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Title: The true history of the ghost : and all about metempsychosis
Author: Pepper, John Henry
Language: English
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in the original text.
Equal signs “=” before and after a word or phrase indicate =bold=
in the original text.
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Old or antiquated spellings have been preserved.
Typographical and punctuation errors have been silently corrected.
[Illustration: DIAGRAMS ILLUSTRATING THE “GHOST” MACHINERY.
(_See p. 8._) (From a drawing by Mr. Barnard Chalon.)]
THE TRUE HISTORY
OF
THE GHOST;
AND
_ALL ABOUT METEMPSYCHOSIS_.
BY
PROFESSOR PEPPER,
AUTHOR OF “CYCLOPÆDIC SCIENCE SIMPLIFIED,” “THE PLAYBOOK
OF METALS,” AND “BOY’S PLAYBOOK OF SCIENCE,” ETC. ETC.
[Illustration]
CASSELL & COMPANY, LIMITED:
_LONDON, PARIS, NEW YORK & MELBOURNE_.
1890.
[ALL RIGHTS RESERVED.]
POLYTECHNIC,
309, Regent Street, London, W.,
_Christmas, 1889_.
_To_ WALTER HUGHES, Esq.,
Messrs. Hughes, Masterman, & Rew,
59, New Broad Street.
MY DEAR SIR,
Will you allow me to dedicate this little work to you, as
some small recognition of the patience, care, and legal knowledge
you displayed in bringing to a successful issue the difficult
proceedings before the Attorney-General, Sir Roundell Palmer (now
Lord Selborne), and also those in Chancery, connected with the
sealing of my Ghost Patent by order of the late Lord Chancellor
Westbury, in September, 1863?
With a grateful sense of the personal kindness and attention
I have received from yourself and the other members of your Firm,
I am, my dear Sir,
Your old Client and sincere Friend,
THE AUTHOR.
THE TRUE HISTORY OF THE GHOST.
When the Hyde Park second Great Exhibition in 1862 had closed its
doors, and the reaction from the bustle attendant on the arrival
and departure of country visitors had set in, so that the halls and
lecture rooms lately crowded with the numerous patrons of the old
Royal Polytechnic were somewhat deserted, there came to the aid of the
Institute a new invention, which people by common consent called “The
Ghost.”
The latter was matured in this wise:—Mr. Dircks, a patent agent, who
had saved some property and was an independent man, wrote a paper for
the _Athenæum Literary Journal_, in which he described an optical
effect that could be performed with sheets of glass. This paper
excited no attention because the explanation of it was somewhat vague
and unsatisfactory. The Christmas of 1862 was fast approaching, when
Messrs. Horne, Thornthwaite, and Wood, philosophical instrument makers,
of Newgate Street, invited the author to see a model which Mr. Dircks
had caused to be constructed. This was the beginning of the Ghost; but
as Mr. Dircks said that an entirely new theatre must be built to show
the effects which he allowed could only be seen by a few people placed
in an upper gallery, and then only by _daylight_, it was no wonder that
the Crystal Palace, the Colosseum, and other places had all declined to
have anything to do with Mr. Dircks or his model, which was now placed
in the hands of Professor Pepper—so called because the Directors of
the then Royal Polytechnic had determined that his title should be
Professor of Chemistry and Honorary Director of the above Institution.
The title was not that of a hair-dresser or a dancing-master, but
was conferred upon him by express minute of the Board of Directors.
Professor Pepper had had his services in establishing classes at the
Royal Polytechnic already recognised by the authorities at South
Kensington, who gave him an honorary diploma in Physics and Chemistry
of the Committee of Council on Education some two or three years before
the ghost was brought out, and at a time when he was sole lessee of
the Polytechnic at a rental of £2,480 per annum, which had to be paid
before a single lecture or entertainment was brought before the public.
The classes Mr. Pepper established were for the study of Drawing,
French, German, Arithmetic, and Mathematics, with, of course, Chemistry
and Physics; and pupils were admitted at very low fees in order to
encourage the working men to attend. He also arranged Monday evening
lectures for the working classes, and reduced the admission to sixpence
if the workmen came with proper tickets supplied by Professor Pepper,
but signed by the foreman under whom the men worked.
All this took place about the years 1858-9, and was continued until
the Institute finally closed its doors, principally caused by the fall
of the stone staircase, and sold all off to a new limited liability
company when Mr. Pepper was giving courses of lectures at the Crystal
Palace, Sydenham. Again, for the last time, and during the absence of
Professor Pepper in Australia, where he stopped ten years, viz., from
1879 to 1889, a sale of the plant and machinery, &c., of the Royal
Polytechnic took place, on the 28th of February and three following
days in 1882. Mr. George Buckland and his friends tried to secure
the lease by purchase; but, not completing the purchase in time, it
was bought by Quintin Hogg, Esq., who has greatly added to the size
of the building, which is chiefly devoted to classes, at least fifty
in number, teaching all kinds of useful knowledge, with a large day
school for boys, who are numbered by hundreds, and are well and most
efficiently taught by competent masters. The Laboratory has also been
enlarged, and is now under the able guidance of Mr. Ward, the teacher
of Chemistry and Physics.
But to return to the Christmas of 1862, ever memorable in the annals of
the Institute because Mr. Pepper brought out the illusion in quite a
different manner from that contemplated by Mr. Dircks, and so improved
and simplified the ghost that it could be shown in any lecture hall or
theatre, if sufficiently large to contain the necessary apparatus.
The following is a narrative from the lips of the inventor of the ghost
improvement:—“Just before Christmas Day in 1862, I invited a number
of literary and scientific friends, and my always kind supporters,
the members of the press, to a private view of the new illusion to
be introduced into Bulwer’s romantic and dramatic literary creation,
called ‘A Strange Story.’ The effect of the first appearance of the
apparition on my illustrious audience was startling in the extreme,
and far beyond anything I could have hoped for and expected, so much
so that, although I had previously settled to explain the whole _modus
operandi_ on that evening, I deferred doing so, and went the next day
to Messrs. Carpmael, the patent agents, and took out a provisional
patent for the ghost illusion, in the names, at my request, of Dircks
and Pepper. The day after the first evening I showed the ghost, Mr.
Dircks came down to the Polytechnic, and after saying how much pleased
he was with the manner in which I had introduced the illusion, ended
by handing me a letter, in which he spoke highly of my work in respect
of the ghost, and gave me spontaneously whatever profits might accrue
from the invention. Moreover, he went to Carpmael with me, and, being
an old and experienced patent agent himself, assisted in drawing up the
patent which is here copied, with my original drawing of the improved
method of showing the ghost by the use of a ‘Double Stage,’ at the old
Royal Polytechnic Institute.”
[Illustration]
A.D. 1863, _5th FEBRUARY_. Nᵒ 326.
APPARATUS FOR EXHIBITING DRAMATIC AND OTHER PERFORMANCES.
LETTERS PATENT to Henry Dircks, of Blackheath,
in the County of Kent, Civil Engineer, and John Henry
Pepper, of No. 309, Regent Street, in the County of
Middlesex, Professor of Chemistry, and Honorary Director
of the Polytechnic Institution, for the Invention
of “IMPROVEMENTS IN APPARATUS TO BE USED IN THE
EXHIBITION OF DRAMATIC AND OTHER LIKE PERFORMANCES.”
Sealed the 25th September 1863, in pursuance of an Order of
the Lord Chancellor, and dated the 5th February 1863.
* * * * *
PROVISIONAL SPECIFICATION left by the said Henry
Dircks and John Henry Pepper at the Office of the
Commissioners of Patents, with their Petition, on the
5th February 1863.
We, HENRY DIRCKS, of Blackheath, in the County of Kent, Civil Engineer,
and JOHN HENRY PEPPER, of No. 309, Regent Street, in the County of
Middlesex, Professor of Chemistry, and Honorary Director of the
Polytechnic Institution, do hereby declare the nature of the Invention
for “IMPROVEMENTS IN APPARATUS TO BE USED IN THE EXHIBITION OF DRAMATIC
AND OTHER LIKE PERFORMANCES,” to be as follows:—
The object of our said Invention is by a peculiar arrangement of
apparatus to associate on the same stage a phantom or phantoms with a
living actor or actors, so that the two may act in concert, but which
is only an optical illusion as respects the one or more phantoms so
introduced.
The arrangement of the theatre requires in addition to the ordinary
stage a second stage at a lower level than the ordinary one, hidden
from the audience as far as direct vision is concerned; this hidden
stage is to be strongly illuminated by artificial light, and is capable
of being rendered dark instantaneously whilst the ordinary stage and
the theatre remain illuminated by ordinary lighting. A large glass
screen is placed on the ordinary stage and in front of the hidden one.
The spectators will not observe the glass screen, but will see the
actors on the ordinary stage through it as if it were not there;
nevertheless the glass will serve to reflect to them an image of the
actors on the hidden stage when these are illuminated, but this image
will be made immediately to disappear by darkening the hidden stage.
The glass screen is set in a frame so that it can readily be moved to
the place required, and it is to be set at an inclination to enable
the spectators, whether in the pit, boxes, or gallery, to see the
reflected image.
The glass is adjustable and it is readily adjusted to the proper
inclination, by having a person in the pit and another in the gallery
to inform the party who is adjusting the glass when they see the image
correctly.
* * * * *
SPECIFICATION filed in pursuance of the conditions
of the Letters Patent, and of an Order of the Lord
Chancellor, by the said Henry Dircks and John Henry
Pepper in the Great Seal Patent Office on the 31ˢᵗ
October 1863.
TO ALL TO WHOM THESE PRESENTS SHALL COME, we, HENRY DIRCKS, of
Blackheath, in the County of Kent, Civil Engineer, and JOHN HENRY
PEPPER, of No. 309, Regent Street, in the County of Middlesex,
Professor of Chemistry, and Honorary Director of the Polytechnic
Institution, send greeting.
WHEREAS Her most Excellent Majesty Queen Victoria, by Her Letters
Patent, bearing Date the Fifth Day of February, in the year of our
Lord One thousand eight hundred and sixty-three, in the twenty-sixth
year of Her reign, did, for Herself, Her heirs and successors, give
and grant unto us, the said Henry Dircks and John Henry Pepper, Her
special licence that we, the said Henry Dircks and John Henry Pepper,
our executors, administrators, and assigns, or such others as we, the
said Henry Dircks and John Henry Pepper, our executors, administrators,
and assigns, should at any time agree with, and no others, from time
to time and at all times thereafter during the term therein expressed,
should and lawfully might make, use, exercise, and vend, within the
United Kingdom of Great Britain and Ireland, the Channel Islands, and
Isle of Man, an Invention for “IMPROVEMENTS IN APPARATUS TO BE USED
IN THE EXHIBITION OF DRAMATIC AND OTHER LIKE PERFORMANCES,” upon the
condition (amongst others) that we, the said Henry Dircks and John
Henry Pepper, our executors or administrators, by an instrument in
writing under our or their hands and seals, or under the hand and seal
of one of us or them, should particularly describe and ascertain the
nature of the said Invention, and in what manner the same was to be
performed, and cause the same to be filed in the Great Seal Patent
Office on or before the Third day of November, in the year of our Lord
One thousand eight hundred and sixty-three.
NOW KNOW YE, that I, the said John Henry Pepper, on behalf of myself
and the said Henry Dircks, do hereby declare the nature of the
said Invention, and in what manner the same is to be performed, to
be particularly described and ascertained in and by the following
statement thereof, that is to say:—
The nature and object of our said Invention is by a peculiar
arrangement of apparatus to associate on the same stage a phantom or
phantoms with a living actor or actors, so that the two may act in
concert, but which is only an optical illusion as respects the one or
more phantoms so introduced.
The arrangement of the theatre requires in addition to the ordinary
stage a second stage at a lower level than the ordinary one, hidden
from the audience as far as direct vision is concerned; this hidden
stage is to be strongly illuminated by artificial light, and is capable
of being rendered dark instantaneously whilst the ordinary stage and
the theatre remain illuminated by ordinary lighting. A large glass
screen is placed on the ordinary stage and in front of the hidden
one. The spectators will not observe the glass screen, but will see
the actors on the ordinary stage through it as if it were not there;
nevertheless the glass will serve to reflect to them an image of the
actors on the hidden stage when these are illuminated, but this image
will be made immediately to disappear by darkening the hidden stage.
The glass screen is set in a frame so that it can readily be moved to
the place required, and it is to be set at an inclination to enable the
spectators, whether in the pit, boxes, or gallery, to see the reflected
image. The glass is adjustable and it is readily adjusted to the proper
inclination by having a person in the pit, and another in the gallery,
to inform the party who is adjusting the glass when they see the image
correctly.
Having thus stated the nature of our Invention, we will proceed more
fully to describe the manner of performing the same.
* * * * *
DESCRIPTION OF THE DRAWINGS.—Fig. 1. (_Frontispiece_).
Figure 1 of the annexed Drawings illustrates the arrangement of a
theatre for carrying our Invention into effect; the Figure shows a
section taken through the stage, the orchestra, the pit, and gallery.
_a_, _a_, is an opening which is formed in the ordinary stage. In the
front part of the stage, but at a lower level, is the hidden stage
_b_. The opening _a_ is capable of being closed at the top by trap
doors, a plan of which is shewn at Figure 2. When the trap doors are
closed, actors on the ordinary or visible stage can pass freely to and
fro above the lower or hidden stage. The ordinary stage and trap doors
are covered with green baize or other dark material, so that when the
trap doors are opened, the audience, even those in the gallery, will
not readily be able to perceive the opening. The actors or objects
corresponding with the phantom images, which it is desired to represent
to the audience, are on the lower or hidden stage _b_, and are strongly
illuminated by the lime light or the electric light, or other powerful
illuminating means may be employed. This light must accompany the actor
in any movement he has to make. The hidden stage _b_, and the lanterns
_c_, may be mounted on a carriage on rails (a plan of which is shown
at Figure 3), so that when it is necessary for the phantom actor or
object on the lower stage to be moved, the lanterns may be caused to
move also, or the lanterns may remain stationary whilst the actor
moves, provided the whole space through which he moves is sufficiently
illuminated. The lanterns are to be provided with means for
instantaneously extinguishing or masking the light, and for reproducing
it so that the phantom may be made to disappear and reappear at
pleasure, whilst the audience and the ordinary stage will be more or
less lighted in the ordinary manner according to the effects desired
to be obtained. For this purpose a board _b_¹ is employed, which is
capable of being raised into the position shewn by dotted lines so as
entirely to cut off the light from the hidden stage when desired, or
an ordinary opaque shade attached to each lantern may be used for the
purpose, or when using the lime light the desired effects are caused
by gradually or instantaneously (as the case may require) cutting off
the supply of gases, and the phantom image may by any of these means be
caused gradually or instantaneously to fade away. When the trap doors
over the hidden stage are open, the part _d_ thereof assists in hiding
the lanterns and the opening from the audience. The part _e_ is raised
into the position shown in the Drawing and acts (together with the part
_d_) to screen the lanterns from the audience, and also to insure that
any actor or object on the hidden stage shall not accidentally appear
above the level of the visible stage. The phantom actor, when standing
on the stage _b_, leans against the screen _k_, which is inclined so
as to be parallel with the glass screen, and is covered with black
velvet or other dark material, as is also the stage _b_, in order that
no image of either the screen _k_ or the stage _b_ may be seen in the
reflection. _f_ (the glass screen) is a large sheet of plate glass on
the ordinary stage, of sufficient size to reflect the full length of
the actors or objects on the hidden stage to the audience in the pit,
boxes, and galleries of the theatre. The hidden stage is between the
glass and the audience. The glass may be mounted in a swing frame so
that it may be adjusted to the angle required, or it may readily be
done by screws or ropes and pulleys, or otherwise. The glass screen
is to be set at such an inclination as to bring the reflected image
to the level of the visible or ordinary stage. This will enable the
spectators, whether in pit, boxes, or gallery, to see the reflected
image without any obstruction to the view above the foot-lights, and
it will be visible from all parts of the house except those extreme
positions which cannot command a view through the glass of that part of
the stage where the image is reflected.
The proper angle of inclination of the glass is ascertained
experimentally by having persons in the different parts of the house
to say when the image is shewn to them correctly. The scenery is so
disposed as to conceal the frame of the glass, and we prefer that the
glass should be able to descend into an opening or box _g_ beneath the
stage, in which case we counterbalance the glass and frame so that
they may easily be raised into the position desired by means of a
rope _h_, by which, aided by the bolts _i_, the glass is supported in
the required position. The glass may either be adjusted when screened
from the audience, and remain in position during the scene, or (the
proper angle of inclination having been previously ascertained by
experiment) the glass may be raised on to the ordinary or visible
stage, and placed in position whilst the scene is before the eyes of
the audience under a subdued light without the movement being observed,
for which latter purpose the top bar of the frame of the glass should
be made very light or be omitted altogether. This arrangement admits
of an actor on the visible stage passing across the space which the
glass is to occupy, and this he can do just before the appearance of
the phantom, and then immediately the glass is run up, the trap doors
are opened, the actor or image on the hidden stage is illuminated and
the phantom appears. This arrangement will render it less likely that
the audience should imagine that there is anything interposed between
them and the actors than if the glass plate remained permanently in
position during the scene. The hidden or lower stage may be provided
with a well or hole up which an actor can rise; he will then appear as
a spectre rising out of the visible stage. The lanterns may be provided
with coloured glasses in order to heighten the effect. As the actors
on the visible stage do not themselves see the spectral images, marks
should be placed on the stage or other indications made in order that
they may know the position which the spectres appearing to the audience
are to occupy. In order to appear upright upon the visible stage the
actor or object on the hidden stage should be inclined so as to be as
nearly as practicable parallel with the surface of the glass screen. In
effecting this assistance is afforded by the screen _k_ of the hidden
stage. Several sheets of glass may be similarly employed at the same
time if one is not of sufficient width to cover the different parts of
the stage at which it is desired that the spectre should appear, the
interval or junction being concealed by the introduction of a tree or
column or some other piece of scenery.
Having thus described the nature of our Invention and the manner of
performing the same, we would have it understood that we make no claim
to any of the parts separately, but what we claim is the combined
arrangement as herein described of a glass inclined forwards towards
the audience, and two stages, one the ordinary visible stage, and the
other a hidden stage at a lower level than the ordinary visible stage
and illuminated with a much stronger light than either the ordinary
visible stage or the body of the house, and which light is capable of
being instantaneously, or, if so required, gradually withdrawn and
restored.
In witness whereof, I, the said John Henry Pepper, have
hereunto set my hand and seal, this Thirty-first day
of October, in the year of our Lord One thousand eight
hundred and sixty-three.
J. H. PEPPER. (L.S.)
Returning to the author’s narrative:—The Ghost illusion was first shown
in what was called the small theatre of the Royal Polytechnic, but
as the audience increased so rapidly it was removed by the following
Easter and shown on a grander scale in the large theatre of the
Institution, and where the dissolving views were usually exhibited.
The late Mr. O’Connor, of the Haymarket, painted the first scene used,
representing the laboratory of “The Haunted Man,” which Christmas story
the late Charles Dickens, by his special written permission, allowed
me to use for the illustration of the Ghost illusion. This ghost scene
ran for fifteen months, and helped to realise, in a very short time,
the sum of twelve thousand pounds, not counting what I received for
granting licences to use the Ghost, and also the sums realised during
many successive years as new ghost stories were brought out.
Sylvester now patented the use of looking-glass in the performance of
the Ghost, which I thought very good, and bought of him—he could only
infringe my patent by attempting to use it, and therefore his patent
was useless to anybody else but myself.
Mr. King, of Bath, brought out what he termed a “New Patent Ghost”; but
my solicitors, Messrs. Hughes, Masterman, and Hughes, very soon quashed
the alleged patent by appearing against Mr. King, when he tried to get
his patent passed before the Solicitor-General, the result of which is
thus described by
THE
London New Music Hall Journal.
MANCHESTER, AUGUST 10, 1863.
WITHDRAWAL OF THE GHOST FROM THE LONDON
NEW MUSIC HALL.
It is with unfeigned regret that I have to announce to
my numerous patrons the withdrawal of the Ghost from the
London New Music Hall. The reason is as follows:—My
engagement with Mr. King, to whom a large sum of money
was paid down, was with the understanding that he should
personally superintend the first representation of the
“Great Optical Illusion, the Marvellous Ghost,” which,
however, he failed to do, and to which is attributable the
failure and disappointment which ensued. I also distinctly
understood that his representation was free from any
infringement of the right of patent, and that it was in
every respect equal to the original production of Professor
Pepper. I beg, therefore, in order to acquit myself from
the odium of disappointment which may have been felt by
the unusually large attraction which it has occasioned to
“The London” during the past week, to state that I have
received an intimation from Professor Pepper that Mr. King’s
representation is an infringement upon his own, and that
I have no course left open to me but at once to bear the
disappointment, and allow its immediate withdrawal. It is my
intention, however, to seek redress in the proper quarter.
I therefore trust that my numerous friends will see the
predicament in which I have been placed, and readily acquit
me of all blame; assuring them that I am at all times,
regardless of expense, anxious to secure the most sterling
talent that can be procured, and to avoid anything in the
shape of disappointment.
JAMES HARWOOD.
I now introduced a Miniature Ghost of a danseuse, which, being only
about fifteen inches high, danced on the stage to the great amusement
of my very numerous kind patrons.
I took out a provisional patent for this addition to the Ghost
Mysteries, and shall reproduce it this Christmas at the Polytechnic.
A Manchester man, under the _nom de plume_ of Kit Skewift, thus
ridicules the efforts made by King to produce the Ghost at Manchester:—
TH’ GHOST!!!
“When aw wur a lad—(but that wurnt yusterday, nor th’
day before, nor any day last wick)—aw used to be trayted
neaw and then to wot wur cawd a good ghost story. Owd foak
then wur vast fond o’ ticklin’ yung foaks’ yers wi’ tales
abeawt hobgoblins, ghosts, carnivorous giants, vampyres,
ogres, un aw macks o’ uncouth beeins. Aw railly believe they
thowt sitch tales wur profitable, morally un’ religiously
speighkin’, un’ had little thowt abeauwt th’ uproar ’ut they
caused amung eawr juvenoile nerves. Weel con aw remember
beein’ neaw un then freetunt till it wur th’ herdest job i’
th’ world to keep my heart fro’ other roisin’ up into my
meawth, or skutterin’ deawn in t’ clugs. My yure would ha’
stood up loike th’ bristles uv a dleetin’ brush, un’ th’
best com ut ever wur made would ha’ fawn a victim to any
attempt to smooth it deawn to its gradely place; nay, aw
believe if anybuddy had tried wi’ a par o’ curlin’ tungs to
make it twist, they’d ha’ brokken um loike owd chips. These
tales gien me no partikilur noshun as to wot ghosts wur;
praps th’ tellers had no very clear ideo theirsels; but aw
geet o sort uv a general inklin’ ’ut they wur a very quare,
a very extriordinary, un a very wilful set o’ beeins; some
on um vast fond uv a toidy practical joke; un aw on um i’
their element when they wur potterin’ foaks’ plucks to make
eawt wot the dickens they meant by their merlocks.
“For some days th’ good foaks o’th’ city o’ Manchester have
had before their een uppo’ th’ waws, un’ i’th’ shop windows,
bills printed i’ black un flarin’ red ink, th’ letters
big enoof welly for a bloint chap to see, anneawncin’ at
th’ Lunnun New Music Haw th’ appearance uv a ‘Mervellous
Ghost’—_King’s_ Ghost! as a roival to that uv
Professor Pepper. Loike aw curious foak ’ut are made hongry
wi’ expectashun, aw went th’ other neet to have a look at
it, imaginin’, as aw went alung through th’ streets, that at
last aw should get a peep at a spectre uz would carry back
my moind to my yung days, un gie me some inseet into th’
naytur and essence uv sperrits—not sitch as one beighs at
th’ keawnter uv a _vault_, but sitch as proceed fro’
th’ clay tenement that lies, moshunless, decayin’ within.
Aw durnt know but aw felt a little bit sayrious too, un’ a
tunchy bit groiped wi’ fear, for it met be that th’ seet
would be made doubly awful by th’ appearance uv my gronny’s
ghost; if it wur, un hoo seed me, hoo’d be shure t’ gie me
a blisterin wi’ hur tung, for hoo wur a raddler at takkin’
th’ sheighne eawt on me wi’ that glib little member uv hus.
But when th’ ghost did appear—or _should_ have appeart
in its full proposhuns, by th’ mack aw fun’ mysel as far fro
th’ possesshun uv a genuine crumb o’ ghostly wisdum uz ever
aw wur i’ my born days. It should ha’ bin an illustrious
ghost—no less a chap than Owd Hamlet, th’ suvverin uv
anyshunt Denmark; un’ theerefore a rail _King’s_ ghost
(beawt patent). But that may akeawnt fer its peevishness,
its tricks, un’ its uncommon way o’ introducin’ itsel’. It
wouldn’t appear aw at wonst; at fust it showed its yed;
then, giving itsel’ a wry neck, it lugged in its showders un
its breast; then it disappeart, un’ shortly begun to ascend
wi’ its legs un’ feet, or else a pair uz it had borrowed
fro’ a nayburin’ corpse, uppermost; un’ when it had getten
so far in seet as its sternum, it flittert abeawt in an
ungrayshus manner, as if tryin’ to doance th’ Cure on its
yed. Praps it wur _because_ it wur a _King’s_
ghost that it wur so wilful, un’ tried to be so unnatural in
its ways, for some o’ th’ owd kings wur rum jockies, un’,
for owt we know, owd Hamlet met be loike owd George Thard,
who, Byron says, geet into heaven by mistake, wi’ his yed
under his arm, not havin’ any use for it in a place wheere
good thowts un good principles are alone acceptable. Owd
Hamlet met be labburin’ under an idea that Lankishire wur a
place in which a chap would be uv as mitch service to his
felly crayturs when stonnin’ on his yed as when reort up i’
th’ ushual style on his feet.
“This ghostly bizness is cawd an ‘optical illushun.’
Shouldn’t it be cawd an ‘optical _delushun_’? Aw know
aw never seed as monny pairs o’ optics so noicely chetted as
there wur on this occashun. Professor Buck’s kunjurashuns
we know beforehond are nowt but decepshuns; but aw’ll be
flogged if i’th’ way o’ bamboozlin’ one’s wits, un’ makin
th’ sense uv seet counifogle aw eawr other senses, he isn’t
far ayed o’ King’s ghost—a very prince besoide a regilur
muff.
“Neaw Pepper’s ghosts, they say, are genuine, are wot
they’re professed to be—foine specimens uv wot true science
un’ profershunal skill con accomplish. When aw th’ whole
bevy o’ King’s ghosts are _mustert_, they’re not, placed
alungsoide o’ one _Pepper_, wuth so mitch as a pinch o’
_sawt_; though, by th’ way ’at they try to catch owd
brids, they met have a lerge stock on hond o’ th’ latter
herticle.
“But, moind yoa, aw dunnot blame Mestur Harwood, th’ lesse
o’ th’ Haw. Now, not I; he, aw understond, has been done as
weel, nay to a bigger tune, than th’ public; un’ that he’s
doubly vext to think that he should, aimin’ at producin’
every novelty ’ut’s wuth presentin’ to th’ public, pay his
good money for a bad ghost! Un’ to aw th’ professhunals
engaged at th’ establishment it mun be awfully mortifyin’;
for wot gives ’um th’ horrors mooar than an ominous
convicshun that th’ _ghost winnot wawk_? Heawever, if
awm reetly informt, King’s ghost is to vanish, un’ Pepper’s
is to appear in its place. This shows a determinashun not to
be done wi’ a pousy Jack-o-lantern.
“By th’ _Music Haw Journal_ aw see too that Stead, th’
original Cure, un’ Mestur Ware, th’ author uv so monny comic
sungs, are to appear next wick. Booath o’ theese chaps aw
seed i’ Lunnun, when aw went to look at th’ Eggsibishun;
un’, my word, if they dunnot make Lankishire foak lowf
away aw unpleasant dreoms, un’ shift aw th’ bile left by
th’ ghost, awm no judge, that’s aw! So, there’s no need to
despair. As Shakspere says, ‘Shadows avaunt!’ un’ make way
for substanshul entertainments.—Yours gradely,
“August 7, 1863. KIT SKEWIFT.”
Towards the end of May, 1863, the audiences increased enormously at
the Royal Polytechnic, so that it became necessary to have a select
afternoon performance, the admission fee being raised from 1s. to
2s. 6d. on Saturday mornings only. It was at this period that I was
honoured with a visit from their Royal Highnesses the Prince and
Princess of Wales and suite; and after the performance had been
witnessed by them, I showed the Prince and Princess how the ghost was
raised, and explained to my distinguished audience all the machinery
and appliances used. Some of the suite amused the Prince by becoming
ghosts, and the following notice appeared the next morning in the
_Times_, May 20th, 1863:—
“Yesterday morning, by special command, Professor
Pepper had the honour of delivering his ghost lecture
before their Royal Highnesses the Prince and Princess
of Wales, and the Prince and Princess Louis of Hesse,
who were attended by the Countess of Macclesfield,
Baroness Von Schenck, Major Teesdale, and Captain
Westerweller. The distinguished party were received by
Professor Pepper, and after being conducted round the
galleries passed to the large theatre, where a commodious
Royal box had been prepared for their reception. At the
conclusion of the lecture, by the invitation of Professor
Pepper, they went behind the scenes, and examined with
much interest the machinery and appliances for producing
the Polytechnic ‘ghost.’ At the conclusion, their Royal
Highnesses graciously thanked the directors of the institution,
and after shaking hands with Professor Pepper,
retired.”—_The Times, May 20th, London, England._
“The ghosts of the Polytechnic, which manifest themselves
as a startling appendix to Mr. Pepper’s ‘Strange
Lecture’ on optical illusions, have proved singularly attractive,
and when the hour arrives for their appearance the
lecture room becomes as crowded as the pit of a theatre on
the night of Boxing-day.”—_(Second Notice), The Times, Jan.
20th, London, England._
The real element of success in the production of “The Strange Story,”
however, must be assigned to the ghost.
So many base and servile imitators now appeared with a sorry imitation
of the Polytechnic ghost that it became necessary to send the following
advertisement to all the London papers:—
ADVERTISEMENT.
“Caution to persons pirating Professor Pepper’s Ghost.
—Messrs. Dircks and Pepper are the sole Patentees of the
Ghost invention. The third and last hearing took place
before Sir Roundell Palmer, the Solicitor-General, on
Saturday the 15th August, 1863, when he decided in favour
of Messrs. Dircks and Pepper.”
I also addressed the following letter to the Press:—
“POLYTECHNIC INSTITUTION,
“309, Regent Street, London,
“_21st August, 1863_.
“To the Editor of ______
“Sir,
“On public grounds I venture to call your attention to the
fact that many persons are now going about the country
endeavouring to pirate effects to be produced by the
apparatus patented by Mr. Dircks and myself, and to deceive
the public by giving them an exhibition with which they are
certain to be disgusted, and with which I have nothing to do.
I beg to enclose one of the numerous statements I have received
from different parts of the country alluding to the imposture
now so commonly practised. I shall esteem it a favour if you
would insert this and the accompanying statement in your
valuable journal.
“I am, Sir,
“Your obedient Servant,
“JOHN HENRY PEPPER.”
I won all the cases taken into Court against persons using my name in
a fraudulent manner, and in one flagrant instance the Magistrates gave
the impostor fourteen days’ imprisonment for “getting money under false
pretences.”
The famous _savant_ Mon. l’Abbé Moigné, of Paris, wrote the brief
notice of the ghost which is here copied from his journal called _Les
Mondes_, May, 1863:—
NOUVELLES ET FAITS DIVERS.
ROYAL POLYTECHNIC INSTITUTION.
“Les énergiques directeurs de l’Institution royale polytechnique ont
inauguré une série de matinées fashionables amusantes du samedi qui, à
en juger par les deux séances déjà données, promettent un très-heureux
succès. On a surtout remarqué le leçon expérimentale de M. Pepper, sur
le thallium, sur les merveilles de l’analyse spectrale, et la part
qu’elle a eue à la découverte du nouveau métal. En raison du beau
monde qu’elles devaient recevoir, les galeries avaient été tapissées
et décorées avec goût de plantes exotiques rares. Comme intermède, on
avait choisi le _Freischütz_, qui n’a rien perdu de sa fraîcheur et de
son attrait, au triple point de vue musical, optique et humoristique.
La semaine dernière, LL. AA. RR. le prince et la princesse de Galles
ont fait une visite privée à cet incomparable établissement, et elles
ont voulu qu’on les initiât aux mystères des fantômes. M. Pepper n’a
pas cru pouvoir mieux répondre à leurs désirs qu’en faisant apparaître,
sous forme de spectre, à leur grande surprise, une des personnes même
de leur suite.
“Depuis que ce petit article a paru dans les journaux anglais, notre
ami, M. Pepper, est venu installer à Paris, au théâtre impérial du
Châtelet, le mystérieux appareil avec lequel il réalise ses apparitions
fantastiques. De son côté, M. Robin a inauguré, samedi dernier, dans la
salle déjà si fréquentée du faubourg du Temple, ses représentations de
spectres vivants impalpables. L’attention publique étant ainsi vivement
excitée, il nous semble que le moment est venu de rappeler l’article
suivant inséré par nous dans le _Cosmos_ de 1858, tome XIII, p. 563, et
qui ne fut pas assez remarqué, parce que le moment n’était sans doute
pas venu:—
“‘_Fantômes optiques._—MM. Dircks et Pepper ont inventé une charmante
disposition optique à l’aide de laquelle il fait apparaître des
spectres et produit des illusions singulières. Il partage en deux
compartiments, par une large glace sans tain, comme on en fait beaucoup
aujourd’hui, la salle dans laquelle la scène doit se jouer. Dans le
premier compartiment, en avant, il place les acteurs dont on ne devra
voir que les images, destinées à représenter les spectres ou revenants;
dans le second compartiment, à droite, il installe les acteurs qui
devront être vus en personne; les spectateurs sont installés dans
l’obscurité, au-dessus du premier compartiment en avant. Dans cette
disposition, évidemment, si la scène commence, les spectateurs verront
directement, à travers la glace, les acteurs du second compartiment;
ils verront par réflexion seulement, ou dans leurs images formées au
sein du premier compartiment et mêlés aux acteurs vus en personne, les
acteurs situés au-dessous d’eux, dans le premier compartiment. Ces
images refléchies, beaucoup moins lumineuses, feront l’effet d’ombres
vivantes, d’êtres revenus de l’autre monde; on pourra les faire
avancer, rétrograder, sortir ou rentrer à travers les murs, en faisant
varier la distance à la glace des acteurs qu’elles représentent, et
l’on obtiendra des effets vraiment extraordinaires. C’est assurément
une excellente idée.’
“C’est bien aussi là le secret de ces photographes spirites dont
l’Amérique a eu l’initiative et qui ont tant fait de bruit.”
And now Mr. Dircks, who had hitherto been most friendly to me, began
to be otherwise, and to write me offensive letters, which I forbear to
publish. Every morning and evening at the Royal Polytechnic I mentioned
his name as a co-inventor. The daily programme always contained
his name, and I can appeal to numbers who know me well that I have
never attempted to borrow other people’s honours from them, and if
a discovery was made always gave to the person making it full credit
for the same. It is certain that Dircks’ apparatus was comparatively
useless and that he knew nothing of the use of my double stage, and
in fact the Solicitor-General, Sir Roundell Palmer, declined to grant
a patent on Dircks’ crude idea, as it was only when he understood
the great improvement made by the use of the double stage and the
employment of the electric light that he granted (as stated in the
copy of the advertisement) at the third hearing the Ghost Patent which
the Lord Chancellor subsequently ordered to be sealed after great
opposition made by several Music Hall proprietors. It is a very curious
fact that the original model which Horne, Thornthwaite and Wood sent me
was stolen by some person, who in my absence gave a fictitious verbal
order as if from the firm named, and I never saw it again. The thief
could not, however, have derived much benefit from the robbery, as the
model was more likely to lead the possessor in the wrong than the right
direction. I suppose the model went to America or Australia, as my
imitators in those countries mostly made a terrible fiasco of the ghost
when they first attempted to show it.
The following notice by a newspaper, of which unfortunately the name
was cut off and lost, gives a very fair criticism on the ghost and its
inventors:—
THE PATENT GHOST.
“Modern researches in Spiritualism have led to one practical result—the
discovery of a ghost. Not of an ordinary old-fashioned ghost, appearing
in the midnight hour to people with a weak digestion, haunting
graveyards and old country mansions, and inspiring romance-writers
into the mischief of three-volume novels; but of a well-behaved,
steady, regular, and respectable ghost, going through a prescribed
round of duties, punctual to the minute—a Patent Ghost, in fact. This
admirable ghost is the offspring of two fathers, of a learned member of
the Society of Civil Engineers, Henry Dircks, Esq., and of Professor
Pepper, of the Polytechnic. To Mr. Dircks belongs the honour of having
invented him, or, as the disciples of Hegel would express it, evolved
him from out of the depths of his own consciousness; and Professor
Pepper has the merit of having improved him considerably, fitting him
for the intercourse of mundane society, and even educating him for the
stage. After having bowed to the public at the Polytechnic Institution,
he some weeks ago made his _début_ upon the boards of the Britannia
Theatre, in a new and highly original drama, entitled, ‘The Widow
and Orphans,—Faith, Hope, and Charity,’ in which piece he continues
to present himself nightly to crowded audiences with the greatest
imaginable success.
“Possibly, all Britons do not know where the Britannia Theatre is
situated, and it may not be necessary, therefore, to state that it
has its place in the metropolitan suburb of Hoxton, inhabited chiefly
by toy-makers and doll-dressers, and marked under the letter =N= by
the Postmaster-General. Sceptics may smile at the idea of a Patent
Ghost making his first appearance in a neighbourhood so little
fashionable, and so far removed from the residence of Master Home,
commander-in-chief of spirits and mediums, and solicitor-general of
demons, ghosts, and shadows of the universe. It is no mere accident;
for it appears that there are good spiritual reasons why the ghost
should have come out at Hoxton and nowhere else. Here, in this
toy-making quarter, there lived, about a hundred years ago, a worthy
citizen and officer of the Lord Mayor, Mr. Francis Bancroft, who was
haunted all his life long with the one great idea that his body was
predestined to arise visibly from the dead, and to wander over British
earth in the shape of a tangible ghost. So deeply impressed was he
with this belief that, while walking in the flesh, his chief object
was to take measures towards insuring his safe and speedy resurrection.
With considerable faith in the celebrated maxim of Luther’s active
Roman antagonist, indulgence-selling Monk Tetzel:
‘_Sobald das Geld im Kasten klingt
Die Seel’ aus dem Fegfeuer springt_’
(As soon as the money rattles in the boxes,
The soul jumps out of purgatory.)
citizen Bancroft took great care, during his mortal career, to
accumulate a respectable amount of cash with the object of forming
a bribe for the guardians of his body. Accordingly, in his will he
left the sum of twenty-eight thousand pounds for the establishment of
schools and almshouses, with this proviso, that his body should be
‘preserved within a shew glass’ in the church.”
During the time I was in Paris, and arranging the ghost for exhibition
at the Théâtre du Châtelet under Mons. Hostein, I was surprised to
find that the conjuror, Mons. Robin, was showing the ghost at his
séances. My lawyers interviewed him, and discovered that, some years
before, a little toy had been brought out and patented in France by
which a miniature ghost could be shown. It consisted of a box with a
small sheet of glass, placed at an angle of forty-five degrees, and it
reflected a concealed table, with plastic figures, the spectre of which
appeared behind the glass, and which young people who possessed the toy
invited their companions to take out of the box, when it melted away,
as it were, in their hands and disappeared.
In France at that time all improvements on a patent fell to the
original patentee, and under that law I lost the patent in France;
but Mons. Hostein honourably paid me a large sum of money for the use
of my improved ghost at the Théâtre du Châtelet, Paris. Query.—Had
Mr. Dircks’ patent agent, in his searches after patents, ever come
across the toy invented in Paris? Because it is substantially the ghost
apparatus and produced that illusion; and thus it shows how correct are
the words of Solomon, who has told us “There is nothing new under the
sun.”
If the reader will consult a book written by me, entitled “Cyclopædic
Science Simplified,” formerly published by Messrs. Frederick Warne and
Co., but now bought and published by Messrs. Lippincott, the great
American publishers of Philadelphia, Pa., U.S.A., he will find a very
near approach to the ghost apparatus copied from Robinson’s “Recreative
Memories” published in 1831. The same author describes how the famous
magician (so-called) Nostrodamus deceived even the astute and wily
Marie de’ Medicis by a vision which appeared in a looking-glass.
Moreover, Sir Walter Scott, in his beautiful poem, “The Lay of the Last
Minstrel,” has introduced the use of mirrors for producing ghostly
appearances, in the vision seen by the ill-fated Earl of Surrey, in
the mirror huge and high of Cornelius; the vision being “That fair and
lovely form, the Lady Geraldine” (verses 16, 17, 18, 19, 20, canto vi.).
Before travelling about so much I had a trunk full of letters referring
to the ghost illusion, many treating it as a supernatural phenomenon,
and not an effect from natural causes.
In about four months my secretary wrote at least 1,000 letters in
answer to those addressed to me.
I was offered house property in exchange for the right to exhibit the
ghost and a full description of the apparatus on attendance at the
Polytechnic to see how things were manipulated.
I publish one of the most amusing letters, which has no address or
proper signature, but only the initials “R. C.”:—
“Whereas the directors and managers of the Polytechnic
Institution believe and maintain the phenomenon called
‘spirit-rapping’ to be produced by trickery, jugglery, or some
natural agency, and to be an imposture, I, the undersigned,
on the contrary maintain that there is some non-human agent
which moves the tables, chairs, etc., and carries on an intelligent
conversation with spectators by knocking, or tilting, or
other signs. I am ready to wager from £5 to £50 with
any one who chooses to accept my challenge that the phenomenon
shall take place, and that no one present shall be
able to detect any sort of trickery or jugglery in the matter.
It is to be clearly understood that mere opinions that the
thing is done by natural agency are to go for nothing. The
natural agency _must be proved_. On the other hand I defy
any one to produce the same phenomenon by natural
agency _without my being able to detect that agency_. In
making this proposal I wish it to be distinctly understood
that I do not place any trust or confidence in the so-called
‘spirits,’ as I maintain, in opposition to the whole body of
so-called ‘spiritualists,’ that the intelligent agent which
moves the tables, chairs, etc., and converses and answers
questions by knocking, is nothing more or less than _the evil
spirit_ which dwells in humanity, and is found in every
human being. This proposition can be clearly demonstrated.
As to the so-called ‘spirits’ being the ‘souls of the
dead,’ the idea is absurd, and this absurdity also can be
made abundantly manifest. This spiritualism is doing an
immensity of mischief, and ought to be exposed, but it will
never be exposed if people shut their eyes _to the fact_.
It will not be the less a fact, and will not the less impose on
all who witness it, because there are men and women who
_predetermine_ in their own minds that it cannot be true,
and refuse to be convinced _by either their senses or their
understandings_. In all ages there have been deaf adders whom
no music could charm, and there are in these days also many
‘who having eyes will not see, and who having ears will not
hear.’ _On what grounds_ does any one assume as a certainty
that such a thing is impossible?
“RICHARD CRUIN.”
“If any one is so unwise as to be willing to pay £100 in the event of
the phenomenon taking place in his presence, and of his being unable to
detect any imposture, I undertake that the ‘medium’ shall exhibit _in
any private room, in any home, and with any furniture_ (provided it be
not too heavy), and that the said medium shall submit _to be searched
both before and after the exhibition_.
“Nothing is easier than to lift a table by means of a concealed
apparatus. The knocking also may be produced by means of muscular
motion or otherwise. But can any one lift a table _without any
apparatus_, simply by placing the hand on it; or can any one contrive
an apparatus so cunning that no one present, having full liberty to
examine everything, shall be able to detect it?
“By collusion or otherwise questions also might be answered, but I
maintain that the agent in spiritualism can tell all the most secret
and hidden things of one’s life, and even one’s secret thoughts,
and also that it understands and can converse _in any language_. I
have verified this _by repeated experience_. But it will not always
speak when it is wanted to speak, and the ‘medium’ has no power over
it to make it answer questions. But the fact that it often tells
lies and often refuses to tell anything, does not make void the fact
that it does also at times answer _every question which one can ask
it_. It is by this sort of capricious behaviour that it succeeds in
completely deluding some to trust in it, and others to disbelieve
in it altogether. But let a man confine himself at first to the
physical phenomenon and try if he can make a table to rise up into
the air completely off the ground, simply by placing his hand on it,
and _without any apparatus whatever_. If he cannot do this, and if
no human being can do it, let it be acknowledged that there is some
non-human agent. A little experience will very soon convince any one
that it is an intelligent, and a wonderfully intelligent, agent, and
then it will remain to be considered whether this intelligent agent is
good or evil—_I say it is evil_.
R. C.”
During the year 1863, when the ghost illusion was one of the topics of
the day, the famous George Cruikshank wrote a pamphlet, entitled—“A
Discovery concerning Ghosts, with a Rap at the ‘Spirit Rappers,’
illustrated with Cuts, and dedicated to the ‘Ghost Club.’” Curious
to say, he says nothing respecting the Polytechnic ghost, but is
exercised chiefly with famous stories of ghosts and apparitions, which
it is alleged have appeared to various persons. The author examines
analytically a number of them, and comes to the conclusion that the
persons relating them usually deceived themselves or other people, and
that most of the stories are mental hallucinations. The inimitable
George, as his friends delighted to call him, treats with profound
contempt the spirit rappers, and all the cheats and fortune-telling
mendicants who try to impose on innocent people with their bad
conjuring tricks—people who might have got through the world safely;
but the fatal chord is struck, and they go from bad to worse, until
they end in a mad house.
The whole tribe of persons who made money directly or indirectly out
of what they called spirit mediums, &c., fairly howled upon me in
the lecture room, and, threatening personal violence, I was for some
time attended home at night by the most stalwart of our Polytechnic
employés; for, like Cruikshank, I vigorously denounced the traders in
spirits, founding my arguments on the belief that God was too merciful
to us to add to the troubles of this world the fear and trembling
brought about by pretended communication with the invisible world.
The first story I told at my Polytechnic “Strange Lecture” had a very
simple plot.
It represented the room of a student who was engaged burning the
midnight oil, and, looking up from his work, sees an apparition of
a skeleton. Resenting the intrusion he rises, seizes a sword or a
hatchet which is ready to his hand, and aims a blow at the ghost; which
instantly disappeared again and again to return.
This ghost was admirably performed by my assistant, whom we called Ye
Perringe, who, wearing a cover of black velvet, held the real skeleton
in his arms and made the fleshless bones assume the most elegant
attitudes, the lower part from the pelvis downward being attired in
white linen, and the white skeleton ghost assuming a sitting posture,
so that it appeared to come out of the floor.
Although this exhibition only lasted a few minutes, it drew hundreds
and thousands of pounds to the treasury of the Polytechnic. In fact, as
already stated, I was obliged to remove to the larger theatre of the
Institute.
The next ghost story was told in the large theatre; and it illustrated
Charles Dickens’s story of the “Haunted Man.” At the same time was
shown “Cupid and the Love-Letter.” When the curtain drew up, a peasant
girl was discovered using her spinning-wheel and demurely thinking of
something not told to the audience.
The ghost of a very pretty little boy dressed as Cupid now appears at
her elbow, and discharges an arrow from his bow, which pierces the
heart of the susceptible village girl. She attempts to caress the
pretty Cupid, who eludes her kind advances, and is now discovered on
the other side. The maiden turns to kiss him, but he is gone. At last,
relenting, Cupid gives her a love-letter from some affectionate swain,
which she takes and shows triumphantly to the audience, and leaving the
girl to read it, the curtain again descended. These two illustrations
of the ghost illusion ran for fifteen months without alteration, and
were succeeded by many others—viz., Scrooge and Marley’s Ghost, by
Charles Dickens; the Ghost of the diving bell; the knight watching his
armour; the poor author tested; the Ghost of Napoleon I. at St. Helena;
and the Ghost in _Hamlet_, pronounced by a leading R.A. as being nearly
perfect, only wanting a little different colour in the walls of the
ramparts, which I adopted with his ultimate satisfaction and approval.
The late Walter Montgomery took a great interest in the ghost
proceedings, and assisted me greatly in arranging the scenes with due
regard to the dramatic art. There is a mystery about his tragic end
which deserves solution, and his brother-in-law told me at Brisbane,
Queensland, that he did _not_ commit suicide, but was shot by somebody
else.
The sands of the year 1863 had been nearly run out, and I had taken the
ghost to Manchester to a lecture hall then under the skilful management
of Mr. Peacock, when another great success was scored—various London
theatres took out licences to use the ghost; notably the Haymarket,
under Mr. Benjamin Webster; The Britannia, under Mr. and Mrs. Lane;
Drury Lane, under Mr. Chatterton, also subsequently and after the
famous ghost trial before the Lord Chancellor. The Music Halls no
longer tried to infringe the patent, but those who required it paid
their fees for licences to do so.
The famous ghost trial came on in September at the private residence of
the Lord Chancellor Westbury, who very graciously agreed to hear this
patent case at once, because his lordship was informed by my solicitor,
Mr. Walter Hughes, junr., that if he could not do so the Polytechnic
Ghost would most likely be swamped by the multiplicity of imitators,
good, bad, or indifferent.
Accordingly, one cold and chilly day I went down into Hampshire,
accompanied only by my solicitor, Mr. Walter Hughes, junior, of the
firm of Hughes, Masterman, and Hughes, 56, New Broad Street. On arrival
we were shown into his Lordship’s drawing-room, where, to my dismay,
I found a little army of solicitors and barristers drawn up as if in
battle array, and sitting in a row against the right-hand wall of the
room.
His Lordship’s secretary courteously came forward, and, noticing we
were somewhat cold, placed chairs for us near the fire, and pulled up a
table for our use on which to take notes.
We all rose respectfully when the Lord Chancellor entered, and, being
requested by him to remain seated, the case was opened by his Lordship
asking who appeared for the Plaintiffs, the music hall proprietors. At
least four answered, “I do, my Lord,” and we in the minority could only
give an answer from one voice—viz., that of my then young solicitor.
The music hall people came down with two newspaper reporters to record
their certain victory over me, but which, as it turned out, was a
mistake, because the reporters could only tell the truth and record the
verdict given in my favour.
The Lord Chancellor, so far as I can remember (and I have no notes),
then addressed the Plaintiffs—
1st. I shall require you to show cause by what right or
authority you appear before me this day.
2nd. I will hear you on the general merits of the case.
3rd. And lastly, on the novelty which the Defendant
seeks to have completed under the protection of a
Patent, and which novelty you appear to deny.
One of the barristers then rose, and after saying that he would bow
with submission to anything his Lordship might suggest or rule,
commenced his argument by calling attention to the fact that the number
of days allowed by the Patent Law had already elapsed, and by sections
so-and-so I had lost the opportunity of getting the Patent sealed
within the proper time allowed between granting Provisional Protection
and sealing the Patent.
After he had ended, the Lord Chancellor asked if the Plaintiffs through
their counsel had anything more to urge on this first point. They all
bowed, and said “No.”
His Lordship now said: “It is very true what you state respecting the
wording of the Patent Act, _but_ if you will turn to sections so-and-so
you will find that the Law Officers of the Crown have full power to
grant an extension of the time for completing and sealing the Patent
on the proper application of the Defendant’s solicitors, and as that
application has already been made and granted, it must be evident that,
though the Defendant exceeded the time usually allowed, he had full
permission to do so from the constituted authorities. I will now hear
you on the general merits of the case.”
* * * * *
Here the learned counsel exhausted his law and rhetoric in making
out there was really nothing to patent, for who could catch hold of
a ghost? And more legal technicalities were advanced and argued than
I can remember at this distance of time—viz., twenty-six years ago.
However, his Lordship again asked, “Have you anything more to urge on
this point?” and received the same reply, “No, my Lord, we have not.”
The Chancellor then replied _in extenso_, exposed all the sophistries
of the arguments, and whilst complimenting the counsel on his learning
and the care which he had bestowed upon the case, said again that there
was nothing in the arguments that militated against the sealing of the
Patent. Of course, they could take action at common law, and try the
case before the judges appointed to try such cases if they thought
proper, and, supported by affidavits resulting from a trial at common
law, could bring the case again before him.
There was one point which the Lord Chancellor alluded to. He said:
“Great stress had been laid on the impossibility of patenting a mere
intangible nothing, viz., a ghost; but as he understood, the Defendant
did not patent the shadowy result called the Ghost, but an apparatus
for ‘Exhibiting Dramatic and other Performances,’ and without this
apparatus no ghost could be rendered visible to an audience.” His
lordship then continued: “I will now hear you on the novelty of the
proposed invention, which your affidavits declare is not new, but an
imitation of something already exhibited.”
The learned counsel now made various statements, supported apparently
by affidavits from persons who alleged that they had seen the ghost
a long time before, and, in fact, had used the very same apparatus I
had employed or words to that effect. For instance, an old playbill
emanating from the Old Tivoli Gardens, Margate—not perhaps the most
refined place of entertainment, in fact, no ladies appeared to visit
the place say, in 1851, when I heard a lady in tights discourse a song
the burthen of which was—
“Take care, John Bull, or else you’ll be done
In the Great Exhibition of ’51.”
The playbill was laid upon his Lordship’s table, who, taking hold
of it, asked, “Is this the playbill alluded to?” and threw it on
the floor. I suppose the counsel was not attending to some point of
etiquette, and ought to have produced his playbill in the form of a
High Chancery Court affidavit. The playbill alluded to a ghost that was
to be shown, and counsel again called attention to their plan of the
ghost apparatus, which he was instructed to say was the same or very
similar to that used by Defendant. The affidavit of some other dramatic
professional was also brought forward with several others; but all
things come to an end, and at last the same distinct question rang out:
“Have you anything more to urge on this question of novelty?” with the
answer as before. “No, your Lordship.”
Lord Westbury commenced by alluding to the drawing brought forward
by the Plaintiffs, and said, “I have examined the affidavit and
the drawings, and find it is as nearly as possible a copy of the
Defendant’s own drawing deposited in confidence in the archives of
the Patent Office, and when I visit that establishment will take care
to enquire who has presumed to allow the Plaintiffs permission to
copy the Defendant’s original drawing of the apparatus used to show
the ghost. I well remember,” continued his Lordship, “being taken
to the house of Belzoni, the distinguished traveller, and seeing an
effect no doubt somewhat similar to that produced by the Defendant’s
apparatus, but I could not for one moment compare the toy of Belzoni
with the refined and complete contrivances used by the Defendant at
the Royal Polytechnic. An affidavit has been put in by the Plaintiffs,
sworn to by a person calling himself a ‘nigger minstrel.’ He is
elsewhere denominated an ‘Ethiopian Serenader,’ who had seen the
Defendant’s ghost shown years ago—a very respectable man, no doubt,
in his vocation; but to put the evidence of such a person against
the affidavits of Michael Faraday, Sir David Brewster, and Professor
Wheatstone, is a manifest absurdity. I, therefore, rule that the Great
Seal of England be at once attached to the Defendant’s patent, and that
the Plaintiffs do pay the costs.”
After certifying for the costs and having a little conversation with
my solicitor and self, his Lordship withdrew, and we all went back
to town. The reader can imagine my feelings of joy at the successful
upshot of this trial when he learns that I had already received large
sums for licences which I must have refunded if the case had gone
against me.
For many years the ghost at the Polytechnic pursued its successful
career, and earned £12,000 in a comparatively short space of time. I
received an illuminated address of thanks, with a handsome honorarium,
from the directors, and subsequently they presented my bust in marble
to my late dear wife, with a letter from the Rev. J. B. Owen, M.A., the
highly-gifted chairman of the old Royal Polytechnic.
Very few persons could understand how the ghost was produced, although
many persons wrote about and explained it; even the distinguished
philosopher, Michael Faraday, when I took him behind the scenes, said,
with his usual love of truth: “Do you know, Mr. Pepper, I really don’t
understand it.” I then took his hand, and put it on one of the huge
glass plates, when he said, “Ah! now I comprehend it; but your glasses
are kept so well protected I could not see them even behind your
scenes.”
METEMPSYCHOSIS.
Since the ghost was produced at the Polytechnic years ago, the author
has visited America, and seen not only the chief cities of the United
States of America, but also those of patriotic Canada; and about ten
years ago, paying a casual visit to Messrs. Walker, the eminent organ
builders, he enquired of Mr. James Walker what he had done with a model
shown him during the height of the popularity of the ghost, by which an
empty glass goblet, or one full of water, was gradually filled with, or
changed into, wine (or coloured water resembling it), thus unwittingly
and apparently embodying or putting into an illustrated form the
miracle of the conversion of water into wine.
I was too busy and too well paid at the time to think of a new
illusion, but I praised it much, and said if not confined to too small
stage limits, it was certainly as good, if not better, than the ghost
illusion.
The time had now arrived when the London world was ready for something
new (as commercial men would say) in the ghost line, and although Mr.
James Walker, with the modesty of a truly scientific man, disclaimed
the merit due to his invention, he did at last, at my request, throw
himself, with the author, heart and soul into the production of the
new illusion, which we called Metempsychosis. We now took out a patent
for the new optical wonder, and having thus secured the invention from
that piracy and robbery which too often dog the otherwise successful
steps of inventors, causing nearly every patent to be called by the
legal fraternity a _damnosa hereditas_, we looked about for a good
place—hall or theatre—where the illusion could be started. None better
could be thought of than the old Royal Polytechnic, where we offered
at a moderate sum per week to produce it, paying for every stick,
decoration, or engraved looking-glass ourselves. But it appeared that
the funds of the institution were so reduced—it was supposed, by the
immense expenditure on armies, warlike material, and ladies’ legs
required to produce a work emulating friend Barnum’s gigantic “Nero,”
and called, with an alarming stretch of imagination, the “Siege of
Troy,” or “Destruction of Troy”—that the directors were unable to
guarantee the weekly salary Mr. James Walker and myself demanded.
Luckily for us, a percentage on the gross receipts was suggested, and
brought in a great deal more money to our exchequer than the modest
weekly salary would have given us. The public came in goodly numbers
to see the new optical wonder, and all went well as long as the author
remained in London and could devote his time and energies to the daily
exhibition; but the time was now drawing rapidly near when, according
to contract, he must leave for Australia.
Professor Pepper has invariably told his numerous patrons that,
although obliged to keep secret for a reasonable time all optical
illusions that he produced, he would ultimately tell the public all
about it.
The metempsychosic era at the Polytechnic in 1879 was marked by the
production of various stories, which were nicely edited and corrected
by a lady of well-balanced, tasteful, and poetic mind—viz., by Miss
Walker, the sister of the author’s very able coadjutor.
The entertainment opened with a vacant stage, disclosing a sort of
inner apartment about twelve feet square, tastefully upholstered,
and closed by a curtain which could be lowered at pleasure, without
interfering with the great roller and white curtain upon which
Dissolving Views were shown. The author’s adopted son, for he never
had any children of his own, was now seen walking through the inner
apartment to the foot-lights, where he bowed and, addressing the
audience, had hardly got as far as the words, “Ladies and Gentlemen,—I
am sorry to inform you that something has detained Professor Pepper—”
when my voice was heard crying out: “Stop, stop; I am here!” and,
appearing out of nothing and without the aid of trap doors or descent
by the help of the copper wires, the author stood in the midst, and
bowed his acknowledgments for the hearty greeting kindly given him by
his audience. The entertainment now proceeded, and, after apologising
for the gloom he was about to cast upon the meeting by the harassing
story he was about to relate, finally stated that his subject would
be those “fearful bags of mystery” called “sausages,” remarking
incidentally that though, thanks to Government analysts, many persons
had heard of the examination and analyses of this dietetic refresher
of the inner man, no one probably had ever seen sausages put together
again, as it were, and formed into the very animal from which they
were originally educed. A large white dish of sausages was now
produced. They were placed in a wire basket, such as pot-plants are
suspended in from windows and verandahs, and hung up in the inner
chamber. About one minute elapsed; the sausages were gone, and out of
the basket came the author’s dear little sagacious white poodle, with
his blue ribbon and little bells, wagging his tail, barking at the
audience, and coming down to lick the hand of his master. The poor
little creature was accidentally poisoned by eating bits of meat the
rats had dropped whilst scuttling to their holes to die of the too
rapid poison prepared by the author for those pests of domesticated
people.
Then the metamorphoses proceeded. Oranges were changed into pots
of marmalade, and given away to the boys, and a chest of tea was
converted into a tray carrying a steaming teapot, sugar, milk, cups
of tea, and handed by the attendants to the ladies in the _reserved_
seats only—such is the blighting influence of cash, which caused the
one-shilling people to be neglected and the eighteenpenny-reserved-seat
folks to have their teas. The ghost of Banquo in “Macbeth,” and the
ditto in “Hamlet” followed, with the curious change of a deserted piano
into one at which played and sang a living member of the fair sex,
attended by a gentleman in faultless black coat and white tie, who
turned over her music; and this Part. I wound up with the change of a
gentleman into a lady, who walked down to the foot-lights, sang a song,
and then vanished into “thin air.”
But all these changes could only happen in the smaller inner apartment,
the actors might walk anywhere else at pleasure, and out of the charmed
circle Walker could not change to Pepper, or the latter refer to the
living beings when they faded out of sight as regular “Walkers.”
So much for what was done, and now the anxious reader is getting
impatient, and if a lady is doubtless curious (the poor men never are
so) to know how it was all done, and as the illusion has apparently
left the domain of optical science and is now relegated to the
conjuring profession, the author has no hesitation in fulfilling his
long-ago promise made to the public to let, as Mr. Cremer, jun., says
in his most amusing book on “Conjuring,” the cat out of the bag.
Before the illusion can please the eyes, the proper apparatus for
producing it must be constructed; and the key to the result consists in
the use, not of clear plate glass employed in the ghost illusion, but
of engraved silvered glass.
Ordinary looking-glass, such as is used for common mirrors or
looking-glasses, is usually made by attaching an amalgam of tin-foil
and quicksilver to one side of a clean sheet of plate or other glass.
Glass prepared in this way cannot be successfully engraved, and when
the chisel or other tool is drawn with pressure across it, is liable to
chip; and instead of clear, sharp engraved lines being obtained, they
are ragged, and, in most cases, large patches of the amalgam are torn
off.
This is not the case when glass really silvered by successful chemical
processes is used, and when pure metallic silver is precipitated on to
the surface of the best and flattest plate glass. When Mr. Walker and
myself commenced our experiments in March, 1879, the so-called “Patent
Silvered Glass” was expensive and confined to moderate-sized pieces
of plate glass. Our first care, therefore, was to construct a table
that could be brought by screws to a perfect level, and one that would
carry a plate of glass at least twelve feet six long by six feet eight
wide. Such a plate being most carefully cleaned, and quite free from
grease, was placed upon the table, and levelled by means of spirit
levels, just as a plate of glass used for the old collodion process
would be levelled, in order that the fluid should not run off at one
edge, leaving the other comparatively dry; and now came the knotty
point—Which was the best silvering process to use? On consulting the
best records of this art, we found valuable information in the _English
Mechanic_, Vol. xxi., No. 542.
The reader will find the following process very successful if minutely
carried out in all its technical details—
TO SILVER GLASS.
Prepare two solutions.
1. Argentic nitrate is dissolved in distilled water, and ammonia added
to the solution till the precipitate first thrown down is almost
entirely re-dissolved. The solution is filtered and diluted, so that
100 cc. contain one gramme of argentic nitrate.
N.B.—100 cc. are equal to rather more than 3½ fluid ounces.
2. Two grammes of argentic nitrate are dissolved in a little distilled
water, and poured into a litre of boiling distilled water. 1·66 gramme
of Rochelle salt is added, and the mixture boiled for a short time,
till the precipitate contained in it becomes grey; it is then filtered
hot.
The glass, having been thoroughly cleaned with (1) nitric acid, (2)
water, (3) caustic potash, (4) water, (5) alcohol, and lastly distilled
water, is to be placed in a clean glass or porcelain vessel, the side
to be silvered being placed uppermost. Equal quantities of the two
solutions are then to be mixed and poured in, so as to cover the glass.
This should be done while the glass is still wet with distilled water.
In about an hour the silvering will be completed. Then pour off the
exhausted liquid, carefully remove glass, wash in clean water, rub off
silver where deposited where not required, allow to dry, and varnish
silvered side with any thin varnish which does not contract much in
drying.
The time required for the operation depends on temperature.
If the solutions be warmed to about 30°C., the silver is deposited in a
few minutes; but it is safer to use them cold.
The inside of test tubes, bulbs, &c., are silvered by putting the
solutions into them, no second vessel being then required.
Throughout the whole operation the most scrupulous cleanliness is the
grand essential.
100 cc. are equal to rather more than 3½ fluid ounces.
1 gramme = 15·432 grains.
1 litre = 35¼ fluid ounces.
The plate of glass being thus carefully silvered is allowed to dry
thoroughly, and is finally varnished with a good thick varnish,
containing plenty of red lead, so that the back surface of the silver
mirror has a smooth and red appearance, while the varnish protects the
delicate film of metallic silver.
An ordinary photographic picture on glass is really represented by
precipitated metallic silver, but the metal in this case is in minute
particles, which do not shine or reflect light.
The silvered plate glass is now engraved in the following simple
manner. Being placed in a support or rack against the wall, and quite
upright, a chisel—or rather, a series of chisels—are drawn across the
surface in straight lines, and perpendicular, by the use of a large
=T=-square. Every time the chisel is drawn with pressure across the
varnished back of the glass a portion of the silver is removed, leaving
a straight line quite clear or transparent, and, in fact, laying bare
the surface of the plate glass.
The lines were ruled in three degrees of comparison: thick, thicker,
thickest; and considerable skill and experience—which no description
can teach—were required to get these correctly engraved.
[Illustration: A B C D, the Plate Glass; _e_ straight lines engraved on
silvered side and gradually increasing in thickness from _e_ to _f_.]
The engraved silver glass plate moved through a groove in the
woodwork at the top of the chamber, and was supported below on a
beautiful carriage, the wheels of which were covered with vulcanised
indiarubber rings, and moved on a tramway below the floor of the
room, perpendicularly. The glass could be made to slide at an angle
of forty-five degrees, and as it always made a rumbling noise while
moving, the music of the band concealed that defect. The ground plan of
the apartment is shown on the opposite page.
Some idea of the cost of making a full-sized apparatus, with hangings
and curtains and engraved glass, may be gathered from the fact that
the author’s outfit for Australia with a certain number of dresses
cost £327 12s. 1d. Whilst the author was travelling through Australia
Mr. James Walker, with his great inventive genius, made a further
improvement, by which the concealed figure at K was done away with,
and the whole apartment thrown open to the public gaze. This was done
to illustrate a clever sketch written by Mr. Burnand called “Curried
Prawns.”
[Illustration: Ground plan of chamber.
A A′A″A‴, floor of the apartment; B B, groove at an
angle of 45°, in which the glass moved; A″ to C
groove continued outside of the apartment used when
the glass was moved away; E F G H, short flight of
three or four steps, as the room must stand some
distance from the floor to allow of carriage moving
on tramway.
=N.B.=—The groove A to C was concealed from the
audience by handsome curtains, which were repeated
at the same angle on the other side, from M to D.
K.—Place where the objects to be reflected in the
looking-glass were placed, but quite concealed
from the audience with a door, closed when the
exhibition was going on.
]
[Illustration]
A C D E are the outside of the room, 12 feet square, engraved glass
running from H A to A D. The wing E G is placed square; this is an
immense advantage, as it renders unnecessary any counterpart at C N,
and as, of course, it cannot be seen, the light from the foot-lights on
E G is not seen by reflection at C N. When the wing E G was at the same
angle as H A, this was always a weak point in the illusion, as when the
glass crossed, the reflection of E G, unless very dimly illuminated,
always shewed. Now it does not matter when E G is placed as in drawing.
The frontage to the audience, instead of being from A F, is now
extended to E—_i.e._ 12 feet—consequently the return sides F E and C
B can be removed. This plan, of course, precludes the use of “trick”
chairs, baskets, &c. &c.; but it has a good many other advantages in
its favour, for with a “sociable” in the middle of the room made in
two exact halves, these halves trick or cover one another when the
glass is pushed across, and of course this movement is not seen by the
audience; then any person or persons can be made to appear gradually,
sitting or standing, at L or M, _right in the middle of the wide open
room_. Mr. Walker tried this effect at the Polytechnic Institution, and
it was capital—the ensemble is more imposing. This plan of shewing the
illusion is the plan for the stage, as the necessity for darkening the
stage in front is nearly wholly avoided. The back of the side-wing I
K can be painted black, so that its reflection shall not be seen. In
lieu of the gas-jets, as now arranged, there is a gas-lamp; this is
placed on a pedestal or small table. The shadow of the “sociable” to a
great extent covers or hides the path along which the glass travels.
Mr. Walker says: “I thought out this way for Mr. Irving’s necessities,
but I did not hear anything from him; and it has come in well for Mr.
Burnand’s sketch, which has been produced.” In this sketch, a gentleman
afflicted with dyspepsia through eating “curried prawns” (the name of
the piece), calling on some friends, where he has promised to help
them in some amateur theatricals, looks at the different costumes of
Mephistopheles, Faust and Marguerite, and throws them carelessly on
the seat at M, walks down the steps (which we shall double in width)
the glass now crosses, and, whilst in a fit of melancholy, he wonders
if Mephistopheles will appear. Sure enough, he does. Mephistopheles
then comes down in front, and with incantations makes, successively or
together; Faust and Marguerite appear; they then disappear in the same
manner.
The author’s friends and the public all know how steadily he has
opposed the so-called _Spiritual deceptions_, which generally are not a
half nor a quarter as clever as the tricks of a first-rate conjuror.
_Punch_ instructs us what to do at a Spiritual séance, which, if
done, would certainly astonish the person performing the part of the
materialised spirit. _Punch_ writes—“How to behave at a Spiritual
séance.—Always try to hit the happy Medium.”
The author thought the time had now arrived when a new generation who
knew not the ghost might be interested in its revival, and with that
idea the authorities at the present Polytechnic concurred, so that by
the time these pages are read it is hoped the ghost will be in full
career once more, and if the author only receives a tenth part of the
great patronage he received in 1863 he will be amply repaid for all his
exertions in reproducing the ghost illusion. And he desires thankfully
to acknowledge the very kind help he has received from Robert Mitchell,
Esq., the Secretary and Manager of the numerous classes and useful
lectures now so well conducted at Mr. Quintin Hogg’s Polytechnic.
* * * * *
The author hopes to show “something new” at the Polytechnic; and a
lady in miniature, as it were from Liliput, dances on a silver waiter
held out by the author; and the great man Napoleon I., for whom, like
Alexander the Great, the world was too small, stands in the palm of the
hand of the author.
If “duffers,” &c., did not exist, the illusion would be explained to
the public; but ten years need not elapse before they know all.
FINIS.
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=The Boy Hunters of Kentucky.= By Edward S. Ellis.
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=Major Monk’s Motto.= By the Rev. F. Langbridge.
=Trixy.= By Maggie Symington.
=Rags and Rainbows: A Story of Thanksgiving.=
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=Pretty Pink’s Purpose; or, The Little Street Merchants.=
=Tim Thomson’s Trial.= By George Weatherly.
=Ursula’s Stumbling-Block.= By Julia Goddard.
=Ruth’s Life-Work.= By the Rev. Joseph Johnson.
=Cassell’s Two-Shilling Story Books.= Illustrated.
=Stories of the Tower.= | =The Four Cats of the Tippertons.=
=Mr. Burke’s Nieces.= | =Marion’s Two Homes.=
=May Cunningham’s Trial.= | =Little Folks’ Sunday Book.=
=The Top of the Ladder:= | =Two Fourpenny Bits.=
=How to Reach it.= | =Poor Nelly.=
=Little Flotsam.= | =Tom Heriot.=
=Madge and Her Friends.= | =Through Peril to Fortune.=
=The Children of the Court.= | =Aunt Tabitha’s Waifs.=
=A Moonbeam Tangle.= | =In Mischief Again.=
=Maid Marjory.= | =School Girls.=
=Peggy, and other Tales.=
=Books for Boys.=
=Ships, Sailors, and the Sea.= By R. J. Cornewall-Jones.
Illustrated. =5s.=
=Modern Explorers.= By Thomas Frost.
Illustrated. =5s.=
=Famous Sailors of Former Times.= By Clements Markham.
Illustrated. =2s. 6d.=
=Wild Adventures in Wild Places.= By Dr. Gordon Stables, R.N.
Illustrated. =5s.=
=The “Deerfoot” Series.= By EDWARD S. ELLIS. With Four full-page
Illustrations in each Book. Cloth, bevelled boards, =2s. 6d.= each.
=The Hunters of the Ozark.=
=The Camp in the Mountains.=
=The Last War Trail.=
=The “Log Cabin” Series.= By EDWARD S. ELLIS. With Four Full-page
Illustrations in each. Crown 8vo, cloth, =2s. 6d.= each.
=The Lost Trail.=
=Camp-Fire and Wigwam.=
=Footprints in the Forest.=
=The “Great River” Series.= By EDWARD S. ELLIS. Illustrated. Crown 8vo,
cloth, bevelled boards, =2s. 6d.= each.
=Down the Mississippi.=
=Lost in the Wilds.=
=Up the Tapajos; or, Adventures in Brazil.=
=The “Boy Pioneer” Series.= By EDWARD S. ELLIS. With Four Full-page
Illustrations in each Book. Crown 8vo, cloth, =2s. 6d.= each.
=Ned in the Woods.= A Tale of Early Days in the West.
=Ned on the River.= A Tale of Indian River Warfare.
=Ned in the Block House.= A Story of Pioneer Life in Kentucky.
=The “World in Pictures.”= Illustrated throughout. =2s. 6d.= each.
=A Ramble Round France.= | =Glimpses of South America.=
=All the Russias.= | =Round Africa.=
=Chats about Germany.= | =The Land of Temples (India).=
=The Land of the Pyramids (Egypt).= | =The Isles of the Pacific.=
=The Eastern Wonderland (Japan).= | =Peeps into China.=
=Half-Crown Story Books.=
=Little Hinges.= | =At the South Pole.=
=Margaret’s Enemy.= | =Soldier and Patriot=
=Pen’s Perplexities.= | =(George Washington).=
=Notable Shipwrecks.= | =Picture of School Life and Boyhood.=
=Golden Days.= | =The Young Man in the Battle of Life.=
=Wonders of Common Things.= | By the Rev. Dr. Landels.
=Truth will Out.= | =The True Glory of Woman.=
| By the Rev. Dr. Landels.
=Three and Sixpenny Library of Standard Tales, &c.= All Illustrated and
bound in cloth gilt. Crown 8vo. =3s. 6d.= each.
=Jane Austen and her Works.= | =Peggy Oglivie’s Inheritance.=
=Mission Life in Greece= | =The Family Honour.=
=and Palestine.= | =Esther West.=
=The Three Homes.= | =Working to Win.=
=Deepdale Vicarage.= | =Krilof and his Fables.=
=In Duty Bound.= | By W. R. S. Ralston, M.A.
=The Half Sisters.= | =Fairy Tales.= By Prof. Morley.
=Books for the Little Ones.=
=The Merry-go-Round.= Poems for Children.
Illustrated. =5s.=
=Rhymes for the Young Folk.=
By William Allingham.
Beautifully Illustrated. =3s. 6d.=
=The Little Doings of Some Little Folks.=
By Chatty Cheerful. Illustrated. =5s.=
=The Sunday Scrap Book.=
With One Thousand Scripture Pictures.
Boards, =5s.=; cloth, =7s. 6d.=
=Daisy Dimple’s Scrap Book.=
Containing about 1,000 Pictures.
Cloth gilt, =7s. 6d.=
=The History Scrap Book.=
With nearly 1,000 Engravings. =5s.=;
cloth, =7s. 6d.=
=Little Folks’ Picture Album.=
With 168 Large Pictures. =5s.=
=The Old Fairy Tales.=
With Original Illustrations.
Boards, =1s.=; cl., =1s. 6d.=
=My Diary.=
With 12 Coloured Plates and 366 Woodcuts. =1s.=
=Sandford and Merton=: In Words of One Syllable.
Illustrated =2s. 6d.=
=The Story of Robin Hood.=
With Coloured Illustrations. =2s. 6d.=
=The Pilgrim’s Progress.=
With Coloured Illustrations. =2s. 6d.=
=Wee Little Rhymes.1s. 6d.=
=Little One’s Welcome.1s. 6d.=
=Little Gossips.1s. 6d.=
=Ding Dong Bell.1s. 6d.=
=Good Times.1s. 6d.=
=Cassell & Company’s Complete Catalogue=
_will be sent post free on application to_
CASSELL & COMPANY, LIMITED, _Ludgate Hill, London_.
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