1. Old Man; 2. Elephant; 3. Doe; 4. Rabbit; 5. Horse; 6. Negro; 7. Bear; 8. Walrus.

only one exhibitor, the pictures must be fastened to sticks, one end of which he holds; otherwise he would be obliged to stand between the lamp and the picture. The pictures must be so drawn that no part that is to be cut out completely surrounds a dark part, otherwise the latter will have no support. If necessary, however, such a part may be fastened by pasting very narrow strips of paper from it to other parts of the picture. The shadows of the strips will not show at a

little distance. After practice, these pictures can be made very rapidly; and as a lamp and a sheet are the only apparatus necessary to show them, an exhibition can be prepared at an hour's notice. Some of the figures may be cut out of separate slips of paper, and arranged so that they may be moved about, which will add to the amusement.

Shadow pictures may also be cut out of paper so as to show as dark figures on a white ground, like silhouettes. Sometimes they are so

In

ingeniously made that it is difficult | cutting it out that the scissors folto tell what they represent till the shadow is thrown on the wall. the illustration, Fig. 1 shows how the paper is cut. Fig. 2 is a sharp shadow thrown by it, and Fig. 3 a blurred shadow. The last gives the proper effect.

Portraits may be made for exhibition by throwing the sitter's shadow in profile on a sheet of paper pinned against the wall. The outline of the shadow is traced with a pencil and then cut with scissors. The portrait will be light on a dark ground or dark on a light ground, according as the outside or inside of the paper is used to cast the shadow. Such portraits may be preserved by pasting them on black paper, and they may then be framed or kept in a portfolio. Care should be taken in tracing the outline that the sitter remains perfectly still, and in

Drawing a Silhouette. low the line exactly. A very small deviation alters the expression.

Magic Dance. A second curtain, thrown. This magic curtain must called the magic curtain, is stretched be perfectly opaque, being made of about two feet behind the white thick black cloth, or of canvas sheet on which the figures are to be painted black. In it are several

holes which vary in size according | may be painted in colors on glass to the size of the figures to be ex- like a magic lantern slide. If now hibited, and are arranged as the the exhibitor stand behind the figures are to be grouped. The lat- magic curtain with a lighted taper, ter may be cut out of paper which such as are used for Christmas trees, is pinned over the holes, or they an image of each figure will be

Magic Dance.

If

lighted and another similar figure appears. The two run forward and backward, and leap over and under each other, finally running together and melting into one. Another flap islet down and a different old woman appears. Thus by lighting and extinguishing the tapers and stopping and unstopping the holes, one by one, the figures can be made to appear, disappear, and dance about in the greatest confusion. In order that one figure may not interfere with another, the operator should practise his movements first, while some one on the opposite side of the screen tells him of the effect. This is necessary, since he cannot himself see the screen on which the pictures are thrown.

thrown on the screen in front. he hold a taper in each hand, two images of each figure will appear, and if he move the tapers from side to side, or in curves, the figures will appear to move about in like manner. By multiplying the number of tapers, the figures can be made to perform the most compliIcated kind of dance. The other tapers should be held by persons whose movements are controlled by the exhibitor by means of signals previously agreed on. One may hold several tapers by fixing them on cross-pieces nailed on a stick, but the images cast by those tapers will, of course, always preserve the same distance from each other. The effect is heightened if any of the figures can be made to disappear at SHADOW PLAYS, plays, in which will, as will be the case if the holes not the actors, but their shadows, are can be stopped up. The best plan seen by the audience. They may is to stretch the magic curtain in a be spoken plays or pantomime. In doorway and nail across it thin any case, a large sheet is hung in battens, one just above each hole. a doorway, on one side of which the Pasteboard flaps are then sewed to audience sit, while the actors perthe curtain under each hole, and form on the other, their shadows when shut over the holes are fast- being cast on the sheet by a single ened to the batten by a wooden but-lamp, which should be as bright ton; or, cloth flaps may simply be as possible. With more than one `pinned over the holes by an assist- lamp, double or triple shadows would ant. The following is an example be cast. Some skill is required alof what may be done with this ways so to act that the shadows will arrangement. Suppose that there show the action distinctly. Profiles are four holes at the corners of a should be shown on the sheet as square, and that the figures in them much as possible. Where the represent old women in various shadow-play is given in a hall, the attitudes. It is well to have some shadows are thrown on a curtain of of the figures so drawn that they white muslin, which must be made may be made to move either way with tightly-sewed seams. The without seeming to go backward. shadows can be made more distinct The holes are all stopped at first, so by wetting the sheet or curtain just that the screen is dark. One of the before the performance, which may flaps is removed, a taper is lighted, be done with a sponge. Some of and an old witch starts out on the the most striking effects in a curtain. By moving the taper she shadow-play are produced by a peris made to run back and forth, and former's stepping over or under the leap into the air. The operator lamp. In the first case he appears must remember that the figure to the spectators to jump up through always moves in the opposite direc- 'the ceiling, and in the second to tion from the taper, so that to make sink through the floor. In those it leap up he must move the taper parts of the play where any one is down. A second taper is now to step over the lamp, it should be