Part 13

Out of stiff pasteboard cut the ring-master, and with a small nail or strong pin fix him in place. Now from four thicknesses of pasteboard cut out a horse and rider, something like that represented in Fig. 3, and insert between the layers which form each forefoot, a nail, the head of which extends slightly below the pasteboard. File these nail-heads so that they shall be smooth and rounded. Glue the two layers together to form the legs of the animal, and spread them slightly apart, as seen in Fig. 4 (which gives an end view of the object), having already glued all four layers to form the body of horse and rider.

Various horses of different colors, forms, positions, and with or without riders, may be made in a similar manner; and elephants or other animals may be substituted for the horses, and made to move around the track, as if subject to the master’s whip. After the glue is dry, the outside edges should be rounded and the roughnesses removed by the use of a rasp and sand-paper.

The ring-master should be so fastened, facing the horse, as to turn with each revolution of the axle.

The back of the box is fitted with a pasteboard or cloth screen, painted to represent stage scenery, and supported on either side by uprights, from the top of which float banners. For further decorations the twigs of evergreen trees are added, those of the larch or spruce, or perhaps best of all the small branches of the juniper or cedar tree, are best for the purpose. When these tiny stage trees become brown and faded, they can be easily exchanged for fresh ones, or may be painted with green paint, if a new supply is not readily obtainable.

The front of the box may be papered with fancy wall-paper, or otherwise decorated to suit the fancy of the maker; and the one who supplies the motive power, or, in other words, turns the crank, should be kept out of sight of the audience if possible. As the horses are not connected with any visible motive power, the cause of their revolution will be enveloped in a mystery which will add vastly to the entertainment of the little folks.

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TO PRODUCE RAISED FIGURES ON AN EGG.

Melt some tallow, and with it paint on the shell of an egg, making letters, numbers, profiles, or any outline which your fancy may suggest, or the fineness of the brush may permit. Then immerse the egg in strong vinegar. After the lapse of a few hours, whatever is covered with the lines of tallow will project slightly, the vinegar, which is mainly acetic acid, having dissolved away the unprotected surface. By painting with a fine brush an intricate scroll or vine pattern, carrying it all around the egg, the result is very pretty, giving somewhat the effect of carved ivory.

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AN ARITHMETICAL CURIOSITY.

Write the nine digits in their order, and multiply them by 9; the result will be composed of units, excepting the next to the last, thus:

123456789 9 ---------- 1111111101

Multiply by 18, instead of 9, and the product will consist of 2’s. By 27, and it will be 3’s. In this manner all the digits may be obtained by multiplying by the multiples of 9; as 36, 45, 54, etc.

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ONE WAY TO FIND THE NUMBER OF DAYS IN THE MONTH.

Count the knuckles of the hands, with the spaces between them; all the months with thirty-one days will fall on the knuckles, and those with less than thirty-one in the spaces. Thus, beginning with the forefinger of the left hand, July will come on the knuckle of the little finger; then beginning with August on the forefinger of the right hand, December will be reached at the knuckle of the third finger.

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SOME ELECTRICAL EXPERIMENTS.

Considerable amusement may be derived from the electrical phenomena manifested by a sheet of stout brown paper, when friction is applied to it. Having warmed such a sheet, and rubbed it with the dry palm of the hand, or some woolen fabric, giving six or eight smooth, steady strokes, with considerable pressure, and all in one direction, away from the body, then place a bunch of keys in the center of the paper, and lift it by the ends; a spark of electricity may now be taken from the keys.

If ordinary unglazed paper be immersed in a mixture of equal parts of sulphuric and nitric acids, then well washed with plenty of water and dried, it becomes extremely electric. If placed on a wooden table, or, better still, on a waxed cloth, and rubbed with the hand, it attracts feathers, pith-balls, fragments of paper, or other small light objects.

When suddenly stripped from the waxed cloth in a darkened room, the entire surface will have a luminous phosphorescent appearance. A spark can be taken from it by holding the finger about half an inch from the surface. If placed against the wall it will adhere to it and keep its place for several minutes.

This paper retains its electrical properties a long time. When weakened, it is sufficient to slightly heat it to restore all its energy.

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THE ELECTROPHORUS.

This instrument, whose name, derived from the Greek, means _bearer of electricity_, consists of two parts; first, a cake or disk of resin, or of shellac and wax, these substances being melted and poured into a tin mold; second, a disk of brass, or sometimes of thin, well-dried wood, covered on each side with thin sheet-brass or even thick tin-foil. This should be fitted with a glass handle, to insulate it; a stout, round bottle of moderate size will answer. The cake of resin is rubbed vigorously; a surface of fur is the best to use for this, such as a cat-skin or fox-tail. The disk is then taken by the handle and rested on the cake, and its upper surface touched a moment with the finger; then, on withdrawing the disk from the resin, a bright electric spark can be obtained from it. By resting it once more on the resin, again touching and withdrawing it, another spark may be elicited, and so on for eight or ten successive trials.

The scientific explanation of this phenomenon is, that negative electricity is excited in the cake by friction. When the disk is applied, the electricity does not pass into it from the cake, but is _induced_ in the disk by the law of electrical polarity; the lower surface being covered with positive electricity, while the negative is repelled to the upper side, from which it is drawn by the finger. Then, when the disk is lifted, the spark of positive electricity may be drawn.

If the construction of the instrument just described appears too formidable a task to my young readers, perhaps they may yet be inclined to experiment with

A SIMPLE ELECTROPHORUS.

Take a lacquered iron “tea-tray;” cut a sheet of stout brown paper so as to fit the flat part of the tray, and fix two strips of paper at each end by means of sealing-wax. These strips serve as handles by which to lift the paper, and the sealing-wax, being a non-conductor, prevents the electricity from passing off. The tray is also insulated by placing it upon two tumblers.

The sheet of paper is now heated quite hot, placed on a wooden table, and rubbed with a hard and very dry clothes-brush. Then it is lifted and placed on the tray.

The paper is negatively electrified; it induces a similar state in the lower side of the tray, which should be touched a moment with the finger; then lift the paper from the tray. An electric spark can now be taken from the latter.

The strips by which the paper is lifted can be brought together, and held by the thumb and finger of one hand, leaving the other free to take the spark. The paper may now be replaced. By touching the lower surface of the tray, and lifting the paper as before, another spark may be obtained, and so on for several times, if the air be dry.

THE EBONITE ELECTROPHORUS.

This piece of apparatus, also called Pfeiffer’s electrophorus, is composed of a thin sheet of ebonite, measuring about six by eight inches. A small sheet of brass, about five by three inches, is fixed on one side. With this, electricity may be evoked with unusual readiness.

It is placed flat on a wooden table, and rubbed successively on both sides with the open hand; if lifted in the left hand, and the right hand is presented to the brass, a spark will be received.

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A LEYDEN JAR.

This may be made as follows: Fill a plain glass tumbler two-thirds full of shot; insert the bowl of a spoon in the shot, leaving the handle projecting. Hold the tumbler in the hand, and bring the handle of the spoon near to the electrophorus—previously prepared for action—so as to receive its spark. On repeating this a few times, the electric fluid will be accumulated in the “jar,” and the many small sparks may be obtained as one large one, by approaching the finger to the spoon, still holding the tumbler in the other hand.

This idea may be varied by using a large wide-mouthed bottle or small jar, instead of the tumbler, and covering the outside nearly up to the top with tin-foil. If that rare treasure, a bullet-mold, is to be had, a ball may be formed on the end of a stout wire, and used instead of the spoon, the end with the ball being the projecting one, thus making an article corresponding more nearly to the regular professional pattern.

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THE PITH DANCER.

This fastidious little skipper never dances except to piano music. It is fashioned from pith, cork, or other light material. Generally it has a human head and body; but when we consider its dancing extremities, we must regard it as a quadruped, or even a tripod, as the case may be; for it stands on three or four stout hog’s bristles. These may be borrowed from the floor-brush, and should be even at the lower ends, that the dancer may stand erect. It should be painted in a gay and conspicuous manner, to compensate for its diminutive size, and a mantle of colored tissue-paper may add to its consequence. When the image is complete, stand it on the sounding-board of the piano, which should be operated with vigor. The dancer will respond to the lively notes with edifying briskness and vivacity.

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THE OBEDIENT BOTTLE.

Fashion a shape like a small bottle, out of pith, paper pulp, or some other light substance. Cut a bullet in two, and fasten the base of the bottle to the flat portion of one of the halves. A straight piece of large wire, the length of the bottle, should be provided, and a hole made down through the center of the bottle, into which it will slide readily, and remain with the end out of sight. This hole may be made with greater ease before attaching the bullet. This object can be made to yield apparent obedience to the commands of its maker. If he orders it to remain upright, he will place it on the table without inserting the wire, when nothing but constant pressure will induce it to lie prostrate. Then, taking it into his hands, and skillfully introducing the wire while the attention of the observers is directed elsewhere, he next orders it to lie flat; and, as the weight of the wire overbalances it, it will tumble over as often as it is set up.

The bullet should be covered with thin paper as smoothly as possible, and the whole affair painted, to better conceal the _modus operandi_.

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THE IMMOVABLE CARD.

If a card, such as an ordinary visiting card, is turned down about a quarter of an inch at each end, at right angles to the rest of the card, and then placed on a table so as to rest on the turned edges, you may safely challenge most persons to blow it so as to make it turn over on the other side. It would naturally seem easier to overturn a card so prepared, than one whose shape remained unchanged; but whoever tries it will find that the facts are otherwise.

The card can be overthrown, however, by blowing on the table, toward the card, as the stream of air is then reflected against its under side.

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A TRIPLE BRIDGE.

This may be constructed by means of three table-knives, in the manner illustrated in the figure. Three goblets or tumblers will serve as the piers; these are to be arranged in a triangle, a little farther from each other than the length of the knives. Lay two of the knives on the table, with the blades crossing each other. Then pass the blade of the third knife over the uppermost blade of the other two, and under the undermost; then take them up and place them with the ends of the handles on the rims of the glasses. The bridge now sustains itself, and if a moderate weight be placed upon it, it will be all the firmer.

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AN ILLUSTRATION OF “INERTIA.”

Inertia is defined as the tendency of a body to persevere in its state either of rest or motion. It is generally used in the sense of persisting in a state of rest. Among the many illustrations of this property of matter, is one which figured in the text-books of thirty or forty years ago, and which the boys of that time adapted to their amusement by constructing the apparatus here illustrated.

It consists of three parts: the board which forms the base, a post about six inches high, and a strip of stout whalebone, or dry, elastic wood.

The board should be as much as seven-eighths of an inch in thickness, and the elastic strip or spring should be firmly inserted in an inclined slit cut through the board. The places of the spring and post should be so adjusted to each other, that when the latter is secured solidly by a good-sized screw passing up through the board, the former will press with its upper end against the top of the post (as shown by the dotted line) with some degree of force.

The top of the post should be hollowed slightly, to retain the ball; and the appearance of the whole will be improved by a coat of shellac or paint.

Now place a card on the top of the post; and if it is sufficiently level, a marble or bullet may be induced to remain on it, directly over the column; if not, a large bean, a spool, or a coin, will prove more tractable. Draw back the spring with the thumb and finger, as in the illustration; let it go _suddenly_, and it will snap the card away, leaving the superimposed object resting quietly on the top of the column.

The same principle is sometimes illustrated by balancing a card on the finger, placing a coin on the card, and snapping away the card with the other hand, the coin remaining on the finger.

Another way is to pile up a small tower with “checkers” or “draughts.” By a quick blow with a ruler, one checker may be knocked from between the others, without overturning the tower.

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OTHER CHRISTMAS HOLIDAY AMUSEMENTS.

Perhaps one evening of this ever delightful season might not be more entertainingly spent than in witnessing an exhibition of some feats in _Magic_, if any lad of the company could become sufficiently expert in the art to render them with a fair amount of skill.

There are many of these mysterious tricks performed by the professional “Thaumaturgist” or “Prestidigitateur,” but as most of them require a complicated or expensive apparatus, I shall only call your attention to such as are comparatively simple, and require but few “aids” or materials for their fulfillment.

HOW TO PALM A COIN.

As it is necessary for any boy or girl who intends to become an expert sleight-of-hand performer to be a successful _palmer_, this is naturally the first lesson to be learned. Indeed, very few of the tricks performed by an expert prestidigitateur would be effective without its use.

To explain this art is difficult, although it is an easy matter to show how the thing is done. By the aid of an illustration may be seen, however, the final position of the coin, or how it is held while it is palmed.

If possible, balance a half-dollar on the tip of the second finger of the right hand; but if not at first easily accomplished let the coin rest on the tips of the second and third fingers, steadying it, in this position, by touching it lightly with the thumb. Close the hand quickly and the coin will rest in the palm. Then, by throwing the thumb forward, the ball of the thumb will hold the silver piece on one side, and that part of the palm which lies between the second and third fingers holds it securely on the other.

Practice this well, and be sure you can depend upon yourself to accomplish it perfectly with the left as well as the right hand, before you try any of the following tricks in the presence of a critical audience.

HOW TO PASS A COIN.

Borrow of your audience two half-dollars and lay them on your table.

Next shake your sleeves and let your friends see that you have no coins hidden about you. When they are convinced that such is the case, pick up one half-dollar with the thumb and second finger of your _right hand_. Palm this in your right hand while you _pretend_ to pass it to your left, of course making a motion with the _left hand_ as if it received and still held the coin.

The right hand will then _seem_ to be empty, although still holding the half-dollar. Next pick up the other coin with the right hand, and place the hand behind you, being careful to keep the left well in front, and always in sight of your audience. Make some few remarks concerning the difficulty of the trick, and at last pronounce the magic word “Pass”; at the same time clink the two coins together, as if one had hit the other in the meeting. Then bring the right hand forward, and, opening it and the left at the same time, show that the coin has actually left the latter and entered the former, as you promised it should do.

HOW TO ROB PETER AND ENRICH PAUL.

Twenty pieces of money are necessary for this trick; and two-cent pieces, or quarters, are perhaps the most convenient sizes to use. Of these, borrow fifteen from your audience, the other five have at hand, but concerning which your friends are to know nothing.

Having borrowed them from the company, count out five, and give them to one of your audience, while to another you give ten, and after having seen that the latter counts his carefully, take those given to the first, mutter some cabalistic nonsense, and order them to pass into the hands of the one who has the ten pieces. Finally, request him to count them again, when, strange to relate, he will find that he has fifteen, instead of the ten pieces which he was supposed to have.

The trick is performed in this manner: Upon receiving the money, throw it upon a plate or box cover—the plate is the best—and passing it to the first person, request him to take five of the pieces away. Now give the remaining money, with the plate, to the second, and ask him to drop each coin as he counts it, on the plate, that all may know he has counted correctly.

Then comes the only difficult part of the trick. Ask the one who has counted the coins to hold both his hands, while you pour the money into them, and taking the plate in your left hand, pour the contents into your right, where you have already _five more palmed_ (the five the audience have not seen). Now pour the fifteen into the hands of number two, and impress upon him the importance of keeping his hands well closed over the money. This will prevent his noticing that an addition has been made. Take the five from person number one, and pretend to place them in your other hand, but instead palm them. Do your talking and command the money to pass. If you have taken proper care in palming your coins, the audience, as well as the one holding the money, will be greatly amazed by the trick.

DANGER OF REPETITION.

In almost any performance of this kind, the audience, especially if of one’s intimate friends, are anxious for the performer to try again whatever strikes them as strange or mysterious, being of course on their guard to watch certain movements, at points in the performance which they had scarcely noticed before.

So it is very unsafe to try any trick over again immediately after it has been once performed, or in fact during the same evening; although perhaps it might be safely done if a number of different ones intervened. If beseeched to try it “just once more,” make as graceful an excuse as you can, and suggest in its place something equally interesting.

THE INEXHAUSTIBLE HAT.

For this trick, seven half-dollars are required, and are concealed in the right hand by “palming,” as the five two-cent pieces were hid in the former trick.

First, borrow of one of your audience a tall silk hat, promising to return it “as good as new” at the end of the performance. Let the audience examine it to see that the owner is not in league with yourself, and then, walking to the back of the room, place it upon a table. While walking toward the table, with the back toward the audience, palm your coins, which should be held in some convenient pocket, readily accessible when the moment comes for using them.

Next, turn to your audience, having your coins well concealed in your right hand, and request some one to lend you _six_ half-dollars; but immediately, under the pretense of disliking to trouble them, step forward, and, excusing yourself for the liberty, take a coin from the folds of a lady’s dress, by simply letting one of those concealed in your hand slip to the end of your fingers. If you have had sufficient practice in “coining” you will find no difficulty in doing this, and your audience will be inclined to believe you actually found the money secreted in the fabric, although they may believe you had some hand in placing it in its hiding-place.

If you have been thus far successful, go to the hat, and, calling attention to the fact, drop the half-dollar into it; then, as if you imagined some one was doubtful whether the coin was really in the hat, make some remark to the effect that if they do not believe you dropped it you will do so again, at the same moment thrusting your hand down to the crown to take it in sight again.

At the moment the hand is in this position, carefully place the six half-dollars on the bottom, and let one remain in the palm. Pick up one of these six, and holding it high, let it drop, being careful, however, that it does not hit the other five.

The coin in your hand you proceed to take from any unusual place which may occur to you—the window curtain, portière, a gentleman’s beard, or a lady’s coiffure, are those most naturally suggested. As soon as you take a half-dollar from its hiding-place, you pretend to place it in your left hand, and from there command it to pass to the hat, but in reality you palm it in your right where it is ready for the next position from which you desire to take it. Proceed in this way until you have gathered in six half-dollars.

As these have been lying quietly in the hat during all this time, you have no anxiety about sending them there, and must simply avoid going near it while apparently filling it with the money. When the last silver piece has been sent to its destination, request the audience to select some one of its members to count the money in the hat, and see that none has been lost in its flight hence. It will, of course, be found all right, and great will be the curiosity to know how you placed it there; but do not allow yourself to be influenced into trying it a second time, for with the close watching you will undergo your secret will be discovered.

ANOTHER HAT TRICK.

The hat may well be called “inexhaustible,” for all manner of things may be made to come from its prolific crown, and in such profusion, that a receptacle of double its size would hardly contain them.

If two boys have learned the art of palming well, they may assist each other, and, if at all ingenious, invent a variety of tricks for an evening’s amusement.

The following is but a suggestion, which may be varied by different materials: