Home Fun - free ebook by Cecil Henry Bullivant

HOME FUN

HOME FUN BY CECIL H. BULLIVANT NEW YORK DODGE PUBLISHING COMPANY 214-220 East 23rd St. COPYRIGHT , 1910, BY DODGE PUBLISHING COMPANY...

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PREFATORY NOTE

Not to produce workers of wonders or exponents of marvelous mysteries; not to launch on an already over-crowded market a host of professional or semi-professional entertainers—but rather to give to those who can find real pleasure in amusing others, such knowledge as shall enable them to transform the lagging winter hours into periods of sheer delight, has this book been written. While in no sense does it claim to be an exhaustive guide to home amusements, it represents a serious effort to bring

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Stage Construction and Home-made Scenery

A great many people are deterred from embarking on the sea of amateur theatricals for the reason that the expense and trouble incurred in providing an adequate stage, and in finding plays suitable for amateurs, seem to outweigh other considerations. The following hints and suggestions, then, are not intended for the lordly Thespians who would aspire to flaunt their histrionic powers in public assembly-room or civic town-hall. For them there are those who make it their business to erect stages, p

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The Drop Curtain

An essential piece of stage furniture for amateur theatricals is the drop curtain. It can be made from two equal widths of some serviceable material such as dark cretonne, supported by brass rings on a stout bamboo rod, to either end of which are attached large steel eyes (A, A, Fig. 1 ). Fig. 1.—Back view of drop curtain. The bamboo rod should be cut to such a length that when the eyes have been added, the whole can be fixed to steel hooks screwed into the picture-molding on either side of the

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Home-made Scenery

Scenery, as a rule, proves a great barrier to the would-be promoters of amateur theatrical enterprises. The purchase of suitable surroundings for the presentation of various scenes is a luxury only to be indulged in by the well-to-do. In fact, to carry out an ordinary play on these lines involves the expenditure of many dollars. It is hoped that the practical instructions given here will not only avoid such unnecessary and perhaps unwarrantable expense, but will also tend greatly to increase the

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How to Make the “Flats”

To deal first with the “flats” or separate parts of the scenery. The primary essentials for these are a number of lengths of 2 1 ⁄ 2 -inch battening; other requisites being a plenitude of nails of all sizes, glue, brown paper or canvas, powdered color, and size. The purpose of this latter commodity is for painting the wood-work or any other desired article, such as a sideboard, dresser, or fireplace. Cut the battening to lengths appropriate to the dimensions of the stage, or, in other words, wit

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Papering

The next item for consideration is papering. A visit to almost any paperhanger’s will reveal the fact, that the shopman possesses quantities of certain designs, perhaps not quite large enough to be of practical service to him for papering a room. In this circumstance the stage carpenter should be able, by the expenditure of a few cents, or a quarter at the outside, to obtain quite enough for his purpose. Next, he can procure from any builder’s yard a few lengths of architrave or beaded edging fo

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Making a Portable Porch

A glance at Fig. 9 will put the amateur stage carpenter in full possession of all details relating to the construction of this latticed porch. Of course, it will be found necessary to make two pieces of the part numbered 1— i.e. the batten frame and cross-pieces—as one will be fixed on either side of the door to support the roof. The lattice-work may be purchased in a length, or made from laths, and nailed to the frame. Fix the sides of the porch close up to the doorposts by means of zinc bracke

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A Portable Fireplace

A very useful adjunct to the plain “flat” ( Fig. 6 ) is a portable fireplace, which is depicted in detail in Fig. 10 . To make this, buy a length or so of 3 ⁄ 4 -inch planking, one length of which should be cut for the mantelpiece, according to the size required. Next cut two supports of equal dimensions to form the sides (A, A, in elevation). These are nailed to the “flat,” and the mantelpiece is kept in position by two solid wooden brackets (D, D). Two slips are also added to the base of the s

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A Movable Counter or Sideboard

Fig. 11 gives the front and back view of this very useful piece of stage furniture, which may be utilized either as a counter, sideboard, or bottom of a dresser; or, appropriately draped and surmounted by a looking-glass, it may serve as a dressing-table. Fig. 11.—Portable counter or sideboard. Fig. 12.—Detached parts of counter or sideboard. The sections are illustrated in Fig. 12 , the pieces marked 1 forming the sides, 2 the top, and 3 the front. Steel eyes are numbered 4, and their purpose i

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A Back-Cloth

The construction of home-made theatrical effects may be closed with brief hints regarding the much-needed and ever-useful back-cloth, which plays a part in most exterior scenes, such as park lands, gardens, &amp;c. It consists of several lengths of calico joined together to form a square of the size required. This is then fixed on a large wooden roller with a similar roller at the bottom to weight it, and prepared with a coating of size and whiting. A friend of unquestionable artistic abilit

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The Foundation

It is necessary that the amateur who wishes to make his efforts at private theatricals a success should have a fair knowledge of the art of “make-up.” While no great amount of money need be expended, at the same time the best results can be obtained only from the use of good cosmetics. Grease paints, obtainable from any purveyors of theatrical appliances, are excellent and not very expensive. There is no doubt that many people consider it quite sufficient to dab a little paint on the face, smear

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Lining

Lining is an important part of “make-up,” by its aid the lines of the face being diminished or deepened, shadows created for sunken effects, and “high lights” produced— i.e. touching up the cheek-bones to give them prominence. By careful use of this latter branch of “make-up” the whole character of the face can be changed. High lights are produced by a lighter shade of grease paint than that used for the rest of the complexion, being placed upon the feature to be emphasized; for instance, if the

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“Juvenile” Make-up

In making-up for the character of a juvenile, the strength of light on the platform or stage is to be taken into consideration. If a fairly strong light, the make-up must not be too deep, but the player will soon become experienced in this matter by taking the trouble to consider the effect of different lights. Before commencing with the grease paints the face is well rubbed with cold cream or cocoa butter, and wiped with a towel, so that none of the former remains visible. Fig. 9.—Preliminary l

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“Middle-Age” Make-up

This is perhaps the most difficult make-up, for it is much easier to go to one extreme from another, than to make a fairly young person look like a middle-aged one ( Fig. 13 ). In the case of a man it is advisable to depend on the addition of whiskers and mustache, and even glasses or spectacles lend age. A sallow paint is usually required for middle-age make-up, and it can be blended with a lighter paint for pale effects; but to produce a hearty bloom or florid complexion, the application of a

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“Old-Age” Make-up

If the character desired to be represented is carefully studied, notice being taken of where there is a high light and where the shadows of the face lie, there should be little or no difficulty in producing a lifelike representation. Particular notice should be taken of wrinkles and lines, and these must be carefully blended as in Fig. 14 . The next essential is the wig, either gray or white being the most useful. For the old age complexion it is better to get the grease paint for that purpose;

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Beards and Mustaches

The most inexpensive of these necessary adjuncts to the home entertainer’s make-up are undoubtedly those he models for himself from crêpe hair, which can be bought in a plait and untwined as it is wanted, a coarse-toothed comb being passed through it. With a few twirls it can be made the desired shape and cut, and when wanted for a beard, opened out until it has a hollow cone-shape appearance, and placed on the chin after a thin coating of adhesia has been applied. The same method applies to eye

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The Removal of Make-up

Having told how to put on make-up, a few instructions for its easy removal may not be out of place. Whilst soap and water will take off the grease paint, the simpler method is to remove it with one of the following: Cold cream, cocoa butter, or olive oil. Vaseline is to be avoided, as it will often cause a growth of hair; and for this reason when purchasing cold cream it is advisable to procure the best, for in the cheaper makes vaseline is largely employed. Pieces of cloth kept specially for th

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How It’s Done

The machinations of the full-fledged quick-change artist afford the mind of his amazed spectator much speculation and curiosity as to how his marvels of dexterity and transformation are achieved. His velocity would put summer lightning to the blush. His mind and body are as pliable and elastic as his face; his very nature appears to undergo a swift metamorphosis of changes in the adoption of the various manners, idiosyncrasies, attitude, and gait of the character he portrays. Although agile and

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An Inexpensive “Stock in Trade”

Let us study the tools and qualities essential to the quick-change artist. His stock and properties are all inexpensive, save the wigs. It is not advisable to purchase cheap ones, as they soon show the signs of wear; while hair in good condition, and carefully kept, lasts for years. His wardrobe contains garments of the cheapest material, and here the old clothes-bag of the house, in which articles doomed for a jumble sale are placed, is invaluable. A clever needle and a little ingenious manipul

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The Dresser

The dresser plays a part no less important than the artist. Upon leaving the stage the latter immediately wrenches from his person the garment in which he has just appeared. The dresser is close to the exit with costume No. 2 held out widely. The performer walks straight into the clothes, of which the clock springs are widely expanded. In a flash they close round his person. Another dresser adjusts wig, beard, &amp;c., as he passes to his next entrance ( Fig. 4 ), with the result that he app

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Talent v. Material Aids

A very popular means of amusing a house-party is the impersonation of various characters. It is an entertainment more suitable to the limits of a drawing-room than tableaux or amateur theatricals, which of necessity entail a certain amount of expense, scenery, lighting, and much labor and anxiety in securing and drilling an efficient cast. Although it is doubtless true that this art needs some natural talent, skill, and mastery of detail, much can be done by practice and self-reliance. A clever

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Knowledge from Nature

In order to master the idiosyncrasies, mannerisms, eccentricities, and habits of characters, study is essential, and for this reason it is probably best to acquire knowledge, not from imaginary heroes of fiction or drama, but from the fount of Nature. Popular statesmen, musicians, admirals, soldiers, prelates, scientists, novelists, and famous actors walk our streets to-day, and each possesses some anomaly of expression, feature, speech, gesture, or mannerism which is distinctly his own, and dis

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Speaking Impersonations

Speaking impersonations are more difficult to achieve successfully, for in them, as a rule, the artist has no regalia to depend upon. His hair, his face, his voice, his limbs, his fingers are his only aids, but these are more than sufficient for the talented and skilled performer. His voice is as elastic as his features in power of mimicry. He should be clean-shaven, but with a plentiful crop of hair, which he can arrange and manipulate as he wishes with a mere twirl or pat of the hand, and thes

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Temperament

The psychological treatment of characters depends and is influenced in no slight degree by temperament. The character the student is about to study has its peculiar atmosphere of mind and body, which unconsciously dictates and regulates its actions from head to foot. The most important temperaments are:— 1. The optimistic temperament , embracing impulsive, warm-hearted, sanguine, easily-pleased, tender, ambitious dispositions. 2. The pessimistic temperament , embracing nervous, timid, sensitive,

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Character and Circumstance

The artist must never forget the important crucible of circumstances which molds and forms each character, and sometimes is potent to change the most optimistic temperament to one of pessimism and cynical bitterness. Yet, while remembering this, one must probe beneath the stamped envelope of environment to decipher the hieroglyphics of the fettered soul inclosed. One does not find the wild, untutored gestures of the stump orator in the refined politician, nor the turbulent raving of the fanatic

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Marvels of Chapeaugraphy

Every entertainer must have felt at some time or other the need of a short “gag” to fill up that awkward gap which so frequently occurs between the conclusion of one long piece and the commencement of another. The mind of an audience is of a flighty nature and requires to be kept continually amused, or it will wander into paths of boredom; and many a good entertainment has failed for the simple reason that the ball has not been kept rolling. It is during one of these uncomfortable pauses that th

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Popular Characters

Napoleon makes a good character to represent, and his hat is very easily made. Draw two sides of the felt through the hole in the center, and pull the hat firmly down about your ears, as in Fig. 2 . Assume a stern expression, suggestive of Waterloo, thrust your left hand into your breast, hump your shoulders, and look fiercely at the audience as though you could see Wellington at the farther end of the room. Later on in the performance you can represent Bonaparte’s great antagonist by making the

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The Comical End-men

Some people imagine that a black face, a pair of large check trousers and a rather dilapidated hat, are all that’s necessary to make a nigger minstrel. This is, however, a great mistake, and whosoever feels the stirring of an ambition to amuse his friends with a nigger entertainment, must not be discouraged if he finds the road harder than he expected. Its difficulties, however, are far from insurmountable. Fig. 1.—Seating arrangements of nigger minstrel troupe. For a really successful nigger en

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Minstrels’ “Make-up”

As far as “make-up” is concerned, this should present no difficulty whatever. Many barbers, and some music shops, can supply “nigger black,” which must be rubbed into the face and hands, after the skin has been well washed and dried. When the performance is over the black can easily be removed by means of soap and hot water. To redden the lips and enlarge the mouth, use carmine or rouge; cover the lips and paint them to appear as though stretching almost from ear to ear ( Fig. 2 ). Cheap wigs ca

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From Failure to Success

The “end-men,” with whom lies the task of producing most of the fun of the nigger entertainment, must be possessed of a ready wit—able to tide over awkward pauses, prepared with some “gag” when the fun is beginning to flag, and capable of turning disaster into a mighty success. From Mr. Johnson’s placid obtuseness they will be able to draw much sport, and bandying jokes at each other’s and the interlocutor’s expense, should keep the audience shaking with laughter. Whilst on the subject of jokes

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Coon Songs

And now a word about the singing. It goes without saying that the larger the troupe and the better trained the voices, so much the more enjoyable will be the choruses. The number of songs from which to select is legion; the best plan is to write to some leading musical publisher, telling him what you want. He will be only too pleased to send his catalogue with some advice as to what will prove suitable. Avoid any comic songs with a double or doubtful meaning, and keep to strictly characteristic

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Songs and “Gags”

Nigger entertainments are usually divided into two parts, the first consisting of songs and “gags,” as the short dialogues and impromptu jokes are called, whilst the second is devoted to stump speeches and one-act dramas or farces. So far as stump speeches are concerned, excellent collections are published by the leading publishers of that class of entertainment. Your bookseller will obtain a catalogue for you, and a choice can then be made. The speeches should be very carefully learnt by heart,

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One-Act Dramas

With regard to one-act dramas and farces, a very exhaustive catalogue can be furnished by publishers, with full instructions as to how they should be performed. A word of advice, however, to the intending actors. Too much care cannot be expended upon preparation and rehearsals. Nothing will go of itself in this world, and least of all plays and sketches; it is a fatal mistake to imagine that the smallest drama or even “gag” will succeed by its own merits and with only a little help from yourself

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For “Nigger Minstrels”

In the previous chapter hints have been given to enable a party of five or more performers to give a Nigger Minstrel Entertainment. The object of the following is to show how one or two people can contrive to amuse their friends with a few negro performances. The pieces are suitable either as items in a variety entertainment, or as convenient “gags” to be introduced between longer entertainments when the interest of the audience is to be sustained by some timely diversion. It might be remarked,

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Introducing Jokes

All jokes should be introduced by a certain amount of conversational patter between the Interlocutor and “Bones.” Mr. Johnson, the interlocutor, is always a very simple-minded person, unable to see any joke until it has been fairly thrown at him, and perfectly innocent in the presence of the most obnoxious puns. He has a certain patronizing air with his companion which only serves to make his innate simplicity more delightful. Mr. Johnson maintains an impassive face in the most ludicrous and try

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Stump Speeches

A little extra effort in the matter of make-up might be attempted for stump speeches, for the orator should be as “seedy” as possible in the way of costume. A tattered coat and battered hat are usually considered essential to the character, whilst an old dilapidated umbrella, of bulky form and shapeless proportions, is useful for brandishing at the emotional parts or thumping as the impressive points in the speech are reached. The stump orator should deliver his speech mounted upon a rickety cha

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Music for Minstrelsy

Taking it for granted that the would-be minstrels have reasonably good voices, the only difficulty will be “selection.” Of course a great deal of tact is required to know what class of music is best suited to the audience. Have as much variety as possible. Do not confine yourself exclusively to comic songs or to sentimental ditties alone. At all costs keep your audience cheerful and amused. Too much humor is apt to nauseate, but too much melancholy will certainly spell failure. Try to gauge the

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True-to-Life Representations

Tableaux may be divided into two important classes—the portrayal of abstract qualities, which usually includes motionless figures posed in sustained attitudes, and historic and romantic groups, in which the actor is allowed some occupation. The Hero. The Martyr. The first class is most difficult of successful achievement. In it, the whole gamut of emotions common to mankind may be symbolized, and in these attitude and gesture are governed by the mind, which should be revealed in every muscle,

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Staging

Fig. 1 depicts the lighting arrangement at back of frame. The guard-wires, running from side to side, are to prevent the possibility of dresses catching fire. The footlights usually consist of ordinary night-lights with illumination glass covers. Behind these are tin shades for reflectors. Electric light, if available, can be substituted for oil lamps as shown. In the same sketch a curtain-raising apparatus also appears. Two persons should be chosen for its manipulation, and be always stationed

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Penelope and Ulysses

For example, a pretty novice, sitting at a spinning-wheel, weaving imaginary threads from a spindle of flax, will do very well as Penelope, spinning her endless garment during the absence of Ulysses. In a simple white or colored gown, with her hair falling over her shoulders, and her head bent slightly over the wheel, she makes a pleasing picture. Cinderella, seated on the floor, gazing into the cinders, with her hands clasped round her knees, is another quite easily adopted attitude. Another pr

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Stage “Props”

The materials used for characters need not be expensive or difficult to procure. Cheap sateens, muslins, velveteens, gold paper pasted over cardboard and large buttons, glass diamonds and emeralds, tinsel and silver braid, bright-colored ribbons from the remnant basket, discarded shoes and stockings, transformed by cheap dyes, vari-colored beads, imitation ermines, tin swords and armor—all these are useful and effective beneath the lime-light. Backgrounds may be arranged by means of curtains dra

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An Old Favorite for Indoor Parties

One of the most popular indoor entertainments for winter evenings, or indoor parties, both with children and “grown-ups,” is charades. Not only do they afford amusement to the audience, but the players themselves obtain a good deal of fun from their efforts to baffle those who are listening to them. Suppose, for instance, that a “party” is composed of some twenty people. About five or six of them are selected to go outside, choose a word, which can easily be split into syllables, each making a w

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An “Artificial Window”

A start can be made in construction by procuring a sheet of strong white paper of the requisite size. With India ink or chalk the thick black lines, as shown in Fig. 1 , are painted in. The dotted lines represent the sheet of paper, the four holes the positions at which the nails fasten it to the wall, and the finished effect of an interior window is obtained by the draping of art muslin or curtains, as suggested by the diagram. Oftentimes a little exterior scene is wanted. A simple way of impro

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“A Seaside Scene”

At first sight it might seem out of the question to produce a really passable scene representing “the rolling deep.” This may be easily carried out, however, by a careful study of Fig. 4 , and the requisitioning of such commonplace articles as a large white sheet, which is stretched and nailed to the wall, a few rolls of stout white-backed wall-paper, hassocks, boxes, and old brown or gray cloths. Fig. 4.—A sea scene. The wall-paper is cut into three lengths corresponding with the width of the s

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A Portable Tent

Fig. 5.—A portable tent. A portable tent is made from a few sheets of brown paper glued together to form a huge square (A, A, A, A, Fig. 5 ), the paper cut out to the shape described (B, B, B, B, Fig. 5 ), and folded at the dotted lines, C, C, C, C. The whole is then arranged over three poles, crossed and tied together at the top, an opening or entrance being formed by the segment cut away....

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Outfit for Highwayman

A highwayman’s mask will prove easy of construction, and a thing of delight to the average boy. Moreover, it will often find a place in charades. Fig. 6.—A highwayman’s mask. Fig. 7.—Highwayman’s leggings. On a width of black sateen or any other suitable material a design is drawn as shown in Fig. 6 , marked with chalk and cut away to fit the face. A piece of thin black tape is fixed to either side, so that the mask may be tied round the head just above the ears. Amongst the highwayman’s out

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A Policeman’s Helmet

Two hard felt derby hats properly treated make an excellent representation of a policeman’s helmet, which will very often be found useful for charade acting. It is first of all necessary to cut off the brim of one of the hats at the point where the band comes. The crown of the second one is also cut off, but some three inches above the band. Fig. 9.—Front and back view of a policeman’s helmet. The first crown is next carefully fitted over the brim portion of the other one, and tacked round firml

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A Chinaman’s Head Covering

A Chinaman is a character quite easily portrayed, and one which can be simply represented by pressing into service articles of everyday use. From a piece of pale pink sateen the head covering (A, Fig. 10 ) is fashioned, a string run through at C to be drawn out or in at will; and a piece of rope or twist of darning cotton, B, sewn on at the back for a pigtail. Then if the would-be Chinaman wishes to cover his head still further, the lid of the linen basket provides him with a hat, when a piece o

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Advertisement Charades

Whilst some people consider the ordinary charades the best fun, there are others equally ready to admit that they prefer the “dumb” representation of words chosen, one of the most popular of these being the “advertisement” charade, wherein some well-known poster is chosen and acted in silence. A well-known soap advertisement which has been so popular for years serves as an excellent illustration. There are few, if any, who could not recall the picture. A man, dirty of face and hands, with torn c

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Baronetcy [BARON-ATE(ET)-CY(SEA).]

Enter two boys dressed as highwaymen. For this purpose art muslin scarves tied round the waist, hats and masks as already described , and toy pistols are enough, with a scenery of trees painted on some stout paper. First boy addresses his comrade in tones of mystery, glancing to right and left as though he is expecting somebody. At length he holds up a warning finger: “Hist! The Baron comes this way!” They secrete themselves and wait until the Baron approaches. He looks round, whereupon the two

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Beanstalk

Scene. —Widow Frankey’s kitchen. Representation of this made by use of window described above , kitchen table and chairs, plates, pastry board, &amp;c. Widow Frankey, in apron and cap, is busy making pastry, and talking to herself about her son Jack, and wondering when he will return from the errand on which she has sent him. Jack appears. Tells his mother where he has been, and she scolds him for being so slow. He goes out in a temper, and Widow Frankey leaves her work, sits down and cries,

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The “All in All”

The artist should study and cultivate the correct and various methods of telling a story, remembering Pope’s adage— If the style of writing is important, how much more is the manner of verbal narration. The wittiest story may fall to pieces in the hand of the inartistic, while the most trivial incident humorously handled may be greeted with shrieks of merriment. The raconteur must give his audience the impression of frank geniality and friendliness without familiarity, his attitude cunningly elo

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An Artist—and a Gentleman

The artist should be large-souled and natural in attitude and gesture—a gentleman from head to heel in the best sense of the word—and the result will brace up and encourage him, for he will observe the faded city merchant laughing with the heart-whole abandon of the child. It is not necessary, and it may become even monotonous, to pose forever as the comedian who sees fun in every incident around him. A great and versatile artist, now deceased, in the middle of his recital would sit down at the

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Music and Words

The speaker should learn to harmonize his music so exquisitely with his words that to the uninitiated the accompaniment seems rather extempore improvising than the result of toil and diligence. As a matter of fact, it is extremely rare that even the greatest artists dare trust to the inspiration of the moment to provide them with adequate accompaniment. An artist may have a theme or motif borrowed from some composer, and he may be sufficiently gifted to plan it out and develop it for himself, bu

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An Accompanist in an Hour

Whilst “vamping,” or the improvising of a musical accompaniment, is considered by many anything but a classical accomplishment, yet those who can accompany in this way are a decided help to a general or children’s party. In either case among the guests will be found some who possess the gift of song, either comic or sentimental, but who lack the power or the ability to play their own accompaniments. Fig. 1.—First chord. Play First chord Moreover, it may happen that the services of a skilled pian

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Vamping Chords and their Relative Changes

There are three principal chords in a key which are sufficient to cover the range of melody. Starting in C, the first chord for the right hand from the little finger to the thumb is made up of the notes middle C, bass G, and bass E. The left hand strikes the octave C immediately below the right hand thumb on E. ( Fig. 1 .) The second chord starts from little finger of right hand on F, first finger on C, and thumb on A in bass, the octave F, below the right hand A, being struck in the bass. ( Fig

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A Concert at Home

To possess a gramophone or phonograph is to be already furnished with the means of giving a very successful and pleasurable entertainment. There are so many “entertainments” that do not entertain, and so many “amusements” that do not amuse, that it is a distinct relief to know where to turn when a mixed party of guests have honored you with their presence. With the number of gramophones, phonographs, talking-machines and zonophones now on the market, it is not the object of this chapter to speci

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Humorous Songs

With a mixed company humorous songs are usually appreciated, and one may be very well introduced at this point. The greatest care must be exercised in avoiding anything that the most squeamish person might think objectionable. The number of perfectly harmless and refined comic songs is great, but unfortunately the number of vulgar songs is greater. Accept nothing, therefore, that you have not heard yourself and know to be perfectly suitable. A good piano solo may now be very serviceable, or even

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General Arrangements

And now for a few hints as to the actual performance. Do not be too ready to give encores. Many people really dislike to hear a thing twice, and unless you see there is a very general desire amongst your audience for a repetition, pass on to the next item immediately. Have the seats comfortably arranged, and see that every one is seated before beginning your programme. Copies of the programme should be handed to each person present, and the name and number announced before starting the machine.

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A Great Inventor’s Hopes

A hundred and fifty years ago the fashionable society of London went mad over musical glasses. When the cloth had been removed and the company were seated at the polished table, discussing the dessert and enjoying the rare old port, it was considered a great attainment, after having partially filled the finger-bowls, to be able to extract music by casually rubbing a finger around their rims. Strange as it may seem, even the great composer Gluck did not consider this musical trick beneath his gen

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Little Water = Low Note

The note given out depends entirely upon the amount of liquid in the glass. The less water the lower will be the note; the more water the higher it will be. Therefore taking eight glasses, or fine finger-bowls, and filling each one to a different level with water, a complete octave can be obtained. The amount of water to be placed in each depends entirely upon the size of the bowl and the texture of the glass, and must therefore be determined by the performer himself. A keen ear will soon enable

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Half-Notes

Half-notes can be made by adjusting the amount of water, which can be colored accordingly; but for an ordinary entertainment the octave will be found quite sufficient, and at any rate to begin with, will require all the musician’s attention. When he can play quickly and correctly with his first eight glasses, he can introduce half-notes, but it is very unwise to start with too many vessels, for it will give both him and his audience far greater satisfaction to hear eight glasses played well than

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A Sweet-lipped Friend

There is something vital in the ordinary bell that dominates all of us. It is an important factor in our lives. The railway bell’s clamor reminds us that haste is needed to catch the departing train. The dinner bell tells that the meal is ready for our consumption. The church bell, the wedding chime, the fire bell, the tolling funeral bell, are all our faithful monitors and guardians, but the exquisite voice of the hand-bell is the sweet-lipped friend that wooes us in our hour of ease. Hand-bell

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Bell-ringing Companies

Bell-ringing companies consist of five players, and these are generally composed of two ladies and three gentlemen; all should be physically strong and possessed of the sense of strict notation and music-reading ability. The ladies generally undertake the alto and tenor parts. The strongest player manages the bass bells, and the most reliable and cool-headed of the party the treble, which is divided into first and second, and is extremely important, needing no small amount of agility and nerve,

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“Flourishing”

“Flourishing” the bells is impossible in quick music, and is only undertaken in slow passages, when the notes are to be sustained. In working the bells alternately, the dying vibration of one bell must never be allowed to mingle with the next, for this is even more discordant than when, in pianoforte playing, a pedal is kept down too long, and makes the vibration of one chord jar into the next. To prevent this, the vibrating bell should be placed on the table immediately before the other is abou

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Correct Breathing and Voice Production

Fig. 1. One of the most delightful sounds in the drawing-room is the music of the human voice, uplifted in song to a soft pianoforte accompaniment, if, of course, the voice be tuneful, easily produced, and sympathetic, and the breathing taken without effort. The first steps to be considered in singing are (1) correct breathing, (2) voice production, (3) clear pronunciation. The tongue should be hollowed behind the teeth, not rolled up in a ball, thus closing the vocalist’s throat. The uvula, so

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Dainty Modern Songs

In drawing-room singing, four or five-versed lyrics are not nearly so charming as the dainty modern songs of two or three verses, and these must never be undertaken until the student has reached a proper understanding of phrasing, breathing, and expression. Many singers prefer to accompany themselves, but this has its disadvantages, as the voice is far better produced when the vocalist is standing. The position should be easy and natural, the head erect, but not lifted back, as this contracts an

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The Value of a Good Accompanist

When performing, it is necessary to be equipped with a good accompanist—one who understands the art thoroughly, and refrains from banging out the notes as if the voice of the singer were merely the background to his own performance. The three qualities essential in an accompanist are sympathy, artistic sensibility, and discernment to understand the temperament and conception of the vocalist. An inefficient accompanist has power to transform an artist’s highest and most conscientious endeavor int

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Why Singers Often Fail

It is very usual for an ambitious student to be consumed with conscientious determination. She makes up her mind to learn a difficult song, and she works assiduously at it day after day, week after week, until she knows every word and every note. By-and-by she performs it proudly to a select circle of friends, and she is surprised and discouraged to find that all her keen enthusiasm for the song has gone. It does not seem to suit her voice; the words have lost meaning. The emotion she at first p

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The Keynote of Success

Fig. 1.—Correct position for reciter. Fig. 1 a .—The stiff, unnatural position. It is frequently and quite erroneously supposed by the uninitiated that, given a good memory and a pleasing voice, the young would-be elocutionist may become highly successful in the art of reciting. It is only the painstaking, experienced artist who realizes that these attributes are but as the husk to the nut, the calyx to the bud. Cased in its shell is the kernel, and folded in its green sheath are the petals of t

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The Speaking Register

The paragraph may be repeated in a gradual crescendo until the full power of the voice is used, always taking care to avoid harsh and stridulous tones, and not strain or fatigue the throat. When the student has accomplished this to her satisfaction, she should allow her voice to die gradually away, until it is almost a whisper, but her tone must always be clear and round in quality. This method will bring many different shades of inflection and feeling into the voice, and she will be astonished

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Appropriate Gesture

Appropriate gesture presents difficulties, and, although occasionally a powerful aid, it is more often a stumbling-block to the inexperienced reciter. Many otherwise excellent recitals have been marred by superfluous demonstrations, which remind one forcibly of the action songs and recitations performed in a kindergarten, whilst not a few reciters hedge themselves in with boundaries. They will mention the sea, and point to a horizon, indicate distant hills, wood and lake, frequently forgetting t

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Methods of a Famous Siffleur

There is no form of drawing-room entertainment which, when well done, is more interesting than whistling, with pianoforte accompaniment. Below are embodied the views and methods of Mr. Charles Capper, the famous English siffleur, regarding this unique and attractive means of entertainment. The great part of humanity knows nothing of that ability of piping and whistling so natural and melodious in the blackbird and thrush. Most of us have at some time or other put by a little of our bread-and-but

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Breathing and Tone

The most important qualities to be observed in whistling are production and control of breathing, modulation, purity and roundness of tone. The method of breathing in whistling is exactly similar to that used in vocalization, and can be taught by any good teacher of singing. Scales and exercises should be daily practiced with infinite care,—to keep the notes clear and of even pitch. Slurring or stumbling in a quick passage can be easily perceived—perhaps more so in the whistler than in the singe

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Suitable Solos

Whistling may be divided into two classes:— (1) The florid. —necessary in such solos as Arditi’s “Il Bacio,” which seems at first to the beginner to teem with insurmountable difficulties, but which a little earnest practice will soon overcome. (2) The sentimental. —In this category are Bishop’s early English songs, such as “Bid me discourse,” “Tell me, my heart,” “Should he upbraid,” “Lo, hear the gentle lark,” “Love has eyes,” Clay’s “I’ll sing thee songs of Araby,” &amp;c. All these songs

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The Cuckoo of Society

It has been asserted that the noun “bunkum” is first cousin to the verb “to bunk.” If so, the dealer in bunkumisms disdains the connection until matters grow too hot for him at the end of a performance, when, as a last resource, he hugs his relative gladly. Cupboard affection this, and in order to shelter himself from the righteous wrath of the audience, achieves a flying bunk from the platform. The word “bunkum” is interesting. It is defined in the dictionary as “speech spoken merely to please

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Sure of Success

I am sure of success. I imitate the performer’s patronizing complacency perfectly. I smile and sneer politely with all his evil suavity, and then I fire my pistol, shatter the glass of the threepenny, and my aunt rises from her chair with a piercing shriek. “Tom, you little wretch, what have you done?” With an airy smile I bid her be calm, and from the rear part of my person produce with a deft movement her precious belonging. “Your watch, madam,” I say, with all the superior pleasantry of the “

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Thought-Reading Extraordinary

I told them briefly and airily that I was now about to exhibit my wonderful skill in thought-reading. Perhaps I should add that my sister Jane, who adores me, was chosen as my confederate. Bidding them fix on a number, which I would at once discover by the simple means of placing my fingers on their temples, I withdrew with a bland smile into the passage. When I returned they giggled a little, and one twelve-year-old cynic of the opposite sex piped out scornfully— “You’ll never guess it, Tom. Yo

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Fake Ventriloquism

By-and-by, delighted with my many successes, I studied and exhibited the difficult art of ventriloquism. Jane and I, after long saving of pocket-money and hoarding of occasional tips—bestowed by kindly relatives, susceptible to hints—succeeded in purchasing a dilapidated doll from a second-hand dealer, and, mastering the anatomy of its joints, produced it, seated in the place of honor in front of a curtained receptacle in which Hyde, our servant, was cramped with a mouth organ, glass of water, s

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The Three Old Maids

An item that makes for novelty and change in an evening’s performance is the following:— Secure three young girls—I don’t mean kidnap them, but use your masculine powers of persuasion. (I find the majority of women folk need little when it’s a matter of dressing up and showing off to hilarious friends.) This is a digression. Each damsel must have an old woman’s mask, the uglier the better, secured at the back of her head by means of elastics, which are easily hidden by her hair. She must wear a

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Bunkum Lectures

I have frequently amused my long-suffering friends and relatives by Bunkum Lectures. For example, one on Toe and Cornology, quite an original science, gives scope for the most idiotic remarks on the characteristic traits portrayed by toes. For my lecture I have an easel, covered with a block of thin paper perforated at the top, so that the sheets are easily torn off. On these I rapidly sketch in turn different types of toes in chalk. If the entertainer is unable to draw, he can probably persuade

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The Sharp(?)-Shooter

After this, in order to secure the forgiveness of my hearers for my opinions and oratory, both pure bunkum, I bring a trick to their notice, which I work with Hyde, and of which I am rather proud, because it is quite original and works awfully well, in spite of the fact that it’s as simple as the alphabet. For those who would like to try it, here it is:— Hyde, hidden behind me, is armed with a paper bag inflated with air. Beforehand I place a used bullet on the floor at the spot at which I inten

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The Ghost

Occasionally I work a ghost in the following way. After some patter, in which I inform the onlookers that I am about to conjure up the shade of some famous character, I extinguish the lights, and withdrawing to a corner of the room, enfold myself in a long black mackintosh or coat that shrouds my head and figure completely. I strike a match behind the curtain, and, when I have a good spark that will last a few seconds, blow out the flame, and hold the end of the match between my teeth, so that m

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A Practical and Comprehensive Guide to the Art of Valentine Vox

There is one form of entertainment which perhaps makes a stronger appeal to the average boy and young man than almost any other. It would not, in a sense, be wrong to say that ventriloquism is, and has been for a great number of years, the most envied of all accomplishments incidental to the art of the amateur and semi-professional entertainer. True, ventriloquism for many centuries was regarded as an adjunct to wizardry, and the exponents of black magic, but the great success achieved by the wr

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All Born Ventriloquists

Unhappily there are other very prevalent misconceptions to be removed before instruction can be either given or undertaken. The marvelous and almost incomprehensible powers attributed by the late Mr. Henry Cockton to his popular character, doubtless gave rise to the idea that ventriloquism was a gift natural only to those possessing unusual formation of the throat and vocal organs. Modern research and investigation, however, have proved that every one is a born ventriloquist, that the power to m

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The Initial Stages

Just as the successful illusionist is called upon to devote many many hours of his time to the speedy and finished manipulation of cards, coins, and billiard balls, so the young ventriloquist has an equally uninteresting course to traverse. It is, however, possible for the initial stages of the work to be accomplished in less time than is the case with conjuring, and while the work has to be done all the same, dry and tiresome though it may be, after it is once accomplished the performer can put

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Breathing Exercises

These should be undertaken regularly every day, preferably early in the morning and in the open air. Stand erect, shoulders drawn well back, arms hanging loosely at the sides, and then, closing the mouth tightly, draw in a deep breath, retaining it for some seconds in the lungs. Not infrequently it happens, that the ventriloquist when performing is called upon to keep a conversation going for quite a minute and a half without the opportunity of recharging the lung cells with a fresh supply of ox

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Automaton—or Man?

It has previously been said that ventriloquism largely partakes of the nature of an illusion, and this effect is produced by the performer uttering sounds without giving visible indications of the fact. Consequently, when the audience have before them two figures, a live and a dummy one, and the mouth of the “dummy” opens and shuts to correspond with the words used, whilst the face of the ventriloquist remains mask-like and passive—the illusion that it is the “automaton,” and not the man who is

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Speaking with Still Lips

A study of the alphabet reveals that difficulties lie in the path of pronouncing certain letters—a, e, i, o, u, c, d, g, h, j, k, l, n, q, r, s, t, x, and z—issue from the mouth quite easily; but b, f, m, p, v, w, y all make a demand upon the muscles of the lips and cheeks. Unfortunately these letters often recur in ordinary speech, and as it is almost impossible to speak them distinctly without facial movement, appropriate vocal substitutes have to be made. On the border line is “b,” which is g

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Two Kinds of Ventriloquism

Ventriloquism may be divided into two classes—the first and more easy of acquirement known as “near,” i.e. including all those vocal illusions produced with the aid of automata; and “distant,” which takes in the various illusions achieved by what is known as “throwing the voice.” The most finished exponent of both these branches, of this or any other age, was the great Lieutenant Walter Cole, and he introduced into his entertainment such an exquisite blending of the two styles that his example m

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The Old Woman’s Voice

Known as the “theek” or “rush” voice, it partakes of the nature of the squeaky, shrill sound produced by a reed instrument. Most people are gifted with the power of singing “falsetto,” and the “theek” voice simply consists of falsetto tones somewhat exaggerated. Either the words “queek” or “theek” may be used for the preliminary practice, the latter perhaps being preferable. As it is not intended in these chapters to enter into a practical discourse on the anatomy of the throat and vocal chords,

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Ventriloquial Figures

Perhaps it is hardly right to assume that every one has seen a ventriloquial figure; certainly many will be unacquainted with its peculiarities and modes of working. The dummy is usually a humorous representation of some grotesque character—an old man, with strongly accentuated peculiarities, such as a red nose, wrinkled skin, and big jaws; an old woman, with thin, pointed nose, sharp eyes, and scanty locks; a little boy grinning saucily, and having the appearance of possessing the wisdom of all

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Ventriloquial Figure Manipulation

Always adhere to a prearranged order of ventriloquial figures. If you commence your entertaining career with the old man on the right knee and the old woman on the left, keep to that arrangement all along. A change will inevitably result in putting the wrong voice into the wrong mouth, and the result will be disastrous. Bear in mind that all the while the endeavors of the figures are to make you appear ridiculous in the eyes of the audience, and they should turn all your sensible remarks into no

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Voice for “Little Boy”

When a child speaks he almost invariably does so in a high-pitched tone, more or less directing the sound through his nose. This being so, the “theek” voice is the one most suitable for him. The similarity between it and the speech used for the “old woman” may be avoided by speaking in a somewhat lower tone, and in a simpler and more disjointed fashion. Suppose, for instance, that you ask the little boy a question? Get him to repeat that question after you, and give the answer in short, jerky, b

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The “Distant” Voices

By this time the young ventriloquist should have attained sufficient proficiency in the art of manipulating “knee” figures to feel confident of venturing on the far more difficult and relatively more important “distant” voices. The real test of ventriloquial power is when the performer is capable of making sounds appear to come from a distance, i.e. so modify his utterances that they appear to the audience to proceed from some point remote both from the entertainer and from themselves. The basis

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“Level” Sounds

Of the three “distant” voices, the “level” is, perhaps, the most useful and the most generally successful, because the mere fact of the entertainer being on the same plane as the door and the windows, from behind which people are supposed to converse with him, provides him with opportunities for using the facial muscles and for distorting sounds, and so heightening the illusion. For instance, whereas he must turn full or three-quarter face when using the “roof” voice, he can carry on a dialogue

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The “Floor” Voice

This voice is extremely useful for such illusions as “the man in the cellar attending to the gas meter,” &amp;c. It calls particularly for a display of histrionic powers, and the mere fact of bending down, as the sounds appear to come from below, helps to give it the necessary subdued and “distant” effect. Whilst speaking very slowly in the “bee drone” thrust the chin forward, contracting the larynx as much as you possibly can; roll back the tongue to stifle the sound in the throat, and the

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Ventriloquial Imitations

Although imitations can hardly be classed under the heading of pure ventriloquism, yet they may be pressed into the service of the entertainer to promote variety in his performance. They serve, too, another very useful purpose, inasmuch as they provide a relief from what must inevitably prove a strain on the vocal chords. As has already been said, ventriloquism necessitates the placing of the vocal chords in a somewhat unnatural position, and the result is that the exponent, particularly in the

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A Dog Fight

An imitation of a dog fight will form a spirited item in your programme. By your actions you may suggest, for instance, a small cur yapping vigorously until a larger and more ferocious animal endeavors to quiet him. To produce the higher notes of the dog-bark, the falsetto or “thick” voice must be used, while the deeper guttural tones already explained for use with the “darky” serve for the larger dog. It is a little difficult to intersperse the two sets of sounds without expressing facial conto

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The Lion and the Cow

Under the cover of a screen, the roaring of a lion is simple of accomplishment. Use an ordinary lamp chimney, and give vent to a series of deep-throated roars from this. The effect will both be natural and startling. With the same instrument the deep lowing of a cow can be perfectly imitated, the lips producing the familiar “moo,” the sound being gradually drawled through the glass chimney. To copy a saw at work is quite easy. Get a ruler, or some similar article, to represent the saw, and draw

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The Complete Entertainment

By this time the young ventriloquist should have at his command both “near” and “distant” voices and imitations. It only remains to say a few words regarding the manner of giving an entertainment. Although smart dialogue is very entertaining, it is apt, after a little while, to pall; and to obviate this it will be found well to introduce an occasional song or comic recitation. In both cases these may take the form of parodies, but in the former a serious song really well sung by the ventriloquia

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Magic Memorized

It is said that at some period of his life every boy becomes stage-struck, and it may be averred with equal truth that sooner or later every boy is seized with a desire to become a conjurer. Considering the fascination to old and young alike of a conjuring entertainment, this is not to be wondered at. But when the would-be conjurer begins to realize the years and years of practice necessary before he can accomplish his desire, he soon despairs; and instead of proudly mounting the platform as an

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The Dye-Works

Presentation. —The conjurer hands round for inspection a small sheet of white paper. Upon its being returned, he rolls it into a cylinder. Taking a couple of red silk handkerchiefs from the table, he proceeds to poke them into the tube by means of the magic wand. He continues to force them down until they at length make their appearance at the other end. During this short passage through the tube, however, an astonishing transformation has ensued. Instead of the handkerchiefs being red, one emer

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The Dissolving Coin

Presentation. —The conjurer, standing a glass of water upon his table, borrows a quarter, and places it in the center of a loaned handkerchief. He then requests a member of the audience to hold it over the glass so that the folds of the handkerchief hang around it and completely hide it from view ( Fig. 5 ). The performer next asks the person holding the coin to let it drop into the water. He does so, and the audience hear it tinkle as it strikes the bottom of the glass. But when the handkerchie

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The Watch and Target

Presentation. —The conjurer borrows a watch from a member of the audience and wraps it in a piece of paper. He next places it in the muzzle of a pistol, and then stands a target upon the table. Handing the pistol to a gentleman in the audience, the performer requests him to fire at the target. There is a loud report, and—hey, presto!—the watch is found swinging in the center of the target! And upon the paper parcel which contained the watch being removed from the pistol’s muzzle it is found to b

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Secrets of Handkerchief Manipulation

Fig. 1.—Handkerchief twisted for the performance. Fig. 2.—The one hand knot. The following explanations are intended to provide the beginner with the knowledge necessary to perform a few of the simple but neat tricks which can be done with no other apparatus than a handkerchief. For a short turn or “gag” these tricks are effective and useful, whilst their very simplicity renders a quick return for the little trouble required to learn them. A good-sized silk handkerchief must be procured. Before

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The One Hand Knot

This knot is very simple to make. Hold the handkerchief, bent double, across the right hand ( Fig. 2 ). Now, suddenly drop the hand, letting the fingers pass over the end, A, and catch the end, B, at the point, C, between the first and second fingers. Let the remainder of the handkerchief slip off the hand, giving it a sharp flick, which will tighten the knot already loosely formed. Practice constantly until the whole movement can be done very rapidly. To the spectators it will appear as if you

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The Wrist Knot

Stretch the handkerchief between the finger and thumb in both hands, as in Fig. 3 . Cast a loop towards the left hand, taking care that it is thrown outwards. As the loop is made, the left hand, still with the end of the handkerchief between finger and thumb, is passed smartly through the loop from the outside—shown by the dotted lines in the illustration. This loop is now loosely round the left wrist, and the knot can be made taut by pulling the ends with both hands. The instant it is drawn tig

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The Double Bow

This very pretty trick can be accomplished by making a double bow with a rapid turn of the hands. Hold the twisted handkerchief in both hands, as shown by Fig. 4 . The two hands are marked L and R— i.e. , left and right respectively. Now bring the right hand round and past the left, as indicated by the dotted lines, and nip the handkerchief at the point A with the first and second fingers of the right hand. Fig. 3.—The wrist knot. Fig. 4.—The double bow. By doing this you have naturally brought

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The Instantaneous Knots

These knots can be made at each end of the handkerchief by the following method. Hold the handkerchief in the position shown in Fig. 5 , where it appears lying over the third and fourth fingers with the two ends, A and B, hanging beyond the thumbs. The movements are done in the same way and simultaneously with both hands, and it will therefore suffice to describe the action of your right hand. Fig. 5.—Instantaneous knots. Bring the first and second fingers (1 and 2, Fig. 5 ) over C, catching hol

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A Flick Knot

Hold the handkerchief stretched between your two hands in the manner shown in Fig. 6 —that is, inside the first and second, and outside the third and fourth fingers of each hand. Fig. 6.—A flick knot. Give the left hand a half turn, as in Fig. 7 , thus enabling the first and second fingers of the right hand to grip the end A, whilst at the same moment the thumb and third finger of your left hand catch hold of the end B. Fig. 7.—Second stage of the flick knot. Slip free the fingers of the left ha

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The Disappearing Knot

The foregoing remarks have dealt entirely with making knots in the handkerchief. By following the instructions now given you will be able to make a knot disappear entirely. Take two differently colored handkerchiefs—red and white, for instance, and cross them, as in Fig. 8 . Now make a simple knot similar to that shown in Fig. 9 . By laying D over C and making another simple knot, as in Fig. 10 , the red end will appear on the left, whilst the white end will be on the right. This is called a Gra

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A Wily Worker of Wonders

The best method by which to advocate the “black stage” as a means of entertainment, will perhaps be to describe one of the many illusions that can be produced with its aid. The audience first witnesses the performer—who is generally made up as a Chinaman—and a young lady dressed in white, standing in the center of a small “black stage,” as shown in Fig. 1 . Fig. 1.—The floating head. The performer then throws a white cloth over the lady’s head. Without a moment’s pause he draws it away again, an

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The Essential Assistant

It is usual when working illusions of this description to have the assistance of a third person. This assistant must be dressed completely in black, with black gloves and a black mask. The latter can very easily be made from a piece of silk, or any other material that is slightly elastic. It should be stitched into the form of a cylinder sufficiently large to pull over the head. Two eyeholes are then cut in the desired position, and the mask is complete ( Fig. 5 ). Garbed in this somber attire,

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The Floating Barrel

The performer, who, as previously stated, should be dressed as a Chinaman, or in a white costume of some description, stands alone in full view of his audience. Presently he makes a beckoning motion, and a large white barrel floats slowly into view. To the amazement of the spectators, it drops gently to the ground at the magician’s feet. He then turns to the other side of the stage and repeats the beckoning motion. Immediately a second barrel makes its appearance, and deposits itself on the grou

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The Vanishing Man

Another good effect, which would act as an excellent climax to the entertainment, can be brought about as follows: The performer makes his appearance carrying a large white shawl. This he spreads upon the ground. Taking the shawl by its two top corners, he holds it before him so that he is completely hidden. Next he commences slowly to wave the shawl to and fro, to advance to the front, and then to retreat to the back of the stage. As he is advancing for the second time, however, the shawl is su

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Mirror Frauds

If the Honorable Society of Stage Ghosts were to choose a motto, they would find few more suitable than the old adage, that “People who live in glass houses should not throw stones.” As the following remarks will serve to show, their very existence depends upon a sheet of glass, and if this be cracked or broken, farewell to the apparition and all its attendant mystery. If you look out of the window of a lighted room upon a dark night, you will notice that the pane, instead of being transparent,

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Unseeing and Disbelieving

“Ghost? What ghost? I saw no ghost, but I got very tired sitting up there all that time without anything happening.” So says the gentleman from the audience when he returns to his seat, and it is not until he has seen it all happen to some one else that he will believe anything really did occur. Fig. 1.—Arrangement of stage for ghost-producing. He is probably provoked when he finds that the next apparition takes the form of a fascinating young lady who vainly endeavors to make the young man who

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A Paris Illusion

An interesting variation of this scene is produced in Paris at an old café, known as the “Cabaret du Néant,” in the Montmartre quarter. The whole interior of this restaurant is fitted up to appear as funereal as possible. Guests are served with refreshments upon coffins by waiters dressed as mourners, whilst the walls are covered with notices and advertisements of a similarly doleful character. Upon payment of a small fee the guests are taken into a cellar, completely dark except for a small gli

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The Sea Nymph

The Sea Nymph, shown in Fig. 4 , is really a beautiful illusion. The scenery represents a rolling sea beneath an azure sky, flecked here and there with skimming clouds. Suddenly from out the waves a graceful form is seen to appear, and, rising steadily, gambol in the billows. Circling in the air, she plunges down into the waves, only to reappear once more, and repeat her charming sport. The sheet of glass is arranged for this performance as in the case of the ghost, Fig. 1 . The scenery, A, B, F

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For Home Presentation

Although from earliest times wizards and conjurers have attempted to create illusions to impose upon the more credulous of their dupes, it was not until the great Robert Houdin devoted his attention to the matter that any real progress was made in the art. Yet such was the genius of Houdin that his inventions have hardly been superseded in the many years which have elapsed since his death, whilst in the greater number of cases his original plans have barely been improved upon. Fig. 1.—The princi

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The Magic Cupboard

This is a large cupboard, of sufficient height to hold a man comfortably, and about 4 feet wide by 2 1 ⁄ 2 feet deep ( Fig. 2 ). The doors should be double, and meet at the center post H. The cupboard can be lined with some simple paper of an unobtrusive pattern, and the doors should close easily and securely. Now to describe the performance as it appears to the audience. Fig. 2.—The magic cupboard. Fig. 3.—Plan of magic cupboard. The cupboard is opened, and anybody allowed to mount the stag

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The Mandarin’s Head

is arranged upon a principle somewhat similar to the foregoing. To the spectators the effect is this. A box, standing upon a simple card-table, is opened and seen to contain a human skull. Remarking that he will call up the original owner of the skull, the wizard closes the box, mutters a few incantations, reopens it, and displays a living human head as shown in Fig. 4 . This head laughs, speaks, and nods, and in numberless other ways shows itself to be no mere imitation. The box having been clo

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“The Head of Mary Queen of Scots”

is worked almost in the same manner. The effect of the trick is shown in Fig. 7 , where the head of the unfortunate Queen is seen resting upon the hafts of two axes laid over the arms of a chair. Fig. 7.—The Queen Mary illusion. Fig. 8.—The Queen Mary illusion. It need scarcely be said that the whole trick lies in the construction of the chair, illustrated by Figs. 7 and 8 . The peculiarity about the chair is that the back only reaches down to the spot where the arms join it, thus leaving a

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When Three are a Crowd

Most people know the old saying, “Two are company, three are a crowd,” and a glance at the illustration shows this may really be true. If three persons stand in a prism-shaped arrangement of mirrors, as indicated in plan in Fig. 9 , an innumerable series of reflections would appear and the three would in reality become a crowd....

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The Floating Lady

A most interesting illusion is that of The Floating Lady, which, perhaps, should first be described from the point of view of the audience. Fig. 10.—The floating lady. The magician appears upon the stage leading by the hand a fairy-like lady. Introducing her to the spectators as Mademoiselle Volatile, he describes her susceptibility to his powers of mesmerism, in proof of which he offers to keep her suspended in the air for any length of time. Mlle. Volatile accordingly lies upon a board support

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Houdin’s Mesmerism

Robert Houdin used to exhibit to large audiences with startling success the following example of his mesmeric powers. For the sake of clearness, let it be supposed that the magician and Mademoiselle Volatile are performing the trick. After the usual remarks as to his powers of mesmerism, and how they set at nought the laws of gravitation, the magician introduces the fair lady, who wears a short skirt for the occasion. Taking two sticks, each about five feet long, the wizard requests Mademoiselle

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The Indian Basket

This familiar deception is yet sufficiently thrilling to prove fascinating to the most blasé of spectators. With a little practice it can easily be worked at home, and the following hints will explain the performance. The magician, dressed as Bluebeard, leads Fatima on the stage, and, during the course of a short conversation, discovers that she has been prying into matters which had better have been left alone. In a fit of passion he draws his sword and rushes upon her, whereupon Fatima falls t

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The Disappearing Princess

This is an illusion originally produced at one of the French ballets. A train of slaves appears, bearing a palanquin, in which reclines a dazzlingly beautiful Princess. The slaves march slowly round the stage, allowing the spectators ample opportunity to inspect the palanquin from all sides. Suddenly a band of brigands rushes upon the scene, with the obvious intention of seizing the lovely Princess. Flourishing their glittering swords and brandishing all manner of fearsome weapons, they surround

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How to Make a Haunted House

One winter evening three boys—Jim Thompson, his cousin Will White, and a friend named Handley—approached the door of Bobbie Cargill’s house. Bobbie was a genius for inventions, and they all felt a desire to see his home. As they reached the door, White, who was a cynic in his own way, raised his hand to the knocker and was about to give a thundering “rat-tat,” when the door silently opened, revealing an empty hall in which the light flickered dimly. After a glance of surprise at one another the

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A Deceitful Member

The tongue is proverbially a deceitful member, and the one lying before Bobbie Cargill was no exception to the rule. Indeed, except for its appearance there was really very little tongue about it. It consisted of a round tin, in which had been placed a small bar of highly magnetized iron. By fixing a slice of real tongue to the top of the tin, and disguising the sides in a similar manner, Bobbie had made such a good resemblance to the real thing, that it would have been hard to discover the dece

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Approaching the Supernatural

An exhibition of so-called hypnotism and second-sight is a favorite item in the programmes of many professional entertainers. If well managed, the performance appears miraculous, and is sure to impress the majority of the audience as savoring strongly of the supernatural. The exhibition is usually somewhat of the following nature. A young lady is presented to the audience as being possessed of the marvelous faculty of second-sight, so keenly developed that she is able to see and describe whateve

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Clothes and Materials

Touching a lady’s wrapper, the Professor says: “What do I touch? Answer quickly, if you please.” (Touch = part of clothing, A = wrapper, Q = silk.) “You are now touching a silk wrapper,” replies Mlle. Again there may be a separate code for flowers, to be introduced by “What is this before me?” to show Mlle. C that the Flower Code will follow. “What is this before me? Be descriptive.” “A red carnation,” replies the lady unhesitatingly. “Well, if you please, what is this flower?” “It is a violet.”

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How an Excellent Entertainment may be Given with a Sheet of Paper

The greatest attraction wielded by Papergraphy is, perhaps, the extreme simplicity of the apparatus required. At first sight it seems utterly impracticable that a first-class entertainment, of almost a quarter of an hour’s duration, can be given with a sheet of paper. Moreover, very little practice is necessary. Cartridge paper is the kind usually employed by professional entertainers, and a suitable size is 54 inches by 36. A sheet of these dimensions may be purchased from any stationer’s or de

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How to Master the Principles of the Art

There is no reason why any boy possessed of an average amount of dexterity should not be able to perform many juggling tricks after a certain amount of careful and patient practice. By a close study of the following instructions, a clear idea of the principles of the art can be obtained; and when these principles have been mastered, the beginner should have no difficulty in elaborating the tricks to suit his own fancy. As the system of juggling with knives, plates, or clubs is founded entirely u

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1. The Vertical Fall

A ball should be thrown into the air in such a manner that it will descend to the exact point from which it was projected, as in Fig. 1 . It is quite unnecessary to throw the ball higher than four feet. By an observation of the usual method of catching a ball, it will be noticed that the hand usually follows the course of the ball; but the great object of the juggler is to learn to catch without moving the hand from the position it occupied when throwing the ball into the air. The great point of

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2. Inside and Outside Falls

The inside fall is done by throwing the ball with the right hand, in such a way that it describes a curve and drops towards the left, as in Fig. 2. But instead of catching it with the left hand, catch it with the right by a rapid movement of the hand across the body. The ball being held in the right hand, it should be thrown back from left to right in a similar way, as in Fig. 3. The latter is called the outside fall. This exercise is intended to teach the beginner to throw the ball several time

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3. The Parallel Fall

This fall presents greater difficulties. The ball should be thrown with the right hand, as in the vertical fall, although the hand must be kept in a line with the shoulder. As soon as the ball has been caught, the hand must be rapidly brought into line with the left shoulder, the ball thrown from that position, and caught ( Fig. 4 ). Having learned the trick with the right hand, it is essential to become accustomed to perform it equally well with the left hand, moving it to the right shoulder...

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4. Falls from Right to Left

Both hands are required for these falls, which are simply an adaptation of what has just been described. The ball should be thrown exactly as described in No. 2 , but instead of moving the right hand across the body to catch the ball when it falls on the left side, the left hand should catch it, as in Fig. 5 , and should immediately return it by means of the outside fall to the right hand. But little practice is required to learn this perfectly, and when smartly performed it makes a pretty displ

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5. The Horizontal Pass

In this exercise the ball should be thrown from hand to hand in as straight a line as possible ( Fig. 6 ), whilst the beginner must endeavor, by continually increasing the distance between his hands, to maintain a rapid volley. Fig. 6.—The horizontal pass....

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6. The Double Vertical Fall

This is the first trick requiring two balls, and will need some attention. A ball should be taken in each hand, and the simple vertical fall performed with the right. Before this ball has descended, however, the ball in the left hand must be thrown in the air, as in Fig. 7 , so that the two balls are continually in motion. It is at this point that the juggler will find the advantage of being proficient in the use of both hands for the single vertical fall. Fig. 7.—The double vertical fall. Fig.

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7. The Double Inside Fall

This is a repetition of the outside and inside falls, but performed with two balls at once, and with both hands. The utmost care must be exercised to avoid a collision as they pass one another, and for this reason one ball must be thrown higher than the other, as in Fig. 9 . Until proficiency is attained the balls should be thrown at various heights, and the hands well apart....

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8. The Triple Pass

Having acquired the last trick perfectly, the beginner should now bring into use a third ball. A glance at Fig. 10 will show that the triple pass is nothing but the double inside fall performed with an additional ball. Two balls are held in the left hand, and one in the right, the former being numbered 1 and 3, and the latter 2. Ball No. 1 is thrown from the left hand, and as soon as it is in the air, No. 2 is sent off from the right, after which No. 3 is thrown from the left hand. It will be no

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9. The Triple Over Pass

The only difference between this and the Triple Pass is that each ball, as thrown, passes over instead of under the ball that precedes. This is shown in Fig. 11 , where No. 2 passes over No. 1, whilst No. 3 is thrown the highest of all. This trick is usually combined with the ordinary Triple Pass, and from the spectator’s point of view presents no difference....

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10. The Shower

This is one of the prettiest of all the tricks of Juggling, and should be learned with two balls. Take a ball in each hand and throw the right one in the air towards the left, whilst as soon as it is in the air pass the left hand ball to the right hand, as in Fig. 12 . The moment this latter ball has been caught it must be thrown up in the wake of the first ball, and the whole trick continued as quickly as possible, so that one ball is always in the air. Fig. 11.—The triple over pass. Fig. 12.—T

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11. The Triple Shower

Two balls must be taken in the right hand, and one in the left. The first two should be thrown in rapid succession from the right to the left, the ball in the latter hand being passed to the right, as in the Simple Shower. As each ball reaches the left hand pass it rapidly across, as in Fig. 13 , and start it off in the air once more. The trick has the effect of making the spectators imagine that you have a large number of balls in your hands, and the more quickly the trick is done the greater t

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12. The Double Over Fountain

Four balls are required for this, a couple being taken in each hand, Nos. 1 and 3 being in the left and Nos. 2 and 4 in the right hand. Nos. 1 and 2 are thrown up simultaneously in the simple Vertical Fall, as in A, Fig. 14 . The hands are then rapidly moved apart and balls Nos. 3 and 4 are thrown over the first two balls in such a manner that they cross each other and are caught in the opposite hands ( Fig. 14 ). The volley with those two balls is immediately returned and the hands are brought

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An Exciting Entertainment

Few things are productive of such literally breathless interest as plate-spinning. In what a state of agonized anxiety your audience will be as they watch you imperturbably spinning a soup-plate on the end of a rod. How they will catch their breaths as they expect it to fall, and how surprised they will be when it keeps its position! Yet if you inform them that it is not so difficult as it looks, you will be stating a fact, although the art is acquired only after considerable practice and at the

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Prepared Plates

As to the prepared plates. Take for example a thick soup-plate. From the center of the bottom of this plate a small, shallow piece must be drilled away, as in Fig. 4 , which represents a section of the article. Any china riveter will do this for you, and will, at your request, polish the cavity after it has been drilled. Explain the purpose for which you want it done, as that will insure his making the hole in the dead center. Fig. 4.—Plate with drilled cavity for spinning. You will now find tha

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Further Feats

Take a couple of rods, one in each hand, and send a plate spinning on the point of the right-hand rod. By giving a sharp upward jerk you will send the plate high into the air, and upon its descent you can catch it upon the end of the other rod. If the plate has been tossed very high, and is therefore likely to descend with some force, care must be taken when catching it not to shatter it into pieces. As soon as the plate touches the point of the wand, lower the latter some distance with the plat

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Balancing

Having graduated as a master of spinning and catching plates, the opportunity has arrived for attempting to balance the spinning dishes. This is largely a matter of knack, although a sure eye and a steady hand are indispensable. Start a plate spinning on a rod, and pass it to the left hand. Do the same with a second plate, holding the rod likewise in the left hand, taking great care, of course, that the plates do not collide. Now with the right hand start off a third plate, and balance the rod u

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Plate Waltzing

There is a kindred branch of the art which may be described here, and that is plate waltzing. It is really nothing but an extension of the trick of spinning a coin upon the table, which every one has done at some time or other. A perfectly level table is essential. To insure this it is a good plan to have a smooth, unpolished board that can be laid upon a table and made perfectly level by adjusting small pieces of cardboard at the corners. Around the edge a slight border should be made, rounded

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Trick Balancing

There are probably few actions more graceful than those of a skillful equilibrist. The necessity of maintaining a symmetrical posture and disposing the body in a well-balanced manner can produce nothing but a pleasing effect. To a lithe and healthy boy there are endless opportunities for creating new figures, whilst many will find an attraction in performing feats rarely attempted by any but professionals. The whole strain of tight-rope walking is centered in the back. The rigidity of the legs i

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The Balancing Pole

There is much difference of opinion amongst acrobats regarding the balancing pole. Some prefer it long and heavy, whilst others dispense with it altogether. Amateurs can scarcely hope to do the latter, however, and 4 ft. 6 in. may be considered a suitable length. The pole should be smooth, round, and even, rather heavier than an ordinary broom-handle. It will probably prove useful to mark its exact center by a notch. A mattress must be laid beneath the rope to break any falls. Thin-soled dancing

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The “Forward Walk”

According to the recognized canons of the art, the first thing to be learnt is the “Forward Walk.” The gaze must never leave the “point of sight.” Each step must be made with the utmost care, and perfect confidence gained before any attempt is made at more difficult tasks. As soon as the feet begin to feel sore or tired, practice should be abandoned for that day. The next thing to be learned is walking backwards. This is really no harder than the “Forward Walk” and can be as easily acquired. The

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A Novel Entertainment

When the old Morris Dances decayed in the country districts of England, many of the local customs and manners died with them, and are now entirely lost; but what is considered a survival can yet be found, and is familiar to many of us under the name of Clog Dancing. The old Morris Dancers had attached to their ankles bands of bells, which sounded with the jerking and kicking of the dancers’ feet as they kept time with the measure and music of the accompaniment. The use of these bells has now, ho

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The First Step

The first step to learn is the shuffle, which should be attempted with one foot first, preferably the left. Stand firmly upon the right foot, and strike the left toe forward (as in Fig. 2 ) towards A, at the same time making a tap upon the floor. Draw it back from A towards B, making another tap. This should be done repeatedly until it is possible to make the taps in quick succession and in even time. Fig. 1.—Correct standing position. Fig. 2.—The single shuffle. Having mastered this with th

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Single and Double Shuffles

Having become familiar with the two taps with both feet, attempts to use right and left alternately should be made, the while standing upon the toes. Thus: left forward and back, two taps; right forward and back, two taps, making in all four taps in rapid and even succession. This is known as the single shuffle, and it is surprising how many music hall artists and public performers know no more than this rudimentary movement. Yet it shows how necessary it is to be perfectly easy and familiar wit

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Variations of Double Shuffle

These variations require no detailed description. Wherever in the above-mentioned changes the single shuffle is mentioned, a double shuffle may be introduced. For example, in Variation No. 1 , for the double shuffle the instructions should read: Stand upon the toes of both feet; give one tap with the left toe, and a double shuffle with the right foot; then one tap with the right, and a double shuffle with the left. By treating the other variations in a similar manner, it will be seen that ten va

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The Slide

There now remains but the Slide to be learned, and as this is one of the prettiest of all the clog steps, it is well worth taking pains properly to acquire. Fig. 6.—The slide (first position). Fig. 7.—The slide (second position). Fig. 8.—The slide (third position). Stand as in Fig. 6 , throwing your weight on the left heel and right toe, which are to be kept stationary. Now move the left toe and the right heel in the directions shown by the dotted lines. Your feet will then be in the positio

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Hand Shadows

Few of us have not lain in bed by candle-light and with more or less success cast shadows upon the wall. Some may have seen public entertainments in which shadow pictures formed an important part of the programme, and have wondered in a dim kind of way how they were done. From what follows it will be seen how very simple are the arrangements, and how admirably adapted for a drawing-room entertainment a shadow theater can prove. Shadow shows may be divided into three kinds. They are:— 1. Hand Sha

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How to Make the Pictures

Fig. 1.—A rabbit. Fig. 2.—A butterfly. In Fig. 1 you see the well-known rabbit, usually the first shadow made by the amateur performer. Stretch the right thumb down and the forefinger up as far as it will go, whilst the second and third fingers should be thrust out, slightly bent, as shown in the figure. With the left hand crook the forefinger against the upright forefinger of the right hand, bring the thumb to touch the last-mentioned finger, making a little loop as depicted. Stick the seco

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Figure Shadows

These are, perhaps, more entertaining than hand shadows, but require much greater space, it being necessary to arrange them somewhat after the manner of tableaux. A white sheet must be drawn completely over one end of the room, as S in Fig. 8 , whilst near the opposite wall three boxes of varying height should be arranged as A B C in that figure, a candle being placed upon the middle one. There should be no other light in the room, upon either side of the screen. Fig. 8.—Arrangement of screen fo

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The Disappearing Man

A surprising effect to be obtained in these figure shadows is the total disappearance through the ceiling of one of the actors. This is very simply done by stepping upon the lowest box (C), striding over (B) which bears the candle, and on to (A) which makes the shadow appear to leap into the ceiling. Let a figure dressed as a policeman rush upon the scene, hotly pursued by a sailor brandishing a stout stick. The two chase each other about the stage for a time, and presently the sailor shouts ver

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Puppet Shadow Shows

To work a Puppet Shadow Show is more difficult than either of the preceding entertainments, and requires considerable skill and ingenuity to present satisfactorily. As the name implies, the shadows in this case are cast upon the screen by lay figures, and the performers, of whom two are requisite, do not appear at all. The simplest way to make a “stage” upon which to exhibit your puppets is to stretch a strong piece of cord across the corner of a room, and hang therefrom a sheet which shall reac

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Manipulating the Puppets

The following hints should be borne in mind when manipulating the puppets. Keep all the figures ready for immediate use; lay them upon a table in the order in which they will be required, and remember where they are so that you can put your hand upon them the moment they are wanted. Keep your own head and fingers well out of sight—the whole effect will be spoiled if the spectators see a great black finger pulling some wire or adjusting a refractory limb. Keep as calm and collected as possible. I

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The Plumber

Figures. Mrs. Hoggins . Mr. Plapper . Jim , the Plumber. Robert , the Policeman. Bridget , the Maid. With these five characters and a suitable amount of talking an amusing sketch can be given. The following is a mild suggestion of what can be done, but you will find that it can be made very much funnier when actually performed. Scene , a House ( Fig. 16 ). Mrs. Hoggins emerges, loudly complaining that a pipe has burst and spoiled her nice new carpet. She blames everybody in the neighborhood, not

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A Novel Form of Drawing-Room Entertainment

An exhibition of skill which cannot fail to win appreciation from any audience, particularly one composed largely of grown-ups, is that of making lightning cartoons and sketches. It is, however, a form of entertainment which should be undertaken only by those possessing some artistic qualifications. Although lightning cartoons do not call for any great genius, yet those with an inherent taste for caricaturing will find themselves the best exponents of the work. On the other hand, the task may be

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Simultaneous Drawing

A welcome variation to the above is produced by a brief exhibition of simultaneous drawing with both hands. The best method of procedure is to take a piece of chalk in each hand, and, bringing them together in the middle of the top of the drawing (A, in Fig. 6 ), take each hand round and down, the right hand drawing the profile, the left the back of the head, and so complete the picture by working off the lines respectively on the right side with collar and tie, and on the left with the neck and

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A Figured Face

Another diversion may be caused by drawing at lightning speed a figured face. How this is to be accomplished is not at first apparent when you sketch in to all intents and purposes at random a few detached numerals, such as appear in Fig. 7 ; but the addition of extra figures produces the very expressive countenance depicted in Fig. 8 . Fig. 7.—Figured face partly finished. Fig. 8.—Figured face complete. A deal of fun may also be extracted from outline representations of an egg. Commence by

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Smoke Pictures

To produce wonderfully picturesque and striking examples of land and seascapes in the space of a few moments of time appears at first sight a task almost beyond the capabilities of the amateur draughtsman. Yet such effective additions may be made to the programme of the lightning cartoonist by his following out the subjoined simple instructions. First procure a large sheet of iron or tin, enameled white. To purchase this in a prepared state is rather expensive, but a very fair substitute can be

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Topsy-Turveydom

Yet another variation in lightning cartooning is provided by the ability of the artist to produce pictures which, when turned upside down, show exactly the same view. These are best done in colored chalk or pastel, which is a softer medium and more workable. Landscapes are peculiarly adaptable to this purpose. Fig. 15 suggests a realistic example. Fig. 17.—House on cliff drawing completed. Yet a further pleasing addition to the entertainment may be made by sketching such a scene as Fig. 16 sugge

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Shadow Drawings

A very interesting entertainment is to be brought to a close by a short exhibition of shadow drawing. The apparatus required is a magic lantern, before the lens of which is fixed a prepared plate consisting of glass previously covered with a coating of lamp-black and water. A sheet of calico should be attached, some distance away, to the wall. Between the plate and the lantern, and a little to one side, stands the operator, who with the aid of a stick or stump sketches the subject upon the plate

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Some Amusing Electrical Experiments[1]

Electricity may be said to have a finger in most pies. From its manifestations it would appear to be an all-pervading force, and modern research tends always to substantiate this conclusion. Thus two coins—a cent and a quarter—cannot be brought into contact without producing their quotum of electrical force, and in like manner the principles of its working may often be demonstrated by the simplest apparatus. There are two states which this subtle force assumes, called Static and Dynamic. The for

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Leyden Jars

Procure as much metal foil as possible, either by raiding the nursery or by purchasing some tinfoil-wrapped butter scotch at the confectioner’s, and gum it round the jam jars so as to extend about half-way up the outside (A, Fig. 3 ). Next solder stiff brass wires (8 inches long) to two round pieces of metal, so cut as to pass the jar mouths readily. To the other end of one brass rod solder another disc of metal, tin—or, better, brass—nicely smoothed along its two edges by sandpaper. The other b

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Gold Leaf Electroscope

Fig. 5.—Electroscope parts. Obtain a square glass pickle or preserve jar, to the mouth of which has been fitted a large cork bung (A, Fig. 4 ). Next take a 7-inch length of 1 ⁄ 8 -inch brass wire (B, Fig. 4 ) (similar to that used for the Leyden jars above), and flatten one end by hammering (F, Fig. 5 ), after having bent it triangular-shape, as in (C, Fig. 4 ). A 2 1 ⁄ 2 inch length of cycle valve-tubing (A, Fig. 5 ) is to be slipped over the brass rod B ( Fig. 5 ), and then strips of gummed br

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Electrophorus

Our Leyden jars have been constructed to store electrical energy, and the gold leaf electroscope to indicate its presence. But we do not yet possess the means of producing this energy in any considerable quantity. To make an instrument for this purpose proceed as follows: Clean the inner surface of a circular tin lid—diameter 6 inches or 7 inches, and about 5 ⁄ 8 -inch deep—(A, Fig. 6 ), and in the center stand upright on its head a brass screw, whose point has been filed down until it nearly re

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Discharger

One last piece of apparatus—the simplest in construction—remains to be made. Bend a piece of stout brass wire into a semicircle (A, Fig. 7 ); then, having flattened it at the middle, pass through a hole at the end of a wooden handle (B, Fig. 7 ), and fix in position by means of a tiny glued wedge (C, Fig. 7 ). Next twist the rod at both ends into loops, and wrap tinfoil round so as to form metal knobs (D, Fig. 7 ). Brass balls may be used instead. This arrangement is now complete, and we may com

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The Magic of Mystery

A phenomenon is always mysterious, so long as its origin remains hidden. That is to say that any event, the causes of whose manifestation are obscure, will be found to prompt some feeling of wonderment. For this reason then—just as an automobile in motion will bewilder a savage, because he has at no time seen any but living creatures moving, and does not understand the new mechanism—so for us an electrical effect mostly presents something of a miraculous nature. To take a concrete example. Where

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Amusing Tricks with Simple Apparatus

To many boys and girls who have acquired at school some knowledge of Science, the mere mention of the words “Scientific Experiments” recalls memories of experiments far from amusing, for the science of the laboratory is more often than not accompanied by some of the innumerable little worries of school life. When, however, experiments are conducted at leisure in the home, the work assumes a totally different aspect, and much pleasure may be derived from it. Not only may such experiments become a

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Piercing a Coin with a Needle

The first is one which, at a casual glance, seems impossible to perform. To pierce a copper coin with a needle, especially if the needle is thin, seems, indeed, a tremendous task. It is, however, very simple. The apparatus necessary consists of a cork, a needle, and a hammer. Stick the needle through the cork in such a manner that the point only just protrudes, and, with a pair of pincers, cut off the head of the needle remaining above the cork. Then, having placed the coin and cork as shown in

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A Match Trick

Another very interesting experiment is that performed with an ordinary match, a bottle, and a coin. Fig. 3.—Coin leaving match and dropping into the bottle. Bend in two an ordinary large match, thus partly breaking it, in such a manner that the two parts hold together by a few fibers of wood. Place it, thus broken, on the neck of a bottle, and then on the match place a dime or any other small coin. Having done this ask a friend if he can make the coin fall into the bottle without touching the co

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The Tricolor Glass

Most of us, if not all, know that if wine is carefully poured on water, it floats on the surface, but not every one knows how to place the wine at the bottom of the glass with the water above it, and this without mixing the two liquids. For this experiment make use of the different densities of hot and cold water. Take an ordinary glass (moistened first with hot water to prevent its cracking) and pour some boiling water into it. Then by means of a funnel placed almost to the bottom of the glass,

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Changing Water into Wine

This is not a reproduction of the miracle performed at the wedding feast of Cana, but it is, nevertheless, a most interesting experiment. Fill two tumblers (A), or wine glasses, of equal diameter, with water, by completely immersing them in a basin of that liquid, standing one upright and the other upside down upon it. When they are both completely full, with not a bubble of air in either, join their rims and remove them from the basin. Now place them upright on a dish, and, if their rims fit ac

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The Eruption of Vesuvius

Many of us, no doubt, have often tried to picture to ourselves a volcano in eruption, but most will confess that unless we have seen some very good pictures of an actual eruption, we are not at all certain that our self-made picture is correct. Now to detail an experiment which gives a vivid idea of a volcano in action. At the bottom of a large glass bowl put a flask containing red wine, or spirits of wine, in which has been dissolved a little aniline (B, Fig. 8 ). This flask should be closed by

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A Peculiar Candlestick

Water supporting a lighted candle seems a very peculiar form of candlestick; and yet despite this it will be found quite as serviceable as any other. To make the candlestick is quite easy. All you have to do is first to weight the end of a piece of candle (previously used) with a nail or piece of metal, in such a manner that, when placed in a vessel of water, the liquid will be flush with the edge of the candle without wetting the wick. Next light the candle, and announce that, in spite of the u

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Making a Paper Fish Swim

The title of this experiment suggests something rather wonderful, indeed, for it seems impossible to impart motion to a paper fish. It may be done, however, and quite easily, as will be seen from the following. From a piece of ordinary paper cut out a fish like that shown in the diagram , and of the size of an ordinary fish. In the center make a circular hole (A), communicating with the tail by a narrow canal. (A B) ( Fig. 11 ). Having done this, fill an elongated vessel with water, and place th

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Floating Pins and Needles

Fig. 13.—The floating pin. If a drop of water is placed on glass it will at once spread, but if the same thing is done with a drop of mercury, the liquid will not spread, but remain in the form of a bead. These two different results are due to the fact, that whilst the water wets the glass the mercury does not. Now take a pin which has been well dried; it is a body which water will moisten, but owing to its very smooth surface, not so easily as in the case of glass. Suppose, then, that by some m

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Joined by Air

The picture below is not taken from a prospectus advertising cement for joining glass and porcelain, but is simply used to show how atmospheric pressure may be utilized for joining glasses and plates. In order to accomplish this it is necessary to form a vacuum, but as an air-pump is not at the disposal of every boy a partial vacuum must suffice. To obtain this partial vacuum suspend a glass from the ceiling, or any other suitable place, by means of a string, and under it burn a piece of paper.

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Glass Raising Extraordinary

This experiment, similar in principle to the last, is quite as striking in its effect. It consists of raising in air a glass filled with water, by causing it to adhere to the hand when the latter is held quite open. With the last experiment fresh in our minds, it is not difficult to guess that this phenomenon is due to the existence of a partial vacuum under the hand, but it is not so easy to know how to obtain this vacuum. The means of carrying out the experiments are as follows:— Put the glass

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A Novel Glass Emptier

If you are given a glass filled with water, and a bottle equally full, and then asked to empty the glass by means of the bottle, and that without emptying the bottle itself, you will imagine you have been set a very difficult task indeed. Fig. 17.—The glass-emptying bottle. You will soon see, however, that the solution to this seemingly difficult experiment is quite simple. First take a cork, and in it pierce two holes. Through these gently push two straws, one being as long as the glass, the ot

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A Striking Siphon Experiment

A very pretty experiment with the siphon may be performed by making use of the following simple apparatus: An ordinary glass; a little water colored, say with aniline; a piece of rubber tubing about an inch long, one end of which is cut obliquely, as shown in the diagram ; together with a piece of glass tubing from four to five feet long. Fig. 19.—A siphon experiment. This tubing may be obtained from almost any druggist. Prepare for your experiment by taking the length of tubing and, with a gas

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An Electric Fountain

Most of you would like to make an electric fountain, especially when you learn how simple and easily arranged is this striking experiment. Your apparatus consists solely of a glass, a long india-rubber tube, with two small glass tubes and a piece of sealing-wax (a stick of sulphur or piece of vulcanite will do just as well). Make a small nozzle by drawing out a length of bent glass tubing, and, by means of a long piece of india-rubber piping, fix it to another piece of bent glass tubing. Place t

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The Bottle Cannon

Doubtless you would like to have at home the experience of firing a cannon, of hearing a report loud enough to frighten nervous persons, to see the shell fly as quick as lightning, and then to witness the recoil of your home-made piece of artillery. Your apparatus will be quite simple, for you must first take a strong bottle, such as a vinegar, or better still, a champagne bottle, and fill it a third full with water. Next take a little carbonate of soda, and also some tartaric acid, both of whic

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Twentieth-Century “Black Art”

As we stand in the twentieth century and peer curiously down the corridors of Time, we find at all periods a deep interest in chemical phenomena. From the age when wisdom devoted itself in vain to the discovery of an elixir of life and a method of transmuting the base metals into gold, to the present day, when scientists pursue their experiments with more reasonable and far worthier hopes, chemistry appears never to have suffered any dearth of devotees, despite the fact that in olden times one h

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Experiments with Chlorine

(1) Apparatus. —Erect a 4-oz. round-bottom flask about 8 inches above the table (A, Fig. 1 ), by clamping its neck in a wooden clip or twisted stiff iron wire, and fastening this to a firm standard. Introduce three or four tablespoonfuls of powdered manganese dioxide (obtainable cheaply in qr. lbs. at most druggists’), and pour over this spirits of salt until the flask is one-third full. Into the neck now fit a cork provided with two circular holes, through one of which a stem funnel passes, and

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To While Away Winter Hours

The famous King Belshazzar was much dismayed to see the mysterious writing upon the wall of his palace. Without reducing your friends to a similar state of terror, a very easy experiment can be performed productive of the same effect, and if it does not exactly make their knees strike together, it will astonish them very much. The appliances are such as can be found in any home, and the strange writing can be produced in the following way. Fig. 1.—Showing relative positions of candle and mirror

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Life Partners

If at any time it should happen that an engaged couple are amongst the friends whom you wish to entertain, a very simple piece of apparatus can be made that will give these good people much pleasure. In the four sides of a cube box, measuring 18″ each way, make an oval opening, 9″ by 7″, as A, B, C, D in Fig. 9 . Inside the box place two mirrors, back to back, diagonally from G to E ( Fig. 10 ), and contrive four curtains to draw up simultaneously over the holes. Fig. 9.—Showing box with oval op

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A Light Experiment

Why do we wear white clothes in extreme heat and dark clothes in the winter? To this question every one will answer that white clothes absorb less heat than black, and that we therefore feel the rays of the sun less. Quite true; and yet, how is it that Polar bears and other Arctic creatures exposed to such extreme cold are clothed in white? The fact is that not only does white absorb less heat, but it serves to retain heat, and a white coat preserves the natural warmth in the animal’s body. This

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The Pyrometer

We all know that metals expand under heat. The amount of such expansion may be measured by a simple little apparatus called a pyrometer. Fig. 13.—Showing how to make a pyrometer. On a wooden base, B, C ( Fig. 13 ), make two uprights, A and D, of which A must be a half inch higher than D. Bore a hole a quarter of an inch from the top of A, but not right through the wood. A couple of pins must be bent into the shape of a Y and driven into the top of D, as in Fig. 13 . With a little sealing-wax fas

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The Broken Bottle

An interesting and useful experiment with a broken bottle is depicted in Fig. 15 . Fill the broken piece with oil to whatever level you desire it to be cut, and stand it upon a perfectly level table. Now plunge a red-hot poker into the oil and hold it there for a few seconds, when there will be a loud crack, and the top of the broken part will come off, even and smooth, as in Fig. 16 . Fig. 15.—Portion of broken bottle for experiment. Fig. 16.—Showing smooth break after red-hot poker has been pl

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Compressed Air

An interesting and effective experiment may be performed with compressed air. The arrangements are very simple and the requirements few. Fig. 18.—Walnut shell with necessary holes bored. Divide a walnut shell into two, and bore a hole in the bottom of each half. In one of the cups thus obtained make another hole half-way up the side, as in Fig. 18 . Now, with a little sealing-wax fasten three straws into these holes. In the cork of a fair-sized jar, which should be of some opaque glass, bore two

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The Refractory Cork

A very interesting and amusing experiment may be performed with a bottle and a cork. Take a cork of a diameter less than the internal diameter of the neck of the bottle you propose using, and ask a friend to make it enter the bottle by blowing upon it. At first sight this seems a very easy task, and your friend at once proceeds to blow strongly upon the cork. This, however, instead of making the cork enter the bottle, causes it to fly out. Again your friend tries to overcome the troublesome cork

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The Flying Coin

You may be inclined to think that special apparatus is necessary to make a coin fly from the bottom of a glass, but here is shown a very simple method by which the trick may be performed at any moment in your home. First procure a liqueur glass of conical shape, having in its largest part a diameter not much greater than that of a silver dollar. At the bottom of this glass place a quarter, and above it, near the top of the glass, a silver dollar, the latter forming a kind of cover (A, Fig. 2 ).

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A Cigarette-smoking Lamp-glass

This is a very striking experiment, and is quite easy to perform. The apparatus is also quite simple, and may be easily obtained. It consists of a lamp-chimney, a cork, a cigarette, together with two little valves. Fig. 3.—The self-smoking cigarette. Tightly cork up one end of the lamp-chimney with a large cork, thus hermetically sealing it. In this cork bore two holes, one following the line of the cork’s axis and having exactly the same diameter as the cigarette: the other being oblique with r

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Water Swinging

Nearly every one has seen, at the circus or elsewhere, an acrobat executing giddy circular movements with a glass of water, and doubtless has wondered how it is that none of the liquid is spilt. This is due to the action of centrifugal force. Having placed the glass full of water on the table, it is only a matter of taking it properly with the hand, holding it at arm’s length, and, with the arm thus extended, describing a complete circle, after which it may be placed upon the table without the l

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A Novel Mirror

A simple method of illuminating the back of the mouth and throat, especially when throat trouble is suspected, may often be found extremely useful. Here is a means of supplying, at a moment’s notice, an extemporized illuminant of this kind. Take a well-cleaned spoon, and hold it against a candle flame, when you form an excellent mirror, which will permit you to concentrate the rays of light and produce at the back of the throat enough illumination for the making of a careful examination ( Fig. 8

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A Disappearing Coin

If you look at an object which has been placed in water, owing to the phenomenon of refraction, the article appears in a different position from that in which it really is. It is due to this phenomenon, therefore, that a stick, when half plunged into water, seems to be bent or broken. A very interesting experiment based on this principle is the following:— Take a bowl full of water, and at the bottom place a coin. Next request one of your friends to lower his head until his eye, the edge of the

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Electrified Paper

Very few people realize that paper can be electrified at a moment’s notice, no special apparatus for the purpose being required. Take a piece of light paper, which should have been well dried, and rub it briskly with a clothes brush, silk handkerchief, or even the open hand. After a little time the paper, becoming electrified, will adhere to your face, your hands, or your clothes, as easily as if it were attached by means of gum. Nor is this property confined to thin paper. Thick paper, when dri

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Electrified Balloons

From the last experiment it may have been gathered that if a piece of paper is dried and rubbed with a silk handkerchief or the dry hand it will adhere to the face, arms, or clothing. It may not be so widely known, however, that if toy balloons be filled with air, and then stroked for a short time with a piece of fur, they will act in the same way as the electrified paper. It is rather amusing to see these balloons, after being treated thus, placed against the wall or ceiling, where they will st

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Exploding Flour

Flour will create an explosion! Take a large handful of flour, and leave it for some time near the fire, in order that every trace of dampness may be expelled. Whilst the flour is drying take a large tin box (a cracker tin will do admirably), and near the bottom make a small hole. Through this hole pass the end of a piece of india-rubber tubing, and place the handful of dry flour in front of it. At the other end of the box place a short piece of candle, and after lighting it, cover the box with

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The Apparently Impossible

Have you ever had tea on the top of a mountain? If so, you will agree that your cup of tea could by no means be termed excellent. Now, why is it that a cup of tea made on a mountain-top is much inferior to one made at a lower level? If the fault lay in the tea, the defect could be easily remedied, but such is not the case, for it depends upon the fact that water on the top of a mountain boils at a lower temperature than water at the sea-level. In order to make a good cup of tea, the water must b

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Making Coal Gas

Here is a very simple way of obtaining coal gas. Procure an ordinary long clay tobacco pipe, the bowl of which should be filled with very small pieces of coal. Carefully cover the top with soft clay, and put the bowl in the fire, with the long stem protruding through the bars. Now watch this end of the pipe very closely and see what happens. Fig. 14.—Simple gas-making. Very soon you will notice a light-colored smoke issuing from the mouthpiece, but after a time this smoke disappears. But what ha

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Experiments with Carbonic Acid Gas

In a previous chapter , when describing how to make a miniature cannon, it was explained that the “gunpowder” with which the “shell” was fired is in reality carbonic acid gas. It may not be amiss to show how to generate it, in order that you may discover for yourselves some of its properties. There are several ways of obtaining carbonic acid gas, but most of these are of a complicated nature. The following, however, is an extremely simple method. Take a 6-oz. or 8-oz. flask, and fit it with a co

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Camera Knights’ Experiments

It has been presumed in commencing these notes that most would-be experimenters already possess a camera, or will at least shortly do so. Thus the greater number of experiments are such as would interest a camera fiend more deeply than the ordinary reader, although the latter might still derive much enjoyment from conducting them so far as the lack of a “dark box” will allow him. It will perhaps be as well to spend a paragraph at the outset in describing simply and noting a few peculiarities abo

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Experiment A.—A Fireside Photo

Probably no souvenir can give greater pleasure to the amateur photographer, or prove more acceptable to his bosom chums, than their portrait, as a fireside group, lighted by the glow from a genial fire. Nor is this difficult of attainment. First the figures should be grouped seated on chairs—and perhaps some standing behind, if many faces are to be included—in a quarter circle from one chimney-corner, whilst the camera may be securely placed some 9 or 10 feet away, about the position shown at X

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Experiments B.—“Photo-Chemical”

Salts of silver form the basis of most modern photographic processes. Thus in order to perform chemical experiments of a photographic nature, some solution of silver must be available, the nitrate salt being usually employed. Fig. 4.—Silver solution and precipitate. It is best procured at the druggist’s in solution or as crystals, in which latter case it must be dissolved for use in clean rain or distilled water. The solution need be only weak, but must be kept in a dark bottle screened from day

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Experiment C.—Blue Print Paper

Engineers’ drawings have for many years past been copied upon ferro-prussiate, or “blue print” paper. The original design being made in opaque ink upon tracing linen, a sheet of the sensitive paper is held against this in strong daylight until blue coloration has advanced everywhere except beneath the ink lines of the drawing. These remain yellow, or rather white, when finished, as the excess of sensitive salt is removed by washing. Since this last operation is in itself all-sufficient to insure

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Experiment D.—To Show the Constituents of White Light

Few physicists to-day doubt that light consists of waves set up in an all-pervading medium called ether; that, moreover, white light is composed of different tinted rays—to be seen reflected from the bevel edge of a looking-glass, or indeed from the more natural rainbow—which further are caused by the different lengths of waves whereby the colored lights are propagated. Now we may produce these phenomena for ourselves by cutting a slit 1 1 ⁄ 2 inches long in a temporary window-shutter, or, more

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Experiment E.—One Person in Two Places—and Spiritualism

Pictures of a man decapitating himself, or of the reader’s sister turning the skipping-rope for another girl, who is herself, may justly be called mystifying. Not only may they almost deceive the operator himself, but will quite nonplus the uninitiated, to whom proofs may thus be presented of the most impossible happenings. Two methods are applicable to the production of such freak portraits, viz:— (1) To photograph the entire picture in two separate halves on the plate, moving the sitter from o

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Spirit Photography

Spirit or ghost photography is but a modification of these methods. The chief element of success is to ignore the caution of the preceding paragraph, and render the ghost figure as transparent as possible. The first exposure should be an adequate one of the human model, who has twisted himself into an attitude of groveling terror compatible with the fright from which he is supposed to be suffering, whilst the background behind him must be dark and indistinct, if he is next to impersonate the spo

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Novel Results

Excellent imitations of crayon pictures are to be produced by taking the required photograph through a negative screen, which has been made by copying to equal size or slight reduction, a piece of rough drawing-paper rubbed evenly with charcoal. It is employable in two ways, either by keeping it in contact with the sensitive plate in the dark slide whilst the photograph is being taken—a slightly longer exposure being given—or else holding it in the frame on the opposite side of the negative to t

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Constructing the Stage

Marionettes , though claiming no rivalry to the time-honored institution of Punch and Judy, have a great charm of their own, and, with no traditional story of Punch, Judy, and Dog Toby, are at liberty to perform whatever play their manager may desire. Although it is possible, of course, to purchase ready-made Marionette theaters and puppets, the purpose of this chapter is to describe a method by which the whole apparatus can be constructed at home at the cost of very little money and time. Natur

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A Movable Curtain

The following plan will be found very suitable for the arrangement of the movable curtain. Take a piece of strong copper wire and bend it, as shown in Fig. 4 . The length of the unbent portion should be about 30 inches. Fit the two ends, A and B, into holes bored in the stage front, inside and above the opening. The wire rod will thus run the whole length of the actual stage, whilst the ends A and B suffice to clear the fixed curtains already tacked up. Hang the movable curtains by a number of l

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Interior Decoration

The next questions that arise concern scenery. This depends entirely upon the play to be performed. The floor of the stage must be covered with suitable paper, or better still with a carpet. In the arrangement of the wings and the scenery connected therewith, do not forget that the spaces on each side must be left clear. Marionettes cannot enter by doors, and a descent from the ceiling is not only undignified but impracticable. The side scenery must therefore be as simple as possible. Unless you

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Home-made Figures

Fig. 9.—Universal arm-joint. The following hints will show how the figures are to be made at home at slight cost. Get an ordinary Dutch doll (similar to that shown in Fig. 8 ) of the proper size and neatly made. Notice that the hip-joints allow the legs to move upwards freely, a convenience that the ordinary doll lacks. The knee-joints are after the same pattern, and allow the lower part of the leg to double up for sitting and kneeling. These joints should be made to work easily and evenly. The

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Working the Puppets

Fig. 13.—Finger loops for manipulating puppet. There are two methods of holding the threads and working the puppets, the first of which is also shown in Fig. 12 . The arm threads, A and B, are attached to the end of a stick, F; the leg threads are similarly attached to another stick, G, to the center of which the body thread, E, is fastened. The sticks are then held, one in each hand, or both in the same. Although more convenient for manipulation, this method possesses the disadvantage of limiti

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Working

Practice the parts carefully and thoroughly. Be ready with some joke or patter to cover any mishap that may occur. Accidents are unfortunate, but in Marionette-land quite probable, so if Aladdin’s left arm fails to work at the critical moment, there is nothing to do but make the audience think it all part of the fun. Supposing the evening for your entertainment to have arrived, and that all is in readiness, place the theater upon a table at such a height that the spectators will get a clear view

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A Good “One Man” Show

A living Marionette entertainment is well adapted for a “One Man Show,” and sure to prove a success. The very appearance of the weird creature, half human and half doll, makes the spectators laugh, and this laugh will scarcely subside until the curtain has been finally rung down on the entertainment. Fig. 1.—The dummy body with the human head. Fig. 2.—Front view of living Marionette stage. The mysterious combination shown in Fig. 1 needs but little explanation, since it is very clear that the he

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Comical Effects

Songs and monologues are naturally the best turns for the Living Marionette. Choose a rollicking, nautical song, suitable to Jack Tar. All the gestures and motions can be given to the limbs by means of the threads, whilst every now and again Jack can enliven himself and the audience by executing a hornpipe. A little practice with the leg-strings will enable you to perform this with great effect. Fig. 3.—Black cloth arrangement to conceal top of performer’s body. Always strive to obtain comical e

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A New Form of Entertainment

A home circus has so far been beyond the wildest dreams of the amateur showman. Yet when one considers the wide scope a circus presents to performers of every type, it is curious that “amateur circuses” are not almost as popular as “amateur theatricals.” At first sight such a show seems impracticable, on account of the large floor area required for the ring. This need occupy but little more space than a stage, however; and, taking into consideration the fact that the audience almost completely s

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Other Decorations

The “noble thorough-bred” is now ready for its final decorations. Unravel some coarse rope and sew it along the neck of the horse to represent the mane. Another piece, unraveled at one end only, does duty for a tail. The ears are constructed by cutting a piece of calico, folded in the form of a sugar bag, perpendicularly down the center, and stitching the two halves into position on the head. The color of the horse must next be determined. If dapple-gray, a few ink blobs upon the white backgroun

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How is it Done?

Another item suitable for the programme of the home circus is a “mock” conjuring entertainment. The ring-master announces that Herr Bluffemstein, the famous illusionist, will present his marvelous performance. Thereupon one of the boys or young men taking part in the circus must stalk majestically into the ring, and bow stiffly to the audience. If possible he should be attired in evening dress. He should also wear a fierce, upturned mustache, and carry an air-gun under his arm. A large target is

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The Indian Sack Trick

In this illusion the assistant brings forward a sack and proceeds to get into it. The conjurer then seizes the top of the sack, and pulls it right over the boy’s head. Producing a piece of rope, he requests some one in the audience so to tie the mouth of the sack that it will be impossible for the assistant to get out. When this is done, the conjurer places a screen round the boy, and slowly counts “One, two, three!” As he utters the last word, he pulls away the screen. The assistant is then see

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Trick Juggling

Fig. 8 shows the first feat—that of balancing a stick, card, and wooden ball upon the hand. The whole secret lies in the card. It really consists of two cards pasted together, with a piece of wire passing diagonally between them and protruding about half an inch at each end. In both the ball and stick are small holes into which this wire fits. The audience, of course, must be kept in ignorance of this—not a difficult thing to do when several feet separate them from the performer. Fig. 8.—Balanci

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An Old Form of Entertainment Revived

A peep-show makes an excellent and quite novel form of home entertainment, and a boy would be well repaid for any trouble to which the construction of one might put him. The first consideration is the dimensions of the show. One can be large enough to occupy the whole of a table, or so small that it can be made from a soap or cigar box. The best course, therefore, will be to leave the question of size to the reader. Fig. 1 is an illustration of the peep-show when finished. Fig. 1.—The finished s

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Secrets of Lightning Transformations

There is another variety of peep-show well worthy of attention. It is known as the “mechanical” peep-show. A short account of the finished show will not be out of place before proceeding with a more detailed description. Upon looking through the peep-holes the interior of a cottage is perceived, including side wings. The next moment, however, a faint click is heard—and the interior of the cottage miraculously vanishes, giving place to a scene in a forest glade! The simplest and most satisfactory

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His Highness of the Hump

Mr. Punch and Mrs. Judy at one time held quite an exalted position among forms of entertainment dear to the heart of the British boy. As far back as the reign of Queen Anne, a well-known periodical devoted quite a considerable space to a criticism of a Punch and Judy performance! Fig. 1.—The framework. Fig. 2.—Frames hinged together. Moreover, in England, less than fifty years ago it was no unusual occurrence for a traveling showman to hire a barn or large room and give a whole evening’s per

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Packing Up the Show

When the Punch and Judy Show has to be packed away, it is merely necessary to unhook the front cloth, take out the platform, and fold the framework up as though it were a screen or a clothes’ horse. But before this trial “pack up” is attempted, there are one or two small but important additions to be made. First of all, the top of the opening at which Punch presents his cheery countenance must be decorated. This is easily done. Two small nails are driven perpendicularly into the top of the front

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The Puppets

The “stage” is now complete, and it remains but to make the grotesque little puppets that perform upon it. Pride of place must be given, of course, to the redoubtable Punch himself. The most difficult part of this puppet to construct is the head. There are very few boys skillful enough to carve out the correct features from an ordinary block of wood; therefore they must find some other foundation upon which to work. A Dutch doll, to be purchased at any toyshop for a few cents, serves splendidly.

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Working the Figures

To “work” the figures the performer first puts his hand up the back of the coat, and sticks the tip of his forefinger in the hole in the head. He then places his thumb and second finger in the diminutive sleeves. By this means the puppet can be made to fling his arms about, and move his head in a most grotesque fashion. The other puppets are constructed on practically the same lines; but in the majority of cases it will be unnecessary to provide them with knickerbockers and legs, as the audience

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The Ghost

The Ghost, however, may receive a little special treatment. One of the heads should be vividly painted in black and white to represent a skull. Then attach it to a wooden stick, decorated with a series of black rings, as shown in Fig. 13 . The body consists of a long white gown similar to the other dresses, the only difference being that the head is left quite free in the collar. When the mysterious visitor makes his first appearance his head is right down upon his shoulders, as in Fig. 14 . Dir

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Without a Magic Lantern

Previous to the introduction of the cinematograph, dissolving views ranked amongst the most popular of entertainments. By means of a specially-constructed magic lantern, a painted picture from a glass slide is thrown upon a screen. Then, at the will of the operator, the picture apparently dissolves into a haze, through which a second picture gradually makes its appearance. Subjects are usually chosen which specially adapt themselves to such an optical illusion. For instance, a picture might be s

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Exhibiting

Whilst the paint is drying the young showman can turn his attention to the lights. These merely consist of two lamps—photographic dark-room lamps are most suitable, or a wax candle will serve quite well. Each lamp is provided with a cardboard shutter serrated at the bottom, as shown in Fig. 5 . It is this serration that imparts the dissolving effects to the various views. When the paint is dry the first exhibition may be given. The room in which the entertainment is to take place must be darkene

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Without the Use of Explosives

A firework display without the employment of brimstone and saltpeter is somewhat unusual. But it is quite possible to give such a display, and to do so without the heavy expense usually attending Fourth of July pyrotechnics. It is first necessary to make a frame or “stage,” upon which to present the firework display. In appearance this frame greatly resembles a three-winged clothes-horse; in fact, one of these humble home “thoroughbreds” may, after slight alteration, be easily pressed into servi

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The Firework Boxers

But our firework show gives scope for far better effects even than this. Some time ago great surprise was caused at an exhibition by the production of a firework boxer. With a little care and ingenuity, the same surprising result may be produced in the following manner:— By means of a needle prick out two boxers in a defensive position (C and D, Fig. 5 ). The others must then be designed; only in this case, one boxer is administering the coup de grace to his unfortunate opponent. Two grooved str

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For Use at Home

It is quite easy to make a telephone, which besides affording amusement, will, at times, be found extremely useful. Fitted from the ground floor to the rooms above, or from your friend’s house to your own, it is impossible to overestimate its convenience. Fig. 1 a .—Section of case. Of course it is quite possible to buy the parts of a telephone ready made and fitted together, but it is much more interesting to construct the apparatus yourself. The whole affair is so easily and cheaply made that

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Making Mouthpieces

Having made the cases for the magnets, now make the mouthpieces. Procure two wooden boxes such as boot-buttons are sold in, and glue one to the end of each of the wooden tubes you have just made, cutting a hole in the bottom of the box to correspond with the bore of the case. In Fig. 1 a you will see the work, so far as you have completed it, shown in section. In the lid of the box cut a clean hole the size of a dime right in the center, but this lid must not be fastened to the box just yet. The

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The Microphone

Fig. 5.—Sectional view of microphone. This instrument, as its name implies, serves to make small sounds greater. Besides being useful in conjunction with a telephone, it is also of interest in itself. Make a base, BC, and an upright, A, from a piece of thin pine wood, as shown in Fig. 5 . Buy from the electrician two blocks of carbon such as are used in batteries (these will cost but a few cents), each measuring about a cubic inch. In one side of each of these blocks fasten a long binding screw,

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A Galvanometer Adapted

Like most of the inventions that have revolutionized the world, the electric telegraph is constructed upon the simplest principles. As will be shown, an instrument for transmitting and receiving messages can easily be made at a very small cost by any one prepared to devote a little care to its construction; and when completed it will be found of considerable use and convenience. To make a model of the elaborate machines now employed, which not only receive but print messages in legible Roman cha

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Testing

It would now be as well to test what you have already done. Connect the loose ends of the coil to the poles of a battery, reverse them, and repeat this two or three times. If the instrument has been properly made, the needle should swing to the left when the wires are connected in one way; to the right when they are reversed. Fig. 4.—The keyboard. Nothing more remains to be done but to make the keyboard, which is really the base of the instrument you have just been constructing. A glance at Fig.

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Message Transmitting

At the ends CD of the springs fasten two binding screws, and do the same at A and B. Fasten the two loose ends from the coil to C and D, and attach the wires from the battery to A and B. Now is the time to see whether your machine has been properly made. By pressing down one key you will find that the current of electricity deflects the needle and the pointer to one side, and by releasing this key and pressing the other one, the pointer will swing down to the other side. If this is done satisfac

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The Mysteries and Marvels of “Under-Sleep”

The term “Hypnotism” is defined in Nuttall as “an artificially induced state of sleep,” and is of Greek origin, the prefix “hypo” signifying “under” or “beneath,” and the Greek root “hypnos,” sleep. Hypnotic, or “under-sleep” conditions, may be induced in several ways, and are not limited to the best-known method, that of absorbing the attention of the subject by means of an object; for oblivion may be caused quite as successfully by means of the sense of touch as in gentle continuous stroking,

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Weak-willed Subjects not Essential

Some subjects are less amenable to hypnotic influence than others. The belief that those of weak will are the easiest prey is a fallacy. The real reason lies in the fact that the individual is incapable of concentrating his will in obedience to the dominating mind. This is generally the case with persons inclined to hysteria or of neurotic temperament, and for such, a revolving glass is the best object to be gazed upon, as it wearies the eye and induces slumber without the need of concentration

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Auto-Suggestion or Self-Hypnosis

In order to cultivate these, experiment upon yourself by the means of auto-suggestion or self-hypnosis, which is a splendid means of training those faculties necessary to the mastery of other minds. Change your state by means of words which imply a condition either mental or physical not personally experienced by you, and believe implicitly in your own ideas. Treat yourself exactly as if you were experimenting on another individual, surrendering your subjective and objective mind wholly to absor

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Marvels of the “Sixth” Sense

Clairvoyance , originally a French word, means the ability to see clearly. The reason so few people possess this extraordinary psychic faculty, is because most human beings are three-quarter parts blind, deaf, and insensate to anything beyond the ordinary emotions. The power of prophecy and acute intuition is a sixth sense which most of us have in a slight degree dormant and uncultivated. Clairvoyance has often been mistaken for superstition or wilfully imposed and cunning deceptions, and it is

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Keys to Character

These colors, however, although providing the key to the character, are subject to constant changes. Our moods sway and change our thoughts according to the happenings that affect us. For example, bereavement or anxiety has power to transform the blue aura of the optimistic temperament to gray, and this temporary change of color studied alone may perplex the clairvoyant, and mislead him to a false diagnosis of character. In order to prevent this, the seer will do well to request some article con

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Crystal Gazing

By means of crystal scrying the gazer creates and becomes subject to the influence of auto-hypnosis—that is, he is able to throw himself into a trance which veils his own personality and links him to that of his client. The surface of the crystal gradually reflects images, and subconscious impressions conveyed by and vital to the individual whose past, present, and future are being revealed. Sympathy and intuition merge the soothsayer’s aura with the temperamental coloring of his client. His mag

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Simple Manifestations Best

The simpler the manifestation, the more assured the clairvoyant may be of arriving at the truth. Self-confidence, an absolute belief in his gift, and faith in his methods dominate him. He does not endeavor to avoid exertion of his nervous forces by discreetly “pumping” the inquirer as to ways and means, but takes a delight in silent investigation. The clairvoyant should come to his task fresh and buoyant, bubbling with enthusiasm, and yet without frivolity or thoughtless mind. At the slightest s

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The Eternal Question

The eternal question based on introspection faces him. “What am I? Whither am I going? What is the meaning of this thoughtful brain, this palpitating heart, these stirring pulses through which the mysteries of the soul flash in a thousand directions?” These and many other questions will move into being until the eternal atmosphere of spirituality is reached, and the wings of the soul become unfurled and increase in strength and power to lift him to the realms of his desire. Only when the heart i

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Fun for an Impromptu Party

There is something sufficiently fascinating about table-turning to fix the attention and interest of guests gathered for an evening’s recreation, and as it needs no previous arranging, it is an excellent device at an impromptu party. The table must be round, light, and of wood. As many of the company as can be squeezed in its circle may take part, but the excitement will be shared by the onlookers. Each places both hands lightly on the surface with the thumbs touching, and the little finger join

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The Presence of an “Unbeliever”

Should the spirit refuse to communicate at the end of twenty minutes, the manipulators may be sure that an “unbeliever” is in their midst, or that the whole assembly has too small magnetic power. When this happens, other persons should try their skill. As mediums are not uncommon, there will probably be one among them, and a brief waiting at the table will prove that this is the case. A good experiment to spare further waste of time is for the circle of attendants to decrease until only sufficie

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Secrets of the Past, Present, and Future

At social functions, such as garden and evening parties, fairs, &amp;c., there are few people whose notice and attentions are so solicited as the palmist’s. He speedily finds himself the central figure of a knot of people of both sexes, all eager to thrust their hands under his discerning eye, and compare their own estimation of their character—which, alas! is often subject to a severe shock—with that revealed by the sage’s comparison of lines, mounts, and stars engraved upon the palm. The t

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The Phalanges

Each finger has three divisions, known as the phalanges, and these are supposed to represent three worlds. The first, which includes the nail, stands for the spiritual. The second stands for the intellectual. The third stands for the material. Correct comparison of these phalanges provides the orbit of thoughts and ambitions in which the mind of the individual revolves, and when one of these predominates in length over the others, that quality for which it stands is the principal quality possess

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Signs—and Wonders!

The age of the subject is arrived at in the following manner. Divide the fate line, call the point of division 30. The age of 10 is slightly above the base of Luna. From 10 to 50 the line should be partitioned into equal parts; after that, however, the distances lessen. The life line may also be used to calculate age, but here the method of calculation is reversed, for childhood is above the thumb, and old age is indicated by the length of the curve to the wrist. Doubtless the most interesting m

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Guileless and Good

We all hold ourselves very dear; flaws in our natures, however serious and detrimental to character, seem trifles light as air. We appear to ourselves—especially when we are young—to be very good and guileless. We are assured that all follies will be conquered, repented of, left far behind us in the land of oblivion, long before old age catches us in the hip and thigh. And the palmist will often find that those who clamor most loudly for frank and impartial revelations are just those who are wou

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The Estate “Under the Hat”

Phrenology is that science which may be said to provide a chart or map for the discovery of the treasures existing in the “estate under the hat.” It is of Greek origin ( phren , the mind; and logos , science), and is closely allied to craniology (Gr.: kranion-logos , skull-science). The difference between these terms is as follows:— Craniology is a mere acquaintance with the skull. Phrenology is a full and detailed knowledge of its contents. This study is not founded on superstition, and the phr

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Bald-Pated Friends

In case the would-be phrenologist is not possessed of an amiable, bald-headed relation, he should endeavor to ingratiate himself in the favors of a hairless friend, for there is nothing so excellent for practice as a thatchless skull. Indeed, he is fortunate who has a large circle of bald-pated friends and acquaintances, for, even if he dare not attempt to find out their qualities by the sense of touch, he may achieve much by observation. Women’s heads are the most difficult to examine, and neve

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Phrenologist—and Man!

Students of phrenology will be astonished to find what a great deal of information may be gained by means of careful observation, when actual investigation is impossible. No opportunity should be lost of studying shape, poise, and balance of the human head. From the temples and brows of the man occupying the same seat on an omnibus a great deal is to be learnt, in spite of his headgear; the faculties 1, 2, 3, 5, 7, 9, 24, 25, 26, 27, 28, 29, 30, 32, 33, and 35 will probably protrude, and demonst

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The Humorous Side of Phrenology

In drawing-room exhibitions, only the lighter side of phrenology should be dealt with. A fund of humor and wit can be demonstrated here, so that instruction is blended with amusement, and it is not unfitting to use animals as illustrations of different qualities. For instance, the refrain in the once-popular lyric, “But the cat came back,” clearly testifies that this animal possessed the nodosity of inhabitiveness to a marked degree. Not so the man of music-hall fame whose pathetic pleading, “Pl

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What the Future has in Store

There is no more amusing diversion for a frivolous half-hour’s entertainment than that of fortune-telling by cards. Young or old enjoy it, and with a ready tongue the combinations presented may be so varied that quite surprisingly good predictions can be made. Surround the whole business with as much mystery as possible. Insist that all shuffling be done by the subject himself, and that cutting is always carried out with the left hand. Learn the meanings of the cards by heart. This is not diffic

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Clubs

Ace of Clubs, wealth and prosperity . King of Clubs, upright , affectionate . Queen of Clubs, deeply in love . Knave of Clubs, generous and sincere . Ten of Clubs, a fortune from an unexpected quarter . Nine of Clubs, obstinacy ; disputes with friends . Eight of Clubs, a love of money . Seven of Clubs, fortune and great happiness . Six of Clubs, a lucrative partnership . Five of Clubs, marriage with a wealthy person . Four of Clubs, inconstancy . Three of Clubs, a second or third marriage . Two

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Spades

Ace of Spades, a love affair ; if reversed, a death . King of Spades, an ambitious person . Queen of Spades, a treacherous friend . Knave of Spades, indolent, but well-meaning . Ten of Spades, an unlucky card . Nine of Spades, the worst card in the pack ; sickness, or loss of fortune . Eight of Spades, opposition from friends . Seven of Spades, sorrow . Six of Spades, great fortune . Five of Spades, success ; a happy marriage . Four of Spades, illness ; small loss of money . Three of Spades, an

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Hearts

Ace of Hearts, pleasure ; if with Spades, quarreling ; if with Diamonds, news of an absent friend ; if with Clubs, merry-making . King of Hearts, nice, but hasty and passionate . Queen of Hearts, fair, affectionate . Knave of Hearts, the subject’s dearest friend . Ten of Hearts, the antidote of bad cards that lie near it, but confirming the good . Nine of Hearts, wealth ; this is also the wish card . Eight of Hearts, feasting and merry-making . Seven of Hearts, fickle . Six of Hearts, generous,

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Diamonds

Ace of Diamonds, a letter; the card next to it will indicate its nature . King of Diamonds, hot tempered . Queen of Diamonds, a coquette . Knave of Diamonds, a selfish person . Ten of Diamonds, money . Nine of Diamonds, a roving person . Eight of Diamonds, marriage late in life . Seven of Diamonds, a gambler . Six of Diamonds, early marriage . Five of Diamonds, friendship . Four of Diamonds, unhappy marriage . Three of Diamonds, quarrels, lawsuits, and disagreements . Two of Diamonds, a serious

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A Throw of the Dice

Although forecasting of the future from dice is one of the most ancient methods of prediction, it is curiously enough almost unknown in modern days. For this reason it is of special value to the home entertainer, and will prove infinitely simpler than the cards, the meanings being easier to learn as well as fewer in number. First chalk a magic circle on the table, then obtain a small cup or box to shake the dice in. Three dice only should be used. The person whose future is at stake must shake a

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Fortune-Telling by Dominoes

A fairly unique accomplishment is to reveal the future by the aid of dominoes, and there is something sufficiently fascinating and mysterious about this mode of revelation to fill the uninitiated with awe at the powers of the exponent. Each small oblong has its secret meaning by which some happening vital to the subject is illustrated. It is a matter of little difficulty to commit these to memory; and in this, as in other methods of divination, the fundamental principle is that of comparison and

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Figured Futurity

That a certain amount of character and future may be revealed by means of figures is a fact that may be tested for itself. The results achieved by this method of divination are truly astonishing, and an ample reward to the mathematician for his attempt to solve the riddle of human nature. Certain groups of figures stand for different qualities. Those given in the table which follows are only a small portion of the whole, but they are sufficient for the beginner. Each letter of the alphabet has i

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Divinations by Tarocs

Tarocs differ from the numeral cards used for bridge, whist, &amp;c., in several ways. A pack consists of seventy-eight cards, made up of twenty-two emblematic pictures and fifty-six ordinary. These latter are grouped into four suits of fourteen cards each:—four coat cards —king, queen, chevalier, and valet; and ten pip cards , numbering from 1 to 10. The twenty-two emblematic cards are known as the Major Arcana , and are divided into three groups of seven, which equal twenty-one cards. The

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Process of Divination

The complete pack is used. Shuffle and cut into three parts, each composed of twenty-six cards, thus:— 26 26 26 Take the central pack, and place on the right . The inquirer shuffles the two remaining packs, which equal fifty-two. These are dealt out in a similar fashion—three groups of seventeen cards, thus:— 17 17 17 Again remove central pack to the right . Deal out the remaining packs, which equal thirty-four, in three groups of eleven, thus:— 11 11 11 It will be seen that seventy-eight cards

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Character from Handwriting

More or less consciously, every one is a reader of handwriting! If we have not devoted thought and study to the subject, we merely gather a vaguely favorable, or unfavorable, impression from the first letter written to us by a new acquaintance, and store it up with the other impressions we have already gleaned from their personality. When, however, time and thought are given to the fascinating cult of Graphology, it will be found to reward its students, by letting a thousand little sidelights on

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The Principal Letters

Taken in alphabetical order, the following are the principal letters to study:— A. Well made, and simple in outline, indicates refinement, gentleness, intelligence, perhaps poetic feelings. Flourishes are always bad, and tell of pretension and egotism. If a small a is unjoined—open-mouthed as it were—the subject is something of a gossip. This also applies to the small o . Artistic—refined—loves poetry. Selfish and egotistical. B. This is a letter that frequently tells of ostentation and kindre

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Misleading Signs

It cannot be too emphatically impressed on the beginner, that it is fatal to judge from one sign alone. Study them all ere you commit yourself to an opinion; above all, study the signature. A specimen for delineation should always consist of about six lines, not of copied matter. It must be written on unlined paper, and have the writer’s usual signature attached. Never attempt to gather anything from an envelope, as one is so often asked to do. Like copied matter, or indeed anything written spec

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A Word to Grown-Ups

It is undoubtedly one of the hardest tasks imaginable to give a successful children’s party, and the reasons that militate against success are legion. In the first place children are the keenest of critics; secondly, that which interests a mite of three will bring boredom unmitigated to the “fellow of ten,” while the maiden of twelve and the “man” of fifteen have very strong views of their own on the subject of amusements. A children’s party, then, is not an undertaking to be approached lightly.

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Tea Time

Half-past four will be found a good time for tea. Soon after five the healthiest hunger will have been appeased, and then, having “let digestion wait on appetite,” marshal your guests into the drawing-room and allow them to “fall to” to amuse themselves. Let the revels be of the simplest. If there is one game children love more than another it is Musical Chairs, and as there cannot be a person living, who does not know that historic pastime, there will be no need to describe it in detail. Howeve

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For Christmas Parties

At Christmas parties, at which guests of all ages are found, it is sometimes a perplexing riddle to the hostess to know how to entertain them all. Musical items which may delight the older members of the company may only serve to render younger folk restless and dull, and dancing is not always possible in rooms of limited size. Moreover, there are still many young folk who are unable to set their feet nimbly to waltz and two-step, and would much prefer a romp to whirling round in time to a measu

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The Clothes-pin Game

The players are formed into two lines a few feet apart; at the top and bottom of the lines are two tables upon which as many pins as there are players are placed, and exactly divided into two heaps. The hands of all are crossed at the wrists. The first players of each line use the second player’s right hand to pick up a pin. The latter in the same way passes it to the next player, and in this manner it goes through the lines to the table at the end, upon which the last players place it. Meanwhil

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Proverbs

One of the party retires while the rest decide upon a well-known proverb. When he returns, he stands in the center of a semicircle. Some one taps three times with a stick, and at the third tap each player shouts one word of the proverb loudly and simultaneously. This is repeated three times, and it is amazing how difficult it is to distinguish even the most well-known proverb in the uproar. Should one word give the key to the player not in the secret, the individual who speaks it takes his place

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The Game of Shadows

A white sheet is stretched against the wall, with a lamp immediately before it. All other lights are extinguished. One of the company sits on a chair or stool with eyes fixed on the sheet. Behind him the company files noiselessly, the while he endeavors to identify them by means of the shadows silhouetted on the screen. Simple disguises are allowable and increase the fun. For example, a boy may don a girl’s hat, a girl a boy’s; or a skirt or shawl may be draped over a boy’s suit, thus concealing

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Gardeners

Two rows, headed by a chosen captain, face each other. In turn they fire at each other the names of vegetable, flowers, or fruit, beginning with the letter A, and using in turn the other letters of the alphabet—asparagus, artichokes, apples, &amp;c. The players on each side set their wits to work to aid their captain when he shows signs of faltering. They are not allowed to speak aloud, their promptings being given in whispers, and this is where the fun comes in, for, when one is excited and

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Tidings

Each player adopts some trade or profession. One member reads out the social gossip from a daily paper. When he pauses and points at one of the rest, that one must reply quickly some sentence regarding his calling or the stock he sells, for instance— Reader. —The ball that took place at the residence of the Hon. Mrs. Mortimer last evening was distinguished by the presence of the President. A number of débutantes were present, the majority of whom were dressed in—Here the reader glances at the ca

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The Lawyer

The party is divided into two rows, through which walks the lawyer. He asks a number of questions, and the answers may contain any words except “yes,” “no,” “white,” “black.” The person to whom he puts his query does not reply, but the one immediately opposite does. The lawyer exchanges places with the one who makes the first mistake. Lawyer (pointing to Mary)—“Your hair is very long; is it your own?” Tom opposite bawls “false.” To Jessie —“Do these pretty boots pinch your feet?” Jack —“Of cours

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Cabbages

Any number of players can take part in this game. They kneel in a circle on the floor with fingers stretched out before them and thumbs tucked in. The game is started by the leader’s query to her neighbor: “Can you play cabbages?” As the latter has not been initiated into the mysteries of the game, she at once replies— “No.” The question is asked by each player, and is always answered in the negative until the circle is completed, when the leader again queries: “Can you play cabbages?” Neighbor—

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The Lover’s Coming

All the members of the party save one are massed together at the end of the room. The leader walks close to them, and throws a light rubber ball towards any person she likes. The person must be prepared to catch the ball. As the leader throws it, she accompanies the action with these words, “My lover comes thus”—the ball is tossed in a way to illustrate the manner of the supposed lover. The thrower terminates her sentence by a letter of the alphabet. The one to whom the ball is thrown has to pro

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Telegrams

Each player is provided with paper and pencil, upon which any twelve letters are written, with sufficient space left between for words. The leader gives a topic, such as a wedding, accident, invitation, &amp;c. A watch is placed on the table, and from ten to fifteen minutes given, during which each player concocts a telegram from the letters supplied by his left-hand neighbor. At a signal, the telegrams are thrust under a hat, and read out in turn by the leader. Example 1. —Topic: a sensatio

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The Fan Fight

The players divide into two lines. A piece of tape is stretched across the room, and before every two players a feather is placed. Each player possesses a Japanese fan, and the object is to lift the feather and waft it on to a stretch of newspaper, which marks the opponents’ den. The dens are guarded by goal-keepers, also armed with fans, and their business is a lively one. Feathers must not be blown, or pushed with the hand, as happens sometimes when the excitement of the game makes one forgetf

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Panama Canal

One of the company is chosen as director, and addresses the company in some such way as this:— “Ladies and Gentlemen,—It having been discovered by the director of the Panama Canal Company that the water of the canal is often disturbed to a dangerous degree by means of the passionate sighs and turbulent emotions of the passengers cruising upon it, they have decided that a penitentiary tax shall be levied upon all ships containing lovers, and that, for every kiss given, toll shall be exacted.” The

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The Longest Line

This is a good competitive game. Men and boys should stand with their feet on a chalked line. Each must stoop down to a half-sitting position, and with the left hand resting on the knee and the right hand inserted beneath the right leg, draw a line as long as possible without rising or using the left hand....

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Musical Buff

Station a person in each corner of the apartment. Then blindfold one of the party, and lead him to the center. The master of the ceremonies points to each of the four in succession, and each says in a clear separate tone the word “Come.” When the word has been said by each in turn, the blind man endeavors to find his way towards the person who spoke first....

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Magic Hieroglyphics

For this seemingly mysterious achievement a confederate is required. He must know that— Consonants are revealed by means of sentences, which the wizard speaks in a natural and unostentatious manner. The confederate is banished from the room while the party decide upon the word he shall be called upon to guess. Monosyllables are preferable. When he returns the wizard is armed with a wand, by means of which he proceeds to make imaginary pictures on the carpet. Supposing the word to be orange . He

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The Auction Game

This is a most fascinating resource for a wet wintry afternoon, and its preparations are interesting enough to keep a whole houseful of young folk occupied and amused. A large piece of cardboard is cut into twenty-five squares, and on each is pasted a picture of some article taken from advertisements in old newspapers, magazines, or catalogues. The pictures are numbered, and on the back a price in keeping with the article is written. The more variety there is among the stock for sale the better.

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The Whistle

Another excellent game is played in the following manner. One of the company is blindfolded, and a long ribbon, through which is threaded a whistle, is pinned to his back, and he is told that he must catch the blower and discover the whistle. Of course, he has no idea that it is on his own person. He is swung into the center of the room, and his playmates make surreptitious dives at the whistle and raise it to their lips, taking care not to stretch the ribbon so that he will feel the tug. Perfec

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The Blind Brothers

All who are unfamiliar with this mysterious game are banished from the room and brought in separately. The master of ceremonies blandly invites each to be seated on one of two chairs placed back to back and touching each other; the other chair is occupied by one of the initiated in the performance. A sheet is thrown over the couple, and round them circle those of the guests who are aware of what is to happen. One of the two blind men, the confederate, is secretly armed with a light roll of paper

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The Poets’ Corner

This is an excellent and ingenious pastime for young men and women who have outgrown the old-world games of “Hunt the Slipper” and “Hide and Seek.” The “poets” are each given a slip of paper and pencil, at the head of which they write any question they like. When this is written, the papers are folded, so that the sentence is concealed, and passed on to the left-hand neighbor, who, without looking at the question, writes any word she likes beneath so long as it is a noun. This is again concealed

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Jack’s Going Strong

“Jack” is a piece of firewood, held in the flames until its tip glows. It is then passed from hand to hand among the players. Each says, as he receives the smoldering torch, “Jack’s going strong.” The aim is to get rid of “Jack” before the spark dies. The player, who is obliged to own that “Jack is dead,” is compelled to pay a forfeit. “Jack” should be a long stick, held out at arm’s length, so that, if he falls by accident, he will not burn holes in party dresses. The floor should be without a

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Name Divinations

This is a clever puzzle game, which seems to the beholder to be steeped in magic and mystery. In order to discover the name or birthplace of a person, the following table of five columns is necessary:— The manipulator shows the table to the individual whose name he wishes to discover, asking him to point out the column or columns that contain the initial letter. A glance at the table will show that if it is in only one column it must be the top letter. Should it be found to be in more than one,

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Wizard Photography

The wizard, who possesses a confederate, is banished from the room. During his absence the latter produces a piece of paper, and declares his intention of taking a photograph of any individual among the company upon it, in such a manner that it shall be visible to the wizard alone, who, upon examining it closely, will call out the name of the original. Naturally every one considers that this must be quite an impossible proceeding, and for that reason every one becomes very curious and watchful,

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The Missing Ring

A plain curtain ring is threaded through a piece of tape or ribbon, knotted at the ends. The guests form a circle round a central figure. The ring is passed swiftly along through hands gripping the tape, while the master of ceremonies counts one, two. At three, all fists must be threaded by the tape and perfectly motionless, and the man in the center, who is permitted to observe the circuit of the ring, is called upon to say which person has possession of it. Should he guess rightly, he changes

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Apples and Nuts

Mix a number of hazel nuts and apples together on a table removed from the wall; hand a teaspoon and table knife to each of the guests. Bid them, at a given signal, move to the table, with the knife in the right hand, the spoon in the left, and scoop up one apple and one nut. This is no easy matter on a smooth surface, for the probability is that the fruit and nuts will roll to the floor. When they are secured they must be conveyed to a dish at the other end of the room. He who performs this fea

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Amiable Dog

The party is divided into two lines. The first player begins by saying, “Our little dog is amiable.” The first player on the opposite side must answer quickly with another adjective beginning with the same letter thus, “Our little dog is artful.” Meanwhile, the first player counts ten. If in that time his opponent fails to respond he is obliged to go over to the opposite rank. Other letters of the alphabet may be used. The side that gains all the “men” wins....

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Tangrams

One of the oldest and most fascinating puzzles comes, like so many quaint things, from the Far East where, over four thousand years ago, a learned Chinaman named Tan made the invention which forty centuries have been unable to improve or alter. Worthy of a civilization that invented Chess, Tan’s puzzle has lived on unchanged through the ages, affording amusement and thought to men of such ability as Napoleon, who, during his exile on St. Helena, used to spend hour after hour with the little blac

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A Scissor Trick

Ask one of the ladies, who naturally knows all about scissors, to do the following trick. Holding the hands with palms upward, hang a pair of scissors on the little fingers, as shown in Fig. 7 . The fingers should then be slightly bent so that the scissors stick upright as in Fig. 8 ; next ask her to turn the hands round rapidly back to back when the scissors will make a complete revolution, and should finally point upward again. But it is just at this point that the trick comes in, for the fair

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Blowing through a Bottle

Can you blow hard enough to make your breath pass right through a thick glass bottle? The majority of people will say “No,” and dare you to perform the task. It is really very easy. Take a large round bottle or jam jar, and place a lighted candle behind it, as in Fig. 10 . Now stand so that the bottle or jar is interposed between yourself and the light, and blow. The flame will be extinguished at once! There is scarcely need to tell your surprised friends that the shape of the bottle has really

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A Safe Bet

Lay a dime, or a dollar if you feel so inclined, upon the palm of your hand, and promise to give it to whoever can brush it off with an ordinary clothes brush, as shown in Fig. 11 . The only condition you need make is that they shall brush towards the tips of the fingers and not to one side. You need have no fear of the result, and can feel quite assured that your money is as safe as if it were in your own pocket. Whatever the explanation may be, the fact remains that no amount of brushing will

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Do not touch the Coin

Place a dime upon a polished table and ask one of your friends to pick it up without touching either the coin or the table. Fig. 12.—Showing how coin is removed from table. A glance at Fig. 12 shows how the trick is done. Slightly curve your hand so that it almost touches the table, and blow steadily upon the table at a distance of about five or six inches. The force of your breath passing beneath the coin will carry it into your hand....

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Quis Separabit?

If there happen to be a newly-married couple amongst your friends, the following little trick may cause them a blush of happiness. Get them to fold their hands, as shown in Fig. 13 , in such a way that the wedding-ring finger of the left hand, and the corresponding finger of the right hand, are doubled inwards as far as the second joint, and the knuckles of those joints press firmly against each other. Fig. 13.—Hands folded. Fig. 14.—Thumbs separated. Now, tell them to separate their two thu

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Stick no Bills

Take a piece of coarse brown paper, the coarser the better, and warm it steadily before the fire. Now draw it rapidly a dozen times between your arm and your body, as in Fig. 15 , so that it receives a good friction upon each side. Now press the paper against the wall, and you will find that it remains as firmly stuck as though a whole pot of the best paste had been used for the purpose....

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A Mighty Voice

A prophet is never without honor but in his own country, and few of your acquaintances will believe you to be such a wonderful person that with a single shout you can break a glass. Yet it is very easy to convince them. Take an ordinary wine-glass, and hold it by its foot firmly to the table. Make the glass ring with a touch of the finger (it will probably sound a rather low note). While the glass is yet tingling, raise it rapidly to your mouth, and shout the same note that it rang full into the

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A Genuine Match

It is surprising how universal is the law of love! Even two plain pieces of wood are unable to resist the impulses of the great passion. Take out the bottom of a match-box, and split it into two pieces. Double over the ends at about a quarter of the way up, as in Fig. 16 . On one piece make the rough sketch of a girl, and upon the other a similar drawing of a man, and then place the pieces together, as shown in the illustration. Fig. 16.—Drawings in position. If you pour a few drops of water ove

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The Dying Fish

Cut a piece of deal into a prism about four inches long, and color two of the sides black or dark blue, painting the remaining side white. Sharpen one end into a small triangular point, and paint two eyes and a mouth thereon, so that the completed figure appears as in Fig. 17 . Now, if you put this in a basin of water very heavily salted, you will find that the fish floats quite naturally, as in Fig. 18 , whilst if you place him in a basin of plain fresh water, he will immediately turn on his ba

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New-laid Eggs

Here is a very handy method of discovering whether an egg is fresh or not. Pass an elastic band around the egg, and hang it upon a wire, as shown in Fig. 19 . Twist the egg and band round several times, and then release it, when the band will rapidly untwist with the egg. If the latter be quite fresh, it will stop almost immediately, but if it happens to be rather older than is desirable, it will twist and untwist, reversing several times before it finally comes to rest. This applies to eggs whi

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A Will-power Test

This is scarcely a trick, as it really serves to prove which of two persons has the stronger will-power. Place a door-key between the pages in the middle of a book in such a way that the handle projects an inch or two, as in Fig. 20 . Pass a piece of string round the book, and draw into a tight knot, so that the key is held firmly in its place. Now, let the persons who desire to test the strength of their wills support the book by the ring of the key resting on their extended forefingers, as in

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The Magic Repeater

This is an interesting example of some strange agency at work amongst us. Make a running noose at the end of a piece of fine thread, and pass it securely round a quarter, as shown in Fig. 21 . Taking care that the thread passes over the tip of the thumb, support the thread from your hand, in the manner shown in the illustration, in such a way that the quarter is hanging within a wine-glass or tumbler. Take care also to keep the hand perfectly steady, and await results. For a few seconds the quar

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The Obliging Banana

It is rare that one can get a fruit so obliging as to peel itself, but upon certain occasions a banana will put itself out of the way to render this favor. Cut off one end of a banana, and with a knife just start ripping up the skin on the four sides in the usual manner. Now take an empty bottle, put some methylated spirit inside, and drop a lighted match to ignite the spirits. As soon as the flame has died out, place the prepared end of the banana in the mouth of the bottle, and you will find t

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The Smoker’s Fancy

Although most ardent smokers will admit there is little pleasure in smoking in the dark, there are few who will not be surprised at the following trick. Induce a cigarette devotee to have his eyes bandaged, and make him moisten the ends of two cigarettes. Having lighted one of them, allow the victim to have a few whiffs and then take it out of his mouth and replace it by the unlighted cigarette. Continue changing the cigarettes in this manner for a few minutes, and you will presently find that h

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The Mysterious Bands

Take a full sheet of a large newspaper, e.g. the first and last pages (which make one sheet) of a paper like the New York Times , and cut three straight strips (a, b, c) about three inches wide, as shown in Fig. 23 . Now join the ends of these strips in the following manner in order to make three loops. In the strip a bend round D, and paste it on to the under side of E. Make a loop of b in a similar manner, but giving the strip a half turn, and pasting the under side of F to the under side of G

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Sold Again

Get some one to take a nickel out of his pocket, and, without showing it to you, ascertain the date of the coin, and then turn it face upwards on the palm of his hand. You will now remark that “you can tell the date.” Appear to scrutinize the coin very attentively, and then, with the utmost importance, tell the owner of the penny the actual day of the month, and smile complacently at his indignation....

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Simple Subtraction

If you have fifteen matches and remove six, how can you obtain a remainder of ten? Fig. 25.—Showing first arrangement of matches. Arrange the matches as in Figs. 25 a , b , and c , and ask a friend the above-mentioned question. When he gives it up, remove the six matches marked A, B, C, D, E, and F, and you will have the result shown in Fig. 26 . Fig. 26.—Showing result when six matches have been removed....

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A Tricky String Puzzle

Take a piece of string about a yard long and tie the ends together, making a loop. Passing this loop through the ring of a key, hang it upon the extended thumbs of a friend, as in Fig. 27 . The strings are crossed. The trick is to remove the key without taking the string from the other person’s thumbs. Fig. 27.—Showing string upon extended thumbs. Fig. 28.—Second stage of string trick. Fig. 29.—Showing mode of freeing key from string. To understand the diagrams it will be necessary to rememb

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A Sure Eye

Stick a sharply-pointed knife, preferably with a heavy handle, into the lintel of the door, or into a wooden beam upon the ceiling. Then ask for some one with a sure eye to mark the exact spot on the floor by putting a cent upon it, where the knife will drop when displaced. This is easily done in the following manner. Take care that the knife is very lightly stuck into the wood, so that it will fall at the slightest touch. Fill a glass with water, and raising it to the knife immerse the handle t

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“That is the Man”

Fold a piece of paper into four, and cut a pointer out of it, as shown in Fig. 30 . Now run a needle through a cork and balance the pointer on its tip, as shown. Place an inverted tumbler over the whole contrivance ( Fig. 30 a ). Fig. 30.—The paper pointer. Fig. 30 a .—Pointer mounted on cork. By rubbing the outside of the tumbler with a piece of rag, or even a handkerchief, you can make the pointer turn in whatever direction you desire, as it will swing round to whatever portion of the glas

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Needle-Threading Extraordinary

Thread a No. 6 needle with a couple of yards of fairly coarse cotton or thread, and draw them through until the two ends are of equal length. Now pass the point of the needle right through the two strands, as in Fig. 31 , and continue pulling the needle as in Fig. 31 a until the threads have passed through each other and appear a continuous piece, as in Fig. 31 b . This should have been done before showing the trick to the company. As there will be no knot, it is highly improbable that any one w

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The Magician’s Bite

Take an ordinary piece of string or thread, and offer to cut it in two if somebody present will guarantee to join it into one piece again without any knot. You may announce at the same time that by wizardry you are able yourself to do this by a simple bite of the teeth. Fig. 34.—Showing string passed round hands. Fig. 34 a .—Showing ends of string looped together. The trick is done in this way. Appear to pass the string round the hands twice, as in Fig. 34 , whereas by a deft movement, which can

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A Trick in the Sunshine

This trick can only be done on a sunny day, for a reason which will be very evident to those who try it. Obtain a clear glass bottle, in the cork of which stick a hooked pin. By means of a piece of thread hang a small weight from this pin within the bottle, as in Fig. 37 , and then request some one to cut the cord without drawing the cork. Fig. 37.—Sun’s rays focused on weighted thread. All that is necessary to do this is a magnifying glass which is placed between the bottle and the sun at the r

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Light a Cigarette Without Matches

Concentrate the rays of the sun upon the end of the cigarette, and draw in the ordinary way (if you are old enough to smoke), when the cigarette will rapidly be ignited....

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Another String Trick

Stick a penknife into a post or tree, or other strong upright of wood, and pass a piece of string behind the post and above the knife, as in Fig. 38 . Bring the end C round the post and pass B over it. Bring C round again and cross it over the knife, and B round the knife over C, as in Fig. 38 a . Pass the ends round the post again, always remembering that B must be over C, and then tie the two ends in a knot, as in Fig. 39 . Fig. 38.—Knife and string trick—first stage. Fig. 38 a .—Knife and str

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Try This!

A candle can be lighted without approaching the match to the wick in this way. Light a candle in the ordinary manner, and take care that the wick is fairly long and burns brightly. Blow it out suddenly, and by applying a lighted match to the smoke at the height of an inch or two, the candle will instantly relight without your having to put the match to the wick....

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A Steady Hand

If any of your friends boast of a steady hand, you can easily give their pride a fall by wagering that not one of them can move a glass of water from one table to another without spilling every drop it contains. Fill a tumbler with water to the very brim. Place a piece of perfectly flat, stout paper on the top of it, as shown in Fig. 40 , and the palm of the hand on the top of that. Now turn the glass upside down very quickly and carefully, and place it upon a flat part of the table, having done

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Puzzles That Please

History records that the blind poet Homer lost his reason in a vain endeavor to solve a riddle, and from his days until these present times much care and thought have been expended in the invention of puzzles both difficult and simple. It is the object of this chapter to present the reader with a few simple ones. Two easy and yet fascinating puzzles can be worked with an ordinary checker-board. Place a checker upon a square near the center of the board, as in Fig. 1 . In how few moves can you ma

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Solutions

You cannot make the checker traverse all the squares in less than sixteen moves, as shown in Fig. 12 . Fig. 12.—Solution to traveling checker. Fig. 13.—Solution to second checker puzzle. The way to place the sixteen pieces so that no three are in a line in any direction, can be seen from Fig. 13 . The nine rings can be joined by four lines, as shown in Fig. 14 . Fig. 14.—The joined rings. The complicated geometrical figure shown in Fig. 15 shows the ten rows formed with nine counters. By mak

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When Seeing Eyes are Blind

“ But , I tell you, I saw it; surely I can trust my own eyes!” How often have we heard this uttered as a conclusive proof of some friend’s statement! And really at first it would seem to be an assertion admitting of no further question, were it not for the fact that we know our eyes are no more infallible than anything else in this world, and are quite as liable to make mistakes as are our memories. It is true that eyes are good and faithful servants, fit to be trusted in ninety-nine cases out o

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Hills that Don’t Rise

Should it ever happen that you go cycling in France, you will find this deception practiced upon your eyes all day long. The roads in that country are very straight, and are bordered upon either side by tall trees, so that from wherever you stand a long avenue stretches before you to a point where the trees seem to merge into one another, as parallel lines invariably appear to do. But flat as the country may be, you will always find yourself confronted with a gentle incline, as it seems, very sl

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The Stars don’t Twinkle

Every cloudless night the eyes make a mistake that we can easily discover, but which we are totally unable to remedy. Of course you have looked up to the sky thousands of times and seen the stars twinkling. Not only that, but if the night is clear you can see they are stellate, or star-shaped, like the starfish which is named after them. You can see both of these things, and yet the strange fact is that neither of them is true! The stars do not twinkle at all, and they are not stellate. The twin

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The Dwarf, the Man, and the Giant

Now if we make a drawing such as Fig. 10 , which represents three men walking down a passage, our eyes know quite well that if all these men were of the same size, Mr. Jones in front would appear smaller than Mr. Smith behind him. And Mr. Smith in his turn would appear smaller than Brown who closes the procession. Yet in our illustration Jones appears a veritable giant, towering above Smith and making Brown appear a mere pigmy. If you measure them, you will find they are all three the same size.

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Color Illusions

Most of us know the result of turning a series of circles (as in Fig. 11 ) horizontally with the eye. The circles appear to revolve rapidly round their center, and in different directions. This is solely because the eyes become confused, giving one more proof, were it needed, that they are no more infallible than anything else on this wide earth. Some very interesting experiments in color illusions can be made. So cunning is the deception played upon us by our eyes, it is extremely difficult to

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Successful Systems of Secret Writing

From the earliest times secret writing has been considered no less an art than a necessity. Innumerable have been the systems invented and the means employed to insure the secrecy of messages and instructions. Yet in the passage of time by far the greater number of these methods of cipher has become obsolete and practically useless, failing in most cases to comply with the three great necessities which Bacon declared to be indispensable to all ciphers and cryptograms: (1) Easy of reading and wri

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Russian Nihilist Code

An adaptation of the last-mentioned system is shown in Fig. 5 , where the letters at the side and top are replaced by numerals. This method is very much in use amongst the Russian Nihilists, who would therefore write the sentence “Plot discovered” as follows: 41, 32, 35, 45; 14, 24, 44, 13, 35, 51, 15, 43, 15, 14. This, again, can be very much complicated by multiplying each number by the position held by the letter in the word. Thus in the sentence just put into cipher, P is the first letter in

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The Sphinx

Now to turn to more scientifically constructed ciphers, such as have been employed by various Governments in correspondence with their ambassadors and secret servants. The Sphinx Cipher, shown in Fig. 11 , is based upon a key-word of six or seven letters, previously arranged by the parties concerned A key-alphabet is written in full at the top of the plan, and against each letter of the key-word a complete alphabet is written as shown in the figure. Fig. 11.—A Government cipher, called the “Sphi

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Friend from Foe

In a condition of affairs where every man’s hand was against his neighbor’s, the necessity of being able to tell friend from foe was more urgent than in these peaceable times. When plotting was rife upon every hand, and one man possibly held the lives of many confederates in his power, knowing that an incautious word of his might doom them all to punishment and probably death, it became of paramount importance to have some means of discerning allies from enemies. Obviously the means of finding o

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“Shakes” and “Passes”

In this latter case a very good “shake” can be obtained by pressing the thumb firmly against the back of the hand, as shown in Fig. 1 . This will arouse no suspicion in anybody ignorant of the meaning, though, if reciprocated, it forms an excellent sign of recognition. Fig. 1.—A handshake sign. Fig. 2.—An eyebrow sign. The variety of passes that can be executed with different meanings is astonishing. Yet it should be remembered that, although outsiders may not know what you are saying, it wi

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Pass-Words

Pass-words, and the methods of giving them, vary considerably. The word, which must of course be known to all duly intrusted with the secret, should be of two syllables. One party called A says the first syllable, and the other person B repeats the second, then saying the whole word. Supposing the pass-word chosen be Oxford, A would make some remark introducing the word Ox, whilst B, replying in a similar vein, would mention the last syllable “ford” and conclude by repeating the whole word. With

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The “Patteran”

The “patteran,” as it is called, is made in various ways. A piece of rag fluttering from some bush near a cross-road, is a favorite signal, whilst small twigs or leaves strewn in a particular direction, have a somewhat similar meaning. Tramps and vagrants of all kinds have a series of signs, which they chalk upon the walls of the various houses at which they call, serving to inform their brethren of the treatment received at the hands of the occupiers. By this method a rude cross will usually de

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The Wonderful Sense of Touch

It cannot fail to strike those of us who are blessed with the use of our eyes how extremely fortunate it is that our blind friends need not be debarred from many of our games. Being deprived of their sight, their sense of touch is developed to such an incredible extent that in the playing of many games their fingers prove of the same use to them as our eyes do to us. Practically all games for the blind can be purchased at very moderate cost, yet as they can be quite easily made at home the follo

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Cards

An ordinary pack of cards can be very simply adapted to the use of the blind. Fig. 1.—Pin pricks showing value and suit of card. Fig. 2.—Distinguishing marks for suits and color respectively. By means of a large pin, the designation and value of a card can be pricked on the back, so that the upraised holes are perceptible to touch. These values and denominations should be pricked in the corner where the small designation of the value of a card is always to be found, as in Fig. 1 . In Figs. 2 and

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Checkers

An ordinary Checker Board can be adapted for the use of the blind with very little trouble and no expense. Cut thirty-two squares of thick cardboard, each square identical in size with the black squares on the Checker Board. Upon each of the black spaces one of these pieces of card should be glued, so that when complete the board is composed of sunk and raised instead of colored squares. For the convenience of any ordinary person who may be playing with a blind opponent, the cardboard squares sh

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Halma

The preparation of a Halma board is very similar to that of a checker board. Having raised the alternate squares with cardboard, the “Homes” at each corner should be further raised by glueing a piece of cardboard over all the spaces, and then raising the alternate squares upon this base, as in Figs. 6 and 6 a . Fig. 6.—Section of Halma board showing “Home.” In the center of each square a nail should be driven from the back of the board, with the end cut off and point filed to smoothness. These n

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Dominoes

Owing to their construction, Dominoes really need no alteration to make them suitable for the blind, but care should be taken when purchasing to see that the pips are cut deep into the ivory, so that the player can tell at a touch how many there are in the piece before him....

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Chess

This is one of the games in which the blind frequently excel, and in consequence it is a general favorite. The undivided attention they are able to give, and the natural acuteness which their affliction usually brings to such a pitch of excellence, serves them in good stead when playing “the king of games.” The board should be prepared as in the case of checkers, with the exception that points should be made from the back , in the manner described in connection with the Halma board . The differe

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Round Games

In the majority of round games the blind are able to take an active part, but this depends very much upon the individual concerned. As a general rule rough games should be avoided, especially if the space for playing be limited. Fig. 9.—The Braille Alphabet. Games in which a certain amount of writing is requisite are rarely suitable, although here again it must be a matter solely dependent upon the person concerned. At spelling and guessing games the cleverest seeing player must look to his or h

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