Fig. 4.—Sectional view of Marionette stage.
Comical Effects
Songs and monologues are naturally the best turns for the Living Marionette. Choose a rollicking, nautical song, suitable to Jack Tar. All the gestures and motions can be given to the limbs by means of the threads, whilst every now and again Jack can enliven himself and the audience by executing a hornpipe. A little practice with the leg-strings will enable you to perform this with great effect.
Fig. 3.—Black cloth arrangement to conceal top of performer’s body.
Always strive to obtain comical effects. If the gallant mariner has a telescope in his hand, this should be raised to the eye, where the extraordinary contrast between the tiny hand holding a midget telescope, and the enormous face emerging from its forest of beard, is ludicrous in the extreme.
Or if the other branch of the Service be on the boards, the cavalryman may flourish a saber, which, at full arm’s length, will scarcely reach the tip of his ear. A tiny rifle raised to the shoulder makes another laughable effect.
The Man about Town is a humorous figure. Dressed in an exaggeration of the latest style, with a dapper strut, flourishing a modish cane, he is a person to be admired—and laughed at. Over the pigmy body looms an enormous face, smoking a huge cigar, big even for an ordinary individual. Naturally it would be impossible to sing or speak with the cigar in his mouth, and it cannot be gracefully removed with dummy hands that will scarcely reach it. The simplest method of getting the cigar out of the way is to make “Bertie” stumble over his own cane, for instance, and in the agitation of the moment drop his “smoke.” He will then be able to air his peculiarities in comfort, and will prove a most amusing personage.
Two figures may be introduced upon the stage, although they are likely to prove a tight fit. Some laughable dialogues and duets are the result. Quarrels or love scenes must be intensely funny. A young gentleman and a younger lady can be introduced with much formality, and, advancing to shake hands, meet with an embarrassing adventure, pleasant enough in its way. Owing to the smallness of their arms and the largeness of their faces, before their hands have met, their lips have perforce sealed the contract of friendship.
A general idea of Living Marionettes and their working may be gained from the foregoing suggestions. Sentimental songs, sung with a whimsical air of grotesque pathos, will probably “bring the house down,” whilst the applause attending a good comic song in character will encourage all parties concerned.
Living Marionettes are sometimes introduced in conjunction with an ordinary Marionette show, and should be given after the latter has concluded. The contrast between the symmetrical little mannikins and the distorted living doll will be remarkable, whilst the exuberant humor of the latter is sure to provide a pleasant finale to what all will judge a delightful evening.
Fig. 5.—Living Marionette operator at work.
CHAPTER XLIII
A HOME CIRCUS
A New Form of Entertainment
A home circus has so far been beyond the wildest dreams of the amateur showman. Yet when one considers the wide scope a circus presents to performers of every type, it is curious that “amateur circuses” are not almost as popular as “amateur theatricals.” At first sight such a show seems impracticable, on account of the large floor area required for the ring. This need occupy but little more space than a stage, however; and, taking into consideration the fact that the audience almost completely surrounds the performers, it will ultimately be found that a circus does not necessitate so large a room as might be anticipated.
Fig. 1.—Showing barricade and ring entrance.
Of premier importance, of course, is the ring itself. It need not be more than fifteen feet in diameter; but if additional space can be spared, so much the better.
Fig. 1 gives a plan of a ring. It principally consists of a circular barricade about 30 inches high. In one portion there is a gap of four or five feet, which acts as an entrance (A, Fig. 1). If the ring can be so arranged that a door of the room in which the circus is being constructed, coincides with this entrance, much trouble will be saved. Should this be impossible, however, two or three screens can be arranged to form a passage from the ring entrance to the nearest door.
The method of constructing the barricade is explained in Fig. 2. A number of broomsticks are sawn into 30 inch lengths and fixed to heavy wooden bases in order that they may stand firmly upon the floor. A hole is then bored in the other extremity; this may be done by means of a red-hot meat skewer.
The position selected for the ring must next be marked out in chalk, and the wooden stands placed round it at intervals of about a yard. Then thread a piece of stout cord through the holes in the extremities of the uprights.
Having determined the exact circumference of the ring, purchase a sufficient length of cheap red flannelette to go completely round it. The cost of this material should be about 10 cents per yard, and its width exactly equal to the height of the stands. A number of large hooks must be obtained from the same shop, and sewn along one edge of the flannelette. It remains only to hook the material to the cord, as shown in Fig. 2, in order to complete the barricade.
Fig. 2.—Construction of barricade.
The entrance must now be artistically draped with curtains, after the style of A, Fig. 1. It will then serve the additional purpose of a “stage,” upon which conjurers, jugglers, and other artists who do not wish the audience to see the back of their apparatus can perform.
The vexed question of “lights”—always a difficult problem in amateur theatricals—need not here be considered, the gas or electric fixtures already installed being sufficient.
A circus is never complete without its horses, so attention must now be paid to this department. It is hardly practicable to turn several full-grown animals loose in a circus constructed in an ordinary room nor is it probable that the reader’s purse will run to the importation of one or two Shetland ponies. But a whole stud of “circus horses” may be obtained at small expense by carrying out the following directions.
Fig. 3.—Showing outline of horse and part to be stitched.
Purchase three yards of cotton cloth, at 6 cents per yard. Fold the material in the center, thus making a double piece 11⁄2 yards long. With a pencil or piece of chalk sketch the outlines of the head and back of a horse upon it, as shown in Fig. 3. Then take a pair of scissors and carefully cut out the stuff. The result will be two horse-shaped pieces of calico of exactly similar proportions.
At this stage, if the young showman is wise, he will place the operations in the hands of his mother or sister, for the two patterns must be stitched together along the edges, to the points marked A and B, Fig. 3. This done, the whole affair should be turned inside out.
Next obtain a quantity of rags or shavings, or purchase some excelsior from an upholsterer’s, and stuff first the head and then the haunches of the “horse.” The two unsewn pieces of cloth in the center remain empty. One of them must be cut in half, and the two sections thus obtained folded and stitched into the form of two small bolsters and stuffed with flock (A, B, Fig. 4).
Fig. 4.—Opening in horse for rider; tapes at A and B to be tied.
The remaining side should be similarly treated, only in this case it must not be cut in half, but remain intact. The result will be the head and haunches of a horse, with two “sausage-shaped” flanks in the center (Fig. 4).
Other Decorations
The “noble thorough-bred” is now ready for its final decorations.
Unravel some coarse rope and sew it along the neck of the horse to represent the mane. Another piece, unraveled at one end only, does duty for a tail. The ears are constructed by cutting a piece of calico, folded in the form of a sugar bag, perpendicularly down the center, and stitching the two halves into position on the head.
The color of the horse must next be determined. If dapple-gray, a few ink blobs upon the white background will suffice; but if chestnut, brown, or black, a distemper must be applied with a thick brush. This distemper can be made by mixing ordinary water color, of the shade required, with size water, and thickening with whiting.
When the distemper is dry, the “rider” of the horse must get into the hollow in the center, and secure it to his hips by tying the tapes together at A, B, Fig. 4. A “valance” of cretonne should then be sewn completely round the horse to hide the “rider’s” legs (Fig. 5). A pair of reins, and two dummy legs stitched on the flanks complete the “mount.”
Fig. 5.—Ready for the tournament.
It will be noticed that in Fig. 5 the “rider” has a short skirt at the waist of his coat or armor. This is to hide the manner in which the horse is attached to the “rider’s” hips, and the junction of the dummy legs.
These horses can be used in numerous ways. A very effective item in which they might be employed is a “tilting scene.” Two knights attired in armor—this latter commodity can be easily constructed, as it consists simply of back- and breast-plates made from painted cardboard, with a helmet of the same material—“canter” into the ring. A clown follows them, also mounted, and carrying two long poles upon the ends of which are pads of rag, one covered with soot and the other with flour.
Fig. 6.—Dummy horse for bareback rider.
The clown then proposes that they shall have a tournament, and offers to act as referee. He thereupon hands them the poles, and, holding them as they would lances, the knights retire to opposite sides of the ring. At a signal from the clown, the combatants dash towards each other, to commence the attack. The self-constituted referee gets in the way, however, and comes in for a lot of hustling. The knights again retire, and once more advance to the attack. But, as before, the clown becomes mixed up in the affray. This occurs again and again. Finally the two principals lose their temper and make a joint attack upon the referee. Pursued by the irate knights, the clown dashes round and round the ring, making his horse gallop first backwards, then sideways, and perform other ludicrous capers. At length, daubed with soot and flour from the knights’ “lances,” he darts precipitately from the ring.
There is another style of “horse” shown in Fig. 6. The carcase is made in a manner similar to that already described, but in this case the stuffing must be replaced by two men or boys, who crouch in the position illustrated in the diagram. It will be necessary, however, slightly to stuff the “horse” in such places as the head and haunches, in order to make it of correct shape.
The two men or boys must carry upon their backs an oval-shaped piece of board, having four “legs” nailed to its side, by means of which the carriers hold it firmly in position during the performance. This is clearly shown in Fig. 6. The purpose of the board is to make a flat and solid surface upon which the “daring bareback rider” can perform.
The performance consists of jumping over garlands and through hoops; leaping on to the back of the “horse” whilst it is at full gallop, and other of the more simple feats seen at circuses.
It is preferable, however, that the “bareback rider” should be a clown, who, instead of jumping the garlands, trips over them, and falls headlong to the ground, completely misses the horse when attempting to leap upon its back, and lands on the ringmaster instead, thus making a travesty of the whole affair.
The next performance should be of a more serious nature.
Among the reader’s acquaintances is sure to be one who goes in for gymnastics, and he should be prevailed upon to give an exhibition of his prowess upon the parallel bars, these being preferable to any other apparatus on account of the small space they occupy. To increase the interest of the display, a clown should attempt to emulate each movement as it is performed, but must fail miserably and come a “cropper” every time. It is advisable to have a set of mattresses to soften any unpremeditated falls.
How is it Done?
Another item suitable for the programme of the home circus is a “mock” conjuring entertainment. The ring-master announces that Herr Bluffemstein, the famous illusionist, will present his marvelous performance. Thereupon one of the boys or young men taking part in the circus must stalk majestically into the ring, and bow stiffly to the audience. If possible he should be attired in evening dress. He should also wear a fierce, upturned mustache, and carry an air-gun under his arm. A large target is then placed in the curtained entrance to the ring. This target consists merely of a wooden board containing several bent nails, upon which lighted candles are stuck. Below each candle a large number is painted (Fig. 7).
“Herr Bluffemstein” then requests the audience to call out one of these numbers. Upon their complying, he loads the air-gun, raises it to his shoulder, takes aim, fires—and the lighted candle over the chosen number goes out! He repeats this marvelous feat of marksmanship several times. Then, without warning, the remaining candles are suddenly extinguished one by one, and a voice exclaims: “I say, mister, how much longer are you going to keep me blowing out these lights?”
The next moment a boy, wearing a glaring red wig, steps from behind the target, where he has been engaged in blowing out the candles through small holes bored exactly level with the wicks.
Fig. 7.—Target for trick shooting.
After admonishing his assistant for having “given the game away,” the conjurer tells him to fetch the apparatus for the next trick. The boy retires, but shortly reappears with a tin kettle and a jug of water. “Herr Bluffemstein” then proceeds to fill the kettle with water. Having done so, he holds it over his assistant’s head. A few seconds pass, then steam is seen to be issuing from the spout!
The illusionist hands the kettle to his assistant, with instructions to take it away and fetch something else. The boy, however, lifts off the lid, and placing his hand into the interior, draws out a piece of wire to which is attached a smoldering ball of brown paper.
The conjurer, enraged at thus having his second trick spoilt, chases his assistant round the ring. He at length gives up the chase as hopeless, and entices him to proceed with the next trick. The boy again leaves the ring; but soon returns with a slate, a slip of ordinary writing-paper, a wet sponge, and a piece of brown paper.
The latter requires a little preparation before being used. The conjurer and his assistant must fix upon a certain number—say 21—and write it reversely on the brown paper with a thick piece of chalk. This, of course, must be done “behind the scenes,” and the assistant should be careful that the audience do not catch sight of the figures when he enters the ring.
“Herr Bluffemstein” takes the slip of white paper, and hands it in turn to three people sitting in different parts of the room, with the request that each shall write a certain number upon it without letting him know what has been written. Whilst they are thus engaged he wipes the slate with the wet sponge, and proceeds to wrap it in the brown paper, taking care that the chalked figures come in contact with the middle of the slate. Placing the parcel on the ground, he orders his assistant to stand upon it. The pressure thus applied will, of course, print the chalked figures on to the slate.
The conjurer then takes the paper from the member of the audience who last wrote upon it. Handing it to the boy, he instructs him to add up the figures, and read out the result. The boy pretends to make the addition, but in reality calls out the number previously decided upon.
When the slate is unwrapped the audience are amazed to perceive the apparently correct figures chalked upon it. But before their astonishment has had time to abate, the assistant whips up the brown paper, and displaying the chalked figures to the audience, exclaims: “Why, sir, there’s still a lot more chalk to come off! And do you know I nearly forgot the number I was told to call out?”
There are numerous other tricks than can be adapted in the above manner, but space will not permit further examples to be given. It is a good plan to finish up with a really first-class illusion, such as
The Indian Sack Trick
In this illusion the assistant brings forward a sack and proceeds to get into it. The conjurer then seizes the top of the sack, and pulls it right over the boy’s head. Producing a piece of rope, he requests some one in the audience so to tie the mouth of the sack that it will be impossible for the assistant to get out.
When this is done, the conjurer places a screen round the boy, and slowly counts “One, two, three!” As he utters the last word, he pulls away the screen. The assistant is then seen to be perfectly free, with the sack slung carelessly across his shoulder. When the sack is examined it is found to be still securely tied with the identical knot made by the member of the audience.
The explanation lies in the fact that two sacks are employed. The assistant has one secreted up his coat, and as the conjurer pulls the first sack over his head, the boy carefully pushes the top of the other through its mouth. The conjurer hides the junction between the two by gathering the material together in his hand—apparently with the intention of making it more easy to tie. Consequently the member from the audience unconsciously ties the mouth of the second sack instead of the first. All that is necessary for the assistant to do, therefore, when the screen is placed round him is to scramble out of the first sack, stuff it up his coat out of sight, then sling the other carelessly over his shoulder.
Juggling is another performance eminently suitable for a show such as the home circus. The only juggling the average person is capable of, however, consists in balancing a stick upon his finger, or keeping a couple of balls in motion. But the few hints given below will make it possible for any one to give a trick juggling performance after a few hours’ practice.
Trick Juggling
Fig. 8 shows the first feat—that of balancing a stick, card, and wooden ball upon the hand. The whole secret lies in the card. It really consists of two cards pasted together, with a piece of wire passing diagonally between them and protruding about half an inch at each end. In both the ball and stick are small holes into which this wire fits. The audience, of course, must be kept in ignorance of this—not a difficult thing to do when several feet separate them from the performer.
Fig. 8.—Balancing stick, card, and wooden ball.
Fig. 9.—Two balls balanced upon stick.
The feat depicted in Fig. 9 consists in balancing two balls upon a stick. This is done by means of a wire constructed to slide up and down in the center of the stick. At first this wire is completely hidden, but by pushing up the small handle the performer can make it protrude from the extremity of the stick, and pass through small holes in the balls. Of course, other objects may be made to balance by this device.
The juggler should also number amongst his apparatus several cardboard plates of the pattern shown by the three diagrams comprising Fig. 10. A segment must first be cut from a circular piece of cardboard, as shown by A. The edges of this segment should then be gummed together, the result being the conical contrivance seen in B. Lastly, a circular cardboard ring must be fixed to the edge of this cone, C, and the plate is complete. It is quite an easy matter to impart a spin to these plates as they are thrown into the air, and then catch them on the end of a stick, where they will rapidly revolve without the possibility of falling.
Fig. 10.—Cardboard plate for spinning.
Fig. 11 shows a method whereby a billiard ball can be made to roll along the edge of a fan. A piece of wire is hinged to the bottom of the fan, the other end protruding about one-eighth of an inch beyond the edge. The billiard ball, which is partly pierced by a small hole, fixes upon this wire. If the performer then places his forefinger in the small ring made in the wire, and works it slowly backward and forwards, the billiard ball will appear to be rolling along the edge of the fan.
Fig. 11.—Balancing ball on fan.
Fig. 12.—Trick cards.
An excellent series of tricks may also be performed by means of a pack of cards, having each card joined together by a thin piece of twine in the manner shown by Fig. 12.
Numerous other devices can be adopted by the juggler, and the suggestions offered above may be enlarged upon considerably. The merest tyro in the “art of balancing” should thus be able to contribute an excellent item to the home circus.
Every owner of a dog has taught his pet at some time or another several little tricks. The manager of the circus should therefore get those of his acquaintances who possess dogs to combine in contributing to the programme.
Then, again, a big dog might be clothed in a “bull’s skin” made from calico, and a farcical bull-fight arranged. Here the circus “horses” could be once more employed to good purpose.
The “strong man” is a character always associated with circuses, and there is no reason why the home circus should not possess one. The weights must be made from wood, painted black to represent the genuine article. After the “strong man”—who should be selected from the most powerfully-built of the reader’s acquaintances—has lifted the different “weights,” apparently with a great deal of exertion, he makes his exit, leaving them upon the ground. A little boy then enters, and picking up all the “weights,” walks unconcernedly from the ring.
As has been before mentioned, the home circus presents scope for almost every kind of amateur performance, but it must be left to the ingenuity of the reader to give further variety and make the programme as attractive as possible.
As a grand finale, a stirring, spectacular sketch should be given—such as an attack upon a settler’s hut by redskins, or a raid on the shanty of a miner. The main idea in this sketch must be to make a lot of noise, blaze away with toy pistols at frequent intervals, and burn as much “colored fire” as possible. The soldiers or mounted police should arrive in the nick of time, of course, and drive the marauders completely from the field. Thus everything ends quite happily.
CHAPTER XLIV
HOW TO MAKE AND WORK A PEEP-SHOW
An Old Form of Entertainment Revived
A peep-show makes an excellent and quite novel form of home entertainment, and a boy would be well repaid for any trouble to which the construction of one might put him.
The first consideration is the dimensions of the show. One can be large enough to occupy the whole of a table, or so small that it can be made from a soap or cigar box. The best course, therefore, will be to leave the question of size to the reader.
Fig. 1 is an illustration of the peep-show when finished.
Fig. 1.—The finished show.
The first requisite is a wooden box of the shape shown in Fig. 2. As previously mentioned, for a small show a cigar box does admirably. If you visit a friend who has just commenced smoking, and ask him for a box, he will most likely bless you for the opportunity you have given him of throwing away his horribly strong cigars. Should no such friend be numbered amongst your acquaintances, however, a tobacconist will be pleased to let you have one for a cent or so.
Having obtained the box, commence operations upon it. First of all one end must be entirely removed, not a very difficult task to accomplish. The next thing to do is to make the peep-holes. There is no fixed size for these. They may be large enough for both eyes to be applied, or to permit only one to gaze through. But provided they are of sufficient dimensions to allow the “audience” to obtain a comprehensive view of the interior that is all that is required.
The number of peep-holes must, of course, be regulated by the size of the show.
If the reader possesses a fretsaw the making of the holes will present no difficulty. The best method to be adopted by those who have not one of these useful instruments, is to make small holes in the necessary places with a red-hot poker. They can then be easily whittled to the desired size with a penknife, the edges being finished off with a piece of emery paper. Should the reader wish to make his show “extra smart,” he can putty a piece of glass inside the box over the holes. But this is not essential.
Fig. 2.—Showing back view of stage front and lighting.
Fig. 3.—Candle stand and roof protector.
Next obtain a piece of cardboard, and from it cut out a stage front to fit the interior of the box, as shown in Fig. 2. This front must be painted in bright colors and glued inside the box about 31⁄2 inches from the end opposite to that at which the peep-holes have been made.
The dotted lines in the illustration of the finished show (Fig. 1) indicate the position of this stage front. A reference to the same diagram will also show a small door at the side of the show (D, Fig. 1). This must next claim our attention.
Simply cut a small aperture about 3 inches wide by 4 inches deep, and hinge the oblong of wood thus obtained back into its position by means of a piece of linen and glue. The object of this door is to enable the showman to attend to the lighting of his show, done by means of a candle, or, if necessary, two or three candles. The lights are placed behind the stage front in such a position that they are invisible to those gazing through the peep-holes. In order that the candles shall not scorch the roof, they should be placed upon pieces of tin, bent to the shape shown in Fig. 3.
The first portion of the show is now complete, and we will turn our attention to the second, and more important section.
Another raid must be made upon the tobacconist’s or grocer’s and a second box procured similar to the first. It is necessary that this box should be of the same width, and at least twice as high as the first is deep.
This box is represented by B, Fig. 1. Stand it on end and place the other against it in the manner shown by the diagram. Now take a pencil and mark a line across the second box at its junction with the first. With a fretsaw or penknife make a cut along this line, and then completely remove the square of wood below this cut. A glance at Fig. 4 will make this clear.
Fig. 4.—Scene-raising apparatus.
The back of the box must be taken off and hinged on again in the form of a door. This is to enable the youthful showman easily to execute repairs if anything “goes wrong with the works.”
It is now time to turn attention to the most important portion of the show—the scenes.
If the reader possesses any artistic ability, he cannot do better than paint them himself. A few hints upon this subject will perhaps be useful.
He must pay a visit to a stationer’s, and purchase a supply of white drawing-card, such as is used by artists. A fair-sized sheet costs only two cents. Having procured this he must lightly sketch, in pencil, the first scene upon it. If he be at all doubtful as to his artistic abilities, however, the following is an excellent plan to adopt.
Armed with a pencil and piece of tracing-paper cut to the size of the scenes, he should carefully examine the various illustrations appearing in magazines. A short search should reveal a mountain, a mass of foliage, a waste of sea, or some other subject suitable for the background of the first scene. He must then get to work with the pencil and trace this upon the tracing-paper. Another search will bring to light something adaptable for the middle-distance. Lastly, a group of objects for the foreground must be selected, and the whole transferred first to the tracing-paper and thence to the drawing-card. Thus by taking a background from one illustration and a foreground from another, almost any scene may be built up.
After being sketched-in in pencil the scenes must be colored. This should be done with a view to general effect rather than perfect detail. First the predominant colors should be laid on in a bold wash, then the objects in the background painted in. The coloring must be as vivid as possible, in fact, almost gaudy.
Instead of each scene representing a single incident, it is preferable to weave the whole series into some sort of a narrative, such as “A Voyage round the World,” “With Shackleton to the South Pole,” or, if the reader is very imaginative, “Round the United States in an Aeroplane.”
Having procured the scenes—they can number from half-a-dozen to a score—proceed to fix them in the show. Fig. 5 gives an interior view of scene-raising apparatus.
Fig. 5.—Interior view of scene-raising apparatus.
A hole must first be bored in the center of each scene and pieces of stout thread knotted in them. A series of diminutive wire-rings, corresponding numerically to the number of scenes, must be fixed into the roof of the box in the position indicated by the dots at A, Fig. 4. Fig. 5 shows position of wire-rings at A, B thread, and C loop for scene-raising. The pieces of thread must be carried through the rings at A, bent at right angles at B, and brought to the outside of the box through a number of small holes (B, Fig. 4).
It will now be observed that when one of these threads is pulled, the scene to which it is attached is lifted swiftly out of view of the audience and behind the top portion of the box.
In order to prevent the scenes and threads becoming entangled when raised and lowered, thin strips of wood should be glued up either side of the box, thus making a series of grooves in which each scene can work. In Fig. 4 the first scene has been raised, leaving one of these grooves displayed to view.
Another reference to this diagram (C, Fig. 4) will show a number of small nails corresponding to the holes at B. When a scene is pulled up, the wire-ring at the end of the thread can be slipped over this nail, thus preventing its dropping down again.
It now remains only to put the two sections of the peep-show together. This is easily done. Simply push one box firmly against the other in the manner shown in Fig. 1, and secure them either by means of small brads or strong glue.
The whole contrivance can then be painted and decorated to suit the taste of the young showman, and everything is ready for the first “performance.”
The showman lights his candles, places the show upon the table in a convenient position, and gets his “audience” to look through the peep-holes. Then he starts upon his description of the first scene, making it as entertaining as possible by well padding with jokes. When he has finished with the first scene—Zr-r-rip!—he pulls the thread, the picture is whisked out of the audience’s view before they quite realize what has happened, and the next scene is displayed.
Thus he will go through the whole series of pictures, and then—well, after that, I trust he will be listening to the congratulations of the audience upon his success as a peep-show man.
CHAPTER XLV
THE “MECHANICAL” PEEP-SHOW
Secrets of Lightning Transformations
There is another variety of peep-show well worthy of attention. It is known as the “mechanical” peep-show. A short account of the finished show will not be out of place before proceeding with a more detailed description.
Upon looking through the peep-holes the interior of a cottage is perceived, including side wings. The next moment, however, a faint click is heard—and the interior of the cottage miraculously vanishes, giving place to a scene in a forest glade!
The simplest and most satisfactory manner of explaining this marvelous transformation is to describe how one of these “mechanical” shows may be made.
Procure a wooden box similar to the first of those employed in the manufacture of the previous show. Having decided upon the number of peep-holes, cut them out in the manner already described. Another “stage front” must then be fixed in position about 3 inches from the peep-holes (Fig. 1). For the sake of convenience it is advisable to turn the box upside down, with the lid at the bottom instead of the top. This will permit the interior of the show being attended to without unnecessarily disturbing the mechanism.
Having, for the time being, finished with the body of the peep-show, turn your attention to the internal parts. These are by no means complicated.
Fig. 1.—Handles and tin clip for holding scenes.
First obtain a piece of white drawing-card, and cut it to fit exactly the back of the box. Then take another piece, half the size of the first, and hinge it by means of a strip of linen and gum to the center as shown in A A, Fig. 2.
With the flap thus formed hanging downwards, place the card upon the table, and proceed to paint thereon a forest scene (C, Fig. 2). If a suitable illustration can be procured from a magazine it will only be necessary to paste it on the card and carefully trim the edges.
Fig. 2.—A double-barreled scene.
Having satisfactorily completed the forest scene, bend the flap upwards, thus hiding the picture, leaving in its place a blank piece of card. Brushes and paints must again be employed, and the blank card transformed to the interior of a cottage. The result is the “double-barreled” scene represented by Fig. 2. A glance at this diagram makes it apparent that by simply dropping down, or lifting up, the hinged flap D, the scene can be changed at the will of the operator.
Fig. 3 is an example of one of the wings employed in the show. Like the scene, it is “double-barreled.” A strip of white cardboard is the first requisite. Its size will be dependent upon the dimensions of the show.
Fig. 3.—Part of double-barreled wing.
Draw a line down the center of the card (Fig. 3). Then proceed to paint upon one side of this line a section of a tree, or some other piece of forest foliage (A, Fig. 3). Having done this, turn the card over and paint upon the reverse side a curtain, window, or anything else suggesting a cottage interior at B, Fig. 3. This double wing must then be carefully cut out in the manner shown.
Next take a piece of wood slightly longer than the wing, and about 1⁄4-inch wide by 1⁄8-inch thick. Glue this to the center of the wing as shown at C, Fig. 3. A closer reference to this diagram reveals that the strip of wood is whittled to a point at E; also that a wire “handle” is fixed to the other extremity, D. At present, however, this “handle” should be held in reserve.
Three other wings have also to be made. Fig. 4 suggests the various forms they may take.
The segments of the show are now complete, and all that remains is to put them together.
First take the hinged scene and fix it in the end of the box opposite the peep-holes. To prevent the flap falling down at an inopportune moment and displaying the wrong scene, a slit must be made at the top of the box and a small strip of tin inserted (B, Fig. 1). This strip of tin is also shown at B, Fig. 2. It will be found that when this is pushed down, it clips on the flap D, holding it against C.
On being pulled up, however, the flap is released, and, falling down, changes the picture. To lift the flap again, attach a piece of thread to one corner, carrying the loose end out through a small hole in the back of the box.
The wings should be placed in the interior of the show, in the position illustrated by Fig. 4. The wooden point at the base of each wing acts as a pivot in a small hole made in the bottom of the box. Four corresponding holes must also be bored at the top.
The wire “handles” next claim attention. They should be pushed through the small hole, as shown in Fig. 1, and fixed firmly in each wing. The holes must, in every case, be large enough to permit the wings to revolve easily and with the least possible resistance.
Each “handle” is connected by a straight piece of wire having both ends bent in the form of a small ring (G, Fig. 4). It will also be noticed in this diagram that one of these “handles” has a considerably longer shank than the others (H, Fig. 4). This is to enable the showman to bring about the transformation previously explained.