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——— Which produces a total of 68 II. Number in the right hand is odd 7 In the left hand even 18 Multiply by 3 Multiply by 2 ——— ——— Product 21 Product 36 Add the Product of the left hand 36 ——— Which produces a total of 57

      Secret Correspondence.

      To carry on a correspondence without the possibility of the meaning of the letter being detected, in case it should be opened by any other person, has employed the ingenuity of many. No method will be found more effectual for this purpose, or more easy, than the following.

      Fig. 1.

      Provide a piece of square card or pasteboard, and draw a circle on it, which circle is to be divided into 27 equal parts, in each of which parts must be written one of the capital letters of the alphabet, and the &, as in the figure. Let the centre of this circle be blank. Then draw another circle, also divided into 27 equal parts, in each of which write one of the small letters of the alphabet, and the &. This circle must be cut round, and made exactly to fit the blank space in the centre of the large circle, and must run round a pivot or pin. The person with whom you correspond must have a similar dial, and at the beginning of your letter you must put the capital letter, and at the end the small letter, which answer to each other when you have fixed your dial.

      Suppose what you wish to communicate is as follows:

      I am so watched I cannot see you as I promised; but I will meet you to-morrow in the park, with the letters, &c.

      You begin with the letter T, and end with the letter m, which shows how you have fixed the dial, and how your correspondent must fix his, that he may decipher your letter.

      Then, for I am, you write b uf, and so of the rest, as follows.

      T b uf lh pumrvayx b rvugghm lyy rhn ul b ikhfblyx vnm b pbee fyym rhn mh-fhkkhp bg may iukd pbma may eymmykl, tw. m.

      Another Way.

      Take two pieces of card, pasteboard, or stiff paper, through which you cut long squares at different distances. One of these you keep yourself, and the other you give to your correspondent. You lay the pasteboard on a paper, and, in the spaces cut out, write what you would have understood by him only; then fill the intermediate spaces with any words that will connect the whole together, and make a different sense. When he receives it, he lays his pasteboard over the whole, and those words which are between crotchets [ ] form the intelligence you wish to communicate. For example: suppose you want to express these word,

      "Don't trust Robert: I have found him a villain."

      "[Don't] fail to send my books. I [trust] they will be ready when [Robert] calls on you. [I have] heard that you have [found] your dog. I call [him a villain] who stole him." You may place a pasteboard of this kind three other ways—the bottom at top—the top at bottom, or by turning it over; but in this case you must previously apprize your correspondent, or he may not be able to decipher your meaning.

      Secret Correspondence by Music.

      Form a circle like Fig. 2, divided into twenty-six parts, with a letter of the alphabet written in each. The interior of the circle is moveable, like that in Fig. 1, and the circumference is to be ruled like music-paper. Place in each division a note different in figure or position.

      Fig. 2.

      Within the musical lines place the three keys, and on the outer circle the figures to denote time. Then get a ruled paper, and place one of the keys (suppose ge-re-sol) against the time 2–4ths, at the beginning of the paper, which will inform your correspondent how to place his circle. You then copy the notes that answer to the letters of the words you intend to write, in the manner expressed above.

      The Magic Vessel.

      On the bottom of a vessel, lay three pieces of money, the first at A, the second at B, and the third at C, Fig. 3. Then place a person at D, where he can see no farther into the vessel than E. You tell him, that by pouring water in the vessel you will make him see three different pieces of money; and bid him observe, that you do not convey any money in with the water. But be careful that you pour the water in very gently, or the pieces will move out of their places, and thereby destroy the experiment.

      Fig. 3.

      When the water rises up to F, the piece at A will be visible; when it reaches G, both A and B will be visible; and when it comes up to H, all three pieces will be visible.

      Artificial Earthquake and Volcano.

      Grind an equal quantity of fresh iron filings with pure sulphur, till the whole be reduced to a fine powder. Be careful not to let any wet come near it. Then bury about thirty pounds of it a foot deep in the earth, and in about six or eight hours the ground will heave and swell, and shortly after send forth smoke and flames like a burning mountain. If the earth is raised in a conical shape, it will be no bad miniature resemblance of one of the burning mountains.

      Artificial Illuminations.

      A very pleasing exhibition may be made with very little trouble or expense, in the following manner: Provide a box, which you fit up with architectural designs cut out on pasteboard; prick small holes in those parts of the building where you wish the illuminations to appear, observing, that in proportion to the perspective, the holes are to be made smaller; and on the near objects the holes are to be made larger. Behind these designs thus perforated, you fix a lamp or candle, but in such a manner that the reflection of the light shall only shine through the holes; then placing a light of just sufficient brilliance to show the design of the buildings before it, and making a hole for the sight at the front end of the box, you will have a very tolerable representation of illuminated buildings.

      The best way of throwing the light in front, is to place an oiled paper before it, which will cast a mellow gleam over the scenery, and not diminish the effect of the illumination. This

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