Chapter V: Preface (5)

Ask any person to think of a number, say a certain number of dollars; tell him to borrow that sum of some one in the company, and add the number borrowed to the amount thought of. It will here be proper to name the person who lends him the money, and to beg the one who makes the calculation to do it with great care, as he may readily fall into an error, especially the first time. Then say to the person: “I do not lend you, but give you $10; add them to the former sum.” Continue in this manner: “Give the half to the poor, and retain in your memory the other half.” Then add: “Return to the gentleman, or lady, what you borrowed, and remember that the sum lent you was exactly equal to the number thought of.” Ask the person if he knows exactly what remains; he will answer “Yes.” You must then say: “And I know also the number that remains; it is equal to what I am going to conceal in my hand.” Put into one of your hands 5 pieces of money, and desire the person to tell how many you have got. He will answer 5; upon which open your hand and show him the 5 pieces. You may then say: “I well knew that your result was 5; but if you had thought of a very large number, for example, two or three millions, the result would have been much greater, but my hand would not have held a number of pieces equal to the remainder.” The person then supposing that the result of the calculation must be different, according to the difference of the number thought of, will imagine that it is necessary to know the last number in order to guess the result; but this idea is false, for, in the case which we have here supposed, whatever be the number thought of, the remainder must always be 5. The reason of this is as follows: The sum, the half of which is given to the poor, is nothing else than twice the number thought of, plus 10; and when the poor have received their part, there remains only the number thought of, plus 5; but the number thought of is cut off when the sum borrowed is returned, and, consequently, there remain only 5. The result may be easily known, since it will be the half of the number given in the third part of the operation; for example, whatever be the number thought of, the remainder will be 36 or 25 according as 72 or 50 have been given. If this trick be performed several times successively, the number given in the third part of the operation must be always different; for if the result were several times the same, the deception might be discovered. When the five first parts of the calculation for obtaining a result are finished, it will be best not to name it at first, but to continue the operation, to render it more complex, by saying, for example: “Double the remainder, deduct two, add three, take the fourth part,” etc.; and the different steps of the calculation may be kept in mind, in order to know how much the first result has been increased or diminished. This irregular process never fails to confound those who attempt to follow it.

ANOTHER WAY.

Tell the person to take 1 from the number thought of, and then double the remainder; desire him to take 1 from this double, and to add to it the number thought of; in the last place, ask him the number arising from this addition, and, if you add 3 to it, the third of the sum will be the number thought of. The application of this rule is so easy that it is needless to illustrate it by an example.

A THIRD WAY.

Ask the person to add 1 to the triple of the number thought of, and to multiply the sum by three; then bid him add to this product the number thought of, and the result will be a sum from which if 3 be subtracted, the remainder will be ten times of the number required; and if the cipher on the right be cut off from the remainder, the other figure will indicate the number sought.

Example—Let the number thought of be 6, the triple of which is 18; and if 1 be added, it makes 19; the triple of this last number is 57, and if 6 be added it makes 63, from which if 3 be subtracted, the remainder will be 60; now, if the cipher on the right be cut off, the remaining figure, 6, will be the number required.

A FOURTH WAY.

Tell the person to multiply the number thought of by itself; then desire him to add 1 to the number thought of, and to multiply it also by itself; in the last place, ask him to tell the difference of these two products, which will certainly be an odd number, and the least half of it will be the number required.

Let the number thought of, for example, be 10; which, multiplied by itself, gives 100; in the next place, 10 increased by 1 is 11, which, multiplied by itself, makes 121; and the difference of these two squares is 21, the least half of which, being 10, is the number thought of.

This operation might be varied by desiring the person to multiply the second number by itself, after it has been diminished by 1. In this case, the number thought of will be equal to the greater half of the difference of the two squares.

Thus, in the preceding example, the square of the number thought of is 100, and that of the same number, less 1, is 81; the difference of these is 19, the greater half of which, or 10, is the number thought of.

HOW TO TELL NUMBERS THOUGHT OF.

If one or more numbers thought of be greater than 9, we must distinguish two cases; that in which the number of the numbers thought of is odd, and that in which it is even. In the first case, ask the sum of the first and second; of the second and third; the third and fourth; and so on to the last; and then the sum of the first and the last. Having written down all these sums in order, add together all those, the places of which are odd, as the first, the third, the fifth, etc.; make another sum of all those, the places of which are even, as the second, the fourth, the sixth, etc.; subtract this sum from the former, and the remainder will be the double of the first number. Let us suppose, for example, that the five following numbers are thought of, 3, 7, 13, 17, 20, which when added two and two as above, give 10, 20, 30, 37, 23: the sum of the first, third, and fifth is 63, and that of the second and fourth is 57; if 57 be subtracted from 63, the remainder, 6, will be the double of the first number, 3. Now, if 3 be taken from 10, the first of the sums, the remainder, 7, will be the second number; and by proceeding in this manner, we may find all the rest.

In the second case, that is to say, if the number of the numbers thought of be even, you must ask and write down, as above, the sum of the first and the second; that of the second and third; and so on, as before; but instead of the sum of the first and the last, you must take that of the second and last; then add together those which stand in the even places, and form them into a new sum apart; add also those in the odd places, the first excepted, and subtract this sum from the former, the remainder will be the double of the second number; and if the second number, thus found, be subtracted from the sum of the first and second, you will have the first number; if it be taken from that of the second and third, it will give the third; and so of the rest. Let the numbers thought of be, for example, 3, 7, 13, 17: the sums formed as above are 10, 20, 30, 24; the sum of the second and fourth is 44, from which if 30, the third, be subtracted, the remainder will be 14, the double of 7, the second number. The first, therefore, is 3, third 13, and the fourth 17.

When each of the numbers thought of does not exceed 9, they may be easily found in the following manner:

Having made the person add 1 to the double of the first number thought of, desire him to multiply the whole by 5, and to add to the product the second number. If there be a third, make him double this first sum, and add 1 to it, after which, desire him to multiply the new sum by 5, and to add to it the third number. If there be a fourth, proceed in the same manner, desiring him to double the preceding sum; to add to it 1; to multiply by 5; to add the fourth number; and so on.

Then, ask the number arising from the addition of the last number thought of, and if there were two numbers, subtract 5 from it; if there were three, 55; if there were four, 555; and so on; for the remainder will be composed of figures, of which the first on the left will be the first number thought of, the next the second, and so on.

Suppose the number thought of to be 3, 4, 6; by adding 1 to 6, the double of the first, we shall have 7, which, being multiplied by 5, will give 35; if 4, the second number thought of, be then added, we shall have 39, which doubled, gives 78; and, if we add 1, and multiply 79, the sum, by 5, the result will be 395. In the last place, if we add 6, the number thought of, the sum will be 401; and if 55 be deducted from it, we shall have, for remainder, 346, the figures of which, 3, 4, 6, indicate in order the three numbers thought of.

GOLD AND SILVER GAME.

One of the party having in one hand a piece of gold, and in the other a piece of silver, you may tell in which hand he has the gold, and in which the silver, by the following method: Some value, represented by an even number, such as 8, must be assigned to the gold, and a value represented by an odd number, such as 3, must be assigned to the silver; after which, desire the person to multiply the number in the right hand by any even number whatever, such as 2; and that in the left by an odd number, as 3; then bid him add together the two products, and if the whole sum be odd, the gold will be in the right hand, and the silver in the left; if the sum be even, the contrary will be the case.

To conceal the trick better, it will be sufficient to ask whether the sum of the two products can be halved without a remainder; for in that case the total will be even, and in the contrary case odd.

It may be readily seen, that the pieces, instead of being in the two hands of the same person, may be supposed to be in the hands of two persons, one of whom has the even number, or piece of gold, and the other the odd number, or piece of silver. The same operations may then be performed in regard to these two persons, as are performed in regard to the two hands of the same person, calling the one privately the right and the other the left.

THE NUMBER BAG.

The plan is to let a person select several numbers out of a bag, and to tell him the number which shall exactly divide the sum of those he has chosen: Provide a small bag, divided into two parts, into one of which put several tickets, numbered 6, 9, 15, 36, 63, 120, 213, 309, etc.; and in the other part put as many other tickets, marked No. 3 only. Draw a handful of tickets from the first part, and, after showing them to the company, put them into the bag again, and, having opened it a second time, desire any one to take out as many tickets as he thinks proper; when he has done that, you open privately the other part of the bag, and tell him to take out of it one ticket only. You may safely pronounce that the ticket shall contain the number by which the amount of the other numbers is divisible; for, as each of these numbers can be multiplied by 3, their sum total must, evidently, be divisible by that number. An ingenious mind may easily diversify this exercise, by marking the tickets in one part of the bag, with any numbers that are divisible by 9 only, the properties of both 9 and 3 being the same; and it should never be exhibited to the same company twice without being varied.

THE MYSTICAL NUMBER NINE.

The discovery of remarkable properties of the number 9 was accidentally made, more than forty years since, though, we believe, it is not generally known:

The component figures of the product made by the multiplication of every digit into the number 9, when added together, make NINE.

The order of these component figures is reversed, after the said number has been multiplied by 5.

The component figures of the amount of the multipliers (_viz._ 45), when added together, make NINE.

The amount of the several products, or multiples of 9 (_viz._ 405), when divided by 9, gives, for a quotient, 45; that is, 4+5=NINE.

The amount of the first product (_viz._ 9), when added to the other product, whose respective component figures make 9, is 81; which is the square of NINE.

The said number 81, when added to the above-mentioned amount of the several products, or multiples of 9 (_viz._ 405) makes 486; which, if divided by 9, gives, for a quotient, 54: that is, 5+4=NINE.

It is also observable, that the number of changes that may be rung on nine bells, is 362,880; which figures, added together, make 27; that is, 2+7=NINE.

And the quotient of 362,880, divided by 9, will be, 40,320; that is 4+0+3+2+0=NINE.

To add a figure to any given number, which shall render it divisible by Nine: Add the figures together in your mind, which compose the number named; and the figure which must be added to the sum produced, in order to render it divisible by 9, is the one required. Thus

Suppose the given number to be 7521:

Add those together, and 15 will be produced; now 15 requires 3 to render it divisible by 9; and that number, 3, being added to 7521, causes the same divisibility: 7521 plus 3 gives 7524, and, divided by 9, gives 836.

This exercise may be diversified by your specifying, before the sum is named, the particular place where the figure shall be inserted, to make the number divisible by 9; for it is exactly the same thing, whether the figure be put at the head of the number, or between any two of its digits.

THE MAGIC HUNDRED.

Two persons agree to take, alternately, numbers less than a given number, for example, 11, and to add them together till one of them has reached a certain sum, such as 100. By what means can one of them infallibly attain to that number before the other? The whole secret in this, consists in immediately making choice of the numbers, 1, 12, 23, 34, and so on, or of a series which continually increases by 11, up to 100. Let us suppose, that the first person, who knows the game, makes choice of 1; it is evident that his adversary, as he must count less than 11, can, at most, reach 11, by adding 10 to it. The first will then take 1, which will make 12; and whatever number the second may add, the first will certainly win, provided he continually add the number which forms the complement of that of his adversary, to 11; that is to say, if the latter take 8, he must take 3; if 9, he must take 2; and so on. By following this method, he will infallibly attain to 89; and it will then be impossible for the second to prevent him from getting first to 100; for whatever number the second takes, he can attain only to 99; after which the first may say—“and 1 makes 100.” If the second take 1 after 89, it would make 90, and his adversary would finish by saying—“and 10 make 100.” Between two persons who are equally acquainted with the game, he who begins must necessarily win.

TO GUESS THE MISSING FIGURE.

To tell the figure a person has struck out of the sum of two given numbers:—Arbitrarily command those numbers only, that are divisible by 9; such, for instance, as 36, 63, 81, 117, 126, 162, 261, 360, 315, and 432. Then let a person choose any two of these numbers; and, after adding them together in his mind, strike out from the sum any one of the figures he pleases. After he has so done, desire him to tell you the sum of the remaining figures; and it follows, that the number which you are obliged to add to this amount, in order to make it 9 or 18, is the one he struck out. Thus:—Suppose he chooses the numbers 162 and 261, making altogether 423, and that he strike out the centre figure, the two other figures will, added together, make 7, which, to make 9, requires 2, the number struck out.

THE KING AND THE COUNSELOR.

A King being desirous to confer a liberal reward on one of his courtiers, who had performed some very important service, desired him to ask whatever he thought proper, assuring him it should be granted. The courtier, who was well acquainted with the science of numbers, only requested that the monarch would give him a quantity of wheat equal to that which would arise from one grain doubled sixty-three times successively. The value of the reward was immense; for it will be seen, by calculation, that the sixty-fourth term of the double progression divided by 1: 2: 4: 8: 16: 32: etc., is 9223372036854775808. But the sum of all the terms of a double progression, beginning with 1, may be obtained by doubling the last term, and subtracting from it 1. The number of the grains of wheat, therefore, in the present case, will be 18446744073709551615. Now, if a pint contains 9216 grains of wheat, a gallon will contain 73728; and, as eight gallons make one bushel, if we divide the above result by eight times 73728, we shall have 31274997411295 for the number of the bushels of wheat equal to the above number of grains: a quantity greater than what the whole earth could produce in several years.

THE NAILS IN THE HORSE’S SHOE.

A man took a fancy to a horse, which a dealer wished to dispose of at as high a price as he could; the latter, to induce the man to become a purchaser, offered to let him have the horse for the value of the twenty-fourth nail in his shoes, reckoning one farthing for the first nail, two for the second, four for the third, and so on to the twenty-fourth. The man, thinking he should have a good bargain, accepted the offer; the price of the horse was, therefore, necessarily great. By calculating as before, the twenty-fourth term of the progression 1 : 2 : 4 : 8: etc., will be found to be 8388608, equal to the number of farthings the purchaser gave for the horse; the price, therefore amounted to £8738. 2s. 8d.

THE DINNER PARTY PUZZLE.

A club of seven agreed to dine together every day successively as long as they could sit down to table in different order. How many dinners would be necessary for that purpose? It may be easily found, by the rules already given, that the club must dine together 5040 times, before they would exhaust all the arrangements possible, which would require about thirteen years.

BASKET AND STONES.

If a hundred stones be placed in a straight line, at the distance of a yard from each other, the first being at the same distance from a basket, how many yards must the person walk who engages to pick them up, one by one, and put them into the basket? It is evident that, to pick up the first stone, and put it into the basket, the person must walk two yards; for the second, he must walk four; for the third, six; and so on, increasing by two, to the hundredth. The number of yards which the person must walk, will be equal to the sum of the progression, 2, 4, 6, etc., the last term of which is 200, (22). But the sum of the progression is equal to 202, the sum of the two extremes, multiplied by 50, or half the number of terms: that is to say, 10,100 yards, which makes more than 5½ miles.

LIVING PICTURES.

There are few better amusements for a large party in the same house, with plenty of time on their hands, than the organization of _Tableaux vivants_. Tableaux, to be successfully represented, demand quite as much attention to detail, and scarcely less careful rehearsal, than a theatrical performance. The first element of success is a competent stage manager. His artistic taste should be beyond all question, and his will should be law among the members of his corps. The essentials of a “living picture” are very much the same as those of a picture of the inanimate description, viz., form, color, and arrangement. If, therefore, you can secure for the office of stage manager a gentleman of some artistic skill, by all means do so, as his technical knowledge will be found of the greatest possible service.

Before proceeding to plan your series of pictures, it will be necessary to provide the “frame” in which they are to be exhibited. If the room which you propose to use has folding-doors, they will of course be used. A curtain, preferably of some dark color, should be hung on each side, and a lambrequin, or valance, across the top. Where circumstances admit, the directions we give elsewhere as to the construction of a stage and proscenium for private theatricals, may be followed with advantage. In any case, a piece of fine gauze should be carefully stretched over the whole length and depth of the opening. This is found, by producing softer outlines, materially to enhance the pictorial effect. If it is practicable to have a raised stage, it will be found a great addition. Where this cannot be arranged, it is well to place a board, six inches in width, and covered with the same material as the rest of the frame, across the floor (on edge) from side to side, in the position which the footlights would ordinarily occupy.

The next consideration will be the curtain. The ordinary domestic curtains, hung by rings from a rod or pole, and opening in the middle, will serve as a makeshift; but where a really artistic series of tableaux is contemplated, the regular stage-curtain of green baize is decidedly to be preferred.

The question of “background” will be the next point to be attended to. _Tableaux vivants_ may be divided into two classes, the _dramatic_, _i. e._, representing some incident, _e. g._, a duel, or a trial in a court of justice; and the simply _artistic_, viz., such as portray merely a group, allegorical or otherwise, without reference to any particular plot or story. For the former, an appropriate scene is required, varying with each tableau represented; for the latter, all that is necessary is a simple background of drapery, of such a tone of color as to harmonize with, and yet to give full prominence to, the group of actors. The material of the latter, as also the covering of the floor, should be of woolen or velvet, so as to absorb rather than reflect light. A lustrous background, as of satin or glazed calico, will completely destroy the effect of an otherwise effective _tableau_.

The lighting is a point of very considerable importance—the conditions appropriate to an ordinary theatrical performance being here reversed. In an ordinary dramatic performance all shadow is a thing to be avoided, the point aimed at being to secure a strong bright light, uniformly distributed over the stage. In a _tableau vivant_, on the contrary, the skilful manipulation of light and shade is a valuable aid in producing artistic effect. Footlights should, in this case, either be dispensed with altogether, or at any rate used very sparingly, the stronger light coming from one or the other side. A good deal of experiment, and some little artistic taste, will be necessary to attain the right balance in this particular. Where gas is available, it will afford the readiest means of illumination. What is called “string-light,” viz., a piece of gaspipe with fishtail burners at frequent intervals, connected with the permanent gas arrangements of the house by a piece of india-rubber tube, and fixed in a vertical position behind each side of the temporary proscenium, will be found very effective; one or the other set of lights being turned up as may be necessary. Where a green or red light is desired, the interposition of a strip of glass of that color, or of a “medium” of red or green silk or tammy, will give the necessary tone. Colored fires are supplied for the same purpose, but are subject to the drawback of being somewhat odoriferous in combustion. Where, as is sometimes the case, a strong white light is required, this may be produced by burning the end of a piece of magnesium wire in the flame of an ordinary candle.

These points being disposed of, costume and make-up will be the next consideration. As to the latter, the reader will find full instructions in the chapter devoted to private theatricals. With respect to costume, as the characters are only seen for a few moments, and in one position, this point may be dealt with in a much more rough-and-ready manner than would be advisable in the case of a regular dramatic performance. The royal crown need only be golden—the royal robe need only be trimmed with ermine—on the side toward the spectators; indeed, the proudest of sovereigns, from the audience point of view, may, as seen from the rear, be the humblest of citizens. Even on the side toward the spectators a great deal of “make-believe” is admissible. Seen through the intervening gauze, the cheapest cotton velvet is equal to the richest silk; glazed calico takes the place of satin; and even the royal ermine may be admirably simulated by tails of black worsted stitched on a ground of flannel. Laces may be manufactured from cut paper, and a dollar’s worth of tinsel will afford jewels for a congress of sovereigns. Of course, there is not the least objection to his wearing a crown of the purest gold, or diamonds of the finest possible water (if he can get them), but they will not look one whit more effective than the homely substitutes we have mentioned.

A “ghost effect” may, where necessary, be produced by the aid of a magic lantern; the other lights of the tableau being lowered in order to give sufficient distinctness to the reflection.

Dramatic tableaux may often be exhibited with advantage in two or more “scenes;” the curtain being lowered for a moment in order to enable the characters to assume a fresh position. Examples of this will be found among the tableaux which follow.

Having indicated the general arrangements of _tableaux vivants_, we append, for the reader’s assistance, a selection of effective subjects, both simply pictorial, and dramatic.

I. DIGNITY AND IMPUDENCE.

(_With background of plain drapery, remaining unchanged._)

A magnificent flunkey, in a gorgeous suit of livery, standing (with left hand on hip, right hand in breast), side by side with a very small and saucy “boy in buttons,” upon whom he looks down superciliously. Boy with both hands in trouser-pockets, and gazing up at his companion with an expression of impertinent familiarity.

II. THE FORTUNE-TELLER.

A pretty girl, in simple outdoor costume, standing sideways to the spectators, with downcast eyes, and a half-smiling, half-frightened expression. The fortune-teller faces her, and holds the young lady’s right hand in her left, while her own right holds a coin with which she is apparently tracing the lines of the young lady’s palm, at the same time gazing with an arch expression into her face, as though to note the effect of her predictions. The fortune-teller should be in gipsy costume, a short, dark skirt, and a hood of some brighter material thrown carelessly over her head. She should be of a swarthy complexion, with a good deal of color, and jet-black hair.

III. FAITH.

A large cross, apparently of white marble (really of deal, well washed with whitening and size) occupies a diagonal position across the centre of the stage, facing slightly towards the left. Its base or plinth is formed of two or three successive platforms or steps of the same material. At the foot a woman kneels, clasping her arms around the cross, as though she had just thrown herself into that position in escaping from some danger. Her gaze should be directed upwards. A loose brown robe and hood, the latter thrown back off the head, will be the most appropriate costume. Magnesium light from above.

IV. HOPE.

A female figure, clothed in sober gray, and seated on a very low stool, facing R., and gazing heavenwards. (If a “sky” background is procurable, a single star should be visible, and should be the object of her gaze.) Her right elbow rests upon her right knee, and her right hand supports her chin. Her left hand hangs by her side, and at her feet lies the emblematic anchor. Red light, not too strong.

V. CHARITY.

A ragged boy, barefooted, and clasping a worn-out broom, sits huddled on the ground L., but facing R. His arms are folded and rest on his knees, and his head is bent down upon them, so as to hide his face. A girl, in nun’s costume, is touching him on the shoulder, and apparently proffering help and sympathy.

VI. SINGLE LIFE.

Scene, a tolerably well-furnished but untidy sitting-room, with numerous traces of bachelor occupation, such as crossed foils on the wall, a set of boxing-gloves under a side-table; boots, hats, and walking-sticks lying about in various directions. On one corner of the table some one has apparently breakfasted in rather higgledy-piggledy fashion. Near the table sits a young man, with a short pipe in his mouth, and one foot bare, while he is endeavoring to darn an extremely dilapidated sock.

VII. THE SAILOR’S FAREWELL.

Scene, a cottage home. A young man, in sailor costume, and with a bundle on his shoulder, stands with his right hand on the latch of the door, R.C., but looking back with a sorrowful expression at his wife (personated by a young lady in short black or blue skirt, red or white blouse, and white mob-cap), who sits with her apron up to her eyes in an apparent agony of grief. Three children are present, the two elder crying for sympathy, the youngest sitting in a crib or cradle, and amusing himself with some toy, in apparent unconsciousness of his father’s approaching departure. Soft blue light from L. Music, “The Minstrel Boy.”

VIII. HOME AGAIN.

The same scene. Children a couple of years older. (This may be effected by suppressing the youngest, and introducing a fresh eldest, as much like the others as possible.) The sailor of the last scene, slightly more tanned, and with a fuller, “made-up” beard, has apparently just entered. The wife has both arms round his neck, her face being hidden in his bosom. Of the children, the eldest has seized and is kissing her father’s hand, while the two younger each cling round one leg. Soft red light. Music, “A Lass that Loves a Sailor,” or “When Johnny comes Marching Home Again.”

VARIOUS TABLEAUX.

We have not space to give the complete _mise en scène_ of a larger number of tableaux, but subjoin a list of favorite subjects, leaving their actual arrangement to the taste and intelligence of the reader. It will usually be safe to follow the hints in good illustrations.

“Choosing the Wedding Gown.” A charming scene, after Mulready, from the “Vicar of Wakefield.”

“William Penn Signing the Treaty with the Indians.”

“Scene from ‘Pickwick.’” Mr. Pickwick, with Mrs. Bardell in his arms, surprised by his four friends, whose countenances are just visible in the open door-way. See illustrations to “Pickwick Papers.”

“The Drunkard’s Home,” “Signing the Pledge.” “The Temperance Home.” See some good illustrations.

“Mary Queen of Scots and the Four Maries.”

“Mr. Pecksniff Dismissing Tom Pinch.”

“The Song of the Shirt.”

“Little Red Riding-Hood.”

“The Duel from the ‘Corsican Brothers.’”

“Héloïse in her Cell.”

“William Tell Shooting the Apple from his Son’s Head.”

Etc., etc., etc.

THE WAXWORKS GALLERY.

This capital form of amusement has attained great and deserved popularity. It shares with Living Pictures the merit of giving employment to several performers at once, and has the special advantage of being far more easily organized. The idea is that of a Waxwork Exhibition, the characters being personated, after a burlesque fashion, by living performers. Each “figure” is first duly described by the exhibitor, and then “wound up,” and made to go through certain characteristic movements.

The collection is supposed to be that of the far-famed Mrs. Jarley, of “Old Curiosity Shop” celebrity. She may be assisted, if thought desirable, by “Little Nell,” and a couple of man-servants, John and Peter. The costume of Mrs. Jarley is a black or chintz dress, bright shawl, and huge bonnet; that of Little Nell may be a calico dress, and white apron, with hat slung over her arm. John and Peter may be dressed in livery suits, and should be provided with a watchman’s rattle, screw-driver, hammer, nails, and oil-can. At the rise of the curtain the figures are seen ranged in a semicircle at the back of the stage, and Little Nell is discovered dusting them with a long feather brush. Mrs. Jarley stands in front, and delivers her descriptive orations, directing her men to bring forward each figure before she describes it. After having been duly described, the figure is “wound” up, and goes through its peculiar movement, and when it stops it is moved back to its place.

If the stage is small, or it is desired that the same actors shall appear in various characters in succession, the figures may be exhibited in successive groups or compartments, the curtain being lowered to permit one party to retire, and another to take their places. After the whole of the figures of a given chamber have been described, the assistants wind them all up, and they go through their various movements simultaneously, to a pianoforte accompaniment, which should gradually grow faster, coming at last to a sudden stop, when the figures become motionless, and the curtain falls.

If it is found impracticable to procure a lady to deliver the descriptions effectively, Mrs. Jarley may be made a silent character, sitting on one side, and occasionally making believe to dust or arrange a figure, while the “patter” is delivered by a male exhibitor. Or Mrs. Jarley may, if preferred, be suppressed altogether, and the exhibitor appear as (say) Artemus Ward, or in ordinary evening costume, without assuming any special character. A good deal of fun may be made of the supposed tendency of any particular figure to tip over, and the application, by John and Peter, of wooden wedges, penny pieces, etc., under its feet to keep it upright. Supposed defective working, causing the figure to stop suddenly in the middle of its movement, and involving the re-winding or oiling of its internal mechanism, will also produce a good deal of amusement. The “winding up” may be done with a bed-winch, a bottle-jack key, or the winch of a kitchen range, the click of the mechanism being imitated by means of a watchman’s rattle, or by the even simpler expedient of drawing a piece of hard wood smartly along a notched stick. (This, of course, should be done out of sight of the audience.) The movement of the figure should be accompanied by the piano, to a slow or lively measure, as may be most appropriate.

The arrangement being complete, and the curtain raised, Mrs. Jarley delivers her opening speech, about as follows:—

“Ladies and Gentlemen,—You here behold Mrs. Jarley! one of the most remarkable women of the world, who has traveled all over the country with her curious Collection of Waxworks. These figures have been gathered, at great expense, from every clime and country, and are here shown together for the first time. I shall describe each one of them for your benefit, and, after I have given you their history, I shall have each one of them wound up, for they are all fitted with clockwork inside, and they can thus go through the same motions they did when living. In fact, they execute their movements so naturally that many people have supposed them to be alive; but I assure you that they are all made of wood and wax;—blockheads every one.

“Without further prelude, I shall now introduce to your notice each one of my figures, beginning, as usual, with the last one first.”

I. THE CHINESE GIANT.

A man or woman standing on a high stool, chintz skirt
round the waist, long enough to hide the stool, Chinese
over-dress, hat, pig-tail, and moustache.

“This figure is universally allowed to be the tallest figure in my collection; he originated in the two provinces of Oolong and Shang-high, one province not being long enough to produce him. On account of his extreme length it is impossible to give any adequate idea of him in one entertainment; consequently he will be continued in our next.

“He was the inventor, projector, and discoverer of Niagara Falls, Bunker’s Hill Monument, and the Balm of Columbia. In fact, everything was originally discovered by him or some other of the Chinese. The portrait of this person, who was a high dignitary among them, may be often seen depicted on a blue china plate, standing upon a bridge, which leans upon nothing at either end, and intently observing two birds which are behind him in the distance.

“John, wind up the Giant.”

The Giant bows low, then wags his head three times, and bows as before, and after a dozen motions slowly stops.

“You will observe that I have spared no expense in procuring wonders of every sort, and here is my crowning effort or master-piece.”

II. THE TWO-HEADED GIRL.

“A remarkable freak of Nature, which impresses the beholder with silent awe. ‘Observe the two heads and one body.’ ‘See these fair faces, each one lovelier than the other.’ No one can gaze upon them without a double sensation ‘of sorrow and of joy’—sorrow that such beauty and grace were ever united, and joy that he has had the pleasure of contemplating their union.

“Wind them up, Peter.”

This figure is made by two young ladies standing back to back wrapped in one large skirt. They hold their arms out with their hands hanging, and slowly revolve when they are wound up.

III. THE SEWING WOMAN.

“John, bring out the Sewing Woman, and let the ladies behold the unfortunate seamstress who died from pricking her finger with a needle while sewing on Sunday. You see that the work which she holds is stained with gore, which drips from her finger on to the floor. (Which is poetry!) This forms a sad and melancholy warning to all heads of families immediately to purchase the best sewing-machines, for this accident never could have happened had she not been without one of those excellent machines, as no family should be.”

Costume.—Optional.

When wound up the figure sews very stiffly and stops slowly.

IV. CAPTAIN KIDD AND HIS VICTIM.

“Ladies and Gentlemen,—Permit me to call your attention to this beautiful group, which has lately been added at an enormous expense to my collection. You here behold the first privateer and the first victim of his murderous propensities. Captain Kidd, the robber of the main, is supposed to have originated somewhere down east. His whole life being spent upon the stormy deep, he amassed an immense fortune, and buried it in the sand along the flower-clad banks of Cape Cod, by which course he invented the Savings Banks, now so common along shore. Having hidden away so much property, which, like so many modern investments, never can be unearthed, he was known as a great sea-cretur. Before him kneels his lovely and innocent victim, the Lady Blousabella Infantina, who was several times taken and murdered by this bloodthirsty tyrant, which accounts for the calm look of resignation depicted upon her lovely countenance.

“Wind ’em up, John.”

Costumes.—Captain Kidd—White pantaloons, blue shirt, sailor hat, pistol, and sword.

Victim.—Lady with flowing hair, white dress.

Movement.—The Captain’s sword moves up and down, and the victim’s arms go in unison.

V. THE SIAMESE TWINS.

Two gentlemen dressed alike in ordinary costume; with a large bone (attached by wire or string) between them. One arm of each over the other’s neck. Pugnacious expression of countenance.

“The Wonderful Siamese Twins compose the next group. These remarkable brothers lived together in the greatest harmony, though there was always a bone of contention between them. They were never seen apart, such was their brotherly fondness. They married young, both being opposed to a single life. The short one is not quite so tall as his brother, although their ages are about the same. One of them was born in the Island of Borneo, the other on the southern extremity of Cape Cod.”

When wound up they begin to fight, continue for a moment, and stop suddenly.

VI. THE CELEBRATED DWARF.

Boy with red cloak, long white wig, bowl and spoon.

“This wonderful child has created some interest in the medical and scientific world, from the fact that he was thirteen years old when he was born, and kept on growing older and older until he died, at the somewhat advanced age of two hundred and ninety-seven, in consequence of eating too freely of pies and cakes, his favorite food. He measured exactly two feet and seven inches from the crown of his head to the sole of his foot, and two feet and ten inches back again. Was first discovered ten miles from any land, and twelve miles from any water, making the enormous total of ninety-one, which figure was never before reached by any previous exhibition. Wind him up, John.”

Dwarf eats very stiffly with a large spoon in his right hand; in his left hand he holds a bowl, which falls on the floor after a moment, and is broken.

“John, get your tools and screw up that dwarfs hand, for it has become so loose that it costs a fortune for the crockery he breaks.”

John screws up the hand, gets a new bowl, and again winds up the figure, which now moves with much greater energy.

VII. THE VOCALIST.

“Bring out the Vocalist. I now call your attention to the most costly of all my figures. This wonderful automaton singer represents Signorina Squallini, the unrivaled Vocalist, whose notes are current in every market, and sway all hearts, at her own sweet will.

“Wind her up, and let her liquid notes pour forth.”

She gesticulates wildly, and sings a few notes in a very extravagant manner, then stops with a hoarse sound.

Mrs. J.—“John, this figure needs oiling. Why do you not attend to your duties better?”

John gets oil-can, which he applies to each ear of the figure, which strikes a high note, and sings with much expression and many trills, then makes a gurgling sound, as if running down, and suddenly stops again.

Costume.—Evening dress.

VIII. THE YANKEE.

Description.—A tall, thin man, clean shaven but for a tuft on chin, dressed in black, with broad-brimmed straw hat. He is seated on a low rocking-chair, with his legs resting on the back of another chair. He holds a wooden stick, which he is whittling with a jack-knife.

“You here behold a specimen of our irrepressible, indomitable, native Yankee, who has been everywhere, seen everything, and knows everybody. He has explored the arid jungles of Africa, drawn forth the spotted cobra by his prehensile tail, snowballed the Russian bear on the snowy slopes of Alpine forests, and sold wooden nutmegs to the unsuspecting innocents of Patagonia. He has peddled patent medicines in the desert of Sahara, and hung his hat and carved his name on the extreme top of the North Pole. The only difficulty I find in describing him is that I cannot tell what he cannot do. I will therefore set him in motion, as he hates to be quiet.”

When wound up he pushes his hat back on his head and begins to whittle.

IX. THE CANNIBAL.

“Here you behold a curious Cannibal from the Feejee Islands, first discovered by Captain Cook, who came very near being cooked by him. In that case the worthy Captain would never have completed his celebrated voyage round the world. This individual was greatly interested in the cause of foreign missions. Indeed, he received the missionaries gladly, and gave them a place near his heart. He was finally converted by a very tough tract distributor, who had been brought up in a Bloomsbury boarding-house, and was induced to become civilized. One of his evidences of a change of life was shown by his statement that he now had but one wife, like the English. ‘What have you done with the other twelve which you said you had a month ago?’ asked the tract distributor. ‘Oh, I have eaten them!’ replied the gentle savage. This Cannibal was very fond of children, especially those of a tender age; he holds in his hand a war-club, with which he prepared his daily meals, also a war-whoop, which is an original one.”

Costume.—Brown jersey and drawers, face and hands colored to match, very short skirt, feather head-dress, large rings in nose and ears. One hand holds a war-club, the other a child’s hoop.

Movement.—When wound up he brandishes his club and raises hoop to his mouth.

X. BABES IN THE WOOD.

Two men, the bigger the better, one dressed as a very small boy, the other as a little girl; each holds a penny bun.

“In the next group you behold the Babes in the Wood, who had the misfortune to have an uncle. This wicked man hired a villain to carry these babes away into the wood and leave them to wander until death put an end to their sorrow, and the little robins covered them up with leaves. These lifelike figures represent the children just after taking their leaves of the villain. By a master stroke of genius the artist has shown very delicately that human nature is not utterly depraved, for the villain has placed in the hand of each of the innocents a penny bun as a parting present. I have been often asked ‘why I did not have a figure of the villain also added to the group?’ but my reply always is, ‘Villains are too common to be any curiosity.’

“Wind ’em up, John.”

Each Babe offers to the other a bite of bun alternately.

XI. LITTLE RED RIDING-HOOD.

A young lady carrying a basket on her arm. Costume in accordance with the story.

“Here you behold Little Red Riding-Hood, a model of grand-filial devotion, for she was so fond of her granny that she wandered through the forest to take the old lady’s luncheon, and was eaten by the wolf for so doing, which is a warning to all children to be careful how they do much for their grandmothers, unless they are rich and can leave them something in their wills. This personage was an especial favorite with children, who love to read about her, and shed tears over her unhappy fate, although some of them think that had she been as smart as her dress, she would have been too smart to have mistaken the wolf for her grandmother, unless _she_ had been a very homely old lady, or _he_ had been much better-looking than most wolves.”

When wound up, the figure curtseys and holds out her basket.

XII. LADY WITH GOLDEN LOCKS.

Young lady, with long fair hair, flowing over her shoulders; holds bottle (labelled Mrs. Blank’s Hair Restorer) and curling-tongs.

“This is one of the most expensive of my costly collection, for blonde hair is very high, and you see how heavy and long are the golden locks which adorn her beautiful face. I cannot pass this figure without saying a few words in praise of the wonderful Hair Restorer, for this image had grown so bald from the effect of long journeys by road or rail that she was exhibited for two years as the Old Man of the Mountain. One bottle of this wonderful fluid, however, restored her hair to its present growth and beauty, and a little of the fluid being accidentally spilled upon the pine box in which the figure was carried, it immediately became an excellent hair-trunk.”

When wound up the lady applies the hair-restorative and curls her hair.

“You have all gazed with rapture upon my wonderful Collection, and your bewildered senses may now prepare for a new sensation, as I am about to wind up all these beautiful and lifelike figures at once, so that you can see them all work together in harmony.

“John, set all the Waxworks going.

“I thank you for your attention and attendance, and cordially invite you all to come again to-morrow and see ‘Jarley’s Far-famed Waxworks.’”

All the figures being wound up at once go through their motions in unison.

OPTICAL ILLUSIONS.

RAISING A GHOST.

Place a small magic lantern in a box large enough to contain a small swing dressing-glass, which will reflect the light thrown on it by the lantern in such a way, that it will pass out at the aperture made at the top of the box, which aperture should be oval, and of a size adapted to the cone of light to pass through it. There should be a flap with hinges, to cover the opening, that the inside of the box may not be seen. There must be holes in that part of the box which is over the lantern, to let the smoke out; and over this must be placed a chafing-dish, of an oblong figure, large enough to hold several lighted coals. This chafing-dish, for the better carrying on the deception, may be inclosed in a painted tin box, about a foot high, with a hole at top, and should stand on four feet, to let the smoke of the lantern escape. There must also be a glass planned to move up and down in the groove, and so managed by a cord and pulley, that it may be raised up and let down by the cord coming through the outside of the box. On this glass, the spectre (or any other figure you please) must be painted, in a contracted or squat form, as the figure will reflect a greater length than it is drawn. When you have lighted the lamp in the lantern, and placed the mirror in a proper direction, put the box on a table, and, setting the chafing-dish in it, throw some incense in powder on the coals. You then open the trap door and let down the glass in the grove slowly, and when you perceive the smoke diminish, draw up the glass that the figure may disappear, and shut the trap door. This exhibition will afford much wonder. The lights in the room must be extinguished; and the box should be placed on a high table, that the aperture through which the light comes out may not be seen.

A MAGIC LANTERN TRICK.