shapes as exactly as you can, and cut them out. Paste these pieces on
a sheet of paper, in the same relative positions they occupy in the
landscape; if the shade be rather light, put on only one thickness of
paper; if darker, two thicknesses and three thicknesses may be used;
if the shadow is very deep and heavy, five or six pieces may be pasted
on, one above another. When held up to the light, shades are produced
differing in degree according to the thickness of the paper. These
make very pretty transparencies for lamps in Summer. Lamp shades can
be made in this way with colored paper placed between two thin white
papers and so arranged that the shadows will represent grapes, or any
fruit or flower. China lamp shades are prepared in the same way, that
is, portions of the china are made thicker than others; in the daylight
they appear perfectly white, but when the light shines through them
the shades look like a soft landscape in India ink. It is on the same
principle that the beautiful Parian transparencies are made for windows.
[Illustration]
Natural Magic.
THE ÆOLIAN HARP consists of an oblong box of thin deal board about
five or six inches deep, with a circle drawn in the middle of the
upper side, an inch and a half in diameter, around which are to be
drilled small holes. Along the upper side of the box seven, ten or
more small strings of very fine gut are stretched over bridges near
each end, like the bridges of a violin, and tightened or relaxed with
screw pins. The strings must be tuned to one and the same note, and
the instrument placed in some current of air where the wind can pass
over its strings with freedom. A window, the width of which is exactly
equal to the length of the harp, with the sash just raised to give
the air admission, is a good situation. When the wind blows upon the
strings, with various degrees of force, different musical tones will be
sounded; sometimes the blast brings out all the tones in full concert,
and sometimes it sinks them to the softest murmur. In many old castles
these harps were fastened in the windows, and their wild music caused
the ignorant to think they were haunted.
A colossal imitation of the instrument just described was invented
at Milan, in 1786, by Abbate Gattoni. He stretched seven strong iron
wires, tuned to the notes of the gamut, from the top of a tower sixty
feet high, to the house of a Signor Muscate, who was interested in the
success of the experiment; and this apparatus, called the giant’s harp,
in blowing weather yielded lengthened peals of harmonious music. In a
storm this music was sometimes heard at the distance of several miles.
Simply tying waxed saddler’s silk to little sticks, and pushing them
into the crevices of windows, so as to receive a draft of wind (the
silk being strained tight), will produce very sweet sounds.
THE MAGIC OF ACOUSTICS.
THE science of Acoustics furnished the ancient sorcerers with some
of their most complete deceptions. The imitation of thunder in
their subterranean temples did not fail to indicate the presence of
a supernatural agent. The golden virgins, whose ravishing voices
resounded through the temple of Delphos; the stone from the river
Pactoles, where trumpet notes scared the robber from the treasure which
it guarded; the speaking head, which uttered its oracular responses at
Lesbos; and the vocal statue of Memnon, which began at the break of day
to accost the rising sun, were all deceptions derived from science, and
from a diligent observation of the phenomena of nature.
TO SHOW HOW SOUND TRAVELS THROUGH A SOLID.
TAKE a long piece of wood, such as the handle of a broom, place a
watch at one end, apply your ear to the other, and the ticking will be
distinctly heard.
A SINGULAR EXAMPLE OF SUPERSTITION.
THE following _true story_ was related to me by one who was personally
acquainted with the facts. There was a certain bend in one of our
western rivers which was avoided by every one, as it was supposed to
be haunted by the devil. At a certain hour in the evening, for many
years, terrible curses were distinctly heard. Suddenly they ceased. A
gentleman skilled in the science of acoustics, hearing an account of
the strange phenomena, determined to ascertain the cause, and carefully
examined the river on each side for about a mile above and below the
bend. He ascertained that at about the time the sounds ceased, an old
fisherman, who had lived on the opposite side of the river, full a mile
from the spot where the curses were heard, had died. He was told that
the fisherman was in the habit of crossing the river to a village,
where he found a market for his fish, and where he spent his money for
liquor, and that after drinking freely on his way home, while rowing
across the river at night, he would swear terribly. This gentleman
then persuaded a friend to go down the river to the place where the
curses were formerly heard, while he remained in a boat on the river
at the point at which the old man usually crossed. He then played on a
bugle and sung several songs. His friend soon returned, and with eager
delight exclaimed: “Oh, ——, such glorious music fills the air just
where the curses used to be heard.” The neighbors came rushing down to
hear it, and some fell on their knees praying; they said “the angels
have driven the devil away.” Mr. —— then asked what were the songs
they heard. His friend described them correctly, and said he understood
even the words, one of them being the famous Marseillaise, another a
German song; the foreign words made the ignorant more sure that the
sounds were supernatural. Mr. —— then played on the bugle and sang
again the same songs, while his friend stood by; but his friend said
the music was not equal to that he had heard below, where the sounds
had really seemed heavenly.
The peculiar configuration of the river banks had concentrated the
sounds, and the distance and the water had softened them.
The person who related this anecdote to me said that he and his friend
had often tried the experiment. Nothing would convince the more
ignorant neighbors that the sounds were occasioned by merely natural
causes. A love of the supernatural is strong within us, and sometimes
leads us into grave mistakes.
THEORY OF THE VOICE.
PROVIDE a species of whistle common as a child’s toy, or a sportsman’s
call, in the form of a hollow cylinder, about three-fourths of an inch
in diameter, closed at both ends, by flat circular plates with holes
in their centres. Hold this toy between the teeth and the lips; blow
through it, and you can produce sounds, varying in pitch with the force
with which you blow. If the air be cautiously graduated, all the sounds
within the compass of a double octave may be produced from it; and, if
great precaution be taken in the management of the breath, even deeper
tones may be brought out. This simple instrument, or toy, has indeed
the greatest resemblance to the larynx, which is the organ of the
voice.
THE VISIBLY GROWING ACORN.
CUT a circular piece of card to fit the top of a hyacinth glass, so as
to rest upon the ledge, and exclude the air. Pierce a hole through the
centre of the card, and pass through it a strong thread, having a small
piece of wood tied to one end, which, resting transversely on the card,
is prevented from being drawn through. To the other end of the thread
attach an acorn; and having half filled the glass with water, suspend
the acorn at a short distance from the surface. The glass must be kept
in a warm room; and in a few days the steam which has generated in the
glass will hang from the acorn in a large drop. Shortly afterwards the
acorn will burst, the root will protrude and thrust itself into the
water; and in a few days more a stem will shoot out at the other end,
and rising upwards, will press against the card, in which an orifice
must be made to allow it to pass through. From this stem small leaves
will soon begin to sprout; and in the course of a few weeks you will
have a handsome oak plant, several inches in height.
[Illustration]
Dancing.
DANCING is the most agreeable of all indoor pastimes that combine
pleasure with healthful exercise. It also gives grace and elasticity to
the movements. The modern gymnasium has many of the attractions of our
dancing schools, but its exercises are often too violent for delicate
children. The dancing school has proved physically beneficial to many
who have been sent to it as an experiment, at an early age. Such
exercise invigorates the frame and does more for permanent health than
can be accomplished by medicine. Exercise, to be beneficial, must have
some pleasant excitement connected with it.
It is a pleasant sight to see a home circle, old and young, joining
in a lively quadrille, or an old fashioned contra dance, in the early
evening hour, either the mother or a daughter presiding at the piano.
How joyously even children of three and four years old make their tiny
feet move in time to merry music. “Pop goes the Weasel” is a dance only
suited to little children, and they are apt scholars and can all join
in singing the popular tune. It may be well to give the directions for
this and a few other dances.
POP GOES THE WEASEL.
THIS is an old English dance revived. The positions first taken are the
same as in the contra dance, the ladies and gentlemen being placed in
lines opposite to each other. The couple at the top begin the figures.
They first dance down outside the lines and back, then join hands and
down the middle, then join hands with the lady of the couple next
to them and the three dance around in a circle till the music comes
to “Pop goes the Weasel.” As they sing that, the second lady passes
quickly under the joined hands of the couple dancing, and goes to her
place; the same couple then join hands with the gentleman opposite, and
at the proper time he pops under their joined hands in like manner;
then down outside, back again and join hands and down the middle; then
take the next lady and dance around as before. So on through the whole
line. As soon as the top couple have danced down twice, the next couple
begins. If there are long lines, there is often a number of couples
dancing together, and when all sing in time the dance is very pretty.
LANCERS.
THIS, also, is a very old English dance. There are innumerable changes,
but those given here are the most popular.
First Change.
[Illustration]
First lady and opposite gentleman forward and back; same couple forward
a second time, turn with right hand, and return to places. First
and second couple cross over, first couple joining hands and passing
between the second couple, and return to places, the second couple
joining hands and passing between the first. Balance at the corners,
the four ladies to the gentlemen on the right, gentlemen facing the
left, to return the balance. Turn partners with both hands to places.
Same for the other three couples.
Second Change.
First couple forward and back. Forward a second time and leave lady in
front of opposite couple facing her partner, gentleman returning to
place. The same couple chassez to right and left, and turn to places
with both hands. All eight forward and back in two lines; forward and
turn partners to places. In forming two lines first and second times,
the side couples separate from their partners, and join each side of
the head couples, forming two lines, four on a side; third and fourth
times the head couples join the sides.
Third Change.
First gentleman and opposite lady forward and back. Forward a second
time and salute with a low bow and low graceful courtesy and return
to places. The four ladies then form a windmill by giving their right
hands, while the four gentlemen take their left hands, with their left
hands, all facing the same direction, and promenade entirely around,
and turn partners to places.
Ladies grand chain is danced in Paris in place of the windmill. The
three other couples dance the same.
Fourth Change.
First couple visit the couple on the right hand, salute with bow and
courtesy. Visit the couple on the left and salute, then change across
and salute same couple again. First couple return to place. Right and
left with opposite couples. The other three couples dance the same. In
Paris they dance it double, first and second couples at the same time,
and so on.
Fifth Change.
Grand right and left. First couple turn and face outward. Then couple
on the right take their place behind the first, then the couple on
the left, the second couple behind all. All chassez across and back,
gentlemen passing behind ladies. Promenade outside, ladies to the left.
Gentlemen to right, meeting at the bottom, and coming up together. All
eight forward and back, ladies on one side, gentlemen on the other. All
forward and turn partners to places. This is danced through till each
couple has taken turn in being the leaders.
GRAND SQUARE.
[Illustration]
At the same time, the first lady and second gentleman, and the second
lady and first gentleman join hands and turn to the sides, while the
third lady and fourth gentleman and fourth lady and third gentleman
passing on the outside of the first and second couples, join hands and
take the latters’ place. Then they pass on the inside and the others on
the outside, each taking his own partner to place. Then repeat, only
reversing it, by the first and second couples going on the outside
first, and the third and fourth inside.
LE PRINCE IMPERIAL QUADRILLE.
(A new change introduced by the Empress Eugenie.)
First Change.
LE CHAINE CONTINUE DES DAMES.
HEAD couples to sides. First and second couples lead to right hand
couples, and all salute, (viz: first couple to third, second to
fourth.) First and second gentlemen retaining partner’s hand, take with
their left hands, the left hands of the side ladies. The two threes
thus promenade to places of head couples, second to first couples’
place, first to second couples’ place, all facing the centre. Ladies
grand chain; the four ladies, without the gentlemen, make a movement
like the grand chain of the “Lancers,” by crossing over from head to
head of sets, giving right hands; passing from side to side, giving
left hands; again back from head to head of set, giving right hands,
and across again to side, giving left hands, ending with each lady in
front of her partner, lady facing outward. All chassez to right and
left and turn partners. By repeating this figure the first and second
couples return to places, after which the side couples dance the figure
twice through.
Second Change.
LA NOUVELLE TRENIS.
First gentleman and second lady forward, and turn with both hands,
both stopping in front and facing the lady who was left in her place.
Cross over; the single lady passes between this couple and crosses
to opposite gentleman, giving him her left hand, (that gentleman
giving his left hand also,) and turn to lady’s place on right of that
gentleman; at the same time the other two cross over to first couple’s
place, and turn with left hands and face opposite couple. Forward four
and back; half ladies’ chain, (the ladies thus return to partners.) All
eight chassez across and turn at corners. All chassez back and turn
partners.
Third Change.
LA CORBEILLE.
First gentleman leaves lady in the center, (the lady facing outward,)
separating with salute. Second gentleman the same; third gentleman the
same; fourth the same. Ladies hands around; the four ladies thus back
to back take hands and round to right, stopping in front of partners.
Gentlemen forward. The four gentlemen advance and give right hands to
partners and left hands to next lady, and make a large circle. All
balance in circle and turn partners to place.
Fourth Change.
LA DOUBLE PASTOURELLE.
Forward four. First and second couples forward and back; leave partners
on sides; first gentleman leaves his lady on left of third gentleman,
and returns to place; at the same time the second lady leaves her
gentleman on right of fourth lady, and retires to place; forward
six; the six on sides forward and back twice; two forward; the first
gentleman and second lady forward and back. Forward again, salute, and
pass to side where partners are. Four hands half around, with sides.
Right and left to places.
Fifth Change.
LA TOURBILLON
Ladies to right. The four ladies pass to the gentleman next on their
right, and turn with him, both giving right hands. They pass again to
the right, and turn with next gentleman, (with same hands.) They pass
again and turn, finally pass again to the right, which brings all to
partners. First couple forward and back. Turn with right hands ending
in centre, face to face. All four to right and left. Turn to places.
After the ladies repeat the first sixteen bars of this figure a fifth
time, all the gentlemen place their partners in the centre, facing
outward, each lady thus facing her own partner. Then the quadrille thus
terminates by all saluting.
COMMON COTILLION.
First Change.
FIRST and second couples right and left. The same couples balance.
Ladies chain. Same half promenade, half right and left back.
Second Change.
Forward two, first lady and second gentleman then cross over, chassez
and return to places. Balance. Each couple the same.
Third Change.
Right hand across, first and second couples cross over giving right
hands to opposites as they pass. Left hands back, which are retained,
giving right hands to partners, thus forming a circle in the middle of
the set. Balance in a circle, then cross to opposite sides; chassez.
Two ladies forward and back; two gentlemen the same; four forward and
back; right and left to places. Head couples repeat, then the sides the
same.
Fourth Change.
Forward four and back; forward a second time, first gentleman leaving
first lady on the left of opposite gentleman; three forward twice,
second time first gentleman handing both ladies to opposite gentleman;
three forward twice on opposite side, the second time stop in the
centre; four hands half around to the right and cross over. Right and
left to places. Head couples repeat, then the sides go through the same
figure.
Fifth Change.
JIG DANCE.
Hands all around. All the ladies balance to and turn gentlemen on the
right, pass to the next, balance, &c.; so on all around. Hands all
around, or promenade all. Gentlemen then pass to the right, the same as
the ladies. All promenade or hands all around.
BASKET DANCE.
FORWARD two; balance; ladies’ hands around in centre; left to right;
gentlemen join hands outside the ladies and pass around, stopping on
the left of partners; gentlemen pass their joined hands over the heads
of ladies, (ladies standing still,) and form the basket; all balance
and turn partners.
WHITE COCKADE.
FIRST couple balance to right; four hands around; first couple balance
to left; four hands around; hands all around. This is repeated by the
other couples.
THE WALTZ AND POLKA QUADRILLE.
THE changes in these quadrilles are the same as in the common
cotillion, except that a waltz or polka is played, and all the changes
are danced either with the waltz or polka step, and at the end of each
change, all waltz or polka around.
SIR ROGER DE COVERLEY, OR VIRGINIA REEL.
DANCED with eight couples or more in two lines, the ladies on one side,
gentlemen on the other, facing each other. The top lady and bottom
gentleman execute each figure, and are immediately followed by the
bottom lady and top gentleman, in the following order: forward and
back; forward and turn with the right hand and back to places; turn
with the left and back; then with both hands and back, forward and dos
a dos and back; forward and back; (this is often danced by the two
top ladies, and two bottom gentlemen, at once; it is prettier than
in couples.) The lady then turns with the left hand, every gentleman
down the line, while her partner turns every lady, turning his partner
alternately with the right hand. When arrived at the bottom, chassez
back to the head, separate from partner, lady passing down the line
outside of the ladies, and the gentleman outside the gentlemen, all in
each line following, meeting partners at the bottom and then chassez up
the centre, when first couple chassez down the middle and take their
positions below the last couple. The figure is continued by the new
couple at the head, and so on, till all have danced the whole figure.
THE NINE-PIN DANCE.
EIGHT must form a cotillion; the ninth must stand at the side and call
any changes he pleases, and lastly call grand right and left. When he
claps his hands, they must all promenade. The one calling must then, if
possible, secure a partner. If the attempt is successful, the one left
out must call the changes of the dance; and so on.
CALEDONIAN QUADRILLES.
First Change.
FIRST and second couples cross right hands, left hands back; balance,
and turn partners; ladies’ chain; half promenade and half right and
left to places. Repeat twice.
Second Change.
Gentlemen forward and back twice; all balance to corners and turn each
lady, passing into the next lady’s place; all promenade. This figure to
be repeated four times.
Third Change.
First lady and opposite gentleman forward and back twice; first couples
pass between opposite couples in crossing over, and return outside;
balance to corners, and turn to places; all join hands in a circle and
forward and back twice. Repeat four times.
Fourth Change.
First lady and opposite gentleman forward and stop; partners the same;
turn partners to their places; four ladies change places to the right;
gentlemen change places to the left; ladies change places again to the
right; gentlemen change again to the left; all around to their places,
and turn partners. Repeat four times.
Fifth Change.
First couple promenade around inside; ladies all forward to centre;
give right hands and back to places; gentleman the same; balance to
partners and turn; grand right and left half round; promenade to places
and turn partners; all chassez across, giving right hands at corners
and back to places. Repeat four times; then all promenade.
[Illustration]
Dramatic Amusements.
PRIVATE theatricals and dramatic or Shakspeare reading clubs are among
the fashionable amusements of the present day. Many, I know, disapprove
of them; but I think they do far more good than harm. They certainly
strengthen the lungs, memory, and improve the intellectual tastes.
But I will not discuss the subject, as far abler pens than mine have
already argued on both sides of the question. Private theatricals
amuse a large circle of friends, and any club willing to undertake the
presentation of plays deserves the thanks of the audience.
Even a simple farce requires much labor and frequent rehearsals, to be
well acted, and one soon wearies of the constant repetition of even
witty sayings. The most trivial character must be carefully studied,
for one bad actor often destroys the effect of the whole play. Then
the foot-lights, stage, &c., must be prepared. A few directions, with
a list of easy farces may be of service. All who live in cities can
easily hire scenery, dresses, &c., but for the benefit of towns and
villages, I will give a short account of how such things can be managed.
Some lady can almost always be found who will give the use of her
house. A house should be selected which has two parlors, connected by
large folding doors, or an arch; one parlor being for the audience, and
the other for the stage. All the furniture and carpets should be taken
from the latter room. A rough staging should be built (boards can be
easily hired), and by boring a hole in the floor a gas-pipe can be run
up along the front of the staging, with a sufficient number of burners.
Tin shades painted green (as they render the light softer, and more
agreeable to the eye) are an addition, for they keep the light from
the audience, and throw it directly on the actors. A large floor cloth
can be nailed on the stage for a carpet. A drop curtain, so arranged
as to be rolled up quickly and easily, by means of a cord pulley at
one side of the stage, where the prompter sits, just out of sight of
the audience, is necessary. Scenery for the sides and back parts of
the stage can be roughly painted on cloth; it answers every purpose of
canvass by being strained when wet over light wooden frames (made so as
to be easily moved); when dry, it presents a smooth, hard surface.