There are now some other points that I must bring before you. Many of the flames you see here vary very much in their shape by the currents of air blowing around them in different directions; but we can, if we like, make flames so that they will look like fixtures, and we can photograph them—indeed, we have to photograph them—so that they become fixed to us, if we wish to find out everything concerning them. That, however, is not the only thing I wish to mention. If I take a flame sufficiently large, it does not keep that homogeneous, that uniform condition of shape, but it breaks out with a power of life which is quite wonderful. I am about to use another kind of fuel, but one which is truly and fairly a representative of the wax or tallow of a candle. I have here a large ball of cotton, which will serve as a wick. And, now that I have immersed it in spirit and applied a light to it, in what way does it differ from an ordinary candle? Why, it differs very much in one respect, that we have a vivacity and power about it, a beauty and a life entirely different from the light presented by a candle. You see those fine tongues of flame rising up. You have the same general disposition of the mass of the flame from below upwards; but, in addition to that, you have this remarkable breaking out into tongues which you do not perceive in the case of a candle. Now, why is this? I must explain it to you, because when you understand that perfectly, you will be able to follow me better in what I have to say hereafter. I suppose some here will have made for themselves the experiment I am going to shew you. Am I right in supposing that anybody here has played at snapdragon? I do not know a more beautiful illustration of the philosophy of flame, as to a certain part of its history, than the game of snapdragon. First, here is the dish; and let me say, that when you play snapdragon properly, you ought to have the dish well-warmed; you ought also to have warm plums and warm brandy, which, however, I have not got. When you have put the spirit into the dish, you have the cup and the fuel; and are not the raisins acting like the wicks? I now throw the plums into the dish, and light the spirit, and you see those beautiful tongues of flame that I refer to. You have the air creeping in over the edge of the dish forming these tongues. Why? Because, through the force of the current and the irregularity of the action of the flame, it cannot flow in one uniform stream. The air flows in so irregularly that you have what would otherwise be a single image, broken up into a variety of forms, and each of these little tongues has an independent existence of its own. Indeed, I might say, you have here a multitude of independent candles. You must not imagine, because you see these tongues all at once, that the flame is of this particular shape. A flame of that shape is never so at any one time. Never is a body of flame,