human eye is a camera obscura, for on the back of
-it, on the retina, every object in a landscape is beautifully
-depicted in miniature. This may be proved by the</p>
-
-
-<p class="p6">BULLOCK'S EYE EXPERIMENT.</p>
-
-<p>Procure a fresh bullock's eye from the butcher, and carefully
-thin the outer coat of it behind; take care not to cut
-it, for if this should be done the vitreous humor will escape,
-and the experiment cannot be performed. Having so prepared
-the eye, if the pupil of it be directed to any bright
-objects, they will appear distinctly delineated on the back
-part precisely as objects appear in the instrument we are
-about to describe. The effect will be heightened if the eye
-is viewed in a dark room with a small hole in the shutter,
-but in every case the appearance will be very striking.</p>
-
-
-<p class="p6">THE CAMERA OBSCURA.</p>
-
-<div class="figleft" style="width: 232px;">
-<img src="images/i_162b.jpg" width="232" height="120" alt="" />
-</div>
-
-<p>This is a very pleasing and instructive optical apparatus,
-and may be purchased for four or five shillings. But it may
-be easily made by the young
-optician. Procure an oblong
-box, about two feet long, twelve
-inches wide, and eight high.
-In one end of this a tube must
-be fitted containing a lens, and
-be made to slide backwards<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
-and forwards so as to suit the focus. Within the box
-should be a plane mirror, reclining backwards from the tube
-at an angle of forty-five degrees. At the top of the box
-is a square of unpolished glass, upon which from beneath
-the picture will be thrown, and may be seen by raising the
-lid <span class="smcapa">A</span>. To use the camera, place the tube with the lens on it
-opposite to the object, and having adjusted the focus, the
-image will be thrown upon the ground-glass as above
-stated, where it may be easily copied by a pencil or in colors.</p>
-
-<div class="figright" style="width: 249px;">
-<img src="images/i_163a.jpg" width="249" height="200" alt="" />
-</div>
-
-<p>The form of a camera obscura used in a public exhibition
-is as follows: <span class="smcapa">D D</span> is a large wooden box stained black
-in the inside, and capable of containing from one to eight
-persons. <span class="smcapa">A B</span> is a sliding piece, having a sloping mirror <span class="smcapa">C</span>,
-and a double convex lens <span class="smcapa">F</span>,
-which may, with the mirror <span class="smcapa">C</span>,
-be slid up or down so as to accommodate
-the lens to near
-and distant objects. When
-the rays proceeding from an
-object without fall upon the
-mirror, they are reflected upon
-the lens <span class="smcapa">F</span>, and brought to fall
-on the bottom of the box, or
-upon a table placed horizontally
-to receive them, which may be seen by the spectator
-whose eye is at <span class="smcapa">E</span>.</p>
-
-
-<p class="p6">THE MAGIC LANTERN.</p>
-
-<div class="figcenter">
-<img src="images/i_163b.jpg" width="411" height="176" alt="" />
-</div>
-
-<p>This is one of the most pleasing of all optical instruments,
-and it is used to produce enlarged pictures of objects,
-which being painted on a glass in various colors are thrown
-upon a screen or white sheet placed against the wall of a
-large room. It consists of a sort of tin box, within which<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
-is a lamp, the light of which (strongly reflected by the
-reflector <span class="smcapa">T</span>,) passes through a great plano-convex lens <span class="smcapa">E</span>
-fixed in the front. This strongly illuminates the objects
-which are painted on the slides or slips of glass, and placed
-before the lens in an inverted position, and the rays passing
-through them and the lens <span class="smcapa">F</span>, fall on a sheet, or other white
-surface, placed to receive the image. The glasses on
-which the figures are drawn are inverted, in order that the
-images of them may be erect.</p>
-
-
-<p class="p6">THE CAMERA LUCIDA.</p>
-
-<div class="figleft" style="width: 127px;">
-<img src="images/i_164.jpg" width="127" height="350" alt="" />
-</div>
-
-<p>This instrument consists of a glass
-prism, <span class="smcapa">C</span>, <span class="smcapa">D</span>, <span class="smcapa">D</span>, <span class="smcapa">E</span>, having four sides covered.
-The sides <span class="smcapa">C</span>, <span class="smcapa">D</span>, being exposed to
-the object to be delineated, rays pass
-through the glass and fall on the sloping
-side <span class="smcapa">D</span>, <span class="smcapa">E</span>; from this they are reflected
-to the top, and finally pass out of the
-prism to the eye;<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> now from the direction
-at which the rays enter the eye,
-it receives them as if coming from an
-image at <span class="smcapa">A</span>, <span class="smcapa">B</span>, and if a sheet of paper
-be placed below the instrument, a perfect
-delineation of the object may be
-traced with a pencil. This is a very
-useful instrument to young draughtsmen.</p>
-
-
-<p class="p6">PAINTING THE SLIDES.</p>
-
-<p>The slides containing the objects usually shown in a
-magic lantern, are to be bought of opticians with the lantern,
-and can be procured cheaper and better in this way
-than by any attempt at manufacturing them. Should, however,
-the young optician wish to make a few slides of
-objects of particular interest to himself, he may proceed as
-follows:</p>
-
-<p>Draw first on paper the figures you wish to paint, lay it<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
-on the table, and cover it over with a piece of glass of
-this shape; now draw the outlines with a fine camel's
-hair pencil in black paint mixed with varnish, and when
-this is dry, fill up the other parts with the proper colors, shading
-with bistre also mixed with varnish. The transparent
-colors are alone to be used in this kind of painting.</p>
-
-<div class="figcenter">
-<img src="images/i_165a.jpg" width="400" height="90" alt="" />
-</div>
-
-
-<p class="p6">TO EXHIBIT THE MAGIC LANTERN.</p>
-
-<p>The room for the exhibition ought to be large, and of an
-oblong shape. At one end of it suspend a large sheet so
-as to cover the whole of the wall. The company being all
-seated, darken the room, and placing the lantern with its
-tube in the direction of the sheet, introduce one of the
-slides into the slit, taking care to invert the figures; then
-adjust the focus of the glasses in the tube by drawing it in
-or out as required, and a perfect representation of the
-object will appear.</p>
-
-
-<p class="p6">EFFECTS OF THE MAGIC LANTERN.</p>
-
-<p>Most extraordinary effects may be produced by means of
-the magic lantern; one of the most effective of which is a</p>
-
-
-<p class="p6">TEMPEST AT SEA.</p>
-
-<div class="figcenter">
-<img src="images/i_165b.jpg" width="400" height="222" alt="" />
-</div>
-
-<p>This is effected by having two slides painted, one with
-the tempest as approaching on one side, and continuing in
-intensity till it reaches the other. Another slide has ships<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
-painted on it, and while the lantern is in use, that containing
-the ships is dexterously drawn before the other, and
-represents <em>ships in the storm</em>.</p>
-
-<p>The effects of sunrise, moonlight, starlight, &amp;c., may be
-imitated, also by means of double sliders;
-and figures may be introduced sometimes
-of fearful proportions.</p>
-
-<div class="figleft" style="width: 151px;">
-<img src="images/i_166a.jpg" width="151" height="182" alt="" />
-</div>
-
-<p>Heads may be made to nod, faces to
-laugh; eyes may be made to roll, teeth
-to gnash; crocodiles may be made to
-swallow tigers; combats may be represented;
-but one of the most instructive
-uses of the slides is to make them illustrative
-of astronomy, and to show the rotation
-of the seasons, the cause of eclipses, the mountains
-in the moon, spots on the sun, and the various motions of
-the planetary bodies, and their satellites.</p>
-
-
-<p class="p6">THE PHANTASMAGORIA.</p>
-
-<p>Between the phantasmagoria and the magic lantern there
-is this difference; in common magic lanterns the figures
-are painted on transparent glass, consequently the image
-on the screen is a circle of light having figures upon it; but
-in the phantasmagoria all the glass is made opaque, except
-the figures, which, being painted in transparent colors, the
-light shines through them, and no light can come upon the
-screen except that which passes through the figure, as is
-here represented.</p>
-
-<div class="figcenter">
-<img src="images/i_166b.jpg" width="450" height="102" alt="" />
-</div>
-
-<p>There is no sheet to receive the picture, but the representation
-is thrown on a thin screen of silk or muslin placed
-between <em>the spectators and the lantern</em>. The images are made
-to appear approaching and receding by removing the lantern
-further from the screen, or bringing it nearer to it. This is
-a great advantage over the arrangements of the magic lantern,
-and by it the most astonishing effects are often produced.</p>
-
-<p><span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span></p>
-
-
-<p class="p6">DISSOLVING VIEWS.</p>
-
-<p>The dissolving views, by which one landscape or scene
-appears to pass into the other while the scene is changing,
-are produced by using two magic lanterns placed side by
-side, and that can be a little inclined towards each other
-when necessary, so as to mix the rays of light proceeding
-from the lenses of each together, which produces that confusion
-of images, in which one view melts as it were into
-the other, which gradually becomes clear and distinct.</p>
-
-
-<p class="p6">HOW TO RAISE A GHOST.</p>
-
-<div class="figcenter">
-<img src="images/i_167.jpg" width="227" height="200" alt="" />
-</div>
-
-<p>The magic lantern or phantasmagoria, may be used in a
-number of marvelous ways, but in none more striking than
-in raising an apparent specter. Let an open box, <span class="smcapa">A B</span>, about
-three feet long, a foot and half broad, and two feet high, be
-prepared. At one end of this place a small swing dressing
-glass, and at the other let a magic lantern be fixed with its
-lenses in a direction towards the glass. A glass should now
-be made to slide up and down in the groove <span class="smcapa">C D</span>, to which a
-cord and pulley should be attached, the end of the cord
-coming to the part of the box marked <span class="smcapa">A</span>. On this glass the
-most hideous specter that can be imagined may be painted,
-but in a squat or contracted position, and when all is done,
-the lid of the box must be prepared by raising a kind of
-gable at the end of the box <span class="smcapa">B</span>, and in its lower part at <span class="smcapa">E</span>, an
-oval hole should be cut sufficiently large to suffer the rays
-reflected from the glass to pass through them. On the top
-of the box <span class="smcapa">F</span> place a chafing dish, upon which put some burning
-charcoal. Now light the lamp <span class="smcapa">G</span> in the lantern, <ins title="Transcriber's Note: original reads 'sprinke'">sprinkle</ins>
-some powdered camphor or white incense on the charcoal,
-adjust the slide on which the specter is painted, and the image
-will be thrown upon the smoke. In performing this feat<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
-the room must be darkened, and the box should be placed on
-a high table, that the hole through which the light comes
-may not be noticed.</p>
-
-
-<p class="p6">THE THAUMATROPE.</p>
-
-<p>This word is derived from two Greek words, one of which
-signifies <em>wonder</em>, and the other <em>to turn</em>. It is a very pretty
-philosophical toy, and is founded upon the principle in optics,
-that an impression made upon the retina of the eye lasts for
-a short interval after the object which produced it has been
-withdrawn. The impression which the mind receives lasts
-for about the eighth part of a second, as may be easily shown
-by whirling round a lighted stick, which if made to complete
-the circle within that period, will exhibit not a fiery point,
-but a fiery circle in the air.</p>
-
-
-<p class="p6">THE BIRD IN THE CAGE.</p>
-
-<p>Cut a piece of cardboard of the size of a penny piece, and
-paint on one side a bird, and on the other a cage; fasten
-two pieces of thread, one on each side, at opposite points of
-the card, so that the card can be made to revolve by twirling
-the threads with the finger and thumb; while the toy is
-in its revolution, the bird will be seen within the cage. A
-bat may in the same manner be painted on one side of the
-card, and a cricketer upon the other, which will exhibit the
-same phenomenon, arising from the same principle.</p>
-
-<div class="figcenter">
-<img src="images/i_168.jpg" width="400" height="162" alt="" />
-</div>
-
-
-<p class="p6">CONSTRUCTION OF THE PHANTASMASCOPE.</p>
-
-<p>The above-named figure is a Thaumatrope, as much as the
-one we are about to describe, although the term Phantasmascope
-is generally applied to the latter instrument; which
-consists of a disc of darkened tin-plate, with a slit or narrow
-opening in it, about two inches in length. It is fixed
-upon a stand, and the slit placed upwards, so that it may
-easily be looked through. Another disc of pasteboard, about
-a foot in diameter, is now prepared and fixed on a similar
-stand, but with this difference, that it is made to revolve<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span>
-round an axis in the center. On this pasteboard disc, paint
-in colors a number of frogs in relative and progressive positions
-of leaping; make between each figure a slit of about a
-quarter of an inch deep; and when this second disc is made to
-revolve at a foot distance behind the first, and the eye is
-placed near the slit, the whole of the figures, instead of appearing
-to revolve with the disc, will all appear in the attitudes
-of leaping up and down, increasing in agility as the
-velocity of the motion is increased. It is necessary, when
-trying the effect of this instrument, to stand before a looking-glass,
-and to present the painted face of the machine towards
-the glass.</p>
-
-<p>A very great number of figures may be prepared to <ins title="Transcriber's Note: original reads 'preduce'">produce</ins>
-similar effects&mdash;horses with riders in various attitudes
-of leaping, toads crawling, snakes twisting and writhing,
-faces laughing and crying, men dancing, jugglers throwing
-up balls, &amp;c.; all of which, by the peculiar arrangement
-above detailed, will seem to be in motion. A little ingenuity
-displayed in the construction and painting of the figures
-upon the pasteboard disc will afford a great fund of amusement.</p>
-
-
-<p class="p6">CURIOUS OPTICAL ILLUSION.</p>
-
-<p>One of the most curious facts relating to the science of
-vision is the absolute insensibility of a certain portion of the
-retina to the impression of light, so that the image of any
-object falling on that point would be invisible. When we
-look with the right eye, this point will be about fifteen degrees
-to the right of the object observed, or to the right of
-the axis of the eye, or the point of most distinct vision.
-When looking with the left eye, the point will be as far to
-the left. The point in question is the basis of the optic nerve,
-and its insensibility to light was first observed by the French
-philosopher, Mariotte. This remarkable phenomenon may
-be experimentally proved in the following manner:</p>
-
-<p>Place on a sheet of writing-paper, at the distance of about
-three inches apart, two colored wafers; then, on looking at
-the left-hand wafer with the right eye, at the distance of
-about a foot, keeping the eye straight above the wafer, and
-both eyes parallel with the line which forms the wafers, the
-left eye being closed, the right-hand wafer will become invisible;
-and a similar effect will take place if we close the
-right eye, and look with the left.</p>
-
-<p><span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span></p>
-
-
-<p class="p6">ANOTHER.</p>
-
-<p>Cut a circular piece of white paper, about two inches in
-diameter, which affix to a dark wall. At the distance of
-two feet on each side, but a little lower, make two marks;
-then place yourself directly opposite the paper, and hold
-the end of your finger before your face, so that when the
-right eye is open it shall conceal the mark on your left, and
-when the left eye is open the mark on your right. If you
-then look with both eyes at the end of your finger, the paper
-disc will be invisible.</p>
-
-
-<p class="p6">ANOTHER.</p>
-
-<p>Fix a similar disc of paper, two inches in diameter, at the
-height of your eye on a dark wall; a little lower than this,
-at the distance of two feet on the right hand, fix another of
-about three inches in diameter; now place yourself opposite
-the first sheet of paper, and, shutting the left eye, keep the
-right eye still fixed on the first object, and when at the distance
-of about ten feet, the second piece of paper will be
-invisible.</p>
-
-<p>Or, fix three pieces of paper against the wall of a room,
-at equal distances, at the height of the eye. Place yourself
-directly before them, at a few yards distance, close your
-right eye, and look at them with your left, when you will see
-only two of them, suppose the first and second; alter your
-position a second time, and you will see the second and third,
-but never the whole three pieces together.</p>
-
-<p>On a sheet of black paper, or other dark ground, place two
-white wafers, having their centers three inches distant.
-Vertically above the paper, and to the left, look with the
-right eye, at twelve inches from it, and so, that when looking
-down on it, the line joining the two eyes shall be parallel
-to that joining the center of the wafers. In this situation
-close the left eye, and look full with the right perpendicularly
-at the wafer below it, when this wafer only will be seen, the
-other being completely invisible. But if it be removed ever
-so little from its place, either to the right or left, above or
-below, it will become immediately visible, and start, as it
-were, into existence. "It will cease to be thought singular,"
-says Sir John Herschel, "that this fact of the absolute
-invisibility of objects in a certain point of the field of view
-of each eye should be one of which not one person in ten
-thousand is apprized, when we learn that it is not extremely<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
-uncommon to find persons who have for some time been totally
-blind with one eye without being aware of the fact."</p>
-
-
-<p class="p6">THE PICTURE IN THE AIR.</p>
-
-<p>One of the numerous optical illusions which have, from
-time to time, been evolved by scientific minds, is that of
-making an image or picture appear in the air. This is produced
-by means of a mirror, and an object in relief, upon
-which a strong light is thrown&mdash;the mirror being set
-at such an angle as to throw up the reflection of the image
-to a certain point, in the view of the spectator. This illusion
-is produced as follows: Let a screen be constructed
-in which is an arched aperture, the center of which may be
-five feet from the floor; behind the screen is placed a large
-mirror of an elliptical form. An object is now placed behind
-the screen, upon which the light of a strong lamp is thrown
-from a point above the mirror, and is received by the mirror
-and reflected to the center of the arched cavity in the screen,
-where it will appear to the spectator. Care should be taken
-to place the image in an inverted position, and the light
-should be so placed that none of it may reach the opening:
-the light must also be very powerful.</p>
-
-
-<p class="p6">BREATHING LIGHT AND DARKNESS.</p>
-
-<div class="figright" style="width: 210px;">
-<img src="images/i_171.jpg" width="210" height="95" alt="" />
-</div>
-
-<p>The following experiment, if performed with care, is exceedingly
-striking. Let <span class="smcapa">S</span> be a candle, whose light falls
-at an angle of 56° 45´ upon two plate glasses, <span class="smcapa">A</span> <span class="smcapa">B</span>, placed
-close to each other; and let the reflected rays, <span class="smcapa">A C</span>, <span class="smcapa">B D</span>, fall
-at the same angle upon two similar plates, <span class="smcapa">C D</span>, but so placed
-that the plane of reflection from
-the latter is at right angles to the
-plane of reflection from the former.
-An eye placed at <span class="smcapa">E</span>, and looking
-at the same time on the two plates,
-<span class="smcapa">C</span> and <span class="smcapa">D</span>, will see very faint images
-of the candle <span class="smcapa">S</span>; which by a slight adjustment of the plates,
-may be made to disappear almost wholly, allowing the plate
-<span class="smcapa">C</span> to remain where it is. Change the position of <span class="smcapa">D</span> till its inclination
-to the ray <span class="smcapa">B D</span> is diminished about 3°, or made
-nearly 53° 11´. The distance may be easily found by a
-little practice. When this is done, the image that had disappeared
-on looking into <span class="smcapa">D</span>, will be restored, so that the
-spectator at <span class="smcapa">E</span>, upon looking into the two mirrors, <span class="smcapa">C</span> <span class="smcapa">D</span>, will<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
-see no light in <span class="smcapa">C</span>, because the candle has nearly disappeared,
-while the candle is distinctly seen in <span class="smcapa">D</span>. If, while the spectator
-is looking into these two mirrors, either he or another
-person breathes upon them gently and quickly, the breath
-will revive the extinguished image in <span class="smcapa">C</span>, and will extinguish
-the visible image in <span class="smcapa">D</span>.</p>
-
-<p><span class="smcapa">Explanation.</span>&mdash;The light <span class="smcapa">A</span>, <span class="smcapa">C</span>, <span class="smcapa">B</span>, <span class="smcapa">D</span> is polarized by reflection
-from the plates <span class="smcapa">A</span> <span class="smcapa">B</span>, because it is incident at the polarizing
-angle 56° 45´ for glass. When we breathe upon the
-plates <span class="smcapa">C</span> <span class="smcapa">D</span>, we form upon their surface a thin film of water,
-whose polarizing angle is 53° 11´, so that if the polarized
-rays <span class="smcapa">A C</span>, <span class="smcapa">B D</span>, fall upon the plates <span class="smcapa">C D</span>, at an angle of 53° 11´,
-the candle from which they proceed would not be visible,
-or they would not suffer reflection from the plates <span class="smcapa">C D</span>. At all
-the other angles the light would be reflected, and the candle
-visible. Now the plate <span class="smcapa">D</span> is placed at an angle of 53° 11´,
-and <span class="smcapa">C</span> at an angle of 56° 45´, so that when a film of water is
-breathed upon them, the light will be reflected from the
-latter, and none from the former; that is, the act of breathing
-upon the glass plates will restore the invisible, and extinguish
-the visible image.</p>
-
-
-<p class="p6">TO SHOW WHAT RAYS OF LIGHT DO NOT OBSTRUCT EACH OTHER.</p>
-
-<div class="figleft" style="width: 218px;">
-<img src="images/i_172.jpg" width="218" height="147" alt="" />
-</div>
-
-<p>Make a small hole in a sheet of pasteboard <span class="smcapa">A</span>, and placing
-it upright before three candles <span class="smcapa">B</span>, placed closely together, it
-will be found that the images of
-all the candle flames will be formed
-separately on a piece of paper
-<span class="smcapa">C</span>, laid on the table to receive them.
-This proves that the rays of light
-do not obstruct each other in their
-progress, although all cross in
-passing through the hole.</p>
-
-
-<p class="p6">HOW TO SEE THROUGH A PHILADELPHIA BRICK.</p>
-
-<p>Construct a hollow box or case, like the figure in the margin.
-One side is purposely removed in the engraving, to
-enable you to see the arrangement of the interior, <span class="smcapa">A</span>, <span class="smcapa">B</span>, <span class="smcapa">C</span>,
-and <span class="smcapa">D</span>, are four small pieces of looking-glass, all placed at
-an angle of 45°, with respect to those sides of the box on
-which they are fixed; at <span class="smcapa">E</span> and <span class="smcapa">G</span>, two flat pieces of glass
-are inserted, as in the eye-glass of a telescope. Supposing
-you look through the opening <span class="smcapa">E</span>, in the direction of an<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
-object placed at <span class="smcapa">O</span>, you would see it in the same manner as
-if there was an uninterrupted view between <span class="smcapa">E</span> and <span class="smcapa">G</span>, which
-is evidently not the case. The cause of this is readily explained.
-The image of the object at <span class="smcapa">O</span> is received on the looking-glass
-<span class="smcapa">A</span>, by which it is reflected to <span class="smcapa">B</span>, as it is again from
-<span class="smcapa">B</span> to <span class="smcapa">C</span>, and afterwards to <span class="smcapa">D</span>; and this last image in <span class="smcapa">D</span> is seen
-by the eye of the spectator placed at <span class="smcapa">E</span>, in the same direction
-as if in reality he was looking at the real object itself, in the
-direction of the dotted line from <span class="smcapa">O</span> to <span class="smcapa">E</span>. From this it is evident
-that the placing an opaque body at <span class="smcapa">F</span>, cannot prevent
-the object at <span class="smcapa">O</span> being seen. Of course all this arrangement
-of the instrument is concealed, and you place it in the hands
-of a companion, that he may look through <span class="smcapa">E</span> or <span class="smcapa">G</span>, it matters
-not which, at any object placed beyond. You may then
-safely lay a wager that your instrument is of so magical a
-nature that it will enable you to see through a brick wall;
-but as a single brick will be more convenient, and equally
-wonderful, you are willing to satisfy his doubts at once. Of
-course, the hand or the hat, or any other opaque object, will
-answer the same purpose.</p>
-
-<div class="figcenter">
-<img src="images/i_173.jpg" width="400" height="181" alt="" />
-</div>
-
-
-<p class="p6">THE STEREOSCOPE.</p>
-
-<p>This is one of the newest and most interesting optical
-surprises invented, but, like many other instruments, it is
-indulged with a very hard name, which means, "Solids I
-see." For mere amusement, the instrument supplied with
-the necessary pictures may suffice, and they are now sold
-like the kaleidoscope at all optical instrument makers, toyshops,
-&amp;c. The effect consists in obtaining the perfect
-solidity of a geometric object from two ordinary drawings,
-pictures of columns, statuary, figures, flowers, &amp;c., &amp;c., having
-a rounded appearance, "breadth," and keeping, which
-induce the spectator to believe he is gazing at the natural
-figure. Our limits preclude a lengthened description of the<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
-philosophy of this instrument, the invention of Professor
-Wheatstone. We may, however, first recommend our readers
-to study the structure of the eye, in Brewster's Treatise on
-Optics, which may be thoroughly impressed on the mind
-by dissecting carefully the eye of a sheep or bullock. Now,
-if we cut open a portion of the eye of a recently killed
-animal, and look in upon the retina, which is a delicate network
-of nerves, and is considered the "mind of the eye," we
-shall behold all images inverted. How then, do we see
-them upright? Again, as we have two eyes at a distance
-from each other, the images formed on the two retinæ cannot
-be precisely alike: how is it that confusion is not the
-result, instead of perfect images, in which we can appreciate
-the geometric niceties of length, breadth, and thickness?
-Now the stereoscope assists us in understanding these difficult
-questions; and, quoting Professor Wheatstone, we
-find he states "that the theory which has obtained the
-greatest currency is that which assumes that an object is
-seen single because its pictures fall on corresponding points
-of the two retinæ; that is, on points which are similarly
-situated with respect to the two centers, both in distance
-and position. This theory supposes that the pictures projected
-on the retinæ, are exactly similar to each other corresponding
-points of the two pictures falling on corresponding
-points of the two retinæ."</p>
-
-<p>Now, the fact is, that an object presents an entirely different
-appearance to each eye. Sir D. Brewster remarks,
-"That were a painter called upon to take drawings of a
-statue, as seen by each eye, he would fix at the height of
-his eyes a metallic plate, with two small holes in it, and he
-would then draw the statue as seen through the holes by
-each eye." With the utmost care, however, he could not
-reproduce the statue by their union. In order to do this, a
-camera with <em>two lenses</em> of the same aperture and focal length,
-placed at the same distance as the <em>two eyes</em>, must be constructed
-and used.</p>
-
-<p>The stereoscope is, consequently, an imitation of the
-powers of the eyes, giving solidity and a perfect relievo
-appearance to any two pictures which might be drawn
-separately from the two lenses in the camera obscura mentioned.
-That is to say, if it were possible to be behind the
-retina of each eye, and draw the two pictures of any object
-seen by our eyes, those pictures put into the stereoscope,<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
-would reproduce the solidity from which they were drawn.</p>
-
-<p>Two instruments are sold, and may be obtained with the
-photographic pictures, almost at any optician's, viz.: the
-reflecting and the refracting stereoscope, of which we give
-drawings.</p>
-
-<div class="figcenter">
-<img src="images/i_175.jpg" width="500" height="124" alt="" />
-<div class="caption"><p class="p6">THE REFLECTING STEREOSCOPE. <span class="mleft6">&nbsp;</span>REFRACTING <ins title="Transcriber's Note: original reads 'STEREOSCOPE'">STEREOSCOPE</ins>.</p></div>
-</div>
-
-<p><em>a</em> <em>a</em>, the two pictures, <span class="smcapa">B</span> <span class="smcapa">B</span>, the two mirrors, so adjusted
-that their backs form an angle of ninety degrees with each
-other, i. e., the quarter of a circle.</p>
-
-
-<p class="p6">OCULAR SPECTRA.</p>
-
-<p>One of the most curious affections of the eye is that in
-virtue of which it sees what are called <em>ocular spectra</em>, or
-accidental colors. If we place a red wafer on a sheet of
-white paper, and, closing one eye, keep the other directed for
-some time to the center of the wafer, then, if we turn the
-same eye to another part of the paper, we shall see a green
-wafer, the color of which will continue to grow fainter and
-fainter, as we continue to look at it.</p>
-
-<p>By using differently-colored wafers, we obtain the following
-results:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="COLORED WAFERS">
-<tbody>
-<tr>
- <th>WAFER.</th>
- <th>SPECIMEN.</th>
-</tr>
-<tr>
- <td class="tdl">Black,</td>
- <td class="tdl">White.</td>
-</tr>
-<tr>
- <td class="tdl">White,</td>
- <td class="tdl">Black.</td>
-</tr>
-<tr>
- <td class="tdl">Red,</td>
- <td class="tdl">Bluish Green.</td>
-</tr>
-<tr>
- <td class="tdl">Orange, &nbsp; &nbsp;</td>
- <td class="tdl">Blue.</td>
-</tr>
-<tr>
- <td class="tdl">Yellow,</td>
- <td class="tdl">Indigo.</td>
-</tr>
-<tr>
- <td class="tdl">Green,</td>
- <td class="tdl">Violet, with a little Red.</td>
-</tr>
-<tr>
- <td class="tdl">Blue,</td>
- <td class="tdl">Orange Red.</td>
-</tr>
-<tr>
- <td class="tdl">Indigo,</td>
- <td class="tdl">Orange Yellow.</td>
-</tr>
-<tr>
- <td class="tdl">Violet,</td>
- <td class="tdl">Bluish Green.</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">BRILLIANT WATER MIRROR.</p>
-
-<p><span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span></p>
-
-<div class="figleft" style="width: 126px;">
-<img src="images/i_176a.jpg" width="126" height="193" alt="" />
-</div>
-
-<p>Nearly fill a glass tumbler with water, and hold it, with
-your back to the window, above the level of
-the eye, as in the engraving. Then look
-obliquely, as in the direction E, <em>a</em>, <em>c</em>, and
-you will see the whole surface shining
-like burnished silver, with a strong metallic
-reflection; and any object, as a spoon, A, C,
-B, immersed in the water, will have its immersed
-part, C B, reflected on the surface,
-as in a mirror, but with a brilliancy far surpassing
-that which can be obtained from
-quicksilver, or from the most highly-polished
-metals, by any means whatever.</p>
-
-
-<p class="p6">OPTICS OF A SOAP BUBBLE.</p>
-
-<div class="figright" style="width: 122px;">
-<img src="images/i_176b.jpg" width="122" height="138" alt="" />
-</div>
-
-<p>If a soap-bubble be blown up, and set under
-a glass, so that the motion of air may not
-affect it, as the water glides down the sides
-and the top grows thinner, several colors
-will successively appear at the top, and spread
-themselves from thence down the sides of the
-bubble, till they vanish in the same order in
-which they appear. At length, a black spot
-appears at the top, and spreads till the bubble bursts.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
-
-
-<p class="p6">THE KALEIDOSCOPE.</p>
-
-<div class="figcenter">
-<img src="images/i_176c.jpg" width="171" height="109" alt="" />
-</div>
-
-<p>If any object be placed between two plane mirrors, inclined
-towards each other at an angle of thirty degrees,
-three several images will be perceived in the circumference
-of a circle. On this principle is formed the kaleidoscope,
-invented by Sir David Brewster, and by means of which the
-reflected images viewed from a particular point exhibit symmetrical
-figures, under an infinite arrangement of beautiful
-forms and colors. The kaleidoscope
-may be bought at any toy-shop, but it
-is requisite that every young person
-should be able to construct one for
-himself. He must, therefore, procure
-a tube of tin or paper, of about ten<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
-inches in length, and two and a half or three inches in diameter.
-One end of this should be stopped up with tin or
-paper, securely fastened, in which is to be made a hole,
-about the size of a small pea, for the eye to look through.
-Two pieces of well-silvered looking-glass, <span class="smcapa">B</span> <span class="smcapa">B</span>, are now to
-be procured; they must be not quite so long
-as the tube, and they should be placed in the
-tube lengthwise, at an angle of 60 degrees,
-meeting together in a point at <span class="smcapa">A</span>, and separating
-to the points <span class="smcapa">C</span> <span class="smcapa">C</span>, the polished surfaces
-looking inwards. A circular piece of glass is
-now to be laid on the top of the edges of the
-reflectors, <span class="smcapa">B</span> <span class="smcapa">B</span>; which, by their not being quite so long as
-the tube, will allow room for its falling in, and it will be
-supported by the edges of the tube, which may be slightly
-bent over, to prevent the glass from falling out. This having
-been done, now proceed to make the "cap" of the instrument.
-A rim of tin or pasteboard must be cut, so as to fit
-over the glass end of the tube; and in this, on the outer
-side, a piece of ground glass must be fastened, so that the
-whole may fit on the tube like the lid of a pill-box. Then,
-before putting it on, obtain some small pieces of broken
-glass of various colors, beads, little strips of wire, or any
-other object, and place them in the cap; and by passing it
-over the end, so that the broken glass, &amp;c. has free motion,
-the instrument is complete. To use it, apply the eye to the
-small hole, and, on turning it, the most beautiful forms will
-appear, in the most wonderful combinations.</p>
-
-<div class="figright" style="width: 105px;">
-<img src="images/i_177.jpg" width="105" height="126" alt="" />
-</div>
-
-<p>The following curious calculation has been made of the
-number of changes this instrument will admit of. Supposing
-it to contain 20 small pieces of glass, and that you make
-10 changes in a minute, it will take an inconceivable space
-of time, <em>i. e.</em> 462,880,899,576 years, and 360 days, to go
-through the immense number of changes of which it is
-capable.</p>
-
-
-<p class="p6">SIMPLE SOLAR MICROSCOPE.</p>
-
-<p>Having made a circular hole in a window-shutter, about
-three inches in diameter, place in it a glass lens of about
-twelve inches focal distance. To the inside of the hole
-adapt a tube, having at a small distance from the lens a
-slit, capable of receiving one or two very thin plates of
-glass, to which the object to be viewed must be affixed by<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
-means of a little gum water exceedingly transparent. Into
-this tube fit another, furnished at its extremity with a lens
-of half an inch focal distance. Place a mirror before the
-hole of the window-shutter on the outside, in such a manner
-as to throw the light of the sun into the tube, and you will
-have a solar magic lantern.</p>
-
-<p>The method of employing this arrangement of lenses for
-microscopic purposes is as follows: Having darkened the
-room, and by means of the mirror reflected the sun's rays
-on the glasses in a direction parallel to the axis, place some
-small object between the two moveable plates of glass, or
-affix it to one of them with very transparent gum water, and
-bring it exactly into the axis of the tube; if the moveable
-tube be then pushed out or drawn in, till the object be a
-little beyond the focus, it will be seen painted very distinctly
-on a card, or piece of white paper, held at a proper distance,
-and will appear to be greatly magnified. A small insect
-will appear as a large animal, a hair as big as a walking-stick,
-and the almost invisible eels in paste or vinegar as
-large as common eels.</p>
-
-
-<p class="p6">ANAMORPHOSES.</p>
-
-<p>This is a very curious optical effect, producing a distorted
-and grotesque figure from a regular one. The term
-is derived from two Greek words, signifying a distortion of
-figure, and by its means many optical puzzles may be produced
-geometrically.</p>
-
-<p>Take any subject, such as the portrait of a head; divide
-it vertically and horizontally with parallel lines, of which
-the outer sides shall form the boundary, <span class="smcapa">A</span>, <span class="smcapa">B</span>, <span class="smcapa">C</span>, <span class="smcapa">D</span>, and the
-whole shall be equi-distant. Then, on a separate piece of
-paper, or cardboard, prepare a drawing similar to Fig. 2 by
-the following means:</p>
-
-<p>1. Draw a horizontal line, <em>a b</em>, equal to <span class="smcapa">A B</span>, and divide it
-into as many equal parts as the latter is divided.</p>
-
-<p>2. Let fall a perpendicular line, <em>e v</em>, from the middle of <em>a b</em>,
-and then draw <em>s v</em> parallel to <em>a b</em>.</p>
-
-<p>3. Both <em>e v</em> and <em>s v</em> may be any length at pleasure, but the
-longer the first is, and the shorter the other, so will the anamorphoses
-be more and more deformed. The proportions in
-our figures are sufficiently different.</p>
-
-<p>4. After having drawn from the point <em>v</em> right lines, <em>v</em> 1,
-<em>v</em> 2, <em>v</em> 3, <em>v</em> 4, to the divisions of <em>a b</em>, draw the line <em>s b</em>, and<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
-through each point where <em>s b</em> intersects the divergent lines,
-draw other horizontal lines parallel to <em>a b</em>. We now have
-a <em>trapezium</em>, <em>a b c d</em>, divided into as many cells as the square
-in Fig. 1.</p>
-
-<div class="figcenter">
-<img src="images/i_179.jpg" width="320" height="350" alt="" />
-</div>
-
-<p>The next step is to fill up all the cells of Fig. 2 with portions
-of the device, proportionate to their position in Fig. 1.
-For instance, in Fig. 1 the nose is in the second vertical
-division from the left, and in the third and fourth horizontal
-divisions from the top, and that portion of the face must accordingly
-be placed in a corresponding part of Fig. 2.</p>
-
-<p>By these means we procure the anamorphosis seen in Fig.
-2, which, when viewed from a particular position, will lose
-all its distortion, and assume an appearance resembling that
-in Fig. 1. This position lies immediately over the point <em>v</em>,
-and at a height above it equal to the length of the line <em>s v</em>;
-and the means of determining it are as follow:</p>
-
-<p>Place the drawing horizontally before a window; take a
-slip of card, and rest its lower edge on the line <em>s v</em>, the card
-being accurately vertical; pierce a small hole in the card
-vertically over the point <em>v</em>, and at a height from it equal to
-the length of the line <em>s v</em>, then, with the eye placed immediately
-behind the card, look through the orifice at the
-anamorphosis, and it will be found that as soon as the eye
-has become accustomed to the novelty of the experiment
-the anamorphosis will lose its distortion, and appear almost
-exactly like the symmetrical figure.</p>
-
-<p>It would be very difficult, and would require geometrical
-reasoning of a lengthened kind, to show why this particular
-form of construction should lead to such results.</p>
-
-<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p>
-
-
-<p class="p6">THE COSMORAMA.</p>
-
-<p>The principle upon which the cosmorama is formed is so
-simple, that any person may easily fit up one in a small summer
-house, &amp;c. Nothing more is necessary than to fix in a
-hole a double convex lens of about three feet focus, <span class="smcapa">A</span>, and
-at rather less than this distance a picture, <span class="smcapa">B</span>, is to be hung.
-To absorb all the rays of light but those necessary for seeing
-the picture, a squared frame of wood blackened on the
-inside is placed between the lens and the picture. The picture
-may be hung in a large box having a light coming in
-upon it from above, or in a small closet illuminated in the
-same manner. Should it be wished to show the picture by
-candle-light, a lamp, <em>c</em>, may be placed on the top of the
-wooden frame, and if the light of this be converged by a
-lens to a moderate radius, it will be more effective.</p>
-
-<div class="figcenter">
-<img src="images/i_180a.jpg" width="400" height="291" alt="" />
-</div>
-
-
-<p class="p6">DISTORTED LANDSCAPES.</p>
-
-<div class="figleft" style="width: 84px;">
-<img src="images/i_180b.jpg" width="84" height="174" alt="" />
-</div>
-
-<p>Landscapes or other matters may be drawn
-so as to produce curious optical illusions by
-the following method. Take a piece of smooth
-white pasteboard, and sketch the design upon
-it. Prick the outlines in every part with a fine
-pin or needle, then place the pricked drawing
-in a perpendicular position, and put a lighted
-candle behind it. Place before it another piece
-of pasteboard, and follow with a pencil the lines
-given by the light, and you have produced a distorted landscape.
-Now take away the candle and the pricked drawing,
-and place your eye where the light was, and the drawing
-will assume the regular form. To get your eye in the pro<span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>per
-position, it will be advisable to cut out a piece of card
-according to the preceding pattern, and raising it on its
-base, <span class="smcapa">B</span>, look through the hole at <span class="smcapa">A</span>, when the object will
-appear in its proper proportions.</p>
-
-<div class="figcenter">
-<img src="images/i_181.jpg" width="225" height="300" alt="" />
-</div>
-
-
-<p class="p6">THE MAGIC COIN.</p>
-
-<p>Among the numerous experiments with which science astonishes
-and sometimes even strikes terror into the ignorant,
-there is none more calculated to produce this effect than
-that of displaying to the eye in absolute darkness the
-legend or inscription upon a coin. To do this, take a silver
-coin (I have always used an old one), and after polishing
-the surface as much as possible, make the parts of it which
-are raised rough by the action of an acid, the parts not
-raised, or those which are to be rendered darkest, retaining
-their polish. If the coin thus prepared is placed upon a
-mass of red-hot iron, and removed into a dark room, the inscription
-upon it will become less luminous than the rest, so
-that it may be distinctly read by the spectator. The mass
-of red-hot iron should be concealed from the observer's eye,
-both for the purpose of rendering the eye fitter for observing
-the effect, and of removing all doubt that the inscription is
-really read in the dark, that is, without receiving any light,
-direct or reflected, from any other body. If, in place of
-polishing the depressed parts, and roughening its raised
-parts, we make the raised parts polished, and roughen the
-depressed parts, the inscription will now be less luminous
-than the depressed parts.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>
-
-
-
-
-<h2><a name="TRICKS_IN_MECHANICS" id="TRICKS_IN_MECHANICS"></a>TRICKS IN MECHANICS.</h2>
-
-<hr class="r20" />
-
-<div class="figcenter">
-<img src="images/i_182.jpg" width="500" height="442" alt="" />
-<div class="caption"><p>"These are machinations comical."&mdash;F<span class="smcapa">ORD</span>.</p></div>
-</div>
-
-
-<p>There is no subject of such importance as Mechanics, as
-its principles are founded upon the properties of matter and
-the laws of motion; and in knowing something of these,
-the tyro will lay the foundation of all substantial knowledge.</p>
-
-<p>The properties of matter are the following: Solidity (or
-Impenetrability), Divisibility, Mobility, Elasticity, Brittleness,
-Malleability, Ductility, and Tenacity.</p>
-
-<p>The laws of motion are as follow:</p>
-
-<p>1. Every body continues in a state of rest or of uniform
-rectilineal motion, unless affected by some extraneous force.</p>
-
-<p>2. The change of motion is always proportionate to the
-impelling force.</p>
-
-<p>3. Action and reaction are always equal and contrary.</p>
-
-
-<p class="p6">EXPERIMENT OF THE LAW OF MOTION.</p>
-
-<p>In shooting at "taw," if the marble be struck "plump,"
-as it is called, it moves forward exactly in the same line of
-direction; but if struck sideways, it will move in an oblique
-direction, and its course will be in a line situated between<span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span>
-the direction of its former motion and that of the force impressed.
-This is called the resolution of forces.</p>
-
-
-<p class="p6">BALANCING.</p>
-
-<p>The center of gravity in a body is that part about which
-all the other parts equally balance each other. In balancing
-a stick upon the finger, or upon the chin, it is necessary
-only to keep the chin or finger exactly under the point which
-is called the center of gravity.</p>
-
-
-<p class="p6">THE PRANCING HORSE.</p>
-
-<div class="figright" style="width: 180px;">
-<img src="images/i_183.jpg" width="180" height="186" alt="" />
-</div>
-
-<p>Cut out the figure of a horse, and
-having fixed a curved iron wire to the
-under part of its body, place a small
-ball of lead upon it. Place the hind
-legs of the horse on the table, and it
-will rock to and fro. If the ball be removed,
-the horse would immediately
-tumble, because unsupported, the center
-of gravity being in the front of the
-prop; but upon the ball being replaced, the center of gravity
-immediately changes its position, and is brought under the
-prop, and the horse is again in equilibrio.</p>
-
-
-<blockquote>
-
-<p>TO CONSTRUCT A FIGURE, WHICH, BEING PLACED UPON A CURVED SURFACE,
-AND INCLINED IN ANY POSITION, SHALL, WHEN LEFT TO ITSELF,
-RETURN TO ITS FORMER POSITION.</p></blockquote>
-
-<p>The feet of the figure rest on a curved pivot, which
-is sustained by two loaded balls below; for the weight of
-these balls being much greater than that of the figure, their
-effect is to bring the center of gravity of the whole beneath
-the point on which it rests; consequently the equilibrium
-will resist any slight force to disturb it.</p>
-
-
-<p class="p6">TO MAKE A CARRIAGE RUN IN AN INVERTED POSITION WITHOUT FALLING.</p>
-
-<div class="figleft" style="width: 214px;">
-<img src="images/i_183a.jpg" width="214" height="83" alt="" />
-</div>
-
-<p>It is pretty well known to most boys, that if a tumbler of
-water be placed within a broad wooden hoop, the whole may
-be whirled round without falling,
-owing to the centrifugal force.
-On the same principle, if a small
-carriage be placed on an iron
-band or rail, it will ascend the
-curve, become inverted, and descend again, without falling.</p>
-
-<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p>
-
-
-<p class="p6">TO CAUSE A CYLINDER TO ROLL BY ITS OWN WEIGHT UP HILL.</p>
-
-<p>Procure a coffee canister, and loading it at <span class="smcapa">F</span> with a piece
-of lead, which may be fixed in with solder, the position of
-the center of gravity is thus altered. If a cylinder so constructed
-be placed on an inclined plane, and the loaded part
-above, it will roll up hill without assistance.</p>
-
-<div class="figcenter">
-<img src="images/i_184a.jpg" width="249" height="106" alt="" />
-</div>
-
-
-<p class="p6">THE BALANCED STICK.</p>
-
-<p>Procure a piece of wood, about nine inches in length and
-about half an inch in thickness, and thrust into its upper
-end the blades of two penknives, on either side one. Place
-the other end upon the tip of the fore-finger, and it will keep
-its place without falling.</p>
-
-<div class="figcenter" style="width: 431px;">
-<img src="images/i_184b.jpg" width="431" height="201" alt="" />
-</div>
-
-
-<p class="p6">THE CHINESE MANDARIN.</p>
-
-<p>Construct out of the pith of elder a little mandarin; then
-provide a base for it to sit in, like a kettle-drum. Into this
-put some heavy substance, such as half a leaden bullet;
-fasten the figure to this, and in whatever position it may be
-placed, it will, when left to itself, immediately return to its
-upright position.</p>
-
-
-<p class="p6">TO MAKE A QUARTER DOLLAR TURN ON ITS EDGE ON THE POINT OF A
-NEEDLE.</p>
-
-<div class="figright" style="width: 150px;">
-<img src="images/i_185a.jpg" width="150" height="206" alt="" />
-</div>
-
-<p>Take a bottle, with a cork in its neck, and in it, in a perpendicular<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
-position, a middle-sized needle.
-Fix a quarter dollar into another cork, by
-cutting a nick in it; and stick into the
-same cork two small table-forks, opposite
-each other, with the handles inclining
-downwards. If the rim of the quarter
-dollar be now poised on the point of the
-needle, it may easily be made to spin
-round without falling, as the center of
-gravity is below the the center of suspension.</p>
-
-
-<p class="p6">THE SELF-BALANCED PAIL.</p>
-
-<p>You lay a stick across the table, letting one third of it
-project over the edge; and you undertake to hang a pail of
-water on it, without either fastening the stick on the table,
-or letting the pail rest on any support; and this feat the
-laws of gravitation will enable you literally to accomplish.</p>
-
-<div class="figcenter">
-<img src="images/i_185b.jpg" width="232" height="131" alt="" />
-</div>
-
-<p>You take the pail of water, and hang it by the handle
-upon the projecting end of the
-stick, in such a manner that the
-handle may rest on it in an inclined
-position, with the middle
-of the pail within the edge of the
-table. That it may be fixed in
-this situation, place another
-stick with one of its ends resting against the side at the
-bottom of the pail, and its other end against the first stick,
-where there should be a notch to retain it. By these means,
-the pail will remain fixed in that situation, without being
-able to incline to either side; nor can the stick slide along
-the table, or move along its edge, without raising the center
-of gravity of the pail, and the water it contains.</p>
-
-
-<p class="p6">TO LIFT A BOTTLE WITH A STRAW.</p>
-
-<div class="figleft" style="width: 154px;">
-<img src="images/i_186a.jpg" width="154" height="175" alt="" />
-</div>
-
-<p>Take a straw, and having bent the thicker end of it in a
-sharp angle, as in figure subjoined, put this hooked end into
-the bottle, so that the bent part may rest against its side;
-you may then take the other end, and lift up the bottle by
-it, without breaking the straw, and this will be the more
-readily accomplished as the angular part of the straw approaches<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>
-nearer to that which comes out
-of the bottle. It is necessary, in order to
-succeed in this feat, to be particularly
-careful in choosing a stout straw, which
-is neither broken nor bruised; if it have
-been previously bent or damaged, it is
-unfit for the purpose of performing this
-trick, as it will be too weak in the part so
-bent, or damaged, to support the bottle.</p>
-
-
-<p class="p6">THE DANCING PEA.</p>
-
-<div class="figcenter">
-<img src="images/i_186b.jpg" width="168" height="276" alt="" />
-</div>
-
-<p>If you stick through a pea, or small ball of pith, two pins<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a>
-at right angles, and defend the points with pieces of sealing
-wax, it may be kept in equilibrio at a short distance
-from the end of a straight tube by means of a current of
-breath from the mouth, which imparts a rotary motion to
-the pea.</p>
-
-
-<p class="p6">THE TOPER'S TRIPOD.</p>
-
-<div class="figright" style="width: 146px;">
-<img src="images/i_186c.jpg" width="146" height="167" alt="" />
-</div>
-
-<p>Place three tobacco pipes in the position
-shown in the engraving, the mouth
-of the bowls downwards, and the lower
-end of the stems upon the stem just by
-the bowls. This tripod, if carefully put
-together, will support considerably more
-than a pot of ale.</p>
-<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p>
-
-<p class="p6">OBLIQUITY OF MOTION.</p>
-
-<div class="figcenter">
-<img src="images/i_187a.jpg" width="450" height="320" alt="" />
-</div>
-
-<p>Cut a piece of pasteboard into the following shape, and
-describe on it a spiral line; cut this out with a penknife,
-and then suspend it on a large skewer or pin, as seen in the
-engraving. If the whole be now placed on a warm stove,
-or over the flame of a candle or lamp, it will revolve with
-considerable velocity. The card, after being cut into the
-spiral, may be made to represent a snake or dragon, and
-when in motion will produce a very pleasing effect.</p>
-
-
-<p class="p6">THE BRIDGE OF KNIVES.</p>
-
-<div class="figcenter">
-<img src="images/i_187b.jpg" width="222" height="230" alt="" />
-</div>
-
-<p>Place three glasses, <span class="smcapa">A A A</span>, in the form of a triangle, and
-arrange three knives upon them, as shown in the figure,
-the blade of No. 1 over that of No. 2, and that over No. 3,
-which rests on No. 1. The bridge so made will be self-supported.</p>
-
-<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p>
-
-
-<p class="p6">SAND IN THE HOUR-GLASS.</p>
-
-<p>It is a remarkable fact, that the flow of sand in the hour-glass
-is perfectly equable, whatever may be the quantity
-in the glass; that is, the sand runs no faster when the
-upper half of the glass is quite full than when it is nearly
-empty. It would, however, be natural enough to conclude
-that, when full of sand, it would be more swiftly urged
-through the aperture, than when the glass was only a quarter
-full, and near the close of the hour.</p>
-
-<p>The fact of the even flow of sand may be proved by a
-very simple experiment. Provide some silver sand, dry it
-over or before the fire, and pass it through a tolerably fine
-sieve. Then take a tube, of any length or diameter, closed
-at one end, in which make a small hole, say the eighth of
-an inch; stop this with a peg, and fill up the tube with the
-sifted sand. Hold the tube steadily, or fix it to a wall, or
-frame, at any height from a table; remove the peg, and
-permit the sand to flow in any measure for any given time,
-and note the quantity. Then, let the tube be emptied, and
-only half or a quarter filled with the sand; measure again,
-for a like time, and the same quantity of sand will flow:
-even if you press the sand in the tube with a ruler or stick,
-the flow of the sand through the hole will not be increased.</p>
-
-<p>The above is explained by the fact, that when the sand is
-poured into the tube, it fills it with a succession of conical
-heaps, and that all the weight which the bottom of the tube
-sustains is only that of the heap which <em>first</em> falls upon it;
-as the succeeding heaps do not press downwards, but only
-against the sides or walls of the tube.</p>
-
-
-<p class="p6">RESISTANCE OF SAND.</p>
-
-<p>From the above experiment it may be concluded, that it
-is extremely difficult to thrust sand out of a tube by means
-of a fitting plug or piston; and this, upon trial, is found to
-be the case. Fit a piston to a tube (exactly like a boy's
-pop-gun,) pour some sand in, and try with the utmost
-strength of the arm to push out the sand. It will be found
-impossible to do this: rather than the sand should be shot
-out, the tube will burst at the sides.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p>
-
-
-
-
-<h2><a name="TRICKS_IN_HYDRAULICS_AND_HYDROSTATICS" id="TRICKS_IN_HYDRAULICS_AND_HYDROSTATICS"></a>TRICKS IN HYDRAULICS.</h2>
-
-<hr class="r20" />
-
-<p>The science of Hydraulics comprehends the laws which
-regulate non-elastic fluids in motion, and especially water,
-&amp;c.</p>
-
-<div class="figcenter">
-<img src="images/i_189.jpg" width="311" height="265" alt="" />
-</div>
-
-<p>Water can only be set in motion by two causes&mdash;the
-pressure of the atmosphere, or its own gravity. The principal
-law concerning fluids is, that they always preserve their
-own level. Hence water can be distributed over a town
-from any reservoir that is higher than the houses to be supplied;
-and the same principle will enable us to form fountains
-in a garden, or other place. Should any of our young
-friends wish to form a fountain, or jet-d'-eau, they may, by
-bringing a pipe from <span class="smcapa">T</span>, a water-tank, which should be at the
-upper part of the house, convey the water down to the garden.
-Then by leading it through the earth, underneath the
-path or grass plot, and turning it to a perpendicular position,
-the water will spring out, and rise nearly as high as
-the level of that in the tank. The part of the pipe at <span class="smcapa">B</span>
-should have a turnkey, so that the water may be let on or
-shut off at pleasure.</p>
-
-
-<p class="p6">THE PUMP.</p>
-
-<div class="figcenter" style="width: 156px;">
-<img src="images/i_190a.jpg" width="156" height="318" alt="" />
-</div>
-
-<div class="figleft" style="width: 107px;">
-<img src="images/i_190b.jpg" width="107" height="365" alt="" />
-</div>
-
-<p>The action of the common pump is as follows: When
-the handle <span class="smcapa">A</span> is raised, the piston-rod <span class="smcapa">B</span> descends, and<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
-brings the piston-valve, called the sucker, or bucket, to
-another valve, <span class="smcapa">C</span>, which is fixed, and opens inwards towards
-the piston. When the handle is drawn down, the piston is
-raised, and, as it is air-tight, a vacuum is produced between
-the two valves; the air in the valve of the pump, betwixt
-the lower valve and the water, then forces open the lower
-valve, and rushes through to fill up this vacuum;
-and the air in the pump being less dense than
-the external atmosphere, the water is forced a
-short way up the barrel. When the piston
-again descends to the lower valve, the air
-between them is again forced out by forcing
-open the upper valve; and when the piston is
-raised, a vacuum is again produced, and the air
-below the lower valve rushes up, and the water
-in consequence is again raised a little further.
-This operation continues until the water rises
-above the lower valve; at every stroke afterwards,
-the water passes through the valve of
-the descending piston, and is raised by it, on its
-ascent, until it issues out of the spout.</p>
-
-
-<p class="p6">THE HYDRAULIC DANCER.</p>
-
-<p>Make a little figure of cork, in the shape of a
-dancing mountebank, sailor, &amp;c. In this figure
-place a small hollow cone, made of thin leaf brass. When<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
-this figure is placed upon any jet-d'-eau, such as that of the
-fountain recommended to be constructed, it will be suspended
-on the top of the water, and perform a great variety
-of amusing motions. If a hollow ball of very thin copper,
-about an inch in diameter, be placed on a similar cone, it
-will remain suspended, turning round and spreading the
-water all about it.</p>
-
-
-<p class="p6">THE SYPHON.</p>
-
-<div class="figright" style="width: 213px;">
-<img src="images/i_191a.jpg" width="213" height="165" alt="" />
-</div>
-
-<p>The syphon is a bent tube, having one leg shorter than
-the other. It acts by the pressure
-of the atmosphere being removed
-from the surface of a fluid, which
-makes it to rise above its common
-level at <span class="smcapa">B</span>. In order to make a
-syphon act, it is necessary first to
-fill both legs quite full of the fluid;
-and then the shorter leg must be
-placed in the vessel to be emptied.
-Immediately upon withdrawing the finger from the longer
-leg, the liquor will flow. Any young person may form a
-syphon by a small piece of leaden pipe, bent into the form
-above.</p>
-
-
-<p class="p6">THE WATER SNAIL, OR ARCHIMEDIAN SCREW</p>
-
-<p>may easily be constructed. Purchase a yard of small leaden
-pipe, and twist it round a pole, as in the following figure,
-<span class="smcapa">A</span>; place a handle at its upper end, <span class="smcapa">B</span>, and let its lower end
-rest in the water. Between the last turn of the pipe and
-the orifice place a paddle-wheel, <span class="smcapa">C</span>. Now, should the water
-be that of a running stream, the force of the stream will turn
-the pipe, and the water will rise in it till it empties itself
-into the trough at <span class="smcapa">D</span>. Should the water have no motion, the
-turning of the handle at <span class="smcapa">B</span> will elevate the water from the
-lower to the higher level.</p>
-
-<div class="figcenter">
-<img src="images/i_191b.jpg" width="329" height="199" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span></p>
-
-
-<p class="p6">THE BOTTLE EJECTMENT.</p>
-
-<p>Fill a small white glass bottle, with a very narrow neck,
-full of wine; place it in a glass vase, which must previously
-have sufficient water in it to rise above the mouth of the
-bottle. Immediately you will perceive the wine rise, in the
-form of a little column, toward the surface of the water, and
-the water will, in the mean time, begin to take the place of
-the wine at the bottom of the bottle. The cause of this is,
-that the water is heavier than the wine, which it displaces,
-and forces it to rise toward the surface.</p>
-
-
-<p class="p6">THE MAGIC OF HYDROSTATICS WITH THE ANCIENTS.</p>
-
-<p>The principles of <em>Hydrostatics</em> were available in the work
-of magical deception. The marvelous fountain which Pliny
-describes in the island of Andros as discharging wine for
-seven days, and water during the rest of the year,&mdash;the
-spring of oil which broke out in Rome to welcome the return
-of Augustus from the Sicilian war,&mdash;the three empty urns
-which filled themselves with wine at the annual feast of
-Bacchus in the city of Elis,&mdash;the glass tomb of Belus, which
-was full of oil, and which, when once emptied by Xerxes,
-could not again be filled,&mdash;the weeping statues, and the
-perpetual lamps of the ancients,&mdash;were all the obvious
-effect of the equilibrium and pressure of fluids.</p>
-
-
-<p class="p6">TO EMPTY A GLASS UNDER WATER.</p>
-
-<p>Fill a wine-glass with water, place over its mouth a card,
-so as to prevent the water from escaping, and put the glass,
-mouth downwards, into a basin of water. Next, remove
-the card, and raise the glass partly above the surface, but
-keep its mouth below the surface, so that the glass still remains
-completely filled with water. Then insert one end of
-a quill or reed in the water below the mouth of the glass,
-and blow gently at the other end, when air will ascend in
-bubbles to the highest part of the glass, and expel the water
-from it; and, if you continue to blow <ins title="Transcriber's Note: original reads 'throw'">through</ins> the quill, all the
-water will be emptied from the glass, which will be filled
-with air.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p>
-
-
-
-
-<h2><a name="TRICKS_IN_ACOUSTICS" id="TRICKS_IN_ACOUSTICS"></a>TRICKS IN ACOUSTICS.</h2>
-
-<hr class="r20" />
-
-<p>Acoustics is the science relating to sound and hearing.
-Sound is heard when any shock or impulse is given to the
-air, or to any other body which is in contact directly or indirectly
-with the ear.</p>
-
-
-<p class="p6">DIFFERENCE BETWEEN SOUND AND NOISE.</p>
-
-<p>Noises are made by the cracks of whips, the beating of
-hammers, the creak of a file or saw, or the hubbub of a
-multitude. But when a bell is struck, the bow of a violin
-drawn across the strings, or the wetted finger turned round
-a musical glass, we have what are properly called sounds.</p>
-
-
-<p class="p6">SOUNDS, HOW PROPAGATED.</p>
-
-<p>Sounds are propagated on all bodies much after the manner
-that waves are in water, with a velocity of 1,142 feet
-in a second. Sounds in liquids and in solids are more rapid
-than in air. Two stones rubbed together may be heard in
-water at half a mile; solid bodies convey sounds to great
-distances, and pipes may be made to convey the voice over
-every part of the house.</p>
-
-
-<p class="p6">VISIBLE VIBRATION.</p>
-
-<p>Provide a glass goblet about two thirds filled with colored
-water, draw a fiddle bow against its edge, and the surface
-of the water will exhibit a pleasing figure, composed of
-fans, four, six, or eight in number, dependent on the dimensions
-of the vessel, but chiefly on the pitch of the note produced.</p>
-
-<div class="figleft" style="width: 110px;">
-<img src="images/i_193.jpg" width="110" height="178" alt="" />
-</div>
-
-<p>Or, nearly fill a glass with water, draw the
-bow strongly against its edge, the water will
-be elevated and depressed; and when the vibration
-has ceased, and the surface of the
-water has become tranquil, these elevations
-will be exhibited in the form of a curved line,
-passing round the interior surface of the glass,
-and above the surface of the water. If the
-action of the bow be strong, the water will be
-sprinkled on the inside of the glass, above the
-liquid surface, and this sprinkling will show the curved line<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
-very perfectly, as in the engraving. The water should be
-carefully poured, so that the glass above the liquid be preserved
-dry; the portion of the glass between the edge and
-curved line will then be seen partially sprinkled; but, between
-the level of the water and the curved line, it will
-have become wholly wetted, thereby indicating the height
-to which the fluid has been thrown.</p>
-
-
-<p class="p6">TRANSMITTED VIBRATION.</p>
-
-<div class="figcenter">
-<img src="images/i_194a.jpg" width="281" height="88" alt="" />
-</div>
-
-<p>Provide a long, flat glass ruler or rod, as in the engraving,
-and cement it with mastic to the edge of a drinking glass,
-fixed into a wooden stand; support the other end of the rod
-very lightly on a piece of
-cork, and strew its upper
-surface with sand; set the
-glass in vibration by a bow,
-at a point opposite where
-the rod meets it, and the motions will be communicated to
-the rod without any change in their direction. If the apparatus
-be inverted, and sand be strewed on the under side of
-the rod, the figures will be seen to correspond with those
-produced on the upper surface.</p>
-
-
-<p class="p6">DOUBLE VIBRATION.</p>
-
-<div class="figleft" style="width: 158px;">
-<img src="images/i_194b.jpg" width="158" height="150" alt="" />
-</div>
-
-<p>Provide two disks of metal or glass, precisely of the same
-dimensions, and a glass or metal rod; cement the two disks
-at their centers to the ends of the rod,
-as in the engraving, and strew their upper
-surfaces with sand. Cause one of
-the disks, viz., the upper one, to vibrate
-by a bow, and its vibration will be exactly
-imitated by the lower disk, and the
-sand strewed over both will arrange
-itself in precisely the same forms on
-both disks.</p>
-
-
-<p class="p6">CHAMPAGNE AND SOUND.</p>
-
-<p>Pour sparkling champagne into a glass, until it is half
-full, when the glass will lose its power of ringing by a
-stroke upon its edge, and will emit only a disagreeable and
-puffy sound. Nor will a glass ring while the wine is brisk,
-and filled with air-bubbles; but as the effervescence subsides,
-the sound will become clearer and clearer, and when
-the air-bubbles have entirely disappeared, the glass will<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
-ring as usual. If a crumb of bread be thrown into the
-champagne, and effervescence be reproduced, the glass will
-again cease to ring. The same experiment will also succeed
-with soda water, ginger wine, or any other effervescing
-liquid.</p>
-
-
-<p class="p6">MUSIC OF THE SNAIL.</p>
-
-<p>Place a garden snail upon a pane of glass, and in drawing
-itself along, it will frequently produce sounds similar to
-those of musical glasses.</p>
-
-
-<p class="p6">THE TUNING-FORK A FLUTE PLAYER.</p>
-
-<div class="figcenter">
-<img src="images/i_195a.jpg" width="284" height="129" alt="" />
-</div>
-
-<p>Take a common tuning-fork, and on one of its branches
-fasten with sealing-wax a circular piece of card, of the size
-of a small wafer, or sufficient nearly to cover the aperture
-of a pipe, as the sliding
-of the upper end of a flute
-with the mouth stopped: it
-may be tuned in unison
-with the loaded tuning-fork
-(a C fork), by means of the
-moveable stopper or card,
-or the fork may be loaded till the unison is perfect. Then
-set the fork in vibration by a blow on the unloaded branch,
-and hold the card closely over the mouth of the pipe, as in
-the engraving, when a note of surprising clearness and
-strength will be heard. Indeed, a flute may be made to
-"speak" perfectly well, by holding close to the opening a
-vibrating tuning-fork, while the fingering proper to the note
-of the fork is at the same time performed.</p>
-
-
-<p class="p6">MUSICAL BOTTLES.</p>
-
-<p>Provide two glass bottles, and tune them by pouring water
-into them, so that each corresponds to the sound of a different
-tuning-fork. Then apply both tuning-forks to the
-mouth of each bottle alternately, when that sound only will
-be heard, in each case, which is reciprocated by the unisonant
-bottle; or, in other words, by that bottle which contains
-a column of air, susceptible of vibrating in unison
-with the fork.</p>
-
-
-<p class="p6">THEORY OF WHISPERING.</p>
-
-<p>Apartments of a circular or elliptical form are best <ins title="Transcriber's Note: original reads 'calcuated'">calculated</ins>
-for the exhibition of this phenomenon. If a person
-stand near the wall, with his face turned to it, and whisper<span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span>
-a few words, they may be more distinctly heard at nearly
-the opposite side of the apartment, than if the listener was
-situated near to the speaker.</p>
-
-
-<p class="p6">THEORY OF THE VOICE.</p>
-
-<p>Provide a species of whistle, common as a child's toy or a
-sportsman's call, in the form of a hollow cylinder, <ins title="Transcriber's Note: original reads 'abou'">about</ins>
-three fourths of an inch in diameter, closed at both ends by
-flat circular plates, with holes in their centers. Hold this
-toy between the teeth and lips; blow through it, and you
-may produce sounds varying in pitch with the force with
-which you blow. If the air be cautiously graduated, all the
-sounds within the compass of a double octave may be produced
-from it; and, if great precaution be taken in the
-management of the wind, tones even yet graver may be
-brought out. This simple instrument, or toy, has indeed
-the greatest resemblance to the larynx, which is the organ
-of voice.</p>
-
-
-<p class="p6">TO TUNE A GUITAR WITHOUT THE ASSISTANCE OF THE EAR.</p>
-
-<p>Make one string to sound, and its vibrations will, with
-much force, be transferred to the next string: this transference
-may be seen, by placing a saddle of paper (like an inverted Λ)
-upon the string, at first in a state of rest. When
-this string <em>hears</em> the other, the saddle will be shaken, or fall
-off; when both strings are in harmony, the paper will be
-very little, or not at all shaken.</p>
-
-
-<p class="p6">PROGRESS OF SOUND.</p>
-
-<p>When a bow is drawn across the strings of a violin, the
-impulses produced may be rendered evident by fixing a
-small steel bead upon the bow; when looked at by light, or
-in sunshine, the bead will seem to form a series of dots during
-the passage of the bow.</p>
-
-
-<p class="p6">TO MAKE AN ÆOLIAN HARP.</p>
-
-<p>This instrument consists of a long narrow box of very
-thin pine, about six inches deep, with a circle in the middle
-of the upper side, of an inch and half in diameter, in which
-are to be drilled small holes. On this side seven, ten, or
-more strings of very fine catgut are stretched over bridges
-at each end like the bridge of a fiddle, and screwed up or
-relaxed with screw pins. The strings must all be tuned to<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
-one and the same note,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> and the instrument should be placed
-in a window partly open, in which the width is exactly
-equal to the length of the harp, with the sash just raised to
-give the air admission. When the air blows upon these
-strings with different degrees of force it will excite different
-tones of sound. Sometimes the blast brings out all the
-tones in full concert, and sometimes it sinks them to the
-softest murmurs.</p>
-
-<p>A colossal imitation of the instrument just described was
-invented at Milan in 1786, by the Abbate Gattoni. He
-stretched seven strong iron wires, tuned to the notes of the
-gamut, from the top of a tower sixty feet high, to the house
-of a Signor Moscate, who was interested in the success of
-the experiment, and this apparatus, called the "giant's
-harp," in blowing weather yielded lengthened peals of harmonious
-music. In a storm this music was sometimes heard
-at the distance of several miles.</p>
-
-
-<p class="p6">THE INVISIBLE GIRL.</p>
-
-<div class="figcenter">
-<img src="images/i_197.jpg" width="235" height="162" alt="" />
-</div>
-
-<p>The facility with which the voice circulates through tubes
-was known to the ancients, and no doubt has afforded the
-priests of all religions means of deception to the ignorant
-and credulous. But of late days the light of science dispels
-all such wicked deceptions. A very clever machine
-was produced at Paris several years ago, and afterwards
-exhibited in New York and other cities in the United
-States, under the name of the "Invisible Girl," since
-the apparatus was so constructed that the voice of a
-female at a distance was heard as if it originated from a
-hollow globe, not more than a foot in diameter. It consisted
-of a wooden frame something like a tent bedstead, formed<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>
-by four pillars <em>a a a a</em>, connected by upper cross rails <em>b b</em>,
-and similar rails below, while it terminated above in four
-bent wires <em>c c</em>, proceeding at right angles of the frame, and
-meeting in a central point. The hollow copper ball <em>d</em>, with
-four trumpets, <em>t t</em>, crossing from it at right angles, hung in
-the center of the frame, being connected with the wires
-alone by four narrow ribbons <em>r r</em>. The questions were proposed
-close to the open mouth of one of these trumpets,
-and the reply was returned from the same orifice. The
-means used in the deception were as follows: a pipe or
-tube was attached to one of the hollow pillars, and carried
-into another apartment, in which a female was placed; and
-this tube having been carried up the leg or pillar of the
-instrument to the cross-rails, had apertures exactly opposite
-two of the trumpet mouths; so that what was spoken
-was immediately answered through a very simple mode of
-communication.</p>
-
-
-<p class="p6">THE MAGIC OF ACOUSTICS.</p>
-
-<p>The science of <em>Acoustics</em> furnished the ancient sorcerers
-with some of their best deceptions. The imitation of thunder
-in their subterranean temples could not fail to indicate
-the presence of a supernatural agent. The golden virgins
-whose ravishing voices resounded through the temple of
-Delphos,&mdash;the stone from the river Pactolus, whose trumpet
-notes scared the robber from the treasure which it guarded,&mdash;the
-speaking head which uttered its oracular responses
-at Lesbos,&mdash;and the vocal statue of Memnon, which began
-at the break of day to accost the rising sun,&mdash;were all deceptions
-derived from science, and from a diligent observation
-of the <ins title="Transcriber's Note: original reads 'phemomena'">phenomena</ins> of nature.</p>
-
-
-<p class="p6">Take a long piece of wood, such as the handle of a hair
-broom, and placing a watch at one end, apply your ear to the
-other, and the tickings will be distinctly heard.</p>
-
-
-<p class="p6">TO SHOW THAT SOUND DEPENDS ON VIBRATION.</p>
-
-<p>Touch a bell when it is sounding, and the noise ceases;
-the same may be done to a musical string with the same results.
-Hold a musical pitchfork to the lips, when it is made
-to sound, and a quivering motion will be felt from its vibrations.
-These experiments show that sound is produced by
-the quick motions and vibrations of different bodies.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_NUMBERS" id="THE_MAGIC_OF_NUMBERS"></a>THE MAGIC OF NUMBERS</h2>
-
-<p class="p6">OR, CURIOUS PROBLEMS IN ARITHMETIC.</p>
-
-<hr class="r20" />
-
-<div class="figcenter">
-<img src="images/i_199.jpg" width="498" height="350" alt="" />
-</div>
-
-
-<p>As the principal object of this volume is to enable the
-young reader to learn something in his sports, and to understand
-what he is doing, we shall, before proceeding to the
-curious tricks and feats connected with the science of numbers,
-present him with some arithmetical aphorisms, upon
-which most of the following examples are founded.</p>
-
-
-<p class="p6">APHORISMS OF NUMBER.</p>
-
-<p>1. If two even numbers be added together, or subtracted
-from each other, their sum or difference will be an even
-number.</p>
-
-<p>2. If two uneven numbers be added or subtracted, their
-sum or difference will be an even number.</p>
-
-<p>3. The sum or difference of an even and an uneven number
-added or subtracted, will be an uneven number.</p>
-
-<p>4. The product of two even numbers will be an even
-number, and the product of two uneven numbers will be an
-uneven number.</p>
-
-<p>5. The product of an even and uneven number will be an
-even number.</p>
-
-<p>6. If two different numbers be divisible by any one number,<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
-their sum and their difference will also be divisible by
-that number.</p>
-
-<p>7. If several different numbers, divided by 3, be added
-or multiplied together, their sum and their product will also
-be divisible by 3.</p>
-
-<p>8. If two numbers, divisible by 9, be added together, the
-sum of the figures in the amount will be either 9, or a number
-divisible by 9.</p>
-
-<p>9. If any number be multiplied by 9, or by any other
-number divisible by 9, the amount of the figures of the product
-will be either 9, or a number divisible by 9.</p>
-
-<p>10. In every arithmetical progression, if the first and last
-term be each multiplied by the number of terms, and the
-sum of the two products be divided by 2, the quotient will
-be the sum of the series.</p>
-
-<p>11. In every geometric progression, if any two terms be
-multiplied together, their product will be equal to that term,
-which answers to the sum of these two indices. Thus, in
-the series&mdash;</p>
-
-<div class="center">
-<table border="0" cellpadding="6" cellspacing="0" summary="geometric progression">
-<tbody>
-<tr>
- <td class="tdr">1</td>
- <td class="tdr">2</td>
- <td class="tdr">3</td>
- <td class="tdr">4</td>
- <td class="tdr">5</td>
-</tr>
-<tr>
- <td class="tdr">2</td>
- <td class="tdr">4</td>
- <td class="tdr">8</td>
- <td class="tdr">16</td>
- <td class="tdr">32</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>If the third and fourth terms 8 and 16 be multiplied together,
-the product 128 will be the seventh term of the
-series. In like manner, if the fifth term be multiplied into
-itself, the product will be the tenth term, and if that sum be
-multiplied into itself, the product will be the twentieth term.
-Therefore, to find the last, or any other term of a geometric
-series, it is not necessary to continue the series beyond a
-few of the first terms.</p>
-
-<p>Previous to the numerical recreations, we shall here describe
-certain mechanical methods of performing arithmetical
-calculations, such as are not only in themselves entertaining,
-but will be found more or less useful to the young
-reader.</p>
-
-
-<p class="p6">PALPABLE ARITHMETIC.</p>
-
-<p>The blind mathematician, Dr. Saunderson, adopted a very
-ingenious device for performing arithmetical operations by
-the sense of touch.</p>
-
-<p>Small cubes of wood were provided, and in one face of
-each, nine holes were pierced, thus:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="PALPABLE ARITHMETIC">
-<tbody>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td>&nbsp;</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
-</tr>
-<tr>
- <td class="tdc">4</td>
- <td class="tdc">5</td>
- <td class="tdc">6</td>
- <td>&nbsp;</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
-</tr>
-<tr>
- <td class="tdc">7</td>
- <td class="tdc">8</td>
- <td class="tdc">9</td>
- <td>&nbsp;</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
- <td class="tdc">o</td>
-</tr>
-</tbody>
-</table></div>
-
-<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p>
-
-<p>These holes represented the nine digits, as in the figure, and
-to denote any figure, a small peg was inserted into the hole
-corresponding to it. If the number consisted of several
-figures, more cubes were used, one for each. A cipher was
-represented by a peg of different shape from that of the
-others, and inserted in the central hole.</p>
-
-<p>To perform any arithmetical process, a square board was
-provided, divided by ridges into recesses of the same width
-as the cubes, and by this the cubes were retained in the required
-horizontal and <ins title="Transcriber's Note: original reads 'perpindicular'">perpendicular</ins> lines. Suppose it was
-necessary to add together the numbers 763, 124, 859, the
-cubes and pegs would be arranged thus:</p>
-
-<div class="figcenter">
-<img src="images/i_201a.jpg" width="400" height="391" alt="" />
-</div>
-
-
-<p class="p6">THE ABACUS.</p>
-
-<p>This instrument is used for teaching numeration, and the
-first principles of arithmetic.</p>
-
-<div class="figcenter">
-<img src="images/i_201b.jpg" width="170" height="245" alt="" />
-</div>
-
-<p>Upon a frame are placed wires, parallel
-to one another, and at equal distances.
-Ten small balls are strung
-upon each wire, being placed as in
-the margin. The right wire denotes
-units, the next tens, and so on, the 7th
-wire being the place of millions. In
-using the abacus, all the balls are first
-ranged at one end, and a number of
-them are then moved to the other end
-of each wire, to correspond to the
-figures required. The example given
-in the margin is 15,781, the height of
-Mount Blanc.</p>
-
-<p><span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p>
-
-
-<p class="p6">NAPIER'S RODS.</p>
-
-<p>The object of this contrivance is to render arithmetical
-multiplication more easy, and to secure its correctness; it
-was much used by astronomers before the invention of logarithms.</p>
-
-<p>To appreciate the merits of this invention, we must consider
-the process of multiplication as usually performed.
-Suppose we had to multiply 8,679 by 8:</p>
-
-<blockquote><p>&nbsp; 8,679<br />
-&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;8<br />
-&mdash;&mdash;&mdash;<br />
-69,432<br />
-</p></blockquote>
-
-<p>We first multiply 9 by 8 = 72, and putting down 2 as the
-first figure in the product, carry the 7 to add to the next
-product of 7 by 8 = 56; this gives us 63, the 3 being put
-down as the second figure; 6 is carried to add to the product
-of 6 by 8, and so on.</p>
-
-<p>A blunder may be made in each part of this process; for
-1st, we might reckon 8 times 9 as some other number than
-72; 2d, after multiplying the 7 by the 8, we might add to
-the resulting 56 some other figure than the 7, which we
-carried; 3d, we may add 56 to 7 inaccurately,
-making some other sum of it
-than the right one, 63. Errors in a
-long multiplication problem are usually
-made in one of these three ways, and
-to prevent such errors, Lord Napier<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a>
-introduced this useful contrivance.
-Thin strips of card, wood, or bone, 9
-times as long as they are broad, are
-each divided into 9 equal squares, a
-figure is printed or written on the top
-square, and in each of the squares underneath
-is the product of multiplying
-that figure by 2, 3, 4, &amp;c., up to 9.</p>
-
-<div class="figcenter">
-<img src="images/i_202.jpg" width="171" height="296" alt="" />
-</div>
-
-<p>To use these in multiplication, select
-the strips, the top figures of which
-make the number to be multiplied. For example:</p>
-
-<p>To multiply 8,679 by 8, look at the eighth line of squares
-from the top, and on that line will be found the product of
-each of the integers 8, 6, 7, 9, when multiplied by 8. We have
-then to write down the 2 as the first figure of the product,<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span>
-add 7 and 6 together = 13; write 3 as the next figure, carry
-1 to add to the sum of 8 and 5, and so on.</p>
-
-<p>The reason for dividing the figures in each square by a
-diagonal line, and for placing the left-hand figure higher
-than the right is, that the eye may be thus assisted in adding
-the carried figure of one slip to the unit of the next.</p>
-
-<p>To provide for the occurrence of more than one of the same
-figures in the multiplicand, there should be several slips or
-rods for each of the digits.</p>
-
-<p>In practice the rods are placed on a flat piece of wood,
-with two ridges at right angles, by which they are preserved
-in a proper position.</p>
-
-<p>This instrument can be made useful in "divisions," by
-making by means of it a table of the product of the divisor,
-multiplied by each of the numbers 1 to 9.</p>
-
-
-<p class="p6">THE ARITHMETICAL BOOMERANG.</p>
-
-<p>The boomerang is an instrument of peculiar form, used
-by the natives of New South Wales, for the purpose of
-killing wild fowl and other small animals. If projected forwards,
-it at first proceeds in a straight line, but afterwards
-rises in the air, and after performing sundry peculiar gyrations,
-returns in the direction of the place where it was
-thrown.</p>
-
-<p>The term is applied to those arithmetical processes by
-which you can divine a number thought of by another. You
-throw forwards the number by means of addition and multiplication,
-and then, by means of subtraction and division,
-you bring it back to the original starting point, making it
-proceed in a track so circuitous as to evade the superficial
-notice of the tyro.</p>
-
-
-<p class="p6">TO FIND A NUMBER THOUGHT OF.</p>
-
-<p><em>First Method.</em></p>
-
-<p>This is an arithmetical trick which, to those who are unacquainted
-with it, seems very surprising; but, when explained,
-it is very simple. For instance, ask a person to
-<em>think</em> of any number under 10. When he says he has done
-so, desire him to treble that number. Then ask him whether
-the sum of the number he has thought of (now multiplied
-by 3) be odd or even; if odd, tell him to add 1 to make the
-sum even. He is next to halve the sum, and then treble
-that half. Again ask whether the amount be odd or even.<span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>
-If odd, add 1 (as before) to make it even, and then halve it.
-Now ask how many nines are contained in the remainder.
-The secret is, to bear in mind whether the first sum be odd
-or even; if odd, retain 1 in the memory; if odd a second
-time, retain 2 more (making in all 3 to be retained in the
-memory;) to which add 4 for every nine contained in the remainder.</p>
-
-<p>For example, No. 7 is odd the first and also the second
-time; and the remainder (17) contains one nine; so that
-1, added to 2, make 3, and 3, added to 4, make 7, the number
-thought of. No. 1 is odd the first time (retain 1), and
-even the second (of which no notice is taken), but the remainder
-is not equal to nine. No. 2 is even the first and odd
-the second time (retain 2), but the remainder contains no
-nine. No. 3 is odd the first and the second time, still there
-is no nine in the remainder. No. 4 is even both times, and
-contains one nine. No. 5 is odd the first time and the remainder
-contains one nine. No. 6 is odd the second time,
-and contains one nine in the remainder. No. 8 is even both
-times, and the remainder contains two nines. No notice
-need be taken of any overplus of a remainder, after being
-divided by nine.</p>
-
-<p>The following are illustrations of the result with each
-number:</p>
-
-<div class="figcenter">
-<img src="images/i_204.jpg" width="500" height="362" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span></p>
-
-
-<p class="center"><em>Second Method.</em></p>
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="6" cellspacing="0" summary="Second Method">
-<tbody>
-<tr>
- <td class="tdl">Let a person think of a number, say</td>
- <td class="tdr">6</td>
-</tr>
-<tr>
- <td class="tdla">1. Let him multiply it by 3</td>
- <td class="tdr">18</td>
-</tr>
-<tr>
- <td class="tdla">2. Add 1</td>
- <td class="tdr">19</td>
-</tr>
-<tr>
- <td class="tdla">3. Multiply by 3</td>
- <td class="tdr">57</td>
-</tr>
-<tr>
- <td class="tdla">4. Add to this the number thought of</td>
- <td class="tdr">63</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Let him inform you what is the number produced; it will
-always end with 3. Strike off the 3, and inform him that he
-thought of 6.</p>
-
-
-<p class="center"><em>Third Method.</em></p>
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Third Method">
-<tbody>
-<tr>
- <td class="tdl">Suppose the number thought of to be</td>
- <td class="tdr">6</td>
-</tr>
-<tr>
- <td class="tdla">1. Let him double it</td>
- <td class="tdr">12</td>
-</tr>
-<tr>
- <td class="tdla">2. Add 4</td>
- <td class="tdr">16</td>
-</tr>
-<tr>
- <td class="tdla">3. Multiply by 6</td>
- <td class="tdr">80</td>
-</tr>
-<tr>
- <td class="tdla">4. Add 12</td>
- <td class="tdr">92</td>
-</tr>
-<tr>
- <td class="tdla">5. Multiply by 10</td>
- <td class="tdr">920</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Let him inform you what is the number produced. You
-must in every case subtract 320; the remainder is, in this
-example, 600; strike off the two ciphers, and announce 6
-as the number thought of.</p>
-
-
-<p class="center"><em>Fourth Method.</em></p>
-
-<p>Desire a person to think of a number, say 6. He must
-then proceed&mdash;</p>
-
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Fourth Method">
-<tbody>
-<tr>
- <td class="tdl">1. To multiply this number by itself</td>
- <td class="tdr">36</td>
-</tr>
-<tr>
- <td class="tdl">2. So take 1 from the number thought of</td>
- <td class="tdr">5</td>
-</tr>
-<tr>
- <td class="tdl">3. To multiply this by itself</td>
- <td class="tdr">25</td>
-</tr>
-<tr>
- <td class="tdl">4. To tell you the difference between this product and the former</td>
- <td class="tdr">11</td>
-</tr>
-<tr>
- <td class="tdl">You must then add 1 to it</td>
- <td class="tdr">12</td>
-</tr>
-<tr>
- <td class="tdl">And halve this number</td>
- <td class="tdr">6</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Which will be the number thought of.</p>
-
-
-<p class="center"><em>Fifth Method.</em></p>
-
-<p>Desire a person to think of a number, say 6. He must
-then proceed as follows:</p>
-
-<p><span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span></p>
-
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Fifth Method">
-<tbody>
-<tr>
- <td class="tdl">1. Add 1 to it</td>
- <td class="tdr">7</td>
-</tr>
-<tr>
- <td class="tdl">2. Multiply by 3</td>
- <td class="tdr">21</td>
-</tr>
-<tr>
- <td class="tdl">3. Add 1 again</td>
- <td class="tdr">22</td>
-</tr>
-<tr>
- <td class="tdl">4. Add the number thought of</td>
- <td class="tdr">28</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Let him tell you the figures produced (28):</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="figures produced">
-<tbody>
-<tr>
- <td class="tdl">5. You then subtract 4 from it</td>
- <td class="tdl">24</td>
-</tr>
-<tr>
- <td class="tdl">6. And divide by 4</td>
- <td class="tdl">6</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Which you can say is the number thought of.</p>
-
-
-<p class="center"><em>Sixth Method.</em></p>
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Sixth Method">
-<tbody>
-<tr>
- <td class="tdl">Suppose the number thought of</td>
- <td class="tdr">6</td>
-</tr>
-<tr>
- <td class="tdl">1. Let him double it</td>
- <td class="tdr">12</td>
-</tr>
-<tr>
- <td class="tdl">2. Desire him to add to this any number you tell him, say 4</td>
- <td class="tdr">16</td>
-</tr>
-<tr>
- <td class="tdl">3. To halve it</td>
- <td class="tdr">8</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>You can then tell him that if he will subtract from this
-the number he thought of, the remainder will be, in the case
-supposed, 2.</p>
-
-<p><em>Note.</em>&mdash;The remainder is always half of the number you
-tell him to add.</p>
-
-
-<p class="p6">TO DISCOVER TWO OR MORE NUMBERS THAT A PERSON HAS THOUGHT OF.</p>
-
-<p><em>1st Case.</em>&mdash;Where each of the numbers is less than 10.
-Suppose the numbers thought of were 2, 3, 5.</p>
-
-
-<p class="p6a">EXAMPLE.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="numbers thought of">
-<tbody>
-<tr>
- <td class="tdl">1. Desire him to double the first number making</td>
- <td class="tdr">4</td>
-</tr>
-<tr>
- <td class="tdl">2. To add 1 to it</td>
- <td class="tdr">5</td>
-</tr>
-<tr>
- <td class="tdl">3. To multiply by 5</td>
- <td class="tdr">25</td>
-</tr>
-<tr>
- <td class="tdl">4. To add the second number</td>
- <td class="tdr">28</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>There being a third number, repeat this process&mdash;</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="being a third number">
-<tbody>
-<tr>
- <td class="tdl">5. To double it</td>
- <td class="tdr">56</td>
-</tr>
-<tr>
- <td class="tdl">6. To add 1 to it</td>
- <td class="tdr">57</td>
-</tr>
-<tr>
- <td class="tdl">7. To multiply by 5</td>
- <td class="tdr">285</td>
-</tr>
-<tr>
- <td class="tdl">8. To add the third number &nbsp; &nbsp;</td>
- <td class="tdr">290</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>And to proceed in the same manner for as many numbers as
-were thought of. Let him tell you the last sum produced
-(in this case 290). Then, if there were two numbers thought
-of, you must subtract 5; if three, 55; if four, 555. You
-must here subtract 55, leaving a remainder of 235, which
-are the numbers thought of, 2, 3 and 5.</p>
-
-<p><span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p>
-
-<p><em>2d Case.</em>&mdash;Where one or more of the numbers are 10, or
-more than 10, and where there is an <em>odd</em> number of numbers
-thought of.</p>
-
-<p>Suppose he fixes upon five numbers, viz. 4, 6, 9, 15, 16.</p>
-
-<p>He must add together the numbers as follows, and tell
-you the various sums:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="various sums">
-<tbody>
-<tr>
- <td class="tdl">1.</td>
- <td class="tdl">The sum of the 1st and 2d</td>
- <td class="tdr">10</td>
-</tr>
-<tr>
- <td class="tdl">2.</td>
- <td class="tdl">The sum of the 2d and 3d</td>
- <td class="tdr">15</td>
-</tr>
-<tr>
- <td class="tdl">3.</td>
- <td class="tdl">The sum of the 3d and 4th</td>
- <td class="tdr">24</td>
-</tr>
-<tr>
- <td class="tdl">4.</td>
- <td class="tdl">The sum of the 4th and 5th</td>
- <td class="tdr">31</td>
-</tr>
-<tr>
- <td class="tdl">5.</td>
- <td class="tdl">The sum of the 1st and last &nbsp; &nbsp;</td>
- <td class="tdr">20</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>You must then add together the 1st, 3d and 5th sums, viz.
-10 + 24 + 20 = 54, and the 2d and 4th, 15 + 31 = 46; take one
-from the other, leaving 8. The half of this is the 1st number,
-4; if you take this from the sum of the 1st and 2d you
-will have the 2d number, 6; this taken from the sum of the
-2d and 3d will give you the 3d, 9; and so on for the other
-numbers.</p>
-
-<p><em>3d Case.</em>&mdash;Where one or more of the numbers are 10, or
-more than 10, and where an <em>even</em> number of numbers has
-been thought of.</p>
-
-<p>Suppose he fixes on six numbers, viz. 2, 6, 7, 15, 16, 18.
-He must add together the numbers as follows, and tell you
-the sum in each case:&mdash;</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="sum in each case">
-<tbody>
-<tr>
- <td class="tdl">1.</td>
- <td class="tdl">The sum of the 1st and 2d</td>
- <td class="tdr">8</td></tr>
-<tr>
- <td class="tdl">2.</td>
- <td class="tdl">The sum of the 2d and 3d</td>
- <td class="tdr">13</td></tr>
-<tr>
- <td class="tdl">3.</td>
- <td class="tdl">The sum of the 3d and 4th</td>
- <td class="tdr">22</td></tr>
-<tr>
- <td class="tdl">4.</td>
- <td class="tdl">The sum of the 4th and 5th</td>
- <td class="tdr">31</td></tr>
-<tr>
- <td class="tdl">5.</td>
- <td class="tdl">The sum of the 5th and 6th</td>
- <td class="tdr">34</td></tr>
-<tr>
- <td class="tdl">6.</td>
- <td class="tdl">The sum of the 2d and last &nbsp; &nbsp;</td>
- <td class="tdr">24</td></tr>
-</tbody>
-</table></div>
-
-<p>You must then add together the 2d, 4th and 6th sums, 13 +
-31 + 24 = 68, and the 3d and 5th sums, 22 + 34 = 56. Subtract
-one from the other, leaving 12; the 2d number will be
-6, the half of this; take the 2d from the sum of the 1st and
-2d you will get the 1st; take the 2nd from the sum of the
-2d and 3d, and you will have the 3d, and so on.</p>
-
-
-<p class="p6">HOW MANY COUNTERS HAVE I IN MY HANDS?</p>
-
-<p>A person having an equal number of counters in each
-hand, it is required to find how many he has altogether.</p>
-
-<p>Suppose he has 16 counters, or 8 in each hand. Desire
-him to transfer from one hand to the other a certain number<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
-of them, and to tell you the number so transferred. Suppose
-it be 4, the hands now contain 4 and 12. Ask him how many
-times the smaller number is contained in the larger; in this
-case it is 3 times. You must then multiply the number
-transferred, 4, by the 3, making 12, and add the 4, making
-16; then divide 16 by the 3 <em>minus</em> 1; this will bring 8, the
-number in each hand.</p>
-
-<p>In most cases fractions will occur in the process: when
-10 counters are in each hand, and if 4 be transferred, the
-hands will contain 6 and 14.</p>
-
-<p>He will divide 14 by 6 and inform you that the quotient is
-2<span class="frac"><sup>2</sup><span>/</span><sub>6</sub></span> or 2<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>.</p>
-
-<p>You multiply 4 by 2<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, which is 9<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>.</p>
-
-<p>Add 4 to this, making 13<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, equal to <span class="frac"><sup>40</sup><span>/</span><sub>3</sub></span>.</p>
-
-<p>Subtract 1 from 2<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, leaving 1<span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span> or <span class="frac"><sup>4</sup><span>/</span><sub>3</sub></span>.</p>
-
-<p>Divide <span class="frac"><sup>40</sup><span>/</span><sub>3</sub></span> by <span class="frac"><sup>4</sup><span>/</span><sub>3</sub></span> giving 10, the number in each hand.</p>
-
-
-<p class="p6">THE MYSTERIOUS HALVINGS.</p>
-
-<p><em>To tell the number a person has thought of.</em></p>
-
-<p>One of the company must fix upon any one of the numbers
-from 1 to 15; this he keeps secret, as well as the numbers
-produced by the succeeding operations:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="THE MYSTERIOUS HALVINGS">
-<tbody>
-<tr>
- <td class="tdl">Suppose he fixes on</td>
- <td class="tdr">8</td>
-</tr>
-<tr>
- <td class="tdl">He must add 1 to it, making</td>
- <td class="tdr">9</td>
-</tr>
-<tr>
- <td class="tdl">Triple it</td>
- <td class="tdr">27</td>
-</tr>
-<tr>
- <td class="tdl">Halve it<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a>&mdash;1st <em>halving</em>&mdash;(<em>larger half</em>) &nbsp; &nbsp;</td>
- <td class="tdr">14</td>
-</tr>
-<tr>
- <td class="tdl">Triple it</td>
- <td class="tdr">42</td>
-</tr>
-<tr>
- <td class="tdl">Halve it&mdash;2d <em>halving</em></td>
- <td class="tdr">21</td>
-</tr>
-<tr>
- <td class="tdl">Triple it</td>
- <td class="tdr">63</td>
-</tr>
-<tr>
- <td class="tdl">Halve it&mdash;3d <em>halving</em>&mdash;(<em>larger half</em>)</td>
- <td class="tdr">32</td>
-</tr>
-<tr>
- <td class="tdl">Triple it</td>
- <td class="tdr">96</td>
-</tr>
-<tr>
- <td class="tdl">Halve it&mdash;4th <em>halving</em>.</td>
- <td class="tdr">48</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>He need not inform you that 48 is the figure produced, but
-he must let you know in which of the four halvings he was
-obliged to take a "larger half;" having ascertained this
-point, you discover the number fixed upon in the following
-manner. Carry in your mind, or on a slip of paper, the following
-list of names in which the letter a occurs in one or
-more of the three syllables of all except the last.</p>
-
-<p><span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span></p>
-
-<p>The three syllables are intended to represent the 1st, 2d,
-and 3d halvings, and the occurrence of the letter <span class="smcapa">A</span> corresponds
-to the occurrence of a "larger half" in one or more
-of these three halvings. Having been informed where the
-<em>larger half</em> was taken, refer to the word which has <span class="smcapa">A</span> in the
-corresponding syllable, and against it stand two numbers,
-one of which was the number thought of; and of these two,
-the right hand number is the correct one <em>if a larger half was
-taken in the</em> 4<em>th stage</em>, and the left hand one <em>if the</em>, 4<em>th halving
-was exact</em>.</p>
-
-<p>In the example given, a <em>larger half</em> occurred in the 1st
-and 3d stage; this points us to <em>Car-ro-way</em>, and the halving
-in the 4th stage being exact, shows us that 8 was the number
-fixed upon.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="LARGER HALF">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdc">If the 4th halving is <em>exact</em>. &nbsp; &nbsp;</td>
- <td class="tdc">If a <em>larger half</em> occurs in the 4th halving.</td>
-</tr>
-<tr>
- <td class="tdl">W<span class="smcapa">A</span>sh-ing-ton</td>
- <td class="tdc">4</td>
- <td class="tdc">12</td>
-</tr>
-<tr>
- <td class="tdl">L<span class="smcapa">A</span>-f<span class="smcapa">A</span>y-ette</td>
- <td class="tdc">2</td>
- <td class="tdc">10</td>
-</tr>
-<tr>
- <td class="tdl">C<span class="smcapa">A</span>r-row-w<span class="smcapa">A</span>y</td>
- <td class="tdc">8</td>
- <td class="tdc">0</td>
-</tr>
-<tr>
- <td class="tdl">M<span class="smcapa">A</span>n-h<span class="smcapa">A</span>t-t<span class="smcapa">A</span>n</td>
- <td class="tdc">6</td>
- <td class="tdc">14</td>
-</tr>
-<tr>
- <td class="tdl">Ger-m<span class="smcapa">A</span>-ny</td>
- <td class="tdc">13</td>
- <td class="tdc">5</td>
-</tr>
-<tr>
- <td class="tdl">Tel-e-gr<span class="smcapa">A</span>ph</td>
- <td class="tdc">3</td>
- <td class="tdc">11</td>
-</tr>
-<tr>
- <td class="tdl">Bo-n<span class="smcapa">A</span>-p<span class="smcapa">A</span>rte</td>
- <td class="tdc">1</td>
- <td class="tdc">9</td>
-</tr>
-<tr>
- <td class="tdl">Long-fel-low</td>
- <td class="tdc">15</td>
- <td class="tdc">7</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>It will be observed that there is always a difference of 8
-between the numbers of the columns, so that it is necessary
-to recollect only one of them. Perhaps some of our readers
-who wish to be adepts in this game, would prefer recollecting
-the above table if put in this form:</p>
-
-<blockquote><p>2-3 &nbsp; 1-2 &nbsp; 3 &nbsp; 1-2-3 &nbsp; 1-3 &nbsp; 2 <span class="mleft0">&nbsp;</span>none<br />
-&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
- &nbsp; 1<span class="mleft1">&nbsp;</span> 2<span class="mleft1">&nbsp;</span>3<span class="mleft1">&nbsp;</span> 4<span class="mleft1b">&nbsp;</span> 8<span class="mleft0">&nbsp;</span>13<span class="mleft0">&nbsp;</span> 15</p></blockquote>
-
-<p>where the upper line denotes the cases in which the "larger
-half" was taken, and the lower line the numbers of the
-left hand column above given.</p>
-
-
-<p class="center"><em>Another Method.</em></p>
-
-<p>The person having chosen any number from one to fifteen,
-he is to add twenty-one to that number, and triple the
-amount. Then,</p>
-
-<p>1st. He is to take half of that triple, and triple that half.</p>
-
-<p>2nd. To take the half of the last triple, and triple that
-half.</p>
-
-<p>3rd. To take the half of the last triple.</p>
-
-<p><span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p>
-
-<p>4th. To take the half of the last half.</p>
-
-<p>In this operation there are four distinct cases or stages
-where the half is to be taken. The three first are denoted
-by one of the eight following Latin words, each word being
-composed of three syllables, and the syllables containing the
-letter i corresponding in numerical order with the cases
-where the half cannot be taken without a fraction; consequently,
-in those cases the person who makes the deduction
-is to add one to the number to be divided. The fourth case
-shows which of the two numbers corresponding to each
-word has been chosen. For if the fourth half can be taken
-without adding one, the number chosen is in the first, or
-left-hand column; but if not, it is in the second column to
-the right.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Another Method">
-<tbody>
-<tr>
- <td class="tdl">The words. &nbsp; &nbsp;</td>
- <td class="tdr" colspan="2">The numbers denoted.</td>
-</tr>
-<tr>
-  <td class="tdl">Mi-ser-is</td>
-  <td class="tdr">8</td>
-  <td class="tdr">0</td>
-</tr>
-<tr>
-  <td class="tdl">Ob-tin-git</td>
-  <td class="tdr">1</td>
-  <td class="tdr">9</td>
-</tr>
-<tr>
-  <td class="tdl">Ni-mi-um</td>
-  <td class="tdr">2</td>
-  <td class="tdr">10</td>
-</tr>
-<tr>
-  <td class="tdl">No-tar-i</td>
-  <td class="tdr">3</td>
-  <td class="tdr">11</td>
-</tr>
-<tr>
-  <td class="tdl">In-fer-nos</td>
-  <td class="tdr">4</td>
-  <td class="tdr">12</td>
-</tr>
-<tr>
-  <td class="tdl">Or-di-nes</td>
-  <td class="tdr">13</td>
-  <td class="tdr">5</td>
-</tr>
-<tr>
-  <td class="tdl">Ti-mi-di</td>
-  <td class="tdr">6</td>
-  <td class="tdr">14</td>
-</tr>
-<tr>
-  <td class="tdl">Te-ne-ant</td>
-  <td class="tdr">15</td>
-  <td class="tdr">7</td>
-</tr>
-</tbody>
-</table></div>
-
-<p><em>Example.</em>&mdash;Suppose the number chosen to be nine, to
-which is to be added one, making ten, and which last, being
-tripled, gives thirty. Then:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="NUMBER CHOSEN">
-<tbody>
-<tr>
- <td class="tdl">1st case.</td>
- <td class="tdl">The half of the triple is</td>
- <td class="tdl">15</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">which tripled, makes</td>
- <td class="tdl">45</td>
-</tr>
-<tr>
- <td class="tdl top">2nd case.</td>
- <td class="tdl">The half of <ins title="Transcriber's Note: original reads 'tha'">that</ins> triple, 1 being added<br /> to make an even number, is</td>
- <td class="tdl bottom">23</td></tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">and that tripled, makes</td>
- <td class="tdl">69</td>
-</tr>
-<tr>
- <td class="tdl">3rd case.</td>
- <td class="tdl">The half of the last triple, 1 being added, is &nbsp; &nbsp;</td>
- <td class="tdl">35</td>
-</tr>
-<tr>
- <td class="tdl top">4th case.</td>
- <td class="tdl">The half of the last half, 1<br /> being again added, is</td>
- <td class="tdl bottom">18</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p>Here we see, that in the second and third case, one had
-to be added, and, looking at the table, we find that the only
-corresponding word having an i in its second and third
-syllables is <em>Ob-tin-git</em>, which represents the figures one and
-nine. Then, as one had to be added in the fourth case, we
-know by the rule, that the figure in the second column, 9,<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>
-is the one required. Observe, that if no addition be required
-at any of the four stages, the number thought of
-will be fifteen; and if one addition only be required at the
-fourth stage, the number will be seven.</p>
-
-
-<p class="p6">WHO WEARS THE RING?</p>
-
-<p>This is an elegant application of the principles involved
-in discovering a number fixed upon. The number of persons
-participating in the game should not exceed nine.
-One of them puts a ring on one of his fingers, and it is
-your object to discover&mdash;1st. The wearer of the ring. 2d.
-The hand. 3d. The finger. 4th. The joint.</p>
-
-<p>The company being seated in order the persons must be
-numbered 1, 2, 3, &amp;c.; the thumb must be termed the first
-finger, the fore finger being the second; the joint nearest
-the extremity must be called the first joint; the right hand
-is one, and the left hand two.</p>
-
-<p>These preliminaries having been arranged, leave the
-room in order that the ring may be placed unobserved by
-you. We will suppose that the third person has the ring
-on the right hand, third finger, and first joint; your object
-is to discover the figures 3131.</p>
-
-<p>Desire one of the company to perform secretly the following
-arithmetical operations:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="ARITHMETICAL OPERATIONS">
-<tbody>
-<tr>
- <td class="tdl top">1.</td>
- <td class="tdl">Double the number of the person who has the ring;<br /> in the case supposed, this will produce</td>
- <td class="tdl bottom">6</td>
-</tr>
-<tr>
- <td class="tdl">2.</td>
- <td class="tdl">Add 5</td>
- <td class="tdl">11</td>
-</tr>
-<tr>
- <td class="tdl">3.</td>
- <td class="tdl">Multiply by 5</td>
- <td class="tdl">55</td>
-</tr>
-<tr>
- <td class="tdl">4.</td>
- <td class="tdl">Add 10</td>
- <td class="tdl">65</td>
-</tr>
-<tr>
- <td class="tdl">5.</td>
- <td class="tdl">Add the number denoting the hand</td>
- <td class="tdl">66</td>
-</tr>
-<tr>
- <td class="tdl">6.</td>
- <td class="tdl">Multiply by 10</td>
- <td class="tdl">660</td>
-</tr>
-<tr>
- <td class="tdl">7.</td>
- <td class="tdl">Add the number of the finger</td>
- <td class="tdl">663</td>
-</tr>
-<tr>
- <td class="tdl">8.</td>
- <td class="tdl">Multiply by 10</td>
- <td class="tdl">6630</td>
-</tr>
-<tr>
- <td class="tdl">9.</td>
- <td class="tdl">Add the number of the joint</td>
- <td class="tdl">6631</td>
-</tr>
-<tr>
- <td class="tdl">10.</td>
- <td class="tdl">Add 35</td>
- <td class="tdl">6666</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>He must apprise you of the figures now produced, 6666;
-you will then in all cases subtract from it 3535; in the
-present instance there will remain 3131, denoting the person
-No. 3, the hand No. 1, the finger No. 3, and the joint
-No. 1.</p>
-
-<p><span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span></p>
-
-
-<p class="p6">PROBABILITIES.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p>
-
-<p>When we look around us at results happening daily, of
-the causes of which we are ignorant, we are led to regard
-them as isolated incidents subject to no law or rule; but
-could we see and understand the secret workings and connection
-existing between cause and effect, we might frequently
-discover that all works by rule. As it is, we may
-readily mark the boundaries, within which events must
-happen in very many instances; and do much to estimate
-their probability. We speak of <em>Chance</em>, as something without
-plan or design, but taking in a large range, our calculations
-will approximate closely to the truth. When we
-throw a copper into the air, the chances of "heads or tails,"
-as the boys say, are equal, and though one or the other may
-occur most frequently for a few throws, in a large number,
-say a thousand, the results will be about equally divided.
-In this case the sides of the coin must be equal in weight,
-else it will be like the grumbler's bread and butter:</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"I never had a piece of bread,</div>
-  <div class="i1">Particularly good and wide,</div>
-  <div class="i0">But fell upon the sanded floor,</div>
-  <div class="i1">And always on the buttered side."</div>
- </div>
-</div>
-</div>
-
-<p>Had he put on less butter, perhaps the sides would have
-been more equal in weight, and the probability of the buttered
-side being uppermost would have been increased.
-Disturbing causes unknown to us, may often shape the
-result; but in the absence of these, we may pretty accurately
-estimate our chances.</p>
-
-<p>We see accidents from fire and flood, happening at times
-and points least expected; but the insurer has learned by
-observation to estimate probabilities, and by taking a wide
-range of country and a period of years, he does a comparatively
-safe business. Death takes the young and the old;
-but the life insurer has conned the bills of mortality and
-studied the ages of those who have died, until he can estimate
-at once the probability of duration of life, and determine
-what he can afford to pay for an annuity contingent
-on life, or engage for a present sum, or an annual sum paid
-for life, to pay the heirs at the death of the insured. In
-one instance his estimate may fall short, and in another
-exceed, but the average will be about right.</p>
-
-<p><span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span></p>
-
-<p>So, too, the man who deals in lotteries and games of chance,
-knows the data and calculates carefully the probabilities,
-and though "luck" may sometimes be against him, his estimates
-of probabilities are based on mathematical principles,
-and he is secure in being ultimately the gaining party.</p>
-
-<p>How these chances are calculated, depends on the data
-in each case, and it is not within the range of our present
-plan to attempt more than giving a general idea of the
-subject; and this with any one of ordinary prudence, will
-be sufficient to prevent all intermeddling with lotteries and
-every other species of gambling. The probabilities are always
-against the casual operator, even if all be conducted fairly;
-what then must they be when fraud and dishonesty are
-superadded? It is downright swindling!</p>
-
-<p>In lottery schemes generally, fifteen per cent. is reserved
-as profit, but this is a small part of what may be secured;
-yet even this amounts to a great deal. If a man were to
-draw a prize nominally of $100,000, fifteen thousand would
-be deducted at once, and he would be entitled to only $85,000.
-It is true that in his good fortune he would not probably regard
-the abatement, but that does not change the principle.</p>
-
-
-<p class="p6">VARIATIONS.</p>
-
-<p>It is obvious that if we have a number of single things
-arranged in any order, we may change the arrangement
-into a variety of forms, and in doing so, we may take all
-together, or we may take only part at once. For instance,
-we may arrange the six vowels, a e, i, o, u, y, in a great
-number of ways, as a e i o u y, a i e o u y, e a i o u y,
-&amp;c., &amp;c.; or we may form them into groups, as ae, io, uy, ai,
-eu, oy, &amp;c.; or, we may take three, four, five, or, as above,
-all at a time; and it is reasonable to suppose that the number
-of possible changes may, in all cases, be calculated.</p>
-
-<p>When all are taken together, the operation is called
-<em>Permutation</em>; but if a part only be taken, it is called either
-a <em>Variation</em> or a <em>Combination</em>; a e, i o, u y, are distinct combinations,
-and are also considered one of the variations of
-two of which those six letters are susceptible; e a, o i, y u,
-are three other variations, but they are the same combinations;
-for a change of order will constitute a new variation
-but not a new combination; hence the number of variations
-will always exceed the number of combinations.</p>
-
-<p>The doctrine of variations and combinations forms the<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
-basis of many forms of lotteries, and of other calculations
-used in practical life.</p>
-
-
-<p class="p6">COMBINATIONS AND PERMUTATIONS.</p>
-
-<p>"Combinations" are the different ways in which a certain
-number of things can be selected out of a larger number,
-when taken 1 at a time, 2 at a time, or any other number
-each time, but without regard to the order in which the
-selected numbers can be arranged among themselves. The
-latter is the province of "Permutation," which refers to the
-different ways in which a number can be selected out of
-one that is larger, and, <em>in addition to this</em>, to the different
-ways of <em>grouping</em> these selected numbers.</p>
-
-<p>Thus 4 things can be taken 2 at a time in 6 different ways;
-for instance, the letters a, b, c, d, can be taken 2 at a time
-thus, a and b, a and c, a and d, b and c, b and d, c and d;
-if we regard the <em>order</em> of the selected letters we shall find
-that these 4 letters are capable of 12 different permutations,
-as ab, ba, ac, ca, ad, da, bc, cb, bd, db, cd, dc.</p>
-
-<p>If we selected 3 letters at a time we could make 4 different
-selections, and 24 different changes of grouping.</p>
-
-<p>The rule to compute the number of these different ways
-is very simple, but sometimes involves a multitude of
-figures.</p>
-
-<p>To determine the number of permutations, commence
-with unity, and multiply by the successive terms of the
-natural series 1, 2, 3, &amp;c., until the highest multiplier shall
-express the number of individual things. The last product
-will indicate the number of possible changes.</p>
-
-<p><em>Example 1.</em> How many changes can be made in the arrangement
-of 5 grains of corn, all of different colors, laid in
-a row?</p>
-
-<blockquote><p><em>Solution.</em> 1 × 2 × 3 × 4 × 5 = 120, <em>Ans.</em></p></blockquote>
-
-<p>This may seem improbable, the number being so great,
-but if there were but a single grain more, the possible
-changes would be 720; and another would extend the limit
-to 5040; and so onward in a constantly increasing ratio.
-The reason, however, will be obvious on a little <ins title="Transcriber's Note: original reads 'scrunity'">scrutiny</ins>. If
-there were but one thing, as <em>a</em>, it would admit of but one
-position; but if two, as <em>a b</em>, it would admit of two positions,
-<em>ab</em>, <em>ba</em>. If three things, as <em>a b c</em>, then they will admit of
-1 × 2 × 3 = 6 changes, for the last two will admit of two
-variations, as <em>a b c</em>, <em>a c b</em>, and each of the three may successively
-be placed first, and two changes made to each of<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
-the others, so that 3 × 2 = 6, the number of possible changes.
-In the same way we may show that if there be four individual
-things, each one will be first in each of the six
-changes which the other three will undergo, and consequently,
-there will be 24 changes in all. In this way we
-might show that when there are 5 individual things, there
-will be 5 times as many changes as when there were but 4;
-and when 6, there will be 6 times as many changes as when
-there are only 5; and so on <em>ad infinitum</em>, according to the
-same law.</p>
-
-<p><em>Example 2.</em> In how many ways may a family of 10 persons
-seat themselves differently at dinner? <em>Ans.</em> 3,628,800.</p>
-
-<p>When we consider that this would require a period of
-9935-55/487 years, the mind is lost in astonishment. The story
-of the man who bought a horse at a farthing for the first
-nail in his shoe, a penny for the second, &amp;c., is thrown into
-the shade; and we incline to doubt whether there is not
-some mistake; and yet on just such chances as one to all
-these, do gamblers constantly risk their money!</p>
-
-<p><em>Example 3.</em> I have written the letters contained in the
-word N I M R O D on 6 cards; being one letter on each,
-and having thrown them confusedly into a hat, I am offered
-$10 to draw the cards successively, so as to spell the name
-correctly. What is my chance of success worth? <em>Ans.</em> 1 <span class="frac"><sup>7</sup><span>/</span><sub>18</sub></span>
-cents.</p>
-
-<p><em>Example 4.</em> In order to form a lottery scheme, I have put
-into the wheel as many cards as I can put 4 letters of the
-word Charleston on, without having the same letters in the
-same order upon any two cards. I offer $100 to him who
-draws the card having on it the first four letters of the said
-word in their natural order (Char). What is the chance
-of drawing a prize worth?</p>
-
-<p>There are 10 letters in the word, and the combination is
-of the 4th class; and, according to the mode of determining
-combinations with repetitions, we find the whole number
-of combinations of the 4th class which the word admits
-of is 210. Then he has one chance in 210 of drawing the
-letters Char, in <em>some</em> order. The number of permutations of
-four individual things is 1 × 2 × 3 × 4 = 24, and 210 × 24 = 5040
-his chance of drawing them in the right order, and $100
-divided by 5040 gives <em>Ans.</em> 1 <span class="frac"><sup>52</sup><span>/</span><sub>63</sub></span> cents.</p>
-
-<p>Suppose that the numbers from 1 to 78, inclusive, be
-placed upon 78 cards, and the cards placed in a wheel by<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
-which they are thoroughly mixed; and then 13 cards be
-successively drawn out, by a person who has no means of
-choosing, and the numbers on them registered. Suppose
-also that tickets have been issued, containing each three of
-the 78 numbers, but no two having <em>all</em> the same numbers,
-and that he who holds the ticket having on it the first three
-drawn numbers in their regular order, shall be entitled to
-$100,000; what would the probability of drawing such a
-ticket be worth?</p>
-
-<blockquote><p><em>Ans.</em> 21 <span class="frac"><sup>5183</sup><span>/</span><sub>5858</sub></span> cents.</p></blockquote>
-
-<p><em>Note.</em>&mdash;It is usual also, to give smaller prizes to the holders
-of tickets having the numbers in any order, or having
-any two or one of the drawn numbers. Lotteries may be
-arranged on a great diversity of plans, and in each the probability
-of drawing prizes will vary.</p>
-
-<p>A speaks the truth 3 times in 4; B 4 times in 5, and C 6
-times in 7. What is the probability of an event which A
-and B assert, and C denies? <em>Ans.</em> <span class="frac"><sup>140</sup><span>/</span><sub>143</sub></span></p>
-
-<p>Suppose a coin be thrown up, having two faces; what is
-the probability that the obverse (heads) side will fall upward,
-and what the reverse?</p>
-
-<p>Here there are only two possible cases, and one favors each
-of the contingencies the probability of each will be <span class="frac"><sup>1</sup><span>/</span><sub>(1 + 1)</sub></span> = <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span>;
-there being no reason why one side should fall uppermost
-rather than the other.</p>
-
-<p>What would be the probability of either side presenting
-upwards twice in two throws?</p>
-
-<p>Here we have 4 possible cases, viz.:</p>
-
-<blockquote><p>Obverse and reverse;<br />
-Obverse both times;<br />
-Reverse and obverse;<br />
-Reverse both times.</p></blockquote>
-
-<p>Of the 4 possibilities there is only one which favors the
-turning up of the obverse twice in <ins title="Transcriber's Note: original reads 'successsion'">succession</ins>, and the
-same is true of the reverse, hence the probability of either
-is only <span class="frac"><sup>1</sup><span>/</span><sub>4</sub></span>.</p>
-
-<p>In like manner we might show that the probability of the
-obverse presenting upwards three times in succession will
-be <span class="frac"><sup>1</sup><span>/</span><sub>8</sub></span>, or <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> × <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> × <span class="frac"><sup>1</sup><span>/</span><sub>2;</sub></span> the general principle being to multiply
-successively together the independent probabilities of an
-event for the fraction expressing the chance of all the events
-happening.</p>
-
-<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p>
-
-
-<p class="p6">THE VISITORS TO THE CRYSTAL PALACE.</p>
-
-<p>In a family consisting of 8 young people, it was agreed
-that 3 at a time should visit the Crystal Palace, and that
-the visit should be repeated each day as long as a different
-trio could be selected. In how many days were the possible
-combinations of 3 out of 8 completed?</p>
-
-<p>We must multiply 8 × 7 × 6, and also 3 × 2 × 1, and divide
-the product of the former, 336, by the product of the latter,
-6; the result is 56, the number of visits, a different three
-going each time. So much gratified were they with the results
-of their agreement, that they wished to be allowed
-another series of visits, to be continued as many days as
-they could group 3 together in different order when starting.
-If Paterfamilias had granted such permission he would have
-had to wait 56 multiplied by 3 × 2 × 1, or 336 days, before
-this "new series" of visits would have come to a <em>finis</em>.</p>
-
-
-<p class="p6">HOW MANY CHANGES CAN BE GIVEN TO 7 NOTES OF A PIANO?</p>
-
-<p>That is to say, in how many ways can 7 keys be struck
-in succession, so that there shall be some difference in the
-order of the notes each time?</p>
-
-<p>The result of multiplying</p>
-
-<p class="center">7 × 6 × 5 × 4 × 3 × 2 × 1</p>
-
-<p>is 5,040, the number of changes.</p>
-
-
-<p class="p6">THE ARITHMETICAL TRIANGLE.</p>
-
-<p>This name has been given to a contrivance said to have
-originated with the famous Pascal, or to have been perfected
-by him.</p>
-
-<blockquote><p>1<br />
-2   1<br />
-3   3   1<br />
-4   6   4  1<br />
-5  10  10  5  1<br />
-6  15  20 15  6  1<br />
-7  21  35 35 21  7  1<br />
-8  28  56 70 56 28  8  1<br />
-&amp;c. <span class="mleft4">&nbsp;</span>&amp;c.</p></blockquote>
-
-<p>This peculiar series of numbers is thus formed: Write
-down the numbers 1, 2, 3, &amp;c., as far as you please, in a vertical
-row. On the right hand of 2 place 1, add them together,
-and place 3 under the 1; then 3 added to 3 = 6, which place<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
-under the 3; 4 and 6 are 10, which place under the 6, and
-so on as far as you wish. This is the second vertical row,
-and the third is formed from the second in a similar way.</p>
-
-<p>This triangle has the property of informing us, without
-the trouble of calculation, how many combinations can be
-made, taking any number at a time out of a larger number.</p>
-
-<p>Suppose the question were that just given; how many
-selections can be made of 3 at a time out of 8? On the
-horizontal row commencing with 8, look for the third number;
-this is 56, which is the answer.</p>
-
-
-<p class="p6">HOW MANY DIFFERENT DEALS CAN BE MADE WITH 13 CARDS OUT OF 52?</p>
-
-<p>To discover this we must make a continued multiplication
-of 52 × 51 × 50 × 49 × 48 × 47 × 46 × 45 × 44 × 43 × 42 × 41 × 40,
-being 13 terms for the 13 cards, also a continued multiplication
-of 13 × 12 × 11 × 10 × 9 × 8 × 7 × 6 × 5 × 4 × 3 × 2 × 1, and
-having found the two products, we must divide one by the
-other, and the quotient is the number of different deals out
-of 52 cards. This "sum," that looks so formidable with
-natural figures, is a very short one by logarithms.</p>
-
-
-<p class="p6">THE THREE GRACES.</p>
-
-<p>Three articles, or three names inscribed on cards, having
-been distributed between three persons, you are to tell
-which article or card each person has.</p>
-
-<p>Designate the three persons in your own mind, as 1st, 2d,
-and 3d, and the three articles, <span class="smcapa">A</span>, <span class="smcapa">E</span>, <span class="smcapa">I</span>. Provide 24 counters,
-and give 1 to the first person, 2 to the 2d, 3 to the 3d.
-Place the remaining 18 on the table. Request that the
-three persons will distribute among themselves the three
-articles, and that, having done so, the person who has the
-one which you have secretly denoted by <span class="smcapa">A</span>, will take as many
-counters as he may have already; the holder of <span class="smcapa">E</span> must take
-twice as many as he may have; and the holder of <span class="smcapa">I</span> must
-take four times as many. Then leave the room, in order
-that the distribution of articles and of counters may be made
-unobserved by you. We will suppose that the three articles
-are three cards, on which are the words Clara, Rosa, Emily,
-which you will yourself secretly denote by the letters <span class="smcapa">A</span>, <span class="smcapa">E</span>, <span class="smcapa">I</span>.
-Suppose also that in the division the first person has Emily
-(<span class="smcapa">I</span>), the second has Clara (<span class="smcapa">A</span>), and the third has Rosa (<span class="smcapa">E</span>),
-then the 1st will take four times as many counters as he has
-(1), and will therefore take 4; the 2d will take as many as<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
-he has (2), and will therefore take 2; the 3d will take 6,
-being twice as many as he has (3). On the table will be
-left 6 counters. The distribution having been made, you
-will return and observe the number of counters on the table,
-from which you can find who is the holder of each card by
-the following method.</p>
-
-<p>It is plain that if the cards held by the 1st and 2d can be
-told, that held by the 3d will be known. It will be found
-that only six numbers can remain, viz. 1, 2, 3, 5, 6, 7; never
-4, and never more than 7. Now the 6 combinations of a, e,
-and i, here given, represent the articles held by the 1st and
-2d persons.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="NUMBERS">
-<tbody>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">5</td>
- <td class="tdc">6</td>
- <td class="tdc">7</td>
-</tr>
-<tr>
- <td class="tdl">ae</td>
- <td class="tdl">ea</td>
- <td class="tdl">ai</td>
- <td class="tdl">&mdash;</td>
- <td class="tdl">ei</td>
- <td class="tdl">ia</td>
- <td class="tdl">ie</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>In the case supposed, 6 counters being on the table, the
-combination <em>ia</em> indicates that the first person has the card
-you have called <span class="smcapa">I</span> (Emily), the 2d has <span class="smcapa">A</span> (Clara), so that the
-3d has <span class="smcapa">E</span> (Rosa).</p>
-
-<p>In order to recollect the combinations of <span class="smcapa">A</span>, <span class="smcapa">E</span>, and <span class="smcapa">I</span>, it will
-be best to keep in memory some 7 words which form a sentence,
-and which contain these vowels in the order just given.</p>
-
-<p>Our young friends can amuse themselves in forming a
-sentence for themselves, but as examples we supply three.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="VOWELS">
-<tbody>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">5</td>
- <td class="tdc">6</td>
- <td class="tdc">7</td>
-</tr>
-<tr>
- <td class="tdc"><em>ae</em></td>
- <td class="tdc"><em>ea</em></td>
- <td class="tdc"><em>ai</em></td>
- <td class="tdc">&mdash;</td>
- <td class="tdc"><em>ei</em></td>
- <td class="tdc"><em>ia</em></td>
- <td class="tdc"><em>ie</em></td>
-</tr>
-<tr>
- <td class="tdl">James</td>
- <td class="tdl">easy</td>
- <td class="tdl">admires</td>
- <td class="tdl">now</td>
- <td class="tdl">reigning</td>
- <td class="tdl">with a</td>
- <td class="tdl">bride.</td>
-</tr>
-<tr>
- <td class="tdl">Anger,</td>
- <td class="tdl">fear,</td>
- <td class="tdl">pain</td>
- <td class="tdl">may</td>
- <td class="tdl">be hid</td>
- <td class="tdl">with a</td>
- <td class="tdl">smile.</td>
-</tr>
-<tr>
- <td class="tdl">Graceful</td>
- <td class="tdl">Emma,</td>
- <td class="tdl">charming</td>
- <td class="tdl">she</td>
- <td class="tdl">reigns</td>
- <td class="tdl">in all</td>
- <td class="tdl">circles.</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Or, if they prefer Latin, they can use the pentameter made
-up by the inventor of this beautiful pastime:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="LATIN">
-<tbody>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">5</td>
- <td class="tdc">6</td>
- <td class="tdc">7</td>
-</tr>
-<tr>
- <td class="tdl">Salve</td>
- <td class="tdl">certa</td>
- <td class="tdl">animæ</td>
- <td class="tdl">semita</td>
- <td class="tdl">vita</td>
- <td class="tdl">quies.</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">ANOTHER METHOD.</p>
-
-<p>The performer must mentally distinguish the articles by
-the letters <span class="smcapa">A</span>, <span class="smcapa">B</span>, <span class="smcapa">C</span>, and the persons as 1st, 2d, and 3d. The
-persons having made their choice, give 12 counters to the
-1st, 24 to the 2d, and 36 to the 3d. Then request the 1st
-person to add together the half of the counters of the person
-who has chosen <span class="smcapa">A</span>, the 3d of the person who has chosen <span class="smcapa">B</span>,<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
-and the 4th of those of the person who has chosen <span class="smcapa">C</span>, and
-then ask the sum, which must be either 23, 24, 25, 27, 28,
-or 29, as in the following table:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="ANOTHER METHOD">
-<tbody>
-<tr>
- <td class="tdc">First.</td>
- <td class="tdc">Second.</td>
- <td class="tdc">Third.</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc">12</td>
- <td class="tdc">24</td>
- <td class="tdc">36</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdr">23</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdr">24</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdr">25</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdr">27</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdr">28</td>
-</tr>
-<tr>
- <td class="tdc"><span class="smcapa">C</span></td>
- <td class="tdc"><span class="smcapa">B</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdr">29</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>This table shows that if the sum be 25, for example, the
-1st person must have chosen <span class="smcapa">B</span>, the 2d <span class="smcapa">A</span>, and the 3d <span class="smcapa">C</span>; or
-if it be 28, the 1st must have chosen <span class="smcapa">B</span>, the 2d <span class="smcapa">C</span>, and the
-3d <span class="smcapa">A</span>.</p>
-
-
-<p class="p6">ANOTHER METHOD.</p>
-
-<p>Three things having been divided between three persons,
-you are to determine the holder of each.</p>
-
-<p>Call the persons in your own mind 1st, 2d, 3d.</p>
-
-<p>Give to the 1st a card on which you have written the
-number 12; to the 2d the number 24; to the 3d 36.</p>
-
-<p>The three things you must denote as <span class="smcapa">A</span>, <span class="smcapa">E</span>, <span class="smcapa">I</span>.</p>
-
-<p>To simplify it you may have three cards with a name upon
-each, of which the initial letters are <span class="smcapa">A</span>, <span class="smcapa">E</span>, <span class="smcapa">I</span>, as Anna, Emma,
-Isabel.</p>
-
-<p>Request your friends to divide between them the three
-articles, and then to add together certain parts of the numbers
-on their cards, as follows:</p>
-
-<p>Whoever has <span class="smcapa">A</span> must supply one half of the number on
-his card;</p>
-
-<p>Whoever has <span class="smcapa">E</span> must supply one third;</p>
-
-<p>Whoever has <span class="smcapa">I</span> must supply one fourth;</p>
-
-<p>This half, third and fourth having been added together,
-the sum must be announced to you on your return; and from
-this number you can tell who has <span class="smcapa">A</span>, who has <span class="smcapa">E</span>, and who has <span class="smcapa">I</span>.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="If the No is">
-<tbody>
-<tr>
- <td class="tdc">If the No. is</td>
- <td class="tdc">the 1st has</td>
- <td class="tdc">the 2d has</td>
- <td class="tdc">the 3d has</td>
-</tr>
-<tr>
- <td class="tdc">23</td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">E</span></td>
- <td class="tdc"><span class="smcapa">I</span></td>
-</tr>
-<tr>
- <td class="tdc">24</td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">I</span></td>
- <td class="tdc"><span class="smcapa">E</span></td>
-</tr>
-<tr>
- <td class="tdc">25</td>
- <td class="tdc"><span class="smcapa">E</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">I</span></td>
-</tr>
-<tr>
- <td class="tdc">27</td>
- <td class="tdc"><span class="smcapa">I</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
- <td class="tdc"><span class="smcapa">E</span></td>
-</tr>
-<tr>
- <td class="tdc">28</td>
- <td class="tdc"><span class="smcapa">E</span></td>
- <td class="tdc"><span class="smcapa">I</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
-</tr>
-<tr>
- <td class="tdc">29</td>
- <td class="tdc"><span class="smcapa">I</span></td>
- <td class="tdc"><span class="smcapa">E</span></td>
- <td class="tdc"><span class="smcapa">A</span></td>
-</tr>
-</tbody>
-</table></div>
-
-<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p>
-
-<p>The sum which will be given to you can be one of six
-only. There are only six ways in which the articles can be
-divided, and there is a definite number for each of them.</p>
-
-<p>The number 26 can never occur, and to recollect the six
-which do occur, and which you perceive are consecutive,
-you need take note only of what the 1st and 2d persons have.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="recollections">
-<tbody>
-<tr>
- <td class="tdc">23</td>
- <td class="tdc">24</td>
- <td class="tdc">25</td>
- <td class="tdc">26</td>
- <td class="tdc">27</td>
- <td class="tdc">28</td>
- <td class="tdc">29</td>
-</tr>
-<tr>
- <td class="tdc">ae</td>
- <td class="tdc">ai</td>
- <td class="tdc">ea</td>
- <td class="tdc">&mdash;</td>
- <td class="tdc">ia</td>
- <td class="tdc">ei</td>
- <td class="tdc">ie</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>If you make up a line of good (or bad) English, having
-the vowels in the order here given, you will find it will aid
-you in their recollection. We give one as a specimen:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="specimen">
-<tbody>
-<tr>
- <td class="tdc">ae</td>
- <td class="tdc">ai</td>
- <td class="tdc">ea</td>
- <td class="tdc">&mdash;</td>
- <td class="tdc">ia</td>
- <td class="tdc">ei</td>
- <td class="tdc">ie</td>
-</tr>
-<tr>
- <td class="tdc">Brave</td>
- <td class="tdc">dashing</td>
- <td class="tdc">sea,</td>
- <td class="tdc">like a</td>
- <td class="tdc">giant</td>
- <td class="tdc">revives</td>
- <td class="tdc">itself.</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">THE FORTUNATE NINTH.</p>
-
-<p>A sharp youth, fresh from school, having gone to visit a
-good-natured uncle, the latter placed on a table fifteen fine
-oranges and fifteen apples, and desired his young friend to
-take half. He, not liking the apples, was about to take the
-fifteen oranges; but this monopoly of the best fruit being
-objected to, the old gentleman told him to range all the
-fruit in a circle, and to take every ninth. The clever fellow
-ranged them in such a way as that, by taking away
-every ninth, all the apples were left on the table, and all the
-oranges were transferred to his capacious pockets. How did
-he arrange them?</p>
-
-<div class="figleft">
-<img src="images/i_221.jpg" width="156" height="155" alt="" />
-</div>
-
-<p>He placed them as in the margin, A representing
-apples, and O oranges; and it
-will be found that, by commencing at the
-four apples, and going round and round
-the circle, taking away every ninth, all
-the oranges will be removed, and all the
-apples will remain.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="A representing apples">
-<tbody>
-<tr>
- <td class="tdl">If we let the vowels</td>
- <td class="tdc">a</td>
- <td class="tdc">e</td>
- <td class="tdc">i</td>
- <td class="tdc">o</td>
- <td class="tdc">u</td>
-</tr>
-<tr>
- <td class="tdl">denote the figures</td>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">5,</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>the arrangement of the figures 4, 5, 2, 1, &amp;c., can be easily
-recollected by the following line:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="arrangement">
-<tbody>
-<tr>
- <td class="tdc">Our</td>
- <td class="tdc">earth's</td>
- <td class="tdc">final</td>
- <td class="tdc">fate&mdash;</td>
- <td class="tdc">enigma</td>
- <td class="tdc">ever</td>
- <td class="tdc">dark</td>
-</tr>
-<tr>
- <td class="tdc">45</td>
- <td class="tdc">21</td>
- <td class="tdc">3 1</td>
- <td class="tdc">1 2</td>
- <td class="tdc">2 3 <span class="mleft1">&nbsp;</span>1</td>
- <td class="tdc">2 2</td>
- <td class="tdc">1</td>
-</tr>
-</tbody>
-</table></div>
-
-
-
-<p>or,</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="figures">
-<tbody>
-<tr>
- <td class="tdc">Our</td>
- <td class="tdc">dear</td>
- <td class="tdc">Richard's</td>
- <td class="tdc">tale</td>
- <td class="tdc">begins</td>
- <td class="tdc">at</td>
- <td class="tdc">the</td>
- <td class="tdc">sea.</td>
-</tr>
-<tr>
- <td class="tdc">45</td>
- <td class="tdc">21</td>
- <td class="tdc">3 1</td>
- <td class="tdc">1 2</td>
- <td class="tdc">2 3</td>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">21</td>
-</tr>
-</tbody>
-</table></div>
-
-<p><span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span></p>
-
-<p>Our young friends may find amusement in forming lines for
-themselves as much superior to these as possible.</p>
-
-
-<p class="p6">THE TEN TENS.</p>
-
-<p>Take ten pieces of card, and upon each write any ten
-words; there is no restriction as to the initial letter of nine
-of the words, but the last word on each card must commence
-with certain letters which you must in your own
-mind associate with the numbers 1 to 10, so that by knowing
-the initial letter of the last word on each card, you can
-determine its number.</p>
-
-<p>Here are ten cards, (call these the <em>Selecting Cards</em>,) which
-we give by way of example, though our readers will perhaps
-prefer having words of their own selection.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Selecting Cards">
-<tbody>
-<tr>
- <td class="tdl">Jane.</td>
- <td class="tdl">Ellen.</td>
- <td class="tdl">George.</td>
- <td class="tdl">James.</td>
- <td class="tdl">Newton.</td>
-</tr>
-<tr>
- <td class="tdl">Mary.</td>
- <td class="tdl">Fanny.</td>
- <td class="tdl">William.</td>
- <td class="tdl">Clement.</td>
- <td class="tdl">Davy.</td>
-</tr>
-<tr>
- <td class="tdl">Matilda.</td>
- <td class="tdl">Caroline.</td>
- <td class="tdl">Frederick.</td>
- <td class="tdl">Edward.</td>
- <td class="tdl">Morse.</td>
-</tr>
-<tr>
- <td class="tdl">Sarah.</td>
- <td class="tdl">Isabel.</td>
- <td class="tdl">Robert.</td>
- <td class="tdl">Ralph.</td>
- <td class="tdl">Fulton.</td>
-</tr>
-<tr>
- <td class="tdl">Rosa.</td>
- <td class="tdl">Flora.</td>
- <td class="tdl">Edmund.</td>
- <td class="tdl">Francis.</td>
- <td class="tdl">Franklin.</td>
-</tr>
-<tr>
- <td class="tdl">Elizabeth.</td>
- <td class="tdl">Laura.</td>
- <td class="tdl">John.</td>
- <td class="tdl">Edwin.</td>
- <td class="tdl">Arago.</td>
-</tr>
-<tr>
- <td class="tdl">Harriet.</td>
- <td class="tdl">Maria.</td>
- <td class="tdl">Alfred.</td>
- <td class="tdl">Walter.</td>
- <td class="tdl">Spurzheim.</td>
-</tr>
-<tr>
- <td class="tdl">Ann.</td>
- <td class="tdl">Frances.</td>
- <td class="tdl">Albert.</td>
- <td class="tdl">Charles.</td>
- <td class="tdl">Laplace.</td>
-</tr>
-<tr>
- <td class="tdl">Emily.</td>
- <td class="tdl">Edith.</td>
- <td class="tdl">Henry.</td>
- <td class="tdl">Samuel.</td>
- <td class="tdl">Steers.</td>
-</tr>
-<tr>
- <td class="tdl"><b>E</b>mma.</td>
- <td class="tdl"><b>D</b>orothea.</td>
- <td class="tdl"><b>I</b>saac.</td>
- <td class="tdl"><b>T</b>heodore.</td>
- <td class="tdl"><b>H</b>erschel.</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Sister.</td>
- <td class="tdl">Rose.</td>
- <td class="tdl">Friendship.</td>
- <td class="tdl">Putnam.</td>
- <td class="tdl">Clay.</td>
-</tr>
-<tr>
- <td class="tdl">Brother.</td>
- <td class="tdl">Violet.</td>
- <td class="tdl">Happiness.</td>
- <td class="tdl">Lafayette.</td>
- <td class="tdl">Webster.</td>
-</tr>
-<tr>
- <td class="tdl">Uncle.</td>
- <td class="tdl">Lupin.</td>
- <td class="tdl">Industry.</td>
- <td class="tdl">Steuben.</td>
- <td class="tdl">Calhoun.</td>
-</tr>
-<tr>
- <td class="tdl">Aunt.</td>
- <td class="tdl">Daisy.</td>
- <td class="tdl">Ambition.</td>
- <td class="tdl">Scott.</td>
- <td class="tdl">Benton.</td>
-</tr>
-<tr>
- <td class="tdl">Grandmother.</td>
- <td class="tdl">Tulip.</td>
- <td class="tdl">Energy.</td>
- <td class="tdl">Taylor.</td>
- <td class="tdl">Jefferson.</td>
-</tr>
-<tr>
- <td class="tdl">Grandfather.</td>
- <td class="tdl">Peony.</td>
- <td class="tdl">Fidelity.</td>
- <td class="tdl">Green.</td>
- <td class="tdl">Adams.</td>
-</tr>
-<tr>
- <td class="tdl">Nephew.</td>
- <td class="tdl">Hyacinth.</td>
- <td class="tdl">Affection.</td>
- <td class="tdl">Harrison.</td>
- <td class="tdl">Madison.</td>
-</tr>
-<tr>
- <td class="tdl">Niece.</td>
- <td class="tdl">Pink.</td>
- <td class="tdl">Hope.</td>
- <td class="tdl">Hamilton.</td>
- <td class="tdl">Jackson.</td>
-</tr>
-<tr>
- <td class="tdl">Cousin.</td>
- <td class="tdl">Snowdrop.</td>
- <td class="tdl">Justice.</td>
- <td class="tdl">Wayne.</td>
- <td class="tdl">Monroe.</td>
-</tr>
-<tr>
- <td class="tdl"><b>F</b>ather.</td>
- <td class="tdl"><b>L</b>ily.</td>
- <td class="tdl"><b>O</b>rder.</td>
- <td class="tdl"><b>W</b>ashington.</td>
- <td class="tdl"><b>N</b>apoleon.</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>For these the key words are, "Edith Flown," so that the
-letters</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Edith Flown">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">E</td>
- <td class="tdl">D</td>
- <td class="tdl">I</td>
- <td class="tdl">T</td>
- <td class="tdl">H</td>
- <td class="tdl">F</td>
- <td class="tdl">L</td>
- <td class="tdl">O</td>
- <td class="tdl">W</td>
- <td class="tdl">N</td>
-</tr>
-<tr>
- <td class="tdl">Stand for</td>
- <td class="tdl">1</td>
- <td class="tdl">2</td>
- <td class="tdl">3</td>
- <td class="tdl">4</td>
- <td class="tdl">5</td>
- <td class="tdl">6</td>
- <td class="tdl">7</td>
- <td class="tdl">8</td>
- <td class="tdl">9</td>
- <td class="tdl">10</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>For the success of the game, the key words and the numbers
-denoted by their letters, must be carefully concealed.</p>
-
-<p>Take ten other cards, which call the "<em>grouped cards</em>," and<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span>
-upon one write down the first word from each of the selecting
-cards, being careful to write them in the same order.
-Let another card contain all the words which are second
-from the top, and so on till all the words have been grouped
-together. As an example, we give the 1st and 4th grouped
-cards.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="grouped cards">
-<tbody>
-<tr>
- <td class="tdc">1st.</td>
- <td class="tdc">4th.</td>
-</tr>
-<tr>
- <td class="tdl">Jane.</td>
- <td class="tdl">Sarah.</td>
-</tr>
-<tr>
- <td class="tdl">Ellen.</td>
- <td class="tdl">Isabel.</td>
-</tr>
-<tr>
- <td class="tdl">George.</td>
- <td class="tdl">Robert.</td>
-</tr>
-<tr>
- <td class="tdl">James.</td>
- <td class="tdl">Ralph.</td>
-</tr>
-<tr>
- <td class="tdl">Newton.</td>
- <td class="tdl">Fulton.</td>
-</tr>
-<tr>
- <td class="tdl">Sister.</td>
- <td class="tdl">Aunt.</td>
-</tr>
-<tr>
- <td class="tdl">Rose.</td>
- <td class="tdl">Daisy.</td>
-</tr>
-<tr>
- <td class="tdl">Friendship.</td>
- <td class="tdl">Ambition.</td>
-</tr>
-<tr>
- <td class="tdl">Putnam.</td>
- <td class="tdl">Scott.</td>
-</tr>
-<tr>
- <td class="tdl">Clay.</td>
- <td class="tdl">Benton.</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>The object of the game is to guess which of the words
-from any of the <em>selecting cards</em> any person may have fixed
-upon.</p>
-
-<p>Let any one choose a card out of the <em>selecting cards</em>, and
-after he has fixed upon a word, give it back to you; when
-receiving it, carefully note the last word upon it, which will
-give you, by the aid of the key word, the number of the
-card; this you must keep secret, and you then give him all
-the <em>grouped cards</em>, and request him to show you the cards
-which contain the words he fixed upon.</p>
-
-<p>You can then announce the word; for the number of the
-word from the top on the grouped card is the same as the
-number of the selecting card, from which he made his
-choice.</p>
-
-<p>Suppose he made his choice from the card which has
-Theodore for its last word&mdash;this is No. 4; when he shows
-you the grouped card, which he says contains the selected
-word, you will know that Ralph, the fourth from the top, is
-the name he fixed upon.</p>
-
-
-<p class="p6">DIVIDING THE BEER.</p>
-
-<p>During the siege of Sebastopol, when the troops were
-on "short allowance," a can of eight pints of porter was
-ordered to be equally divided between two messes; but
-having only a five pint can, and one which held three pints,
-it was found impossible to make this division, till one of the<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>
-clever sappers suggested the following method; and, to
-understand it, we will put down the contents of each of the
-three cans at each stage of the process; commencing with</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="commencing">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td class="tdl">8-pt.</td>
- <td class="tdl">5-pt.</td>
- <td class="tdl">3-pt.</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">The 8-pint can full, and the others empty,</td>
- <td class="tdl">8</td>
- <td class="tdl">0</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdl">1.</td>
- <td class="tdl">Filled the 5-pint can</td>
- <td class="tdl">3</td>
- <td class="tdl">5</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdl">2.</td>
- <td class="tdl">Filled the 3-pint can from the 5-pint</td>
- <td class="tdl">3</td>
- <td class="tdl">2</td>
- <td class="tdl">3</td>
-</tr>
-<tr>
- <td class="tdl">3.</td>
- <td class="tdl">Pour the contents of the 3-pint into the 8-pint</td>
- <td class="tdl">6</td>
- <td class="tdl">2</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdl">4.</td>
- <td class="tdl">Transfer the 2 pints from the 5-pint to the 3-pint</td>
- <td class="tdl">6</td>
- <td class="tdl">0</td>
- <td class="tdl">2</td>
-</tr>
-<tr>
- <td class="tdl">5.</td>
- <td class="tdl">Filled the 5-pint from the 8-pint</td>
- <td class="tdl">1</td>
- <td class="tdl">5</td>
- <td class="tdl">2</td>
-</tr>
-<tr>
- <td class="tdl">6.</td>
- <td class="tdl">Fill up the 3-pint from the 5-pint</td>
- <td class="tdl">1</td>
- <td class="tdl">4</td>
- <td class="tdl">3</td>
-</tr>
-<tr>
- <td class="tdl">7.</td>
- <td class="tdl">Poured the 3 pints into the 8-pint; completing the feat &nbsp;</td>
- <td class="tdl">4</td>
- <td class="tdl">4</td>
- <td class="tdl">0</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>This was a dexterous expedient of the worthy sapper, the
-only objections to it being the time the thirty men had to
-wait, and the resulting flat condition of the beer.</p>
-
-
-<p class="p6">THE DIFFICULT CASE OF WINE.</p>
-
-<p>A gentleman had a bottle containing 12 pints of wine, 6
-of which he was desirous of giving to a friend; but he had
-nothing to measure it, except two other bottles, one of 7
-pints, and the other of 5. How did he contrive to put 6
-pints into the 7-pint bottle?</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="7 pint bottle">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td class="tdl">12-pt.</td>
- <td class="tdl">7-pt.</td>
- <td class="tdl">6-pt.</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">Before he commenced, the contents of the bottles were &nbsp;</td>
- <td class="tdl">12</td>
- <td class="tdl">0</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdr">1.</td>
- <td class="tdl">He filled the 5-pint</td>
- <td class="tdl">7</td>
- <td class="tdl">0</td>
- <td class="tdl">5</td>
-</tr>
-<tr>
- <td class="tdr">2.</td>
- <td class="tdl">Emptied the 5-pint into the 7-pint</td>
- <td class="tdl">7</td>
- <td class="tdl">5</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdr">3.</td>
- <td class="tdl">Filled again the 5-pint from the 12-pint</td>
- <td class="tdl">2</td>
- <td class="tdl">5</td>
- <td class="tdl">5</td>
-</tr>
-<tr>
- <td class="tdr">4.</td>
- <td class="tdl">Filled up the 7-pint from the 5</td>
- <td class="tdl">2</td>
- <td class="tdl">7</td>
- <td class="tdl">3</td>
-</tr>
-<tr>
- <td class="tdr">5.</td>
- <td class="tdl">Emptied the 7-pint into the 12-pint</td>
- <td class="tdl">9</td>
- <td class="tdl">0</td>
- <td class="tdl">3</td>
-</tr>
-<tr>
- <td class="tdr">6.</td>
- <td class="tdl">Poured the 3 pints from the 5 into the 7</td>
- <td class="tdl">9</td>
- <td class="tdl">3</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdr">7.</td>
- <td class="tdl">Filled the 5-pint from the 12-pint</td>
- <td class="tdl">4</td>
- <td class="tdl">3</td>
- <td class="tdl">5</td>
-</tr>
-<tr>
- <td class="tdr">8.</td>
- <td class="tdl">Filled up the 7-pint from the 5-pint</td>
- <td class="tdl">4</td>
- <td class="tdl">7</td>
- <td class="tdl">1</td>
-</tr>
-<tr>
- <td class="tdr">9.</td>
- <td class="tdl">Emptied the 7-pint into the 12-pint</td>
- <td class="tdl">11</td>
- <td class="tdl">0</td>
- <td class="tdl">1</td>
-</tr>
-<tr>
- <td class="tdr">10.</td>
- <td class="tdl">Poured 1 pint from the 5-pint into the 7-pint</td>
- <td class="tdl">11</td>
- <td class="tdl">1</td>
- <td class="tdl">0</td>
-</tr>
-<tr>
- <td class="tdr">11.</td>
- <td class="tdl">Filled the 5-pint from the 12-pint</td>
- <td class="tdl">6</td>
- <td class="tdl">1</td>
- <td class="tdl">5</td>
-</tr>
-<tr>
- <td class="tdr">12.</td>
- <td class="tdl">Poured the contents of the 5-pint into the 7-pint</td>
- <td class="tdl">6</td>
- <td class="tdl">6</td>
- <td class="tdl">0</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">ANOTHER DECIMATION OF FRUIT.</p>
-
-<p>On the next visit of the youth to his uncle, the latter produced
-thirty apples and ten oranges, and offered him the<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span>
-favorite oranges, if his nephew
-could arrange them in an oval,
-so that by taking every twelfth
-the apples should remain. But
-this he could not accomplish,
-and the old gentleman, being
-well versed in the "Recreations
-in Science," <ins title="Transcriber's Note: original reads 'proceded'">proceeded</ins> to arrange them thus:</p>
-
-<div class="figleft">
-<img src="images/i_225.jpg" width="242" height="134" alt="" />
-</div>
-
-<p>The places which the oranges here occupy can be easily
-remembered, being Nos. 7, 8, 11, 12, 21, 22, 24, 34, 36, 37.</p>
-
-
-<p class="p6">THE WINE AND THE TABLES.</p>
-
-<p>A certain hotel-keeper was dexterous in contrivances to
-produce a large appearance with small means. In the dining-room
-were three tables, between which he could divide
-21 bottles, of which 7 only were full, 7 half full, and 7 apparently
-just emptied, and in such a manner that each table
-had the same number of bottles, and the same quantity of
-wine. He did this in two ways:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="21 bottles">
-<tbody>
-<tr>
- <td class="tdc">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
- <td>&nbsp;</td>
- <td class="tdc">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
-</tr>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">2</td>
- <td class="tdc">|</td>
- <td class="tdc">1</td>
- <td class="tdc">3</td>
- <td class="tdc">1</td>
- <td class="tdc">3</td>
-</tr>
-<tr>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">2</td>
- <td class="tdc">|</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">1</td>
- <td class="tdc">3</td>
-</tr>
-<tr>
- <td class="tdc">3</td>
- <td class="tdc">3</td>
- <td class="tdc">1</td>
- <td class="tdc">3</td>
- <td class="tdc">|</td>
- <td class="tdc">3</td>
- <td class="tdc">1</td>
- <td class="tdc">5</td>
- <td class="tdc">1</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>He also performed a similar exploit with 24 bottles, 8 full,
-8 half-full, and 8 empty:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="24 bottles">
-<tbody>
-<tr>
- <td class="tdc">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
- <td>&nbsp;</td>
- <td class="tdc">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
-</tr>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">3</td>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">|</td>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">4</td>
- <td class="tdc">2</td>
-</tr>
-<tr>
- <td class="tdl">2</td>
- <td class="tdc">3</td>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">|</td>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">4</td>
- <td class="tdc">2</td></tr>
-<tr>
- <td class="tdl">3</td>
- <td class="tdc">2</td>
- <td class="tdc">4</td>
- <td class="tdc">2</td>
- <td class="tdc">|</td>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">0</td>
- <td class="tdc">4</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Also with 27 bottles, 9 full, 9 half-full, and 9 empty:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Full Hf">
-<tbody>
-<tr>
- <td class="tdl">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
- <td>&nbsp;</td>
- <td class="tdc">Table.</td>
- <td class="tdc">Full Hf.</td>
- <td class="tdc">full.</td>
- <td class="tdc">Empty.</td>
-</tr>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">2</td>
- <td class="tdc">5</td>
- <td class="tdc">2</td>
- <td class="tdc">|</td>
- <td class="tdc">1</td>
- <td class="tdc">1</td>
- <td class="tdc">7</td>
- <td class="tdc">1</td>
- <td class="tdc" rowspan="3"><img src="images/i_226.jpg" width="15" height="65" alt="" /></td>
-</tr>
-<tr>
- <td class="tdc">2</td>
- <td class="tdc">3</td>
- <td class="tdc">3</td>
- <td class="tdc">3</td>
- <td class="tdc">|</td>
- <td class="tdc">2</td>
- <td class="tdc">4</td>
- <td class="tdc">1</td>
- <td class="tdc">4</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">1</td>
- <td class="tdc">4</td>
- <td class="tdc">|</td>
- <td class="tdc">3</td>
- <td class="tdc">4</td>
- <td class="tdc">1</td>
- <td class="tdc">4</td>
- <td>&nbsp;</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">THE THREE TRAVELERS.</p>
-
-<p>Three men met at a caravansary or inn, in Persia; and
-two of them brought their provision along with them, according
-to the custom of the country; but the third not
-having provided any, proposed to the others that they should
-eat together, and he would pay the value of his proportion.
-This being agreed to, A produced 5 loaves, and B 3 loaves,<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span>
-all of which the travelers ate together, and C paid 8 pieces
-of money as the value of his share, with which the others
-were satisfied, but quarreled about the division of it. Upon
-this the matter was referred to the judge, who decided impartially.
-What was his decision?</p>
-
-<p>At first sight it would seem that the money should be divided
-according to the bread furnished; but we must consider
-that, as the 3 ate 8 loaves, each one ate 2-2/3 loaves of
-the bread he furnished. This from 5 would leave 2-1/3 loaves
-furnished the stranger by A; and 3 - 2-2/3 = 1/3 furnished by B,
-hence 2-1/3 to 1/3 = 7 to 1, is the ratio in which the money is to
-be divided. If you imagine A and B to furnish, and C to
-consume all, then the division will be according to amounts
-furnished.</p>
-
-
-<p class="p6">WHICH COUNTER HAS BEEN THOUGHT OF OUT OF SIXTEEN?</p>
-
-<p>Take sixteen pieces of card, and number them 1 to 16.
-Arrange them in two rows, as at A B.</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="COUNTER SIXTEEN">
-<tbody>
-<tr>
- <td class="tdc">A</td>
- <td class="tdc">B</td>
- <td class="tdc">C</td>
- <td class="tdc">B</td>
- <td class="tdc">D</td>
- <td class="tdc">M</td>
- <td class="tdc">E</td>
- <td class="tdc">B</td>
- <td class="tdc">F</td>
- <td class="tdc">N</td>
- <td class="tdc">G</td>
- <td class="tdc">B</td>
- <td class="tdc">H</td>
-</tr>
-<tr>
- <td class="tdc">1</td>
- <td class="tdc">9</td>
- <td class="tdc">1</td>
- <td class="tdc">9</td>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">9</td>
- <td class="tdc">4</td>
- <td class="tdc">2</td>
- <td class="tdc">2</td>
- <td class="tdc">9</td>
- <td class="tdc">6</td>
-</tr>
-<tr>
- <td class="tdc">2</td>
- <td class="tdc">10</td>
- <td class="tdc">3</td>
- <td class="tdc">10</td>
- <td class="tdc">4</td>
- <td class="tdc">4</td>
- <td class="tdc">6</td>
- <td class="tdc">10</td>
- <td class="tdc">8</td>
- <td class="tdc">6</td>
- <td class="tdc">1</td>
- <td class="tdc">10</td>
- <td class="tdc">5</td>
-</tr>
-<tr>
- <td class="tdc">3</td>
- <td class="tdc">11</td>
- <td class="tdc">5</td>
- <td class="tdc">11</td>
- <td class="tdc">6</td>
- <td class="tdc">6</td>
- <td class="tdc">1</td>
- <td class="tdc">11</td>
- <td class="tdc">3</td>
- <td class="tdc">1</td>
- <td class="tdc">4</td>
- <td class="tdc">11</td>
- <td class="tdc">8</td>
-</tr>
-<tr>
- <td class="tdc">4</td>
- <td class="tdc">12</td>
- <td class="tdc">7</td>
- <td class="tdc">12</td>
- <td class="tdc">8</td>
- <td class="tdc">8</td>
- <td class="tdc">5</td>
- <td class="tdc">12</td>
- <td class="tdc">7</td>
- <td class="tdc">5</td>
- <td class="tdc">3</td>
- <td class="tdc">12</td>
- <td class="tdc">7</td>
-</tr>
-<tr>
- <td class="tdc">5</td>
- <td class="tdc">13</td>
- <td>&nbsp;</td>
- <td class="tdc">13</td>
- <td>&nbsp;</td>
- <td class="tdc">1</td>
- <td>&nbsp;</td>
- <td class="tdc">13</td>
- <td>&nbsp;</td>
- <td class="tdc">4</td>
- <td>&nbsp;</td>
- <td class="tdc">13</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc">6</td>
- <td class="tdc">14</td>
- <td>&nbsp;</td>
- <td class="tdc">14</td>
- <td>&nbsp;</td>
- <td class="tdc">3</td>
- <td>&nbsp;</td>
- <td class="tdc">14</td>
- <td>&nbsp;</td>
- <td class="tdc">8</td>
- <td>&nbsp;</td>
- <td class="tdc">14</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc">7</td>
- <td class="tdc">15</td>
- <td>&nbsp;</td>
- <td class="tdc">15</td>
- <td>&nbsp;</td>
- <td class="tdc">5</td>
- <td>&nbsp;</td>
- <td class="tdc">15</td>
- <td>&nbsp;</td>
- <td class="tdc">3</td>
- <td>&nbsp;</td>
- <td class="tdc">15</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdc">8</td>
- <td class="tdc">16</td>
- <td>&nbsp;</td>
- <td class="tdc">16</td>
- <td>&nbsp;</td>
- <td class="tdc">7</td>
- <td>&nbsp;</td>
- <td class="tdc">16</td>
- <td>&nbsp;</td>
- <td class="tdc">7</td>
- <td>&nbsp;</td>
- <td class="tdc">16</td>
- <td>&nbsp;</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Desire a person to think of one of the numbers, and to
-tell you in which row it is. Suppose he fixes on 6; he will
-tell you that the row A contains the number he thought of.</p>
-
-<p>Take up the row A, and arrange the numbers on each side
-of the row B, as shown at C D, so that the first number of
-the row A may be the first of the row C, the second of A be
-the first of D, the third of A be the second of C, and so on.</p>
-
-<p>Ask in which of the rows, C or D, is the number thought
-of: in the case supposed it is in D.</p>
-
-<p>Take up the rows C D, and put one underneath the other,
-as at M, taking care that the half-row in which is the number
-thought of, shall be above the other.</p>
-
-<p>Divide it again into two rows, as at E F, on each side of
-B, in the same way as before. Ask again in which row it
-is: it is now in E.</p>
-
-<p><span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span></p>
-
-<p>Place one row under the other, as at N, and divide again
-into two rows, which will now be as G H.</p>
-
-<p>You will be informed that the number is in row H, and you
-may then announce it to be the top number of that row.</p>
-
-<p>The number thought of will always be <em>at the top of one of
-the rows after three transpositions</em>. If there were 32 counters
-it would be at the top after four transpositions.</p>
-
-
-<p class="p6">MAGIC SQUARES.</p>
-
-<p>The name "Magic Square" is given to a square divided
-into several smaller squares, in which numbers are placed
-in such a manner that every column of numbers, whether
-vertical, horizontal, or from corner to corner, shall amount
-to the same sum.</p>
-
-<p>They are divided into three principal classes: 1st, Those
-which have an odd number of squares in each band; 2d,
-Those which have an even number of squares in each band,
-this even number being divisible exactly by 4; 3d, Where
-the even number of squares in each band cannot be divided
-by 4 without a fraction.</p>
-
-
-<p class="p6">ODD MAGIC SQUARES.</p>
-
-<p>Squares of this kind are formed thus. Imagine an exterior
-line of squares above the magic square you wish to
-form, and another exterior line on the right hand of it
-These two imaginary lines are shown in the figure.</p>
-
-<p>Then attend to the two following rules:</p>
-
-<p>1st. In placing the numbers in the squares we must go
-in an ascending oblique direction from left to right; any
-number which, by pursuing this direction, would fall into
-the exterior line, must be carried along that line of squares,
-whether vertical or horizontal, to the last square. Thus, 1
-having been placed in the center of the top line, (see the
-first table on p. 228,) 2 would fall into the exterior square
-above the fourth vertical line; it must be therefore carried
-down to the lowest square of that line; then, ascending
-obliquely 3 falls into the square, but four falls out of it, to
-the end of a horizontal line, and it must be carried along that
-line to the extreme left, and there placed. Resuming our
-oblique ascension to the right, we place 5, where the reader
-sees it, and would place 6 in the middle of the top band,
-but finding it occupied by 1, we look for direction to the<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
-2d Rule, which prescribes that, when in ascending
-obliquely, we come to a square already occupied, we must
-place the number, which according to the first rule should
-go into that occupied square, directly under the last number
-placed. Thus, in ascending with 4, 5, 6, the 6 must be
-placed directly under the 5, because the square next to 5 in
-an oblique direction is "engaged."</p>
-
-<div class="figcenter">
-<img src="images/i_228.jpg" width="301" height="550" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p>
-
-<p>Magic squares of this class, however large in the number
-of compartments, can be easily filled up by attending to
-these two rules.</p>
-
-<p>We give opposite, a seven-placed square.</p>
-
-<p>There are various other kinds of magic squares; but explanations
-of them would be too lengthy for our work.</p>
-
-<p>The invention of these contrivances has been traced
-back to the early ages of science, and talismanic properties
-were attributed to them. Modern philosophers have amused
-themselves in bringing them to perfection, and none has
-contributed so much as "the model of practical wisdom,"
-Dr. Franklin.</p>
-
-
-<p class="p6">THE SQUARE OF GOTHAM.</p>
-
-<p>The wise men of Gotham, famous for their eccentric blunders,
-once undertook the management of a school; they
-arranged their establishment in the form of a square divided
-into 9 rooms. The playground occupied the center, and
-24 scholars the rooms around it, 3 being in each. In spite
-of the strictness of discipline, it was suspected that the boys
-were in the habit of playing truant, and it was determined
-to set a strict watch. To assure themselves that all the
-boys were on the premises, they visited the rooms, and found
-three in each, or 9 in each row. Four boys then went out,
-and the wise men soon after visited the rooms, and finding
-9 in each row, thought all was right. The four boys then
-came back, accompanied by four strangers; and the Gothamites,
-on their third round, finding still 9 in each row,
-entertained no suspicion of what had taken place. Then 4
-more "chums" were admitted; but the clever men, on examining
-the establishment a fourth time, still found 9 in
-each row, and so came to an opinion that their previous
-suspicions had been unfounded. How was all this possible?</p>
-
-<p>The following figures represent the contents of each room
-at the four different visits; the first, at the commencement
-of the watch; the second, when four had gone out; the<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span>
-third, when these 4, accompanied by another 4, had returned;
-and the fourth, when 4 more had joined them.</p>
-
-<div class="figcenter">
-<img src="images/i_230.jpg" width="500" height="144" alt="" />
-</div>
-
-<p>On each change the boys arranged themselves in the
-rooms in such a manner that, when the corner rooms were
-counted as a part of two rows, each entire row of three
-rooms contained the same number of boys. The illusion of
-the wise men was due to their mistake in counting each
-corner room twice.</p>
-
-
-<p class="p6">THE MATHEMATICAL BLACKSMITH.</p>
-
-<p>A blacksmith had a stone weighing 40 lbs. A mason coming
-into the shop, hammer in hand, struck it and broke it
-into four pieces. "There," says the smith, "you have ruined
-my weight." "No," says the mason, "I have made it better,
-for whereas you could before weigh but 40 lbs. with it,
-now you can weigh every pound from 1 to 40." Required
-size of the pieces?</p>
-
-<p><em>Ans.</em> 1, 3, 9, 27; for in any geometrical series proceeding
-in a triple ratio, each term is 1 more than twice the sum of
-all the preceding, and the above series might proceed to
-any extent. In using the weights, they must be put in one
-or both scales as may be necessary: as to weigh 2, put 1
-in one scale, and 3 in the other.</p>
-
-
-<p class="p6">CURIOUS PROPERTIES OF SOME FIGURES.</p>
-
-<p>Select any two numbers you please, and you will find
-that one of the two, their amount when added together, or
-their difference, is always 3, or a number divisible by 3.</p>
-
-<p>Thus, if the numbers are 3 and 8, the first number is 3;
-let the numbers be 1 and 2, their sum is 3; let them be 4
-and 7, the difference is 3. Again, 15 and 22, the first number
-is divisible by 3: 17 and 26, their difference is divisible
-by 3, &amp;c.</p>
-
-<p>All the odd numbers above 3, that can only be divided
-by 1, can be divided by 6, by the addition or subtraction of<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>
-a unit. For instance, 13 can only be divided by 1; but
-after deducting 1, the remainder can be divided by 6; for
-example, 5 + 1 = 6 ; 7 - 1 = 6; 17 + 1 = 18; 19 - 1 = 18; 25
-- 1 = 24, and so on.</p>
-
-<p>If you multiply 5 by itself, and the quotient again by
-itself, and the second quotient by itself, the last figure of
-each quotient will always be 5. Thus 5 × 5 = 25; 25 × 25 =
-125; 125 × 125 = 625, &amp;c. Again, if you proceed in the
-same manner with the figure 6, the last figure will constantly
-be 6; thus, 6 × 6 = 36; 36 × 36 = 216; 216 × 216 =
-1,296, and so on.</p>
-
-<p>To multiply by 2 is the same as to multiply by 10 and
-divide by 5.</p>
-
-<p>Any number of figures you may wish to multiply by 5,
-will give the same result if divided by 2&mdash;a much quicker
-operation than the former; but you must remember to annex
-a cipher to the answer where there is no remainder,
-and where there is a remainder, annex a 5 to the answer.
-Thus, multiply 464 by 5, the answer will be 2320; divide
-the same number by 2, and you have 232, and as there is
-no remainder you add a cipher. Now, take 357, and multiply
-by 5&mdash;the answer is 1785. On dividing 357 by 2,
-there is 178, and a remainder; you therefore place 5 at the
-right of the line, and the result is again 1785.</p>
-
-<p>There is something more curious in the properties of the
-number 9. Any number multiplied by 9 produces a sum of
-figures which, added together, continually makes 9. For
-example, all the first multiples of 9, as 18, 27, 36, 45, 54,
-63, 72, 81, sum up 9 each. Each of them multiplied by
-any number whatever produces a similar result; as 8 times
-81 are 648, these added together make 18, 1 and 8 are 9.
-Multiply 648 by itself, the product is 419,904&mdash;the sum of
-these digits is 27, 2 and 7 are 9. The rule is invariable.
-Take any number whatever and multiply it by 9; or any
-multiple of 9, and the sum will consist of figures which,
-added together, continually number 9. As 17 × 18 = 306,
-6 and 3 are 9; 117 × 27 = 3,159, the figures sum up 18, 8
-and 1 are 9; 4591 × 72 = 330,552, the figures sum up 18, 8
-and 1 are 9. Again, 87,363 × 54 = 4,717,422; added together
-the product is 27, or 2 and 7 are 9, and so always. If any
-row of two or more figures be reversed and subtracted
-from itself, the figures composing the remainder, will, when
-added horizontally, be a multiple of nine:</p>
-
-<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p>
-
-<blockquote><p>42 <span class="mleft4">&nbsp;</span>886 <span class="mleft4a">&nbsp;</span>326<br />
-24 <span class="mleft4">&nbsp;</span>688 <span class="mleft4">&nbsp;</span>1623<br />
-&mdash; <span class="mleft4">&nbsp;</span>&mdash;&mdash; <span class="mleft3a">&nbsp;</span>&mdash;&mdash;<br />
-18 &ndash; 9 × 2. <span class="mleft0">&nbsp;</span>198 &ndash; 9 × 2. <span class="mleft0a">&nbsp;</span>1638 &ndash; 9 × 2.</p></blockquote>
-
-<p>If a multiplicand be formed of the digits in their regular
-order, omitting the 8, a multiplier may be found by a rule,
-which will give a product, each figure of which shall be the
-same. Thus if 12345679 be given, and it be required to
-find a multiplier which shall give the product all in 2, that
-multiplier will be 18: if in 3, the multiplier will be 27: if
-all 4, it will be 36&mdash;and so forth.</p>
-
-<blockquote><p> &nbsp;12345679 &nbsp;12345679 &nbsp;12345679<br />
-<span class="mleft3">&nbsp;</span>18 <span class="mleft3">&nbsp;</span>27 <span class="mleft3">&nbsp;</span>36<br />
-&mdash;&mdash;&mdash;&mdash; &nbsp; &mdash;&mdash;&mdash;&mdash; &nbsp; &mdash;&mdash;&mdash;&mdash;<br />
-&nbsp;98765432 &nbsp; 86419753 &nbsp; 74074074<br />
-12345679 &nbsp; 24691358 &nbsp; 37037037<br />
-&mdash;&mdash;&mdash;&mdash; &nbsp; &mdash;&mdash;&mdash;&mdash; &nbsp; &mdash;&mdash;&mdash;&mdash;<br />
-222222222  333333333  444444444</p></blockquote>
-
-<p>The rule by which the multiplier is discovered (but
-which we do not attempt to explain) is this: Multiply the
-last figure (the 9) of the multiplicand by the figure of
-which you wish the product to be composed, and that number
-will be the required multiplier. Thus, when it was
-required to have the product composed of 2, the 2 multiplied
-by 9 gives 18, the multiplier: 3 multiplied by 9 gives
-27, the multiplier to give the product in 3; &amp;c.</p>
-
-<p>If a figure, with a number of ciphers attached to it, be
-divided by 9, the quotient will be composed of one figure
-only, namely, the first figure of the dividend, as&mdash;</p>
-
-<p>9)600,000 <span class="mleft4">&nbsp;</span>9)40,000<br />
-<span class="mleft0a">&nbsp;</span>&mdash;&mdash;&mdash;&mdash;&mdash; <span class="mleft3">&nbsp;</span>&mdash;&mdash;&mdash;&mdash;<br />
-<span class="mleft1">&nbsp;</span>66,666&ndash;6 <span class="mleft4a">&nbsp;</span>4,444&ndash;4</p>
-
-<blockquote><p><span class="mleft18">&nbsp;</span>{ &nbsp; 9)549<br />
-If any sum of figures can be divided by 9 as, &nbsp;{&mdash;&mdash;&mdash;<br />
-<span class="mleft18">&nbsp;</span>{ <span class="mleft1a">&nbsp;</span>61</p></blockquote>
-
-<p>the amount of these figures, when added together, can be
-divided by 9:&mdash;thus, 5, 4, 9, added together, make 18,
-which is divisible by 9. If the sum 549 is multiplied by
-any figure, the product can also be divided by 9, as&mdash;</p>
-
-<p><span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span></p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="together">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">  }</td>
- <td>&nbsp;</td>
- <td class="tdl">  {</td>
- <td class="tdr">  3</td>
-</tr>
-<tr>
- <td class="tdr">  549</td>
- <td class="tdl">  }</td>
- <td>&nbsp;</td>
- <td class="tdl">  {</td>
- <td class="tdr">  2</td>
-</tr>
-<tr>
- <td class="tdr">  6</td>
- <td class="tdl">  }</td>
- <td>&nbsp;</td>
- <td class="tdl">  {</td>
- <td class="tdr">  9</td>
-</tr>
-<tr>
- <td class="tdl"> &mdash;&mdash;&mdash;</td>
- <td class="tdl"> }</td>
- <td class="tdl">  And the amount of the figures of</td>
- <td class="tdl">  {</td>
- <td class="tdr">  4</td>
-</tr>
-<tr>
- <td class="tdr">  9)3294</td>
- <td class="tdl">  }</td>
- <td class="tdl">  the product can also be divided by</td>
- <td class="tdr">  {</td>
- <td class="tdr">&mdash;&mdash;</td>
-</tr>
-<tr>
- <td class="tdl"> &mdash;&mdash;&mdash;</td>
- <td class="tdl"> }</td>
- <td class="tdl"> 9, thus,</td>
- <td class="tdl">  {</td>
- <td class="tdr">2)18</td>
-</tr>
-<tr>
-
- <td class="tdr"> 366</td>
- <td class="tdl"> }</td>
- <td>&nbsp;</td>
- <td class="tdl"> {</td>
- <td class="tdl">  &mdash;&mdash;</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdl">  }</td>
- <td>&nbsp;</td>
- <td class="tdl">  {</td>
- <td class="tdr">  9</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>To multiply by 9, add a cipher, and deduct the sum that
-is to be multiplied: thus,</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="cipher">
-<tbody>
-<tr>
- <td class="tdr">43,260</td>
- <td class="tdr">}</td>
- <td>&nbsp;</td>
- <td class="tdr">{</td>
- <td class="tdr">4,326</td>
-</tr>
-<tr>
- <td class="tdr">4,326</td>
- <td class="tdr">}</td>
- <td class="tdr">Produces the same result as</td>
- <td class="tdr">{</td>
- <td class="tdr">9</td>
-</tr>
-<tr>
- <td class="tdr">&mdash;&mdash;</td>
- <td class="tdr"> }</td>
- <td>&nbsp;</td>
- <td class="tdr">{</td>
- <td class="tdr">&mdash;&mdash;</td>
-</tr>
-<tr>
- <td class="tdr">38,934</td>
- <td class="tdr">}</td>
- <td>&nbsp;</td>
- <td class="tdr">{</td>
- <td class="tdr">38,934</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>In the same manner, to multiply by 99, add two ciphers;
-by 999, three ciphers, &amp;c. These properties of the figure
-9 will enable the young arithmetician to perform an amusing
-trick, quite sufficient to excite the wonder of the uninitiated.</p>
-
-<p>Any series of numbers that can be divided by 9, as 365,
-472,821,754, &amp;c., being shown, a person may be requested
-to multiply secretly either of these series by any figure he
-pleases, to strike out one number of the quotient, and to
-let you know the figures which remain, in any order he
-likes; you will then, by the assistance of the knowledge
-of the above properties of 9, easily
-declare the number which has been
-erased. Thus, suppose 365,472 are
-the numbers chosen, and the multiplier
-is six; if then, 8 is stuck out,
-the numbers returned to you will be</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="numbers returned">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr">}</td>
- <td class="tdr">2</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr">}</td>
- <td class="tdr">1</td>
-</tr>
-<tr>
- <td class="tdr">365472</td>
- <td class="tdr">}</td>
- <td class="tdr">9</td>
-</tr>
-<tr>
- <td class="tdr">6</td>
- <td class="tdr">}</td>
- <td class="tdr">2</td>
-</tr>
-<tr>
- <td class="tdr">&mdash;&mdash;&mdash;</td>
- <td class="tdr">}</td>
- <td class="tdr">3</td>
-</tr>
-<tr>
- <td class="tdr">219232</td>
- <td class="tdr">}</td>
- <td class="tdr">2</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr">}</td>
- <td class="tdr">&mdash;</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr">}</td>
- <td class="tdr">19</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>The amount of these numbers is 19; but 19, divided by
-9, leaves a remainder of 1; you, therefore, want 8 to complete
-another 9: 8, then, is the number erased.</p>
-
-<p>The component figures of the product made by the multiplication
-of every digit into the number 9, when added
-together, make N<span class="smcapa">INE</span>.</p>
-
-<p>The order of these component figures is reversed after
-the said number has been multiplied by 5.</p>
-
-<p><span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span></p>
-
-<p>The component figures of the amount of the multipliers
-(viz. 45,) when added together, make N<span class="smcapa">INE</span>.</p>
-
-<p>The amount by the several products, or multiples of 9
-(viz. 405,) when divided by 9, gives for a quotient, 45; that
-is, 4 + 5 = N<span class="smcapa">INE</span>.</p>
-
-<p>The amount of the first product (viz. 9,) when added to
-the other product, whose respective component figures make
-9, is 81; which is the square of N<span class="smcapa">INE</span>.</p>
-
-<p>The said number 81, when added to the above mentioned
-amount of the several products, or multiples of 9 (viz. 405)
-makes 486, which, if divided by 9, gives for a quotient 54:
-that is, 5 + 4 = N<span class="smcapa">INE</span>.</p>
-
-<p>It is also observable, that the number of changes that
-may be rung on nine bells is 362,880; which figures, added
-together, make 27; that is, 2 + 7 = N<span class="smcapa">INE</span>.</p>
-
-<p>And the quotient of 362,880, divided by 9, will be 40,320;
-that is 4 + 0 + 3 + 2 + 0 = N<span class="smcapa">INE</span>.</p>
-
-<p>If number 37 be multiplied by any of the progressive
-numbers arising from the multiplication of 3 with any of
-the units, the figures in the quotient will be similar, and the
-result may be known beforehand by merely inspecting the
-progressive numbers, thus, 3, 6, 9, 12, 15, 18, 21, 24, 27, &amp;c.,
-are the progressive numbers formed by 3 multiplied by the
-units 1 to 9; and the result of the multiplication of any of
-these numbers with 37 may be seen in the following examples:&mdash;37 × 3 = 111;
-37 × 6 = 222; 37 × 12 = 444; 37 × 24 =
-888; by which it appears that the numbers of which the
-quotient is formed are the same as the units by which number
-3 was multiplied to obtain the respective progressive
-numbers. Thus&mdash;3 multiplied by 2 is equal to 6, and 37
-multiplied by 9 is equal to 222; so, again, 4 multiplied by
-3 produces 12, and 37 multiplied by 12 is equal to 444, and
-so on.</p>
-
-
-<p class="p6">THE INDUSTRIOUS FROG.</p>
-
-<p>There was a well 30 feet deep, and at the bottom a frog
-anxious to get out. He got up 3 feet per day, but regularly
-fell back 2 feet at night. Required the number of days
-necessary to enable him to get out?</p>
-
-<p>The frog appears to have cleared one foot per day, and
-at the end of 27 days, he would be 27 feet up, or within 3
-feet of the top, and the next day he would get out. He
-would therefore be 28 days getting out.</p>
-
-<p><span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span></p>
-
-
-<p class="p6">THE COUNCIL OF TEN.</p>
-
-<p>Ten cards or counters, numbered from one to ten, or the
-first ten playing cards of any suit disposed in a circular
-form may be employed with great convenience for performing
-this feat. The accompanying figure shows the cards
-thus arranged, number one, or the ace, designated by A,
-and the ten by K.</p>
-
-<div class="figcenter">
-<img src="images/i_235.jpg" width="312" height="157" alt="" />
-</div>
-
-<p>Having placed the cards in the above order, desire a
-bystander to think of a card or number, and when he has
-done so, to touch any other card or number. Request him
-then to add to the number of the card touched the number
-of the cards employed, which in this case is ten. Then
-desire him to count the sum in an order contrary to that of
-the natural numbers, beginning at the card he touched, and
-assigning it the number of the card he thought of. By
-counting in this manner, he will end at the number or card
-he thought of, and consequently you will immediately
-know it.</p>
-
-<p>Thus, for example, suppose the person had thought of 3 C,
-and touched 6 F; then, if 10 be added to 6, the sum will
-be 16; and if that number be counted from F, the number
-touched, towards E D B C A, and so on, in the retrograde
-order, counting F three, the number thought of, E five, D
-six, and so round to sixteen, that number will terminate at
-C, showing that the person thought of 3, the number which
-corresponds to C.</p>
-
-<p>A greater or less number of cards or counters may be
-employed at pleasure; but in every instance the whole
-number of cards must be added to the number of the card
-touched.</p>
-
-
-<p class="p6">THE TWO TRAVELERS.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Two travelers trudged along the road together,</div>
-  <div class="i0">Talking, as Yankees do, about the weather;</div>
-<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>
-  <div class="i0">When, lo! beside their path the foremost spies</div>
-  <div class="i0">Three casks, and loud exclaims "A prize, a prize!"</div>
-  <div class="i0">One large, two small, but all of various size.</div>
-  <div class="i0">This way and that they gazed, and all around,</div>
-  <div class="i0">Each wondering if an owner might be found:</div>
-  <div class="i0">But not a soul was there&mdash;the coast was clear,</div>
-  <div class="i0">So to the barrels they at once drew near,</div>
-  <div class="i0">And both agree whatever may be there</div>
-  <div class="i0">In friendly partnership they'll fairly share.</div>
-  <div class="i0">Two they find empty, but the other full,</div>
-  <div class="i0">And straightway from his pocket one doth pull</div>
-  <div class="i0">A large clasp-knife. A heavy stone lay handy,</div>
-  <div class="i0">And thus in time they found their prize was brandy.</div>
-  <div class="i0">'Tis tasted and approved: their lips they smack,</div>
-  <div class="i0">And each pronounces 'tis the famed Cognac.</div>
-  <div class="i0">"Won't we have many a jolly night, my boy!</div>
-  <div class="i0">May no ill luck our present hopes destroy!"</div>
-  <div class="i0">'Twas fortunate one knew the mathematics,</div>
-  <div class="i0">And had a smattering of hydrostatics;</div>
-  <div class="i0">Then measured he the casks, and said, "I see</div>
-  <div class="i0">This is eight gallons, those are five and three."</div>
-  <div class="i0">The question then was how they might divide</div>
-  <div class="i0">The brandy, so that each should be supplied</div>
-  <div class="i0">With just four gallons, neither less nor more.</div>
-  <div class="i0">With eight, and five, and three they puzzle sore,</div>
-  <div class="i0">Filled up the five&mdash;filled up the three, in vain;</div>
-  <div class="i0">At length a happy thought came o'er the brain</div>
-  <div class="i0">Of one: 'twas done, and each went home content,</div>
-  <div class="i0">And their good dames declared 'twas excellent.</div>
-  <div class="i0">With those three casks they made division true;</div>
-  <div class="i0">I found the puzzle out, say, friend, can you?</div>
- </div>
-</div>
-</div>
-
-<p>The five-gallon barrel was filled first, and from that the
-three-gallon barrel, thus leaving two gallons in the five-gallon
-barrel; the three-gallon barrel was then emptied into
-the eight-gallon barrel, and the two gallons poured from the
-five-gallon barrel into the empty three-gallon barrel; the
-five-gallon barrel was then filled, and one gallon poured into
-the three-gallon barrel, therefore leaving four gallons in the
-five-gallon barrel, one gallon in the eight-gallon barrel, and
-three gallons in the three-gallon barrel, which was then
-emptied into the eight-gallon barrel. Thus each person had
-four gallons of brandy in the eight and five-gallon barrels
-respectively.</p>
-
-<p><span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span></p>
-
-
-<p class="p6">ARITHMETICAL PUZZLE.</p>
-
-<p>If from 6 you take 9, and from 9 you take 10; and if 50
-from 40 be taken, there will just half a dozen remain.</p>
-
-<p class="center">ANSWER.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="ARITHMETICAL PUZZLE">
-<tbody>
-<tr>
- <td class="tdl">From</td>
- <td class="tdr br">SIX</td>
- <td class="tdl">From</td>
- <td class="tdr br">IX</td>
- <td class="tdl">From</td>
- <td class="tdl">XL</td>
- <td class="tdl">&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Take</td>
- <td class="tdr br">IX</td>
- <td class="tdl">Take</td>
- <td class="tdr br">X</td>
- <td class="tdl">Take</td>
- <td class="tdr">L</td>
- <td class="tdl">&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">&nbsp;</td>
- <td class="tdr">&mdash;</td>
- <td class="tdl">&nbsp;</td>
- <td class="tdr">&mdash;</td>
- <td class="tdl">&nbsp;</td>
- <td class="tdr">&mdash;</td>
- <td class="tdl">&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">&nbsp;</td>
- <td class="tdc">S</td>
- <td class="tdl">&nbsp;</td>
- <td class="tdc">I</td>
- <td class="tdl">&nbsp;</td>
- <td class="tdc">X</td>
- <td class="tdl">Remains.</td>
-</tr>
-</tbody>
-</table></div>
-
-
-<p class="p6">THE MONEY GAME.</p>
-
-<p>A person having in one hand a piece of gold, and in the
-other a piece of silver, you may tell in which hand he has
-the gold, and in which the silver, by the following method:
-Some value, represented by an even number, such as 8,
-must be assigned to the gold; and a value represented by
-an odd number, such as three, must be assigned to the silver;
-after which, desire the person to multiply the number
-in the right hand by any even number whatever, such as 2,
-and that in the left by an odd number, as 3; then bid him
-add together the two products, and if the whole sum be odd,
-the gold will be in the right hand, and the silver in the left;
-if the sum be even, the contrary will be the case.</p>
-
-<p>To conceal the artifice better, it will be sufficient to ask
-whether the sum of the two products can be halved without
-a remainder; for in that case the total will be even, and in
-the contrary case odd.</p>
-
-<p>It may be readily seen, that the pieces, instead of being
-in the two hands of the same person, may be supposed to
-be in the hands of two persons, one of whom has the even
-number, or piece of gold, and the other the odd number, or
-piece of silver. The same operations may then be performed
-in regard to these two persons, as are performed in regard
-to the two hands of the same person, calling the one privately
-the right, and the other the left.</p>
-
-
-<p class="p6">THE PHILOSOPHER'S PUPILS.</p>
-
-<p>To find a number of which the half, fourth, and seventh
-added to three shall be equal to itself.</p>
-
-<p>This was a favorite problem among the ancient Grecian
-arithmeticians, who stated the question in the following
-manner: "Tell us, illustrious Pythagoras, how many pupils
-frequent thy school?" "One half," replied the philosopher,<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span>
-"study mathematics, one fourth natural philosophy,
-one seventh observe silence, and there are three females
-besides."</p>
-
-<p>The answer is, 28: 14 + 7 + 4 + 3 = 28.</p>
-
-
-<p class="p6">TO DISCOVER A SQUARE NUMBER.</p>
-
-<p>A square number is a number produced by the multiplication
-of any number into itself; thus, 4 multiplied by 4 is
-equal to 16, and 16 is consequently a square number, 4 being
-the square root from which it springs. The extraction of
-the square root of any number takes some time; and after
-all your labor you may perhaps find that the number is not
-a square number. To save this trouble, it is worth knowing
-that every square number ends either with a 1, 4, 5, 6, or 9,
-or with two cyphers, preceded by one of these numbers.</p>
-
-<p>Another property of a square number is, that if it be
-divided by 4, the remainder, if any, will be 1&mdash;thus, the
-square of 5 is 25, and 25 divided by 4 leaves a remainder of
-1; and again, 16, being a square number, can be divided
-by 4 without leaving a remainder.</p>
-
-
-<p class="p6">THE SHEEP-FOLD.</p>
-
-<p>A farmer had a pen made of 50 hurdles, capable of holding
-100 sheep only; supposing he wanted to make it sufficiently
-large to hold double that number, how many additional
-hurdles would he have occasion for?</p>
-
-<p><em>Answer.</em>&mdash;Two. There were 24 hurdles on each side of the
-pen; a hurdle at the top, and another at the bottom; so that,
-by moving one of the sides a little back, and placing an additional
-hurdle at the top and bottom, the size of the pen
-would be exactly doubled.</p>
-
-
-<p class="p6">COUNTRYWOMAN AND EGGS.</p>
-
-<p>A countrywoman carried eggs to a garrison, where she had
-three guards to pass, sold to the first guard half the number
-she had, and half an egg more; to the second, the half of
-what remained, and half an egg besides; and to the third
-guard she sold the half of the remainder, and half another
-egg. When she arrived at the market-place, she had three
-dozen still to sell; how was this possible, without breaking
-any of the eggs? It would seem at the first view that this
-is impossible, for how can half an egg be sold without
-breaking any of the eggs? The possibility of this seeming<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>
-impossibility will be evident, when it is considered, that by
-taking the greater half of an odd number, we take the exact
-half + 1/2. When the countrywoman passed the first guard,
-she had 295 eggs; by selling to that guard 148, which is
-the half + 1/2, she had 147 remaining; to the second guard
-she disposed of 74, which is the major half of 147; and, of
-of course, after selling 37 out of 74 to the last guard, she
-had still three dozen remaining.</p>
-
-
-<p class="p6">HOW TO RUB OUT TWENTY CHALKS AT FIVE TIMES, RUBBING OUT EVERY
-TIME AN ODD ONE.</p>
-
-<div class="figright" style="width: 84px;">
-<img src="images/i_239.jpg" width="84" height="261" alt="" />
-</div>
-
-<p>To do this trick, you must make twenty chalks, or long
-strokes, upon a board, as in the margin:</p>
-
-<p>Then begin and count backwards, as 20, 19,
-18, 17, rub out these four; then proceed saying,
-16, 15, 14, 13, rub out these four; and begin
-again, 12, 11, 10, 9, and rub out these;
-and proceed again, 8, 7, 6, 5, then rub out
-these; and lastly say, 4, 3, 2, 1, when these
-four are rubbed out. The whole twenty are
-rubbed out at five times, and every time an
-odd one, that is, 17th, 13th, 9th, 5th, and
-1st.</p>
-
-<p>This is a trick which, if once seen, may be
-easily retained; and the puzzle at first is, it
-not occurring immediately to the mind to begin
-to rub them out backwards. It is as simple as any
-thing possibly can be.</p>
-
-
-<p class="p6">THE IMPOSSIBLE TRIANGLE.</p>
-
-<p>The longest side of a triangle is 100 rods; and each of
-the other sides 50. Required the value of the grass at $5
-per acre.</p>
-
-<p>This is a catch question, as a triangle cannot be formed
-unless any two of the lines are longer than the third.</p>
-
-
-<p class="p6">ODD OR EVEN.</p>
-
-<p>Every odd number multiplied by an odd number produces
-an odd number; every odd number multiplied by an even
-number produces an even number; and every even number
-multiplied by an even number also produces an even number.
-So, again, an even number added to an even number,
-and an odd number added to an odd number, produce an<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
-even number; while an odd and even number added
-together produce an odd number.</p>
-
-<p>If any one holds an odd number of counters in one hand,
-and an even number in the other, it is not difficult to discover
-in which hand the odd or even number is. Desire the
-party to multiply the number in the right hand by an even
-number, and that in the left hand by an odd number, then
-to add the two sums together, and tell you the last figure
-of the product; if it is even, the odd number will be in the
-right hand; and if odd, in the left hand; thus, supposing
-there are 5 counters in the right hand, and 4 in the left hand,
-multiply 5 by 2, and 4 by 3, thus: 5 × 2 = 10, 4 × 3 = 12, and
-then adding 10 to 12, you have 10 + 12 = 22, the last figure
-of which, 2, is even, and the odd number will consequently
-be in the right hand.</p>
-
-
-<blockquote>
-<p class="p6b">THE FIGURES, UP TO 100, ARRANGED SO AS TO MAKE 505 IN EACH COLUMN,
-WHEN COUNTED IN TEN COLUMNS PERPENDICULARLY, AND THE SAME
-WHEN COUNTED IN TEN FILES HORIZONTALLY.</p></blockquote>
-
-
-<div class="center">
-<table border="1" cellpadding="4" cellspacing="0" summary="THE FIGURES">
-<tbody>
-<tr>
- <td class="tdr">10</td>
- <td class="tdr">92</td>
- <td class="tdr">93</td>
- <td class="tdr">7</td>
- <td class="tdr">5</td>
- <td class="tdr">96</td>
- <td class="tdr">4</td>
- <td class="tdr">98</td>
- <td class="tdr">99</td>
- <td class="tdr">1</td>
-</tr>
-<tr>
- <td class="tdr">11</td>
- <td class="tdr">19</td>
- <td class="tdr">18</td>
- <td class="tdr">84</td>
- <td class="tdr">85</td>
- <td class="tdr">86</td>
- <td class="tdr">87</td>
- <td class="tdr">13</td>
- <td class="tdr">12</td>
- <td class="tdr">90</td>
-</tr>
-<tr>
- <td class="tdr">71</td>
- <td class="tdr">29</td>
- <td class="tdr">28</td>
- <td class="tdr">77</td>
- <td class="tdr">76</td>
- <td class="tdr">75</td>
- <td class="tdr">24</td>
- <td class="tdr">23</td>
- <td class="tdr">22</td>
- <td class="tdr">80</td>
-</tr>
-<tr>
- <td class="tdr">70</td>
- <td class="tdr">62</td>
- <td class="tdr">63</td>
- <td class="tdr">37</td>
- <td class="tdr">36</td>
- <td class="tdr">35</td>
- <td class="tdr">34</td>
- <td class="tdr">68</td>
- <td class="tdr">69</td>
- <td class="tdr">31</td>
-</tr>
-<tr>
- <td class="tdr">41</td>
- <td class="tdr">52</td>
- <td class="tdr">53</td>
- <td class="tdr">44</td>
- <td class="tdr">46</td>
- <td class="tdr">45</td>
- <td class="tdr">47</td>
- <td class="tdr">58</td>
- <td class="tdr">59</td>
- <td class="tdr">60</td>
-</tr>
-<tr>
- <td class="tdr">51</td>
- <td class="tdr">42</td>
- <td class="tdr">43</td>
- <td class="tdr">54</td>
- <td class="tdr">56</td>
- <td class="tdr">55</td>
- <td class="tdr">57</td>
- <td class="tdr">48</td>
- <td class="tdr">49</td>
- <td class="tdr">50</td>
-</tr>
-<tr>
- <td class="tdr">40</td>
- <td class="tdr">32</td>
- <td class="tdr">33</td>
- <td class="tdr">67</td>
- <td class="tdr">65</td>
- <td class="tdr">66</td>
- <td class="tdr">64</td>
- <td class="tdr">38</td>
- <td class="tdr">39</td>
- <td class="tdr">61</td>
-</tr>
-<tr>
- <td class="tdr">30</td>
- <td class="tdr">79</td>
- <td class="tdr">78</td>
- <td class="tdr">27</td>
- <td class="tdr">26</td>
- <td class="tdr">25</td>
- <td class="tdr">74</td>
- <td class="tdr">73</td>
- <td class="tdr">72</td>
- <td class="tdr">21</td>
-</tr>
-<tr>
- <td class="tdr">81</td>
- <td class="tdr">89</td>
- <td class="tdr">88</td>
- <td class="tdr">14</td>
- <td class="tdr">15</td>
- <td class="tdr">16</td>
- <td class="tdr">17</td>
- <td class="tdr">83</td>
- <td class="tdr">82</td>
- <td class="tdr">20</td>
-</tr>
-<tr>
- <td class="tdr">100</td>
- <td class="tdr">9</td>
- <td class="tdr">8</td>
- <td class="tdr">94</td>
- <td class="tdr">95</td>
- <td class="tdr">6</td>
- <td class="tdr">97</td>
- <td class="tdr">3</td>
- <td class="tdr">2</td>
- <td class="tdr">91</td>
-</tr>
-</tbody>
-</table></div>
-
-<p class="center">Each of these files, when added up, makes 505.</p>
-
-<p class="center">Each of these ten columns, when added up, makes 505.</p>
-
-
-<p class="p6">THE OLD WOMAN AND HER EGGS.</p>
-
-<p>At a time when eggs were scarce, an old woman who
-possessed some remarkably good-laying hens, wishing to
-oblige her neighbors, sent her daughter round with a basket
-of eggs to three of them; at the first house, which was the
-squire's, she left half the number of eggs she had and half
-a one over; at the second she left half of what remained
-and half an egg over; and at the third she again left half
-of the remainder, and half a one over; she returned with
-one egg in her basket, not having broken any. Required&mdash;the
-number she set out with. <em>Ans.</em> 15 eggs.</p>
-
-<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p>
-
-
-<p class="p6">THE MATHEMATICAL FORTUNE TELLER.</p>
-
-<p>Procure six cards, and having ruled them the same as
-the following diagrams, write in the figures neatly and
-legibly.</p>
-
-<p>It is required to tell the number thought by any person,
-the numbers being contained in the cards, and such numbers
-not to exceed 60. How is this done?</p>
-
-<div class="figcenter">
-<img src="images/i_241.jpg" width="375" height="500" alt="" />
-</div>
-
-<p>Request the person to give you the cards containing the
-number, and then add the right hand upper corner figures<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
-together, which will give the correct answer. For example:
-suppose 10 is the number thought of, the cards with 2 and
-8 in the corners will be given, which makes the answer 10,
-and so on with the others.</p>
-
-
-<p class="p6">THE DICE GUESSED UNSEEN.</p>
-
-<p>A pair of dice being thrown, to find the number of points
-on each die without seeing them. Tell the person who cast
-the dice to double the number of points upon one of them,
-and add 5 to it; then to multiply the sum produced by 5,
-and to add to the product the number of points upon the other
-die. This being done, desire him to tell you the amount,
-and, having thrown out 25, the remainder will be a number
-consisting of two figures, the first of which, to the left, is
-the number of points on the first die, and the second figure,
-to the right, the number on the other. Thus:</p>
-
-<p>Suppose the number of points of the first die which comes
-up to be 2, and that of the other 3; then, if to four, the
-double of the points of the first, there be added 5, and the
-sum produced, 9, be multiplied by 5, the product will be 45;
-to which, if 3, the number of points on the other die, be
-added, 48 will be produced, from which, if 25 be subtracted,
-23 will remain; the first figure of which is 2, the number
-of points on the first die, and the second figure 3, the
-number on the other.</p>
-
-
-<p class="p6">THE SOVEREIGN AND THE SAGE.</p>
-
-<p>A sovereign being desirous to confer a liberal reward on
-one of his courtiers, who had performed some very important
-service, desired him to ask whatever he thought proper, assuring
-him it should be granted. The courtier, who was well
-acquainted with the science of numbers, only requested that
-the monarch would give him a quantity of wheat equal to
-that which would arise from one grain doubled sixty-three
-times successively. The value of the reward was immense;
-for it will be found by calculation that the
-sixty-fourth term of the double progression divided
-by 1, 2, 4, 8, 16, 32, &amp;c., is 9223372036854775808. But the
-sum of all the terms of a double progression, beginning
-with 1, may be obtained by doubling the last term, and subtracting
-from it 1. The number of the grains of wheat, therefore,
-in the present case, will be 18446744073709551615.
-Now, if a pint contain 9216 grains of wheat, a gallon will contain<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
-73728; and, as eight gallons make one bushel, if we divide
-the above result by eight times 73728 we shall have
-31274997411295 for the number of the bushels of wheat
-equal to the above number of grains, a quantity greater than
-what the whole surface of the earth could produce in several
-years, and which in value would exceed all the riches, perhaps,
-on the globe.</p>
-
-
-<p class="p6">THE KNOWING SHEPHERD.</p>
-
-<p>A shepherd was going to market with some sheep, when
-he met a man who said to him, "Good morning, friend, with
-your score." "No," said the shepherd, "I have not a score;
-but if I had as many more, half as many more, and two
-sheep and a half, I should have just a score." How many
-sheep had he?</p>
-
-<p>He had 7 sheep: as many more 7; half as many more,
-3 <sup>1</sup>&frasl;<sub>2</sub>; and 2 <sup>1</sup>&frasl;<sub>2</sub>; making in all 20.</p>
-
-
-<p class="p6">THE CERTAIN GAME.</p>
-
-<p>Two persons agree to take, alternately, numbers less than
-a given number, for example, 11, and to add them together
-till one of them has reached a certain sum, such as 100. By
-what means can one of them infallibly attain to that number
-before the other?</p>
-
-<p>The whole artifice in this consists in immediately making
-choice of the numbers 1, 12, 23, 34, and so on, or of a series
-which continually increases by 11, up to 100. Let us suppose
-that the first person, who knows the game, makes choice
-of 1; it is evident that his adversary, as he must count less
-than 11, can at most reach 11, by adding 10 to it. The first
-will then take 1, which will make 12; and whatever number
-the second may add the first will certainly win, provided he
-continually add the number which forms the complement of
-that of his adversary to 11; that is to say, if the latter take
-8, he must take 3; if 9, he must take 2; and so on. By following
-this method he will infallibly attain to 89, and it will
-then be impossible for the second to prevent him from getting
-first to 100; for whatever number the second takes he
-can attain only to 99; after which the first may say&mdash;"and 1
-makes 100." If the second take 1 after 89, it would make
-90, and his adversary would finish by saying&mdash;"and 10 make
-100." Between two persons who are equally acquainted
-with the game, he who begins must necessarily win.</p>
-
-<p><span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span></p>
-
-
-<p class="p6">THE ASTONISHED FARMER.</p>
-
-<p>A and B took each 30 pigs to market, A sold his at 3 for
-a dollar, B at 2 for a dollar, and together they received $25.
-A afterwards took 60 alone, which he sold <em>as before</em>, at 5 for
-$2, and received, but $24; what became of the other dollar?</p>
-
-<p>This is rather a catch question, the insinuation that the first
-lot were sold at the rate of five for $2, being only true in part.
-They commence selling at that rate, but after making ten
-sales, A's pigs are exhausted, and they have received $20:
-B still has 10 which he sells at "2 for a dollar" and of course
-receives $5; whereas had he sold them at the rate of 5 for
-$2, he would have received but $4. Hence the difficulty is
-easily settled.</p>
-
-
-<p class="p6">MAGICAL CENTURY.</p>
-
-<p>If the number 11 be multiplied by any one of the nine digits,
-the two figures of the product will always be alike, as appears
-in the following example:&mdash;</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="MAGICAL CENTURY">
-<tbody>
-<tr>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-  <td class="tdr">11</td>
-</tr>
-<tr>
-  <td class="tdr">1</td>
-  <td class="tdr">2</td>
-  <td class="tdr">3</td>
-  <td class="tdr">4</td>
-  <td class="tdr">5</td>
-  <td class="tdr">6</td>
-  <td class="tdr">7</td>
-  <td class="tdr">8</td>
-  <td class="tdr">9</td>
-</tr>
-<tr>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-</tr>
-<tr>
-  <td class="tdr">11</td>
-  <td class="tdr">22</td>
-  <td class="tdr">33</td>
-  <td class="tdr">44</td>
-  <td class="tdr">55</td>
-  <td class="tdr">66</td>
-  <td class="tdr">77</td>
-  <td class="tdr">88</td>
-  <td class="tdr">99</td>
-</tr>
-<tr>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-  <td class="tdr">&mdash;</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>Now, if another person and yourself have fifty counters
-a-piece, and agree never to stake more than ten at a time,
-you may tell him that if he permit you to stake first, you
-always complete the even century before him.</p>
-
-<p>In order to succeed, you must first stake 1, and remembering
-the order of the above series, constantly add to what he
-stakes as many as will make one more than the numbers 11,
-22, 33, &amp;c., of which it is composed, till you come to 89, after
-which your opponent cannot possibly reach the even century
-himself, or prevent you from reaching it.</p>
-
-<p>If your opponent has no knowledge of numbers, you may
-stake any other number first, under 10, provided you subsequently
-take care to secure one of the last terms, 56, 67, 78,
-&amp;c.; or you may even let him stake first, if you take care
-afterward to secure one of these numbers.</p>
-
-<p>This exercise may be performed with other numbers; but,
-in order to succeed, you must divide the number to be attained
-by a number which is a unit greater than what you
-can stake each time, and the remainder will then be the<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
-number you must first stake. Suppose, for example, the
-number to be attained be 52 (making use of a pack of cards
-instead of counters), and that you are never to add more
-than 6; then, dividing 52 by 7, the remainder, which is 3,
-will be the number which you must first stake; and whatever
-your opponent stakes, you must add as much to it as
-will make it equal to 7, the number by which you divided,
-and so in continuation.</p>
-
-
-<p class="p6">THE UNLUCKY HATTER.</p>
-
-<p>A blackleg passing through a town in Ohio, bought a hat
-for $8 and gave in payment a $50 bill. The hatter called on
-a merchant near by, who changed the note for him, and the
-blackleg having received his $42 change went his way.
-The next day the merchant discovered the note to be a counterfeit,
-and called upon the hatter, who was compelled forthwith
-to borrow $50 of another friend to redeem it with; but
-on turning to search for the blackleg he had left town, so
-that the note was useless on the hatter's hands. The question
-is, what did he lose&mdash;was it $50 besides the hat, or was
-it $50 including the hat?</p>
-
-<p>This question is generally given with names and circumstances
-as a real transaction, and if the company knows such
-persons so much the better, as it serves to withdraw attention
-from the question; and in almost every case the first
-impression is, that the hatter lost $50 besides the hat, though
-it is evident he was paid for the hat, and had he kept the $8
-he needed only to have borrowed $42 additional to redeem
-the note.</p>
-
-
-<p class="p6">THE BASKET OF NUTS.</p>
-
-<p>A person remarked that when he counted over his basket
-of nuts, two by two, three by three, four by four, five by
-five, or six by six, there was one remaining; but when he
-counted them by sevens, there was no remainder. How
-many had he?</p>
-
-<p>The least common multiple of 2, 3, 4, 5, and 6 being 60,
-it is evident, that if 61 were divisible by 7, it would answer
-the conditions of the question. This not being the case,
-however, let 60 × 2 + 1, 60 × 3 + 1, 60 × 4 + 1, &amp;c., be tried
-successively, and it will be found that 301 = 60 × 5 + 1, is
-divisible by 7; and consequently this number answers the
-conditions of the question. If to this we add 420, the least<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
-common multiple of 2, 3, 4, 5, 6 and 7, the sum 721 will be
-another answer; and by adding perpetually 420, we may
-find as many answers as we please.</p>
-
-
-<p class="p6">THE UNITED DIGITS.</p>
-
-<p>Arrange the figures 1 to 9 in such order that, by adding
-them together, they amount to 100.</p>
-
-<blockquote><p>&nbsp; 15<br />
-&nbsp; 36<br />
-&nbsp; 47<br />
-&nbsp; &ndash;&ndash;<br />
-&nbsp; 98<br />
-&nbsp; &nbsp; 2<br />
- &mdash;&mdash;<br />
-100</p></blockquote>
-
-
-<p class="p6">DECEMBER AND MAY.</p>
-
-<p>An old man married a young woman; their united ages
-amounted to C. The man's age multiplied by 4 and divided
-by 9, gives the woman's age. What were their respective
-ages?</p>
-
-<p>A<span class="smcapa">NSWER</span>.&mdash;The man's age, 60 years 12 weeks; the woman's
-age, 30 years 40 weeks.</p>
-
-
-<p class="p6">THE TWO DROVERS.</p>
-
-<p>Two drovers, A and B, meeting on the road, began discoursing
-about the number of sheep they each had. Says
-B to A, "Pray give me one of your sheep and I will have
-as many as you." "Nay," replied A, "but give me one of
-your sheep and I will have as many again as you." Required
-to know the number of sheep they each had?</p>
-
-<p>A had seven and B had five sheep.</p>
-
-
-<p class="p6">THE BASKET AND STONES.</p>
-
-<p>If a hundred stones be placed in a straight line, at the
-distance of a yard from each other, the first being at the
-same distance from a basket, how many yards must the
-person walk who engages to pick them up, one by one, and
-put them into the basket? It is evident that, to pick up
-the first stone, and put it into the basket, the person must
-walk two yards; for the second, he must walk four; for
-the third, six: and so on increasing by two, to the hundredth.</p>
-
-<p><span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span></p>
-
-<p>The number of yards, therefore, which the person must
-walk will be equal to the sum of the progression, 2, 4, 6,
-&amp;c., the last term of which is 200 (22). But the sum of the
-progression is equal to 202, the sum of the two extremes,
-multiplied by 50, or half the number of terms: that is to say,
-10,100 yards, which makes more than 5<sup>1</sup>&frasl;<sub>2</sub> miles.</p>
-
-
-<p class="p6">THE FAMOUS FORTY-FIVE.</p>
-
-<p>How can number 45 be divided into four such parts that,
-if to the first part you add 2, from the second part you subtract
-2, the third part you multiply by 2, and the fourth
-part you divide by 2, the sum of the addition, the remainder
-of the subtraction, the product of the multiplication, and the
-quotient of the division be all equal?</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="THE FAMOUS">
-<tr>
- <td class="tdl">The 1st is</td>
- <td class="tdr">8;</td>
- <td class="tdl">to which add</td>
- <td class="tdl">2,</td>
- <td class="tdl">the sum is</td>
- <td class="tdl">10</td>
-</tr>
-<tr>
- <td class="tdl">The 2nd is</td>
- <td class="tdr">12;</td>
- <td class="tdl">subtract</td>
- <td class="tdl">2,</td>
- <td class="tdl">the remainder is</td>
- <td class="tdl">10</td>
-</tr>
-<tr>
- <td class="tdl">The 3rd is</td>
- <td class="tdr">5;</td>
- <td class="tdl">multiplied by</td>
- <td class="tdl">2,</td>
- <td class="tdl">the product is</td>
- <td class="tdl">10</td>
-</tr>
-<tr>
- <td class="tdl">The 4th is</td>
- <td class="tdr">20;</td>
- <td class="tdl">divided by</td>
- <td class="tdl">2,</td>
- <td class="tdl">the quotient is</td>
- <td class="tdl">10</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr bt">45</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
- <td>&nbsp;</td>
-</tr>
-</table></div>
-
-<p>Required to subtract 45 from 45, and leave 45 as a remainder?</p>
-
-<p>Solution.&mdash;&nbsp;9 + 8 + 7 + 6 + 5 + 4 + 3 + 2 + 1 = 45<br />
-<span class="mleft4b">&nbsp;</span>&nbsp; 1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 = 45<br />
-<span class="mleft4b">&nbsp;</span>&nbsp; &mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
-<span class="mleft4b">&nbsp;</span>&nbsp; 8 + 6 + 4 + 1 + 9 + 7 + 5 + 3 + 2 = 45</p>
-
-
-<p class="p6">SUBTRACTION.</p>
-
-<p>From 1 mile subtract 7 furlongs, 39 rods, 5 yards, 1 foot,
-5 inches.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="SUBTRACTION">
-<tbody>
-<tr>
- <td>&nbsp;</td>
- <td class="tdc">miles</td>
- <td class="tdc">furlongs,</td>
- <td class="tdc">rods,</td>
- <td class="tdc">yards,</td>
- <td class="tdc">feet,</td>
- <td class="tdc">inches.</td>
-</tr>
-<tr>
- <td class="tdl">From</td>
- <td class="tdr">1</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
-</tr>
-<tr>
- <td class="tdl">Take</td>
- <td class="tdr">0</td>
- <td class="tdr">7</td>
- <td class="tdr">39</td>
- <td class="tdr">5</td>
- <td class="tdr">1</td>
- <td class="tdr">5</td>
-</tr>
-<tr>
- <td>&nbsp;</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">0</td>
- <td class="tdr">1</td>
-</tr>
-</tbody>
-</table></div>
-
-<p>In this problem, instead of borrowing 1 foot, we borrow <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span>
-a foot = 6 inches, from which we take 5 inches, and 1 remains;
-we then carry <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> to 1, and borrowing <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> a yard = 1 <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> feet,
-we have 1 <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> from 1 <span class="frac"><sup>1</sup><span>/</span><sub>2</sub></span> = 0, and afterwards proceed as usual.</p>
-
-
-<p class="p6">THE EXPUNGED FIGURE.</p>
-
-<p>In the first place desire a person to write down secretly,
-in a line, any number of figures he may choose, and add<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>
-them together as units; having done this, tell him to subtract
-that sum from the line of figures originally set down;
-then desire him to strike out any figure he pleases, and
-add the remaining figures in the line together as units, (as
-in the first instance,) and inform you of the result, when
-you will tell him the figure he has struck out.</p>
-
-<p>76542-24<br />
-<span class="mleft1">&nbsp;&nbsp;</span>24<br />
-&mdash;&mdash;&mdash;<br />
-76518<br />
-</p>
-
-<p>Suppose, for example, the figures put down
-are 76542; these, added together, as units, make
-a total of 24: deduct 24 from the first line, and
-76518 remain; if 5, the center figure be struck
-out, the total will be 22. If 8, the first figure
-be struck out, 19 will be the total.</p>
-
-<p>In order to ascertain which figure has been struck out,
-you make a mental sum one multiple of 9 higher than the
-total given. If 22 be given as the total, then 3 times 9 are
-27, and 22 from 27 show that 5 was struck out. If 19 be
-given, that sum deducted from 27 shows 8.</p>
-
-<p>Should the total be equal multiplies of 9, as 18, 27, 36,
-then 9 has been expunged.</p>
-
-<p>With very little practice any person may perform this
-with rapidity, it is therefore needless to give any further
-examples. The only way in which a person can fail in
-solving this riddle is, when either the number 9 or a cipher
-is struck out, as it then becomes impossible to tell which
-of the two it is, the sum of the figure in the line being an
-even number of nines in both cases.</p>
-
-
-<p class="p6">THE MYSTERIOUS ADDITION.</p>
-
-<p>It is required to name the quotient of five or three lines
-of figures&mdash;each line consisting of five or more figures&mdash;only
-seeing the first line before the other lines are even put
-down. Any person may write down the first line of figures
-for you. How do you find the quotient?</p>
-
-<p>E<span class="smcapa">XAMPLE</span>.&mdash;When the first line of figures is set down, subtract
-2 from the last right-hand figure, and place it before
-the first figure of the line, and that is the quotient for five
-lines. For example, suppose the figures given are 86,214,
-the quotient will be 286,212. You may allow any person
-to put down the two first and the fourth lines, but you must
-always set down the third and fifth lines, and in doing so,
-always make up 9 with the line above, as in the following
-example:</p>
-
-<p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p>
-
-<p>Therefore in the annexed diagram you will see
-that you have made 9 in the third and fifth lines
-with the lines above them. If the person desire
-to put down the figures should set down a 1 or
-0 for the last figure, you must say we will have
-another figure, and another, and so on until he
-sets down something above 1 or 2.</p>
-
-<p><span class="mleft1a">&nbsp;</span>86,214<br />
-<span class="mleft1a">&nbsp;</span>42,680<br />
-<span class="mleft1a">&nbsp;</span>57,319<br />
-<span class="mleft1a">&nbsp;</span>62,854<br />
-<span class="mleft1a">&nbsp;</span>37,145<br />
-<span class="mleft1a">&nbsp;</span>&mdash;&mdash;&mdash;<br />
-Qt. 268,212</p>
-
-<p>In solving the puzzle with three lines, you
-subtract 1 from the last figure, and place it
-before the first figure, and make up the third
-line yourself to 9. For example: 67,856 is
-given, and the quotient will be 167,855, as
-shown in the above diagram.</p>
-
-<p><span class="mleft1b">&nbsp;</span>67,856<br />
-<span class="mleft1b">&nbsp;</span>47,218<br />
-<span class="mleft1b">&nbsp;</span>52,781<br />
-<span class="mleft1b">&nbsp;</span>&mdash;&mdash;&mdash;<br />
-Qt. 167,855</p>
-
-
-<p class="p6">TO TELL AT WHAT HOUR A PERSON INTENDS TO RISE.</p>
-
-<p>Let the person set the hand of the dial of a watch at any
-hour he pleases, and tell you what hour that is; and to the
-number of that hour you add in your mind 12; then tell him
-to count privately the number of that amount upon the dial,
-beginning with the next hour to that on which he proposes
-to rise, and counting backwards, first reckoning the number
-of the hour at which he has placed the hand. For example:</p>
-
-<p>Suppose the hour at which he intends to rise be 8, and
-that he has placed the hand at 5; you will add 12 to 5, and
-tell him to count 17 on the dial, first reckoning 5, the hour
-at which the index stands, and counting backwards from
-the hour at which he intends to rise; and the number 17
-will necessarily end at 8, which shows that to be the hour
-he chose.</p>
-
-
-<p class="p6">TO FIND THE DIFFERENCE BETWEEN TWO NUMBERS, THE GREATEST
-OF WHICH IS UNKNOWN.</p>
-
-<p>Take as many nines as there are figures in the smallest
-number, and subtract that sum from the number of nines.
-Let another person add the difference to the largest number,
-and talking away the first figure of the amount add it to the
-last figure, and that sum will be the difference of the two
-numbers.</p>
-
-<p>For example: John, who is 22, tells Thomas, who is older,
-that he can discover the difference of their ages; he therefore
-privately deducts 22 from 99 (his age consisting of
-two figures, he of course takes two nines); the difference,
-which is 77, he tells Thomas to add to his age, and to take<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span>
-away the first figure from the amount, and add it to the last
-figure and that will be the difference of their ages; thus,</p>
-
-<p>The difference between John's age and 99 is <span class="mleft1">&nbsp;</span>77<br />
-To which Thomas adding his age <span class="mleft5">&nbsp;&nbsp;</span>35<br />
-<span class="mleft18">&nbsp;</span>&mdash;&mdash;<br />
-<span class="mleft6">&nbsp;</span>The sum is <span class="mleft7">&nbsp;</span> 112<br />
-Then by taking away the first figure 1, and<br />
-&nbsp; adding it to the figure 2, the sum is <span class="mleft4">&nbsp;</span>13<br />
-Which add to John's age <span class="mleft8a">&nbsp;</span>22<br />
-<span class="mleft18">&nbsp;</span>&mdash;&mdash;<br />
-Gives the age of Thomas <span class="mleft8b">&nbsp;</span>35</p>
-
-
-<p class="p6">THE REMAINDER.</p>
-
-<p>A very pleasing way to arrive at an arithmetical sum,
-without the use of either slate or pencil, is to ask a person
-to think of a figure, then to double it, then add a certain
-figure to it, now halve the whole sum, and finally to subtract
-from that the figure first thought of. You are then to
-tell the thinker what is the remainder.</p>
-
-<p>The key to this lock of figures is, that <span class="smcapa">HALF</span> of whatever
-sum you request to be added during the working of the sum
-is <span class="smcapa">THE REMAINDER</span>. In the example given, five is the half of
-ten, the number requested to be added. Any amount may
-be added, but the operation is simplified by giving only even
-numbers, as they will divide without fractions.</p>
-
-
-<p class="center"><em>Example.</em></p>
-
-<p>Think of <span class="mleft11a">&nbsp;</span>7<br />
-Double it <span class="mleft10b">&nbsp;</span>14<br />
-Add 10 to it <span class="mleft9b">&nbsp;</span>10<br />
-<span class="mleft14">&nbsp;</span>&mdash;&mdash;<br />
-Halve it <span class="mleft10a">&nbsp;</span>2)24<br />
-<span class="mleft14">&nbsp;</span>&mdash;&mdash;<br />
-Which will leave <span class="mleft7a">&nbsp;</span>12<br />
-Subtract the number thought of <span class="mleft2">&nbsp;</span>7<br />
-<span class="mleft14">&nbsp;</span>&mdash;&mdash;<br />
-T<span class="smcapa">HE</span> R<span class="smcapa">EMAINDER</span> will be <span class="mleft5b">&nbsp;</span>5</p>
-
-
-<p class="p6">A PERSON HAVING AN EQUAL NUMBER OF COUNTERS, OR PIECES OF
-MONEY, IN EACH HAND, TO FIND HOW MANY HE HAS ALTOGETHER.</p>
-
-<p>Request the person to convey any number, as 4, for example,
-from the one hand to the other, and then ask how many
-times the less number is contained in the greater. Let us<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
-suppose that he says the one is the triple of the other; and,
-in this case, multiply 4, the number of the counters conveyed,
-by 3, and add to the product the same number, which
-will make 16. Lastly, take 1 from 3, and if 16 be divided by
-the remainder 2, the quotient will be the number contained
-in each hand, and consequently the whole number is 16.</p>
-
-<p>This curious problem deserves another example. Let us
-again suppose that 4 counters are passed from one hand to
-the other, and the less number is contained in the greater
-2 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span> times. In this case, we must, as before, multiply 4 by
-2 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, which will give 9 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>; to which, if 4 be added, we shall
-have 13 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, or <span class="frac"><sup>40</sup><span>/</span><sub>3</sub></span>; if 1, then, be taken from 2 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, the remainder
-will be 1 <span class="frac"><sup>1</sup><span>/</span><sub>3</sub></span>, or <span class="frac"><sup>4</sup><span>/</span><sub>3</sub></span>, by which, if <span class="frac"><sup>40</sup><span>/</span><sub>3</sub></span> be divided, the quotient 10
-will be the number of counters in each hand.</p>
-
-
-<p class="p6">THE THREE JEALOUS HUSBANDS.</p>
-
-<p>Three jealous husbands, A, B, and C, with their wives, being
-ready to pass by night over a river, find at the water
-side a boat which can carry but two at a time, and for want
-of a waterman they are compelled to row themselves over
-the river at several times. The question is how those six
-persons shall pass, two at a time, so that none of the three
-wives may be found in the company of one or two men, unless
-her husband be present?</p>
-
-<p>This may be effected in two or three ways; the following
-may be as good as any: Let A and wife go over&mdash;let A return&mdash;let
-B's and C's wives go over&mdash;A's wife returns&mdash;B and
-C go over&mdash;B and wife return, A and B go over&mdash;C's wife
-returns, and A's and B's wives go over&mdash;then C comes back
-for his wife. Simple as this question may appear, it is found
-in the works of Alcuin, who flourished a thousand years ago,
-hundreds of years before the art of printing was invented.</p>
-
-
-<p class="p6">THE FALSE SCALES.</p>
-
-<p>A cheese being put into one of the scales of a false balance,
-was found to weigh 16 lbs., and when put into the
-other only 9 lbs. What is the true weight?</p>
-
-<p>The true weight is a mean proportional between the two
-false ones, and is found by extracting the square root of
-their product. Thus 16 × 9 = 144; and square root 144 = 12
-lbs., the weight required.</p>
-
-<p><span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span></p>
-
-
-<p class="p6">THE APPLE WOMAN.</p>
-
-<p>A poor woman, carrying a basket of apples, was met by
-three boys, the first of whom bought half of what she had,
-and then gave her back 10; the second boy bought a third
-of what remained, and gave her back 2; and the third
-bought half of what she had now left, and returned her 1;
-after which she found she had 12 apples remaining. What
-number had she at first?</p>
-
-<p>From the 12 remaining, deduct 1, and 11 is the number
-she sold the last boy, which was half she had; her number
-at that time, therefore, was 22. From 22 deduct two, and
-the remaining 20 was 2/3 of her prior stock, which was therefore
-30. From 30 deduct 10, and the remainder 20 is half
-her original stock; consequently she had at first 40 apples.</p>
-
-
-<p class="p6">THE GRACES AND MUSES.</p>
-
-<p>The three Graces, carrying each an equal number of
-oranges, were met by the nine Muses, who asked for some
-of them; and each Grace having given to each Muse the
-same number, it was then found that they had all equal
-shares. How many had the Graces at first?</p>
-
-<p>The least number that will answer this question is twelve;
-for if we suppose that each Grace gave one to each Muse,
-the latter would each have three, and there would remain
-three for each Grace. (Any multiple of 12 will answer the
-conditions of the question.)</p>
-
-
-<p class="p6">THE JESUITICAL TEACHER.</p>
-
-<p>A teacher, having fifteen young ladies under her care,
-wished them to take a walk each day of the week. They
-were to walk in five divisions of three ladies each, but no
-two ladies were to be allowed to walk together twice during
-the week. How could they be arranged to suit the
-above conditions?</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_252.jpg" width="500" height="125" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p>
-
-
-<p class="p6">QUAINT QUESTIONS.</p>
-
-<p>What is the difference between twenty four quart bottles,
-and four and twenty quart bottles?</p>
-
-<p><em>Ans.</em>&mdash;56 quarts difference.</p>
-
-<p>What three figures, multiplied by 4, will make precisely 5?</p>
-
-<p><em>Ans.</em>&mdash;1 <span class="frac"><sup>1</sup><span>/</span><sub>4</sub></span>, or 1·25.</p>
-
-<p>What is the difference between six dozen dozen, and half-a-dozen
-dozen?</p>
-
-<p><em>Ans.</em>&mdash;792: Six dozen dozen being 864, and half-a-dozen
-dozen, 72.</p>
-
-<p>Place three sixes together, so as to make seven.</p>
-
-<p><em>Ans.</em>&mdash;6 <span class="frac"><sup>6</sup><span>/</span><sub>6</sub></span>.</p>
-
-<p>Add one to nine and make it twenty.</p>
-
-<p><em>Ans.</em> IX&mdash;cross the <em>1</em>, it makes XX.</p>
-
-<p>Place four fives so as to make six and a half. <em>Ans.</em>&mdash;5 <span class="frac"><sup>5</sup><span>/</span><sub>5</sub></span>·5.</p>
-
-<p>A room with eight corners had a cat in each corner, seven
-cats before each cat, and a cat on every cat's tail. What
-was the total number of cats? <span class="mleft3">&nbsp;</span><em>Ans.</em>&mdash;Eight cats.</p>
-
-<p>Prove that seven is the half of twelve. <span class="mleft1">&nbsp;</span><em>Ans.</em>&mdash;Place the
-Roman figures on a piece of paper, and draw a line through
-the middle of it, the upper will be VII.</p>
-
-
-<p class="p6">THE FOX, GOOSE AND CORN.</p>
-
-<p>A countryman having a Fox, a Goose, and a peck of Corn,
-came to a river, where it so happened that he could carry
-but one over at a time. Now as no two were to be left together
-that might destroy each other, he was at his wit's
-end, for says he "Though the corn can't eat the goose, nor
-the goose eat the fox; yet the fox can eat the goose, and
-the goose eat the corn." How shall he carry them over, that
-they shall not destroy each other?</p>
-
-<p>Let him first take over the Goose, leaving the Fox and
-Corn; then let him take over the Fox and bring the Goose
-back; then take over the Corn; and lastly take over the
-Goose again.</p>
-
-
-<p class="p6">MULTIPLYING MONEY BY MONEY.</p>
-
-<p>Amongst the various questions that are given for the purpose
-of puzzling the unwary arithmetician, the multiplication
-of money by money is one of the most curious: take for instance
-the following problems:</p>
-
-<p><span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span></p>
-
-<p>Multiply £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em> by £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em><br />
-Multiply £11 11<em>s.</em> 11<em>d.</em> by £11 11<em>s.</em> 11<em>d.</em></p>
-
-<p>To the uninitiated they usually appear easy of solution
-but the various modes of working them out, and the different
-results obtained, prove that there is something absurd and
-wrong in the questions themselves. Some reduce all to
-farthings, and after multiplying one term by the other, return
-the product into pounds, shillings, and pence. Others
-convert them into decimals; whilst some work the problem
-in the style of duodecimals.</p>
-
-<p>Having sufficiently puzzled the tyros, the querist remarks:
-"The problem itself is absurd, it is incapable of solution;
-for what is the nature of the product of pounds, shillings,
-and pence multiplied by pounds, shillings and pence? We
-know that a yard multiplied by a yard is a square yard, but
-who can tell what is a penny multiplied by a penny, or a
-penny by a pound?"</p>
-
-<p>Now all this is quite correct, provided the question is
-limited, as above to the product of pounds, shillings, and
-pence, into pounds, shillings, and pence; <ins title="Transcriber's Note: original reads 'put'">but</ins> suppose the
-problem were put in this form&mdash;If a capital of £1 produces
-by compound interest, in a certain time, £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em>, how
-much would be produced by a capital of £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.?</em> It
-is evident that, to answer this, we must multiply £99 19<em>s.</em>
-11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em> by £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em>: these are in fact the second and,
-third terms of an ordinary "rule of three;" and though one
-of the terms is a "concrete" quantity of pounds, shillings,
-and pence, the other must be regarded as an "abstract"
-mathematical quantity, being 99 and a fraction, of which
-the number of farthings in a pound is the denominator 960,
-and the number of farthings in the third term is the numerator,
-959; or, instead of this, the shillings and pence might be
-converted into decimals of a pound, or into aliquot parts.
-The product of multiplying £99 19<em>s.</em> 11<span class="frac"><sup>3</sup><span>/</span><sub>4</sub></span><em>d.</em> by 99<span class="frac"><sup>959</sup><span>/</span><sub>960</sub></span> is £9,999
-15<em>s.</em> 10<span class="frac"><sup>1</sup><span>/</span><sub>3840</sub></span><em>d.</em>; the quickest way of doing this, is to multiply
-by 100, and to subtract from the product the 960th part of
-the multiplicand.</p>
-
-<p>In the other question proposed, the product of £11 11<em>s.</em>
-11<em>d.</em> into £11 11<em>s.</em> 11<em>d.</em>, or 11 <span class="frac"><sup>143</sup><span>/</span><sub>240</sub></span>, is £134 9<em>s.</em> 3<span class="frac"><sup>493</sup><span>/</span><sub>240</sub></span><em>d.</em></p>
-
-<p>Number and value are distinct abstract ideas, and cannot,
-without committing a logical absurdity, be confused. To
-multiply is to repeat a certain number of <em>times</em>, and it is obviously<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>
-impossible to bring <em>value</em> into the question. Value
-is arbitrary; number is fixed. Put it in this way, and the
-absurdity is evident: One pound is equivalent to 20 shillings,
-or 240 pence, or 960 farthings. In value there is no
-difference whatever; but what an enormous difference between
-multiplying by 1, 20, 240, or 960!</p>
-
-
-<p class="p6">THE UNFAIR DIVISION.</p>
-
-<p>A gentleman rented a farm, and contracted to give to his
-landlord <span class="frac"><sup>2</sup><span>/</span><sub>5</sub></span> of the produce; <ins title="Transcriber's Note: original reads 'put'">but</ins> prior to the time of dividing
-the corn, the tenant used 45 bushels. When the general
-division was made, it was proposed to give to the landlord
-18 bushels from the heap, in lieu of his share of the 45
-bushels which the tenant had used, and then to begin and
-divide the remainder as though none had been used. Would
-this method have been correct?</p>
-
-<p>The landlord would lose 7<span class="frac"><sup>1</sup><span>/</span><sub>5</sub></span> bushels by such an arrangement,
-as the rent would entitle him to <span class="frac"><sup>2</sup><span>/</span><sub>5</sub></span> of the 18. The
-tenant should give him 18 bushels from his own share after
-the division is completed, otherwise the landlord would receive
-but <span class="frac"><sup>2</sup><span>/</span><sub>7</sub></span> of the first 63 bushels.</p>
-
-
-<p class="p6">A POPULAR FALLACY.</p>
-
-<p>It is often suggested from the pulpit and elsewhere, that
-enough persons have lived and died in the world to cover
-its whole surface with bodies; and even two or three strata
-deep. Is this probable?</p>
-
-<p>Say the earth has existed 6000 years, the population always
-having been 800,000,000, and the average life of man 30
-years; this being the utmost that could be claimed. Allow
-then the State of Virginia to contain 70,000 square miles,
-and each grave to occupy a space of 6 feet by 2; the
-territory of the State would contain 162,624,000,000; while
-the mighty army of the dead would number only 160,000,000,000;
-leaving 2,624,000,000 graves yet unoccupied.
-How wide of truth then is the position often set forth so
-positively!</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span></p>
-
-
-
-
-<h2><a name="CURIOUS_TRICKS_IN_GEOMETRY" id="CURIOUS_TRICKS_IN_GEOMETRY"></a>TRICKS IN GEOMETRY.</h2>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Let young beginners come and try</div>
-  <div class="i0">Their hands at our geometry."</div>
- </div>
-</div>
-</div>
-
-
-<p>The word Geometry is derived from the Greek, and signifies
-the art of measuring land. The invention of it is
-ascribed by some to the Chaldeans and Babylonians, by
-others to the Egyptians, who were obliged to determine the
-boundaries of their fields after the inundation of the Nile,
-by geometrical measurements. According to Cassiodorus,
-the Egyptians either derived the art from the Babylonians,
-or invented it after it was known to them. Thales, a Phœnician,
-who died 548 years <span class="smcapa">B.C.</span>, and Pythagoras of Samos,
-who flourished about 520 <span class="smcapa">B.C.</span>, introduced it from Egypt into
-Greece. In elementary geometry, Euclid of Alexandria, as
-everybody knows, is particularly distinguished. Archimedes
-measured the sphere, and after him other philosophers
-prosecuted the science with the utmost assiduity. In Italy,
-where the sciences first revived after the dark ages, several
-mathematicians were distinguished in the 16th century.
-The French, and after them the Germans, followed; while
-in England, Hook, Newton, and others, carried the science
-to the highest pitch of usefulness, and through its aid made
-the most prodigious discoveries. It is not, however, our
-province to enter into a long disquisition on the subject, but
-simply to set before the young reader some of the more
-curious properties of the science, that he may be excited
-to study it for himself; and we will promise him that
-should he devote his mind to its study, he will be amply
-repaid for any amount of labor he may bestow upon it.</p>
-
-
-<p class="p6">GEOMETRICAL DEFINITIONS.</p>
-
-<p>In geometry a <em>point</em> is said to have neither breadth, length,
-nor thickness. A <em>line</em> is the distance between two points;
-parallel lines always keep at the same distance from each
-other. A <em>right</em> line is what is commonly called a straight<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>
-line. A <em>curve</em> is a line which continually changes its direction.
-An <em>angle</em> is the inclination or opening of two lines
-meeting in a point. A <em>figure</em> is a bounded space, and is
-either a superficies or a solid. A <em>triangle</em> is a figure with
-three sides and three angles. A <em>square</em> has four equal sides,
-and four right angles. A <em>circle</em> is a plane figure bounded
-by a curved line running into itself. Its diameter is a
-straight line drawn from one extremity of its circumference
-to the other, and its center is equally distant from every
-part of the circumference. A <em>solid</em> is any body which has
-length, breadth, and thickness; and a sphere is a solid,
-terminated by a convex surface, every part of which is at
-an equal distance from a point within, called its center.</p>
-
-
-<p class="p6">THE FIVE GEOMETRICAL SOLIDS.</p>
-
-<div class="figcenter" style="width: 359px;">
-<img src="images/i_257a.jpg" width="359" height="122" alt="" />
-</div>
-
-<div class="figcenter" style="width: 486px;">
-<img src="images/i_257b.jpg" width="486" height="186" alt="" />
-</div>
-
-<p>The following figures will show how the five geometrical
-solids may be cut out of a piece of cardboard. Where
-the lines are drawn the board is to be partly cut through
-with a penknife, so as to render the angles of the models as
-sharp and as straight as possible. The edges which require
-joining are to be fastened together with a slip of thin paper
-and gum dissolved in just sufficient water to bring it to the
-consistence of treacle. Fig. 1 will form a tetrahedron, a
-figure with four sides, each shaped like an equilateral triangle.
-Fig. 2 forms a cube or hexahedron. Fig. 3 an octohedron,<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span>
-with eight triangular sides. Fig. 4, a dodecahedron,
-with twelve sides shaped like pentagons, with five equal
-sides. Fig. 5, an isocahedron, with twenty sides, formed of
-equilateral triangles.</p>
-
-<div class="figcenter">
-<img src="images/i_258a.jpg" width="260" height="138" alt="" />
-<div class="caption"><p><em>Fig. 5.</em></p></div>
-</div>
-
-
-<p class="p6">HOW TO MAKE FIVE SQUARES INTO A LARGE ONE WITHOUT ANY
-WASTE OF STUFF.</p>
-
-<p>Suppose you have five squares of cloth, or anything else,
-as in Fig. 7; find the center of one side of four of these
-squares, and cut them from that point to the opposite corner,
-then place the perfect square in the centre, and the other
-pieces round, as seen in Fig. 8.</p>
-
-<div class="figcenter">
-<img src="images/i_258b.jpg" width="260" height="130" alt="" />
-<div class="caption"><p><em>Fig. 7.</em> <span class="mleft4">&nbsp;</span><em>Fig. 8.</em></p></div>
-</div>
-
-
-<p class="p6">DECEPTIVE VISION.</p>
-
-<div class="figcenter">
-<img src="images/i_258c.jpg" width="330" height="152" alt="" />
-</div>
-
-<p>The following sleight shows how easily the eye may be
-deceived. Take a piece of pasteboard, an inch and a half
-in width, and five inches in length, and divide it by inked
-lines into thirty squares, then cut it from corner to corner,<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>
-so as to form two triangles. After this cut off the top of
-these triangles at <span class="smcapa">C</span> and <span class="smcapa">D</span>,<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> and arrange the pieces in this
-manner:&mdash;</p>
-
-<div class="figcenter">
-<img src="images/i_259a.jpg" width="364" height="128" alt="" />
-</div>
-
-<p>On counting the squares in the first figure, there appear
-to be thirty, but the other arrangement of the same card
-seems to contain thirty-two. It does so, however, only in
-appearance, but it is only a very correct eye that can detect
-the imperfection.</p>
-
-
-<p class="p6">THE CARPENTER PUZZLED.</p>
-
-<div class="figright" style="width: 155px;">
-<img src="images/i_259b.jpg" width="155" height="226" alt="" />
-</div>
-
-<p>A carpenter having a piece of mahogany of a triangular
-form, (see Fig.) wished to know how he could make it up
-to the best advantage. His first idea was to make an oblong
-square table of it, but he found that if he did so the
-waste of the wood would be very great.
-After consideration he discovered that
-the most economical method of using
-the wood would be to form it into an
-oval. To make this oval contain as
-much wood as possible, he proceeded in
-the following manner: Let <span class="smcapa">B G D</span> be
-the triangular piece of wood; take <span class="smcapa">G H</span>
-one half of the base, and divide the
-triangle by drawing a line from <span class="smcapa">H</span> to <span class="smcapa">B</span>.
-Take <span class="smcapa">G H</span> in the compasses, and set it
-off on one of the sides from <span class="smcapa">G</span> to <span class="smcapa">E</span>, draw
-the line <span class="smcapa">E F</span>, and the point <span class="smcapa">I</span> will be the center of the oval;
-draw <span class="smcapa">K L</span> parallel to <span class="smcapa">E F</span>, and at the same distance from the
-center as the base <span class="smcapa">G</span>. The points <span class="smcapa">A</span> and <span class="smcapa">C</span> are found by
-dividing the line from <span class="smcapa">E</span> to <span class="smcapa">K</span> and drawing <span class="smcapa">A C</span>, or by drawing
-the dotted lines <span class="smcapa">D A</span> and <span class="smcapa">G C</span> through the center at <span class="smcapa">I</span>.
-These points being found, the oval must be completed by
-the eye of the draughtsman.</p>
-
-<p><span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span></p>
-
-<p class="p6">THE BRICKLAYER PUZZLED.</p>
-
-<div class="figcenter" style="width: 315px;">
-<img src="images/i_260a.jpg" width="315" height="105" alt="" />
-</div>
-
-<p>A bricklayer had to construct a wall, whose length in the
-direction <span class="smcapa">A B C</span> was twenty-four feet. The one half of this
-wall, namely from <span class="smcapa">B</span> to <span class="smcapa">C</span>, had to be built over a piece of
-rising ground, so that the base of this part of the wall
-would necessarily be more than twelve feet. In making
-out his account he charged more for this half of the wall
-than for that which was built on level ground from <span class="smcapa">A</span> to <span class="smcapa">B</span>.
-A geometrician assured him that the square contents of
-both portions of the wall were exactly alike; which may
-be proved in the following manner:&mdash;</p>
-
-<div class="figcenter">
-<img src="images/i_260b.jpg" width="412" height="84" alt="" />
-</div>
-
-<div class="figleft" style="width: 175px;">
-<img src="images/i_260c.jpg" width="175" height="93" alt="" />
-<div class="caption"><p><em>Fig. 4.</em></p></div>
-</div>
-
-<p>Cut two pieces of cardboard, in the form shown in Figs.
-2 and 3, to represent the two parts of the wall; lay
-the piece representing the straight wall on the curved piece,
-and it will be found that the angles
-which project at <span class="smcapa">A</span> and <span class="smcapa">B</span> will exactly
-fill up the spaces at <span class="smcapa">E</span> and <span class="smcapa">F</span>. The piece
-of board representing the straight
-wall may thus be found to be exactly
-sufficient to form a piece equal to that
-representing the curved wall. You may then lay the curved
-piece upon the straight one, and reversing the experiment
-prove that the curved piece is capable of forming a rectangular
-piece equal to the other.</p>
-
-
-<p class="p6">TRIANGULAR PROBLEM.</p>
-
-<p>Take four square pieces of pasteboard of the same dimensions,
-and divide them diagonally, that is, by drawing a line
-from two opposite angles, as in the figures, into eight triangles.
-Paint seven of these triangles with the prismatic<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>
-colors, red, orange, yellow, green,
-blue, indigo, violet, and let the
-eighth be white. To find how
-many chequers or regular four-sided
-figures, different either in
-form or color, may be made out
-of these eight triangles.</p>
-
-<div class="figcenter">
-<img src="images/i_261a.jpg" width="227" height="189" alt="" />
-</div>
-
-<p>First, by combining two of these
-triangles there may be formed,
-either the triangular square <span class="smcapa">A</span>, or
-the inclined square <span class="smcapa">B</span>, called a Rhomb. Secondly, by combining
-four of the triangles the large square <span class="smcapa">C</span> may be
-formed, or the long square <span class="smcapa">D</span>, called a parallelogram. Now
-the first two squares, consisting of two parts out of eight,
-may each of them by the eighth rank of the triangle be
-taken twenty-eight different ways, which makes fifty-six.
-And the last two squares, consisting of four parts, may each
-be taken by the same rank of the triangle seventy times,
-which makes 140.</p>
-
-
-<p class="p6">TO FORM A SQUARE.</p>
-
-<p>Take a piece of card of the shape and size or proportions
-of the subjoined, and cut it into three
-parts, and with these three form a perfect
-square.</p>
-
-<div class="figcenter" style="width: 165px;">
-<img src="images/i_261b.jpg" width="165" height="113" alt="" />
-</div>
-
-<p>To do this, cut it in the direction of
-the dotted lines, and it will then be easy
-to lay down the pieces to form a perfect
-square.</p>
-
-
-<p class="p6">SQUARING THE CIRCLE.</p>
-
-<p>"Squaring the circle," as it is called, is the puzzle of
-puzzles, and there are many persons who fancy this can be
-accomplished, as there are also many who believe that they
-can discover "perpetual motion."</p>
-
-<p>The meaning of this phrase <em>squaring</em> is scientifically expressed
-by the term finding the quadrature of the circle;
-that is, the act of producing a square equal to a given circle;
-and many persons but slightly acquainted with mathematics
-have puzzled their brains to effect this object. The
-Cardinal de Cusa rolled a cylinder over a plane, till the
-point which was first in contact with the plane touched it
-again; and then, by a train of reasoning very unmathematical,<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
-he endeavored to determine the length of the line thus
-described. Oliver de Serras worked a circle, and also a
-triangle equal to an equilateral triangle, inscribed within
-the circle, and imagined that the former was exactly equal
-to two of the latter, forgetting that the double of this triangle
-is equal to the hexagon inscribed within the circle,
-and therefore smaller than the circle itself. A Frenchman
-challenged the world, and deposited 10,000 livres as a stake,
-that he could accomplish the feat. He reduced the problem
-to the mechanical process of dividing a circle into four
-quarters, and then turning these with their angles outwards,
-so as to form a square, which he asserted to be equal to
-the circle; this however was soon proved to be ridiculous.</p>
-
-<p>Some persons have taken a piece of pasteboard, and cutting
-it out into a circular form, and by cutting that circular disc
-into pieces of a square form and definite dimensions, and fitting
-the same turned pieces one into the other, have come <em>near</em>
-to a notion of the superficial area of a circle. But this kind
-of demonstration is purely mechanical, and is neither geometrical
-nor scientific, and, is in fact, no demonstration according
-to mathematics. For if we take the pieces of card,
-however exactly they may appear to be formed, and examine
-them with a microscope, we shall soon find that none of them
-are geometrically true, nor of the same length or breadth,
-and therefore the conclusion arrived at is a false one.</p>
-
-<div class="figcenter">
-<img src="images/i_262.jpg" width="500" height="107" alt="" />
-</div>
-
-<p>The early mathematicians, in their attempts to solve this
-problem, generally proceeded on the following plan. If we
-draw a square exterior to a circle, that is, touching the
-square in four points, each side of the square being equal to
-the diameter of the circle, we can soon convince ourselves
-that the boundary of the square will be greater than the
-circumference of the circle, and the area of the former
-greater than that of the latter. But if the square be drawn
-within the circle, so that only the four corners touch it, then
-it is equally evident that the circle is larger, both in boundary
-and area, than the square. By this proceeding, we
-arrive at the conclusion that a circle is <em>smaller</em> than a square<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
-<em>external</em> to it, and <em>larger</em> than one <em>internal</em> to it. Let us next
-suppose that we draw a regular pentagon, that is, a figure
-of five equal sides, exterior to the circle, and touching it on
-five points; then it is evident that as the circle is wholly
-contained within the pentagon, it must be smaller than that
-which contains it. But if the pentagon be described within
-the circle, touching it at the five angular points, then of
-course the circle is larger than the pentagon which it contains.</p>
-
-<p>Now, in geometry, my young readers must bear in mind,
-the exact periphery or circumference, and the exact area of
-any figure bounded by straight lines, may be determined
-with rigorous accuracy; and if we draw two polygons&mdash;say
-of one hundred sides, one within and one without the circle&mdash;we
-can ascertain the exact area of those polygons, and
-affirm that the area of a circle is greater than a certain
-amount, and less than another certain amount. These two
-amounts, if the number of the sides of the polygon be so
-large as we here suppose, may be so very nearly alike, that
-either one will give the area of the circle with great closeness.</p>
-
-<div class="figcenter">
-<img src="images/i_263.jpg" width="400" height="199" alt="" />
-</div>
-
-<p>By some such means as these Archimedes found that
-if the diameter of a circle be called 7, then the circumference
-will be nearly 22; and that if the square of the
-diameter be 14, then the area of the circle will be equal
-to about 11; but this computation was slightly in error, and
-gave to the area of the circle too great a measure by about
-one three-thousandth part of the whole. At a later period,
-however, a European mathematician, named Metius, discovered
-a method which makes an extraordinary approach to
-accuracy, and is at the same time easily remembered. He
-found that if the diameter be considered equal to 113, then
-the circumference would equal 355; or if we multiply the
-square of the radius by 355, and divide it by 113, the area<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span>
-will be given. Now this method is so very nearly correct,
-that the area of a circle one foot in diameter is given within
-the fifty-thousandth part of a square inch.</p>
-
-<p>Other mathematicians have carried the approximation still
-further. Ludolph Van Ceulen worked it out to 36 places of
-figures, showing that if the diameter be 1, the circumference
-will be</p>
-
-<blockquote><p>3.14,159,265,358,979,323,846,264,338,327,950,288.</p></blockquote>
-
-<p>or that if the last figure be 8, the result will be a little below
-the truth, and if 9, a little above it.</p>
-
-<p>Since this, Mr. Sharp, an English mathematician, carried
-the approximation to 72 places of figures; Mr. John Machin
-to 100 figures, and eclipsed all others. M. de Lagny worked
-it out to 128 places of figures, and of the degree of <em>nearness</em>
-to which this computation brings the proportion, Montucla
-says, "If we suppose a circle, the <em>diameter</em> of which is a
-thousand million times greater than the distance between
-the sun and the earth, the error in the proportion of the circumference
-would be a thousand million times less than the
-thickness of a hair."</p>
-
-<p>But after all, none of these computations are quite correct;
-they all deviate from the truth, and bring us to the conclusion
-that there are no numbers or collection of numbers
-which will give the exact ratio of the circumference, or of
-the area of a circle to its diameter. We offer this explanation
-on the subject to our young friends that they may not
-be puzzled by the question; and that should they be asked
-to square the circle, or hear any one assert that he can do
-so, they may be able to show that they are "awake" to the
-question, and know how to explain it.</p>
-
-<div class="figcenter">
-<img src="images/i_264.jpg" width="229" height="180" alt="" />
-</div>
-
-
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p>
-
-
-<h2><a name="CURIOUS_AND_AMUSING_PUZZLES" id="CURIOUS_AND_AMUSING_PUZZLES"></a>PRACTICAL PARADOXES AND PUZZLES.</h2>
-
-<hr class="r20" />
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_265.jpg" width="500" height="364" alt="" />
-</div>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">A puzzle is not solved, impatient sirs,</div>
-  <div class="i0">By peeping at its answer, in a trice&mdash;</div>
-  <div class="i0">When Gordius, the plow-boy, king of Phrygia,</div>
-  <div class="i0">Tied up his implements of husbandry</div>
-  <div class="i0">In the far-famed knot, rash Alexander</div>
-  <div class="i0">Did not undo, by cutting it in twain.</div>
- </div>
-</div>
-</div>
-
-
-<p>Paradoxes and Puzzles, although by many persons looked
-upon as mere trifles, have, in numerous instances, cost their
-inventors considerable time, and exhibit a great degree of
-ingenuity. We can readily imagine that some of the complicated
-puzzles in the ensuing pages may have been originally
-constructed by captives, to pass away the hours of a
-long and dreary imprisonment; thus does the misery of a
-few frequently conduce to the amusement of many. We
-look upon a Paradox as a sort of superior riddle, and a tolerable
-Puzzle, in our opinion, takes precedence of a first-rate
-rebus. There is often considerable thought, calculation,
-patience, and management, required to solve some of these
-strange enigmas; and we have, ere now, followed the
-mazes of a Puzzle so ardently, as to be entirely absorbed
-in devising means to extricate ourself from its bewildering
-difficulties; and felt almost as much pleasure in eventually<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span>
-achieving victory over it, as we have in conquering an adversary
-at some superior game of skill. It is "in good
-sooth, a right dainty and pleasant pastime," to watch the
-stray wanderings of another person attempting to elucidate
-a Paradox, or perform a Puzzle, with which one is previously
-acquainted. It is laughable to see him elated with hope
-at the apparent speedy end of his troubles, when you know
-that, at that moment, he is actually farther from his object
-than he was when he began; and it is no less amusing to
-watch his increasing despair, as he conceives himself to be
-getting more and more involved, when you are well aware
-that he is within a single turn of a happy termination of his
-toils; but what a mirthful moment is that, when there being
-only two ways to turn, the one right and the other wrong,
-as is usually the case, he takes the latter, and becomes
-more than ever</p>
-
-<p class="center">"Pozed, puzzled, and perplexed."</p>
-
-<p>Puzzles are by no means of modern origin; the Sphynx
-puzzled the brains of some of the heroes of antiquity, and
-even Alexander the Great, as it is written, made several
-essays to untie the knot with which Gordius, the Phrygian
-king, who had been raised from the plow to the throne, tied
-up his implements of husbandry in the temple, in so intricate
-a manner, that universal monarchy was promised to
-the man who could undo it: after having been repeatedly
-baffled, he, at length, drew his sword, considering that he
-was entitled to the fulfillment of the promise, by cutting the
-Gordian knot.</p>
-
-
-<p class="p6">1. THE CHINESE CROSS.</p>
-
-<div class="figcenter">
-<img src="images/i_266.jpg" width="309" height="178" alt="" />
-</div>
-
-<p>Have six pieces of wood, bone, or metal, made of the same
-length as No. 6, in the above figures, and each piece of the
-same size as No. 7. It is required to construct a cross,<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span>
-with six arms, from these pieces, and in such a manner that
-it shall not be displaced when thrown upon the floor.</p>
-
-<p>The shaded parts of each figure represent the parts that
-are cut <em>out</em> of the wood, and each piece marked <em>a</em> is supposed
-to be facing the reader, while the pieces marked <em>b</em> are
-the <em>right</em> side of each piece turned over <em>towards</em> the left, so
-as to face the reader. No. 7 represents the end of each
-piece of wood, &amp;c., and is given to show the dimensions.</p>
-
-
-<p class="p6">2. THE PARALLELOGRAM.</p>
-
-<div class="figcenter" style="width: 208px;">
-<img src="images/i_267a.jpg" width="208" height="107" alt="" />
-</div>
-
-<p>A parallelogram, as in the illustration,
-fig. 1, may be cut into two
-pieces, so that by shifting the position
-of the pieces, two other figures
-may be formed, as shown by figs. 2
-and 3.</p>
-
-
-<p class="p6">3. THE DIVIDED GARDEN.</p>
-
-<div class="figcenter">
-<img src="images/i_267b.jpg" width="173" height="170" alt="" />
-</div>
-
-<p>A person let his house to several inmates,
-who occupied different floors, and
-having a garden attached to the house,
-he was desirous of dividing it among
-them. There were ten trees in the garden,
-and he was desirous of dividing it so
-that each of the five inmates should have
-an equal share of garden and two trees.
-How did he do it?</p>
-
-
-<p class="p6">4. THE ENDLESS STRING.</p>
-
-<div class="figcenter">
-<img src="images/i_267c.jpg" width="106" height="231" alt="" />
-</div>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i2">Now, sir, your coat is off!</div>
-  <div class="i3">And see&mdash;</div>
-  <div class="i2">Your right-hand pocketed!</div>
-  <div class="i3">So let it be:</div>
-  <div class="i2">While o'er your arm</div>
-  <div class="i3">An endless string&mdash;</div>
-  <div class="i2">Some three yards round&mdash;</div>
-  <div class="i3">Hangs like a sling.</div>
-  <div class="i2">Take the string off&mdash;</div>
-  <div class="i3">But, just for fun,</div>
-  <div class="i3">It must be done</div>
-  <div class="i0">Keeping your right-hand in its place,</div>
-  <div class="i0">And not a smile must stir your face.</div>
-  <div class="i0">Until you find this puzzle out,</div>
-  <div class="i0">No coat shall wrap your back about.</div>
- </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span></p>
-
-
-<p class="p6">5. CHINESE MAZE. THE WILLOW-PATTERN PLATE.</p>
-
-<div class="figcenter">
-<img src="images/i_268a.jpg" width="444" height="450" alt="" />
-</div>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Ye fair ones who, in continent or isle,</div>
-  <div class="i1">Long for delights which love alone can bring;</div>
-  <div class="i0">Whilst ruby lips display affection's smile,</div>
-  <div class="i1">Haste through the maze, and reach the "wedding ring"</div>
-  <div class="i0">The sweet Koong-see, whose spirit hovers near,</div>
-  <div class="i1">Shall watch thee wand'ring through the doubtful way;</div>
-  <div class="i0">And when thou showest aught of hope or fear,</div>
-  <div class="i1">Shall whisper to thee, as thy footsteps stray!</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">6. THE VERTICAL LINE PUZZLE.</p>
-
-<p>Draw six vertical lines, as below, and, by adding five
-other lines to them, let the whole form nine.</p>
-
-<div class="figcenter">
-<img src="images/i_268b.jpg" width="184" height="72" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span></p>
-
-
-<p class="p6">7. THE THREE RABBITS.</p>
-
-<p>Draw three rabbits, so that each shall appear to have two
-ears, while, in fact, they have only three ears between them.</p>
-
-
-<p class="p6">8. THE ACCOMMODATING SQUARE.</p>
-
-<p>Make eight squares of card, then divide four of them from
-corner to corner, so that you will now have twelve pieces.
-Form a square with them.</p>
-
-
-<p class="p6">9. THE CIRCLE PUZZLE.</p>
-
-<p>Draw a circle upon a piece of paper, and thrust a pin
-through it without crossing the circle, or thrusting it downward
-through the center.</p>
-
-
-<p class="p6">10. THE CARDBOARD PUZZLE.</p>
-
-<p>Take a piece of cardboard or leather, of the
-shape and measurement indicated by the diagram,
-cut it in such a manner that you yourself
-may pass through it, still keeping it in
-one piece.</p>
-
-<div class="figleft" style="width: 109px;">
-<img src="images/i_269a.jpg" width="109" height="140" alt="" />
-</div>
-
-
-<p class="p6">11. THE BUTTON PUZZLE.</p>
-
-<div class="figright" style="width: 68px;">
-<img src="images/i_269b.jpg" width="68" height="209" alt="" />
-</div>
-
-<p>In the center of a piece of leather make two
-parallel cuts with a penknife, and just below a
-small hole of the same width; then pass a piece
-of string under the slit and through the hole, as
-in the figure, and tie two buttons much larger
-than the hole to the ends of the string. The
-puzzle is, to get the string out again without
-taking off the buttons.</p>
-
-
-<p class="p6">12. THE QUARTO PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_269c.jpg" width="176" height="186" alt="" />
-</div>
-
-<p>Divide this figure into four equal parts, each of the same
-figure.</p>
-
-<p><span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span></p>
-
-
-<p class="p6">13. THE PUZZLE OF FOURTEEN.</p>
-
-<div class="figcenter">
-<img src="images/i_270a.jpg" width="400" height="273" alt="" />
-</div>
-
-<p>Cut out fourteen pieces of paper, card, or wood, of the
-same size and shape as those shown in the diagram, and
-then form an oblong with them.</p>
-
-
-<p class="p6">14. THE SQUARE AND CIRCLE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_270b.jpg" width="162" height="161" alt="" />
-</div>
-
-<p>Get a piece of cardboard, the size and shape of the diagram,
-and punch in it twelve circles or holes in the position
-shown. The puzzle is, to cut the cardboard into four pieces
-of equal size, each piece to be of the same shape, and to
-contain three circles, without cutting into any of them.</p>
-
-
-<p class="p6">15. THE SCALE AND RING PUZZLE.</p>
-
-<div class="figleft">
-<img src="images/i_270c.jpg" width="100" height="189" alt="" />
-</div>
-
-<p>Provide a thin piece of wood of about two inches and a
-half square; make a round hole at each corner, sufficiently
-large to admit three or four times the thickness of the cord
-you will afterwards use, and in the middle of
-the board make four smaller round holes in the
-form of a square, and about half an inch between
-each. Then take four pieces of thin silken
-cord, each about six inches long, pass one
-through each of the four corner holes, tying a
-knot underneath at the end, or affixing a little
-ball or bead to prevent its drawing through;
-take another cord, which, when doubled, will
-be about seven inches long, and pass the two ends through<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span>
-the middle holes <em>a a</em>, from the front to the back of the board,
-(one cord through each hole,) and again from back to front
-through the other holes <em>b b</em>; tie the six ends together in a
-knot, so as to form a small scale, and proportioning the
-length of the cords, so that when you hold the scale suspended,
-the middle cord, besides passing through the four
-center holes, will admit of being drawn up into a loop of
-about half an inch from the surface of the scale; provide a
-ring of metal or bone, of about three quarters of an inch in
-diameter, and place it on the scale, bringing the loop through
-its middle; then, drawing the loop a little through the
-scale toward you, pass it, double as it is, through the hole
-at the corner A, over the knot underneath, and draw it back;
-then pass it in the same way through the hole at corner B,
-over the knot, and draw it back; then, drawing up the
-loop a little more, pass it over the knot at top, and afterward
-through the holes C and D in succession, like the
-others, and the ring will be fixed.</p>
-
-
-<p class="p6">16. THE HEART PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_271.jpg" width="321" height="435" alt="" />
-</div>
-
-<p>Cut a piece of thin wood the shape indicated by the diagram,
-and having perforated it as above, draw a piece of
-string, with a smaller heart attached at the end, through<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span>
-No. 1, pass it behind, and bring it through 2 before, and
-through 3, and so on to 6, when a loop must be made so as
-to enclose that part of the string which runs from 2 to 3.
-The puzzle is to remove the string from the large heart altogether,
-without unfastening the loop.</p>
-
-<p>Care should be taken to avoid twisting or entangling the
-string. The length of the string should be proportioned to
-the size of the heart; if you make the heart two inches
-and a half high, the string when doubled should be about
-nine inches long.</p>
-
-
-<p class="p6">17. THE CROSS PUZZLE.</p>
-
-<div class="figleft">
-<img src="images/i_272a.jpg" width="147" height="89" alt="" />
-</div>
-
-<p>Cut three pieces of paper to the shape
-of No. 1, one to the shape of No. 2, and
-one to that of No. 3. Let them be of proportional
-sizes. Then place the pieces together
-so as to form a cross.</p>
-
-
-<p class="p6">18. THE YANKEE SQUARE.</p>
-
-<div class="figcenter" style="width: 400px;">
-<img src="images/i_272b.jpg" width="400" height="286" alt="" />
-</div>
-
-<p>Cut as many pieces of each figure in cardboard as they
-have numbers marked on each; then form the pride of the
-American army.</p>
-
-
-<p class="p6">19. THE CARD PUZZLE.</p>
-
-<div class="figleft">
-<img src="images/i_272c.jpg" width="141" height="159" alt="" />
-</div>
-
-<p>One of the best puzzles hitherto made is represented in
-the annexed cut. A is a piece of card; <em>b b</em> a narrow slip
-divided from its bottom edge, the whole breadth of the
-card, except just sufficient to hold it on at
-each side; <em>c c</em> is another small slip of card
-with two large square ends, <em>e e</em>; <em>d</em> is a bit of
-tobacco-pipe, through which <em>c c</em> is passed, and
-which is kept on by the two ends <em>e e</em>. The
-puzzle consists in getting the pipe off without
-breaking it or injuring any other part of the<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
-puzzle. This, which appears to be impossible, is done in the
-most simple manner. On a moment's consideration it will
-appear plainly that there must be as much difficulty in getting
-the pipe in its present situation, as there can be in
-taking it away. The way to put the puzzle together is as
-follows: The slip <em>c c e e</em> is cut out of a piece of card in the
-shape delineated in Fig. 3. The card in the first figure
-must then be gently bent at A, so as to allow of the slip at
-the bottom of it being also bent sufficiently to pass double
-through the pipe, as in Fig. 2. The detached slip with the
-square ends (Fig. 3) is then to be passed half way through
-the loop <em>f</em> at the bottom of the pipe; it is next to be
-doubled in the center at <em>a</em>, and pulled through the pipe,
-double; by means of the loop of the slip to the card. Upon
-unbending the card the puzzle will be complete, and appear
-as represented in Fig. 1.</p>
-
-
-<p class="p6">20. THREE SQUARE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_273a.jpg" width="206" height="140" alt="" />
-</div>
-
-<p>Cut seventeen slips of cardboard
-of equal lengths, and place them on
-a table to form six squares, as in the
-diagram. It is now required to take
-away five of the pieces, yet to
-leave but three perfect squares.</p>
-
-
-<p class="p6">21. THE CYLINDER PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_273b.jpg" width="206" height="68" alt="" />
-</div>
-
-<p>Cut a piece of cardboard about four inches long, of the
-shape of the diagram, and make
-three holes in it, as represented.
-The puzzle is, to make one piece
-of wood to pass through, and also
-exactly to fill, each of the three holes.</p>
-
-
-<p class="p6">22. PUZZLE OF THE FOUR TENANTS.</p>
-
-<div class="figcenter">
-<img src="images/i_273c.jpg" width="162" height="157" alt="" />
-</div>
-
-<p>I have a square plot of ground, in one quarter of which
-I have built a house, which I have let to
-four tenants. I tell them that if they
-can divide the remaining ground into
-four equal plots, alike in shape, and each
-containing one of the four apple trees
-I have planted, they shall have it
-without any increase of rent. How
-may they succeed?</p>
-
-<p><span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span></p>
-
-
-<p class="p6">23. THE PUZZLE WALL.</p>
-
-<p>Suppose there was a pond, around which four poor men
-built their houses, thus:</p>
-
-<div class="figcenter">
-<img src="images/i_274a.jpg" width="173" height="154" alt="" />
-</div>
-
-<p>Suppose four evil-disposed rich men afterwards built houses
-around the poor people, thus:</p>
-
-<div class="figcenter">
-<img src="images/i_274b.jpg" width="252" height="228" alt="" />
-</div>
-
-<p>and wished to have all the water of the pond to themselves.
-How could they build a high wall, so as to shut out the poor
-people from the pond?</p>
-
-
-<p class="p6">24. THE NUNS.</p>
-
-<div class="figcenter">
-<img src="images/i_274c.jpg" width="150" height="150" alt="" />
-</div>
-
-<p>Twenty-four nuns were arranged in a convent by night, by
-a sister, to count nine each way, as in the
-diagram. Four of them went out for a
-walk by moonlight. How were the remainder
-placed in the square so as still to
-count nine each way? The four who went
-out returned, bringing with them four
-friends; how were they all placed still to
-count nine each way, and thus to deceive the sister, as to
-whether there were 20, 24, 28, or 82, in the square?</p>
-
-
-<p class="p6">25. THE HORSE SHOE PUZZLE.</p>
-
-<div class="figleft">
-<img src="images/i_274d.jpg" width="68" height="82" alt="" />
-</div>
-
-<p>Cut a piece of apple or turnip into the shape of
-a horse shoe, stick six pins in it for nails, and then,
-by two cuts, divide it into six parts, each to contain
-one pin.</p>
-
-<p><span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span></p>
-
-
-<p class="p6">26. THE CARD SQUARE.</p>
-
-<div class="figcenter">
-<img src="images/i_275a.jpg" width="400" height="193" alt="" />
-</div>
-
-<p>With eight pieces of card or paper, of the shape of Fig.
-<em>a</em>, four of Fig. <em>b</em>, and four of Fig. <em>c</em>, and of proportionate
-sizes, form a perfect square.</p>
-
-
-<p class="p6">27. THE DOG PUZZLE.</p>
-
-<div class="figleft">
-<img src="images/i_275b.jpg" width="137" height="182" alt="" />
-</div>
-
-<p>The dogs are, by placing two lines upon
-them, to be suddenly aroused to life and
-made to run. Query, How and where should
-these lines be placed, and what should be the
-forms of them?</p>
-
-
-<p class="p6">28. PUZZLE OF THE TWO FATHERS.</p>
-
-<p>Two fathers have each a square of land. One father divides
-his so as to reserve to himself one fourth; thus&mdash;</p>
-
-<div class="figcenter" style="width: 205px;">
-<img src="images/i_275c.jpg" width="205" height="207" alt="" />
-</div>
-
-<p>The other father divides his so as to reserve to himself one
-fourth in the form of a triangle; thus&mdash;</p>
-
-<div class="figcenter">
-<img src="images/i_275d.jpg" width="207" height="204" alt="" />
-</div>
-
-<p>They each have four sons, and each divides the remainder<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span>
-among his sons in such a way that each son will share
-equally with his brother, and in similar shape. How were
-the two farms divided?</p>
-
-
-<p class="p6">29. THE TRIANGLE PUZZLE.</p>
-
-<p>Cut twenty triangles out of ten square pieces of wood;
-mix them together, and request a person to make an exact
-square with them.</p>
-
-
-<p class="p6">30. CUTTING OUT A CROSS.</p>
-
-<div class="figcenter">
-<img src="images/i_276a.jpg" width="278" height="176" alt="" />
-</div>
-
-<p>How can be cut out of a single piece of paper, and with
-one cut of the scissors, a perfect cross, and all the other
-forms as shown in the cuts?</p>
-
-
-<p class="p6">31. ANOTHER CROSS PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_276b.jpg" width="190" height="186" alt="" />
-</div>
-
-<p>With three pieces of cardboard of the
-shape and size of No. 1, and one each of
-No. 2 and 3, to form a cross.</p>
-
-
-<p class="p6">32. THE FOUNTAIN PUZZLE.</p>
-
-<p><span class="smcapa">A</span> is a wall, <span class="smcapa">B C D</span> three houses, and <span class="smcapa">E F G</span> three fountains
-or canals.</p>
-
-<div class="figcenter">
-<img src="images/i_276c.jpg" width="318" height="210" alt="" />
-</div>
-
-<p>It is required to bring the water from <span class="smcapa">E</span> to <span class="smcapa">D</span>, from <span class="smcapa">G</span> to <span class="smcapa">B</span>,<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span>
-and from <span class="smcapa">F</span> to <span class="smcapa">C</span>, without one crossing the other, or passing
-outside of the wall <span class="smcapa">A</span>.</p>
-
-
-<p class="p6">33. THE PUZZLE OF THE STARS.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Friends one and all, I pray you show</div>
-  <div class="i0">How you <em>nine stars</em> would so bestow,</div>
-  <div class="i0"><em>Ten</em> rows to form&mdash;in each row <em>three</em>&mdash;</div>
-  <div class="i0">Tell me, ye wits, how this can be?</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">34. THE COUNTER PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_277a.jpg" width="400" height="70" alt="" />
-</div>
-
-<p>Place eight counters or coins, as in the diagram; it is
-then required to lay them in four couples, removing only
-one at a time, and in each removal passing the one in the
-hand over <em>two</em> on the table.</p>
-
-
-<p class="p6">35. THE JAPAN SQUARE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_277b.jpg" width="400" height="215" alt="" />
-</div>
-
-<p>Cut out ten pieces of card or wood of the same sizes and
-shapes as in the diagram, and then form a square with them.</p>
-
-
-<p class="p6">36. THE CABINET MAKER'S PUZZLE.</p>
-
-<p>A cabinet-maker has a circular piece of veneering with
-which he has to veneer the tops of two oval stools; but it
-so happens that the area of the stools, exclusive of the hand-holes
-in the center, and that of the circular piece, are the
-same. How must he cut his stuff so as to be exactly
-sufficient for his purpose?</p>
-
-
-<p class="p6">37. THE STRING AND BALLS PUZZLE.</p>
-
-<p>Get an oblong strip of wood or ivory, and bore three holes
-in it, as shown in the cut. Then take a piece of twine,
-passing the two ends through the holes at the extremities,
-fastening them with a knot, and thread upon it two beads<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span>
-or rings, as depicted above. The puzzle is to get both beads
-on the same side, without removing the string from the
-holes, or untying the knots.</p>
-
-<div class="figcenter">
-<img src="images/i_278a.jpg" width="400" height="173" alt="" />
-</div>
-
-
-<p class="p6">38. THE DOUBLE-HEADED PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_278b.jpg" width="420" height="206" alt="" />
-</div>
-
-<p>Cut a circular piece of wood as in the cut No. 1, and
-four others, like No. 2. The puzzle consists in getting them
-all into the cross-shaped slit, until they look like Fig. 3.</p>
-
-
-<p class="p6">39. ARITHMETICAL PUZZLE.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">The sum of four figures in value will be.</div>
-  <div class="i0">Above seven thousand nine hundred and three;</div>
-  <div class="i0">But when they are halved, you'll find very fair</div>
-  <div class="i0">The sum will be nothing, in truth I declare.</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">40. GRAMMATICAL PUZZLE.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Let the rich, great, and noble, banquet in the festal halls,</div>
-  <div class="i1">And pass the hours away, as the most thoughtless revel;</div>
-  <div class="i0">Then seek the poor man's dreary home, whose very dingy walls</div>
-  <div class="i1">Proclaim full well to all how low his rank and level.</div>
- </div>
-</div>
-</div>
-
-<p>Take away one letter from a word in the above stanza,
-and substitute another, leaving the word so metamorphosed
-still a word of the English language; and, by that change,
-totally after the syntactical construction of the whole sentence,
-changing the moods and tenses of verbs, turning
-verbs into nouns, nouns into adjectives, and adjectives into
-adverbs, &amp;c., and so make the entire stanza bear quite a
-different meaning from that which it has as it stands above.</p>
-
-<p><span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span></p>
-
-
-<p class="p6">41. THE TREE PUZZLE.</p>
-
-<p>Plant an orchard of twenty-one trees, so that there shall
-be nine straight rows, with five trees in each row, the <em>outline</em>
-a regular geometrical figure, and the trees all at unequal
-distances from each other.</p>
-
-
-<p class="p6">42. AN EPITAPH ON ELLINOR BACHELLOR, AN OLD PYE WOMAN.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i2">Bene A. Thin Thed Ustt HEMO. Uld yo</div>
-  <div class="i4">L.D.C. RUSTO! Fnel L.B.</div>
-  <div class="i5">Ach El Lor. Lat. ELY,</div>
-  <div class="i0">Wa. S. shove N. W. How&mdash;Ass! kill'd I. N. T. H.</div>
-  <div class="i4">Ear T. Sofp, I, Escu Star.</div>
-  <div class="i2">D. San D T Art. San D K. N E. W. E</div>
-  <div class="i1">Ver&mdash;&mdash;Yus E.&mdash;Oft He ove N W. Hens He</div>
-  <div class="i6">'Dli V'DL. on geno</div>
-  <div class="i1">Ug H S hem A.D.E. he R. la Stp. Uf&mdash;&mdash;fap</div>
-  <div class="i5">Uf. F. B Y he. R hu</div>
-  <div class="i7">S. Ban D. M.</div>
-  <div class="i3">Uch pra is 'D. No. Wheres Hedot</div>
-  <div class="i0">HL. i. e. Tom. A kead I.R.T.P. Yein hop Esthathe</div>
-  <div class="i6">R. C. RUSTWI,</div>
-  <div class="i5">L L B. Era is '&mdash;&mdash;D!</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">43. A CURIOUS LETTER.</p>
-
-<p>Friends <span class="mleft2">&nbsp;</span>Sir, <span class="mleft2">&nbsp;</span>friends,<br />
-<span class="mleft2">&nbsp;</span>stand your disposition;<br />
-<span class="mleft3">&nbsp;</span>I&nbsp; bearing<br />
-<span class="mleft1">&nbsp;</span>a man <span class="mleft3">&nbsp;</span>the world<br />
-<span class="mleft2">&nbsp;</span>is <span class="mleft4">&nbsp;</span>whilst the<br />
-<span class="mleft1">&nbsp;</span>contempt,<br />
-<span class="mleft5">&nbsp;</span>ridicule.<br />
-<span class="mleft6">&nbsp;</span>are<br />
-<span class="mleft5">&nbsp;</span>ambitious.</p>
-
-
-<p class="p6">44. A PUZZLING INSCRIPTION.</p>
-
-<blockquote><p>P R S V R Y P R F C T M N<br />
-V R K P T H S P R C P T S T N.</p></blockquote>
-
-<p>The two lines above were affixed to the communion table
-of a small church in Wales, and continued to puzzle the
-learned congregation for several centuries, but at length
-the inscription was deciphered. What was it?</p>
-
-
-<p class="p6">45. THE PUZZLING RINGS.</p>
-
-<p>This perplexing invention is of great antiquity, and was
-treated on by Cardan, the mathematician, at the beginning
-of the sixteenth century. It consists of a flat piece of thin<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
-metal or bone, with ten holes in it; in each hole a wire is
-loosely fixed, beaten out into a head at one end, to prevent
-its slipping through, and the other fastened to a ring, also
-loose. Each wire has been passed through the ring of
-the next wire, previously to its own ring being fastened on;
-and through the whole of the rings runs a wire loop or bow,
-which also contains, within its oblong space, all the wires
-to which the rings are fastened; the whole presenting so
-complicated an appearance, as to make the releasing the
-rings from the bow appear an impossibility. The construction
-of it would be found rather troublesome to the amateur,
-but it may be purchased at most of the toy shops very
-lightly and elegantly made. It also exists in various parts
-of the country, forged in iron, perhaps by some ingenious
-village mechanic, and aptly named "The Tiring Irons."
-The following instructions will show the principle on which
-the puzzle is constructed, and will prove a key to its
-solution.</p>
-
-<p>Take the loop in your left hand, holding it at the end, B,
-and consider the rings as being numbered 1st to 10th. The
-1st will be the extreme ring to the right, and the 10th the
-nearest your left hand.</p>
-
-<div class="figcenter">
-<img src="images/i_280.jpg" width="500" height="132" alt="" />
-</div>
-
-<p>It will be seen that the difficulty arises from each ring
-passing round the wire of its right-hand neighbor. The
-extreme ring at the right hand, of course, being unconnected
-with any other wire than its own, may at any time be drawn
-off the end of the bow at A, raised up, dropped through the
-bow, and finally released. After you have done this, try to
-pass the second ring in the same way, and you will not succeed,
-as it is obstructed by the wire of the first ring; but
-if you bring the first ring on again, by reversing the process
-by which you took it off, viz., by putting it up through the
-bow, and on to the end of it, you will then find that by taking
-the first and second rings together, they will both draw
-off, lift up, and drop through the bow. Having done this,
-try to pass the third ring off, and you will not be able;<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span>
-because it is fastened on one side to its own wire, which is
-within the bow, and on the other side to the second ring,
-which is without the bow. Therefore, leaving the third ring
-for the present, try the fourth ring, which is now at the end
-all but one, and both of the wires which affect it being
-within the bow, you will draw it off without obstruction;
-and, in doing this, you will have to slip the third ring off,
-which will not drop through for the reasons before given;
-so, having dropped the fourth ring through, you can only
-slip the third ring on again. You will now comprehend
-that (with the exception of the first ring) the only ring
-which can at any time be released is that which happens to
-be second on the bow, at the right-hand end; because both
-the wires which affect it being within the bow, there will
-be no impediment to its dropping through. You have now
-the first and second rings released, and the fourth also&mdash;the
-third still fixed; to release which we must make it last
-but one on the bow, and to effect which pass the first and
-second rings together through the bow, and on to it; then
-release the first ring again by slipping it off and dropping
-it through, and the third ring will stand as second on the
-bow, in its proper position for releasing, by drawing the
-second and third off together, dropping the third through,
-and slipping the second on again. Now to release the
-second, put the first up, through and on the bow; then slip
-the two together off, raise them up, and drop them through.
-The sixth will now stand second, consequently in its proper
-place for releasing; therefore draw it toward the end, A,
-slip the fifth off, then the sixth, and drop it through; after
-which replace the fifth, as you cannot release it until it
-stands in the position of a second ring; in order to effect
-this you must bring the first and second rings together,
-through and on to the bow; then in order to get the third
-on, slip the first off and down through the bow; then bring
-the third up, through and on to the bow; then bring the first
-ring up and on again, and, releasing the first and second
-together, bring the fourth through and on to the bow, replacing
-the third; then bring the first and second together
-on, drop the first off and through, then the third the same,
-replace the first on the bow, take off the first and second
-together, and the fifth will then stand second, as you desired;
-draw it toward the end, slip it off and through, replace the
-fourth, bring the first and second together up and on again,<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
-release the first, bring on the third, passing the second ring
-on to the bow again, replace the first, in order to release
-the first and second together; then bring the fourth toward
-the end, slipping it off and through, replace the third, bring
-the first and second together up and on again, release the
-first, then the third, replacing the second, bring the first up
-and on, in order to release the first and second together,
-which having done, your eighth ring will then stand second,
-consequently you can release it, slipping the seventh on
-again. Then to release the seventh, you must begin by
-putting the first and second up and on together, and going
-through the movements in the same succession as before,
-until you find you have only the tenth and ninth on the bow;
-then slip the tenth off and through the bow, and replace
-the ninth. This dropping of the tenth ring is the first
-effectual movement toward getting the rings off, as all the
-changes you have gone through were only to enable you to
-get at the tenth ring. You will then find that you have
-only the ninth left on the bow, and you must not be discouraged
-on learning, that in order to get that ring off, all
-the others to the right hand must be put on again, beginning
-by putting the first and second together, and working
-as before, until you find that the ninth stands as second on
-the bow, at which time you can release it. You will then
-have only the eighth left on the bow; you must again put
-on all the rings to the right hand, beginning by putting up
-the first and second together, till you find the eighth standing
-as second on the bow, or in its proper position for releasing;
-and so you proceed until you find all the rings
-finally released. As you commence your operations with all
-the rings ready fixed on the bow, you will release the tenth
-ring in one hundred and seventy moves; but as you then
-have only the ninth on, and as it is necessary to bring on
-again all the rings up to the ninth, in order to release the
-ninth, and which requires fifteen moves more, you will, consequently,
-release the ninth ring in two hundred and fifty-six
-moves; and, for your encouragement, your labor will
-diminish, by one half, with each following ring which is
-finally released. The eighth comes off in one hundred and
-twenty-eight moves, the seventh in sixty-four moves, and so
-on, until you arrive at the second and first rings, which
-come off together, making six hundred and eighty-one
-moves, which are necessary to take off all the rings<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span>.
-With the experience you will by this time have acquired,
-it is only necessary to say, that to replace the rings, you
-begin by putting up the first and second together, and follow
-precisely the same system as before.</p>
-
-
-<p class="p6">46. MOVING THE KNIGHT OVER ALL THE SQUARES ALTERNATELY.</p>
-
-<div class="figcenter">
-<img src="images/i_283.jpg" width="443" height="440" alt="" />
-<div class="caption"><p>EULER'S METHOD.</p></div>
-</div>
-
-<p>The problem respecting the placing the knight on
-any given square, and moving him from that square
-to any house on the board, has not been thought unworthy
-the attention of the first mathematicians. Euler,
-Ozanam, De Montmart, De Moivre, De Majron, and
-others, have all given methods by which this feat might be
-accomplished. It was reserved, however, for the present
-century to lay this down on a general plan; and the only
-English writer who has noticed this is Mr. George Walker,
-in his <cite>Treatise on Chess</cite>. The plan is this: Let the knight
-be placed on any square, and move him from square to
-square, on the principle of always playing him to that
-point, from which, in actual play, he would command the
-fewest other squares; observing, that in reckoning the
-squares commanded by him you must omit such as he has
-already covered. If, too, there are two squares, on both of
-which his powers would be equal, you may move him to
-either. Try this on the board, with some counters or waf<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>ers,
-placing one on every square; and, when you <ins title="Transcriber's Note: original reads 'clearl'">clearly</ins>
-understand it, you may astonish your friends by inviting
-them to station the knight on any square they like, and engaging
-to play him, from that square, over the remaining
-sixty-three in sixty-three moves. When the automaton
-Chessplayer was last exhibited in England, this was made
-part of the wonders he accomplished, though as the above
-plan was not then known here, he could not adopt it, but
-used something like the method laid down by Euler, and
-which we subjoin.</p>
-
-<p>Our young Chess-players must remember that it does not
-matter on which square the knight is placed at starting;
-as, by acquiring the plan by heart, which is soon done, he
-can play him over all the squares from any given point, his
-last square being at the distance of a knight's move from
-his first. It is obvious that this route may be varied many
-ways, and we have often amused ourselves by trying to
-work it on a slate.</p>
-
-
-<p class="p6">ANOTHER METHOD.</p>
-
-<p>The problem of the knight's covering successively each
-square of the board, has, in all ages, attracted the attention
-of the first mathematicians; it is only lately, however, that
-this very ingenious system for performing the feat without
-seeing the board, has been invented by an Edinburgh
-gentleman. We well recollect the surprise occasioned
-among chess-amateurs when it was first performed; indeed
-it was generally considered a greater mental effort than
-that of playing three games of chess at the same time, without
-seeing the board.</p>
-
-<p>The general rule for moving the Knight upon all the
-squares of the board, is to commence by moving him to that
-square which commands the fewest points of attack, and by
-continuing this principle he will occupy all the squares in
-rotation, observing, that if on any two or more squares his
-power would be equal, he may be placed indifferently on
-either of such squares. Thus we see, that there are different
-routes which the Knight-errant may take in his progress
-over all the board; still, whichever of these routes for covering
-the sixty-four squares may be adapted, each move
-forms, if we may so express ourselves, a link in an endless
-chain, so that whatever square we start from, by taking
-one known route, we are sure to arrive at a square, the last<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>
-link of the chain, a Knight's move distant from the square
-of our departure. Consequently, if any person could commit
-to memory the consecutive moves of any one route over
-the board, he would be able to start from any one square in
-that route, in the same manner that any of us, if required
-to mention the numerals up to sixty-four, could as easily
-start at thirty and end at twenty-nine, as if we started at
-one and ended at sixty-four.</p>
-
-<div class="figcenter" style="width: 500px;">
-<img src="images/i_285.jpg" width="500" height="511" alt="" />
-</div>
-
-<p>These considerations greatly reduce the apparent impossibility
-of performing the feat; but the reader will exclaim,
-"What an immense undertaking it would be, to commit to
-memory the moves forming a Knight's route over the sixty-four
-squares!" and we reply, "Certainly it would be, if we
-used the language of Chess to designate the squares;" and
-herein lies the beauty of the invention. A set of names,
-whose application can be understood at a glance, are invented<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
-for the squares, and the performer of the feat, having
-learned a route of the Knight, expressed by these invented
-names, thinks in the new language which he directs the
-moves in the terms of chess&mdash;just as many of us <em>think</em> in
-English, when we are writing or speaking French.</p>
-
-<p>The diagram given above represents the chess-board;
-the distinction of white and black squares is not necessary
-for our purpose. The files, commencing from the right hand
-are distinguished by the consonants in alphabetical succession
-(C and J are, for obvious reasons, omitted.) Thus, the
-King's rook's file is known as B, the King's Knight's as D,
-the King's Bishops as F, the King's as G, the Queen's as
-H, the Queen's Bishop's as K, the Queen's Knight's as L,
-and the Queen's Rook's as M. This is all that has to be
-learned, in this system of Chess notation; for the lines of
-squares tell their own numbers&mdash;one being <em>un</em>, two <em>oo</em>, three
-<em>ee</em>, four <em>or</em>, six <em>ix</em>, seven <em>en</em>, eight <em>et</em>&mdash;being, in fact, the terminal
-sounds of the first eight numerals. Bun being B <em>one</em>,
-or King's Rook's square; Gix, G <em>six</em>, or King's sixth square.
-We consider it quite unnecessary to say another word in
-explanation of this system; its ingenious simplicity causes
-it to be understood and learned at a glance. All that is
-required now is, to select a Knight's route over all the
-squares of the board, and commit it to memory, not in the
-complicated terms of Chess, but in these simple equivalents.
-Suppose we start from the Queen's Knights seventh square,
-<em>len</em>, the route will be as follows:</p>
-
-<blockquote><p>Len  het  fen  bet.  Dix  bor  doo  gun<br />
-Koo  mun  lee  kun.  Moo  kee  goo  dun.<br />
-Bee  div  ben  fet.  Hen  let  mix  lor.<br />
-Hee  kiv  gor  hix.  Liv  men  ket  gen.<br />
-Kix  giv  fee  hor.  Gix  for  hiv  gee.<br />
-Fiv  den  biv  dee.  Bun  foo  hun  loo.<br />
-Mor  lix  met  ken.  Get  fix  det  bix.<br />
-Dor  boo  fun  hoo.  Lun  mee  kor  miv</p></blockquote>
-
-<p>The only trouble is to commit this cabalistical-looking
-table to memory, which may be all accomplished in half
-an hour; the process will be greatly facilitated by the
-learner frequently playing the route over on the chess-board.
-He will be amply rewarded by the astonishment he
-will cause to the <em>natives</em> of his locality, who may have the
-great misfortune of being unacquainted with our book's enlightening<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span>
-pages; and, if not quite a first-rate player, he will
-acquire an intimate knowledge of the peculiar powers and
-perplexing peregrinations of the eccentric <em>Caballeros</em>, who</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i6">"&mdash;&mdash;fiery coursers guide</div>
-  <div class="i0">With headlong speed throng wars empurpled tide;</div>
-  <div class="i0">Alert and brave they spring amidst the fight,</div>
-  <div class="i0">From white to black, from black to candid white."</div>
- </div>
-</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_287.jpg" width="500" height="487" alt="" />
-</div>
-
-
-<p class="p6">ANOTHER METHOD.</p>
-
-<p>Let Black Queen's Rook's Square count 1, (as in the diagram,)
-Black King's Rook 8, and count all the other Squares
-in the same way from 9 to 64. Place the Knight upon Black
-King's Rook's Square, 8, and move as follows: 23, 40, 55, 61,
-51, 57, 42, 25, 10, 4, 14, 24, 39, 56, 62, 52, 58, 41, 26, 9, 3, 13, 7,
-22, 32, 47, 64, 54, 60, 50, 33, 18, 1, 11, 5, 15, 21, 6, 16, 31, 48,
-63, 53, 59, 49, 34, 17, 2, 12, 27, 44, 38, 28, 43, 37, 20, 35, 45,
-30, 36, 18, 29, and 46. It may be well to chalk the figures
-on the board, as a guide, until the feat is well understood.</p>
-
-
-<p class="p6">47. ROSAMOND'S BOWER.</p>
-
-<p>The subjoined cut represents, it is said, the Maze at Woodstock,
-in which King Henry placed Fair Rosamond to protect
-her from the Queen. It certainly is a most ingenious
-contrivance, and may be made productive of much amusement.
-The puzzle consists in getting, from one of the numerous
-outlets, to the bower in the center, without crossing
-any of the lines.</p>
-
-<p><span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p>
-
-
-<p class="p6">ROSAMOND'S BOWER.</p>
-
-<div class="figcenter">
-<img src="images/i_288a.jpg" width="400" height="524" alt="" />
-</div>
-
-
-<p class="p6">48. A MAZE OR <ins title="Transcriber's Note: original reads 'LABRYINTH'">LABYRINTH</ins>.</p>
-
-<div class="figcenter">
-<img src="images/i_288b.jpg" width="400" height="162" alt="" />
-</div>
-
-<p>This maze is a correct ground-plan of one in the gardens
-of the Palace of Hampton Court. No legendary tale is attached<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span>
-to it, of which we are aware, but its labyrinthine
-walks occasion much amusement to the numerous holiday
-parties who frequent the palace grounds. The puzzle is
-to get into the center, where seats are placed under two
-lofty trees; and many are the disappointments experienced
-before the end is attained; and even then, the trouble
-is not over, it being quite as difficult to get <em>out</em> as to get <em>in</em>.</p>
-
-
-<p class="p6">49. THE CHINESE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_289a.jpg" width="167" height="132" alt="" />
-</div>
-
-<hr class="tb" />
-
-<div class="figcenter">
-<img src="images/i_289b.jpg" width="378" height="412" alt="" />
-</div>
-
-<p>This puzzle, being one for the purpose of constructing different
-figures by arranging variously-shaped pieces of card
-or wood in certain ways, requires no
-separate explanation. Cut out of very
-stiff cardboard, or thin mahogany, which
-is decidedly preferable, seven pieces, in
-shape like the annexed figures and
-bearing the same proportion to each
-other; one piece must be made in the
-shape of figure 1, one of figure 2, and one of figure 3, and
-two of each of the other figures. The combinations of which
-these figures are susceptible, are almost infinite; and we
-subjoin a representation of a few of the most curious. It is<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span>
-to be borne in mind, that all the pieces of which the puzzle
-consists, must be employed to form each figure.</p>
-
-
-<p class="p6">50. TROUBLE-WIT.</p>
-
-<p>Take a sheet of stiff paper, fold it down the middle of the
-sheet, longways; then turn down the edge of each fold outward,
-the breadth of a penny; measure it as it is folded,
-into three equal parts, with compasses, which make six divisions
-in the sheet; let each third part be turned outward,
-and the other, of course, will fall right; then pinch it a
-quarter of an inch deep, in plaits, like a ruff, so that, when
-the paper lies pinched in its form, it is in the fashion represented
-by A; when closed together, it will be like B; unclose
-it again, shuffle it with each hand, and it will resemble the
-shuffling of a pack of cards; close it and turn each corner
-inward with your fore finger and thumb, it will appear as a
-rosette for a lady's shoe, as C; stretch it forth, and it will
-resemble a cover for an Italian couch, as D; let go your
-fore finger at the lower end, and it will resemble a wicket,
-as E; close it again, and pinch it at the bottom, spreading
-the top, and it will represent a fan, as F; pinch it half
-way, and open the top, and it will appear in the form shown
-by G; hold it in that form, and with the thumb of your left
-hand turn out the next fold, and it will be as H.</p>
-
-<div class="figcenter">
-<img src="images/i_290.jpg" width="459" height="290" alt="" />
-</div>
-
-<p>In fact, by a little ingenuity and practice, Trouble-wit
-may be made to assume an infinite variety of forms, and be
-productive of very considerable amusement.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span></p>
-
-
-
-
-<h2><a name="ANSWERS_TO_PUZZLES" id="ANSWERS_TO_PUZZLES"></a>ANSWERS TO PRACTICAL PUZZLES.</h2>
-
-
-<p class="p6">1. THE CHINESE CROSS ANSWER.</p>
-
-<p>Place Nos. 1 and 2 close together, as in Fig. 1; then hold
-them together with the finger and thumb of the left hand
-horizontally and with the square hole to the right. Push
-No. 3&mdash;placed in the same position <em>facing you</em> (<em>a</em>) in No. 4&mdash;through
-the opening at K, and slide it to the left at A, so
-that the profile of the pieces should be as in Fig. 2. Now
-push No. 4 <em>partially</em> through the space from below upwards,
-as seen in f, Fig. 2. Place No. 5 cross-ways upon the part
-Y, so that the point R is directed upwards to the right hand
-side; then push No. 4 quite through, and it will be in the
-position shown by the dotted lines in Fig. 2. All that now
-remains is to push No. 6&mdash;which is the key&mdash;through the
-opening M and the cross is completed as in Fig. 3.</p>
-
-<div class="figcenter">
-<img src="images/i_291a.jpg" width="431" height="197" alt="Figures one two and three" />
-</div>
-
-
-<p class="p6">2. ANSWER TO THE "PARALLELOGRAM."</p>
-
-<div class="figleft" style="width: 188px;">
-<img src="images/i_291b.jpg" width="188" height="88" alt="" />
-</div>
-
-<p>Divide the piece of card into five
-steps, and by shifting the position of
-the pieces, the desired figures may be
-obtained.</p>
-
-<p><span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span></p>
-
-
-<p class="p6">3. THE DIVIDED GARDEN ANSWER.</p>
-
-<div class="figcenter" style="width: 149px;">
-<img src="images/i_292.jpg" width="149" height="142" alt="" />
-</div>
-
-
-<p class="p6">4. ANSWER TO THE ENDLESS STRING.</p>
-
-<p>The string must be put through the armhole, and over
-the head, then through the opposite armhole; then the hand
-must be put up underneath the waistcoat, and the string
-drawn down around the body until the former drops down
-about the waist, when the experimenter may jump out of
-it and claim his coat.</p>
-
-
-<p class="p6">5. ANSWER TO THE CHINESE MAZE.</p>
-
-<p class="center">K<span class="smcapa">OONG-SEE'S</span> W<span class="smcapa">HISPERS</span>.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">A Why linger near the fence? a word or two</div>
-  <div class="i1">Would kindle up a flame for ever true.</div>
-  <div class="i0">B Beware of rivals&mdash;mischief hovers near;</div>
-  <div class="i1">Or, worse mischance, parental frowns appear.</div>
-  <div class="i0">C Favored indeed, the open door to gain&mdash;</div>
-  <div class="i1">Let no dishonor now your conduct stain.</div>
-  <div class="i0">E The ground is rough, and difficult the road;</div>
-  <div class="i1">But, faint not, thou shalt reach thy love's abode!</div>
-  <div class="i0">F Against thy course runs the opposing tide,</div>
-  <div class="i1">And waves of trouble cast thy hopes aside.</div>
-  <div class="i0">G A modest competence thy lot will be;</div>
-  <div class="i1">But richer joys than wealth are stored for thee.</div>
-  <div class="i0">A Take heed! take heed! a strange transforming doom</div>
-  <div class="i1">May fix thy love, but never let it bloom.</div>
-  <div class="i0">J Be not too rash&mdash;nor leap the Bridge of Love,</div>
-  <div class="i1">Leaving fond eyelids, moist with tears, above.</div>
-  <div class="i0">K What dost thou on the house top? do not steal</div>
-  <div class="i1">Thy love, but win by dutiful appeal!</div>
-  <div class="i0">L A barren path this way thy footsteps tread;</div>
-  <div class="i1">Thy heart will soon grow cold, thy love be fled.</div>
-  <div class="i0">M Thou hast a friend can help thy onward way&mdash;</div>
-  <div class="i1">And such a friend will ne'er thy trust betray.</div>
-<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
-  <div class="i0">D Joy! thou hast reached, at length, the wedding ring;</div>
-  <div class="i1">Let white-robed maidens orange blossoms bring;</div>
-  <div class="i1">Oh may your years of happy wedlock be</div>
-  <div class="i1">Bright as your hopes, and from misgiving free.</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">6. ANSWER TO VERTICAL LINE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_293a.jpg" width="228" height="68" alt="" />
-</div>
-
-
-<p class="p6">7. THE THREE RABBITS, ANSWER.</p>
-
-<div class="figcenter">
-<img src="images/i_293b.jpg" width="234" height="215" alt="" />
-</div>
-
-
-<p class="p6">8. THE ACCOMMODATING SQUARE.</p>
-
-<div class="figcenter">
-<img src="images/i_293c.jpg" width="263" height="266" alt="" />
-</div>
-
-
-<p class="p6">9. ANSWER TO THE CIRCLE PUZZLE.</p>
-
-<p>Thrust it upwards from the other side.</p>
-
-<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p>
-
-
-<p class="p6">10. ANSWER TO THE CUT CARD PUZZLE.</p>
-
-<div class="figcenter" style="width: 196px;">
-<img src="images/i_294a.jpg" width="196" height="95" alt="" />
-</div>
-
-<p>Double the cardboard or leather lengthways down the
-middle, and then cut first to the right,
-nearly to the end, (the narrow way,)
-and then to the left, and so on to the
-end of the card; then open it and
-cut down the middle, except the two
-ends. The diagram shows the proper cuttings. By opening
-the card or leather, a person may pass through it. A laurel
-leaf may be treated in the same manner.</p>
-
-
-<p class="p6">11. ANSWER TO THE BUTTON PUZZLE.</p>
-
-<p>Draw the narrow slip of the leather through the hole, and
-the string and buttons may be easily released.</p>
-
-
-<p class="p6">12. ANSWER TO THE QUARTO PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_294b.jpg" width="159" height="161" alt="" />
-</div>
-
-<p>Divide the figure in the direction shown by the lines, and
-you will have four pieces of the same size and shape.</p>
-
-
-<p class="p6">13. ANSWER TO THE PUZZLE OF FOURTEEN.</p>
-
-<div class="figcenter">
-<img src="images/i_294c.jpg" width="291" height="201" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p>
-
-
-<p class="p6">14. ANSWER TO THE SQUARE AND CIRCLE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_295a.jpg" width="140" height="133" alt="" />
-</div>
-
-
-<p class="p6">15. THE SCALE AND RING PUZZLE.</p>
-
-<p>The puzzle consists in releasing the ring; to effect which,
-you have only to reverse the former process, by passing the
-loop through the holes D, C, B, and A, in the manner before
-described.</p>
-
-
-<p class="p6">16. ANSWER TO THE HEART PUZZLE.</p>
-
-<p>Loosen the string, and draw the loop through the hole No.
-2; pass it behind, and bring it through No. 1, and slip it
-over the smaller heart; then the string may be easily drawn
-out.</p>
-
-
-<p class="p6">17. ANSWER TO THE CROSS PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_295b.jpg" width="97" height="137" alt="" />
-</div>
-
-
-<p class="p6">18. ANSWER 10 THE YANKEE SQUARE.</p>
-
-<div class="figcenter">
-<img src="images/i_295c.jpg" width="236" height="230" alt="" />
-</div>
-
-<p>Arrange the pieces as shown in the figure above.</p>
-
-<p><span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span></p>
-
-
-<p class="p6">19. ANSWER TO THE CARD PUZZLE.</p>
-
-<p>In order to take the pipe off, the card must be doubled
-(as in Fig. 2), the slip passed through it, until there is sufficient
-of the loop below the pipe to allow
-one of the square ends of the slip (Fig. 3)
-being passed through it. Fig. 3 is then to be
-taken away, and the pipe slipped off. The
-card for this puzzle must be cut very neatly,
-the puzzle handled gently, and great care
-taken that, in doubling the card to put on
-the pipe no creases are made in it, as they
-would in all probability spoil your puzzle, by
-betraying to an acute spectator the mode of operation.</p>
-
-<div class="figright" style="width: 105px;">
-<img src="images/i_296a.jpg" width="105" height="161" alt="" />
-</div>
-
-
-<p class="p6">20. ANSWER TO THE THREE SQUARE PUZZLE.</p>
-
-<p>Takeaway the pieces numbered 8, 10, 1, 3, 13, and three
-squares only will remain.</p>
-
-
-<p class="p6">21. ANSWER TO THE CYLINDER PUZZLE.</p>
-
-<div class="figleft" style="width: 80px;">
-<img src="images/i_296b.jpg" width="80" height="59" alt="" />
-</div>
-
-<p>Take a round cylinder of the diameter of the circular
-hole, and of the height of the square hole. Having drawn
-a straight line across the end, dividing it into two equal
-parts, cut an equal section from either side to the
-edge of the circular base, a figure like that represented
-by the woodcut in the margin would
-then be produced, which would fulfill the required
-conditions.</p>
-
-
-<p class="p6">22. ANSWER TO THE FOUR TENANTS.</p>
-
-<div class="figcenter">
-<img src="images/i_296c.jpg" width="158" height="159" alt="" />
-</div>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">My ground is divided,</div>
-  <div class="i1">My tenants at work,</div>
-  <div class="i0">And he'll profit most</div>
-  <div class="i1">Who does not labor shirk</div>
-  <div class="i0">So let them toil on</div>
-  <div class="i1">Till cabbages rise,</div>
-  <div class="i0">And carrots and turnips</div>
-  <div class="i1">To gladden their eyes.</div>
-  <div class="i0">Gooseberries and currants,</div>
-  <div class="i1">And raspberries too,</div>
-  <div class="i0">Shall amply repay</div>
-  <div class="i1">The work they may do.</div>
- </div>
-</div>
-</div>
-
-<p><span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span></p>
-
-
-<p class="p6">23. THE PUZZLE WALL.</p>
-
-<div class="figcenter">
-<img src="images/i_297a.jpg" width="248" height="240" alt="" />
-</div>
-
-
-<p class="p6">24. ANSWER TO THE NUN'S PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_297b.jpg" width="359" height="102" alt="" />
-</div>
-
-
-<p class="p6">25. HORSE SHOE PUZZLE.</p>
-
-<p>By cutting off the upper circular part containing two of
-the pins, and by changing the position of the pieces,
-another cut will divide the horse shoe into six portions,
-each containing one pin.</p>
-
-
-<p class="p6">26. ANSWER TO CARD SQUARE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_297c.jpg" width="249" height="245" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p>
-
-
-<p class="p6">27. THE DOGS PUZZLE ANSWERED SEE DOTTED LINES.</p>
-
-<div class="figcenter">
-<img src="images/i_298a.jpg" width="178" height="127" alt="" />
-</div>
-
-
-<p class="p6">28. PUZZLE OF THE TWO FATHERS.</p>
-
-<p>The first father divided the land in this way:</p>
-
-<div class="figcenter">
-<img src="images/i_298b.jpg" width="159" height="157" alt="" />
-</div>
-
-<p>The second father divided the land in the following
-manner:</p>
-
-<div class="figcenter">
-<img src="images/i_298c.jpg" width="160" height="155" alt="" />
-</div>
-
-<p>The different colors represent the several sons' portions.</p>
-
-
-<p class="p6">29. THE TRIANGLE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_298d.jpg" width="114" height="111" alt="" />
-</div>
-
-<p>The solution of this puzzle may be easily
-acquired by observing the dotted lines in the
-engraving; by which it will be seen that four
-triangles are to be placed at the corners, and
-a small square made in the center. When
-this is done, the rest of the square may be
-quickly formed.</p>
-
-<p><span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span></p>
-
-
-<p class="p6">30. ANSWER TO CUTTING OUT A CROSS PUZZLE.</p>
-
-<p>Take a piece of writing paper about three times as long
-as it is broad, say six inches long and two wide. Fold the
-upper corner down, as shown in Fig. 1; then fold the other
-upper corner over the first, and it will appear as in Fig. 2;
-you next fold the paper in half lengthwise, and it will
-appear as in Fig. 3. Then the last fold is made lengthwise
-also, in the middle of the paper, and it will exhibit the
-form of Fig. 4, which, when cut through with the scissors
-in the direction of the dotted line, will give all the forms
-mentioned.</p>
-
-<div class="figcenter">
-<img src="images/i_299a.jpg" width="183" height="143" alt="" />
-</div>
-
-
-<p class="p6">31. ANSWER TO ANOTHER CROSS PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_299b.jpg" width="130" height="207" alt="" />
-</div>
-
-
-<p class="p6">32. ANSWER TO THE FOUNTAIN PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_299c.jpg" width="374" height="154" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span></p>
-
-
-<p class="p6">33. ANSWER TO THE STAR PUZZLE.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">Good-tempered friends! here <em>nine</em> stars see:</div>
-  <div class="i0"><em>Ten</em> rows there are, in each row <em>three!</em></div>
- </div>
-</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_300a.jpg" width="165" height="110" alt="" />
-</div>
-
-
-<p class="p6">34. THE COUNTER PUZZLE ANSWER.</p>
-
-<p>Place 4 on 7, 6 on 2, 1 on 3, and 8 on 5; <em>or</em>, 5 on 2, 3 on 7,
-8 on 6, 4 on 1, &amp;c.</p>
-
-
-<p class="p6">35. ANSWER TO THE JAPAN SQUARE.</p>
-
-<div class="figcenter">
-<img src="images/i_300b.jpg" width="290" height="282" alt="" />
-</div>
-
-
-<p class="p6">36. ANSWER TO THE CABINET MAKERS' PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_300c.jpg" width="322" height="133" alt="" />
-</div>
-
-<p>The cabinet-maker must find the center of the circle, and
-strike another circle, half the diameter of the first, and having
-the same center. Then cut the whole into four parts,
-by means of two lines drawn at right angles to each other,
-then cut along the inner circle, and put the pieces together
-as in the above diagram.</p>
-
-<p><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p>
-
-
-<p class="p6">37. ANSWER TO THE STRING AND BALLS PUZZLE.</p>
-
-<p>Draw the loop well down, slipping either ball through it.
-Push it through the hole at the extremities, pass it over the
-knot, and draw it through again. The same process must
-be repeated with the other ball; the loop can then be drawn
-through the hole in the center, and the ball will slide along
-the cord until it reaches the other side. The string is then
-replaced, having both balls on the same side.</p>
-
-<p>There is another and perhaps a neater way of performing
-this trick. Draw the loop through the central hole, and
-bring it through far enough to pass one of the balls through.
-Having done this, draw the string back, and both balls will
-be found on the same side.</p>
-
-
-<p class="p6">38. ANSWER TO THE DOUBLE-HEADED PUZZLE.</p>
-
-<div class="figleft" style="width: 150px;">
-<img src="images/i_301a.jpg" width="150" height="97" alt="" />
-</div>
-
-<p>Arrange them side by side in the short
-arms of the cross, draw out the center piece,
-and the rest will follow easily. The reversal
-of the same process will put them back
-again.</p>
-
-
-<p class="p6">39. ARITHMETICAL PUZZLE.</p>
-
-<p>The four figures are 8888, which being divided by a line
-drawn through the middle, become <span class="frac"><sup>0000</sup><span>/</span><sub>0000</sub></span>, the sum of which is
-eight 0s, or nothing.</p>
-
-
-<p class="p6">40. GRAMMATICAL PUZZLE.</p>
-
-<p>Take away L in the subjunctive "Let" at the beginning
-of the first line, and substitute S, and so turn it into the imperative
-"Set," when the changes which necessarily follow
-will be immediately apparent.</p>
-
-
-<p class="p6">41. ANSWER TO THE TREE PUZZLE.</p>
-
-<div class="figcenter">
-<img src="images/i_301c.jpg" width="211" height="236" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></p>
-
-
-<p class="p6">42. ANSWER TO AN EPITAPH ON ELLINOR BACHELLOR, AN OLD PIE
-WOMAN.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i2">Beneath in the dust</div>
-  <div class="i2">The mouldy old crust</div>
-  <div class="i0">Of Nell Bachellor lately was shoven:</div>
-  <div class="i2">Who was skilled in the arts</div>
-  <div class="i2">Of pies, custards, and tarts,</div>
-  <div class="i0">And knew every use of the oven.</div>
-  <div class="i2">When she'd liv'd long enough,</div>
-  <div class="i2">She made her last puff,</div>
-  <div class="i0">A puff by her husband much prais'd:</div>
-  <div class="i2">Now here she doth lie,</div>
-  <div class="i2">To make a dirt pie,</div>
-  <div class="i0">In hopes that her crust will be rais'd.</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">43. ANSWER TO A CURIOUS LETTER.</p>
-
-<p>"Sir, between friends, I understand your overbearing
-disposition; a man even with the world is above contempt,
-whilst the ambitious are beneath ridicule."</p>
-
-
-<p class="p6">44. ANSWER TO THE PUZZLE INSCRIPTION.</p>
-
-<p>By the use of the single vowel E, the following couplet
-was formed,</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">PERSEVERE YE PERFECT MEN,</div>
-  <div class="i0">EVER KEEP THESE PRECEPTS TEN.</div>
- </div>
-</div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_302.jpg" width="315" height="209" alt="" />
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_ART" id="THE_MAGIC_OF_ART"></a>THE MAGIC OF ART.</h2>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Tired at first sight with what the Muse imparts,</div>
-  <div class="i0">In fearless youth we tempt the height of arts."</div>
- </div>
-</div>
-</div>
-
-
-<p>An almost endless source of amusement, combining at the
-same time a considerable amount of instruction, may be obtained
-in the following manner. Take a card or piece of
-pasteboard, or even stiff paper, and draw upon it the form
-of an egg&mdash;an oval in outline. The dimensions of the oval
-are immaterial, and the experimenter may suit his own fancy
-in this respect. With a stout needle, or tracing point, prick
-quite through the outline, for the purposes of tracing. Some
-of our readers may be unacquainted with the mode of
-tracing an outline, and it may be advisable to particularize
-one method among many. Having pricked out the oval
-upon the card, get a little red or black lead, powdered, and
-placing the card upon apiece of drawing paper&mdash;any white
-paper will however do&mdash;rub it over the pricked-out oval,
-which will be found to be transferred to the white paper
-beneath, thus:</p>
-
-<div class="figleft" style="width: 94px;">
-<img src="images/i_303.jpg" width="94" height="121" alt="" />
-</div>
-
-<p>The powder may be applied either with a piece
-of wool or wadding, or by means of a dry camel's-hair
-pencil; care should be taken not to let the
-tracing-powder get beyond the edge of the pricked
-card, as in that case a soiled, dirty appearance is
-given to the tracing. The pierced card will serve,
-if carefully done, for hundreds of tracings, and it is
-obviously the best plan to take a little extra pains with that
-in the first instance.</p>
-
-<p>With this traced oval for a basis, (a little further on
-we shall speak of other figures, to be used singly or in combination
-with each other) any one with a very little skill
-will be able to form an infinite number of objects.</p>
-
-<p>The best drawing tool will be found to be an ordinary
-black lead pencil.</p>
-
-<p>Figs. 1, 2, 3, 4, 5, 6 are very easy results, suggestive
-also of others. The rules of procedure are the same in all.
-Leaving the traced-out oval at first in its dotted form, with
-the pencil you draw a horizontal line <ins title="Transcriber's Note: original reads 'as'">as</ins> the basis of your<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span>
-figure. Let this and the other lines, which serve merely as
-the scaffolding of your figure, be done faintly or in dots.
-Next, draw a line through the center of the oval and
-perpendicular to the first. These will ensure your making
-the object square and properly balanced. After this you
-may draw lines parallel to the others: but these are not so
-material, although they serve as guides.</p>
-
-<div class="figcenter">
-<img src="images/i_304a.jpg" width="294" height="234" alt="" />
-</div>
-
-<p>Now the imagination and fancy may step in to produce
-forms having the oval for a foundation; and not only is a
-very rational source of amusement opened out, but the
-opportunity is given to a cultivation of the noble art of design,
-whether as applied to utility or ornament.</p>
-
-<div class="figcenter">
-<img src="images/i_304b.jpg" width="291" height="342" alt="" />
-</div>
-
-<p><span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_305a.jpg" width="334" height="214" alt="" />
-</div>
-
-<p>It is obvious to remark that the hand of many an amateur
-artist will <ins title="Transcriber's Note: original reads 'readly'">readily</ins> be able to form the oval without having
-recourse to the pierced card; but as this portion of our
-work is intended for <em>all</em>, we have suggested the above mode
-as sure to succeed under every circumstance.</p>
-
-<p>Following the same plan in every particular, we subjoin
-some examples of what may be done with the square.</p>
-
-<div class="figcenter">
-<img src="images/i_305b.jpg" width="292" height="344" alt="" />
-</div>
-
-<p>The dotted lines (<em>figs.</em> 7, 8) represent the traced or
-sketched square and plan lines; the firmer lines suggest
-objects formed upon that figure. In the same way the thin
-square outline (<em>fig.</em> 9) suggests the inner sketch of a
-church.</p>
-
-<p>I stated before that the size of the fundamental oval or
-square made little difference; but I would recommend my<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span>
-younger readers to get these as large as possible, or convenient.
-If a large black board, such as is used in most
-schools, could be obtained, and the tracings prepared proportionably
-large (pounded chalk being used instead of the
-black or red powder in transferring the forms <ins title="Transcriber's Note: original reads 'therto'">thereto</ins>), and
-the designs made upon these with a piece of chalk, so much
-the better. However, this matters little; and each one will
-suit his or her own taste in that respect. I now proceed to
-submit some examples of what may be done with other
-rudimentary forms.</p>
-
-<div class="figcenter">
-<img src="images/i_306.jpg" width="247" height="474" alt="" />
-</div>
-
-<p>Following the instructions previously given, in place of
-the square suggested in Figs. 7, 8, 9, describe a circle.
-This may be done with a pair of compasses, or simply<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span>
-sketched or traced by means of any round object, such as
-a coin laid flat upon the paper. <ins title="Transcriber's Note: original reads 'Fig'">Figs</ins>. 10, 11, 12, 13, 14, 15,
-are given merely as suggestions, the circle forming an important
-part of their figure. The mind of the experimenter
-will immediately revert to other objects&mdash;thousands such
-are to be met with around us&mdash;having the circle or the
-sphere for their basis. And it will be no mean result of my
-labors, if any number of my younger readers are led thereby
-to a habit of observation, whereby they will not fail to
-notice that nearly all natural objects have the curved line
-for a basis, if they are not actually distinguishable thereby
-from those that are artificial.</p>
-
-<div class="figcenter">
-<img src="images/i_307.jpg" width="440" height="399" alt="" />
-</div>
-
-<p>Fig. 16 is drawn upon two circles in combination with
-each other. The dotted lines of the plan will be readily perceived;
-but lest there should be any difficulty, they have
-been drawn separately in Fig. 17. With this <ins title="Transcriber's Note: original reads 'uplex'">duplex</ins> figure
-little skill will be required to present the lord of the farm
-yard. The three outlines, Figs. 18, 19, 20, are based upon
-the square turned diamond-wise, and will need no further
-remark: examples upon this plan may be multiplied easily.
-Those given will serve as hints in the several <ins title="Transcriber's Note: original reads 'direetions'">directions</ins> of
-flowers, foliage, and landscapes generally.</p>
-
-<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_308a.jpg" width="274" height="350" alt="" />
-</div>
-
-<p>Before proceeding to show what may easily be done by
-a simple combination of the figures we have constructed,
-<em>i. e.</em>, the oval, square, and circle, let me introduce another,
-which enters, by a kind of natural law, into almost all forms
-or groups of forms, namely, the triangle. Observe in the
-annexed cut, Fig. 21, how naturally, although unconsciously,
-the girl seats herself within one.</p>
-
-<div class="figcenter">
-<img src="images/i_308b.jpg" width="302" height="281" alt="" />
-</div>
-
-<p>A moment's reflection will show, that from the little nymph
-in the cut to the great pyramid, everything that rests solidly<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span>
-upon the earth must take the form, more or less, of this
-broad-based tapering figure. Roofs of houses, churches, and
-towers, are all triangular in their form, as are all great
-trees, differing from each other only in the width of their
-angles.</p>
-
-<div class="figcenter">
-<img src="images/i_309a.jpg" width="272" height="230" alt="" />
-</div>
-
-<p>Construct a triangle,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> and trace it according to former directions,
-and from the examples, Figs. 22, 23, 24, look
-around you for others, and make various exercises upon this
-foundation.</p>
-
-<div class="figcenter">
-<img src="images/i_309b.jpg" width="305" height="232" alt="" />
-</div>
-
-<p>Now, to proceed to something more complicated. Suppose
-you had either in your mind, or sketched out upon paper,<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span>
-the plan of a garden; that is to say, suppose you had
-the dimensions of a piece of ground, and intended to lay it
-out as a garden, allotting so much space to this and that
-bed, so much to gravel walks, and wanted to see how such
-an arrangement would look in perspective,&mdash;in other words,
-in reality, for perspective, however alarming it may look in
-books, with its net-work of lines, cross and across, like an
-insoluble riddle or a monster cobweb, is nothing more than
-the actual representation of things as they meet the eye.</p>
-
-<div class="figcenter">
-<img src="images/i_310a.jpg" width="243" height="371" alt="25" />
-</div>
-
-<div class="figcenter">
-<img src="images/i_310b.jpg" width="237" height="136" alt="26" />
-</div>
-
-<p>Let your plan be what is
-shown in the square portion of
-Fig. 25; at the top of this plan
-place your triangle, draw a line
-through the center of the square
-upwards, until it meets the top A
-of the triangle. Next draw lines
-from the corner of the beds parallel to the center line until
-they meet the base line of the triangle. From thence continue
-all these lines to the point A. These give you the
-width of the beds <em>in perspective</em>. The other sides of their figure
-may be easily enough found. Fig. 26 is the perspective
-view sought, and is what your experimental drawing would
-be if, having done the plan and guide-lines in pencil and the<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>
-rest in pen and ink, you had erased the former with a piece
-of india rubber.</p>
-
-<div class="figcenter">
-<img src="images/i_311a.jpg" width="329" height="276" alt="" />
-<div class="caption"><p>27</p></div>
-</div>
-
-<p>I do not know whether my readers regard the matter in
-the same light, but it appears to the present writer that this
-little figure&mdash;the triangle&mdash;is capable of working wonders
-in the hands of an amateur draughtsman, if only properly
-used. Of course, those regularly educated, or submitted to a
-long course of training as artists, are not referred to, but only
-the general public, which by the by, means nineteen out
-of every twenty individuals. I ask whether the preceding
-cut is any exaggeration on the average sort of result attained,
-not only amongst very juvenile experimenters, but
-those of maturer age?</p>
-
-<div class="figcenter">
-<img src="images/i_311b.jpg" width="333" height="288" alt="" />
-<div class="caption"><p>28</p></div>
-</div>
-
-<p>Everybody possessed of vision can tell, ordinarily, whether<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span>
-a building or other object is upright, or in the position proper
-to it, or necessary to its stability. By accustoming the hand
-to form lines, ovals, circles, squares, and triangles, and by
-habituating the mind to form comparisons between objects,
-and these and other figures, a person is put imperceptibly,
-as it were, in the way of depicting them with accuracy.</p>
-
-<p>To proceed&mdash;let us take the above misrepresented country
-residence, and applying to it the previously given rules, see
-what we can make of it. We would first draw or trace the
-parallelogram shown in dotted lines; over this, we place
-a triangle; then drawing an upright line through the center
-of both, make that the base of another and lengthened triangle,
-as shown (see Fig. <a href="#Page_312">28</a>). Thus we get the three lines
-of the side and roofs; and if we knew the proportionate
-height of the side window, by marking the same at a, b, and
-carrying the lines from those points to the apex of the triangle,
-we get its true perspective dimensions.</p>
-
-<p>The difference between the two results is as great as possible.</p>
-
-<p>In Fig. 29 the triangle placed at the side of the soldier in
-front gives the perspective of the whole line.</p>
-
-<div class="figcenter" style="width: 560px;">
-<img src="images/i_312.jpg" width="560" height="316" alt="" />
-</div>
-
-<p>Fig. 30 shows how two parallelograms in combination assist
-in giving the perspective of a block of stone or bale of
-goods.</p>
-
-<p>Fig. 31 exhibits the parallelogram and triangle in combination.</p>
-
-<p>Perhaps nothing is more puzzling to the tyro in sketching<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
-than the interior of rooms and halls. In Fig. 32 a very easy
-method is given. Trace the outer parallelogram, and within
-it, a smaller one; then connect the corners of the two as
-shown in the cut.</p>
-
-<div class="figcenter">
-<img src="images/i_313a.jpg" width="560" height="291" alt="" />
-</div>
-
-<div class="figcenter">
-<img src="images/i_313b.jpg" width="247" height="170" alt="" />
-</div>
-
-<p>Fig. 33 is the application of the preceding.</p>
-
-<div class="figcenter">
-<img src="images/i_313c.jpg" width="293" height="194" alt="" />
-</div>
-
-<p>By the present paper I intend to let you into a great secret,
-the secret, namely, of Comic or "Funny" Drawing&mdash;a
-method, in fact, which is at the bottom of all humorous, or
-caricature sketching. Don't let any one be alarmed, and<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span>
-suppose that it is intended to set you quizzing and caricaturing
-your friends. Far from it.</p>
-
-<div class="figcenter" style="width: 326px;">
-<img src="images/i_314a.jpg" width="326" height="205" alt="" />
-</div>
-
-<p>Draw the oval, Fig. 34. Divide it by transverse lines into
-about equal portions. You have now the basis for a face.
-Let the central line (across) mark the position of the eyes,
-the line above that the top of the forehead, the one below
-the bottom of the nose. By Fig. 35 you will see this worked
-out, and have what is considered a well proportioned face.</p>
-
-<div class="figcenter">
-<img src="images/i_314b.jpg" width="187" height="213" alt="" />
-</div>
-
-<p>Now oddity of feature or expression
-is simply the result of a deviation from
-this regularity; and if, as you will
-perceive by the other Figs., 36, 37
-and 38, these lines are placed higher
-or lower, or out of their, strictly speaking,
-<em>proper places</em>, you have, as a necessary
-result of such disarrangement,
-oddity, or comicality, which is
-founded upon irregularity or incongruity
-in things.</p>
-
-<div class="figcenter" style="width: 302px;">
-<img src="images/i_314c.jpg" width="302" height="204" alt="" />
-</div>
-
-<p>I shall carry out this hint more fully, at present merely
-pointing out, in reference to the next two figures, how the
-end is attained by placing a pair of dark spectacles upon a<span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span>
-regularly-featured face, or adding a little flesh to the lower
-portion of that at Fig. 39.</p>
-
-<p>But not to forget the "Art" in the "Sport," let me add,
-that by sketching the plain oval, and remarking whereabout
-the lines of their features would cut it, you may, without
-difficulty, attempt likenesses of your friends and companions.</p>
-
-<p>Now fill your slates or sketch-books with ovals, and try
-the effects of which the above are but indications. Your imaginations
-will furnish an endless variety of subjects. The
-omission of one eye, or its being covered by a shade, or
-closed while the other stares; the nose slightly on one side,
-the mouth a little wider than usual&mdash;these are all sources of
-the humorous, which, however, is far from being heightened
-by <em>ugliness</em>. Indeed, it should be borne in mind, that great
-distortion or hideousness, so far from contributing to humor,
-destroys it by raising painful images in the mind.
-True humor is closely allied to kindness.</p>
-
-<p>Now let us take the simplest elements of the profile or
-side face. This is also formed upon the oval, with a slight
-variation. And here we must go a
-little more into the "Art" than at first
-sight the "Sport" seems to warrant.
-You will perceive by Fig. 41 that the
-oval used for profile purposes is divided
-as before into four about equal
-portions, which are appropriated in
-the same manner. That is to say, the
-central line across is for the eye, and
-the other two for the limit of the hair
-and the bottom of the nose.</p>
-
-<div class="figcenter">
-<img src="images/i_315.jpg" width="197" height="206" alt="" />
-</div>
-
-<p>But take notice that portions are cut off&mdash;<em>e. g.</em>, at the back
-where the neck is inserted; a little has to be added for forehead,
-chin, and hair; and some modification takes place
-about the region of the eye.</p>
-
-<p>Suffice it that the oval forms essentially the basis of the
-structure of a well proportioned face, such as is shown in
-the Fig. (41). Draw for yourself, or trace from Fig. 41, a
-figure for your basis. Next make a number of these tracings
-upon a clean sheet of drawing paper, and marking
-them in very lightly, in pencil, proceed as directed in the case
-of the front face in the last lesson; altering the feature
-lines, lengthening or shortening the chin, nose, and forehead
-according to your fancy. This will be a sufficient<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span>
-guide for you, and illustrations <ins title="Transcriber's Note: original reads 'o'">of</ins> this are accordingly omitted
-here.</p>
-
-<div class="figcenter">
-<img src="images/i_316a.jpg" width="360" height="245" alt="" />
-</div>
-
-<p>Let us proceed a step further. The last hint only dealt
-with the depth relatively of the several parts of the face.
-Now, as to their prominence. How very easily, by means
-of a few magic touches, which, by this time, you are magicians
-enough to impart, may you summon up our ancient
-acquaintance Mother Hubbard, or the modern hero Punch.
-(See Figs. 42, 43.)</p>
-
-<div class="figcenter">
-<img src="images/i_316b.jpg" width="315" height="230" alt="" />
-</div>
-
-<p>Observe that the peculiarity of these comic physiognomies
-consists merely in their deviation from the regularly formed
-head of Fig. 41. They are constructed upon that figure,
-which may be seen underneath in dotted lines. The variety
-of ways in which this exercise may be worked is infinite.
-Subjoined are a few. In Figs. 44 and 45, beards, mustaches,
-eyebrows, the hair cut absurdly short, or left redundant,
-joined to the sinking in of the facial angle, produce the
-effect of comicality. In Figs. 46, 47, the same end is attained<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span>
-by the simplest means, and with even less exaggeration.
-And here I again repeat, that the less deviation there
-is from the proper proportions the better.</p>
-
-<div class="figcenter">
-<img src="images/i_317a.jpg" width="500" height="310" alt="" />
-<div class="caption"><p>46</p></div>
-</div>
-
-<p>As a pendant to the comical landscape given No. 27 I
-give you the annexed (Fig. 48).</p>
-
-<div class="figcenter">
-<img src="images/i_317b.jpg" width="494" height="400" alt="" />
-<div class="caption"><p>48</p></div>
-</div>
-
-<p>Every one will recognize it as a model drawing&mdash;such
-as is to be found upon walls, and occasionally upon the
-margins of school-books. This the artist (!) intends from a
-comic drawing. Of course it is no such thing.</p>
-
-<p>We will new take up the grandest object of art the
-Human Figure. In <ins title="Transcriber's Note: original reads 'desigining'">designing</ins> the human figure, there
-are three principal rules to be observed:</p>
-
-<p><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span></p>
-
-<p>First, the standard height of the human body may be reckoned
-as eight times the length of the face. Dividing the
-entire length by eight, as shown in the annexed diagram
-(Fig. 49), it will be perceived that the face comprises one
-of the spaces: the second reaching to the chest: the third,
-to above the hips; the fourth cuts the entire length into two
-equal parts; the fifth extends to the center of the thigh:
-the sixth, to the knee joint; the seventh to half way down
-the leg; and the eighth, to the sole of the foot.</p>
-
-<p>The second rule is, that no part of the body, viewed
-laterally, is more than twice the thickness of the head. In
-very young children, however, the rule is, that where the
-head will go, any part of the body will follow, as the experience
-of most people has tested.</p>
-
-<p>The third rule concerns the center of gravity. By reference
-to the fig. (49), a vertical line will be perceived,
-drawn through the center of the figure. Whenever the
-body is at rest upon its legs, standing at ease, as one may
-say, this imaginary line must always pass through its center.</p>
-
-<p>We shall see more about this hereafter, at present confining
-ourselves to the consideration of the first two rules
-These must be considered as only generally true.</p>
-
-<div class="figcenter">
-<img src="images/i_318.jpg" width="292" height="400" alt="" />
-<div class="caption"><p>50</p></div>
-</div>
-
-<p>They have, however, to be well considered in connection<span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span>
-with our present subject; for as we said with the face, any
-great deviation from them leads to oddity, and is at the
-root of caricature drawing.</p>
-
-<p>Trace out, or sketch out any size, the figures (Fig. 49 and
-50), or any others for yourselves: or taking any well drawn
-figure in a print which may not be too costly to use so, draw
-with a black lead pencil upon the print similar lines to those
-in the figures, that is to say, divide its length into eight
-parts, first dropping a central line perpendicular to the
-ground.</p>
-
-<p>You will thus test the accuracy of the rule, and familiarize
-yourself with the proportions of the figure. Then, for the
-purpose of comic drawing, you will vary these proportions.
-A face too long or too short, a body too large or too small
-for the legs, or legs otherwise disproportionate to the rest
-of the body, will yield the desired results. It will be seen
-by the Figs. 51 and 52 that their oddity has been arrived
-at simply by this rule, or by the deviation from the strict
-rule of proportion.</p>
-
-<div class="figcenter">
-<img src="images/i_319.jpg" width="550" height="375" alt="" />
-<div class="caption"><p>51</p></div>
-</div>
-
-<p>Fig. 53 is given in illustration of the remarks upon the
-second rule. The form is correct enough as regards
-height, and deviates in the matter of lateral proportion.</p>
-
-<p>We now come to consider the third principle&mdash;that of
-the center of gravity.</p>
-
-<p><span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span></p>
-
-<p>Observe in the annexed figures how the first (<ins title="Transcriber's Note: original reads 'Fig.'">Fig. 54</ins>)
-being at rest, commends itself to the reason like a mathematical
-demonstration. The next diagram shows a partial
-deviation from the center of gravity, is in a false position,
-and we begin either to pity or to laugh&mdash;poor diagram!
-The two following figures are other cases of the same sort&mdash;we
-feel instinctively for them&mdash;they are very far gone.
-Try this rule upon your
-slates or sketching blocks;
-and after that we will go
-on to the next subject.
-In the diagrams (Figs. 58,
-59), the same principle is
-enforced. The first is at
-rest, because the line passing
-through the center of
-the figure is a vertical
-line. In the next figure,
-that line being out of the vertical, the
-balance is disturbed, and the figure
-topples; so with the next. This is so
-plain that argument is not needed to
-demonstrate it.</p>
-
-<div class="figcenter">
-<img src="images/i_320a.jpg" width="400" height="359" alt="" />
-</div>
-
-<div class="figcenter">
-<img src="images/i_320b.jpg" width="310" height="220" alt="" />
-</div>
-
-<div class="figcenter">
-<img src="images/i_320c.jpg" width="250" height="239" alt="" />
-</div>
-
-<p>Try this also for yourselves as before.
-Nor need we confine our experiments
-to figures comparatively at rest: forms
-in every variety of action come under
-the same rule&mdash;it is a law of nature.
-There is a central line drawn through<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span>
-the whole system of the universe, through every tree, and
-plant, and stone, and every upright thing, could we but see it.</p>
-
-<div class="figcenter">
-<img src="images/i_321a.jpg" width="300" height="414" alt="" />
-</div>
-
-<p>The first of the following
-figures is in full action, but
-it may go on for ever, as
-its balance is not in any
-way disturbed. The second
-is fast hastening to its
-fall. The third is much
-nearer still to that consummation.</p>
-
-<div class="figcenter">
-<img src="images/i_321b.jpg" width="269" height="400" alt="" />
-</div>
-
-<p>It will suggest itself to
-every reader to apply the
-rule to other objects than
-the human figure. Trees
-in the positions of Figs.
-64 and 65 are never seen
-unless through some violent
-accident; they may
-bend, and twist, and meander,
-but taking the objects
-as a whole, a central
-line, vertical to the horizon,
-will be detected, as
-shown in Fig. 65.</p>
-
-<p>If we turn our attention
-in any direction upon
-natural objects, the clouds, the earth, the sea, flowers, trees,
-or animal bodies, we cannot fail to see that <em>a curved line</em>
-is always to be made out in their forms. Indeed, just so
-far as they are graceful and pleasing objects to the eye, this
-curved line is distinguishable. On the contrary, square
-lines offend the eye when met with under such circumstances.<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
-It is almost impossible indeed to imagine a square cloud,
-a square flower, or a square horse. When we see a square
-headed man, we are not impressed in his favor. We may
-have met with representations of natural objects, such as
-rocks, hill tops, mountain precipices, and the like, which had
-a square or nearly square appearance; but such things are
-almost always presented to our view as phenomena&mdash;<em>i. e.</em>
-things violating the regular order or general rule of nature.
-This curved line, which is the line of beauty, must pervade
-all nature; it is the natural law; and we cannot sufficiently
-admire the truth that that which is most necessary
-is also most beautiful.</p>
-
-<p>Does any one ask what particular reference these observations
-have to "Art in Sport?" Let us say that they alone
-can properly understand what is comic who have learned to
-appreciate what is <em>not</em> comic. The distance between the
-sublime and the ridiculous is said to be very small&mdash;only
-one step. At any rate, the student who best understands
-the first will best appreciate the second. Socrates did not
-disdain to write an essay upon this subject, insisting that
-the very same qualities were essential in the comic and the
-tragic artist. But this is digressive.</p>
-
-<div class="figcenter">
-<img src="images/i_322a.jpg" width="411" height="203" alt="" />
-<div class="caption"><p>67</p></div>
-</div>
-
-<p>Let us resume: In the annexed figure (67)
-you perceive the curved line. In proportion
-as you are able to make this perfectly, you
-will succeed in drawing gracefully. I must presume that
-very many of my readers will have no difficulty in copying
-the few natural objects suggested below. Practice upon
-your slate or board the figure (67) until you can do it easily.
-Then, for the purposes of "sport," proceed as follows.
-You wish to produce a droll "bit" of landscape. Take any
-simple view, such as submitted in Fig. 68.</p>
-
-<div class="figcenter">
-<img src="images/i_322b.jpg" width="560" height="379" alt="" />
-<div class="caption"><p>68</p></div>
-</div>
-
-<p>In this you will readily
-discover, as I said above,
-the curved, graceful lines
-of beauty&mdash;in the clouds,
-the outline of the distant
-hills, the foliage, the
-meandering stream. Let
-me advise you to practice
-this lesson somewhat perseveringly;
-apart from the
-new source of amusement which it is the object of these<span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span>
-papers to open up, a beautiful lesson could be impressed
-upon the mind. Nothing is more calculated to refine the mind,
-to ennoble the thoughts, than to withdraw one's self from the
-artificial world, and to gaze upon the fresh face of nature.
-And if we are able to do this intelligently&mdash;in other words,
-if, having learned the alphabet, we are able to peruse as it
-were the book of nature&mdash;the delight and the advantage
-is proportionably increased. Now turn to the example
-shown in Fig. 69. What do we see? The lines of beauty
-have given place to others less pleasing to the eye, and (except
-as a source of merriment) less acceptable to the mind.
-Fig. 69 is a comic landscape; how it has become so must
-be clearly apparent.</p>
-
-<div class="figcenter">
-<img src="images/i_323a.jpg" width="450" height="348" alt="" />
-</div>
-
-<p>In Fig. 70, the same process is carried out, and the result
-is similar.</p>
-
-<div class="figcenter">
-<img src="images/i_323b.jpg" width="465" height="350" alt="" />
-</div>
-
-<p>I hope that I shall not be understood to mean, that in order
-to be graceful everything must be round, or that everything
-round is graceful, or that every square object is ungraceful;<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span>
-or, again, that by making any curved line into a
-square or straight one the end we propose is to be obtained.
-Doubtless many round things are ungraceful, as many others
-composed entirely of straight lines at various angles to each
-other are exceedingly graceful. But what is meant is this:
-that natural objects, in which, left to themselves, the curved
-line predominates, are made odd and comic-looking when
-drawn upon the square.</p>
-
-<div class="figcenter" style="width: 348px;">
-<img src="images/i_324a.jpg" width="348" height="251" alt="" />
-</div>
-
-<p>In Fig. 71, not only the lines of the shepherd's form are
-curved lines, and, therefore, conducive in a degree to its
-general pleasing character, but the <em>attitude</em> is formed upon
-a curved line. This will be perceived clearer by reference
-to the next figure, (72,) in which, without using a single
-straight line in the parts of the form, the oddity is attained
-by making the whole attitude stiff and angular.</p>
-
-<div class="figcenter" style="width: 341px;">
-<img src="images/i_324b.jpg" width="341" height="269" alt="" />
-</div>
-
-<p>The student will find no difficulty in multiplying examples
-for himself: those given will suffice as hints. We must now
-proceed to show how comic designs may be made and applied<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
-to the slides of magic lanterns. The proper course of
-procedure is as follows:</p>
-
-<p>Procure a piece of clear common window glass, without
-specks or scratches; let this be made perfectly clean. Prepare
-your design, which should be made the exact size you
-intend it to be painted upon the glass; color it; and when
-quite dry, place it beneath your slide of glass, to which it
-might be fastened at the corners by means of a little gum
-or varnish. Now commence to paint upon the glass an exact
-fac simile of the design, which, of course, you see clearly
-enough through the glass.</p>
-
-<p>Common camel's hair brushes will do; those made of sable
-are, however, much better; but the first will suffice for
-ordinary purposes.</p>
-
-<p>The colors necessary are what are called silica colors,
-and are procurable of most artist's color makers.</p>
-
-<p>It will be necessary to let your first colors dry before
-putting on your shades; and it is desirable not to work in
-too hot a room, as the nature of the varnish with which you
-work is to dry very rapidly.</p>
-
-<p>Bear in mind too, that upon glass you cannot wash in a
-tint. Broad surfaces, such as skies, must be stippled in, as
-in painting upon ivory.</p>
-
-<p>In originating this paper on "The Magic of Art," the author
-did not propose to himself to give a complete treatise,
-but simply to point out, by some very easy processes, at
-source of amusement and instruction, available to almost
-every intelligent reader. It is hoped that, in this subject,
-he has not entirely failed, and that all will find some entertainment
-from,</p>
-
-<div class="figcenter">
-<img src="images/i_325.jpg" width="223" height="40" alt="ART IN SPORT" />
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_SECRET_WRITING" id="THE_MAGIC_OF_SECRET_WRITING"></a>SECRET WRITING.</h2>
-
-<hr class="r20" />
-
-<div class="figcenter">
-<img src="images/i_326.jpg" width="464" height="349" alt="" />
-</div>
-
-
-<p>The art of communicating secret information by means of
-writing, which is intended to be illegible except by the person
-for whom it is destined, is very ancient. The ancients
-sometimes shaved the head of a slave, and wrote upon the
-skin with some indelible coloring matter, and then sent him,
-after his hair had been grown again, to the place of his destination.
-This is not, however, properly secret writing, but
-only a concealment of writing. Another kind, which corresponds
-better with the name, is the following, used by the
-ancients. They took a small stick, and wound around it
-bark or papyrus, upon which they wrote. The bark was
-then unrolled and sent to the correspondent, who was furnished
-with a stick of the same size. He wound the bark
-again round this, and thus was enabled to read what had
-been written.</p>
-
-<p>This mode of concealment is evidently very imperfect.
-Cryptography properly consists in writing with signs, which
-are legible only to him for whom the writing is intended, or
-who has a key or explanation of the signs. The most simple
-method is to choose for every letter of the alphabet some
-sign, or only another letter. But this sort of cryptography
-(chiffre) is also easy to be deciphered without a key. Hence
-many illusions are used. No separation is made between<span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span>
-the words, or signs of no meaning are inserted between
-those of real meaning. Various keys are also used according
-to rules before agreed upon. By this means the deciphering
-of the writing becomes difficult for a third person
-not initiated, but it is also extremely troublesome to the
-correspondents themselves, and a slight mistake often makes
-it illegible even to them.</p>
-
-<p>Another mode of communicating intelligence secretly,
-viz. to agree upon some printed book, and mark the words
-out, is also troublesome, and not at all safe. The method
-of concealing the words which are to convey the information
-intended in matter of a very different character, in a long
-letter which the correspondent is enabled to read by applying
-a paper to it, with holes corresponding to the places of
-the significant words, is attended with many disadvantages:
-the paper may be lost, the repetition of certain words may
-lead to a discovery, and the difficulty of connecting the important
-with the unimportant matter, so as to give to the
-whole the appearance of an ordinary letter, is considerable.</p>
-
-<p>There are many kinds of sympathetic inks. They are so
-called because the writings or drawings made by them are
-illegible, till by the action of some chemical agents, such as
-light, heat, acids, or other substances are brought in contact
-with them, when they appear. A weak sulphate of iron
-will be invisible in writing till washed over with a weak
-solution of prussiate of potass, which turns it of a beautiful
-blue. If we write with the nitro-muriate of gold, and afterwards
-brush the letters over with dilute muriate of tin, the
-writing will appear of a beautiful purple. If we write with
-a diluted solution of muriate of copper, and when dry present
-it to the fire, it will be of a yellow color.</p>
-
-<p>Chemistry was also in great request for secret writing,
-and various substances were found to afford a fluid which
-would leave no mark behind the pen, until some chemical
-agent were applied. For example, if a letter be written
-with a pen dipped in the juice of lemon, the words will be
-invisible until the paper is held before the fire. This is
-caused by the action of the heat. Again, if a solution of
-nitrate of iron be the fluid used, the writing cannot be seen
-until it is dipped into a solution of galls, or even into tea,
-which will act upon the iron, and become ink. It was found
-that if a plain sheet of paper were sent, and intercepted,
-the very fact of its being plain rendered it suspicious, and<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
-every means were used to render visible any writing that
-might be on it. A letter was therefore written with ordinary
-ink, on indifferent subjects, and between the lines the
-required information was added in some sympathetic ink.
-But writing with these or other sympathetic inks is unsafe,
-because the agents employed to render them visible are too
-generally known. Hence, the chiffre indéchiffrable, as it is
-called, has come very much into use, because it is easily
-applied, difficult to be deciphered, and the key may be preserved
-in the memory and easily changed. It consists of a
-table in which the letters of the alphabet, or any other signs
-agreed upon, are arranged as follow:</p>
-
-<p>z a b c d e f g h i k l m n o p q r s t u v w x y z<br />
-a b c d e f g h i k l m n o p q r s t u v w x y z a<br />
-b c d e f g h i k l m n o p q r s t u v w x y z a b<br />
-c d e f g h i k l m n o p q r s t u v w x y z a b c<br />
-d e f g h i k l m n o p q r s t u v w x y z a b c d<br />
-e f g h i k l m n o p q r s t u v w x y z a b c d e<br />
-f g h i k l m n o p q r s t u v w x y z a b c d e f<br />
-g h i k l m n o p q r s t u v w x y z a b c d c f g<br />
-h i k l m n o p q r s t u v w x y z a b c d e f g h<br />
-i k l m n o p q r s t u v w x y z a b c d e f g h i<br />
-k l m n o p q r s t u v w x y z a b c d e f g h i k<br />
-l m n o p q r s t u v w x y z a b c d e f g h i k l<br />
-m n o p q r s t u v w x y z a b c d e f g h i k l m<br />
-n o p q r s t u v w x y z a b c d e f g h i k l m n<br />
-o p q r s t u v w x y z a b c d e f g h i k l m n o<br />
-p q r s t u v w x y z a b c d e f g h i k l m n o p<br />
-q r s t u v w x y z a b c d e f g h i k l m n o p q<br />
-r s t u v w x y z a b c d e f g h i k l m n o p q r<br />
-s t u v w x y z a b c d e f g h i k l m n o p q r s<br />
-t u v w x y z a b c d e f g h i k l m n o p q r s t<br />
-u v w x y z a b c d e f g h i k l m n o p q r s t u<br />
-v w x y z a b c d e f g h i k l m n o p q r s t u v<br />
-w x y z a b c d e f g h i k l m n o p q r s t u v w<br />
-x y z a b c d e f g h i k l m n o p q r s t u v w x<br />
-y z a b c d e f g h i k l m n o p q r s t u v w x y<br />
-z a b c d e f g h i k l m n o p q r s t u v w x y z</p>
-
-<p>Any word is now taken for a key. The word <em>Paris</em>, for
-example. This is a short word, and for the sake of secresy
-it would be well to choose for the key some one or more<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
-words less striking. Suppose we wish to write in this
-cypher with this key the phrase, "We lost a battle," we
-must write <em>Paris</em> over the phrase, repeating it as often as is
-necessary, thus:</p>
-
-<blockquote><p>Pa risP a risPar<br />
-We lost a battle.</p></blockquote>
-
-<p>We now take cypher for <em>w</em>, the letter which we find in the
-square opposite <em>w</em> in the left margin column, and under <em>p</em> on
-the top, which is <em>m</em>. Instead of <em>e</em> we take the letter opposite
-<em>e</em>, and under <em>a</em>, which is <em>f</em>; for <em>l</em>, the letter opposite <em>c</em>,
-and under <em>z</em>, and so on.</p>
-
-<p>Proceeding thus, we should obtain the following series
-of letters:</p>
-
-<blockquote><p>mf cxli b tkmimw</p></blockquote>
-
-<p>The person who receives the epistle writes the key over
-the letters</p>
-
-<blockquote><p>P a r i s P a r i s P a r<br />
-m f c x l i b t k m i m w</p></blockquote>
-
-<p>He now goes down in the perpendicular line, at the top of
-which is <em>p</em>, until he meets <em>m</em>, opposite to which, in the left
-marginal column, he finds <em>w</em>. Next, going in the line of <em>a</em>
-down to <em>f</em> he finds, on the left, <em>e</em>. In the same way <em>r</em> gives
-<em>l</em>, <em>i</em> gives <em>o</em>, and so on. Or you may reverse the process;
-begin with <em>p</em>, in the left marginal column, and look along
-horizontally till you find <em>m</em>, over which, in the top line,
-you will find <em>w</em>. It is easily seen that the same letter is not
-always designated by the same cypher; thus <em>e</em> and <em>a</em> occur
-twice in the phrase selected, and they are designated respectively
-by the cyphers <em>f</em> and <em>w</em>, <em>b</em> and <em>k</em>. Thus the possibility
-of finding out the secret writing is almost impossible.</p>
-
-<p>The key may be changed from time to time, and a different
-key may be used with each correspondent. The utmost
-accuracy is necessary, because one character accidentally
-omitted changes the whole cypher. The best way of determining
-the key word is to arrange that any word which
-occurs at a certain distance from the beginning or end shall
-be the key word&mdash;the tenth from the beginning, for example.
-The key word will thus change every time, and any combination
-of letters will make it. This will make it impossible
-to be guessed.</p>
-
-<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></p>
-
-<p>The easiest method of working this square is to cut a
-piece of thin wood like a carpenter's square, and by applying
-it to the alphabet the letter is at once seen in the angle.
-For example, supposing such a square to be applied so that
-one side is on the letter <em>p</em> at the top, and the other on the
-letter <em>w</em> at the left hand, the letter <em>m</em> will be in the angle,
-so that the trouble of following the lines with the eye will
-be avoided.</p>
-
-<p>Here is another specimen of secret writing.</p>
-
-
-<p class="p6">A LOCK FOR MR. HOBBS TO PICK.</p>
-
-<p>T:2 21rt:(,)t:2 s21(,)t:2 st1rr6 s,6(,)<br />
-<span class="mleft1">&nbsp;</span>1r2 86p : 2rs wr3t 76 : 1-9 93v3-2(,)<br />
-T : 1t : 1-9 w:38: t5-29 t:23r : 1r ? 4-6(,)<br />
-<span class="mleft1">&nbsp;</span>1-9 7192 t:23r v1r329 .!4r325 s:3-2(:)<br />
-3- t:2? 22- :21t:2-s 262 ?16 s22<br />
-<span class="mleft1">&nbsp;</span>S6?74!s 3- 5-2 .r1-9 tr3t: 84?75-2(;)<br />
-<span class="mleft2">&nbsp;</span>76t 3- t:2 744, 40 744,s t:2r2 !32s<br />
-<span class="mleft2">&nbsp;</span>1 ,26 34 r219 t:23r ?6st2r32s (.)<br />
-<br />
-T:2- !2t -4t 013t:!2ss t4-.52 19v1-82<br />
-<span class="mleft1">&nbsp;</span>3ts s:1!!4w v15-ts(,)-4r s84002r 91r2<br />
-5p4- t:2 71sl2 40 3.-4r1-82<br />
-<span class="mleft1">&nbsp;</span>T4 r13s2 1 str58t5r2 40 92sp13r(!)<br />
-T:45.: 044!s ?16 .3v2 t:2 w4r!9s t4 8:1-82(,)<br />
-<span class="mleft1">&nbsp;</span>92s3.- 1-9 pr4v392-82 1r2 t:2r2(.)<br />
-<span class="mleft2">&nbsp;</span>:4w 7!3-929(,)w:4 1t 921t: 1!4-2<br />
-<span class="mleft2">&nbsp;</span>T:23r 922p s3.-30381-86 4w-(!)</p>
-
-
-<p class="p6">HERE IS THE ANSWER.</p>
-
-<p>The letters are represented by the figures and symbols
-below them. With this key the lock may be opened.</p>
-
-<blockquote><p>a b c d e f g h i j k l m n o u y<br />
-1 7 8 9 2 0 . : 3 ; , ! ? - 4 5 6</p></blockquote>
-
-<p>The stops enclosed in brackets, are used in their capacity
-of stops: thus, (,) (;) &amp;c.</p>
-
-<p>The earth, the sea, the starry sky,<br />
-<span class="mleft1">&nbsp;</span>Are cyphers writ by hand divine,<br />
-That hand which tuned their harmony,<br />
-<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span>
-<span class="mleft1">&nbsp;</span>And bade their varied glories shine;<br />
-In them e'en heathen's eye may see<br />
-<span class="mleft1">&nbsp;</span>Symbols in one grand Truth combine;<br />
-<span class="mleft2">&nbsp;</span>But in the book of books there lies<br />
-<span class="mleft2">&nbsp;</span>A key to read their mysteries.<br />
-<br />
-Then let not faithless tongue advance<br />
-<span class="mleft1">&nbsp;</span>Its shallow vaunts, nor scoffer dare<br />
-Upon the base of ignorance<br />
-<span class="mleft1">&nbsp;</span>To raise a structure of despair!<br />
-Though fools may give the world to chance<br />
-<span class="mleft1">&nbsp;</span>Design and Providence are there:<br />
-<span class="mleft2">&nbsp;</span>How blinded, who at death alone<br />
-<span class="mleft2">&nbsp;</span>Their deep significancy own!</p>
-
-
-<p class="p6">THE CIRCULAR CYPHER.</p>
-
-<p>To carry on a correspondence without the possibility of
-the meaning of the letter being detected, in case it should
-be opened by any other person, has employed the ingenuity
-of many. No method will be found more effectual for this
-purpose, or more easy, than the following.</p>
-
-<div class="figcenter">
-<img src="images/i_331.jpg" width="313" height="318" alt="" />
-</div>
-
-<p>Provide a piece of square card or pasteboard, and draw a
-circle on it, which circle is to be divided into 27 equal parts,
-in each of which parts must be written <em>one</em> of the capital letters
-of the alphabet, and the &amp;, as in the figure. Let the
-center of this circle be blank. Then draw another circle,
-also divided into 27 equal parts, in each of which write one<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>
-of the small letters of the alphabet, and the &amp;. This circle
-must be cut round, and made exactly to fit the blank space
-in the center of the large circle, and must run round a
-pivot or pin. The person with whom you correspond must
-have a similar dial, and at the beginning of your letter you
-must put the capital letter, and at the end the small letter,
-which answer to each other when you have fixed your dial.</p>
-
-<p>Suppose what you wish to communicate is as follows:</p>
-
-<p><em>I am so watched I cannot see you as I promised; but I will
-meet you to-morrow in the park, with the letters, &amp;c.</em></p>
-
-<p>You begin with the letter <em>T</em>, and end with the letter <em>m</em>,
-which shows how you have fixed the dial, and how your correspondent
-must fix his, that he may decipher your letter.
-Then, for <em>I am</em>, you write <em>b uf</em>, and so of the rest, as follows:</p>
-
-<blockquote>
-
-<p><em>T b uf lh pumwayx b wugghm lyy rhn ul b
-ikhfblyx vnm b pbee fyym rhn mh fhkkhp bg
-may iukd pbma may eymmykl, tw.</em></p>
-
-<p><em>m.</em><br />
-</p></blockquote>
-
-
-<p class="p6"><em>Another Way.</em></p>
-
-<p>Take two pieces of card, pasteboard, or stiff paper, through
-which you cut long squares at different distances. One of
-these you keep yourself, and the other you give to your correspondent.
-You lay the pasteboard on a paper, and, in the
-spaces cut out write what you would have understood by
-him only; then fill the intermediate spaces with any words
-that will connect the whole together, and make a different
-sense. When he receives it, he lays his pasteboard over the
-whole, and those words which are between crotchets [ ]
-form the intelligence you wish to communicate. For example:
-suppose you want to express these words,</p>
-
-<blockquote>
-
-<p>"<em>Don't trust Robert: I have found him a villain.</em>"</p></blockquote>
-
-<p>"[Don't] fail to send my books. I [trust] they will be
-ready when [Robert] calls on you. [I have] heard that you
-have [found] your dog. I call [him a villain] who stole
-him." You may place a pasteboard of this kind three other
-ways&mdash;the bottom at top&mdash;the top at bottom, or by turning<span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span>
-it over; but in this case you must previously apprize your
-correspondent, or he may not be able to decipher your
-meaning.</p>
-
-
-<p class="p6">SECRET CORRESPONDENCE BY MUSIC.</p>
-
-<div class="figcenter">
-<img src="images/i_333a.jpg" width="331" height="331" alt="" />
-<div class="caption"><p>Fig. 2.</p></div>
-</div>
-
-<p>Form a circle like Fig. 2, divided into twenty-six parts,
-with a letter of the alphabet written in each. The interior
-of the circle is movable, like that in Fig. 1, and the circumference
-is to be ruled like music paper. Place in each division
-a note different in figure or position.</p>
-
-<p>Within the musical lines place the three keys, and on the
-outer circle the figures to denote time. Then get a ruled
-paper, and place one of the keys (suppose <em>ge-re-sol</em>) against
-the time 2-4ths, at the beginning of the paper, which will
-inform your correspondent how to place his circle. You
-then copy the notes that answer to the letters of the words
-you intend to write, in the manner expressed above.</p>
-
-<div class="figcenter">
-<img src="images/i_333b.jpg" width="522" height="223" alt="" />
-</div>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span></p>
-
-
-
-
-<h2><a name="THE_MAGIC_OF_STRENGTH" id="THE_MAGIC_OF_STRENGTH"></a>THE MAGIC OF STRENGTH.</h2>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Not two strong men the enormous weight could raise,</div>
-  <div class="i0">Such men as live in these degenerate days."&mdash;P<span class="smcapa">OPE'S</span> H<span class="smcapa">OMER</span>.</div>
- </div>
-</div>
-</div>
-
-
-<p>The mechanical knowledge of the ancients was principally
-theoretical; and though they seem to have executed
-some minor pieces of mechanism which were sufficient to
-delude the ignorant, yet there is no reason for believing
-that they have executed any machinery that was capable
-of exciting much surprise, either by its ingenuity or its
-magnitude. The properties of the mechanical powers, however,
-seem to have been successfully employed in performing
-feats of strength which were beyond the reach even of
-strong men, and which could not fail to excite the greatest
-wonder when exhibited by persons of ordinary size.</p>
-
-<p>Firmus, a native of Seleucia, who was executed by the
-Emperor Aurelian for espousing the cause of Zenobia, was
-celebrated for his feats of strength. In his account of the
-life of Firmus, who lived in the third century, Vopiscus
-informs us that he could suffer iron to be forged upon an
-anvil placed upon his breast. In doing this, he lay upon
-his back, and, resting his feet and shoulders against some
-support, his whole body formed an arch, as we shall afterward
-more particularly explain. Until the end of the sixteenth
-century, the exhibition of such feats does not seem
-to have been common. About the year 1703, a native of
-Kent, of the name of Joyce, exhibited such feats of strength
-in London and other parts of England, that he received the
-name of the second Samson. His own personal strength
-was very great; but he had also discovered, without the aid
-of theory, various positions of his body in which men even
-of common strength could perform very surprising feats.
-He drew against horses, and raised enormous weights; but
-as he actually exhibited his powers in ways which evinced
-the enormous strength of his own muscles, all his feats
-were ascribed to the same cause. In the course of eight
-or ten years, however, his methods were discovered, and
-many individuals of ordinary strength exhibited a number<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span>
-of his principal performances, though in a manner greatly
-inferior to Joyce.</p>
-
-<p>Some time afterward, John Charles Van Eckeberg, a
-native of Harzgerode, in Anhault, traveled through Europe
-under the appellation of Samson, exhibiting very remarkable
-examples of his strength. This, we believe, is the
-same person whose feats are particularly described by
-Dr. Desaguliers. He was a man of the middle size, and of
-ordinary strength; and as Dr. Desaguliers was convinced
-that his feats were exhibitions of skill, and not of strength
-he was desirous of discovering his methods, and, with this
-view, he went to see him, accompanied with the Marquis
-of Tullibardine, Dr. Alexander Stuart, Dr. Pringle, and his
-own mechanical operator. They placed themselves round
-the German, so as to be able to observe accurately all that
-he did, and their success was so great, that they were able
-to perform most of the feats the same evening by themselves,
-and almost all the rest when they had provided the
-proper apparatus. Dr. Desaguliers exhibited some of the
-experiments before the Royal Society, and has given such a
-distinct explanation of the principles on which they depend,
-that we shall endeavor to give a popular account of them.</p>
-
-<div class="figcenter">
-<img src="images/i_335.jpg" width="456" height="176" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 1.</p></div>
-</div>
-
-<p>1. The performer sat upon an inclined board <span class="smcapa">A B</span>, placed
-upon a frame <span class="smcapa">C D E</span>, with his feet abutting against the upright
-board <span class="smcapa">C</span>. Round his loins was placed a strong girdle
-<span class="smcapa">FG</span>, to the iron ring of which at <span class="smcapa">G</span> was fastened a rope by
-means of a hook. The rope passed between his legs
-through a hole in board <span class="smcapa">C</span>, and several men, or two horses,
-pulling at the other end of the rope, were unable to draw
-the performer out of his place. His hands at <span class="smcapa">G</span> seemed to
-pull against the men, but they were of no advantage to him
-whatever.</p>
-
-<p>2. Another of the German's feats is shown in Fig. 2.<span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span>
-Having fixed the rope above mentioned to a strong post
-at <span class="smcapa">A</span>, and made it pass through a fixed iron eye at <span class="smcapa">B</span>, to the
-ring in his girdle, he planted his feet against the post at
-<span class="smcapa">B</span>, and raised himself from the ground by the rope, as
-shown in the figure. He then suddenly stretched out his
-legs and broke the rope, falling back on a feather bed at
-<span class="smcapa">C</span>, spread out to receive him.</p>
-
-<div class="figcenter">
-<img src="images/i_336a.jpg" width="433" height="345" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 2.</p></div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_336b.jpg" width="400" height="334" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG</span>. 3.</p></div>
-</div>
-
-<p>3. In imitation of Firmus, he laid himself down on the
-ground, as shown in Fig. 3, and when an anvil <span class="smcapa">A</span> was
-placed upon his breast, a man hammered with all his force<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>
-the piece of iron <span class="smcapa">B</span>, with a sledge hammer, and sometimes
-two smiths cut in two with chisels a great cold bar of iron
-laid upon the anvil. At other times a stone of huge dimensions,
-half of which is shown at <span class="smcapa">C</span>, was laid upon his belly,
-and broken with a blow of the great hammer.</p>
-
-<div class="figcenter">
-<img src="images/i_337.jpg" width="424" height="372" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 4.</p></div>
-</div>
-
-<p>4. The performer then placed his shoulders upon one
-chair, and his heels upon another, as in Fig. 4, forming,
-with his back-bone, thighs, and legs, an arch springing
-from its abutments at <span class="smcapa">A</span> and <span class="smcapa">B</span>. One or two men then stood
-upon his belly, rising up and down while the performer
-breathed. A stone, one and a half feet long, one foot broad,
-and half a foot thick, was then laid upon his belly and
-broken by a sledge hammer, an operation which may be
-performed with much less danger than when his back
-touched the ground, as in Fig. 3.</p>
-
-<p>5. His next feat was to lie down on the ground, as in
-Fig. 5. A man being then placed on his knees, he draws
-his heels towards his body, and, raising his knees, he lifts
-up the man gradually, till, having brought his knees perpendicularly
-under him, as in Fig. 6, he raises his own body
-up, and, placing his arms around the man's legs, he rises
-with him, and sets him down on some low table or eminence
-of the same height as his knees. This feat he sometimes
-performed with two men in place of one.</p>
-
-<p><span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span></p>
-
-<div class="figcenter">
-<img src="images/i_338a.jpg" width="309" height="309" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 5.</p></div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_338b.jpg" width="228" height="354" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 6.</p></div>
-</div>
-
-<div class="figcenter">
-<img src="images/i_338c.jpg" width="219" height="446" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 7.</p></div>
-</div>
-
-<p>6. The last, and apparently the
-most wonderful, performance of the
-German, is shown in Fig. 7, where
-he appears to raise a cannon <span class="smcapa">A</span>,
-placed upon a scale, the four ropes
-of the scale being fixed to a rope
-or chain attached to his girdle, in
-the manner already described. Previous
-to the fixing of the ropes, the
-cannon and scale rest upon two
-rollers <span class="smcapa">B C</span>, but when all is ready, the
-two rollers are knocked from beneath
-the scale, and the cannon is
-sustained by the strength of his
-loins.</p>
-
-<p>The German also exhibited his
-strength in twisting into a screw
-a flat piece of iron like <span class="smcapa">A</span>, Fig. 8.
-He first bent the iron into a right
-angle, as at <span class="smcapa">B</span>, and then wrapping
-his handkerchief about its broad
-upper end, he held that end in his
-left hand, and with his right applied to the other end,
-twisted about the angular point, as shown at <span class="smcapa">C</span>. Lord
-Tullibardine succeeded in doing the same thing, and even
-untwisted one of the irons which the German had twisted.</p>
-
-<p>It would lead into details by no means popular, were I to<span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span>
-give a minute explanation of the mechanical principles upon
-which these feats depend. A few general observations will
-perhaps be sufficient for ordinary readers. The feats No. 1,
-2, and 7, depend entirely on the natural strength of the
-bones of the pelvis, which form a double arch, which it
-would require an immense force to break, by any external
-pressure directed to the center of the arch; and, as the
-legs and thighs are capable of sustaining four or five thousand
-pounds when they stand quite upright, the performer
-has no difficulty in resisting the force of two horses, or of
-sustaining the weight of a cannon weighing two or three
-thousand pounds.</p>
-
-<div class="figcenter">
-<img src="images/i_339.jpg" width="386" height="302" alt="" />
-<div class="caption"><p>F<span class="smcapa">IG.</span> 8.</p></div>
-</div>
-
-<p>The feat of the anvil is certainly a very surprising one.
-The difficulty, however, really consists in sustaining the
-anvil; for when this is done, the effect of the hammering
-is nothing. If the anvil were a thin piece of iron, or even
-two or three times heavier than the hammer, the performer
-would be killed by a few blows; but the blows are scarcely
-felt when the anvil is very heavy, for the more matter the
-anvil has, the greater is its inertia, and it is the less liable
-to be struck out of its place; for when it has received by
-the blow the whole momentum of the hammer, its velocity
-will be so much less than that of the hammer, as its quantity
-of matter is greater. When the blow, indeed, is struck,
-the man feels less of the weight of the anvil than he did
-before, because, in the reaction of the stone, all the parts<span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span>
-of it round about the hammer rise towards the blow. This
-property is illustrated by the well known experiment of
-laying a stick with its ends upon two drinking glasses full
-of water, and striking the stick downwards in the middle
-with an iron bar. The stick will in this case be broken
-without breaking the glasses, or spilling the water. But
-if the stick is struck upwards, as if to throw it up in the
-air, the glasses will break if the blow be strong, and if the
-blow is not very quick, the water will be spilled without
-breaking the glasses.</p>
-
-<p>When the performer supports a man upon his belly, as in
-Fig. 4, he does it by means of the strong arch formed by
-his backbone, and the bones of his legs and thighs. If
-there were room for them, he could bear three or four, or, in
-their stead, a great stone to be broken with one blow.</p>
-
-<p>A number of feats of real and extraordinary strength
-were exhibited about a century ago, in London, by Thomas
-Topham, who was five feet ten inches high, and about thirty-one
-years of age. He was entirely ignorant of any of the
-methods for making his strength appear more surprising;
-and he often performed, by his own natural powers, what
-he learned had been done by others by artificial means. A
-distressing example of this occurred in his attempt to imitate
-the feat of the German Samson by pulling against
-horses. Ignorant of the method which we have already
-described, he seated himself on the ground with his feet
-against two stirrups, and by the weight of his body he succeeded
-in pulling against a single horse; but in attempting
-to pull against two horses, he was lifted out of his
-place, and one of his knees was shattered against the stirrups,
-so as to deprive him of most of the strength of one
-of his legs. The following are the feats of real strength
-which Dr. Desaguliers saw him perform.</p>
-
-<p>1. Having rubbed his fingers with coal-ashes to keep
-them from slipping, he rolled up a very strong and large
-pewter plate.</p>
-
-<p>2. Having laid seven or eight short and strong pieces of
-tobacco-pipe on the first and third fingers, he broke them
-by the force of his middle finger.</p>
-
-<p>3. He broke the bowl of a strong tobacco-pipe placed
-between his first and third fingers, by pressing his fingers
-together sideways.</p>
-
-<p>4. Having thrust such another bowl under his garter, his<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span>
-legs being bent he broke it to pieces by the tendons of his
-hams, without altering the bending of his leg.</p>
-
-<p>5. He lifted with his teeth, and held in a horizontal position
-for a considerable time, a table six feet long, with half
-a hundred weight hanging at the end of it. The feet of the
-table rested against his knees.</p>
-
-<p>6. Holding in his right hand an iron kitchen poker three
-feet long and three inches round, he struck upon his bare
-left arm, between the elbow and the wrist, till he bent the
-poker nearly to a right angle.</p>
-
-<p>7. Taking a similar poker, and holding the ends of it in
-his hands, and the middle against the back of his neck, he
-brought both ends of it together before him, and he then
-pulled it almost straight again. This last feat was the
-most difficult, because the muscles which separate the arms
-horizontally from each other are not so strong as those
-which bring them together.</p>
-
-<p>8. He broke a rope about two inches in circumference,
-which was partly wound about a cylinder four inches in
-diameter, having fastened the other end of it to straps that
-went over his shoulder.</p>
-
-<p>9. Dr. Desaguliers saw him lift a rolling stone of about
-800 pounds' weight with his hands only, standing in a frame
-above it, and taking hold of a frame fastened to it. Hence
-Dr. Desaguliers gives the following relative view of the
-strengths of individuals:</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Strength">
-<tr>
- <td class="tdl">Strength of the weakest men,</td>
- <td class="tdr">125</td>
- <td class="tdl">pounds.</td>
-</tr>
-<tr>
- <td class="tdl">Strength of very strong men,</td>
- <td class="tdr">400</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdl">Strength of Topham,</td>
- <td class="tdr">800</td>
- <td>&nbsp;</td>
-</tr>
-</table></div>
-
-<p>The weight of Topham was about 200.</p>
-
-<p>One of the most remarkable and inexplicable experiments
-relative to the strength of the human frame, which we have
-ourselves seen and admired, is that in which a heavy man
-is raised with the greatest facility, when he is lifted up the
-instant that his own lungs, and those of the persons who
-raise him, are inflated with air. This experiment was, I
-believe, first shown in England a few years ago by Major
-H., who saw it performed in a large party at Venice under
-the direction of an officer of the American navy. As Major
-H. performed it more than once in my presence, I shall
-describe, as nearly as possible, the method which he prescribed.
-The heaviest person in the party lies down upon
-two chairs, his legs being supported by the one and his<span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span>
-back by the other. Four persons, one at each leg and one
-at each shoulder, then try to raise him, and they find his
-dead weight to be very great, from the difficulty they experience
-in supporting him. When he is replaced in the
-chairs, each of the four persons takes hold of the body as
-before, and the person to be lifted gives two signals by
-clapping his hands. At the first signal he himself and the
-four lifters begin to draw a long and full breath, and when
-the inhalation is completed, or the lungs filled, the second
-signal is given, for raising the person from the chairs. To
-his own surprise and that of his bearers, he rises with the
-greatest facility, as if he were no heavier than a feather.
-On several occasions I have observed that when one of the
-bearers performs his part ill, by making the inhalation out
-of time, the part of the body which he tries to raise is left,
-as it were, behind. As we have repeatedly seen this experiment,
-and have performed the part both of the load and
-of the bearer, we can testify how remarkable the effects
-appear to all parties, and how complete is the conviction,
-either that the load has been lightened, or the bearer
-strengthened by the prescribed process.</p>
-
-<p>At Venice, the experiment was performed in a much more
-imposing manner. The heaviest man in the party was
-raised and sustained upon the points of the fore fingers of
-six persons. Major H. declared that the experiment would
-not succeed if the person lifted were placed upon a board,
-and the strength of the individuals applied to the board.
-He conceived it necessary that the bearers should communicate
-directly with the body to be raised. I have not had
-an opportunity of making any experiments relative to these
-curious facts; but whether the general effect is an illusion,
-or the result of known or of new principles, the subject
-merits a careful investigation.</p>
-
-<p>Among the remarkable exhibitions of mechanical strength
-and dexterity, we may enumerate that of supporting pyramids
-of men. This exhibition is a very ancient one. The
-simplest form of this feat consists in placing a number of
-men upon each other's shoulders, so that each row consists
-of a man fewer till they form a pyramid terminating in a
-single person, upon whose head a boy is sometimes placed
-with his feet upwards.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span></p>
-
-
-
-
-<h2><a name="MISCELLANEOUS_CURIOUS_TRICKS_AND_FANCIES" id="MISCELLANEOUS_CURIOUS_TRICKS_AND_FANCIES"></a>MISCELLANEOUS</h2>
-
-<p class="p6">CURIOUS TRICKS AND FANCIES.</p>
-
-<div class="container">
-<div class="poem">
- <div class="stanza">
-  <div class="i0">"Youth loves and lives on change,</div>
-  <div class="i0">Till the soul sighs for sameness, which at last</div>
-  <div class="i0">Becomes variety, and takes its place."</div>
- </div>
-</div>
-</div>
-
-
-<p class="p6">AN ARTIFICIAL MEMORY.</p>
-
-<p>The reader must have observed, that to perform several
-of the recreations in this book, it is necessary to have a
-good memory; but as that is a gift every one has not from
-nature, many methods have been contrived to supply that
-defect by art&mdash;the most material of which we shall here
-describe.</p>
-
-<p>An artificial memory respects either figures or words;
-for the former, let the five vowels, a, e, i, o, u, represent the
-first five digits; the diphthongs that begin with the first four
-vowels, as au, ea, ie, ou, representing the remaining four
-digits, let y stand for an 0, or cypher. Let the ten first
-consonants also stand for the nine digits and the cypher, as
-in the following table:</p>
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="MEMORY">
-<tr>
- <td class="tdl br bt bl">a</td>
- <td class="tdl br bt">e</td>
- <td class="tdl br bt">i</td>
- <td class="tdl br bt">o</td>
- <td class="tdl br bt">u</td>
- <td class="tdl br bt">au</td>
- <td class="tdl br bt">ea</td>
- <td class="tdl br bt">ie</td>
- <td class="tdl br bt">ou</td>
- <td class="tdl br bt">y</td>
-</tr>
-<tr>
- <td class="tdl br bl">1</td>
- <td class="tdl br">2</td>
- <td class="tdl br">3</td>
- <td class="tdl br">4</td>
- <td class="tdl br">5</td>
- <td class="tdl br">6</td>
- <td class="tdl br">7</td>
- <td class="tdl br">8</td>
- <td class="tdl br">9</td>
- <td class="tdl br">0</td>
-</tr>
-<tr>
- <td class="tdl br bl bb">b</td>
- <td class="tdl br bb">c</td>
- <td class="tdl br bb">d</td>
- <td class="tdl br bb">f</td>
- <td class="tdl br bb">g</td>
- <td class="tdl br bb">h</td>
- <td class="tdl br bb">k</td>
- <td class="tdl br bb">l</td>
- <td class="tdl br bb">m</td>
- <td class="tdl br bb">n</td>
-</tr>
-</table></div>
-
-<p>Then to represent any number, let the first letter be a vowel
-or diphthong, the second a consonant, the third a vowel, the
-fourth a consonant, &amp;c. Thus for the number 1763, you
-write or remember the word <em>akaud</em>; if there are several
-sums to be retained, you place the words in form of verses&mdash;which
-will make them more pleasing to repeat and more<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span>
-easy to remember; for example, if you would remember the
-dates of the discovery of America by Columbus, the settlement
-of Virginia by Captain Smith, the landing of the Pilgrims
-at Plymouth, the Battle of Bunker Hill, the Declaration
-of Independence, and the Battle of New Orleans, which
-were in 1492, 1605, 1620, 1775, 1776, and 1815, you write
-as follows&mdash;for you are to observe that in this, as well as
-similar cases, when the first figure is always the same, it is
-unnecessary to write it after the first time:</p>
-
-<p class="center">Afouc hyh hen keag keah lag.</p>
-
-<p>When several cyphers come together, instead of repeating
-y or <em>n</em>, you may write y or <em>n</em> 2, 3, &amp;c.; thus, for 3400, write
-<em>ify</em>2, and for 256,000, write <em>ehun</em>3.</p>
-
-<p>To remember any number of words, select the initial
-letters of those words, and to the first add a, if it begins
-with a consonant, or b, if it begins with a vowel. In like
-manner e or c to the second initial letter; to the third add
-i or d; to the fourth o or f; to the fifth u or g, so that of
-the five initials you make five syllables, which are joined
-together in one word&mdash;then of the next five initials you
-make, in the same manner, another word, and of every two
-words you make a verse; for example, suppose you would
-remember the names of all the kings of England since the
-Norman conquest in the order in which they reigned, you
-then write as follows:</p>
-
-<blockquote><p>W<em>a</em> w<em>e</em> h<em>i</em> s<em>o</em> h<em>u</em> <span class="mleft3">&nbsp;</span>R<em>a</em> j<em>e</em> h<em>i</em> e<em>f</em> e<em>g</em><br />
-E<em>b</em> r<em>e</em> h<em>i</em> h<em>o</em> h<em>u</em> <span class="mleft3b">&nbsp;</span>E<em>b</em> e<em>c</em> r<em>i</em> h<em>o</em> h<em>u</em><br />
-E<em>b</em> m<em>e</em> e<em>d</em> j<em>o</em> c<em>u</em> <span class="mleft3c">&nbsp;</span>C<em>a</em> j<em>e</em> w<em>i</em> a<em>f</em> g<em>u</em> G<em>a</em> g<em>e</em> g<em>i</em> g<em>o</em> w<em>u</em> V<em>a</em>.</p></blockquote>
-
-<p>Or, if you would remember the letters that begin any number
-of verses, suppose the twenty first lines of Pope's Essay
-on Man, you write as follows:</p>
-
-<blockquote><p>A<em>b</em>t<em>e</em>l<em>i</em>t<em>o</em>e<em>g</em> <span class="mleft3c">&nbsp;</span>A<em>b</em>a<em>c</em>o<em>d</em>t<em>o</em>t<em>u</em><br />
-T<em>a</em>o<em>c</em>e<em>d</em>a<em>f</em>l<em>u</em> <span class="mleft3">&nbsp;</span>B<em>a</em>s<em>e</em>w<em>i</em>o<em>f</em>f<em>u</em>.</p></blockquote>
-
-
-<p class="p6">THE MAGICIAN'S MIRROR.</p>
-
-<p>Construct a box of wood, of a cubical shape, <span class="smcapa">A B C D</span>, of
-about fifteen inches every way. Let it be fixed to the pedestal
-<span class="smcapa">P</span>, at the usual height of a man's head. In each side of<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span>
-this box let there be an opening, of
-an oval form, ten inches high, and
-seven wide. In this box place two
-mirrors, <span class="smcapa">A D</span>, with their backs
-against each other. Let them cross
-the box in a diagonal line, and in
-a vertical position. Decorate the
-openings in the side of this box
-with four oval frames and transparent
-glasses, and cover each with
-a curtain so contrived as all to
-draw up together.</p>
-
-<div class="figcenter">
-<img src="images/i_345a.jpg" width="247" height="287" alt="" />
-</div>
-
-<p>Place four persons in front of the
-four sides, and at equal distances from the box, and then
-draw them up that they may see themselves in the mirrors,
-when each of them, instead of his own figure, will see that
-of the person next to him, but who will appear to him to be
-placed on the opposite side. Their confusion will be the
-greater, as it will be very difficult, if not impossible, for them
-to discover the mirrors concealed in the box. The reason of
-this phenomenon is evident; for though the rays of light
-may be turned aside by a mirror, yet they always <em>appear</em> to
-proceed in right lines.</p>
-
-
-<p class="p6">THE PERSPECTIVE MIRROR.</p>
-
-<div class="figcenter">
-<img src="images/i_345b.jpg" width="398" height="220" alt="" />
-</div>
-
-<p>Provide a box, <span class="smcapa">A B C D</span>, of about two feet long, fifteen inches
-wide, and 12 inches high. At the end <span class="smcapa">A C</span>, place the concave
-mirror, the focus of whose parallel rays is eighteen inches
-from the reflecting surface. At <span class="smcapa">I L</span> place a pasteboard,
-blacked, in which a hole is cut, sufficiently large to see on
-the mirror <span class="smcapa">H</span> the object placed at <span class="smcapa">B E F D</span>. Cover the top
-of the box, from <span class="smcapa">A</span> to <span class="smcapa">I</span>, close, that the mirror <span class="smcapa">H</span> may be entirely
-darkened. The other part, <span class="smcapa">I B</span>, must be covered with<span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span>
-glass, under which is placed a gauze or oiled paper, to prevent
-the inside from being seen. Make an aperture at <span class="smcapa">G</span>,
-near the top of the side <span class="smcapa">E B</span>, beneath which, on the inside,
-place in succession, paintings of vistas, landscapes, figures,
-&amp;c. so that they may be in front of the mirror <span class="smcapa">H</span>. Let the
-box be placed that the object may be strongly illuminated
-by the sun, or by wax-lights placed under the inclosed part
-of the box <span class="smcapa">A I</span>. By this simple construction, the objects
-placed at <span class="smcapa">G D</span> will be thrown into their natural perspective,
-and if the subjects be properly chosen and well executed,
-the appearance will be both wonderful and pleasing.</p>
-
-
-<p class="p6">THE MAGICAL GYROSCOPE.</p>
-
-<p>A little instrument has been constructed lately, exhibiting
-such remarkable results in connection with rotary motion,
-that it has greatly puzzled most of those who have witnessed
-its strange performances. Although many of our readers
-may have seen the instrument, yet from the numberless inquiries
-that have been made for the rationale of its peculiar
-feats, and also from the fact that we have not yet heard a
-solution that appears to be the true one, we are induced to
-furnish a brief description and explanation of the whole.</p>
-
-<div class="figcenter">
-<img src="images/i_346.jpg" width="234" height="222" alt="" />
-</div>
-
-<p>It consists of a brass wheel, <span class="smcapa">B</span>, four or five inches in diameter,
-with a thick lead rim, or circumference, so as to impart to
-the wheel when revolving rapidly
-sufficient momentum to cause it to
-spin for some minutes. The axis of
-this wheel terminates in pivots, set
-in a circular ring at right angles to
-the wheel, as the figure represents.
-Two small flat pieces of brass (<span class="smcapa">A</span>
-and <span class="smcapa">C</span>) are soldered outside to
-opposite sides of this ring, and a
-small cavity is made on the under
-side of each piece, so that the
-whole may rest on a pointed upright wire, placed in one of
-these cavities, this wire being inserted in a heavy metallic
-base to give it solidity. A small hole is made in the axis of
-the wheel, so that the end of a cord may be thrust through,
-the cord wound around it, and rapid motion imparted to
-the wheel like the spinning of a top. This constitutes the
-whole of the apparatus, which is shown in Fig. 1.</p>
-
-<p>Now, by placing the wheel and its ring, on the upper end<span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span>
-of the pointed wire, as shown in the figure, <em>only one side being
-supported</em>, the wheel and ring would of course, immediately
-fall by the force of gravity, there being no support at the
-other side, <span class="smcapa">C</span>. But if a rapid spinning motion is given to
-the wheel by means of the cord already described, and it be
-placed on the point at <span class="smcapa">A</span>, <em>it will not fall</em>, but will move slowly
-around on the upright point, performing a steady, revolving
-horizontal motion, as long as the rapid rotary motion of the
-wheel continues. So steady and uniform is this horizontal
-movement, that it generally suggests the motion of the
-planets round the sun.</p>
-
-<p>This <em>self-upholding</em> property constitutes the wonder and
-puzzle of the instrument, and many explanations have been
-attempted. Some ascribe it to atmospheric influence; others
-to electricity; while others confidently remark, "Ah, yes,
-I understand it&mdash;it is the <em>motion</em> which keeps it from falling&mdash;it
-is the momentum&mdash;the centrifugal force;" but <em>why</em> this
-result is produced by centrifugal force, we are not told.</p>
-
-<p>The true explanation is this:</p>
-
-<p>1. The wheel when at rest, may of course be easily moved
-about so as to alter the position of its axis, in any direction.
-But this is not so when it is made to spin rapidly; if the ring
-is held in the hands, the wheel will be found strongly to resist
-any side or twisting movement&mdash;so much so, that a
-novice will start, and almost let it drop, supposing there is
-something <em>alive</em> in it or, as they sometimes remark; "Why!
-it feels as if there was a <em>snake</em> in the wheel!" This is owing
-to nothing but the strong momentum of the <em>lead rim</em> (already
-described) tending to keep the wheel in its position; for an
-attempt to alter its position, throws all this swiftly flying
-matter into a different course, which, it is evident, cannot
-easily be done.</p>
-
-<p>2. The <em>slowly revolving</em>, horizontal motion on the pivot at <span class="smcapa">A</span>
-is in a contrary direction to the <em>spinning</em> motion of the <em>top</em>
-of the wheel, as the arrows show in Fig. 1. In other words,
-the forward portion of the wheel flies upwards, and the
-back portion downwards. This will be found to be always
-the case.</p>
-
-<p>3. Now, when the wheel is moving on horizontally around
-the pivot at <em>a</em>, the forward portion of the rim is continually
-moving to the <em>left</em>, and the hinder portion to the right, as
-represented in Fig. 2. The combined motion of the forward
-part of the wheel both upward and to the left, is therefore<span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span>
-not perpendicularly upward, but inclined to the left, and the
-tendency of its momentum is to throw
-the top of the wheel also to the left. In
-the same way, the downward momentum
-behind throws the bottom to the right.
-Throwing the top to the left and the bottom
-to the right, of course raises the
-wheel as it rests on the pivot <span class="smcapa">A</span>. In
-other words, the combined motion of the
-wheel on its axis, and on the pivot <span class="smcapa">A</span>,
-constantly tends to raise it, thus overcoming gravity, and
-maintaining the wheel in its position, supported only at one
-end.</p>
-
-<div class="figleft" style="width: 175px;">
-<img src="images/i_348a.jpg" width="175" height="152" alt="" />
-<div class="caption"><p>Fig. 2</p></div>
-</div>
-
-<p>4. The momentum of the lead rim, as described in (1.)
-tending to keep the wheel in its position, keeps it also in a
-uniformly horizontal attitude; if placed by the hand, inclining
-upwards, it will move around on the pivot at <em>a</em>,
-without altering this inclination; or the same result takes
-place, if inclined below the horizontal.</p>
-
-<p>5. The reason of the forward horizontal movement, is
-this: the spinning force of the wheel tends to throw it to
-the left, and consequently to lift it upwards, as shown in
-(3.)&mdash;gravity, on the opposite hand, tends to draw it downward;
-the <em>resultant</em> (or mid-way) motion is therefore between
-them, or horzontally. As a proof that gravity thus
-produces the onward movement&mdash;when the wheel spins
-with the greatest rapidity, and consequently has the greatest
-relative force to gravity, the horizontal movement is slowest;
-but it continues constantly to increase as the motion of the
-wheel is retarded, and as gravity assumes a greater proportionate
-force.</p>
-
-
-<p class="p6">THE ARTIFICIAL LANDSCAPE.</p>
-
-<p>Procure a box, as in cut, of about a foot long, eight inches
-wide, and six inches high, or any other dimensions you
-please, so they do not greatly vary from these proportions.
-At each of its opposite ends, on the inside of this box, place
-a piece of looking-glass, that shall exactly fit; but at that
-end where the sight hole <span class="smcapa">A</span> is, scrape the quicksilver off the
-glass, through which the eye can view the objects.</p>
-
-<p>Cover the box with gauze, over which place a piece of
-transparent glass, which is to be well fastened in. Let
-there be two grooves at each of the places <span class="smcapa">C D E F</span>, to receive<span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span>
-two printed scenes, as follow: On two pieces of pasteboard,
-let there be skillfully painted, on both sides, any subject
-you think proper, as woods, bowers, gardens, houses,
-&amp;c.; and on two other boards, the same subject on one
-side only, and cut out all the white parts: observe also,
-that there ought to be in one of them some object relative
-to the subject, placed at <span class="smcapa">A</span>, that the mirror placed at <span class="smcapa">B</span> may
-not reflect the hole on the opposite side.</p>
-
-<div class="figcenter">
-<img src="images/i_349.jpg" width="481" height="243" alt="" />
-</div>
-
-<p>The boards painted on both sides are to slide in the
-grooves <span class="smcapa">C D E F</span>, and those painted on one side are to be
-placed against the opposite mirrors <span class="smcapa">A</span> and <span class="smcapa">B</span>; then cover
-the box with its transparent top. This box should be placed
-in a strong light, to have a good effect.</p>
-
-<p>When it is viewed through the sight hole, it will present
-<ins title="Transcriber's Note: original reads 'and'">an</ins> unlimited prospect of rural scenery, gradually losing
-itself in obscurity; and be found well worth the pains bestowed
-on its construction.</p>
-
-
-<p class="p6">EASY AND CURIOUS METHODS OF FORETELLING RAINY OR FINE
-WEATHER.</p>
-
-<p>If a line be made of good whipcord, that is well dried,
-and a plummet affixed to the end of it, and then hung
-against a wainscot, and a line drawn under it, exactly
-where the plummet reaches, in very moderate weather it will
-be found to rise above it before rain, and to sink below when
-the weather is likely to become fair. But the best instrument
-of all, is a good pair of scales, in one of which
-let there be a brass weight of a pound, and in the other a
-pound of salt, or of saltpeter, well dried; a stand being
-placed under the scale so as to hinder it falling to low.<span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span>
-When it is inclined to rain, the salt will swell, and sink the
-scale: when the weather is growing fair, the brass weight
-will regain its ascendancy.</p>
-
-<p>Another very simple method is, to take a strip of pine
-wood, about twenty inches long, one wide, and a quarter
-thick, and cut across the grain. Then take a strip of cedar,
-of the same dimensions, but cut along the grain. Glue them
-firmly face to face, and set them upright in a stand. Some
-time before rain falls, the pores of the pine will absorb
-moisture from the atmosphere, and swell until the whole
-forms a bow, which will straighten itself as fine weather
-approaches. It is needless to say that the rods should not
-be painted or varnished.</p>
-
-
-<p class="p6">THE MAGICAL MEASURE.</p>
-
-<p>The line to be measured must not be extravagantly long,
-otherwise it will be difficult to measure it accurately; for
-the least failure of a just aim, or departure from an upright
-position, would make very sensible errors in the measure
-of a very long line, especially if the ground was very uneven.
-To measure then the line <span class="smcapa">A B</span>, accessible at the
-extremity <span class="smcapa">A</span>, suppose the breadth of a small river, he who
-pretends to measure must stand very straight at the extremity
-<span class="smcapa">A</span>, and support his chin with a little stick resting upon
-one of the buttons of his coat, so as to keep his head steady
-in one position. He must pull his hat down upon his forehead
-till the brim of his hat covers from his view the inaccessible
-extremity <span class="smcapa">B</span> of the line to be measured <span class="smcapa">A B</span>, then he
-must turn himself to a level, uniform piece of ground, and
-with the same position of his hat, observe the point of the
-ground where his view terminates, as <span class="smcapa">C</span>, then measuring
-with a line or chain the distance <span class="smcapa">A C</span>, he has the length of
-the line proposed <span class="smcapa">A B</span>.</p>
-
-<div class="figcenter">
-<img src="images/i_350.jpg" width="347" height="103" alt="" />
-</div>
-
-
-<p class="p6">THE BOUNDLESS PROSPECT.</p>
-
-<p>Take a square box, about six inches long and twelve high,
-or of any other proportionate dimensions. Cover the inside
-with four flat pieces of looking glass placed perpendicular<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span>
-to the <ins title="Transcriber's Note: original reads 'flottom'">bottom</ins> of the box. Place at the bottom any objects
-you please, as a piece of fortification, a castle, tents, soldiers,
-&amp;c. On the top, place a frame of glass shaped like
-the bottom of a pyramid, as in the figure, and so formed as
-to fit on the box like a cover. The four sides of this cover
-are to be composed of ground glass, or covered inside with
-gauze, so that the light may enter, and yet the inside be
-invisible, except at the top, which must be covered with
-transparent glass: when you look through this glass, the
-inside will present a pleasing prospect of a boundless extent;
-and, if managed with care, will afford a deal of
-amusement.</p>
-
-<div class="figcenter">
-<img src="images/i_351.jpg" width="353" height="120" alt="" />
-</div>
-
-
-<p class="p6">THE HOUR OF THE DAY OR NIGHT TOLD BY A SUSPENDED SHILLING.</p>
-
-<p>However improbable the following experiment may appear,
-it has been proved by repeated trials:</p>
-
-<p>Sling a shilling or sixpence at the end of a piece of thread
-by means of a loop. Then resting your elbow on a table,
-hold the other end of the thread betwixt your fore finger and
-thumb, observing to let it pass across the ball of the thumb,
-and thus suspend the shilling into an empty goblet. Observe,
-your hand must be perfectly steady; and if you find
-it difficult to keep it in an immovable posture, it is useless
-to attempt the experiment. Premising, however, that the
-shilling is properly suspended, you will observe, that when
-it has recovered its equilibrium, it will for a moment be
-stationary: it will then of its own accord, and without the
-least agency from the person holding it, assume the action
-of a pendulum, vibrating from side to side of the glass, and,
-after a few seconds, will strike the hour nearest to the time
-of day; for instance, if the time be twenty-five minutes past
-six, it will strike six; if thirty-five minutes past six, it will
-strike seven; and so on of any other hour.</p>
-
-<p>It is necessary to observe, that the thread should lie over
-the pulse of the thumb, and this may in some measure account
-for the <em>vibration</em> of the shilling; but to what cause its<span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span>
-striking the precise hour is to be traced, remains unexplained;
-for it is no less astonishing than true, that when
-it has struck the proper number, its vibration ceases, it
-acquires a kind of rotary motion, and at last becomes stationary,
-as before.</p>
-
-
-<p class="p6">CONTRIVANCE FOR A WATCH LAMP, PERFECTLY SAFE, WHICH WILL
-SHOW THE HOUR OF THE NIGHT, WITHOUT ANY TROUBLE, TO A PERSON
-LYING IN BED.</p>
-
-<p>It consists of a stand, with three claws, the pillar of which
-is made hollow, for the purpose of receiving a water candlestick
-of an inch diameter. On the top of the pillar, by
-means of two hinges and a bolt, is fixed on a small proportionate
-table, a box of six sides, lined with brass, tin, or
-any shining metal, nine inches deep, and six inches in diameter.
-In the center of one of these sides is fixed a lens,
-double convex, of at least three inches and a half diameter.
-The center of the side directly opposite to the lens is perforated
-so as to receive the dial-plate of the watch, the body
-of which is confined on the outside, by means of a hollow
-slide. When the box is lighted by a common watch-light,
-the figures are magnified nearly to the size of those of an
-ordinary clock.</p>
-
-
-<p class="p6">THE ENCHANTED PALACE.</p>
-
-<div class="figleft" style="width: 219px;">
-<img src="images/i_352.jpg" width="219" height="421" alt="" />
-</div>
-
-<p>On the six-sided plane <span class="smcapa">A B C D E F</span>
-of the figure, draw six semi-diameters;
-and on each of these place
-perpendicularly two plane mirrors,
-which must join exactly at the center,
-and which, placed back to back,
-must be thin as possible. Decorate
-the exterior boundary of this piece,
-(which is at the extremity of the
-angles of the hexagon,) with six
-columns, that at the same time serve
-to support the mirrors by grooves
-formed on their inner sides. Add to
-these columns their entablatures,
-and cover the edifice in whatever
-manner you please. In each one of
-these six triangular spaces, contained
-between two mirrors, place little
-figures of pasteboard, in relief, representing<span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span>
-such subjects, as when seen in an hexagonal form,
-will produce an agreeable effect. To these add small figures
-of enamel, and take particular care to conceal by some object
-that has no relation to the subject, the place where the
-mirrors join, which, as before observed, all meet in the
-common center.</p>
-
-<p>When you look into any one of the six openings of this
-palace, the objects there contained, <ins title="Transcriber's Note: original reads 'beng'">being</ins> reflected six
-times, will seem entirely to fill up the whole of the building.
-This illusion will appear very remarkable, especially if the
-objects chosen are properly adapted to the effect which the
-mirrors are intended to produce.</p>
-
-<p>If you place between two of these mirrors part of a fortification,
-as a curtain, and two demi-bastions, you will see
-an entire citadel with six bastions; or if you place part of
-a ball-room, ornamented with chandeliers and figures, all
-these objects being here <ins title="Transcriber's Note: original reads 'mithltiplied'">multiplied</ins>, will afford a very
-pleasing prospect.</p>
-
-
-<p class="p6">TO KNOW WHICH OF TWO DIFFERENT WATERS IS THE LIGHTEST WITHOUT
-ANY SCALES.</p>
-
-<p>Take a solid body, the specific gravity of which is less
-than that of water, pine, or fir wood, for instance, and put
-it into each of the two waters, and rest assured that it will
-sink deeper in the lighter than in the heavier water; and
-so by observing the difference of the sinking, you will
-know which is the lightest water, and consequently the
-most wholesome for drinking.</p>
-
-
-<p class="p6">TO KNOW IF A SUSPICIOUS PIECE OF MONEY IS GOOD OR BAD.</p>
-
-<p>If it be a piece of silver that is not very thick, as a dollar
-or a half dollar, the goodness of which you want to try,
-take another piece of good silver of equal balance with it,
-and tie both pieces with thread or horse-hair to the scales
-of an exact balance (to avoid the wetting of the scales
-themselves) and dip the two pieces thus tied in water; for
-then, if they are of equal goodness, that is, of equal purity,
-they will hang in equilibrio in the water as well as in the
-air; but if the piece in question is lighter in the water than
-the other, it is certainly false, that is, there is some other
-metal mixed with it that has less specific gravity than
-silver, such as copper. If it is heavier than the other, it is<span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span>
-likewise bad, as being mixed with a metal of greater specific
-gravity than silver, such as lead.</p>
-
-<p>If the piece proposed is very thick, such as that crown
-of gold that Hiero, king of Syracuse, sent to Archimedes
-to know if the goldsmith had put into it all the eighteen
-pounds of gold that he had given him for that end, take a
-piece of pure gold of equal weight with the crown proposed,
-viz., eighteen pounds, and without taking the trouble
-of weighing them in water, put them into a vessel full of
-water, one after another, and that which drives out most
-water must necessarily be mixed with another metal of less
-specific gravity than gold, as taking up more space, though
-of equal weight.</p>
-
-
-<p class="p6">PYRAMID OF ALUM.</p>
-
-<p>Put a lump of alum into a tumbler of water, and as the
-alum dissolves it will assume the shape of a pyramid. The
-cause of the alum decreasing in this peculiar form is
-briefly as follows: at first, the water dissolves the alum
-very fast, but as the alum becomes united with the water,
-the solvent power of the latter diminishes. The water,
-which combines first with the alum, becomes heavier by the
-union, and falls to the bottom of the glass, where it ceases
-to dissolve any more, although the water which it has displaced
-from the bottom has risen to the top of the glass,
-and is there acting upon the alum. When the solution has
-nearly terminated, if you closely examine the lump, you will
-find it covered with geometrical figures, cut out, as it were,
-in relief upon the mass; showing, not only that the cohesion
-of the atoms of the alum resists the power of solution in
-the water, but that, in the present instance, it resists it more
-in some directions than in others. Indeed, this experiment
-beautifully illustrates the opposite action of cohesion and
-solution.</p>
-
-
-<p class="p6">THE DANCING AUTOMATON.</p>
-
-<p>Procure a piece of silk thread about six feet long, and
-fasten a small wire hook at one end, and a fine needle at
-the other, then make a knot in the thread about ten inches
-from the end upon which the hook is fastened. You also
-procure a small pasteboard figure about four inches long,
-and pierce a hole through the center of the same just large
-enough to easily admit the needle. Having done this, take
-a convenient opportunity and fasten the hook in the carpet<span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span>
-about five and a half feet from the chair upon which you
-intend to sit while performing the trick. You then can inform
-your audience that you intend to make the figure
-dance and keep time to any tune they may name. You
-then slip the needle through the hole in the figure and
-throw it down on the floor, with sufficient force to make it
-slip on the thread until it reaches the knot, being careful to
-retain the needle still in your hand, then whistle any air
-the company may suggest, and appear to beat time with
-your hands upon your knees. This will make the figure
-dance, to the great astonishment of the spectators. After
-you have continued this for a few minutes, you must drop
-the needle and pick up the figure, when the needle will
-again slide through the hole in the figure, and the automaton
-being free from the thread, you can hand it to the
-audience for examination. This is an excellent trick for
-the parlor, and, if well performed, will defy detection.</p>
-
-
-<p class="p6">TO MELT A PIECE OF MONEY IN A WALNUT SHELL, WITHOUT INJURING
-THE SHELL.</p>
-
-<p>Bend any thin coin, and put it into half a walnut shell;
-place the shell on a little sand, to keep it steady. Then
-fill the shell with a mixture made of three parts of very dry
-pounded niter, one part of flowers of sulphur, and a little
-sawdust well sifted. If you then set light to the mixture,
-you will find, when it is melted, that the metal will also
-be melted at the bottom of the shell, in form of a button,
-which will become hard when the burning matter round
-it is consumed: the shell will have sustained very little
-injury.</p>
-
-
-<p class="p6">THE INVISIBLE SPRINGS.</p>
-
-<p>Take two pieces of white cotton <em>cord</em>, precisely alike in
-length; double each of them separately, so that their ends
-meet; then tie them together very neatly, with a bit of fine
-cotton <em>thread</em>, at the part where they double (<em>i. e.</em> the middle).
-This must all be done beforehand. When you are
-going to exhibit the trick, hand round two other pieces of
-cord, exactly similar in length and appearance to those
-which you have prepared, but not tied, and desire your company
-to examine them. You then return to your table, placing
-these cords at the edge, so that they fall (apparently
-accidentally) to the ground, behind the table; stoop to pick<span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span>
-them up, but take up the prepared ones instead, which you
-had previously placed there, and lay <em>them</em> on the table. You
-then take round for examination three ivory rings; those
-given to children when teething, and which may be had at
-any of the toyshops, are the best for your purpose. When
-the rings have undergone a sufficient scrutiny, pass the prepared
-double cords through them, and give the two ends of
-one cord to one person to hold, and the two ends of the
-other to another. Do not let them pull hard, or the thread
-will break, and your trick be discovered. Request the two
-persons to approach each other, and desire each to give you
-one end of the cord which he holds, leaving to him the choice.</p>
-
-<p>You then say that, to make all fast, you will tie these two
-ends together, which you do, bringing the knot down so as
-to touch the rings; and returning to each person the end
-of the cord next to him, you state that this trick is performed
-by the rule of contrary, and that when you desire
-them to pull hard, they are to slacken, and <em>vice versa</em>, which
-is likely to create much laughter, as they are certain to
-make many mistakes at first. During this time you are
-holding the rings on the fore fingers of each hand, and with
-the other fingers preventing your assistants from separating
-the cords prematurely, during their mistakes; you at length
-desire them, in a loud voice, to slack, when they will pull
-hard, which will break the thread, the rings remaining in
-your hands, whilst the strings will remain unbroken: let
-them be again examined, and desire them to look for the
-springs in the rings.</p>
-
-
-<p class="p6">THE FLIGHT OF THE RING.</p>
-
-<p>You may cause a ring to shift from one hand to another
-and make it go on any finger required on the other hand,
-while somebody holds both your arms, in order to prevent
-communication between them, by attending to these instructions:
-Desire some lady in company to lend you a
-gold ring, recommending her at the same time to make a
-mark on it, that she may know it again. Have a gold ring
-of your own. which fasten by a small piece of catgut string
-to a watch barrel, and sew it to the left sleeve of your coat.
-Take the ring that is given you in your right hand; then
-putting, with dexterity, the other ring fastened to the
-watch-barrel near the entrance of your sleeve, draw it privately
-to the fingers' ends of your left hand. During this<span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span>
-operation, hide the ring that has been lent you between the
-fingers of your right hand, and fasten it dexterously on a
-little hook sewed for the purpose, on your waistcoat, and
-hidden by your coat. After that, show your ring, which
-hold in your left hand; then ask the company on which
-finger of the other hand they wish it to pass. During this
-interval, and as soon as the answer has been given, put
-the before mentioned finger on the little hook, in order to
-slip the ring on it: at that moment let go the other ring, by
-opening your fingers. The spring which is in the watch-barrel,
-being confined no longer, will contract, and make the
-ring slip under the sleeve, without any body perceiving it,
-not even those who hold your arms, as their attention will
-be occupied to prevent your hands from communicating.
-After this operation, show the assembly that the ring is
-come on the other hand, and make them remark that it is
-the same that had been lent to you, or that the mark is right.
-Much dexterity is required in this trick, so that the deception
-may not be suspected.</p>
-
-
-<p class="p6">MUSICAL FIGURES RESULTING FROM SOUND.</p>
-
-<p>Cover the mouth of a wine glass, having a foot-stalk, with
-a thin sheet of membrane, over which scatter a layer of fine
-sand. The vibrations excited in the air by the sound of a
-musical instrument, held within a few inches of the membrane,
-will cause the sand on its surface to form regular
-lines and figures with astonishing celerity, which vary with
-the sound produced.</p>
-
-
-<p class="p6">TO MAKE A CARD JUMP OUT OF THE PACK.</p>
-
-<p>Let any person draw a card, and afterwards put it into
-the pack, but take care that you know where to find it
-at pleasure. This you may do by having <em>forced</em> it. Then
-put a piece of wax under the thumb-nail of your right hand,
-and fasten a hair by it to your thumb, and the other end of the
-hair, by the same means, to the card chosen: spread the
-pack upon the table, and, making use of any words you
-think fit, make it jump from the pack about the table.</p>
-
-
-<p class="p6">THE TELL-TALE CARDS.</p>
-
-<p>Tell any one to shuffle the pack, to take off the upper card,
-and to notice it, then to lay it on the table, with its face downward,
-and put so many cards upon it as will make up thirteen
-with the number of spots on the noted card.</p>
-
-<p><span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span></p>
-
-<p>For instance: if the card which the person first looked at
-was a king, queen, knave, or ten, bid him lay that card with
-its face downward, calling it ten; upon that let him lay
-another, calling it eleven; upon that, another, calling it
-twelve; and upon that, another, calling it thirteen; then
-bid him take off the next uppermost card: suppose it to be
-an eight, let him lay it down on another part of the table,
-calling it eight; upon the latter another, calling it nine, and
-so on in the same way, until he makes that heap up to thirteen;
-then let him go to the next uppermost card, and so proceed
-to lay out the third parcel in the same way as the two
-preceding, and should the uppermost card be an ace, he
-must lay it down, calling it one, the next two, &amp;c.</p>
-
-<p>All this should be done either while you are out of the
-room, or your back is turned; upon your turning round, you
-take the cards which have been left; your object being to
-count, without its being perceived, how many there are remaining,
-you throw aside the three top cards, and lay the
-next three on the table, with their faces upward; then throw
-away one, then turn up one, and so on in the same way, until
-you ascertain how many cards they are; we will suppose
-that you find twenty-five cards left; deduct ten, when the
-remaining fifteen will be the number of all the spots contained
-in all the bottom cards of the three heaps, counting
-the court cards as ten; you must recollect that ten is, in all
-cases, the number to be deducted from the cards remaining.
-Having found that fifteen is the number of spots on the
-cards, do not declare it at once; but select from those cards
-which lie on the table, face uppermost, three or four which
-added together will make fifteen.</p>
-
-<p>For instance: should there be a deuce, a five, and an eight,
-lay them aside for a moment, and taking the other cards
-from which you selected the three, put them along with those
-which you previously rejected; you now hand the three telltale
-cards to any person, assuring him that the number of
-pips on those cards will be the same as those on the bottom
-cards of the three heaps, which will be found to be the case.</p>
-
-
-<p class="p6">THE DOUBLE DOZEN.</p>
-
-<p>Present a pack of cards to one of the company, desiring
-him to shuffle them well, and to get them shuffled by whomsoever
-he pleases; then make several persons cut them;
-after which you will propose to one of the company to take<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span>
-the pack and think of a card, and remember it, and likewise
-its order in the pack, by counting one, two, three, four, &amp;c.,
-till he comes, exclusively, to the one thought of; offer to go
-into another room, or to be blindfolded, while he is doing
-this. Now declare in what order the card shall be in the
-pack; say, for instance the twenty-fourth; and, by attending
-to the following instructions, it will prove to be so:&mdash;Suppose
-the person who thinks of the card stops at thirteen,
-and that the thirteenth card was the queen of hearts, the
-number you have stated it shall be in the pack being twenty-four;
-you return to the room, in case you had left it, or desire
-the handkerchief to be removed, if you have been blindfolded;
-and, without asking any question of the person who
-has thought of the card, ask only for the pack, and apply it
-to your nose, as if to smell it; then passing it behind your
-back, or under the table, take, from the bottom of the pack,
-twenty-three cards; that is to say, one less than the number
-you have stated the card thought of shall be; place these
-twenty-three cards on the top. This being done, return the
-pack to the person who had thought of the card, requesting
-him to reckon the cards from the top of the pack, beginning
-by the number of the card he thought of. His card being
-the thirteenth, he will be compelled to count fourteen, and
-you are to stop him when he comes to twenty-three, reminding
-him that the number you have mentioned is twenty-four,
-and that, consequently, the twenty-fourth card, which he is
-going to take up, will be the card thought of; and so it
-will most certainly be.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
-
-
-<p class="p6">THE HOUSEBREAKERS.</p>
-
-<p>Take a pack of cards, and place all the aces together, the
-twos, the threes, and so on up to the kings. There will then
-be thirteen different heaps. You say, "Here are four houses
-(laying down the four aces separately), which four knaves
-enter for the purpose of robbing (laying a knave upon each
-ace), and take with them their implements for housebreaking
-(and upon each of the knaves you lay a two, three, four,
-five, six, seven, and eight). The mistresses of the houses
-come home (laying a queen upon each of the heaps), bringing
-their money with them (laying a nine upon each queen).
-Shortly after, their husbands also return (laying a king upon<span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span>
-each queen), also bringing money with them" (laying a
-ten upon each heap). You have now disposed of all the
-cards, which form four distinct heaps. Then lay one heap
-over the other, and let as many persons cut them as please.
-When this is done, if you commence at the top of the pack,
-and lay the cards face downwards, one by one, so as to make
-thirteen separate heaps, you will find all the aces together,
-the twos, and so on, as you originally placed them.</p>
-
-
-<p class="p6">THE MAGIC BOOK.</p>
-
-<p>Provide an octavo book of plain paper, of whatever thickness
-you please. Turn over seven leaves from the beginning,
-and paint a group of flowers; then turn over seven
-more leaves, and paint the same again, and so on, until you
-have turned the book through to the end. Then paste a slip
-of paper or parchment to each of the painted leaves. Turn
-the book over again, and paint upon every sixth leaf a parrot,
-and then paste strips upon them as you did upon the
-first, only a little lower down. Proceed in this manner until
-you have painted the book full of pictures of various sorts,
-taking care one side of the leaves is left white paper. When
-you use the book, hold it in your left hand, and set the thumb
-of your right hand upon the first of the parchment stays;
-run the book through, and it will appear full of flowers;
-then stop and, blowing upon the book, run it through again,
-with the thumb upon the second slips of parchment, and it
-will, appear full of parrots. Afterwards, reverse the book,
-and run it through as before, and it will appear composed
-of blank paper.</p>
-
-
-<p class="p6">THE TAPE TRICK.</p>
-
-<p>This trick consists in suffering a person to tie your thumbs
-together tightly, and yet that you shall be able to release
-them in a moment, and tie them together again. The mode
-of performing this trick is as follows:&mdash;Lay a piece of tape
-across the palms of your hands, placed side by side, letting
-the ends hang down; then bring your palms quickly
-together, at the same time privately catching hold of the
-middle of the tape with your fourth and fifth fingers. Then
-direct any person to tie your thumbs together as tight as he
-pleases, but he will not, of course, in reality be tying them,
-because you have hold of the tape, yet it will nevertheless
-appear to him that he is doing so. Request him to place a
-hat over your hands; then blow upon the hat, and say, "Be<span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span>
-loose," slipping your thumbs from under the tape; direct
-him to remove the hat, and show your thumbs free. You
-then request the hat may again be placed over your hands,
-and blowing upon it, you say "Be tied," slipping your
-thumbs under the tape again; and when the hat is removed,
-your thumbs will appear tied as at first. After performing
-the trick, convey the tape away, lest it be detected.</p>
-
-
-<p class="p6">MORE THAN FULL.</p>
-
-<p>Fill a glass to the brim with water, and you may add to
-it spirit of wine without causing the water to overflow.</p>
-
-
-<p class="p6">FLOATING NEEDLES.</p>
-
-<p>Fill a cup with water, gently lay on its surface small fine
-needles, and they will float.</p>
-
-
-<p class="p6">THE KNOTTED THREAD.</p>
-
-<p>Considerable amusement, not unmixed with wonder,
-may be occasioned among a party of ladies, by a clever
-performance of this trick. It is most frequently performed
-by a female, but the effect of it is considerably increased
-when it is displayed by a youth. A piece of calico, muslin,
-or linen, is taken in the left hand, a needle is threaded in
-the presence of the spectators, and the usual, or even a
-double or treble knot, made at the extremity of one of the
-ends of it. The operator commences his work by drawing
-the needle and the thread in it quite through the linen, notwithstanding
-the knot, and continues to make several
-stitches in like manner successively.</p>
-
-<p>The mode of performing this seeming wonder is as follows:
-A bit of thread, about a quarter of a yard long, is
-turned once round the top of the middle finger of the right
-hand, upon which a thimble is then placed, to keep it secure.
-This must be done privately, and the thread kept concealed,
-while a needle is threaded with a bit of thread of a similar
-length. The thread in the needle must have one of its ends
-drawn up nearly close, and be concealed between the forefinger
-and thumb; the other should hang down nearly as long
-as, and by the side of the thread, which is fastened under the
-thimble, so that these two may appear to be the two ends of
-the thread. The end of the piece that is fastened under the
-thimble is then knotted, and the performer begins to sew,
-by moving his hand quickly after he has taken up the stitch.<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span>
-It will appear as though he actually passed the knotted
-thread through the cloth.</p>
-
-
-<p class="p6">THE BACCHUS EXPERIMENT.</p>
-
-<p>This experiment, showing the elasticity of air, is performed
-with a pleasing toy. It represents a figure of Bacchus
-sitting across a cask, in which are two separate compartments.
-Put into one of them a portion of wine or
-colored liquid, and place the apparatus under the exhausted
-receiver of an air-pump, when the elastic force of the confined
-air will cause the liquid to ascend a transparent glass
-tube (fitted on purpose), into the mouth of the Bacchanalian
-figure. To render the experiment more striking, a bladder,
-with a small quantity of air therein, is fastened around the
-figure, and covered with a loose silken robe, when the air
-in the bladder will expand, and produce an apparent increase
-in the bulk of the figure, as if occasioned by the excess of
-liquor drunk.</p>
-
-
-<p class="p6">CURIOUS METHOD OF MEASURING THE HEIGHT OF A TREE.</p>
-
-<p>To ascertain the height of an object a peculiar method of
-measurement is in use among the Isthmus Indians. In
-measuring the height of a tree, for instance, a man proceeds
-from its base to a point where, on turning the back towards
-it, and putting the head between the legs, he can just see
-the top; at the spot where he is able to do this he makes a
-mark on the ground to the base of the tree; this distance
-will be equal to the height.</p>
-
-
-<p class="p6">THE TRANSPOSABLE PIECES.</p>
-
-<p>Take two quarter eagles and two dimes, and grind part
-of them away, on one side only, so that they may be but
-half the common thickness; and observe, that they must be
-quite thin at the edge; then rivet a quarter eagle and a
-dime together. Lay one of these double pieces, with the
-dime upwards, on the palm of your hand, at the bottom of
-your three first fingers, and lay the other piece with the
-quarter eagle upwards in like manner, in the other hand.
-Let the company take notice in which hand is the quarter
-eagle, and in which is the dime. Then, as you shut your
-hands, you naturally turn the pieces over, and when you
-open them again, the dime and the quarter eagle will appear
-to have changed their places.</p>
-
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_363" id="Page_363"></a></span></p>
-
-
-
-<div class="bdouble">
-<h2><a name="INQUIRE_WITHIN" id="INQUIRE_WITHIN"></a>INQUIRE WITHIN</h2>
-
-<p class="p8">For Anything You Wish to Know:</p>
-
-<p class="center">&mdash;<span class="smcapa">OR</span>,&mdash;</p>
-
-<p class="p6">OVER 3,700 FACTS FOR THE PEOPLE.</p>
-
-<p class="center">A large Vol. of 436 pp., cloth, gilt, Price $1. Sent free of postage.</p>
-
-<div class="figcenter">
-<img src="images/i_363.jpg" width="182" height="11" alt="" />
-</div>
-
-<p>This Book, as its title imports, will give you correct information on
-every possible subject that you ever heard or thought of! It tells you how
-to <em>cook a dinner</em>&mdash;to <em>cure a sick friend</em>, or <em>cut an acquaintance</em>&mdash;to <em>get up a
-dinner party</em>, or <em>dine abroad</em>&mdash;to <em>play at cards</em>, <em>chess</em>, or <em>any other <ins title="Transcriber's Note: original reads 'populur'">popular</ins>
-game</em>,&mdash;whether you wish to establish yourself in life according to the <em>rules
-of etiquette</em>&mdash;to get up a <em>sumptuous entree for the dinner table</em>, or <em>arrange
-a plain dinner</em>&mdash;to <em>fold fancy napkins</em>&mdash;to <em>start business</em>&mdash;to <em>make money</em>&mdash;to
-<em>dress with taste</em>&mdash;to <em>conduct a courtship</em>&mdash;to <em>tie any kind of a knot</em>&mdash;to
-<em>get married</em>&mdash;to <em>give an evening party to your friends</em>&mdash;to <em>behave well in
-company</em>&mdash;to <em>keep house properly</em>&mdash;to <em>dance</em>&mdash;to <em>make ornamental vases</em>,
-by the new art of Potichomanie, or Wax work, and other <em>fancy employments
-for the ladies</em>&mdash;to <em>establish acquaintances according to the rules of
-etiquette</em>&mdash;to <em>enjoy an hour at curious puzzles</em> and <em>arithmetical questions</em>&mdash;to
-<em>do up a neat parcel</em>&mdash;to <em>relieve the invalid</em>&mdash;to acquaint yourself with the
-<em>technical terms in literature, law, and medicine</em>&mdash;in short, to <em>do every useful
-thing that can be thought of or imagined</em>, whether at <em>home</em> or <em>abroad</em>, or
-among your friends, or in <em>your business</em>, or <em>on your farm</em>, or <em>in your garden</em>,
-or at a <em>public meeting</em>, or at a <em>private assembly</em>. It contains tables
-of all weights and measures; <em>Interest Tables</em> from $1 to $10,000 at six and
-seven per cent, besides innumerable tables on interesting and curious subjects.
-It gives complete directions how to <em>wash, starch, and iron</em>&mdash;how to <em>keep
-the eyes, hair, teeth, and complexion in perfect order</em>&mdash;how to <em>punctuate,
-spell, and write correctly</em>&mdash;how to <em>compose all kinds of letters</em>, from the billet-doux
-to the business letter&mdash;how to <em>clean furniture</em>, take care of <em>pet
-animals</em>&mdash;how to <em>measure all kinds of mechanics' work</em>&mdash;how to <em>detect
-fraudulent scales</em>&mdash;and all about the properties and uses of different medicines.
-Indeed this is really and truly one of the most wonderful and valuable
-books ever printed. Besides all this information&mdash;and we have not
-room to give an idea of a hundredth part of it&mdash;<em>it contains so many valuable
-and useful receipts</em> that an enumeration of them requires</p>
-
-
-<p class="p6b">SEVENTY-TWO COLUMNS OF FINE TYPE FOR THE INDEX.</p>
-
-<p>It is <em>no collection of ancient sayings and receipts</em>, but the whole are <em>fresh
-and new</em>, and <em>suited to the present times</em>. As a book to keep in the family
-for reference, it is unequaled, <em>comprising as it does all kinds of Books of
-Information in a single volume</em>.</p>
-
-<p>Send cash orders to <span class="mleft2">&nbsp;</span><b>DICK &amp; FITZGERALD,<br />
-<span class="mleft12">&nbsp;</span>No. 18 Ann Street, N. Y.</b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_364" id="Page_364">[364]</a></span></p>
-
-
-
-<div class="bdouble">
-
-<div class="figcenter">
-<img src="images/i_364a.jpg" width="450" height="65" alt="" />
-</div>
-
-
-<blockquote>
-
-<p>These useful works will, when completed, supply all the "Reasons"
-which the human mind has discovered for the varied and interesting
-phenomena of Nature; and for events, and their consequences, in
-religious and civil history. Such a series, entirely original in their
-plan, and executed with the most conscientious care&mdash;embracing the
-very essence of demonstrative truth and inductive reasoning&mdash;must
-become as widely diffused as the language in which they are written.
-Each work is complete in itself.</p></blockquote>
-
-<hr class="tb" />
-
-<blockquote>
-
-<p><span class="p5a">The Reason Why:</span> <span class="p5b">General Science.</span> A careful collection
-of some thousands of reasons for things, which, though generally known,
-are imperfectly understood. A book of condensed scientific knowledge for the
-million. By the author of "Inquire Within." It is a handsome 12mo volume, of
-356 pages, printed on fine paper, bound in cloth, gilt, and embellished with a large
-number of wood cuts, illustrating the various subjects treated of. Price O<span class="smcapa">NE</span> D<span class="smcapa">OLLAR</span>.
-This work assigns reasons for the thousands of things that daily fall under the eye
-of the intelligent observer, and of which he seeks a simple and clear explanation.</p>
-
-<p class="center">EXAMPLE.</p>
-
-<blockquote><p><em>Why does silver tarnish when exposed to the light? Why is the sky blue?</em></p></blockquote>
-
-<p>This volume answers 1,325 similar questions.</p></blockquote>
-
-<hr class="r5" />
-
-<blockquote>
-
-<p><span class="p5a">The Biblical Reason Why:</span> A H<span class="smcapa">AND</span>-B<span class="smcapa">OOK FOR</span> B<span class="smcapa">IBLICAL</span> S<span class="smcapa">TUDENTS</span>,
-and a Guide to Family Scripture Readings. By the author of
-"Inquire Within," &amp;c. Beautifully illustrated, large 12mo, cloth, gilt side and
-back. Price O<span class="smcapa">NE</span> D<span class="smcapa">OLLAR</span>. This work gives Reasons, founded upon the Bible, and
-assigned by the most eminent Divines and Christian Philosophers, for the great
-and all-absorbing events recorded in the History of the Bible, the Life of our
-Saviour, and the Acts of his Apostles.</p>
-
-<p class="center">EXAMPLE.</p>
-
-<blockquote><p><em>Why did the first patriarchs attain such extreme longevity?</em><br />
-<em>Why is the Book of the Prophecies of Isaiah a strong proof of the authenticity of the whole Bible?</em></p></blockquote>
-
-<p>This volume answers upwards of 1,400 similar questions.</p></blockquote>
-
-<hr class="r5" />
-
-<blockquote>
-
-<p><span class="p5a">The Reason Why: Natural History.</span> By the author
-of "Inquire Within," "The Biblical Reason Why," &amp;c. 12mo, cloth, gilt side
-and back. Price O<span class="smcapa">NE</span> D<span class="smcapa">OLLAR</span>. Giving Reasons for hundreds of interesting facts
-in connection with Zoology, and throwing a light upon the peculiar habits and
-instincts of the various Orders of the Animal Kingdom.</p>
-
-<p class="center">EXAMPLE.</p>
-
-<blockquote><p><em>Why do dogs turn around two or three times before they lie down?</em><br />
-<em>Why do birds often roost upon one leg?</em></p></blockquote>
-
-<p>This volume answers about 1,500 similar questions.</p></blockquote>
-
-
-<div class="figcenter">
-<img src="images/i_365b.jpg" width="188" height="16" alt="" />
-</div>
-
-<p class="center">THE FOLLOWING BOOKS OF THIS SERIES ARE IN PRESS, AND WILL BE
-ISSUED IN RAPID SUCCESSION:</p>
-
-<blockquote><p>The Denominational Reason Why.<br />
-The Gardener's and Farmer's Reason Why.<br />
-The Housekeeper's Reason Why.<br />
-The Botanical Reason Why.<br />
-The Geological Reason Why.<br />
-The Astronomical Reason Why.<br />
-The Chemical Reason Why.<br />
-The Grammatical Reason Why.</p></blockquote>
-</div>
-
-<p><span class="pagenum"><a name="Page_365" id="Page_365"></a></span></p>
-
-
-<div class="bdouble">
-<h2>The Reason Why: Natural History.</h2>
-
-<p class="center">BY THE AUTHOR OF "INQUIRE WITHIN," "THE BIBLICAL REASON WHY,"
-"REASON WHY OF GENERAL SCIENCE," "THAT'S IT, OR,
-PLAIN TEACHINGS," &amp;c., &amp;c.</p>
-
-<p class="center">Profusely Illustrated. 12mo, Cloth, Gilt Side and Back. Price $1.</p>
-
-<p>Giving reasons for hundreds of interesting facts in connection with Zoology, and
-throwing a light upon the peculiar habits and instincts of the various Orders of the
-Animal Kingdom.</p>
-
-
-<p class="center">EXAMPLE.</p>
-
-<blockquote><p><em>Why has the lion such a large mane?</em><br />
-<em>Why does the otter, when hunting for fish, swim against the stream?</em><br />
-<em>Why do dogs turn around two or three times before they lie down?</em><br />
-<em>Why have flat fishes their upper sides dark, and their under sides white?</em><br />
-<em>Why do sporting dogs make what is termed "a point?"</em><br />
-<em>Why do birds often roost upon, one leg?</em><br />
-<em>Why do frogs keep their mouths closed while breathing?</em><br />
-<em>Why do cats, when being played with, lie on their backs, seize the hand of the person playing with them with their forepaws, and strike with their hind feet?</em><br />
-<em>Why does the wren build several nests, but occupies only one?</em></p></blockquote>
-
-<p>This volume answers about 1500 similar questions.</p>
-
-<hr class="tb" />
-
-<p class="center p5b">The Corner Cupboard; or, Facts for Everybody.</p>
-
-<p class="center"><em>By the Author of "Inquire Within," "The Reason Why," &amp;c.</em></p>
-
-<p class="center"><b>Large 12mo, 400 pages. Cloth, Gilt Side and Back. Illustrated with
-over One Thousand Engravings.</b></p>
-
-<p class="center">PRICE ONE DOLLAR.</p>
-
-<p>Embracing Facts about I. Things not generally known, II. Things that ought to
-be known. III. Things worth knowing. The "Corner Cupboard" is</p>
-
-<blockquote><p><em>A Complete Confectioner.</em><br />
-<em>A Complete Cook.</em><br />
-<em>A Complete Family Doctor.</em><br />
-<em>A Complete Gardener.</em><br />
-<em>A Complete Father's Book.</em><br />
-<em>A Complete Mother's Book.</em><br />
-<em>A Complete Family Book.</em><br />
-<em>A Complete Lady's Book.</em><br />
-<em>A Complete Gentleman's Book.</em><br />
-<em>A Complete Boy's Book.</em><br />
-<em>A Complete Girl's Book.</em><br />
-<em>A Complete Master's Book.</em><br />
-<em>A Complete Servant's Book.</em><br />
-<em>A Complete Amusement Book.</em><br />
-<em>A Friend at Everybody's Elbow in Time of Need.</em></p>
-</blockquote>
-
-<p>It tells about the food we consume, the clothes we wear, the house we live in, and facts from the Arts
-and Sciences, as well as from Literature, Manufacture, Commerce, Anatomy, Physiology, the Garden
-and Field, the whole forming a complete Encyclopedia of Useful Knowledge. Whether in the parlor or
-the kitchen, the chamber or the boudoir, at home or abroad, it may be very appropriately called the
-Family's Beady Adviser.</p>
-
-<hr class="tb" />
-
-<h3>10,000 WONDERFUL THINGS.</h3>
-
-<p>Comprising the Marvellous and Rare, Odd, Curious, Quaint, Eccentric and Extraordinary,
-in all Ages and Nations, in Art, Nature and Science, including many Wonders
-of the World, enriched with Hundreds of Authentic Illustrations.</p>
-
-<p class="center">EDITED BY EDMUND FILLINGHAM KING, M. A., AUTHOR OF "LIFE OF NEWTON," &amp;c.</p>
-
-<p class="center">12mo, Cloth, Gilt Side and Back. Price One Dollar.</p>
-
-<p>In the present work, interesting scenes from Nature, curiosities of art, costume, and customs of a bygone
-period, rather predominate; but we have devoted many of its pages to descriptions of remarkable
-occurrences, beautiful landscapes, stupendous waterfalls, and sublime sea pieces. It contains not a
-line that the nicest judgment could pronounce obnoxious; and yet, in every page is a mass of material
-to create both surprise and laughter. It is impossible to read the volume through, without feeling, not
-only that you have been well entertained, but well instructed.</p>
-
-<p><img src="images/i_365c.jpg" width="36" height="19" alt="" /> Copies of either of the above books sent to any address in the United States or
-Canada, free of postage. Send cash orders to</p>
-
-<p class="center">DICK &amp; FITZGERALD, 18 Ann Street, New York.</p>
-
-</div>
-
-<p><span class="pagenum"><a name="Page_366" id="Page_366"></a></span></p>
-
-
-
-<div class="bdouble">
-<h2>The Reason Why:<br />
-
-GENERAL SCIENCE.</h2>
-
-<p class="center">A CAREFUL COLLECTION OF</p>
-
-<p class="p8">Some Thousands of Reasons</p>
-
-<p class="center"><b>FOR THINGS WHICH, THOUGH GENERALLY KNOWN, ARE IMPERFECTLY UNDERSTOOD.</b></p>
-
-<p class="p7">A Book of Condensed Scientific Knowledge for the Million.</p>
-
-<hr class="tb" />
-
-<p class="p8">BY THE AUTHOR OF "INQUIRE WITHIN."</p>
-
-<hr class="tb" />
-
-<p>"What 'Haydn's Dictionary of Dates' is in regard to Historical events, this wonderful book is
-in respect to scientific facts. The plan of the book and its execution leave nothing to be desired."<br />
-<span class="mleft10">&nbsp;</span>[Church of England Monthly Review.<br />
-</p>
-
-<p>This Work assigns R<span class="smcapa">EASONS</span>, for the thousands of things that daily fall under the
-eye of the intelligent observer, and of which he seeks a simple and clear explanation.</p>
-
-
-<p class="center">EXAMPLE.</p>
-
-<blockquote>
-
-<p>Why does silver tarnish when exposed to the
-light?</p>
-
-<p>Why do some colors fade and others darken
-when exposed to the sun?</p>
-
-<p>What develops electricity in the clouds?</p>
-
-<p>Why does <ins title="Transcriber's Note: original reads 'lightining'">lightning</ins> sometimes appear red,
-at others yellow, at others white?</p>
-
-<p>Why does dew form round drops on the leaves
-of plants?</p>
-
-<p>Why is the sky blue?</p></blockquote>
-
-<p class="center">This volume answers 1,325 similar questions.</p>
-
-<p>"T<span class="smcapa">HE</span> R<span class="smcapa">EASON</span> W<span class="smcapa">HY</span>" is a handsome 12mo volume, of 350 pages, printed on fine
-paper, bound in cloth, gilt, and embellished with a large number of Wood Cuts,
-illustrating the various subjects treated of.</p>
-
-
-<p class="p5">PRICE ONE DOLLAR.</p>
-
-<p><img src="images/i_366.jpg" width="34" height="14" alt="" /> Copies Mailed to any address in the United States or Canada, free of postage.</p>
-
-
-<hr class="chapter" />
-
-<h2>Live and Learn;</h2>
-
-<p class="center">A GUIDE TO ALL WHO WISH TO</p>
-
-<p class="p8">SPEAK AND WRITE CORRECTLY.</p>
-
-
-<p>Particularly intended as a book of reference for the solution of difficulties connected
-with Grammar, Composition, Punctuation, &amp;c., with explanations of Latin
-and French words and phrases of frequent occurrence in newspapers, reviews,
-periodicals, and books in general; containing examples of</p>
-
-
-<p class="p8">ONE THOUSAND MISTAKES</p>
-
-<p>Of daily occurrence in Speaking, Writing, and Pronunciation, together with detailed
-Instructions for Writing for the Press, and forms of articles in the various
-departments of Newspaper Literature.</p>
-
-<blockquote>
-
-<p>"Such a book as this has long been wanted by those who entertain the wish alluded to in the title.
-It is suitable for all classes. We have attentively conned its pages, and can <ins title="Transcriber's Note: original reads 'recommonded'">recommend</ins> it as one
-of the best works of reference for the young student, or even the ripe scholar, and as deserving to
-be generally consulted. The work is altogether useful and indispensable." <span class="mleft3">&nbsp;</span>[Tribune.</p></blockquote>
-
-
-<p class="center">216 Pages, Bound in Cloth, 12mo.</p>
-
-<p class="center">PRICE FIFTY CENTS,<br />
-And sent to any address Free of Postage. Send Cash Orders to<br />
-<br />
-<b>DICK &amp; FITZGERALD, 18 Ann Street, N. Y.</b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_367" id="Page_367"></a></span></p>
-
-
-
-<div class="bdouble">
-<h2>The Secret Out;<br />
-
-<span class="small50">OR,</span><br />
-
-<span class="small90">1,000 TRICKS WITH CARDS AND OTHER RECREATIONS.</span></h2>
-
-<p class="p6b">ILLUSTRATED WITH OVER 300 ENGRAVINGS.</p>
-
-
-<blockquote>
-
-<p>And containing clear and comprehensive explanations how to perform with
-ease all the Curious Card Deceptions and Sleight-of-Hand Tricks extant.
-With an endless variety of Entertaining Experiments in Drawing-Room, or
-White Magic, including the celebrated Science of Second Sight. Together
-with a choice collection of Intricate and Puzzling Questions. Amusements in
-Chance, Natural Magic, etc., etc., etc.</p></blockquote>
-
-<p class="center">By the Author of "The Sociable," "The Magician's Own Book," "Parlor<br />
-Theatricals," etc.</p>
-
-<p class="center"><em>Large 12mo, Cloth, Gilt Side and Back.    Price One Dollar.</em></p>
-
-<p>A Book which explains all the Tricks and Deceptions with Playing Cards, ever
-known or invented, and gives, besides, a great many new and interesting ones&mdash;the
-whole being described so accurately and carefully, with engravings to illustrate them,
-that anybody can easily learn how to practise these Tricks.</p>
-
-<p>This book contains, in addition to its numerous Card Tricks above described, full and
-easily understood explanations of some <b>Two Hundred and Forty</b> of the most</p>
-
-<p class="center">Curious, Amusing &amp; Interesting Sleight-of-Hand &amp; Legerdemain Tricks</p>
-
-<p>Ever invented, and which are illustrated with Engravings to make each trick understood
-with ease.</p>
-
-<div class="figcenter">
-<img src="images/i_367a.jpg" width="188" height="16" alt="" />
-</div>
-
-<h2>The Magician's Own Book<br />
-
-<span class="small50">OR,</span><br />
-
-<span class="small90">THE WHOLE ART OF CONJURING</span>.</h2>
-
-
-<blockquote>
-
-<p>Being a Complete Hand-Book of Parlor Magic, containing over One Thousand
-Optical, Chemical, Mechanical, Magnetical, and Magical Experiments,
-Amusing Transmutations, Astonishing Sleights and Subtleties, Celebrated
-Card Deceptions, Ingenious Tricks with Numbers, Curious and Entertaining
-Puzzles&mdash;together with all the most Noted Tricks of Modern Performers.</p></blockquote>
-
-
-<p class="center p6c">The whole Illustrated with over 500 Wood Cuts,</p>
-
-<p class="center">And intended as a source of Amusement for</p>
-
-<p class="p6b">ONE THOUSAND AND ONE EVENINGS.</p>
-
-<p class="center">12mo, cloth, 400 pages, gilt side and back stamp. Price ONE DOLLAR, sent free of postage.</p>
-
-<p>Here is a book for the long winter evenings, and one that will make all merry and
-happy. It contains over a THOUSAND TRICKS, of every description; and they are
-all explained so clear and explicitly, that any person can comprehend and perform them
-with ease. It also contains numerous CURIOUS PUZZLES, with patterns showing
-how they are done, any one of which will afford amusement enough for a whole evening.</p>
-
-<p>Copies sent to any address free of postage. Send Cash Orders to</p>
-
-<p class="center"><b>DICK &amp; FITZGERALD,</b><br />
-<span class="mleft5">&nbsp;</span><b><span class="small80">18 ANN STREET, NEW YORK.</span></b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_368" id="Page_368"></a></span></p>
-
-
-<h2>A Book of Never-Ending Entertainment.</h2>
-
-<div class="bdouble">
-<h2>THE SOCIABLE;<br />
-
-<span class="small50">OR,</span><br />
-
-One Thousand and One Home Amusements.</h2>
-
-<p class="center">CONTAINING</p>
-
-<p class="center">ACTING &nbsp;PROVERBS, &nbsp; DRAMATIC &nbsp;CHARADES, &nbsp; ACTING &nbsp;CHARADES, &nbsp; OR<br />
-DRAWING-ROOM PANTOMIMES, MUSICAL BURLESQUES, TABLEAUX<br />
-VIVANTS, PARLOR GAMES, GAMES OF ACTION, FORFEITS, SCIENCE<br />
-IN SPORT AND PARLOR MAGIC, AND A CHOICE COLLECTION<br />
-OF CURIOUS MENTAL AND MECHANICAL PUZZLES, &amp;c.</p>
-
-<p class="center">By the author of "The Magician's Own Book."</p>
-
-<p class="p6">Illustrated with nearly 300 Engravings and Diagrams,</p>
-
-<p class="center">THE WHOLE BEING A FUND OF NEVER-ENDING ENTERTAINMENT.</p>
-
-<p class="p6">Nearly 400 pages, 12mo., Cloth, gilt side stamp, $1.00.</p>
-
-
-<blockquote><p>"The Sociable" will be found one of
-the most extensively popular family
-books ever issued from the press. As its
-title implies, it is a collection&mdash;a complete
-<em>repertoire</em>&mdash;of the</p></blockquote>
-
-
-<p class="p8">AMUSEMENTS OF HOME,</p>
-
-<blockquote><p>Embracing a large and comprehensive
-list of recreative <ins title="Transcriber's Note: original reads 'pastime'">pastimes</ins>, arranged as
-follows:</p>
-
-<p>Parlor Theatricals, including Acting
-Proverbs, Acting Charades, Dramatic
-Charades and Tableaux Vivants; Games
-of Action; Games requiring Memory
-and Attention; Games requiring Wit
-and Intelligence; Ruses, or Catch
-Games; Forfeits; Puzzles; Fireside
-Games for Winter Evenings, and Science
-in Sport, and Parlor Magic.</p>
-
-<p>Many of these Games&mdash;the majority
-of them&mdash;are <span class="smcapa">ENTIRELY NEW</span>, as are,
-also, the</p></blockquote>
-
-
-<p class="p8">PARLOR THEATRICALS<br />
-
-<span class="small60">AND</span><br />
-
-TABLEAUX VIVANTS,</p>
-
-<blockquote><p>Which were <span class="smcapa">PREPARED EXPRESSLY FOR THIS WORK</span>.
-Everything in the book is
-superior of its kind&mdash;the greatest care
-hiving been taken to exclude everything
-that was not above the standard of mediocrity
-in interest and ingenuity. It is</p></blockquote>
-
-
-<p class="p8">THE ONLY BOOK<br />
-
-<span class="small60">OF THIS KIND</span><br />
-
-Ever Published in America,</p>
-
-<blockquote><p>And as it will be invaluable to Families,
-Schools, Social Clubs, etc., as a book of
-reference on all matters of Amusement
-and Recreation, there must be a steady
-and permanent demand for it at all seasons
-and in all years, although few of
-the so-called "Holiday Books" are as
-appropriate for Gifts as T<span class="smcapa">HE</span> S<span class="smcapa">OCIABLE</span>.</p>
-
-<p>Each department is <span class="smcapa">AMPLY ILLUSTRATED</span>
-with</p></blockquote>
-
-
-<p class="p8">BEAUTIFUL WOOD ENGRAVINGS</p>
-
-<blockquote><p>Which render the Text clear, and fully
-explain all the Puzzles, the Mechanical
-Contrivances mentioned, and other
-things difficult to describe in writing.
-It is elegantly bound, so as to be an
-ornament to any center-table, and its
-typographical execution is a specimen
-of the highest excellence.</p>
-
-<p>The need of such a collection of HOME
-GAMES has long been felt, and the publishers
-believe that this endeavor on
-their part, to supply that want, must
-meet with the fullest success. They
-have spared neither trouble nor expense
-to render it a complete and invaluable
-<em>vade mecum</em> of Domestic Amusements,
-so that its name may be familiar as a
-"Household Word" in all families, north,
-south, east and west, where the value
-of wholesome and innocent recreation is
-recognized.</p>
-
-<p>Price only One Dollar, bound in cloth, with gilt side and back stamp, sent to any
-address in the United States, free of postage. Send cash orders to</p></blockquote>
-
-<p class="center"><b>DICK &amp; FITZGERALD,</b><br />
-<span class="mleft5">&nbsp;</span><b><span class="small80">18 ANN STREET, NEW YORK.</span></b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_369" id="Page_369"></a></span></p>
-
-
-
-<div class="bdouble">
-<h2>The Perfect Gentleman;</h2>
-
-<p class="p8">Or, ETIQUETTE AND ELOQUENCE.</p>
-
-<blockquote>
-
-<p>A Book of Information and Instruction for those who desire to become
-Brilliant or Conspicuous in General Society, or at Parties, Dinners or
-Popular Gatherings, &amp;c.</p></blockquote>
-
-<p>A handsome volume of 335 pages, beautifully bound and gilt. Price $1 00.</p>
-
-
-<p>This is not only a valuable book of reference, but it contains minute Instructions
-for Gentlemen in all those modern accomplishments which have become almost a
-necessity in this age of refinement. It gives directions how to use Wine at Table, with
-rules for judging the quality thereof&mdash;Rules for Carving, and a complete Etiquette of
-the Dinner Table, including Dinner Speeches, Toasts and Sentiments, Wit and Conversation
-at Table, &amp;c. It has also an American Code of Etiquette and Politeness for all
-occasions&mdash;Model Speeches, with directions how to deliver them&mdash;Duties of the Chairman
-at Public Meetings, Forms of Preambles and Resolutions, &amp;c. In short, this book
-will give a man every possible information he may desire to enable him to appear to
-good advantage in either public or private life. It is a choice book that any gentleman
-will find a valuable addition to his library. We expect to sell at least one hundred
-thousand copies of this work, and the price is correspondingly low.</p>
-
-<div class="figcenter">
-<img src="images/i_369a.jpg" width="152" height="16" alt="" />
-</div>
-
-<h2>Art of Dancing without a Master;</h2>
-
-<p class="p8">Or, Ball Room Guide and Instructor.</p>
-
-<p class="center">TO WHICH IS ADDED</p>
-
-<p class="center">Hints on Etiquette; also, The Figures, Music and Necessary
-Instruction for the Performance of the most
-Modern and Improved Dances.</p>
-
-<p class="center">By EDWARD FERRERO, Professor of Dancing at West Point.</p>
-
-
-<p>By the aid of which any one can attain a knowledge of the Art of Dancing without a
-Master. This work also contains</p>
-
-
-<p class="p6b">ONE HUNDRED AND FIVE PAGES OF THE CHOICEST MUSIC,</p>
-
-<p>Arranged for the Piano Forte by the most celebrated Professors. The whole forming
-the most valuable and useful <em>melange</em> for the centre-table of the drawing-room ever
-published. The MUSIC alone, if purchased in separate sheets at any of the music
-stores, would cost ten times the price of the book. Thus you can obtain <b>a History
-of Dancing, Hints on Etiquette, the Figures and Steps of all
-Dances, and Ten Dollars' worth of the Choicest Music FOR ONE
-DOLLAR</b>.</p>
-
-<div class="figcenter">
-<img src="images/i_369c.jpg" width="188" height="16" alt="" />
-</div>
-
-
-<h2>SONGS OF IRELAND.</h2>
-
-
-<p>Embracing Songs of the Affections, Convivial and Comic Songs, Patriotic and
-Military Songs, Historical and Political Songs, Moral, Sentimental, Satirical, and
-Miscellaneous Songs. Edited and Annotated by SAMUEL LOVER, Esq., Author of
-"Handy Andy," "Rory O'More," "Legends and Stories of Ireland," &amp;c. Embellished
-with numerous fine Illustrations, engraved by the celebrated Dalziel. 12mo, Cloth,
-Gilt Side and Back. Price $1 25.</p>
-
-<p><img src="images/i_369.jpg" width="35" height="17" alt="" /> <em>Copies of the above Books sent to any address in the United States free of postage.
-Send cash orders to</em></p>
-
-<p class="center"><b>DICK &amp; FITZGERALD, 18 Ann Street, N. Y.</b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_370" id="Page_370">[370]</a></span></p>
-
-
-
-
-<h2>DICK &amp; FITZGERALD'S LIST OF PUBLICATIONS.</h2>
-
-<div class="bdouble">
-<h3>Judge Haliburton's
-Works.</h3>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="LIST OF PUBLISCATIONS">
-<tr>
- <td class="tdl"><b>Sam Slick in Search of a Wife.</b></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdla">12mo., Paper</td>
- <td class="tdr">$0 50</td>
-</tr>
-<tr>
- <td class="tdla">Cloth,</td>
- <td class="tdr">price 1 00</td>
-</tr>
-</table></div>
-
-<p>Everybody has heard of "Sam Slick,
-the Clockmaker," and he has given his
-opinion on almost everything. This
-book contains his opinion about "<em>Courtin
-the Gals!</em>" and his laughable adventures
-after the petticoats. Buy
-this book if you want many good
-hearty laughs. There is a book called
-"The Horse," and another "The Cow,"
-and "The Dog," and so on; why
-shouldn't there be one on "The Gals?"
-They are about the most difficult to
-choose and to manage of any created
-critter, and there aint any dependable
-directions about pickin' and choosin'
-of them. Is it any wonder then so
-many fellows get taken in when they
-go for to swap hearts with them?</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="SAMS SLICKS NATURE">
-<tr>
- <td class="tdl"><b>Sam Slick's Nature and Human</b> <em>Nature</em>.</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdla">Large 12mo., Paper</td>
- <td class="tdr">50</td>
-</tr>
-<tr>
- <td class="tdla">Cloth</td>
- <td class="tdr">price 1 00</td>
-</tr>
-<tr>
- <td class="tdl"><b>The Attache</b>; <em>or, Sam Slick in England</em>.</td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdla">Largo 12mo., Paper</td>
- <td class="tdr">50</td>
-</tr>
-<tr>
- <td class="tdla">Cloth</td>
- <td class="tdr">price 1 00</td>
-</tr>
-<tr>
- <td class="tdl"><b>Sam Slick's Sayings and Doings.</b></td>
- <td>&nbsp;</td>
-</tr>
-<tr>
- <td class="tdla">Paper</td>
- <td class="tdr">50</td>
-</tr>
-<tr>
- <td class="tdla">Cloth</td>
- <td class="tdr">price 1 00</td>
-</tr>
-</table></div>
-
-<p>This is the most amusing collection
-of the Opinions, Sayings and Doings
-of the famous Sam Slick, that has ever
-been published. It gives the experiences
-of the Yankee Clockmaker, and
-the incidents that occurred in his journeyings
-over the world, together with
-his observations on men and things in
-general; also containing his opinions
-on Matrimony.</p>
-
-<hr class="r20" />
-
-<h3>Miscellaneous Books.</h3>
-
-<blockquote>
-
-<p><b>Courtship Made Easy; or, the</b>
-<em>Mysteries of Making Love Fully
-Explained</em>. With specimen Love
-Letters. Containing also a Treatise
-on the general qualifications necessary
-for Marriage, and the proper
-age and condition for Wedlock, &amp;c.
-By H<span class="smcapa">ARRY</span> H<span class="smcapa">AZEN</span>, Jr., a widower
-who has been thrice married, but is
-still young enough to be an especial
-favorite of the ladies. <span class="mleft3">&nbsp;</span>price 13</p>
-
-<p><b>The Ladies' Love Oracle; or, Counsellor</b>
-<em>to the Fair Sex</em>. Being a complete
-Fortune Teller and Interpreter
-to all questions upon the different
-events and situations of life, but
-more especially relating to all circumstances
-connected with Love,
-Courtship and Marriage. By M<span class="smcapa">ADAM</span>
-L<span class="smcapa">E</span> M<span class="smcapa">ARCHAND</span>. Illustrated cover,
-printed in colors. price <span class="mleft3">&nbsp;</span>$0 25</p>
-
-<p><b>Chesterfield's Art of Letter-writing</b>
-<em>Simplified</em>. A Guide to Friendly,
-Affectionate, Polite and <ins title="Transcriber's Note: original reads 'Busines'">Business</ins> Correspondence. <span class="mleft3">&nbsp;</span>price 13</p></blockquote>
-
-<p>Containing a large collection of the
-most valuable information relative to
-the Art of Letter-Writing, with clear
-and complete instructions how to begin
-and end Correspondence, Rules for
-Punctuation and Spelling, &amp;c., together
-with numerous examples of Letters
-and Notes on every subject of Epistolary
-intercourse, with several Important
-Hints on Love Letters.</p>
-
-<blockquote>
-
-<p><b>The Laws of Love. A Complete</b>
-Code of Gallantry. 12mo. Paper, <span class="mleft3">&nbsp;</span>price 25</p></blockquote>
-
-<p>Containing concise rules for the conduct
-of Courtship through its entire
-progress, aphorisms of love, rules for
-telling the characters and dispositions
-of women, remedies for love, and an
-Epistolary Code.</p>
-
-<blockquote>
-
-<p><b>Gamblers' Tricks with Cards Exposed</b>
-<em>and Explained</em>. By J. H.
-G<span class="smcapa">REEN</span>, Reformed Gambler. 12mo. Paper. <span class="mleft3">&nbsp;</span>price 25</p></blockquote>
-
-<p>This work contains one hundred
-tricks with cards, explained, and shows
-the numerous cheats which Gamblers
-practice upon their unwary dupes.
-The uninitiated will stare when they
-here see how easily they can be swindled
-by dealing, cutting, and shuffling
-cards.</p>
-
-<blockquote>
-
-<p><b>How to Win and How to Woo;</b>
-Containing Rules for the Etiquette
-of Courtship, with directions showing
-how to win the favor of Ladies,
-how to begin and end a Courtship,
-and how Love Letters should be
-written. <span class="mleft3">&nbsp;</span>price 13</p>
-
-<p><b>Bridal Etiquette; A Sensible Guide</b>
-to the Etiquette and Observances of
-the Marriage Ceremonies; containing
-complete directions for Bridal
-Receptions, and the necessary rules
-for bridesmaids, groomsmen, sending
-cards, &amp;c., &amp;c. <span class="mleft3">&nbsp;</span>price 13</p>
-
-<p><b>How to Behave; or, The Spirit of</b>
-<em>Etiquette</em>: A complete guide to
-Polite Society, for Ladies and Gentlemen;
-containing rules for good behavior
-at the dinner table, in the
-parlor, and in the street; with important
-hints on introduction, and
-the art of conversation. <span class="mleft3">&nbsp;</span>price 13</p></blockquote>
-
-
-<p><span class="pagenum"><a name="Page_371" id="Page_371"></a></span></p>
-
-<blockquote>
-
-<p><b>Dashes of American Humor.</b> With
-numerous laughable illustrations, on
-tinted paper, from designs from John
-Leach, 320 pages,</p></blockquote>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="American Humor">
-<tr>
- <td class="tdl">paper cover,</td>
- <td class="tdl">$0 50</td>
-</tr>
-<tr>
- <td class="tdl">Cloth, gilt,</td>
- <td class="tdl">price 1 00</td>
-</tr>
-</table></div>
-
-<p>This work contains in its 320 pages,
-some thirty of the most amusing articles
-we have ever perused, redolent
-with not only humor, but with wisdom
-and pathos; the happiest days and
-most innocent recreations of our youth
-are here recalled.</p>
-
-<blockquote>
-
-<p><b>Dr. Valentine's Comic Lectures.</b>
-A Budget of Wit and Humor; or,
-Morsels of Mirth for the Melancholy.
-A certain cure for the Blues, and all
-other serious complaints. Comprising
-Comic Lectures on Heads, Faces,
-Noses, Mouths, Animal Magnetism,
-etc., with Specimens of Eloquence,
-Transactions of Learned Societies,
-Delineations of Eccentric Characters,
-Comic Songs, etc., etc. By Dr.
-W. V<span class="smcapa">ALENTINE</span>, the favorite delineator
-of Eccentric Characters. Illustrated
-with twelve portraits of Dr.
-Valentine in his most celebrated
-characters. 12mo.,</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="VALENTINE">
-<tr>
- <td class="tdl">Cloth, gilt</td>
- <td class="tdr">1 00</td>
-</tr>
-<tr>
- <td class="tdl">Ornamented paper cover</td>
- <td class="tdr">price 50</td>
-</tr>
-</table></div>
-
-<p><b>Dr. Valentine's Comic Metamorphoses.</b>
-Being the second series of
-Dr. Valentine's Lectures, with characters
-as given by the late Yankee
-Hill. Embellished with numerous
-portraits.</p>
-
-
-<div class="center">
-<table border="0" cellpadding="4" cellspacing="0" summary="Comic Metamorphoses">
-<tr>
- <td class="tdl">Ornamental Paper Cover</td>
- <td class="tdr">50</td>
-</tr>
-<tr>
- <td class="tdl">Cloth, gilt</td>
- <td class="tdr">price 1 00</td>
-</tr>
-</table></div>
-
-<p><b>Laughable Adventures of Messrs.</b>
-<em>Brown, Jones and Robinson</em>, showing
-where they went, and how they
-went; what they did, and how they
-did it. With nearly 200 most thrillingly
-comic engravings. <span class="mleft3">&nbsp;</span>price 25</p>
-
-<p><b>Laughing Gas.</b> An Encyclopedia of
-Wit, Wisdom and Wind. By S<span class="smcapa">AM</span> S<span class="smcapa">LICK</span>,
-Jr. Comically illustrated
-with 103 original and laughable engravings,
-and near 500 side-extending
-jokes, and other things to get
-fat on; and the best of it is, that
-everything about the book is new
-and fresh&mdash;all new; new designs,
-new stories, new type&mdash;no comic almanac
-stuff. It will be found a
-complete antidote to "hard times." price <span class="mleft3">&nbsp;</span>25</p>
-
-<p><b>The Courtship of Chevalier Sly</b>-<em>Fox-Wikoff</em>,
-showing his heart-rending,
-astounding, and most wonderful
-love adventures with Fanny Elssler
-and Miss Gambol. Illustrated
-with 200 comic engravings price <span class="mleft3">&nbsp;</span>$0 25 </p>
-
-<p><b>The Extraordinary and Mirth</b>-<em>Provoking
-Adventures by Sea and
-Land, of Oscar Shanghai</em>. Illustrated
-by nearly 200 comic engravings price <span class="mleft3">&nbsp;</span>25</p></blockquote>
-
-<p>All told in a series of nearly two
-hundred of the most risible, quizzible,
-provoking, peculiar, saucy and spicy
-cuts ever gathered within the leaves
-of any one book. All fond of a hearty
-laugh, here is amusement for many a
-merry hour.</p>
-
-<blockquote>
-
-<p><b>Charley White's Ethiopian Joke</b>
-<em>Book</em>. Being a perfect Casket of
-Fun, the first and only work of the
-kind ever published. Containing a
-full expose of all the most laughable
-Jokes, Stories, Witticisms, &amp;c., as
-told by the celebrated Ethiopian
-Comedian, Charles White. 18mo.,
-94 pages price <span class="mleft3">&nbsp;</span>12 <sup>1</sup>&frasl;<sub>2</sub></p>
-
-<p><b>Black Wit and Darkey Conversations.</b>
-By Charles White. Containing
-a large collection of Laughable
-Anecdotes, Jokes, Stories, Witticisms,
-and Darkey Conversations.
-18mo., price <span class="mleft3">&nbsp;</span>12 <sup>1</sup>&frasl;<sub>2</sub></p>
-
-<p><b>Chips from Uncle Sam's Jack</b>
-<em>Knife</em>. Illustrated with over one
-hundred Comical Engravings, and
-comprising a collection of over 500
-Laughable Stories, Funny Adventures,
-Comic Poetry, Queer Conundrums,
-Terrific Puns, Witty Sayings,
-Sublime Jokes and Sentimental Sentences.
-The whole being a most
-perfect portfolio for those who love
-to laugh. Large Octavo price <span class="mleft3">&nbsp;</span>25</p>
-
-<p><b>The Comical Adventures of David</b>
-<em>Dufficks</em>. Illustrated with over 100
-Funny engravings. Large Octavo, price <span class="mleft3">&nbsp;</span>25</p>
-
-<p><b>Yale College Scrapes; or How the</b>
-<em>Boys Go It at New Haven</em>. price <span class="mleft3">&nbsp;</span>25</p></blockquote>
-
-<p>This is a book of 114 pages, containing
-accounts of all the noted and famous
-"Scrapes" and "Sprees," of
-which students at Old Yale have been
-guilty for the last quarter of a century.</p>
-
-<blockquote>
-
-<p><b>The Comic Wandering Jew.</b> Full
-of Fun and containing 100 Humorous
-engravings price <span class="mleft3">&nbsp;</span>25</p></blockquote>
-
-
-<p><img src="images/i_370.jpg" width="34" height="18" alt="" /> Any Book on this List will be sent to any address in the United States or Canada,
-<em>Free of Postage</em>. Send Cash Orders to</p>
-
-<p class="center"><b>DICK &amp; FITZGERALD, 18 Ann St., N. Y.</b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_372" id="Page_372"></a></span></p>
-
-
-
-<div class="bdouble">
-<h2>The Harp of a Thousand Strings</h2>
-
-<p class="p8">OR, LAUGHTER FOR A LIFETIME.</p>
-
-<p class="center">And peculiarly prepared to produce prolific PEALS OF LAUGHTER. The
-very quintessence of HUMAN WIT, WAGGERY and WISDOM.</p>
-
-<p class="center">400 Pages of the most Mirth-Provoking Literature ever printed.</p>
-
-<p class="center"><b>It contains more than a Million Laughs, and is Illustrated
-with 200 Comic Cuts.</b></p>
-
-
-<p>The pictures are all original, designed by some of our best artists (including Darley),
-and the collection of droll conceits and queer stories is unsurpassed, having been several
-years in preparation.</p>
-
-<p class="center"><em>Large 12 mo, nearly 400 pages, Illustrated with 200 Comic Engravings, and bound in
-fine Cloth, with gilt side and back stamp.</em></p>
-
-<p class="center"><b>PRICE ONE DOLLAR AND TWENTY-FIVE CENTS.</b></p>
-
-<div class="figcenter">
-<img src="images/i_372.jpg" width="188" height="13" alt="" />
-</div>
-
-
-<h2><span class="small60">THE BOOK OF</span><br />
-
-One Thousand Comical Stories</h2>
-
-<p class="p6b">Or, ENDLESS REPAST OF FUN.</p>
-
-<p>A rich Banquet for Every Day in the Year, with several courses and a dessert.</p>
-
-<hr class="r5" />
-
-<blockquote>
-
-<p>BILL OF FARE: Comprising Tales of Humor, Laughable Anecdotes, Irresistible
-Drolleries, Jovial Jokes, Comical Conceits, Puns and Pickings, Quibbles and Queries,
-Bon Mots and Broadgrins, Oddities, Epigrams, &amp;c., &amp;c. Merry Songs for
-Merry Moments; Conundrums for the Million; an inexhaustible store of Nuts to
-Crack, and Sports and Pastimes for all Seasons&mdash;forming a Welcome Guest for
-Spring, a Cheerful Friend for Summer, a Jovial Host for Autumn, a Pleasant
-Companion for Winter, and a varied Feast of Mirth for Everybody's Enjoyment.</p></blockquote>
-
-<p class="center"><em>Appropriately Illustrated with 300 Comic Engravings. By the author of "Mrs. Partington's
-Carpet Bag of Fun."</em></p>
-
-
-<p class="center"><b>Large 12 mo. Cloth. Price One Dollar.</b></p>
-
-<div class="figcenter">
-<img src="images/i_372a.jpg" width="188" height="16" alt="" />
-</div>
-
-<h2>Mrs. Partington's Carpet Bag of Fun.</h2>
-
-
-<blockquote>
-
-<p>Illustrated with over 150 of the most laughable engravings ever designed,
-from drawings by Darley, McLennan, Leach, Phiz, Henning, Hine, Tenniel,
-Crowquill, Cruikshank, Meadows, Doyle, Goder and others; and a collection
-of over 1,000 of the most Comical Stories, Amusing Adventures, Side-splitting
-Jokes, Cheek-extending Poetry, Funny Conundrums, QUEER SAYINGS OF
-MRS. PARTINGTON, Heart-rending Puns, Witty Repartees, etc., etc.</p></blockquote>
-
-
-<p class="center"><b>Bound in Paper, Price 50 Cents; Cloth, $1 00.</b></p>
-
-<p>In offering this book to the public, we must caution all weakly and nervous people
-against buying it. It is only intended for those hearty and robust persons who can
-laugh long and loud, and grow fat, being a perfect Encyclopedia of Wit and Witty
-Sayings. To those fond of Fun it will be a treasure.</p>
-
-<p><img src="images/i_372b.jpg" width="35" height="18" alt="" /> <em>Copies of either of the above Books sent to any address in the United States,
-free of postage.</em></p>
-
-<p class="center"><b>DICK &amp; FITZGERALD, 18 Ann Street, N. Y.</b></p>
-</div>
-
-<hr class="chap" />
-
-<div class="footnotes"><h3>FOOTNOTES:</h3>
-
-<div class="footnote">
-
-<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> That is, make two bags and sew the edges together, so that actually there will be a
-third bag between the two.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The figures represent the pairs, <em>i. e.</em>, the 1 under M signifies that M belongs to the
-<em>first</em> pair.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> This may be done by making the pass.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See also page <a href="#Page_84">84</a>.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> All experiments marked thus, *, should be performed on the hob of
-the grate, to permit the fumes to escape up the chimney.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> The eye is to be applied to the little circular hole seen on the upper
-surface.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> The thinnest substance ever observed is the aqueous film of the soap-bubble
-previous to bursting; yet it is capable of reflecting the faint image
-of a candle, or the sun. Hence its thickness must correspond with what
-Sir Isaac Newton calls the beginning of black, which appears in water at
-the thickness of the seven hundred and fifty thousandth part of an inch.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> The pins are only used to hold the pea steady before it is blown from
-the pipe, as the pea alone will dance quite as well.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> D is a good note for it. The upper string may be tuned to the upper
-D, and the two lower to the lower D, and D D. The "harmonics," are
-the sounds produced.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Ancestor of the fighting and writing Napiers of our day.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> When an <em>exact half</em> cannot be taken without a fraction, he must take
-the <em>larger half</em>&mdash;you must tell him this before he commences. Here it is the
-<em>larger half</em>.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> From Parkes' Philosophy of Arithmetic, a capital work published by
-Moss &amp; Bro. Philadelphia.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <em>I. e.</em>, at the fourth square from the right angle.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> This is done easily enough, but the following directions may not be
-needless for some. Draw a straight line for a base of any length. If you
-wish to form a equilateral triangle, <em>i. e.</em> one of which the three sides are
-equal, divide this base line by two, and at the point of division set up an
-upright line; then from each end of the base line slant against the central
-upright line one the length of the base. These, of course, will meet at the
-top, and the triangle is formed. Any other triangle may be formed in a
-similar manner, the length of the sides being at the choice of the artist.</p></div>
-
-<div class="footnote">
-
-<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Be sure and have the number you name greater than that of the first position of the
-card in the pack; for instance, twenty-four is greater than thirteen.</p></div></div>
-
-<hr class="chap" />
-
-<div class="transnote">
-<h3>Transcriber notes:</h3>
-
-<p>p. <a href="#Page_vi">vi</a>. 'Cumbustion without Flame,' changed 'Cumbustion' to 'Combustion'.<br />
-P. <a href="#Page_18">18</a>. 'diaphonous' changed to 'diaphanous' as in 'diaphanous bodies'.<br />
-P. <a href="#Page_29">29</a>. 'here it' changed to 'here is'.<br />
-P. <a href="#Page_32">32</a>. 'the stall' changed to 'the stalk.'.<br />
-P. <a href="#Page_38">38</a>. 'the performed', changed 'performed' to 'performer'.<br />
-P. <a href="#Page_61">61</a>. 'Several t icks', should read 'Several tricks', fixed.<br />
-P. <a href="#Page_74">74</a>. 'convinience' changed to 'convenience'.<br />
-P. <a href="#Page_76">76</a>. 'supicion' changed to 'suspicion'.<br />
-P. <a href="#Page_93">93</a>. 'the smooth', changed 'the' to 'them'.<br />
-P. <a href="#Page_94">94</a>. 'sacer' changed to 'saucer'.<br />
-P. <a href="#Page_101">101</a>. 'appearence' changed to 'appearance'.<br />
-P. <a href="#Page_103">103</a>. 'lines will will', changed to 'lines will'.<br />
-P. <a href="#Page_105">105</a>. 'salt of strontian', changed 'strontian' to 'strontium'.<br />
-P. <a href="#Page_105">105</a>. 'will loose', changed 'loose' to 'lose'.<br />
-P. <a href="#Page_122">122</a>. 'seperated' changed to 'separated'.<br />
-P. <a href="#Page_130">130</a>. 'ja' changed to 'jar'.<br />
-P. <a href="#Page_141">141</a>. 'the crd, aon' changed to 'the crd, on'.<br />
-P. <a href="#Page_142">142</a>. 'thst the' changed to 'that the'.<br />
-P. <a href="#Page_160">160</a>. 'these are are' changed to 'these are'.<br />
-P. <a href="#Page_167">167</a>. 'sprinke some powdered camphor', changed 'sprinke' to sprinkle'.<br />
-P. <a href="#Page_169">169</a>. 'preduce similar effects', changed 'preduce' to 'produce'.<br />
-P. <a href="#Page_175">175</a>. Fig. 2 'REFRACTING STERESCOPE' changed to 'REFRACTING STEREOSCOPE'.<br />
-P. <a href="#Page_192">192</a>. 'blow throw the quill' changed 'throw' to 'through'.<br />
-P. <a href="#Page_195">195</a>. 'calcuated' changed to 'calculated'.<br />
-P. <a href="#Page_196">196</a>. 'abou' chanaged to 'about'.<br />
-P. <a href="#Page_198">198</a>. 'phemomena of nature.', changed 'phemomena' to 'phenomena'.<br />
-P. <a href="#Page_201">201</a>. 'perpindicular' changed to 'perpendicular'.<br />
-P. <a href="#Page_210">210</a>. 'half of tha triple', changed 'tha' to 'that'.<br />
-P. <a href="#Page_214">214</a>. 'a little scrunity' changed 'scrunity' to 'scrutiny'.<br />
-P. <a href="#Page_216">216</a>. 'in successsion' changed to 'in succession'.<br />
-P. <a href="#Page_225">225</a>. 'proceded' changed to 'proceeded'.<br />
-P. <a href="#Page_253">253</a>. Added two missing em dashes to answers.<br />
-P. <a href="#Page_254">254</a>. 'put suppose the', changed 'put' to 'but'.<br />
-P. <a href="#Page_255">255</a>. 'put prior', changed 'put' to 'but'.<br />
-P. <a href="#Page_284">284</a>. 'when you clearl', changed 'clearl' to 'clearly'.<br />
-P. <a href="#Page_288">288</a>. '<a href="#Page_48">48</a>. A MAZE OR LABRYINTH.'; changed 'LABRYINTH' to 'LABYRINTH'.<br />
-P. <a href="#Page_303">303</a>. 'line us the basis', changed 'us' to 'as'.<br />
-P. <a href="#Page_305">305</a>. 'will readly', changed 'readly' to 'readily'.<br />
-P. <a href="#Page_306">306</a>. 'the forms therto)', changed 'therto' to 'thereto'.<br />
-P. <a href="#Page_307">307</a>. 'Fig 10, 11, 12, 13, 14, 15,', changed 'Fig' to 'Figs.'<br />
-P. <a href="#Page_307">307</a>. 'With this uplex', changed 'uplex' to 'duplex'.<br />
-P. <a href="#Page_307">307</a>. 'several direetions', changed 'direetions' to 'directions'.<br />
-P. <a href="#Page_316">316</a>. 'illustrations o', changed 'o' to 'of'.<br />
-P. <a href="#Page_317">317</a>. 'In desigining' changed 'desigining' to 'designing'.<br />
-P. <a href="#Page_320">320</a>. 'first (Fig.', changed to 'first (Fig. 54)'.<br />
-P. <a href="#Page_349">349</a>. 'and unlimited' changed to 'an unlimited'.<br />
-P. <a href="#Page_351">351</a>. 'the flottom' changed to 'the bottom'.<br />
-P. <a href="#Page_353">353</a>. 'beng reflected' changed to 'being reflected'.<br />
-P. <a href="#Page_353">353</a>. 'mithltiplied' changed to 'multiplied'.<br />
-Add: Inquire Within... 'populur' changed to 'popular'. Changed 'fradulent' to 'fraudulent'.<br />
-Add: 'The Reason Why:' changed 'lightining' to 'lightning'.<br />
-Add: 'Live and Learn;' changed 'recommonded' to 'recommend'.<br />
-Add: 'Amusements of Home,' changed 'pastime' to 'pastimes'. Add: 'PARLOR THEATRICALS' changed 'everthing' to 'everything'.<br />
-Add: 'Chesterfield's Art of Letter-writing' changed 'Busines' to 'Business'.<br />
-Fixed various punctuation.</p>
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of The Magician's Own Book, by Anonymous
-
-*** END OF THIS PROJECT GUTENBERG EBOOK THE MAGICIAN'S OWN BOOK ***
-
-***** This file should be named 60687-h.htm or 60687-h.zip *****
-This and all associated files of various formats will be found in:
-        http://www.gutenberg.org/6/0/6/8/60687/
-
-Produced by Chris Curnow, Jane Robins and the Online
-Distributed Proofreading Team at http://www.pgdp.net
-
-
-Updated editions will replace the previous one--the old editions will
-be renamed.
-
-Creating the works from print editions not protected by U.S. copyright
-law means that no one owns a United States copyright in these works,
-so the Foundation (and you!) can copy and distribute it in the United
-States without permission and without paying copyright
-royalties. Special rules, set forth in the General Terms of Use part
-of this license, apply to copying and distributing Project
-Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
-concept and trademark. Project Gutenberg is a registered trademark,
-and may not be used if you charge for the eBooks, unless you receive
-specific permission. If you do not charge anything for copies of this
-eBook, complying with the rules is very easy. You may use this eBook
-for nearly any purpose such as creation of derivative works, reports,
-performances and research. They may be modified and printed and given
-away--you may do practically ANYTHING in the United States with eBooks
-not protected by U.S. copyright law. Redistribution is subject to the
-trademark license, especially commercial redistribution.
-
-START: FULL LICENSE
-
-THE FULL PROJECT GUTENBERG LICENSE
-PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
-
-To protect the Project Gutenberg-tm mission of promoting the free
-distribution of electronic works, by using or distributing this work
-(or any other work associated in any way with the phrase "Project
-Gutenberg"), you agree to comply with all the terms of the Full
-Project Gutenberg-tm License available with this file or online at
-www.gutenberg.org/license.
-
-Section 1. General Terms of Use and Redistributing Project
-Gutenberg-tm electronic works
-
-1.A. By reading or using any part of this Project Gutenberg-tm
-electronic work, you indicate that you have read, understand, agree to
-and accept all the terms of this license and intellectual property
-(trademark/copyright) agreement. If you do not agree to abide by all
-the terms of this agreement, you must cease using and return or
-destroy all copies of Project Gutenberg-tm electronic works in your
-possession. If you paid a fee for obtaining a copy of or access to a
-Project Gutenberg-tm electronic work and you do not agree to be bound
-by the terms of this agreement, you may obtain a refund from the
-person or entity to whom you paid the fee as set forth in paragraph
-1.E.8.
-
-1.B. "Project Gutenberg" is a registered trademark. It may only be
-used on or associated in any way with an electronic work by people who
-agree to be bound by the terms of this agreement. There are a few
-things that you can do with most Project Gutenberg-tm electronic works
-even without complying with the full terms of this agreement. See
-paragraph 1.C below. There are a lot of things you can do with Project
-Gutenberg-tm electronic works if you follow the terms of this
-agreement and help preserve free future access to Project Gutenberg-tm
-electronic works. See paragraph 1.E below.
-
-1.C. The Project Gutenberg Literary Archive Foundation ("the
-Foundation" or PGLAF), owns a compilation copyright in the collection
-of Project Gutenberg-tm electronic works. Nearly all the individual
-works in the collection are in the public domain in the United
-States. If an individual work is unprotected by copyright law in the
-United States and you are located in the United States, we do not
-claim a right to prevent you from copying, distributing, performing,
-displaying or creating derivative works based on the work as long as
-all references to Project Gutenberg are removed. Of course, we hope
-that you will support the Project Gutenberg-tm mission of promoting
-free access to electronic works by freely sharing Project Gutenberg-tm
-works in compliance with the terms of this agreement for keeping the
-Project Gutenberg-tm name associated with the work. You can easily
-comply with the terms of this agreement by keeping this work in the
-same format with its attached full Project Gutenberg-tm License when
-you share it without charge with others.
-
-1.D. The copyright laws of the place where you are located also govern
-what you can do with this work. Copyright laws in most countries are
-in a constant state of change. If you are outside the United States,
-check the laws of your country in addition to the terms of this
-agreement before downloading, copying, displaying, performing,
-distributing or creating derivative works based on this work or any
-other Project Gutenberg-tm work. The Foundation makes no
-representations concerning the copyright status of any work in any
-country outside the United States.
-
-1.E. Unless you have removed all references to Project Gutenberg:
-
-1.E.1. The following sentence, with active links to, or other
-immediate access to, the full Project Gutenberg-tm License must appear
-prominently whenever any copy of a Project Gutenberg-tm work (any work
-on which the phrase "Project Gutenberg" appears, or with which the
-phrase "Project Gutenberg" is associated) is accessed, displayed,
-performed, viewed, copied or distributed:
-
-  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.
-
-1.E.2. If an individual Project Gutenberg-tm electronic work is
-derived from texts not protected by U.S. copyright law (does not
-contain a notice indicating that it is posted with permission of the
-copyright holder), the work can be copied and distributed to anyone in
-the United States without paying any fees or charges. If you are
-redistributing or providing access to a work with the phrase "Project
-Gutenberg" associated with or appearing on the work, you must comply
-either with the requirements of paragraphs 1.E.1 through 1.E.7 or
-obtain permission for the use of the work and the Project Gutenberg-tm
-trademark as set forth in paragraphs 1.E.8 or 1.E.9.
-
-1.E.3. If an individual Project Gutenberg-tm electronic work is posted
-with the permission of the copyright holder, your use and distribution
-must comply with both paragraphs 1.E.1 through 1.E.7 and any
-additional terms imposed by the copyright holder. Additional terms
-will be linked to the Project Gutenberg-tm License for all works
-posted with the permission of the copyright holder found at the
-beginning of this work.
-
-1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
-License terms from this work, or any files containing a part of this
-work or any other work associated with Project Gutenberg-tm.
-
-1.E.5. Do not copy, display, perform, distribute or redistribute this
-electronic work, or any part of this electronic work, without
-prominently displaying the sentence set forth in paragraph 1.E.1 with
-active links or immediate access to the full terms of the Project
-Gutenberg-tm License.
-
-1.E.6. You may convert to and distribute this work in any binary,
-compressed, marked up, nonproprietary or proprietary form, including
-any word processing or hypertext form. However, if you provide access
-to or distribute copies of a Project Gutenberg-tm work in a format
-other than "Plain Vanilla ASCII" or other format used in the official
-version posted on the official Project Gutenberg-tm web site
-(www.gutenberg.org), you must, at no additional cost, fee or expense
-to the user, provide a copy, a means of exporting a copy, or a means
-of obtaining a copy upon request, of the work in its original "Plain
-Vanilla ASCII" or other form. Any alternate format must include the
-full Project Gutenberg-tm License as specified in paragraph 1.E.1.
-
-1.E.7. Do not charge a fee for access to, viewing, displaying,
-performing, copying or distributing any Project Gutenberg-tm works
-unless you comply with paragraph 1.E.8 or 1.E.9.
-
-1.E.8. You may charge a reasonable fee for copies of or providing
-access to or distributing Project Gutenberg-tm electronic works
-provided that
-
-* You pay a royalty fee of 20% of the gross profits you derive from
-  the use of Project Gutenberg-tm works calculated using the method
-  you already use to calculate your applicable taxes. The fee is owed
-  to the owner of the Project Gutenberg-tm trademark, but he has
-  agreed to donate royalties under this paragraph to the Project
-  Gutenberg Literary Archive Foundation. Royalty payments must be paid
-  within 60 days following each date on which you prepare (or are
-  legally required to prepare) your periodic tax returns. Royalty
-  payments should be clearly marked as such and sent to the Project
-  Gutenberg Literary Archive Foundation at the address specified in
-  Section 4, "Information about donations to the Project Gutenberg
-  Literary Archive Foundation."
-
-* You provide a full refund of any money paid by a user who notifies
-  you in writing (or by e-mail) within 30 days of receipt that s/he
-  does not agree to the terms of the full Project Gutenberg-tm
-  License. You must require such a user to return or destroy all
-  copies of the works possessed in a physical medium and discontinue
-  all use of and all access to other copies of Project Gutenberg-tm
-  works.
-
-* You provide, in accordance with paragraph 1.F.3, a full refund of
-  any money paid for a work or a replacement copy, if a defect in the
-  electronic work is discovered and reported to you within 90 days of
-  receipt of the work.
-
-* You comply with all other terms of this agreement for free
-  distribution of Project Gutenberg-tm works.
-
-1.E.9. If you wish to charge a fee or distribute a Project
-Gutenberg-tm electronic work or group of works on different terms than
-are set forth in this agreement, you must obtain permission in writing
-from both the Project Gutenberg Literary Archive Foundation and The
-Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
-trademark. Contact the Foundation as set forth in Section 3 below.
-
-1.F.
-
-1.F.1. Project Gutenberg volunteers and employees expend considerable
-effort to identify, do copyright research on, transcribe and proofread
-works not protected by U.S. copyright law in creating the Project
-Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
-electronic works, and the medium on which they may be stored, may
-contain "Defects," such as, but not limited to, incomplete, inaccurate
-or corrupt data, transcription errors, a copyright or other
-intellectual property infringement, a defective or damaged disk or
-other medium, a computer virus, or computer codes that damage or
-cannot be read by your equipment.
-
-1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
-of Replacement or Refund" described in paragraph 1.F.3, the Project
-Gutenberg Literary Archive Foundation, the owner of the Project
-Gutenberg-tm trademark, and any other party distributing a Project
-Gutenberg-tm electronic work under this agreement, disclaim all
-liability to you for damages, costs and expenses, including legal
-fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
-LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
-PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
-TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
-LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
-INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
-DAMAGE.
-
-1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
-defect in this electronic work within 90 days of receiving it, you can
-receive a refund of the money (if any) you paid for it by sending a
-written explanation to the person you received the work from. If you
-received the work on a physical medium, you must return the medium
-with your written explanation. The person or entity that provided you
-with the defective work may elect to provide a replacement copy in
-lieu of a refund. If you received the work electronically, the person
-or entity providing it to you may choose to give you a second
-opportunity to receive the work electronically in lieu of a refund. If
-the second copy is also defective, you may demand a refund in writing
-without further opportunities to fix the problem.
-
-1.F.4. Except for the limited right of replacement or refund set forth
-in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
-OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
-LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
-
-1.F.5. Some states do not allow disclaimers of certain implied
-warranties or the exclusion or limitation of certain types of
-damages. If any disclaimer or limitation set forth in this agreement
-violates the law of the state applicable to this agreement, the
-agreement shall be interpreted to make the maximum disclaimer or
-limitation permitted by the applicable state law. The invalidity or
-unenforceability of any provision of this agreement shall not void the
-remaining provisions.
-
-1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
-trademark owner, any agent or employee of the Foundation, anyone
-providing copies of Project Gutenberg-tm electronic works in
-accordance with this agreement, and any volunteers associated with the
-production, promotion and distribution of Project Gutenberg-tm
-electronic works, harmless from all liability, costs and expenses,
-including legal fees, that arise directly or indirectly from any of
-the following which you do or cause to occur: (a) distribution of this
-or any Project Gutenberg-tm work, (b) alteration, modification, or
-additions or deletions to any Project Gutenberg-tm work, and (c) any
-Defect you cause.
-
-Section 2. Information about the Mission of Project Gutenberg-tm
-
-Project Gutenberg-tm is synonymous with the free distribution of
-electronic works in formats readable by the widest variety of
-computers including obsolete, old, middle-aged and new computers. It
-exists because of the efforts of hundreds of volunteers and donations
-from people in all walks of life.
-
-Volunteers and financial support to provide volunteers with the
-assistance they need are critical to reaching Project Gutenberg-tm's
-goals and ensuring that the Project Gutenberg-tm collection will
-remain freely available for generations to come. In 2001, the Project
-Gutenberg Literary Archive Foundation was created to provide a secure
-and permanent future for Project Gutenberg-tm and future
-generations. To learn more about the Project Gutenberg Literary
-Archive Foundation and how your efforts and donations can help, see
-Sections 3 and 4 and the Foundation information page at
-www.gutenberg.org Section 3. Information about the Project Gutenberg
-Literary Archive Foundation
-
-The Project Gutenberg Literary Archive Foundation is a non profit
-501(c)(3) educational corporation organized under the laws of the
-state of Mississippi and granted tax exempt status by the Internal
-Revenue Service. The Foundation's EIN or federal tax identification
-number is 64-6221541. Contributions to the Project Gutenberg Literary
-Archive Foundation are tax deductible to the full extent permitted by
-U.S. federal laws and your state's laws.
-
-The Foundation's principal office is in Fairbanks, Alaska, with the
-mailing address: PO Box 750175, Fairbanks, AK 99775, but its
-volunteers and employees are scattered throughout numerous
-locations. Its business office is located at 809 North 1500 West, Salt
-Lake City, UT 84116, (801) 596-1887. Email contact links and up to
-date contact information can be found at the Foundation's web site and
-official page at www.gutenberg.org/contact
-
-For additional contact information:
-
-    Dr. Gregory B. Newby
-    Chief Executive and Director
-    gbnewby@pglaf.org
-
-Section 4. Information about Donations to the Project Gutenberg
-Literary Archive Foundation
-
-Project Gutenberg-tm depends upon and cannot survive without wide
-spread public support and donations to carry out its mission of
-increasing the number of public domain and licensed works that can be
-freely distributed in machine readable form accessible by the widest
-array of equipment including outdated equipment. Many small donations
-($1 to $5,000) are particularly important to maintaining tax exempt
-status with the IRS.
-
-The Foundation is committed to complying with the laws regulating
-charities and charitable donations in all 50 states of the United
-States. Compliance requirements are not uniform and it takes a
-considerable effort, much paperwork and many fees to meet and keep up
-with these requirements. We do not solicit donations in locations
-where we have not received written confirmation of compliance. To SEND
-DONATIONS or determine the status of compliance for any particular
-state visit www.gutenberg.org/donate
-
-While we cannot and do not solicit contributions from states where we
-have not met the solicitation requirements, we know of no prohibition
-against accepting unsolicited donations from donors in such states who
-approach us with offers to donate.
-
-International donations are gratefully accepted, but we cannot make
-any statements concerning tax treatment of donations received from
-outside the United States. U.S. laws alone swamp our small staff.
-
-Please check the Project Gutenberg Web pages for current donation
-methods and addresses. Donations are accepted in a number of other
-ways including checks, online payments and credit card donations. To
-donate, please visit: www.gutenberg.org/donate
-
-Section 5. General Information About Project Gutenberg-tm electronic works.
-
-Professor Michael S. Hart was the originator of the Project
-Gutenberg-tm concept of a library of electronic works that could be
-freely shared with anyone. For forty years, he produced and
-distributed Project Gutenberg-tm eBooks with only a loose network of
-volunteer support.
-
-Project Gutenberg-tm eBooks are often created from several printed
-editions, all of which are confirmed as not protected by copyright in
-the U.S. unless a copyright notice is included. Thus, we do not
-necessarily keep eBooks in compliance with any particular paper
-edition.
-
-Most people start at our Web site which has the main PG search
-facility: www.gutenberg.org
-
-This Web site includes information about Project Gutenberg-tm,
-including how to make donations to the Project Gutenberg Literary
-Archive Foundation, how to help produce our new eBooks, and how to
-subscribe to our email newsletter to hear about new eBooks.
-
-
-
-</pre>
-
-</body>
-</html>
diff --git a/old/60687-h/images/cover.jpg b/old/60687-h/images/cover.jpg
deleted file mode 100644
index 60c02fb..0000000
--- a/old/60687-h/images/cover.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_001.jpg b/old/60687-h/images/i_001.jpg
deleted file mode 100644
index 0cf363f..0000000
--- a/old/60687-h/images/i_001.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_005.jpg b/old/60687-h/images/i_005.jpg
deleted file mode 100644
index eccd957..0000000
--- a/old/60687-h/images/i_005.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_006.jpg b/old/60687-h/images/i_006.jpg
deleted file mode 100644
index 62bcdf3..0000000
--- a/old/60687-h/images/i_006.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_007.jpg b/old/60687-h/images/i_007.jpg
deleted file mode 100644
index a0b5dcf..0000000
--- a/old/60687-h/images/i_007.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_008a.jpg b/old/60687-h/images/i_008a.jpg
deleted file mode 100644
index f311a16..0000000
--- a/old/60687-h/images/i_008a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_008b.jpg b/old/60687-h/images/i_008b.jpg
deleted file mode 100644
index ad3a09b..0000000
--- a/old/60687-h/images/i_008b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_009a.jpg b/old/60687-h/images/i_009a.jpg
deleted file mode 100644
index bfa47fa..0000000
--- a/old/60687-h/images/i_009a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_009b.jpg b/old/60687-h/images/i_009b.jpg
deleted file mode 100644
index f66fe47..0000000
--- a/old/60687-h/images/i_009b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_010a.jpg b/old/60687-h/images/i_010a.jpg
deleted file mode 100644
index 9ae368f..0000000
--- a/old/60687-h/images/i_010a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_010b.jpg b/old/60687-h/images/i_010b.jpg
deleted file mode 100644
index 9b7c982..0000000
--- a/old/60687-h/images/i_010b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_010c.jpg b/old/60687-h/images/i_010c.jpg
deleted file mode 100644
index 2228b9a..0000000
--- a/old/60687-h/images/i_010c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_010d.jpg b/old/60687-h/images/i_010d.jpg
deleted file mode 100644
index 396cfce..0000000
--- a/old/60687-h/images/i_010d.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_011a.jpg b/old/60687-h/images/i_011a.jpg
deleted file mode 100644
index edc811f..0000000
--- a/old/60687-h/images/i_011a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_011b.jpg b/old/60687-h/images/i_011b.jpg
deleted file mode 100644
index 569eb5e..0000000
--- a/old/60687-h/images/i_011b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_012a.jpg b/old/60687-h/images/i_012a.jpg
deleted file mode 100644
index 494a15f..0000000
--- a/old/60687-h/images/i_012a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_012b.jpg b/old/60687-h/images/i_012b.jpg
deleted file mode 100644
index be64c88..0000000
--- a/old/60687-h/images/i_012b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_013.jpg b/old/60687-h/images/i_013.jpg
deleted file mode 100644
index 81a3ab6..0000000
--- a/old/60687-h/images/i_013.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_018.jpg b/old/60687-h/images/i_018.jpg
deleted file mode 100644
index d8dba7b..0000000
--- a/old/60687-h/images/i_018.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_019a.jpg b/old/60687-h/images/i_019a.jpg
deleted file mode 100644
index 117ef45..0000000
--- a/old/60687-h/images/i_019a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_019b.jpg b/old/60687-h/images/i_019b.jpg
deleted file mode 100644
index 9b2b1d9..0000000
--- a/old/60687-h/images/i_019b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_025a.jpg b/old/60687-h/images/i_025a.jpg
deleted file mode 100644
index c43ce6e..0000000
--- a/old/60687-h/images/i_025a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_025b.jpg b/old/60687-h/images/i_025b.jpg
deleted file mode 100644
index 4ed2676..0000000
--- a/old/60687-h/images/i_025b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_027.jpg b/old/60687-h/images/i_027.jpg
deleted file mode 100644
index 2fdf0d0..0000000
--- a/old/60687-h/images/i_027.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_028.jpg b/old/60687-h/images/i_028.jpg
deleted file mode 100644
index 0c8d109..0000000
--- a/old/60687-h/images/i_028.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_029.jpg b/old/60687-h/images/i_029.jpg
deleted file mode 100644
index fe0a0fc..0000000
--- a/old/60687-h/images/i_029.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_031.jpg b/old/60687-h/images/i_031.jpg
deleted file mode 100644
index cbf6bf9..0000000
--- a/old/60687-h/images/i_031.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_032.jpg b/old/60687-h/images/i_032.jpg
deleted file mode 100644
index fbc5541..0000000
--- a/old/60687-h/images/i_032.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_034.jpg b/old/60687-h/images/i_034.jpg
deleted file mode 100644
index 3e2f272..0000000
--- a/old/60687-h/images/i_034.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_035.jpg b/old/60687-h/images/i_035.jpg
deleted file mode 100644
index ab05704..0000000
--- a/old/60687-h/images/i_035.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_036.jpg b/old/60687-h/images/i_036.jpg
deleted file mode 100644
index 6dd77e3..0000000
--- a/old/60687-h/images/i_036.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_037.jpg b/old/60687-h/images/i_037.jpg
deleted file mode 100644
index b3bbf40..0000000
--- a/old/60687-h/images/i_037.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_038.jpg b/old/60687-h/images/i_038.jpg
deleted file mode 100644
index 9027656..0000000
--- a/old/60687-h/images/i_038.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_039.jpg b/old/60687-h/images/i_039.jpg
deleted file mode 100644
index e65add8..0000000
--- a/old/60687-h/images/i_039.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_040a.jpg b/old/60687-h/images/i_040a.jpg
deleted file mode 100644
index 00e68ab..0000000
--- a/old/60687-h/images/i_040a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_040b.jpg b/old/60687-h/images/i_040b.jpg
deleted file mode 100644
index c85fbbf..0000000
--- a/old/60687-h/images/i_040b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_041.jpg b/old/60687-h/images/i_041.jpg
deleted file mode 100644
index 4961aae..0000000
--- a/old/60687-h/images/i_041.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_043.jpg b/old/60687-h/images/i_043.jpg
deleted file mode 100644
index b91c906..0000000
--- a/old/60687-h/images/i_043.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_045.jpg b/old/60687-h/images/i_045.jpg
deleted file mode 100644
index 5c688d3..0000000
--- a/old/60687-h/images/i_045.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_047.jpg b/old/60687-h/images/i_047.jpg
deleted file mode 100644
index 24bf879..0000000
--- a/old/60687-h/images/i_047.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_052.jpg b/old/60687-h/images/i_052.jpg
deleted file mode 100644
index 2553e12..0000000
--- a/old/60687-h/images/i_052.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_055.jpg b/old/60687-h/images/i_055.jpg
deleted file mode 100644
index b4467b0..0000000
--- a/old/60687-h/images/i_055.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_057.jpg b/old/60687-h/images/i_057.jpg
deleted file mode 100644
index a2d35c7..0000000
--- a/old/60687-h/images/i_057.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_059.jpg b/old/60687-h/images/i_059.jpg
deleted file mode 100644
index c80bb4e..0000000
--- a/old/60687-h/images/i_059.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_068.jpg b/old/60687-h/images/i_068.jpg
deleted file mode 100644
index d3143d4..0000000
--- a/old/60687-h/images/i_068.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_073.jpg b/old/60687-h/images/i_073.jpg
deleted file mode 100644
index c39d6cc..0000000
--- a/old/60687-h/images/i_073.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_074.jpg b/old/60687-h/images/i_074.jpg
deleted file mode 100644
index f99c658..0000000
--- a/old/60687-h/images/i_074.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_075.jpg b/old/60687-h/images/i_075.jpg
deleted file mode 100644
index dd2c8d9..0000000
--- a/old/60687-h/images/i_075.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_075a.jpg b/old/60687-h/images/i_075a.jpg
deleted file mode 100644
index 91222c1..0000000
--- a/old/60687-h/images/i_075a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_079.jpg b/old/60687-h/images/i_079.jpg
deleted file mode 100644
index 54551aa..0000000
--- a/old/60687-h/images/i_079.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_083.jpg b/old/60687-h/images/i_083.jpg
deleted file mode 100644
index 56f5d19..0000000
--- a/old/60687-h/images/i_083.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_085.jpg b/old/60687-h/images/i_085.jpg
deleted file mode 100644
index f27426e..0000000
--- a/old/60687-h/images/i_085.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_087.jpg b/old/60687-h/images/i_087.jpg
deleted file mode 100644
index c67b024..0000000
--- a/old/60687-h/images/i_087.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_088.jpg b/old/60687-h/images/i_088.jpg
deleted file mode 100644
index 5b335f6..0000000
--- a/old/60687-h/images/i_088.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_089.jpg b/old/60687-h/images/i_089.jpg
deleted file mode 100644
index ea9f1ce..0000000
--- a/old/60687-h/images/i_089.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_106.jpg b/old/60687-h/images/i_106.jpg
deleted file mode 100644
index 7fd1595..0000000
--- a/old/60687-h/images/i_106.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_120.jpg b/old/60687-h/images/i_120.jpg
deleted file mode 100644
index 7b4804d..0000000
--- a/old/60687-h/images/i_120.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_123a.jpg b/old/60687-h/images/i_123a.jpg
deleted file mode 100644
index 469e4fe..0000000
--- a/old/60687-h/images/i_123a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_123b.jpg b/old/60687-h/images/i_123b.jpg
deleted file mode 100644
index ea413d0..0000000
--- a/old/60687-h/images/i_123b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_126a.jpg b/old/60687-h/images/i_126a.jpg
deleted file mode 100644
index 70d1bfa..0000000
--- a/old/60687-h/images/i_126a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_126b.jpg b/old/60687-h/images/i_126b.jpg
deleted file mode 100644
index 067af77..0000000
--- a/old/60687-h/images/i_126b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_127a.jpg b/old/60687-h/images/i_127a.jpg
deleted file mode 100644
index 4771da6..0000000
--- a/old/60687-h/images/i_127a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_127b.jpg b/old/60687-h/images/i_127b.jpg
deleted file mode 100644
index 148f93a..0000000
--- a/old/60687-h/images/i_127b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_128a.jpg b/old/60687-h/images/i_128a.jpg
deleted file mode 100644
index 782717c..0000000
--- a/old/60687-h/images/i_128a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_128b.jpg b/old/60687-h/images/i_128b.jpg
deleted file mode 100644
index 0169c39..0000000
--- a/old/60687-h/images/i_128b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_129.jpg b/old/60687-h/images/i_129.jpg
deleted file mode 100644
index 4715c13..0000000
--- a/old/60687-h/images/i_129.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_130a.jpg b/old/60687-h/images/i_130a.jpg
deleted file mode 100644
index 815821b..0000000
--- a/old/60687-h/images/i_130a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_130b.jpg b/old/60687-h/images/i_130b.jpg
deleted file mode 100644
index 5b57b1c..0000000
--- a/old/60687-h/images/i_130b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_131.jpg b/old/60687-h/images/i_131.jpg
deleted file mode 100644
index af7c782..0000000
--- a/old/60687-h/images/i_131.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_132a.jpg b/old/60687-h/images/i_132a.jpg
deleted file mode 100644
index 8c33193..0000000
--- a/old/60687-h/images/i_132a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_132b.jpg b/old/60687-h/images/i_132b.jpg
deleted file mode 100644
index 545acd2..0000000
--- a/old/60687-h/images/i_132b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_132c.jpg b/old/60687-h/images/i_132c.jpg
deleted file mode 100644
index 6d5e152..0000000
--- a/old/60687-h/images/i_132c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_133a.jpg b/old/60687-h/images/i_133a.jpg
deleted file mode 100644
index 37a264a..0000000
--- a/old/60687-h/images/i_133a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_133b.jpg b/old/60687-h/images/i_133b.jpg
deleted file mode 100644
index 84f528b..0000000
--- a/old/60687-h/images/i_133b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_134.jpg b/old/60687-h/images/i_134.jpg
deleted file mode 100644
index 4ce2788..0000000
--- a/old/60687-h/images/i_134.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_135.jpg b/old/60687-h/images/i_135.jpg
deleted file mode 100644
index 4f61a5c..0000000
--- a/old/60687-h/images/i_135.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_136.jpg b/old/60687-h/images/i_136.jpg
deleted file mode 100644
index d94c5b8..0000000
--- a/old/60687-h/images/i_136.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_137.jpg b/old/60687-h/images/i_137.jpg
deleted file mode 100644
index 62719b5..0000000
--- a/old/60687-h/images/i_137.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_139.jpg b/old/60687-h/images/i_139.jpg
deleted file mode 100644
index 23be98c..0000000
--- a/old/60687-h/images/i_139.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_140.jpg b/old/60687-h/images/i_140.jpg
deleted file mode 100644
index bc3c281..0000000
--- a/old/60687-h/images/i_140.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_141.jpg b/old/60687-h/images/i_141.jpg
deleted file mode 100644
index 306c607..0000000
--- a/old/60687-h/images/i_141.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_142.jpg b/old/60687-h/images/i_142.jpg
deleted file mode 100644
index d45ddfe..0000000
--- a/old/60687-h/images/i_142.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_143a.jpg b/old/60687-h/images/i_143a.jpg
deleted file mode 100644
index 74461be..0000000
--- a/old/60687-h/images/i_143a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_143b.jpg b/old/60687-h/images/i_143b.jpg
deleted file mode 100644
index 80daf51..0000000
--- a/old/60687-h/images/i_143b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_144a.jpg b/old/60687-h/images/i_144a.jpg
deleted file mode 100644
index bc79ded..0000000
--- a/old/60687-h/images/i_144a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_144b.jpg b/old/60687-h/images/i_144b.jpg
deleted file mode 100644
index 846b184..0000000
--- a/old/60687-h/images/i_144b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_147.jpg b/old/60687-h/images/i_147.jpg
deleted file mode 100644
index 0069d10..0000000
--- a/old/60687-h/images/i_147.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_148a.jpg b/old/60687-h/images/i_148a.jpg
deleted file mode 100644
index 59fee59..0000000
--- a/old/60687-h/images/i_148a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_148b.jpg b/old/60687-h/images/i_148b.jpg
deleted file mode 100644
index 48b4730..0000000
--- a/old/60687-h/images/i_148b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_149a.jpg b/old/60687-h/images/i_149a.jpg
deleted file mode 100644
index 85df6a6..0000000
--- a/old/60687-h/images/i_149a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_149b.jpg b/old/60687-h/images/i_149b.jpg
deleted file mode 100644
index 4834e2b..0000000
--- a/old/60687-h/images/i_149b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_150.jpg b/old/60687-h/images/i_150.jpg
deleted file mode 100644
index f859c48..0000000
--- a/old/60687-h/images/i_150.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_151a.jpg b/old/60687-h/images/i_151a.jpg
deleted file mode 100644
index b26911f..0000000
--- a/old/60687-h/images/i_151a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_151b.jpg b/old/60687-h/images/i_151b.jpg
deleted file mode 100644
index d53e2f3..0000000
--- a/old/60687-h/images/i_151b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_152.jpg b/old/60687-h/images/i_152.jpg
deleted file mode 100644
index 965a826..0000000
--- a/old/60687-h/images/i_152.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_154a.jpg b/old/60687-h/images/i_154a.jpg
deleted file mode 100644
index 80352c6..0000000
--- a/old/60687-h/images/i_154a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_154b.jpg b/old/60687-h/images/i_154b.jpg
deleted file mode 100644
index 9522c24..0000000
--- a/old/60687-h/images/i_154b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_155.jpg b/old/60687-h/images/i_155.jpg
deleted file mode 100644
index f48cd3d..0000000
--- a/old/60687-h/images/i_155.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_156.jpg b/old/60687-h/images/i_156.jpg
deleted file mode 100644
index 34880ce..0000000
--- a/old/60687-h/images/i_156.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_157.jpg b/old/60687-h/images/i_157.jpg
deleted file mode 100644
index 152e1cc..0000000
--- a/old/60687-h/images/i_157.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_158.jpg b/old/60687-h/images/i_158.jpg
deleted file mode 100644
index 710806f..0000000
--- a/old/60687-h/images/i_158.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_159a.jpg b/old/60687-h/images/i_159a.jpg
deleted file mode 100644
index e645a1f..0000000
--- a/old/60687-h/images/i_159a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_159b.jpg b/old/60687-h/images/i_159b.jpg
deleted file mode 100644
index e389280..0000000
--- a/old/60687-h/images/i_159b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_159c.jpg b/old/60687-h/images/i_159c.jpg
deleted file mode 100644
index 0b67ac7..0000000
--- a/old/60687-h/images/i_159c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_160a.jpg b/old/60687-h/images/i_160a.jpg
deleted file mode 100644
index c185666..0000000
--- a/old/60687-h/images/i_160a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_160b.jpg b/old/60687-h/images/i_160b.jpg
deleted file mode 100644
index 25fe1c0..0000000
--- a/old/60687-h/images/i_160b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_160c.jpg b/old/60687-h/images/i_160c.jpg
deleted file mode 100644
index 429d198..0000000
--- a/old/60687-h/images/i_160c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_161a.jpg b/old/60687-h/images/i_161a.jpg
deleted file mode 100644
index 286ca42..0000000
--- a/old/60687-h/images/i_161a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_161b.jpg b/old/60687-h/images/i_161b.jpg
deleted file mode 100644
index 666c9a9..0000000
--- a/old/60687-h/images/i_161b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_162a.jpg b/old/60687-h/images/i_162a.jpg
deleted file mode 100644
index 61a0b00..0000000
--- a/old/60687-h/images/i_162a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_162b.jpg b/old/60687-h/images/i_162b.jpg
deleted file mode 100644
index 3fca4a0..0000000
--- a/old/60687-h/images/i_162b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_163a.jpg b/old/60687-h/images/i_163a.jpg
deleted file mode 100644
index 9f61861..0000000
--- a/old/60687-h/images/i_163a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_163b.jpg b/old/60687-h/images/i_163b.jpg
deleted file mode 100644
index d9267ac..0000000
--- a/old/60687-h/images/i_163b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_164.jpg b/old/60687-h/images/i_164.jpg
deleted file mode 100644
index 14ffd5e..0000000
--- a/old/60687-h/images/i_164.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_165a.jpg b/old/60687-h/images/i_165a.jpg
deleted file mode 100644
index b362230..0000000
--- a/old/60687-h/images/i_165a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_165b.jpg b/old/60687-h/images/i_165b.jpg
deleted file mode 100644
index a9b3cfa..0000000
--- a/old/60687-h/images/i_165b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_166a.jpg b/old/60687-h/images/i_166a.jpg
deleted file mode 100644
index e45f525..0000000
--- a/old/60687-h/images/i_166a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_166b.jpg b/old/60687-h/images/i_166b.jpg
deleted file mode 100644
index 24ac700..0000000
--- a/old/60687-h/images/i_166b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_167.jpg b/old/60687-h/images/i_167.jpg
deleted file mode 100644
index 5af1cee..0000000
--- a/old/60687-h/images/i_167.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_168.jpg b/old/60687-h/images/i_168.jpg
deleted file mode 100644
index 454a1d0..0000000
--- a/old/60687-h/images/i_168.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_171.jpg b/old/60687-h/images/i_171.jpg
deleted file mode 100644
index e9c7dbe..0000000
--- a/old/60687-h/images/i_171.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_172.jpg b/old/60687-h/images/i_172.jpg
deleted file mode 100644
index 2a75913..0000000
--- a/old/60687-h/images/i_172.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_173.jpg b/old/60687-h/images/i_173.jpg
deleted file mode 100644
index e56d8d6..0000000
--- a/old/60687-h/images/i_173.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_175.jpg b/old/60687-h/images/i_175.jpg
deleted file mode 100644
index 81a4c3b..0000000
--- a/old/60687-h/images/i_175.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_176a.jpg b/old/60687-h/images/i_176a.jpg
deleted file mode 100644
index b153b63..0000000
--- a/old/60687-h/images/i_176a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_176b.jpg b/old/60687-h/images/i_176b.jpg
deleted file mode 100644
index cc29bd5..0000000
--- a/old/60687-h/images/i_176b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_176c.jpg b/old/60687-h/images/i_176c.jpg
deleted file mode 100644
index 989379d..0000000
--- a/old/60687-h/images/i_176c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_177.jpg b/old/60687-h/images/i_177.jpg
deleted file mode 100644
index fdf7325..0000000
--- a/old/60687-h/images/i_177.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_179.jpg b/old/60687-h/images/i_179.jpg
deleted file mode 100644
index 0b6b76a..0000000
--- a/old/60687-h/images/i_179.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_180a.jpg b/old/60687-h/images/i_180a.jpg
deleted file mode 100644
index 9cb8db0..0000000
--- a/old/60687-h/images/i_180a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_180b.jpg b/old/60687-h/images/i_180b.jpg
deleted file mode 100644
index 6f9bac9..0000000
--- a/old/60687-h/images/i_180b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_181.jpg b/old/60687-h/images/i_181.jpg
deleted file mode 100644
index 5a1816a..0000000
--- a/old/60687-h/images/i_181.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_182.jpg b/old/60687-h/images/i_182.jpg
deleted file mode 100644
index c6d9704..0000000
--- a/old/60687-h/images/i_182.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_183.jpg b/old/60687-h/images/i_183.jpg
deleted file mode 100644
index 5f03ba2..0000000
--- a/old/60687-h/images/i_183.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_183a.jpg b/old/60687-h/images/i_183a.jpg
deleted file mode 100644
index 585364e..0000000
--- a/old/60687-h/images/i_183a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_184a.jpg b/old/60687-h/images/i_184a.jpg
deleted file mode 100644
index f3ecc3e..0000000
--- a/old/60687-h/images/i_184a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_184b.jpg b/old/60687-h/images/i_184b.jpg
deleted file mode 100644
index 0ed5901..0000000
--- a/old/60687-h/images/i_184b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_185a.jpg b/old/60687-h/images/i_185a.jpg
deleted file mode 100644
index 5906fee..0000000
--- a/old/60687-h/images/i_185a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_185b.jpg b/old/60687-h/images/i_185b.jpg
deleted file mode 100644
index c1760eb..0000000
--- a/old/60687-h/images/i_185b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_186a.jpg b/old/60687-h/images/i_186a.jpg
deleted file mode 100644
index 4c9b33c..0000000
--- a/old/60687-h/images/i_186a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_186b.jpg b/old/60687-h/images/i_186b.jpg
deleted file mode 100644
index 7e6e349..0000000
--- a/old/60687-h/images/i_186b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_186c.jpg b/old/60687-h/images/i_186c.jpg
deleted file mode 100644
index 8f68c2a..0000000
--- a/old/60687-h/images/i_186c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_187a.jpg b/old/60687-h/images/i_187a.jpg
deleted file mode 100644
index 137ef0b..0000000
--- a/old/60687-h/images/i_187a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_187b.jpg b/old/60687-h/images/i_187b.jpg
deleted file mode 100644
index a535f87..0000000
--- a/old/60687-h/images/i_187b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_189.jpg b/old/60687-h/images/i_189.jpg
deleted file mode 100644
index 611e1e2..0000000
--- a/old/60687-h/images/i_189.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_190a.jpg b/old/60687-h/images/i_190a.jpg
deleted file mode 100644
index f019083..0000000
--- a/old/60687-h/images/i_190a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_190b.jpg b/old/60687-h/images/i_190b.jpg
deleted file mode 100644
index a9578da..0000000
--- a/old/60687-h/images/i_190b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_191a.jpg b/old/60687-h/images/i_191a.jpg
deleted file mode 100644
index 914650d..0000000
--- a/old/60687-h/images/i_191a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_191b.jpg b/old/60687-h/images/i_191b.jpg
deleted file mode 100644
index 9229666..0000000
--- a/old/60687-h/images/i_191b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_193.jpg b/old/60687-h/images/i_193.jpg
deleted file mode 100644
index b16acbe..0000000
--- a/old/60687-h/images/i_193.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_194a.jpg b/old/60687-h/images/i_194a.jpg
deleted file mode 100644
index 180773b..0000000
--- a/old/60687-h/images/i_194a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_194b.jpg b/old/60687-h/images/i_194b.jpg
deleted file mode 100644
index f3526d7..0000000
--- a/old/60687-h/images/i_194b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_195a.jpg b/old/60687-h/images/i_195a.jpg
deleted file mode 100644
index ef7248c..0000000
--- a/old/60687-h/images/i_195a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_197.jpg b/old/60687-h/images/i_197.jpg
deleted file mode 100644
index 9dd3bad..0000000
--- a/old/60687-h/images/i_197.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_199.jpg b/old/60687-h/images/i_199.jpg
deleted file mode 100644
index f774ee9..0000000
--- a/old/60687-h/images/i_199.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_201a.jpg b/old/60687-h/images/i_201a.jpg
deleted file mode 100644
index 438913b..0000000
--- a/old/60687-h/images/i_201a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_201b.jpg b/old/60687-h/images/i_201b.jpg
deleted file mode 100644
index f1fd788..0000000
--- a/old/60687-h/images/i_201b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_202.jpg b/old/60687-h/images/i_202.jpg
deleted file mode 100644
index 2062db2..0000000
--- a/old/60687-h/images/i_202.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_204.jpg b/old/60687-h/images/i_204.jpg
deleted file mode 100644
index aa169b5..0000000
--- a/old/60687-h/images/i_204.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_221.jpg b/old/60687-h/images/i_221.jpg
deleted file mode 100644
index af53f5c..0000000
--- a/old/60687-h/images/i_221.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_225.jpg b/old/60687-h/images/i_225.jpg
deleted file mode 100644
index 2aa84d5..0000000
--- a/old/60687-h/images/i_225.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_226.jpg b/old/60687-h/images/i_226.jpg
deleted file mode 100644
index ece34ee..0000000
--- a/old/60687-h/images/i_226.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_228.jpg b/old/60687-h/images/i_228.jpg
deleted file mode 100644
index 85a1309..0000000
--- a/old/60687-h/images/i_228.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_230.jpg b/old/60687-h/images/i_230.jpg
deleted file mode 100644
index d7f0ba9..0000000
--- a/old/60687-h/images/i_230.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_235.jpg b/old/60687-h/images/i_235.jpg
deleted file mode 100644
index afc8e14..0000000
--- a/old/60687-h/images/i_235.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_239.jpg b/old/60687-h/images/i_239.jpg
deleted file mode 100644
index 7922eeb..0000000
--- a/old/60687-h/images/i_239.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_241.jpg b/old/60687-h/images/i_241.jpg
deleted file mode 100644
index b0df604..0000000
--- a/old/60687-h/images/i_241.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_252.jpg b/old/60687-h/images/i_252.jpg
deleted file mode 100644
index c9fec2a..0000000
--- a/old/60687-h/images/i_252.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_257a.jpg b/old/60687-h/images/i_257a.jpg
deleted file mode 100644
index feffed1..0000000
--- a/old/60687-h/images/i_257a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_257b.jpg b/old/60687-h/images/i_257b.jpg
deleted file mode 100644
index 3a0bec7..0000000
--- a/old/60687-h/images/i_257b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_258a.jpg b/old/60687-h/images/i_258a.jpg
deleted file mode 100644
index 4a3676d..0000000
--- a/old/60687-h/images/i_258a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_258b.jpg b/old/60687-h/images/i_258b.jpg
deleted file mode 100644
index 2de350c..0000000
--- a/old/60687-h/images/i_258b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_258c.jpg b/old/60687-h/images/i_258c.jpg
deleted file mode 100644
index b5a2e7d..0000000
--- a/old/60687-h/images/i_258c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_259a.jpg b/old/60687-h/images/i_259a.jpg
deleted file mode 100644
index ca628dc..0000000
--- a/old/60687-h/images/i_259a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_259b.jpg b/old/60687-h/images/i_259b.jpg
deleted file mode 100644
index c9d826a..0000000
--- a/old/60687-h/images/i_259b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_260a.jpg b/old/60687-h/images/i_260a.jpg
deleted file mode 100644
index c36a27c..0000000
--- a/old/60687-h/images/i_260a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_260b.jpg b/old/60687-h/images/i_260b.jpg
deleted file mode 100644
index 31dec15..0000000
--- a/old/60687-h/images/i_260b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_260c.jpg b/old/60687-h/images/i_260c.jpg
deleted file mode 100644
index 662d155..0000000
--- a/old/60687-h/images/i_260c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_261a.jpg b/old/60687-h/images/i_261a.jpg
deleted file mode 100644
index a7d29f8..0000000
--- a/old/60687-h/images/i_261a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_261b.jpg b/old/60687-h/images/i_261b.jpg
deleted file mode 100644
index 6e29cf3..0000000
--- a/old/60687-h/images/i_261b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_262.jpg b/old/60687-h/images/i_262.jpg
deleted file mode 100644
index cfa14da..0000000
--- a/old/60687-h/images/i_262.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_263.jpg b/old/60687-h/images/i_263.jpg
deleted file mode 100644
index e41e6a6..0000000
--- a/old/60687-h/images/i_263.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_264.jpg b/old/60687-h/images/i_264.jpg
deleted file mode 100644
index 1205952..0000000
--- a/old/60687-h/images/i_264.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_265.jpg b/old/60687-h/images/i_265.jpg
deleted file mode 100644
index d6e0b3f..0000000
--- a/old/60687-h/images/i_265.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_266.jpg b/old/60687-h/images/i_266.jpg
deleted file mode 100644
index 9f5f504..0000000
--- a/old/60687-h/images/i_266.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_267a.jpg b/old/60687-h/images/i_267a.jpg
deleted file mode 100644
index 816a2cd..0000000
--- a/old/60687-h/images/i_267a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_267b.jpg b/old/60687-h/images/i_267b.jpg
deleted file mode 100644
index 67c9e8c..0000000
--- a/old/60687-h/images/i_267b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_267c.jpg b/old/60687-h/images/i_267c.jpg
deleted file mode 100644
index 5b67709..0000000
--- a/old/60687-h/images/i_267c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_268a.jpg b/old/60687-h/images/i_268a.jpg
deleted file mode 100644
index 7eb42ad..0000000
--- a/old/60687-h/images/i_268a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_268b.jpg b/old/60687-h/images/i_268b.jpg
deleted file mode 100644
index 3675d73..0000000
--- a/old/60687-h/images/i_268b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_269a.jpg b/old/60687-h/images/i_269a.jpg
deleted file mode 100644
index 75b8f76..0000000
--- a/old/60687-h/images/i_269a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_269b.jpg b/old/60687-h/images/i_269b.jpg
deleted file mode 100644
index 81a941c..0000000
--- a/old/60687-h/images/i_269b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_269c.jpg b/old/60687-h/images/i_269c.jpg
deleted file mode 100644
index c6f8f2c..0000000
--- a/old/60687-h/images/i_269c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_270a.jpg b/old/60687-h/images/i_270a.jpg
deleted file mode 100644
index a2c34c0..0000000
--- a/old/60687-h/images/i_270a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_270b.jpg b/old/60687-h/images/i_270b.jpg
deleted file mode 100644
index 5b51541..0000000
--- a/old/60687-h/images/i_270b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_270c.jpg b/old/60687-h/images/i_270c.jpg
deleted file mode 100644
index c0f22bc..0000000
--- a/old/60687-h/images/i_270c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_271.jpg b/old/60687-h/images/i_271.jpg
deleted file mode 100644
index b002f89..0000000
--- a/old/60687-h/images/i_271.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_272a.jpg b/old/60687-h/images/i_272a.jpg
deleted file mode 100644
index 829ddb8..0000000
--- a/old/60687-h/images/i_272a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_272b.jpg b/old/60687-h/images/i_272b.jpg
deleted file mode 100644
index 49edf36..0000000
--- a/old/60687-h/images/i_272b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_272c.jpg b/old/60687-h/images/i_272c.jpg
deleted file mode 100644
index 64e19fc..0000000
--- a/old/60687-h/images/i_272c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_273a.jpg b/old/60687-h/images/i_273a.jpg
deleted file mode 100644
index 4744052..0000000
--- a/old/60687-h/images/i_273a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_273b.jpg b/old/60687-h/images/i_273b.jpg
deleted file mode 100644
index 7bd42a0..0000000
--- a/old/60687-h/images/i_273b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_273c.jpg b/old/60687-h/images/i_273c.jpg
deleted file mode 100644
index d4a325e..0000000
--- a/old/60687-h/images/i_273c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_274a.jpg b/old/60687-h/images/i_274a.jpg
deleted file mode 100644
index 66d49fd..0000000
--- a/old/60687-h/images/i_274a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_274b.jpg b/old/60687-h/images/i_274b.jpg
deleted file mode 100644
index cdf3ef1..0000000
--- a/old/60687-h/images/i_274b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_274c.jpg b/old/60687-h/images/i_274c.jpg
deleted file mode 100644
index 861eb9a..0000000
--- a/old/60687-h/images/i_274c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_274d.jpg b/old/60687-h/images/i_274d.jpg
deleted file mode 100644
index 37c28b5..0000000
--- a/old/60687-h/images/i_274d.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_275a.jpg b/old/60687-h/images/i_275a.jpg
deleted file mode 100644
index 2cf54ca..0000000
--- a/old/60687-h/images/i_275a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_275b.jpg b/old/60687-h/images/i_275b.jpg
deleted file mode 100644
index 7806fdc..0000000
--- a/old/60687-h/images/i_275b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_275c.jpg b/old/60687-h/images/i_275c.jpg
deleted file mode 100644
index 6c218ef..0000000
--- a/old/60687-h/images/i_275c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_275d.jpg b/old/60687-h/images/i_275d.jpg
deleted file mode 100644
index 7a32fbd..0000000
--- a/old/60687-h/images/i_275d.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_276a.jpg b/old/60687-h/images/i_276a.jpg
deleted file mode 100644
index 3ca7355..0000000
--- a/old/60687-h/images/i_276a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_276b.jpg b/old/60687-h/images/i_276b.jpg
deleted file mode 100644
index b8e6b17..0000000
--- a/old/60687-h/images/i_276b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_276c.jpg b/old/60687-h/images/i_276c.jpg
deleted file mode 100644
index 6a75964..0000000
--- a/old/60687-h/images/i_276c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_277a.jpg b/old/60687-h/images/i_277a.jpg
deleted file mode 100644
index ae3805d..0000000
--- a/old/60687-h/images/i_277a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_277b.jpg b/old/60687-h/images/i_277b.jpg
deleted file mode 100644
index 65b5548..0000000
--- a/old/60687-h/images/i_277b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_278a.jpg b/old/60687-h/images/i_278a.jpg
deleted file mode 100644
index 67744d2..0000000
--- a/old/60687-h/images/i_278a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_278b.jpg b/old/60687-h/images/i_278b.jpg
deleted file mode 100644
index 350d4f8..0000000
--- a/old/60687-h/images/i_278b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_280.jpg b/old/60687-h/images/i_280.jpg
deleted file mode 100644
index df4ed65..0000000
--- a/old/60687-h/images/i_280.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_283.jpg b/old/60687-h/images/i_283.jpg
deleted file mode 100644
index 65b36da..0000000
--- a/old/60687-h/images/i_283.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_285.jpg b/old/60687-h/images/i_285.jpg
deleted file mode 100644
index 7c4d4d2..0000000
--- a/old/60687-h/images/i_285.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_287.jpg b/old/60687-h/images/i_287.jpg
deleted file mode 100644
index 34bec7b..0000000
--- a/old/60687-h/images/i_287.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_288a.jpg b/old/60687-h/images/i_288a.jpg
deleted file mode 100644
index 5ed75db..0000000
--- a/old/60687-h/images/i_288a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_288b.jpg b/old/60687-h/images/i_288b.jpg
deleted file mode 100644
index 18fad18..0000000
--- a/old/60687-h/images/i_288b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_289a.jpg b/old/60687-h/images/i_289a.jpg
deleted file mode 100644
index cf2f788..0000000
--- a/old/60687-h/images/i_289a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_289b.jpg b/old/60687-h/images/i_289b.jpg
deleted file mode 100644
index dc5dcbf..0000000
--- a/old/60687-h/images/i_289b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_290.jpg b/old/60687-h/images/i_290.jpg
deleted file mode 100644
index 180339a..0000000
--- a/old/60687-h/images/i_290.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_291a.jpg b/old/60687-h/images/i_291a.jpg
deleted file mode 100644
index 0fc7d5c..0000000
--- a/old/60687-h/images/i_291a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_291b.jpg b/old/60687-h/images/i_291b.jpg
deleted file mode 100644
index 4288028..0000000
--- a/old/60687-h/images/i_291b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_292.jpg b/old/60687-h/images/i_292.jpg
deleted file mode 100644
index a5ac6d3..0000000
--- a/old/60687-h/images/i_292.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_293a.jpg b/old/60687-h/images/i_293a.jpg
deleted file mode 100644
index d52862a..0000000
--- a/old/60687-h/images/i_293a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_293b.jpg b/old/60687-h/images/i_293b.jpg
deleted file mode 100644
index 6a41fdd..0000000
--- a/old/60687-h/images/i_293b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_293c.jpg b/old/60687-h/images/i_293c.jpg
deleted file mode 100644
index 6d9f726..0000000
--- a/old/60687-h/images/i_293c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_294a.jpg b/old/60687-h/images/i_294a.jpg
deleted file mode 100644
index 441a87f..0000000
--- a/old/60687-h/images/i_294a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_294b.jpg b/old/60687-h/images/i_294b.jpg
deleted file mode 100644
index 1343d3f..0000000
--- a/old/60687-h/images/i_294b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_294c.jpg b/old/60687-h/images/i_294c.jpg
deleted file mode 100644
index d3c3240..0000000
--- a/old/60687-h/images/i_294c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_295a.jpg b/old/60687-h/images/i_295a.jpg
deleted file mode 100644
index 851c169..0000000
--- a/old/60687-h/images/i_295a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_295b.jpg b/old/60687-h/images/i_295b.jpg
deleted file mode 100644
index 5461040..0000000
--- a/old/60687-h/images/i_295b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_295c.jpg b/old/60687-h/images/i_295c.jpg
deleted file mode 100644
index df173dd..0000000
--- a/old/60687-h/images/i_295c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_296a.jpg b/old/60687-h/images/i_296a.jpg
deleted file mode 100644
index 07af50d..0000000
--- a/old/60687-h/images/i_296a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_296b.jpg b/old/60687-h/images/i_296b.jpg
deleted file mode 100644
index 88ced7c..0000000
--- a/old/60687-h/images/i_296b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_296c.jpg b/old/60687-h/images/i_296c.jpg
deleted file mode 100644
index 980e5b1..0000000
--- a/old/60687-h/images/i_296c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_297a.jpg b/old/60687-h/images/i_297a.jpg
deleted file mode 100644
index 406fa30..0000000
--- a/old/60687-h/images/i_297a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_297b.jpg b/old/60687-h/images/i_297b.jpg
deleted file mode 100644
index 2c92f41..0000000
--- a/old/60687-h/images/i_297b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_297c.jpg b/old/60687-h/images/i_297c.jpg
deleted file mode 100644
index 126a6fe..0000000
--- a/old/60687-h/images/i_297c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_298a.jpg b/old/60687-h/images/i_298a.jpg
deleted file mode 100644
index 0ac72e3..0000000
--- a/old/60687-h/images/i_298a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_298b.jpg b/old/60687-h/images/i_298b.jpg
deleted file mode 100644
index 7977385..0000000
--- a/old/60687-h/images/i_298b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_298c.jpg b/old/60687-h/images/i_298c.jpg
deleted file mode 100644
index 5838d8c..0000000
--- a/old/60687-h/images/i_298c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_298d.jpg b/old/60687-h/images/i_298d.jpg
deleted file mode 100644
index 83fef5e..0000000
--- a/old/60687-h/images/i_298d.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_299a.jpg b/old/60687-h/images/i_299a.jpg
deleted file mode 100644
index f9d46e4..0000000
--- a/old/60687-h/images/i_299a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_299b.jpg b/old/60687-h/images/i_299b.jpg
deleted file mode 100644
index 1c37475..0000000
--- a/old/60687-h/images/i_299b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_299c.jpg b/old/60687-h/images/i_299c.jpg
deleted file mode 100644
index e02f832..0000000
--- a/old/60687-h/images/i_299c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_300a.jpg b/old/60687-h/images/i_300a.jpg
deleted file mode 100644
index b84cb28..0000000
--- a/old/60687-h/images/i_300a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_300b.jpg b/old/60687-h/images/i_300b.jpg
deleted file mode 100644
index fb9309a..0000000
--- a/old/60687-h/images/i_300b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_300c.jpg b/old/60687-h/images/i_300c.jpg
deleted file mode 100644
index 536baa6..0000000
--- a/old/60687-h/images/i_300c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_301a.jpg b/old/60687-h/images/i_301a.jpg
deleted file mode 100644
index 4bca96b..0000000
--- a/old/60687-h/images/i_301a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_301c.jpg b/old/60687-h/images/i_301c.jpg
deleted file mode 100644
index 3aff868..0000000
--- a/old/60687-h/images/i_301c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_302.jpg b/old/60687-h/images/i_302.jpg
deleted file mode 100644
index 4ef70d7..0000000
--- a/old/60687-h/images/i_302.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_303.jpg b/old/60687-h/images/i_303.jpg
deleted file mode 100644
index 7c5de87..0000000
--- a/old/60687-h/images/i_303.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_304a.jpg b/old/60687-h/images/i_304a.jpg
deleted file mode 100644
index 93d00a1..0000000
--- a/old/60687-h/images/i_304a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_304b.jpg b/old/60687-h/images/i_304b.jpg
deleted file mode 100644
index f1670e3..0000000
--- a/old/60687-h/images/i_304b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_305a.jpg b/old/60687-h/images/i_305a.jpg
deleted file mode 100644
index e037d64..0000000
--- a/old/60687-h/images/i_305a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_305b.jpg b/old/60687-h/images/i_305b.jpg
deleted file mode 100644
index a7bc81d..0000000
--- a/old/60687-h/images/i_305b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_306.jpg b/old/60687-h/images/i_306.jpg
deleted file mode 100644
index 4daf685..0000000
--- a/old/60687-h/images/i_306.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_307.jpg b/old/60687-h/images/i_307.jpg
deleted file mode 100644
index dbcb920..0000000
--- a/old/60687-h/images/i_307.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_308a.jpg b/old/60687-h/images/i_308a.jpg
deleted file mode 100644
index df389da..0000000
--- a/old/60687-h/images/i_308a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_308b.jpg b/old/60687-h/images/i_308b.jpg
deleted file mode 100644
index 1a1dbcd..0000000
--- a/old/60687-h/images/i_308b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_309a.jpg b/old/60687-h/images/i_309a.jpg
deleted file mode 100644
index 3054b84..0000000
--- a/old/60687-h/images/i_309a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_309b.jpg b/old/60687-h/images/i_309b.jpg
deleted file mode 100644
index bac6dcb..0000000
--- a/old/60687-h/images/i_309b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_310a.jpg b/old/60687-h/images/i_310a.jpg
deleted file mode 100644
index 83613dc..0000000
--- a/old/60687-h/images/i_310a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_310b.jpg b/old/60687-h/images/i_310b.jpg
deleted file mode 100644
index 27df097..0000000
--- a/old/60687-h/images/i_310b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_311a.jpg b/old/60687-h/images/i_311a.jpg
deleted file mode 100644
index 791a858..0000000
--- a/old/60687-h/images/i_311a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_311b.jpg b/old/60687-h/images/i_311b.jpg
deleted file mode 100644
index a070495..0000000
--- a/old/60687-h/images/i_311b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_312.jpg b/old/60687-h/images/i_312.jpg
deleted file mode 100644
index adaa888..0000000
--- a/old/60687-h/images/i_312.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_313a.jpg b/old/60687-h/images/i_313a.jpg
deleted file mode 100644
index 9573081..0000000
--- a/old/60687-h/images/i_313a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_313b.jpg b/old/60687-h/images/i_313b.jpg
deleted file mode 100644
index f829b7c..0000000
--- a/old/60687-h/images/i_313b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_313c.jpg b/old/60687-h/images/i_313c.jpg
deleted file mode 100644
index 7175b7b..0000000
--- a/old/60687-h/images/i_313c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_314a.jpg b/old/60687-h/images/i_314a.jpg
deleted file mode 100644
index 79566d1..0000000
--- a/old/60687-h/images/i_314a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_314b.jpg b/old/60687-h/images/i_314b.jpg
deleted file mode 100644
index bde4599..0000000
--- a/old/60687-h/images/i_314b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_314c.jpg b/old/60687-h/images/i_314c.jpg
deleted file mode 100644
index bc906ed..0000000
--- a/old/60687-h/images/i_314c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_315.jpg b/old/60687-h/images/i_315.jpg
deleted file mode 100644
index 4ba231e..0000000
--- a/old/60687-h/images/i_315.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_316a.jpg b/old/60687-h/images/i_316a.jpg
deleted file mode 100644
index d71a6aa..0000000
--- a/old/60687-h/images/i_316a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_316b.jpg b/old/60687-h/images/i_316b.jpg
deleted file mode 100644
index 0d2f09c..0000000
--- a/old/60687-h/images/i_316b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_317a.jpg b/old/60687-h/images/i_317a.jpg
deleted file mode 100644
index a6ad5ce..0000000
--- a/old/60687-h/images/i_317a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_317b.jpg b/old/60687-h/images/i_317b.jpg
deleted file mode 100644
index f20652c..0000000
--- a/old/60687-h/images/i_317b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_318.jpg b/old/60687-h/images/i_318.jpg
deleted file mode 100644
index 53d5d6f..0000000
--- a/old/60687-h/images/i_318.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_319.jpg b/old/60687-h/images/i_319.jpg
deleted file mode 100644
index 4e4ba38..0000000
--- a/old/60687-h/images/i_319.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_320a.jpg b/old/60687-h/images/i_320a.jpg
deleted file mode 100644
index a80e5ed..0000000
--- a/old/60687-h/images/i_320a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_320b.jpg b/old/60687-h/images/i_320b.jpg
deleted file mode 100644
index 9bfa661..0000000
--- a/old/60687-h/images/i_320b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_320c.jpg b/old/60687-h/images/i_320c.jpg
deleted file mode 100644
index eeed744..0000000
--- a/old/60687-h/images/i_320c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_321a.jpg b/old/60687-h/images/i_321a.jpg
deleted file mode 100644
index 28cd381..0000000
--- a/old/60687-h/images/i_321a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_321b.jpg b/old/60687-h/images/i_321b.jpg
deleted file mode 100644
index 6a56a9e..0000000
--- a/old/60687-h/images/i_321b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_322a.jpg b/old/60687-h/images/i_322a.jpg
deleted file mode 100644
index f7ff288..0000000
--- a/old/60687-h/images/i_322a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_322b.jpg b/old/60687-h/images/i_322b.jpg
deleted file mode 100644
index 873a24a..0000000
--- a/old/60687-h/images/i_322b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_323a.jpg b/old/60687-h/images/i_323a.jpg
deleted file mode 100644
index f1da0e7..0000000
--- a/old/60687-h/images/i_323a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_323b.jpg b/old/60687-h/images/i_323b.jpg
deleted file mode 100644
index b767851..0000000
--- a/old/60687-h/images/i_323b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_324a.jpg b/old/60687-h/images/i_324a.jpg
deleted file mode 100644
index ecdd662..0000000
--- a/old/60687-h/images/i_324a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_324b.jpg b/old/60687-h/images/i_324b.jpg
deleted file mode 100644
index ef461ea..0000000
--- a/old/60687-h/images/i_324b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_325.jpg b/old/60687-h/images/i_325.jpg
deleted file mode 100644
index 54af5ea..0000000
--- a/old/60687-h/images/i_325.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_326.jpg b/old/60687-h/images/i_326.jpg
deleted file mode 100644
index 699ad25..0000000
--- a/old/60687-h/images/i_326.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_331.jpg b/old/60687-h/images/i_331.jpg
deleted file mode 100644
index 8da5664..0000000
--- a/old/60687-h/images/i_331.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_333a.jpg b/old/60687-h/images/i_333a.jpg
deleted file mode 100644
index b89bfa2..0000000
--- a/old/60687-h/images/i_333a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_333b.jpg b/old/60687-h/images/i_333b.jpg
deleted file mode 100644
index 62ba8ed..0000000
--- a/old/60687-h/images/i_333b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_335.jpg b/old/60687-h/images/i_335.jpg
deleted file mode 100644
index 4401bb5..0000000
--- a/old/60687-h/images/i_335.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_336a.jpg b/old/60687-h/images/i_336a.jpg
deleted file mode 100644
index d57fbed..0000000
--- a/old/60687-h/images/i_336a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_336b.jpg b/old/60687-h/images/i_336b.jpg
deleted file mode 100644
index 8c65ec3..0000000
--- a/old/60687-h/images/i_336b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_337.jpg b/old/60687-h/images/i_337.jpg
deleted file mode 100644
index 70c70cb..0000000
--- a/old/60687-h/images/i_337.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_338a.jpg b/old/60687-h/images/i_338a.jpg
deleted file mode 100644
index 4dddae3..0000000
--- a/old/60687-h/images/i_338a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_338b.jpg b/old/60687-h/images/i_338b.jpg
deleted file mode 100644
index 1daced8..0000000
--- a/old/60687-h/images/i_338b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_338c.jpg b/old/60687-h/images/i_338c.jpg
deleted file mode 100644
index 49464db..0000000
--- a/old/60687-h/images/i_338c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_339.jpg b/old/60687-h/images/i_339.jpg
deleted file mode 100644
index 26365c5..0000000
--- a/old/60687-h/images/i_339.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_345a.jpg b/old/60687-h/images/i_345a.jpg
deleted file mode 100644
index 3bcd8b5..0000000
--- a/old/60687-h/images/i_345a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_345b.jpg b/old/60687-h/images/i_345b.jpg
deleted file mode 100644
index 453f9cd..0000000
--- a/old/60687-h/images/i_345b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_346.jpg b/old/60687-h/images/i_346.jpg
deleted file mode 100644
index d23086f..0000000
--- a/old/60687-h/images/i_346.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_348a.jpg b/old/60687-h/images/i_348a.jpg
deleted file mode 100644
index ede1f16..0000000
--- a/old/60687-h/images/i_348a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_349.jpg b/old/60687-h/images/i_349.jpg
deleted file mode 100644
index 6ab1502..0000000
--- a/old/60687-h/images/i_349.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_350.jpg b/old/60687-h/images/i_350.jpg
deleted file mode 100644
index 9122fd0..0000000
--- a/old/60687-h/images/i_350.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_351.jpg b/old/60687-h/images/i_351.jpg
deleted file mode 100644
index 93db405..0000000
--- a/old/60687-h/images/i_351.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_352.jpg b/old/60687-h/images/i_352.jpg
deleted file mode 100644
index 3b073ae..0000000
--- a/old/60687-h/images/i_352.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_363.jpg b/old/60687-h/images/i_363.jpg
deleted file mode 100644
index cfd3c64..0000000
--- a/old/60687-h/images/i_363.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_364a.jpg b/old/60687-h/images/i_364a.jpg
deleted file mode 100644
index 58e1e80..0000000
--- a/old/60687-h/images/i_364a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_365b.jpg b/old/60687-h/images/i_365b.jpg
deleted file mode 100644
index 59e3f79..0000000
--- a/old/60687-h/images/i_365b.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_365c.jpg b/old/60687-h/images/i_365c.jpg
deleted file mode 100644
index d8c00f3..0000000
--- a/old/60687-h/images/i_365c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_366.jpg b/old/60687-h/images/i_366.jpg
deleted file mode 100644
index 223a7d5..0000000
--- a/old/60687-h/images/i_366.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_367a.jpg b/old/60687-h/images/i_367a.jpg
deleted file mode 100644
index acb6d00..0000000
--- a/old/60687-h/images/i_367a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_369.jpg b/old/60687-h/images/i_369.jpg
deleted file mode 100644
index 722b1d1..0000000
--- a/old/60687-h/images/i_369.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_369a.jpg b/old/60687-h/images/i_369a.jpg
deleted file mode 100644
index d063a4a..0000000
--- a/old/60687-h/images/i_369a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_369c.jpg b/old/60687-h/images/i_369c.jpg
deleted file mode 100644
index acb6d00..0000000
--- a/old/60687-h/images/i_369c.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_370.jpg b/old/60687-h/images/i_370.jpg
deleted file mode 100644
index d45df4f..0000000
--- a/old/60687-h/images/i_370.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_372.jpg b/old/60687-h/images/i_372.jpg
deleted file mode 100644
index ce112a4..0000000
--- a/old/60687-h/images/i_372.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_372a.jpg b/old/60687-h/images/i_372a.jpg
deleted file mode 100644
index b09f827..0000000
--- a/old/60687-h/images/i_372a.jpg
+++ /dev/null
diff --git a/old/60687-h/images/i_372b.jpg b/old/60687-h/images/i_372b.jpg
deleted file mode 100644
index 773409e..0000000
--- a/old/60687-h/images/i_372b.jpg
+++ /dev/null
author	nfenwick <nfenwick@pglaf.org>	2025-01-27 15:00:24 -0800
committer	nfenwick <nfenwick@pglaf.org>	2025-01-27 15:00:24 -0800
commit	c8343eee9bb4a39a0610bb7677237065666f25e3 (patch)
tree	9923f48595fcfa626beeb6c3e1dd9cb445ede055
parent	9349201f7e196f9063b1117daa0593dd30b6f900 (diff)