The arrival of the populace at Osterley Park.--The commencement of the festivities.--Dancing on the Tight and Slack Rope.--Balancing.--Conjuring.--Optical illusions.--Various games.--The Penthalum.--The Banquet.--Grand display of Fire-works.--Conclusion.

Never had the rosy fingers of Aurora shown so much reluctance in unbarring the gates of the East, as on the morning of the Osterley Jubilee; at least, so thought about half a score peasants, who, fevered by anxiety and expectation, had arisen from their beds long before the break of day.

At length, however, the sun arose; but indignant no doubt at the accusations he had so unjustly suffered, he immediately veiled his fiery countenance in dark and lowering clouds: here, then, was a fresh source of doubt and anxiety; would the day be rainy? The gardener at Overton Lodge was immediately sought and consulted; and cheering as were his predictions, they scarcely succeeded in dispelling the gloom which shaded many a fair countenance. The apprehension of disappointment was, however, suddenly relieved; for between nine and ten o’clock the sun re-appeared, beaming in all his glory, and shedding the brightest refulgence on the scene of the approaching festivities. At this period hundreds of villagers, dressed in their holiday attire, were seen pouring along the high road, or winding their way through the verdant valleys. So admirable had been the arrangements for the admission of the populace into the park, that great as was the concourse of spectators, not the slightest impediment occurred during their entrance.

At half-past ten o’clock the whole population of the country had assembled; the various performers were on their respective stages; and the arrival of Major Snapwell and his guests was eagerly expected, as a signal for the commencement of the festivities of the day.

At length a distant murmur was heard in the direction of the house, which gradually increased as it approached the meadow, until it swelled into one grand and universal chorus. The vicar appeared with his wand of office, which he no sooner waved in the air than the murmur gradually subsided. Major Snapwell and his friends, Harry Beacham and his bride, and the Seymours with their children, and numerous visitors, followed. The several bands, stationed on the platforms erected before the show-booths, simultaneously struck up the national anthem, in which the whole multitude joined, and produced one of the most surprising and thrilling effects ever witnessed.

There were eight booths appropriated to the exhibitions; and it had been arranged that each should commence at the same time, and repeat its performances eight times during the day; so that by dividing the spectators into eight groups, and delivering to each person a ticket distinguished by a particular number, every spectator at once knew the booth into which he was to enter; and having witnessed the exhibition, he was directed to exchange his ticket; by which means every chance of confusion was avoided, and each person was enabled to witness, successively, every performance.

The vicar and the party entered the first booth, and were followed by all those whose ticket was distinguished by No. 1.; those of No. 2. at the same time entered the second booth, and so on.

The first show was appropriated to the various exhibitions of vaulting, tumbling, balancing, and rope-dancing. The vicar expressed high delight on observing that the stage was decorated with branches. “In the ancient theatre,” said he, “the stage was originally planted with trees to shade the actors; hence scene, so called from the Greek word signifying a shade.”^[74]

During the performances of the balancer, Tom Seymour’s attention was riveted on the artist; he watched every movement, and examined its effect in preserving the centre of gravity within the base. “Papa,” cried the delighted boy, “I never experienced so much interest in a performance of this kind, until I was capable of explaining the principles upon which it was conducted. I have attentively followed every change of position, and discovered the effect of such changes upon the line of direction.”^[75] As to the wire-dancing, Tom observed, that he saw very plainly the swinging of the wire backwards and forwards diminished the difficulty, and assisted the actor in keeping his equipoise.

Mr. Seymour was highly delighted with these remarks; and, casting an intelligible look at Mr. Twaddleton, who was seated near him, he exclaimed, “Well, vicar, you will surely now admit that the pleasures which arise from sport are heightened by the admixture of science.”

“My dear Mr. Seymour,” replied the vicar, “you well know that I have long since become a convert to your principles; I confess, however, had that not been the case, the expression of satisfaction and delight which have just fallen from my little playmate, Tom, would have removed all my prejudices.”

“See, see!” exclaimed Louisa, “how very extraordinary! I declare that the plate, sword, key, and tobacco-pipe, are all balanced as they revolve on the chin of the performer.”

“And do you not know, Louisa,” replied Tom, “that the revolution of the plate and sword, which appears to render the execution so much more astonishing, actually diminishes the difficulty of the performance?”^[76]

Thus did Tom Seymour continue to point out successively the philosophical principles upon which each of the tricks might be supposed to depend.

The next booth into which our party entered was that of Crank Smirky, the celebrated conjuror, who invited the company to witness his wonderful display of the art of legerdemain: he was dressed as an astrologer, with a loose gown of green velvet, and a red cap; he had a long grey beard, and his nose was bestraddled by a pair of green spectacles.

“Ladies and gentlemen,” said the mystic professor, “I shall have the honour of convincing you this day, that my single hand is more than a match for all the sharp eyes of Overton. You will admit that a beautiful eye makes silence eloquent,--a kind eye, contradiction an assent,--and an enraged eye, beauty deformed; but my hand shall, by its magic influence, make eloquence dumb, assent a contradiction, and deformity beautiful.”

So saying, the professor beckoned a villager, who sat near the stage, to approach and assist him in the performance of his first grand trick.

“Dobby,” exclaimed his terrified wife, “sit thee still; that man has dealings with the old one; I would not that he should touch your garment for all the gingerbread in the fair.”

This exclamation of the terrified wife set the whole audience in a roar, and produced a confusion which the skilful conjuror is always anxious to create, when any sly work is to be performed. In truth, this scene had been previously concerted by the renowned Crank Smirky, who had engaged this said Dobby as his confederate. A series of very amusing tricks were then performed with cards and counters; such, for instance, as desiring some person to draw a card from the pack, and having observed what it was, to return it; which card, to the wonder of the company, was immediately found in Dobby’s pocket. Mr. Seymour informed his children that the explanation of this trick would serve to show the manner in which most of the deceptions on cards were performed. He said, that the conjuror’s pack of cards always contained a card, technically termed a ‘brief card,’ or ‘the old gentleman,’ which is one made on purpose by the card-maker, and is a little larger than any of the rest; the performer always knows it by feeling it, and can easily force it upon the unsuspecting drawer; should he, however, attempt to take any other, the conjuror, under some pretence, shuffles again, till at length he induces him to take the one intended for him. After the card has been introduced again into the pack, the performer, without any difficulty, withdraws it, and the confederate is called upon to produce the duplicate which had been previously placed in his pocket.

The children were told that the several deceptions with coin, or counters, which they had witnessed, were accomplished by a species of dexterity acquired only by practice, and termed ‘palming;’ it consisted in being able to retain a shilling, halfpenny, or counter, in the palm of the hand, while it remained extended; thus the performer desires any one to reckon five pieces, which are accordingly placed on the table before him, the conjuror then takes them up, and having dexterously palmed one, he adds it to the number as he places it in the hand of the unsuspecting person.

Tom and his sisters expressed themselves much pleased and surprised with the dexterity of the performer; “But,” added the intelligent boy, “I should be much more gratified by tricks that were indebted for their mystery to some philosophical principle.”

Mr. Seymour and the vicar again interchanged looks that strongly marked the feelings which had been excited by this observation. The former turning to his son, said, that if he waited patiently, he would shortly be gratified in that wish, for he knew Crank Smirky was prepared to exhibit some recreations in divination, that were founded on the science of numbers.

Nor was Mr. Seymour mistaken; for after a few more specimens of his dexterity, the conjuror requested Mr. Twaddleton, who was sitting directly in his front, to take an even number of counters in one hand, and an odd number in the other; and he would tell him, he said, in which hand he held the even number. Mr. Twaddleton having complied with the request, he was farther desired to multiply the number in the right hand by any even number he pleased, as, for instance, 2; and that in the left hand by an odd number, as 3.

“I have done so,” said the vicar.

“Then be pleased to add together the two products, and tell me whether the sum be odd or even.”

“It is odd,” replied Mr. Twaddleton.

“If so,” said the conjuror, “the even number of counters will be in your right hand.”

The vicar exposed the counters, and admitted the correctness of the conjuror’s decision.(55)

“Ladies and gentlemen,” exclaimed the man of mystery, “I now humbly crave your silent attention, while I exhibit one of the most wonderful examples of my art. Here is a ring,--there a shilling,--and there a glove. I shall presently request each of the three gentlemen before me, to take one of those articles, so secretly as to prevent the possibility of my discovering the choice he may have made. I have here, you perceive, twenty-four counters; one of which I shall give to you, Mr. Seymour; two to you, reverend sir; and three to you, my young philosopher; the remaining eighteen shall remain on the table. Now, gentlemen, I shall retire, and during my absence, you will be so good as to distribute the three articles in any way you may think proper.”

The professor, accordingly, walked off the stage; when Mr. Seymour took the ring; the vicar the shilling; and Tom Seymour the glove. The conjuror, on his return, said that he had one more favour to request, that the person who had the ring should take from the eighteen counters on the table as many as he already possessed; the one with the shilling twice as many; and the person with the glove, four times as many as he before possessed. The conjuror again retired, in order that the distribution might be made without his observing it. On returning, the conjuror, having first cast his eye upon the counters that remained on the table, informed the company that Mr. Seymour had taken the ring, Mr. Twaddleton the shilling, and the young gentleman the glove. The moment the parties assented to this decision, the whole company expressed their satisfaction and astonishment by thunders of applause.

“That is really very ingenious,” observed the vicar.

“How could he perform it?” said Tom: “it is evident that his only guide was the number of counters left on the board.”

“I understand the process by which it was accomplished, and will endeavour, at some future time, to explain it,” replied Mr. Seymour.(56)

A number of similar tricks followed, all of which depended upon some algebraical calculation; and the performance was concluded to the entire satisfaction of all present.

The next exhibition was of a very different character: it consisted in a variety of optical representations and illusions. The camera obscura presented a moving picture of the surrounding scene. The phantasmagoria exhibited a variety of ghastly objects, which alternately receding from, and approaching the audience, called forth shrieks of terror and amazement. Amongst the most appalling of these figures, was the headless horseman of Sleepy Hollow, so inimitably described in the Sketch Book: it will be remembered that the body of this trooper having been buried in the church-yard, its ghost was believed to ride forth every night in quest of its head, and that the rushing speed with which he passed along the hollow, like a midnight blast, was owing to his being in a hurry to get back to the church-yard before day-break. This rapid movement was admirably represented in the phantasmagoria: at first the figure appeared extremely diminutive, and at a great distance; but almost immediately its size became gigantic, and it seemed as if within a few feet of the audience, and then suddenly vanished. After an instant of utter darkness, the figure was again visible at a great distance: the schoolmaster, Crane, was also seen belabouring the starveling ribs of his steed, old Gunpowder, and quickening his pace towards the very spot where the spectre was stationed. The whole audience were breathless with horror. Crane arrived at the bridge, over which the headless figure opposed his passage. “Mercy upon us!” cried a faint voice from one of the back seats, “the ghost has found his head, and is carrying it before him on the pommel of his saddle.”--“Hush, hush!” cried another voice; Crane’s horse had taken fright; away he dashed through thick and thin; stones flying and sparks flashing at every bound. Crane’s flimsy garments fluttered in the air, as he stretched his long lank body away over his horse’s head, in the eagerness of his flight. The goblin pressed hard upon him; he was not more than a yard behind him, when he was seen to take up his head, and with gigantic force to hurl it at the pedagogue; it encountered his cranium with a tremendous crash; he was tumbled headlong in the dust; the goblin whisked past like a whirlwind, and the company were once again in total darkness.

“Upon my word,” exclaimed Mr. Seymour, “this is one of the most complete illusions I ever witnessed.”

“It is most ingeniously managed,” said the vicar.

“Papa,” cried Tom, “I am quite impatient to learn how so extraordinary an effect can have been produced. You told me this morning that a phantasmagoria was nothing more than an improved magic lantern; but how is it possible for the slides to be so managed as to make the figures approach and retire from you, and above all, to make them move their bodies, and throw their arms into different attitudes?”

“In the first place, the figures only appear to approach you, for they are thrown upon a surface which never changes its place; the whole is therefore an optical illusion, arising from the fact that we estimate the distance of an object by its apparent magnitude; when, therefore, the figure began to diminish in size, the mind instantly assumed that it was receding from the eye; and the illusion was still farther heightened by the absence of all other objects^[77] by which it might be compared.”

At this moment Mr. Seymour was interrupted by the appearance of the performer who announced his intention of submitting another optical illusion, which, he trusted, would afford equal satisfaction.

“Papa,” cried Tom, “how much do I regret my ignorance of optics. It is a great disappointment to me that I should witness so many curious exhibitions, without being able to understand the principles upon which they depend.”

“I promise you, my dear boy,” replied Mr. Seymour, “that you shall be instructed in this branch of science during the Christmas vacation. Enjoy, therefore, the present amusements, and instead of repining at your ignorance, anticipate the pleasure which you will receive, when you shall be able to explain them.”

A series of extraordinary effects were now exhibited by means of concave mirrors.^[78] AËrial images were produced, so illusive in their appearance, that the spectators could not believe in their immateriality, until they attempted to grasp them. In this manner were presented flowers, fruit, a human skull, and a dagger; the latter of which terrified the spectator by the sudden and violent manner in which its point approached him. With this illusion the amusements concluded; the light of day was admitted; and the performer stepping forward, announced the termination of his exhibition in the words of Shakspeare:--

The villagers, as they poured out of the booth, and mingled with their companions in the fair, with their wonted propensity for the marvellous, related, in most exaggerated terms, the wonders they had encountered in the region of shadows. Nothing is swallowed with more avidity than tales of mystery, especially if spiced with a few grains of horror; we cannot, therefore, be surprised at the anxiety so generally by those who had not yet witnessed the optical performances to exchange their tickets for such as would secure their admission into the popular booth.

The next entertainment was a display of ventriloquism, by a pupil of the celebrated Baron de Mengen.

“Now,” said the vicar, “we are to witness a deception upon the ear, such as we have just seen practised on the eye.”

Mr. Twaddleton was quite correct in this observation; for, notwithstanding all the mystery with which the subject has been invested by credulity, ventriloquism is nothing more than a skilful modulation of the voice, so as to imitate the gradations of sound, as they effect the ear in nature under all the circumstances of distance and obstruction; in short, imposing upon the ear as a perspective painting does upon the eye.

The crowd which had assembled round the spot was now dispersed by the appearance of a placard, announcing the suspension of all the performances for two hours; and informing the populace that the interval would be devoted to various sports and pastimes in the adjoining field.

The revellers accordingly hastened to the spot where the several sports were to take place, and to which they were directed by the sound of a bugle.

We have stated that a small enclosure had been prepared for the youths of the village, who were to perform the “ludus TrojÆ,” or Troy game. The major and his party had taken possession of the seat, placed for their accommodation under an awning; and the boys, classically dressed, and furnished with little arms and weapons, were mustered in circo. Each youth was mounted on a pony; and the troop having rode round the ring, and surveyed the spectators, the vicar arose from his seat, and, like the sage Epytides, gave the signal of attack by a crack of the whip. They now arranged themselves in two battalions, and hurling their javelins with an air of proud defiance, wheeled and charged, and urged the sportive war; at the conclusion of the game, the vicar called the principal youth, or “princeps juventutis,” and presented him with a basket of fruit, which he desired him to divide amongst his companions.

The populace now separated into different groups; one party proceeded to witness a wrestling-match; another to see the foot-race; a third to be present at a match of quoits; for the vicar had provided all these games, in imitation of the ancient Penthalum or Quinquertium. While observing the game of quoits, the vicar displayed much classical erudition; he said that Homer had represented Ajax and Ulysses as greatly skilled in the sport; and that Ovid, when he brings in Apollo and Hyacinth playing at it, had given a very elegant description of the exercise.^[79] Scaliger, he continued, is of opinion, that the throwing the discus, or quoit, is but an improvement of the old sport of casting the sheep-hook; a conjecture which, the vicar thought, received some support from a passage in the fourth Iliad.

“Mr. Twaddleton,” cried Mr. Seymour, “you look at every sport with the eye of a classic or antiquary; I, on the other hand, as you well know, cautiously examine every action, to discover whether some scientific principle may not find an illustration. On the present occasion, I am desirous of directing the attention of the children to the manner in which yonder skilful player hurls his quoit.”

“I do not exactly comprehend the object they have in view in throwing the quoits,” said Louisa.

“Do you not perceive that two iron pins, or hobs, are driven into the ground, at the distance of eighteen or twenty yards asunder?” asked her father.

“To be sure, and I suppose that each player attempts to hit one of those pins.”

“The players stand at one of the hobs, and throw an equal number of quoits at the other; the nearest of them to the hob are reckoned towards the game. When they have cast all their quoits, the candidates go over to the point at which they have been throwing, and when they have determined the state of the game, they throw their quoits back again at the hob where they had before stood; and thus continue to act, on alternate sides, till the game is ended.”

“I now understand it,” cried Louisa.

“You doubtless know, Mr. Twaddleton,” said Mr. Seymour, “that the casting of stones, darts, and other missiles, was among the amusements practised in the twelfth century by the young Londoners.”

“Casting of the bar,” replied the vicar, “was formerly a part of a hero’s education; and kings and princes were admired for their agility and grace in throwing ‘the stone, the bar, and the plummet.’ Henry the Eighth, even after his accession to the throne, retained the casting of the bar among his favourite amusements. The sledge-hammer, and, among rustics, an axle-tree, were also used for the same purpose as the bar and the stone.”

“The game of quoits is certainly far superior to such pastimes,” said Mr. Seymour, “on account of its depending less on mere strength, and more upon superior skill.”

“Did not you say, papa, that its action would illustrate some principle of science? I have been looking at the quoit, which I perceive is a circular piece of iron with a hole in the middle, but I cannot discover in what manner any scientific principle can be connected with its motion.”

“If you will attentively observe a skilful player, you will perceive that he steadies the flight of the quoit, by imparting to it a spinning motion; were he not thus to rifle it, you would find that it would fly very far from the mark.”

“Upon the same principle, I suppose, that we impart to the ball a spinning motion at the game of bilboquet?”

“Precisely so,” replied her father, who also stated that the body was made to rotate on its shortest axis, for the reasons before explained.^[80]

The “penthalum” having been concluded, the populace retired into several booths which were appropriated to refreshments. The shows then re-commenced; those not already described were principally devoted to the exhibition of wild animals, an entertainment which the vicar considered as sanctioned by the highest classical authority; although he, at once, rejected a proposition made by the major, to render the amusement still more in accordance with ancient custom, by encouraging a fight between a lion and a tiger.

The hour had now arrived for the grand banquet; and, by the command of the major, the band paraded the fair, playing the inviting tune of “Oh, the roast beef of Old England.” The populace hastened to the tent, and each took his place according to the number upon his ticket.

We shall not detain our readers by an account of the dinner; it will be sufficient to state, in the language generally used upon such occasions, that the whole went off with great eclat, and gave universal satisfaction to the delighted guests.

For the amusement of his military friends, the major had made arrangements for reviving the ancient game of quintain. It may be necessary to state that the quintain is a pastime of high antiquity. It was originally nothing more than the trunk of a tree, or a post set up for the practice of young beginners in chivalry. Afterwards a staff, or spear, was fixed in the earth, and a shield, hung upon it, was the mark to strike at. The dexterity of the performer consisted in smiting the shield in such a manner as to break the fastening and to bring it to the ground. In process of time, this diversion was much improved; instead of the staff and shield, a grotesque wooden figure was introduced, and it was so contrived to move upon a pivot, that if it were struck unskilfully, it would turn out and give the performer a severe blow. The quintain which the major had prepared for the present occasion consisted of a wooden figure, fixed upon a pivot, and holding in its outstretched arm a bag of flower. Those who ran at it, and missed it, were of course laughed at; while those who struck the figure full with his lance gave the beam a sudden whirl; and unless he was very nimble, was covered with flower from the bag which was thus brought into contact with him.

The reader must now be contented to retire from the scene of frolic, and leave the villagers to the undisturbed enjoyment of their jollity. The major and his party returned to the house, where they remained until the hour approached at which the fire-works were to be discharged, and the festivities of the day concluded. Mr. Seymour accompanied his children to the stage, erected for the pyrotechnic exhibition, in order that he might explain the construction of the fire-works before they witnessed them in action.

“Upon my word, the major has provided most liberally for our entertainment!” exclaimed Mr. Seymour, as he ascended the steps which led to the platform. “I declare there is a forest of rockets! and what magnificent Pin-wheels, Tourbillions, Marroons, Pots des Aigrettes, Gerbes, Courantins, and Roman Candles.”

“Are those paper cylinders, with long sticks, rockets?” enquired Tom.

“They are; and if you will attend to me, I will explain the principle of their construction. They have ever been considered as holding the first place amongst single fire-works, and deservedly so; not only on account of the splendid appearance they present when fired by themselves, but from their extensive application in increasing the beauty of other exhibitions. The rocket, you perceive, consists of a strong paper cylinder, which is filled with a suitable composition; it is crowned with a head, or ‘pot,’ as it is technically termed, charged with various materials, which throws out sparks, stars, and other decorations, as soon as it takes fire in the air, after the body of the rocket has been consumed. You may observe that the head is made to terminate in a point, which greatly facilitates its passage through the air. The whole is affixed to a straight stick, which, like the rudder of a ship, makes it turn to that side towards which it is inclined, and consequently causes the rocket to ascend in a straight line.”

“But, papa,” observed Louisa, “all the rockets have not straight rods; see, there is one, with a crooked stick.”

“That is for the purpose of causing the rocket to ascend in the form of a screw: the first effect of the bent rod will be to make the rocket incline towards that side to which it is bent; but its centre of gravity bringing it afterwards into a vertical situation, the result of these two opposite efforts will be, that the rocket will ascend in a zig-zag or spiral form. In this case, however, since it displaces a greater volume of air, and describes a longer line, it will not ascend so high as if it had been impelled in a straight direction; but I think you will admit that, on account of the singularity of this motion, it produces a very agreeable effect.”

“And what causes the rocket to ascend into the air?” asked Tom.

“It is a subject which has engaged the attention of several most distinguished philosophers; the explanation, however, offered by Dr. Hutton appears to me to be the most satisfactory. He says, ‘that at the moment when the powder begins to inflame, its expansion produces a torrent of elastic fluid, which acts in every direction; that is, against the air which opposes its escape from the cartridge, and against the upper part of the rocket; but the resistance of the air is more considerable than the weight of the rocket, on account of the extreme rapidity with which the elastic fluid issues through the neck of the rocket to throw itself downwards, and therefore the rocket ascends by the excess of the one of these forces over the other.’”

Tom observed, that he thought Dr. Hutton’s explanation very simple and plausible.

“Dr. Hutton adds,” continued Mr. Seymour, “that the rocket could not rise unless a sufficient quantity of elastic fluid were produced, and hence arose the expedient of piercing the rocket with a conical hole, so as to make the composition burn in conical strata, which, having much greater surface, produce a much greater quantity of inflamed matter and elastic fluid. Without such a contrivance, the composition would inflame only in circular coats of a diameter equal to that of the rocket; and experience has shown that this is not sufficient for the purpose. Some years ago a plan was suggested for producing the propulsion of a vessel in this way; by the force of a steam-engine, a stream of water was to be shot out of the stern, the impulse of which, upon the water in the river, was to push forward the boat. It is a curious fact, that Nature has employed the same expedient for the motion of some aquatic insects. The larva of the dragon-fly, according to Adams, swims forward by ejecting water from its tail.”

“What are those fire-works, attached to the lines?” asked Tom.

“Those, my dear, are line-rockets, or courantines,^[81] and which, instead of rising into the air, run along the line, to which they are attached by means of a hollow cylinder. Their motion is to be explained upon the same principle as that of the sky-rocket; a force is generated by the escape of elastic matter, and as the rocket is confined to the rope, it is made to run along the line, instead of ascending into the air.”

“That is clear enough,” said Louisa; “but see, papa, there is the figure of a dragon on yonder rope!”

“That is merely a runner for the courantine, which is constructed in that form, for the purpose of rendering the exhibition more surprising. I dare say it is filled with various compositions, such as golden rain, and fires of different colours, which will greatly heighten the effect: indeed this pyrotechnic amusement may be infinitely varied.”

“Are not those pin-wheels, which are elevated above the railing?” said Tom.

“Yes; they are pin or Catharine wheels, and if you will look at them, you will perceive that they are of very simple construction; consisting merely of a long paper tube, filled with inflammable matter, and rolled round a small circle of wood, so as to form a helix or spiral line.”

“The circle of wood, I suppose, is pierced in the middle for the purpose of receiving a pin, by which the wheel is attached to the post,” said Tom.

“Exactly so; and the cause of their revolution is the same as that which produces the flight of the rocket; the impulse of the air forces back the ignited part of the wheel, which generates, as it were, a centrifugal force, while the attachment of the pipe, by preventing its obeying such a force, may be said to represent the centripetal force, and thus is the revolution of the wheel continued, until the whole of the composition is consumed.”

“I think you told us, when speaking of the thaumatrope,^[82] it was the rapidity with which the flame revolved, that occasioned the star-like appearance which is exhibited by this fire-work,” observed Louisa.

“Undoubtedly, my dear; it cannot be otherwise.”

The party now examined the remaining specimens of the pyrotechnic art. Mr. Seymour informed them that marroons were nothing more than small cubical boxes, filled with a composition proper for making them burst, and thence producing a loud report. He said that they were principally used in combination with other pieces, or to form a battery, in which, by different lengths of quick match, they were made to explode at distinct intervals. Mr. Seymour added, that when the cases were made cylindrical, instead of being cubical, they exchanged the name of marroon for that of saucisson. Louisa enquired the nature of certain cylindrical cases she observed on the stage, and was informed that they were gerbes, a species of fire-work, which throws up a luminous and sparkling jet of fire, and from a supposed resemblance to a water-spout, has derived the appellation of gerbe. Mr. Seymour next pointed out to Tom a row of Roman candles, some of which were fixed quite perpendicular, others inclining at different angles, so that the balls might be projected to various distances, and thus produce a more varied effect. He observed, that, to his taste, it was by far the most beautiful fire-work ever exhibited.

“I am quite impatient for the exhibition,” cried Tom; “pray, papa, what is the hour? I think it was determined to let them off at ten o’clock.”

“It is now about eight o’clock; we will, therefore, return to the house: we shall, however, I suspect, have a curious sight to witness in our way through the fair; for by this time every booth is illuminated.”

The scene was indescribably beautiful, and might be said to resemble an enchanted island. The trees were lighted up with an endless profusion of Chinese lanterns, of various colours, and decorated with fantastic transparencies, which produced an effect highly graceful and pleasing. The booths were richly studded with lights; and, near the platform, on which the villagers were enjoying the country dance, was erected a pyramid, which blazed with several hundred variegated lamps.

At ten o’clock the commencement of the fire-works was announced by a shower of rockets. The music ceased; and the dancers, together with the spectators who had gathered around the platform, hastened to the spot, whither they were summoned by the sound of trumpets, to witness the pyrotechnic entertainment which was to crown the festivities of the day.

The little Seymours had been stationed by their father in the most favourable spot for seeing the exhibition; and highly were the major and his party delighted with the observations which fell from the intelligent children on the occasion.

“Observe, Louisa, the rocket as it ascends describes a parabola,”^[83] cried Tom.

“Oh, how extremely beautiful! see, the head has burst, and is discharging a number of brilliant stars! What is that red spark which is now falling to the ground, papa?”

“That is the ignited stick of the rocket,” replied his father.

“Take care, Louisa, do not hold your face up,” exclaimed Tom; “for as the rocket bursts over our heads, the stick may fall upon us.”

“I scarcely expected such an observation from you, Tom,” said his father, “after the sensible remark you just made respecting the parabolic path of the rocket; do not you remember, that when a projectile has reached its greatest altitude, it will descend in a curve similar to that in which it ascended?”

“True, true,” answered Tom; “I see my error; the stick must, of course, fall at a considerable distance from us.”

“Look! look!! There goes a courantine: how it ran along the rope!” exclaimed Louisa.

“There goes another!” cried Tom; “and see, it is the dragon; and I declare there is another running in an opposite direction;--they meet. Look at the serpents which they discharge from their mouths! Now they return to the extremity of the line with great violence. What an explosion!!!”

In like manner were next exhibited two ships, which, being filled with serpents, were made to pour their broadsides at each other.

“I never saw better courantines in my life,” said Mr. Seymour; “the major really conducts the exhibition with great skill; it does him infinite credit as an engineer.”

“See--see, papa! what a large wheel of fire!” exclaimed Tom, “and the figure of a man in the centre.”

“A classical device of the vicar beyond all doubt. It is Ixion on a wheel encompassed by hissing serpents,” observed his father.

This conjecture was soon verified, for the vicar with his usual animation was heard to exclaim--

as Virgil has it.

Another shower of rockets succeeded, and the air resounded with the applause of the populace.

(Bang)--(bang)--(bang)--

“There go the marroons,” said Mr. Seymour.

The band now struck up a march, and the major completely succeeded, by having arranged different lengths of quick match, in making them explode at appropriate intervals, so as to mark correctly the commencement of each bar of the music which was performing.

“Bravo! bravo!” exclaimed Mr. Seymour; “had Handel witnessed such an effect, he would have engaged the major as a performer in his grand choruses.”

“See! what a beautiful fountain of fire--there! now a most brilliant star is ejected!”--

“It is a Roman candle,” said Mr. Seymour.

A variety of different rockets were next exploded; such as “Towering rockets,” so called from their ascending to a greater height than any others; an effect which is produced by fixing a smaller rocket on the top of another of superior dimensions; “Honorary rockets,” which, when they attain their greatest height, communicate fire to other rockets affixed to them in a transverse direction, and thus produce a rapid revolution, and represent, on their return to the ground, a spiral of descending fire; “Caduceus rockets,” so called from their resemblance, when in action, to the rod borne by Mercury: the effect is produced by firing two rockets obliquely on the opposite sides of a rod, so that they shall form in their flight two spiral lines.

It is not necessary to enumerate the series of beautiful exhibitions which succeeded; we shall only add, that the concluding fire-work was a Catharine-wheel of imposing splendour. After having repeatedly changed its device and colours during its revolution, it at length exploded and threw out a group of serpents; the dense volume of smoke which followed this explosion, gradually cleared off, and the appropriate motto of “FAREWELL,” appeared in brilliant letters of red fire.

In a few minutes, the populace began to separate; they had, however, scarcely arrived at the gate of the park, when a large rocket ascended, and bursting over their heads, discharged a parachute, to which was attached a brilliant light; eight similar rockets were successively fired, and with the same effect. The major had ingeniously contrived, by varying the angle, to disengage the floating luminaries in the form of a crown or circle, which threw a blazing light over the whole country; nor did it fade until sufficient time had been allowed for the return of the villagers to their respective homes.

Should our readers have fortunately been infected with a portion of that good humour and hilarity which elated the hearts of the spectators upon this memorable occasion, we may conclude our labours with the cheering hope that they will receive a favourable reception at the tribunal of public opinion.

74. S????