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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_. 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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. 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