And this involves another great principle. The demand for the Lucifer Match is always continuous, for it is a perishable article. The demand never ceases. Every match burnt demands a new match to supply its place. This continuity of demand renders the supply always equal to the demand. The peculiar nature of the commodity prevents any accumulation of stock; its combustible character—requiring the simple agency of friction to ignite it—renders it dangerous for large quantities of the article to be kept in one place. Therefore no one makes for store, but all for immediate sale. The average price, therefore, must always yield a profit, or the production would altogether cease. But these essential qualities limit the profit. The manufacturers cannot be rich without secret processes or monopoly. The contest is to obtain the largest profit by economical management. The amount of skill required in the labourers, and the facility of habit, which makes fingers act with the precision of machines, limit the number of labourers, and prevent their impoverishment. Every condition of this cheapness is a natural and beneficial result of the laws that govern production. THE AMUSEMENTS OF THE PEOPLE. Mr. Whelks being much in the habit of recreating himself at a class of theatres called ‘Saloons,’ we repaired to one of these, not long ago, on a Monday evening; Monday being a great holiday-night with MR. WHELKS and his friends. The Saloon in question is the largest in London (that which is known as The Eagle, in the City Road, should be excepted from the generic term, as not presenting by any means the same class of entertainment), and is situate not far from Shoreditch Church. It announces ‘The People’s Theatre,’ as its second name. The prices of admission are, to the boxes, a shilling; to the pit, sixpence; to the lower gallery, fourpence; to the upper gallery and back seats, threepence. There is no half-price. The opening piece on this occasion was described in the bills as ‘the greatest hit of the season, the grand new legendary and traditionary drama, combining supernatural agencies with historical facts, and identifying extraordinary superhuman causes with material, terrific, and powerful effects.’ All the queen’s horses and all the queen’s men could not have drawn MR. WHELKS into the place like this description. Strengthened by lithographic representations of the principal superhuman causes, combined with the most popular of the material, terrific, and powerful effects, it became irresistible. Consequently, we had already failed, once, in finding six square inches of room within the walls, to stand upon; and when we now paid our money for a little stage box, like a dry shower-bath, we did so in the midst of a stream of people who persisted in paying their’s for other parts of the house in despite of the representations of the Money-taker that it was ‘very full, everywhere.’