makes violent but unsuccessful love to a charming young Jewess. There was a poor barber who was raised to the dignity of grand vizier, his successor’s head being cut off by the yataghan of the Oriental Jack Ketch, to the great delight of the people. Then a wretched Jew receives the bastinado, amidst vociferous applause, which increases still higher when the ears of an unhappy Giaour are cut off and thrown to the dogs. Throughout the piece, it is of course the Mussulman who always triumphs, like the French guards at the _Cirque Impériale_, or the British grenadiers at old Astley’s. The performance concluded with a grand naval battle between the Moorish and Spanish fleets. The drum as usual served for cannon, there was a great deal of smoke and confusion, and the Christian fleet gradually sank under the continuous fire of the Mussulmans amidst the plaudits and bravos of the crowd. [Illustration: FIG. 64.—Effect of cut paper-work. ] In Java, the subjects of the fantocini are generally taken from the native mythology. The screen on which the shadows are exhibited is ten or twelve feet long, and five feet high, and the figures are cut of thick leather, their limbs being moved by thin pieces of nearly transparent horn. In fig. 64 we see another kind of Chinese shadows, in which the lights of the figure are cut out. These pictures are perfectly unrecognisable as being even the basest imitation of any known form; but when their shadows are thrown on the wall, the cut-out portions show us lights, whilst those that have been left form the shadows. On the Boulevard des Capucines, at Paris, there used to be a man who managed to pick up a good living by selling these candle shadows. Of course he used to carry on his trade of an evening, and with a strong lamp he would throw the shadows of his figures on the white walls of the houses, or the blind of a shop window, or even on the pavement. With a little care and ingenuity a number of these amusing cards may be easily designed. In showing them, care must be taken to choose the best distances between the light and the paper, and between this latter and the wall. If the card be placed too close to the wall, the resulting shadows will be too dark, and the outlines too sharp; if, on the contrary, the light is placed too far off, the outlines become confused, and the proper effect is lost.