CHAPTER I.

OBSERVATIONS ON FIRE-WORKS.

In Europe, the invention of fire-works is of a recent date, and ascribed to the Italians. In China, however, fire-works have been known for centuries. Some recent exhibitions at Pekin prove, that the Chinese have attained to a degree of perfection, not surpassed by the artists of France, Italy, or England. The observations of Mr. Barrow, (_Travels in China_), on this subject are worthy of notice. "The fire-works, in some particulars," says he, "exceeded any thing of the kind I had ever seen. In grandeur, magnificence, and variety, they were, I own, inferior to the Chinese fire-works, we had seen at Batavia, but infinitely superior in point of novelty, neatness, and ingenuity of contrivance. One piece of machinery I greatly admired; a chest five feet square, was hoisted up by a pulley, to the height of fifty or sixty feet from the ground: the bottom was so constructed as then, suddenly, to fall out, and make way for twenty or thirty strings of lanterns, enclosed in a box, to descend from it, unfolding themselves from one another by degrees, so as, at last, to form a collection of full 500, each having a light of a beautifully coloured flame, burning brightly within it. This devolution and development of lanterns was several times repeated, and, at every time, exhibited a difference of colour and figure. On each side, was a correspondence of smaller boxes, which opened in like manner as the others, and let down an immense net-work of fire, with divisions and compartments of various forms and dimensions, round and square, hexagons, octagons, &c. which shone like the brightest burnished copper, and flashed like prismatic colours, with every impulse of the wind. The diversity of colours, with which the Chinese have the secret of clothing fire, seems one of the chief merits of their pyrotechny. The whole concluded with a volcano, or general explosion and discharge of suns, stars, squibs, crackers, rockets, and granadoes, which involved the gardens for above an hour in a cloud of intolerable smoke."

Thevenot (_Travels in the Levant_) says, that during the bairam, or carnival, which takes place with a great deal of ceremony, the sultan causes fire-works to be played off all night; the sultan and sultanas diverting themselves with these and other amusements. Dr. Pococke (_Travels through Egypt_), says, that at Cairo, when the Nile is high, besides aquatic excursions, concerts of music, and other diversions, fire-works form a part of those pleasures and recreations. In a _Description of the East Indies_, fire-works are stated to be often exhibited at the marriage of the Banians or Gentoos.

With respect to the arrangement and display of sundry pieces of fire-works, either alone or combined, the effect depends, as well upon the ingredients, which compose the several sorts of fire, as on the taste displayed in their exhibition. It would be altogether unnecessary to notice, at this time, the order of exhibition usually adopted, reserving this subject until we have gone into the various preparations, which constitute, as it is called, a _system of fire-works_. In order, however, to become familiar with the manner of arranging them, as well as with their composition and preparation, whether designed for a general or a partial display, for the open air or for rooms, we purpose to appropriate distinct chapters for their consideration.

The variety of preparations, which become necessary where a full exhibition is intended, the accuracy of the different mixtures, and the adjustment of cases to wheels, whether vertical or horizontal, and the arrangement of the leaders, or communicators of fire, from one part to another of the work, with many other circumstances, in relation to stars, rain, &c. all require, from the artist, particular care and attention.

For the mere exhibition of one or two pieces, as a plain rocket, rocket with serpents, or the like, and likewise for some exhibitions, on water, called aquatic fire-works, in rooms or apartments, with scented fire, or on the stage; the preparations are by no means extensive.

It is, therefore, our design to present a view of the whole subject in detail, and to speak of the different combinations of arrangement, which are made according to fancy and taste, and calculated, as we have remarked, either for small or extensive exhibitions.

We have, in a preceding part of this work, made some observations on certain preliminary operations; on the various sizes and charges for cases; on the paper, necessary to be used, for different kinds of cases; and, generally, on sundry manipulations, connected with the making, filling, and preparation of sundry descriptions of fire-works. It remains, therefore, in the course of this subject, to give the several formulæ, with such observations as immediately concern the subject; and for this purpose we will pursue the following order:

Frazier is of opinion, that the arrangement of fire-works, which have been exhibited with effect, may, on particular occasions, be established as a guide. For this reason, Morel introduces an account of the celebrated fire-works at Versailles and Paris, in 1739, which we shall here notice.

_Exhibition of fire-works at the city house of Paris, on occasion of the peace in 1739._

The theatre was a building, forty feet square, with a pyramid of eighty feet in height, on which was placed a globe, containing artificial fire, and accompanied with sixteen large vases of different forms.

All the edifice was ornamented with a variety of decorations, combined with figures and emblems of peace, and painted on marble.

After several guns were fired, as a signal, the exhibition commenced, with the discharge of a large number of _honorary rockets_, fired three and three at a time. Nearly five hundred _lances_, and _saucissons_ garnished, lighted the four sides of the body of the works. Thirty cases of artificial fire, furnished with _fusées_, and double _marquises_, were placed upon the large terrace, with 1200 _pots à feu_ (fire-pots); and upon the ballustrade of the same terrace, forty _jets_, twenty of which were _aigrettes_, and eight, revolving suns, four in the middle, and four on the angles. Four large fixed suns were placed above the four which revolved, and four _pattes d'oies_, (_geese feet_,) were situated before the grand pedestal of the pyramid, with _jets_, and _pots_ with _aigrette_.

At the foot of the pyramid, on the steps, were placed 1200 _fire-pots_, and upon the pedestal of the pyramid, twelve large pots of _aigrette_, on the extremity of which, were arranged _aigrettes_ in groups, and three large luminous stars, formed of two hundred fire lances. The four faces of the pyramid were lined with about fifty other _jets_; after which there were cascades, or fountains of fire. The first horizontal wheel was composed of, or furnished with, six cases, and contained also two hundred and forty double _marquises_. The second wheel contained two hundred and forty _fire-pots_, and six cases, with upwards of three hundred _fusées_, all in stars, twelve air balloons in the middle, but placed at the bottom of the fire-work. To this was added, twelve artificial bombs, fixed in mortars, and placed near the cannon, which pointed to the works.

This outline of the brilliant exhibition of fire-works in 1739, will give the reader some idea of the taste and magnificence of the work at that period. We may here add, however, that the improvements, which have since taken place, both in the composition of artificial fire, and its arrangement, are such as to place the modern exhibitions of this kind far above that we have just spoken of. But the following account of the execution of fire-works, performed on the _Pont Neuf_, in August of the same year, is more extensive, as the exhibition appears to have been more grand.

The theatre, which represented the temple of Hymen, was an edifice of the doric order. It was square. A gallery of five hundred feet in length was supported by thirty-two columns, four feet in diameter, and thirty-three feet in height. In the interior, were two solid bodies, and also one or more stair cases. At the two sides of this temple, along the parapets of the _Pont Neuf_, were thirty-six pyramids, eighteen of which were forty feet high, and the others, twenty-six feet. They were joined by what is called, in architecture, a _corbil_, and carried vases on their summits.

The signal for the exhibition was given by the firing of cannon. Immediately, were seen, rising into the air from each side of the temple, three hundred rockets, fired twelve at a time. They were discharged from the eight towers of the _Pont Neuf_, which face the Tuileries, and were succeeded (upon the same towers,) by one hundred and eighty _pots of aigrette_. The _Chinese trees_ were disposed in such a manner, as to form a pyramid. A succession of _Chinese trees_ now appeared, immediately on the tablet of the cornice of the bridge; then followed a great _fixed sun_, sixty feet in diameter, which appeared in all its splendour, in the midst of surrounding objects. Under this, was placed a large _illuminated cypher_, thirty feet in height, which consisted of different colours, in imitation of jewels. At the sides, between the pillars of the temple, were also two other artificial _cyphers_, six feet high, and composed of _blue fire_, which had a surprising effect. There were placed upon the two walks of the bridge, on the right and left of the temple, beyond the illuminated pyramids, two hundred cases of _fusées de partement_, of five or six dozen each. These cases were fired, five at a time, and succeeded the rockets. They began, on each side, from the first near the temple, and in succession, as far as the extremities to the right and left. There appeared then cascades of _red fire_, issuing from the five arches of the bridge, which seemed to pierce the illumination, and so vivid was the light, that the eye could scarcely sustain it. The combat of the _dragons_ next ensued; and the _water-fire_, or aquatic fire-works, covered almost the whole surface of the river. Eight _boats_, containing works for the display on water, were arranged in symmetrical order, with the _boats of illumination_. There were also thirty-six _cascades_ or fountains of fire, about thirty feet high, which appeared to rise out of the water. This exhibition of the cascades, was preceded by a revolving _water-sun_, and a discharge of _stars_ from one hundred and sixty pots of _aigrettes_, which were placed at the lower part of the terrace.

Four large boats, containing aquatic fire-works, were moored near the arches of the bridge, and four others were disposed on the side next to the Tuileries. The fire-works, which they contained, consisted of a great number of large and small casks, charged with _gerbes_ and _pots_, which, when discharged, filled the air with _serpents_, _stars_, &c. There was, also, a large number of _hand gerbes_, and revolving _water-suns_.

When the exhibition of the cascades was finished, the grand chandelier, composed of six thousand _fusées_, and resting on the top of the temple, was lighted. Both extremities were set on fire at the same time. This was followed by two smaller chandeliers, previously placed on each side of the foot-way of the bridge, and containing five hundred _fusées_ each.

The fire-works, exhibited at Versailles, in the same year, and on the same occasion, were also magnificent. The account we have of them is the following: There was a large building erected, representing the temple of Hymen, nine hundred feet in length, and one hundred and twenty in height, in the gardens of Versailles, in front of the grand gallery. It was in the form of a portico, with re-enterings and salients at the two extremities, which faced the two great basins; and, in the centre, were illuminated works.

The forges of Vulcan, in the grottos, commenced with the sound of the hammers of the Cyclops. The sparks, then produced, covered, in a few instants, the two basins, provided for the purpose, with an apparent sheet or volume of fire.

From the summit of a rock, came out a _jet_ of brilliant fire, more than thirty feet in height, accompanied with four others of less elevation, representing torrents of fire as from volcanoes. To this succeeded a great _jet_ of water, forty-five feet in height, leading with it, as it were, seventeen other _jets_, which surrounded the rocks, and rushing forth with avidity, produced, in appearance, a mixture of flame and water, which, in the end, consumed entirely the two grottos.

After this, the fire-works, behind the decoration, were exhibited. Two hundred and fifty _boxes_, and as many caissons, arranged on both sides of the turf, which descended to the grass, were first exhibited. This, however, was less brilliant than the fire from the Cyclops. To this succeeded a brilliant fire, placed before the illumination. This composition, elevating itself to a mean height, pleased equally by its form, as by its brilliant whiteness. This fire composed three distinct decorations, which succeeded as the one replaced the other, following the same order. The spouting waters, which decorated the gardens, together with the artificial fire, appeared in the form of cascades and fountains. The first decoration, at the head of the two great basins, exhibited two handsome cascades, in the form of a white sheet, and surmounted with an _aigrette_ twenty-five feet in height. This was accompanied with two _pattes d'oies_ (_geese feet_) of seven _jets_ each, and accompanied also with fifty _jets_ playing from each of the sides, twenty feet in height, and occupying the fore ground.

The second appeared under the form of the _pattes d'oies_, of eleven jets each, of which four, at the head of the basins, were large, and all projected a body of fire, fifty feet in height. They were intermixed, however, with the pots of _aigrettes_, twenty feet in height, which threw a crown, composed of stars, &c. to the height of fifty feet, which produced in the atmosphere a lively and brilliant light.

The third represented thirteen fountains of fire, twenty-five feet in height, and thirty feet in diameter, with an _aigrette_ in each. In these, there were six circular, and six spiral fountains. The largest was placed between the two basins, with four others on the right and left.

The fountains, which represented the combat of animals, had in each of them two. The animals threw, at the same time, jets of water and fire, and, between each of the fountains, large brilliant jets or spouts. This part of the exhibition was finished, by throwing into the air the _garnishing_ or furniture of the pots, which produced crowns, &c. of great splendour.

To these three decorations, succeeded the exhibition of twelve _Italian pots_, placed six in a row, and in the middle of two great basins, which produced repeated discharges.

The whole was then closed by setting fire to two great chandeliers, which were placed behind the grand decoration, and contained more than three thousand _fusées_.

It appears from history, that when Henry II, entered Rheims, there was a representation of several figures in fire; and in 1606, the duke of Sully made an exhibition of fire-works at Fontainbleau; and in 1612, Morel, commissary of artillery, prepared a splendid exhibition of the same kind. It appears, also, that the art of communicating fire from one piece of fire-work to another, as in the combined piece of nine mutations, and the pyric-piece (which will be noticed hereafter) was discovered by Ruggeri, artificer to the king, at Boulogne, in France, in 1743.

It may not be improper, in concluding this article, to notice, in a general manner, the exhibition of the works of fire by the ancients.

The fire-works of the ancients consisted, for the principal part, of illuminations, and the use of some particular descriptions of fire. They were, however, very imperfect. Since the invention of gunpowder, its effects as well as its modifications, in this particular, became known; and, so far as respects the various preparations of artificial fire, gunpowder itself has produced a new era in pyrotechny, and the various modifications, to which it is subject, have occasioned a great variety of fire-works.

According to the authority we have on the subject, it appears, that the ancients, in exhibiting their preparations of fire, set them off by the hand, and directed them among the people, which produced great eclat.

Another description of fire-work was designed expressly for the theatre, part of which was exhibited in the form of man or beast. Of their theatrical works, our accounts are imperfect. Their works, generally, were formed of _lardons_, _stars_, and _fire-balls_, in imitation of _grenades_, and _flying fusées_ or _rockets_. That they neither had a system in arranging, nor regularity in exhibiting their works, is evident from a variety of circumstances; for, although the number of their pieces, such as they were, was great; yet, they so crowded them upon each other, as that, when they were fired, they frequently destroyed the persons in their vicinity. An author of antiquity observes, that "he has seen a great many artificial machines, but, to speak the truth, few which have succeeded; and it is commonly after acclamations of joy, that the spectacle is finished by the destruction of some, and the wounding of a great number."

This fact is not at all surprising; because their works were prepared in wooden tubes, at least among the more modern, as paper cases were not then known. These tubes, moreover, were not secured by any covering, and were the more likely to burst, and hence accidents were common. The moderns, however, have rejected altogether the use of wood, in the formation of cases, and have availed themselves of the use of paper, which can be made of any size or thickness. (See _Pasteboard_.)

Notwithstanding wood is not employed by experienced fire-workers, partly in consequence of the reasons just given, and partly because paper furnishes a material in every way adapted to the purpose; yet, within a few years past, reed has been used in Spain, which, however, is secured by cloth and pack thread. Such substitutes, nevertheless, besides being more or less dangerous, have nothing to recommend them. It is a fact, that the Chinese, who undoubtedly excel in the manufacture of fire-works, if we believe the authority of the English embassy, use altogether paper cases; but in the _war-rocket_, employed by the natives against the British at _Seringapatam_, which did, according to the English account, great execution, their cases were formed entirely of sheet-iron. In their smaller works, which are prepared expressly for sale, paper cases are altogether made use of.