vmmfSM Amm jvw^ / PUNCH AND JUDY, With Instructions How to Manage the Little WOODEN ACTORS; CONTAINING ARRANGED FOR THE USE OF Ij'M EE&INNERS, DESIROUS TO LEARN How TO Work the Puppets. — FOR- Sunday Schools, Private Parties, Festivals and Parlor Entertainments. I - BY THOS. A. 2M. "WARD, Attorney at Law. JANESVILLE, WIS.: VEEDMi & LEONARD, TRrNTERS, 1874. M Eufered accutditg to a'' .»ct oi" Congress, in tbe yeaf I874,-i)y tHOS. A. M, WJtRD, In SiC- Clerk's Office of the Dif itict Cc mt fc r tlietsi-tfrn BUtrict f)f fenajjlvaiiia. 5 ^^7.v«^ ?7^r xj '^'"t ■'-■•f—"-' --■MT-T 1 / y 1874- PREFACE. The Invention of Puppet Shows, Tumbling and other public amusements, carries us back to a period in liistory long anterior to the birth of Moses. In fact. Games of Chance, as well as the sports and pastimes usually enjoyed in their Plays, by the early people of Egypt, were in their zenith in the reign of the Rameses. R.\MESi-.s ihe II, was a magnificent patrv^o of letters as well as art. --t^,-__ The "Sacred Library," Avhich Diodonis mention.*, has been discovered in his Palace, the Rameseum a<^ Karnak. Nine men of learning were attached to the person of this King, and at their head Avas a certain Iv.4.GABr, as "Master Oi the Rolls, (Books) a man "unrivaled in elegance of style and diction." From the pen of this master, who may have helped to train the mind of Moses, the King's adopted gi\andson, in "all the learning of the Egyptians," we still possess the oldest Fairy Tale in the Avorld, a moral story, resetiibling that of Joseph and his Brethren, composed for the King's son Meneptha, who after- wards became the 02:)ponent of Moses, at the time of the exodus of the Jews from Egypt. Our object is not so much Avith the antiquity of shoAvs, as it is directly Avith the introduction of "Punch and Judy" into polite society ; in proper character, free from superfluous verbi- age, and dressing the play in phraseology commensurate Asnth the progress of the age — good taste and refinement. The performance of Punch in the streets of European cities, unpurified of the vulgar colloquies put into his mouth, by the man Avho Avorks the Puppets, would not for an instant be toler- ated by the people of this country. 7571 S7 I'UXCU AND JIDV. "The Play of Pikch and Jidy," observes a writer in Har- j)er's Monthly, "was exhibited for a short time at a popular place of amusement in New York City, in 1 870, but did not take sufficiently with the audience to induce the managers to go on with it. ' The true cause of its failure, at the time, doubtless arose from the vulgar and impure language, used by the lellow that work- ed the Figures. Where the little Puppets have been properly conducted, the popularity of the show has been unbounded. With the assistance of Mr. Cruikshank's admirable illustra- tions, it may be made the medium of the most amusing whims icalities. We are told that so grave and dignified a personage as an English Secretary of State is, certain to be, once paused on his way from Dow>^«s-isTreet to the House of Co:mmons on a night of important debate to witness the whole performance. "^ INSTRUCTIONS. How to PerforMi the Piij^pets.- The Frame should be three feet long and two feet wide : there sliould be a space of 16 inches high, between the stage, on which the Puppets perform, and the top of the Frame, coi-- responding to the ceiling of a room, from which a little curtain hano-s and in all particulars resembling a miniature theatre, with small Avings on the sides, like the scenes in a large theatre, and a curtain in front to drop, or slide across the stage, at the end of each act, is necessary. Immediately above the stage is a small stick running across the top, from which a small fringe hangs, in the style of a curtain, between this fringe and the top of the stage, is a space of 16 inches, for the Puppets to perform. The higiit of the stage, or tloor on which the Puppets move, from the ground upward, must be regulated by the hight of the person performing the Figures; the stage, therefore, should never e.xceed two incl)es higher than the head of the person who stands l)ehind it, inside of the Frame. This will enable PUNCH AND JUDY. the perfoi-nier to rest his hands on tlie back part of tlie stage without being seen by the audience. Without this relief for the hands to rest on, he could not be able to continue the movement of the Figures to any lengtli of time. On one end of the Frame (the stage part) is a small socket, in which the end of a movable gallows is fixed. The whole of the Frame is covered outside with thick cloth, to conceal all that may be done on the inside. Three bags hang in front of the performer — extending across the Frame; and on the right and left hand sides, are four more pockets — two on each side — making seven altogether; aboiit six or eight inches deej). In these pockets ai*t ■placed the little Wooden Actors. Punch and the Doctor, occupy the sai>.'> bunk. Judy, with her child, and the dog Toby have a bunk to then.i«elves. The Constable and Jack Ketch, room together. The Negro ■^pd the Devil have separate berths. The way to hold the Puppets in order to exhibit them to the public : Punch is always held by the showman's right hand, his head is wood of course, and should be five inches, allowino- two inches for the length of neck would make it seven inches long, five inches from the neck to the top of the head, with a hole, for the finger to rest in, three inches deep. Into this little hole in the head fits the showman's fore finger while his second finger fits into Punch's right hand, and the exhibitor's thumb sets in Punch's left hand. Thus, by the aid of the exhibitor's fore finger and thumb. Punch is enabled to wield the club he carries with such consummate dexterity. Judy is held by the left hand and managed in the same wav: thus, when the exhibitor has Punch and Judy ready to com- mence the show they are said to be well mounted. How to make the dresses and to dress the Figures. The dress of each Puppet is a gown fastened around its neck about thirteen inches long, on to this is sewed the coat, shirt, vest and pantaloons. Inside of the gown the sho^\^nan thrusts his hand for the working of the little Actor — described above. 6 PUNCH AND JUDY. The Punch Puppet, has a big belly and a haunch on his back between his shoulders, which gives him the appearance of the Lord Mayor of London. The Play opens by the appearance of Mr. Punch who calls Judy to his aid. Here commences the dance by Punch and Judy, who bow to the audience, then to each other and at the sound of music move off in the dance. It is not aecessary that the feet of the Puppets should be seen, consequently they are seldom brought into view. The person inside the Frame when dancing the Puppets, must go through all the capers he wishes the Figures to per- form; and as he is entirely concealed from view, he ca,n be just as funny as he pleases; and in proporticu to his comic actions will the little Actors appear to tlie fcudience. And strange as it ma.y- seem should the exhibitor fail to carry out these inst',;^iions, namely: of moving his body, so as to corre^jpond with the motions he Avishes to give the Figures, the dance of Punch and his wife would be flat — without fun or any interest whatever. Therefore, remembar and fail not to put in all the comic points, (motions) for in this lies the secret of giv- insc life and merriment to the Punch and Judy Show. Act 1. Scene 1st. (Punch — is heard below vnth a loud squeak: he maJces his appzarance ftoni the wing on the right hand side of the stage dancing and singing. Enter Punch.) Punch. — Good day little people — how do you do? The fun- niest mm I ever saw was old Joe Miller. Bat the smartest chap among them all wa? Jack the Giant Killer. The bigest thing on the ice is an Elephant — he is not a pret- ty bird — and never travels without a trunk. The Pig is a smaller bird — somebody shot his feathers all off. Judy, my dear, come up stairs. (Judy anstoers from beloio.) I am coming darling. {Enter Judy.) Judy. — Mr. Punch, did you call me? Punch. — I should think I did — had you been here sooner PUNCH AND JUDY. you would have seen the man that lived in the "House that Jack built. " Judy. — Did you see him? Punch. — I only saw one side of him — that is why I wanted you here — you could have stood on one side, and I on the other, and then we could have seen the whole of him at one time. He iras or fid f Judy. — Mr. Punch, you are such a funny man: now let us have a nice little dance. Punch. — With all my heart. {They join hands — boio to the audience — then to themselves and stej) off, keeping time icith the sound of the music.) Judy. — Mr. Punch, I am going down stairs to bring up the Baby. {Exit Judy.) (Punch — continues to dance — a negro comes up slyly behind him and hits him a heavy hloio on the side of his head, and before Punch gets a glance at him, darts out of sight. Punch scratches his head, looks about the stage — seemingly m,uch perplexed — but is soon relieved by the appearance of Judy icith the Child. Enter Judy xcith the Baby.) Judy. — Mr. Punch, here is our own little darling: you hold the child while I go down in the kitchen and prepare dinner — mind you — don't you slap or pinch it, to make it C17. {He takes the Child. Exit Judy.) (Punch sings) " It is good to be a father," etc. {He tries to make it sit uj) — the Child cries — he again sings.) " Lullaby baby in the tree top, When the wind blows the cradle will rock." Oh, you little tu-te-tutes — pretty bii'd, sit up. {He takes it in his la]) a7id tries to make it sit up.) The baby want he rnamnia ? yes, he does. {He becomes imptatient at the noise of the Child.) If you don't stop I'll give you a good spanking. {Throws the Child 112) and catches it.) Catchee, catchee, cat- chee! {Child continues to cry and Punch getting angry throios it out at the window.) He! he! he! {laxighing and singing) I am not such an ugly man ! The girls all laugh whenever they can — And they sing, ' there goes the ugly man !' PUNCH AND JUDY. {Re-enter Judy.) Judy. — Mr. Punch, where is the Child? Punch. — Gone to sleep. JxjDY. — [Looking around and not seeing it.) Where have you put it? — is it in the cradle? Punch. — No my dear, I put it into the soup. Judy. — Punch where's that child tell ine quickly. Punch. — The Cliild cried and I dropped it out at the window. JfDY. — I'll drop you on tlie floor — depend upon it — where is my stick? {Exit Judy.) Punch. — There she goes — three feet three inches and a chaw tobacco high. {He sings) '"there was an old woinan who lived in her shoe — shoe — shew !" {Re-enter Judy v^ith a stick/ she comes in behind him and hits Punch a square blow o)i the back of the head before he is aioare.) Ji'DY. — You mon.ster — I'll teach you how to hold a child — you nasty puke. Punch. — So-o-ottly — Judy my dear so-o-oftly! {rubbing the back of his head icith his hands) don't be a fool ! Judy. — You'll drop niy ])oor child out at the window will you? {hitting him contifiuallg on his head.) Punch. — Don't Judy — stop I tell you — a joke is a joke. Judy. — You cruel man — ^you think it is a joke do you — ^it is iio joke witli me to have my poor dear child beat to death! I'll shoAV you how to use a child. {Hits him.) Pltnch. — I don't want to learn — are you in earnest? Judy. — Yes {hit) I {hit) am. {hit.) Punch.— Leave oif I tell you. What! you refuse?, do yon? JiDV. — I won't leave off. {Hits Jiim.) Punch. — Very well my lady; now comes my turn. {He snatches the stick from her, and strikes her on the head while she runs about to different pa,rts of the stage to get out of his vay.) How do you like that? old gal, and {hitting her) that? Jt DY. — Mr. Punch, you ought to be ashamed of yourself to strike a woman! a helpless woman like rae — get out with you. Punch. — If a horse kicks uie I'll kick him back if I can — if a dog bites me I'll bite Jibn — you take that {hits) and one more PUNCH AND JUDY. {hits her again — she falls to the floor; Punch is alarmed.) No, no; I won't hit yon again. Judy {he lifts her up) don't cry — let's make up and never quarrel again! {He kisses her, Judy ^:)t<<5 her arms around his neck and lovingly forgives him.) Judy. — Don't you never strike me any more. Punch. — No never! now my dear go down stairs and take care of the baby — you be good to me and I'll be good to you. {Exit Judy. Punch si)igs) I am a jolly shoe-maker my mme is Dick Ale, I am a bit of a beast for I live in a stall, With an ugly old wife and a tortoise shell cat, I mend boots and shoes with a rat-a-tat-tat. {Re-enter Judy.) Judy. — Mr. Punch, have you seen Polly Hopkins ? Punch. — No I haven't seen her since she had the measles. Judy. — Well now since you are in such good humor let us join in a nice little dance. Punch. — Of woman kind I do admu'e but one and you are she my dearest dear, therefore it shall be done. {They hoio to the audience, then to thwi^elves and dcinie off: Punch sing- ing the tune and both keeping time to the music. EcitPu'scii and Judy.) {Enter Doctor a)id Servant.) Doctor. — -He is not here {to the negro) Joe, you go through the house — *ind Mr. Punch and tell him I want to see him. Joe. — Yes sir — I spec he is in de hotise. {E/^it Joe.) {Enter Punch, loho is ailressed by the Dr.) Dr. — Is your name Punch? Punch. — Yes I am Punch — who are you ? Dr. — Well sir I am a Doctor. Punch. — Why I am not sick ! Dr. — That may be — I have restored to health your little child. Punch. — Dr. you are a good fellow. Come and see me some time when I am not at home. Dr. — Mr. Punch, my charge f(3r curing the cliild is fifty dollars. Punch. — Sir: do you take me for the Bank of England! 10 PUNCH AND JUDY. Dr. — Well, to be liberal with yoi; I Avill throw off one half. Pinch. — I will not be cutdcne in liberality — I will throw cff the other half! Dr. — Mr. Pinch, if ycu dcn't j'sy n:e I will send the sheiiff for you. Punch. — {Looking for his sticl — the Dr. Jlies for his life.) Lucky for you old chap or I would have made a pill of ycu. {Enter Miss Polly HorKiNS.) Polly. — How do you do sir? I am looking for the man who lived in the house that Jack built. Punch. — {aside) Oh, good gracious what a pretty girl: in the language of Shakspear, I am the man. Polly. — Why your name is Mr. Punch, I know you! Punch. — Yes, {aside) how on earth did that little girl learn my name? My little daughter, there are said to be one hundred rccms in my house — but I never could find but ninety — where the other ten are I never knew. But there are about one thous- and big Norway rats who live in this house — run riot all night and don't pay no rent. Three days ago I wrote on a number of pieces of papers for the rats to leave — one of these papers was put in every rat-hole in this house. Polly.— Have they left? Punch. — I doit hear no noise for t'lco days — I think they are making up their minds to seek homes elsewhere. Polly. — Did you ever catch any of them? Punch. — Oh, yes, bless you, I made a pol.-pie of big fat rats but I could not eat it. I never did like rats any w^ay you can cook them. Polly. — What did you do with the pot-pie? Punch. — I gave it to my wife's poor relations. Polly. — Mr. Punch, 'mother says you are my grandfather's great unck — when I was a little child you promised me a dol- lar!' Punch. — I remember it, that was six years ago. {He sings and dances.) It is nice to be a father. (Punch ^^w^s Polly through a course of spelling.) Polly. — Uncle, you won't forget the dollar? Punch. — No. Now I want you to spell sugar. {She tries laXCH AND JUDY. H and fails.) P'ollow me my child — now, s-ii-ga-r. {She repeats the letters but fails to tell %chat they spell.) Punch. — What does that spell ? PoTXY. — I don't know. Punch. — What does your mother put in her tea ? Polly. — A spoon ! Punch. — Bah ! sugar my child. Polly. — Uncle don't forget the dollar. Punch. — I'll not forget it — now, Polly, follow me— {he pro- ceeds and she repeats) m-i-l-k — what does that spell ? PoLLY\ — Sugar. Punch. — No it don't: What do you get in your little mug every morning, when you go round the corner, for your mother? Polly. — Whiskey ! Punch. — That will do, now go to bed. That child is more than seven years old! lie starts Polly off to led ami as she makes her exit, she exclaims, Uncle don't forget the dollar! Punch sings — "Polly put the kettle on we will all drink tea, Barney let the girls alone and let them quiet be." Act II. {Enter Policeman, accompanied by black Joe, the Doctor's servaiit.) Joe. — Yes sah, I know him — he can't fool dis child : {look- ing about him he espies Punch) dah he — dah he is! Dat him -r-dat's ole Punch. Punch. — Here's a pretty brace of ducks. {The Policeman at the sight of Punch's stick, sneaks off unseen by the negro, leaving poor Joe all alone tcith Punch.) Joe. — I ain't no duck. Punch. — 1 am going to eat a live nigger raw. Joe. — Moses in de mountain-— you don't catch dis child. {Exit Joe. Plts'ch lies dow?i on the stage and xohile vmtching 12 riNCH AND Jtt>Y. for the darkie falls asle(p. Joe slUy crav:Is i/p (o him and plants afearfid hlcw on the right side of Fukch's head; and suddenly dodges cvt of sight. Fikcii, q-fings vp lut too late to get a sight of his encwy, he conceals himself behind the scenes and remains on icatch. Joe slily cratcls vp> to his side of the stage and conceals himself behind the curtains. Bxit Pt'KCH sees him and craiding over unseen, on his hands and knees, to Joe's corner, returns Jor his chil — as before — returns and hits the negro an avfxd blew and flies to his cv.n corner.) Joe. — You nasty ole tmkey dosc — I'll catch ycu yet — I'll put hot lead in your ear. (Joe hides behind the curtain.) (PtKCH craicls over to Joe's side again and deals him tvio hloxos in rapid succession. Joe falls dcv:n and Pinch, sxqy- posing the fellcio to be dead, thrcu-s him over the stage; and then sings. Oh, lay me in my little bed. {Exit Punch.) {Enter Blind Man; at the same time an Ieish3ian/?-cw2 the opposite side of the stage.) Irishman. — Is your name Punch? Blind Man. — No, I am blind. Ikish. — Sure, and how should I know that ? troth I would rather see than be blind — it is an unlucky counthry — this that makes a man go blind before he gets hungiy — bad luck to the day I left Ireland. {Exit Irishman.) {Enter Punch.) Punch. — Ah, is that you Blindy. "Where are you from last? Blind Man. — From beyond the sea. Punch. — Old man, you used to be good at jumping once, how is it now ? B. M. — I was something of a jumper in my day. Punch. — {Leading hira to an old tcell.) Now, here is a level i>lace, let me see how far you can jump — there's a half a dollar for you. (B. M. gets ready, makes a jump and lands at the bottom of the well.) B. M. — Help — help, help me out, I am blind! Punch. — Stick to it old fellow — keep the thing going and I PUNCH AND JUDY. 13 will go for assistance. {He starts off, singing.) " DowD in the coalmines underneath the ground, Where a gleam of sun-shine never can be found, Digging dusty diamonds all the season round: Down in the coalmines underneath the ground." {Exit PuxcH. End of Act II.) Act III. {Enter Alderman Mallen and Capt. Frank.) Frank. — He is said to be a mighty smart man, but I think we can take him. Ald. M. — Well, if we can't no one else need try. {Enter Punch, singing.) For I am one of the olden time, And may be thought too g^iy, Like Jersey Sam the Farmer's man, Hurrah ! hurrah ! hurra. Frank. — Leave oft' yom- singing, Mr. Punch, for we have come to make you sing on the other side of your mouth. Punch. — Well sir, who are you? Frank. — Don't you know me "? Punch." — Xever saw you before. Frank. — That is all gammon : I know you well enough; I had a pretty hard fight with you once. Punch. — I always like a man better after I have fought with him. Who sent you here? Ald. M. — You are wanted at the Mayor's office. Col. Wood say.s you once killed a Policeman in Chicago. PuKCH. — No body cares for that. I won't go. Frank. — Besides, you killed the Doctor's servant, black Joe. Punch. — He killed me. Ald. ISL — How can that be? Punch. — I was dancing by myself and the fellow came up behind me and knocked me down — if you don't believe it, I can show you how it was done. Ald. M. — Well, for one, I should like to see about how it was done. (Pl'nch hits him a heavy blow on the side of his head and suddenly makes his exit.) 14 PUNCH AND JUDY. ( The Alderman and the Constable conceal themselves be- hind the curtains and remain on the loatch for their enemy.) Ald. M. — I say Frank, he is a tricky old fellow. Frank. — Yes, one Avants to be on his guard. He is as quick as lightning, but we must take him — cost what it may, and we have got to do it before he reaches the engine house, on the corner of 10th and Filbert street, the firemen are all friendly to him — so are the children of the city. Ald. M. — I'll take him if I have to summon the whole of the Fourth Ward. (Punch is heard from below; the 2)a'rties quickly conceal themselves behind the curtain and await his approach. En- ter Punch singing.) Charley Buff has money enough, Charley Buff lives over the shore, And when he dies he'll close his eyes and never see money more. {At this part of the play the Alderman and the Policeman spring up behind him and after a hard struggle they pin him in a corner, and finally carry him off, lohile he lustily calls out, "Help! mm-der!" etc. End of Scene I.) SCEI^E II. — The curtain rises at the back of the stage, and discovers Punch in Prison. (Jack Ketch enters with a galloios on his shoulders. He fixes it on the platform of the stage, and exit.) Punch. — There goes a hang-dog looking fellow whom they doubtless keep to feed hogs — the fellow's face resembles a side of sole leather, with a slit in it which he calls a mouth. {Enter the Constable. He examines the Gibbet and eudts.) Punch. — There goes the man that stole the butcher's dog, {^Enter two men with a cojia — they set it down on the platform and exit.) Punch. — Hello, there goes two scoundrels — -body snatchers. What grave have they been robbing ? {Re-enter Jack Ketch.) Jack Ketch. — Now, Mr. Punch, you may come out. (Punch walks out.) Punch. — .Jack, what have you got on your face ? J. K. — I W3ar a misk because I am thi public executioner. PUKCH AND JI'DY. 15 It was my ancestor who cut off the head of Ann Bowlin, Cath- erine HoAvard, Lady Jane Gray and Mary, Queen of Scots, and now I am going to execute you — for killing the De.'s servant. Punch. — No you don't, if you do I'll be hanged. J. K.— Why did you kill old Joe? Punch. — In self defence. J. K. — Punch that won't do — you are too tough to live. Punch. — Jack, the old devil will never get all that is due him, until he gets you in his bony arms. J. K. — That's all bosh: your time is nearly up. I want you to put your head into this halter and I'll give you the best swing you ever had. Punch. — Jack, if my head was in that rope, I would not take it out, but, as it is out, I'll never put it in. J. K. — !Mr. Punch, be a good fellow — you are a consider- able burden to me and I want to get the load off my hands ; oblige me by being hung, here is the ncose, just put your head in here. Punch. — Through that place there"? {Pointing to the noose.) I don't know how. J, K. — It is very easy: only put your head in that loop, — here, — take the noose. Punch. — What so? (^Pi^khg his Jvad on one side of the nooi-e then on the other side.) J. K. — Not so you fool. Punch. — Mind, who you call fool: tiy if you can do it your- self: only show me how it can le done — old pestilence and I'll tiy. J. K. — Very well ; I will, you see my head and you see this loop. Put it in, so. {Putting his head throv(/h the mose.) Punch. — And pull it tight, so! (Ee pidls the hody Jorcihly down, arid havgs Jack KS.1CE.) Huzza! huzza! (Pvscn takes dozen the cor-pse and place$ it in the cfffin. Enter two men who remove the galloics and then carry away the cjfin anfaining the body of Jack Ketch and e.rit. 16 PUXCH AND JCDY. Punch. — There they go they think they have got me in that coffin. {He sings) Let the wild world wag as it will I'll be merry merry still. Jack Ketch i3 dead and I am free I don't care if old Nick himself should come for me. {During his singing he beats time with his stick.) I am the man to manage them all, Here's a stick to thump old Nick, If ever he pays me a call. {Enter the Devil. Peeps in at the corner ^i and exit.) Punch. — {Much frightened , and retreating as far as he can.) Oh dear! oh Lord! What is that? That's old Nick, sure enough. ( The Devil comes forward. Punch stands on the defensive ) Punch. — Keep ofl" Mr. Devil. ( The Devil advances ) Look out for your eyes. (^The Devil darts at Punch, icho escapes and aims a lloiv at him : the De\IL eludes if, as loell as many other hl( ics wliich Punch aims at him, laying his head on the plafjorm, and slipping it rapidly backward and forward, so that Punch in- stead of striking him, only repeatedly hits the boards. Exit Devil.) Punch. — He, he, he! {laughing.') He is off: He who runs away will live to fight another day. (^4 noise in the background is heard.) (Punch alarmed by hearing a strange, ichirring noi: EVER OFFEHED TO m mTElLtOENT PUBUG. A. M. WILSON, Proprietor, Apothecary, X. W. Coruer of Xlntli and Filbert Streets, lARGE TEMPLE OF FANCY! CHILDREN'S CARRIAGES, OF yVLIL, KINDS. Wagons and Carts, Base Balls, Bats, MAEBLES, ROLLLNG HOOFS, JUMPING ROPES Bomina^ij Gar^§» §lat©s and) W^mQlh^ Amber Tubes, Beads, Canes Mounted with Gold and Sil- ver, Ivory and Plain, of our own Make. New Toys, Fancy Goods and Novelties always receiving and selling at the lowest prices. rUNCH AND JUDY FIGURES CONSTANTLY ON HAND. GEOItOE DOLL «& CO., Iinporters, >'OS. 10 AKD 13 NORTH SIXTH ST., PHILADELPHIA. K. B.— CANES and PIPES neatly mounted and repaired. ADVERTISEMENTS. 19 ESTABLISHED 1857. OF ALL KINDS BOUGHT AND SOLD. !Mr. Kline Avould invite the attention of collectors to his extensive stock of Coins, Medals, Minerals, Fossils, Gems, Antiques, Shells for collections and work, Articles of A^ertu, Postage, Revenues, Match, Proprietary, and Department Stamps, India, Canton, Sevres and rare China, Clocks, Watches, Candlesticks and Snuffers, Indian Stone Implements and Pottery, Bronzes, Mosa- ics, Seals and Armor, Pipes, Birds' Eggs and Nests, Engravings an>d Scrap Prints, Idols from India and China, Skeletons and Crania, Crests and Mon- ograms, Corals and Sponges, Stamp and Monogram Albums, etc. Price Catalogue Sent Free on tlie Receipt of the Address. Wanted to purchase, United States Revenue, Match, Medicine, Proprie- tary, Department and Confederate Stamps, Coins, China, and curiosities of every description. In remitting money, if over two dollars (which may be sent either in currency or un-used U. S. postage stamps) always send P. 0. order or Banker's draft, pavable to order. JOHX W. KLIN£, Imijorter of Postage Stamps, ^c. 112 SOUTH EIGHTH STv, PHILADELPHIA^ PA; 20 ADVERTISEMKNTS. mtim ^^QiW» li?^ r PAlf lis ANi 1119 Spring Garden Street Ti.T3uaaa & IMPOETEES AND DEALEES IN ic; Uptiolsteff Goods, Cudaios and Window Shades, And all kinds of Cabinet Maker's Materials. No. 11 North Charles Street, I IMT I II len^^aWBa J. H. PILLEY & SON, ' 111 MilillSi AND ^^IISTDO^^ SHADES, 1103 Spring Garden Street, PHII.ADELPHIA. COMPETENT WORKMEN FOR CITY AND COUNTRY TRADE ADVERTISEMENTS. 21 F« i4@@if^, ^: -DEALER IX- H^TS, OJ^IPS AND No. 926 Market Street, :PH:ii_,j^r)E]iL.:ps:TJL. F. EBERHARDT, IMPORTER AND DEALER IN FRENCH AND GERMAN 3 PU]\CH A]\D JUDY FIGURES. No. 928 Arch Street. P HI LADELPHIA. 22 ADVERTISEMENTS. CAX BE ENGAGED FOR SOCIETIES, LODGES AND PEIVATE PARTIES! IN THE CITY AND COUNTRY. Apply at No. 503 Chestnut Street, op at his Resi- dence, 1831 Wallace Street. ©iegaraf Iiiltit© FOR YOUNG LADIES AND MISSES, Established by Madame Chegaray in New York, 1814. MADAME D^HERVILLT, - - Frincipal. Nos. 1527 and 1529 Spruce Street, PIIII.4DELPHIA, PA. JOHN THORNLEY, 503 Cliestiiut Street, Philadelphia, Pa., ]V[anufactiirer and Dealer in All Kinds of lUnik EHIBIE ADVERTISE3IEXTS. 23 THGO. L HMBADH IMPORTER OF ides for ttie Magic lar.tefn and Slefeopticon ! Novelties a Specialty. iaclQst Stamp far QatalQgu^e 809 Filbert Street, Philadelphia, Pa. e@= MAGIC LAKTEHNS AND SLIDES WANTED. TE3VnP^I-.E OIF IF -A^SBIZOlsr! 1101 N. W. Corner Eleventh and Chestnut Streets, IMPOHTER OF GLOVES IN EVEEV SHADE, MILLINERY FOR LADIES AND MISSES, IMPORTED BONNETS AND HATS, LADIES' DRESS TRIM MINGS, REAL AND IMITATION LACES, Parasols, Fans, Ribbons, Ties, French Jewelry and Fancy Goods, Dress and Cloak Making in tlie most tasteful and elegant manner. PAPER PATTERNS WHOLESALE AND RETAIL. WILLIAM A, DROWN & CO., UMBRELLA and PAMSOL MANUFACTURERS, 246 Market Street, PHILADELPHIA. AYarerooms in New York, 498 and 500 Broadway. \ 24 ADVERTISEMENTS. $.A.$OHWAnX, — IMPORTER OF- GEEMAN, FREUCH AlTD ENGLISH —ALSO— OF ALL SIZES FOR PUBLIC AND PARLOR ENTERTAINMENT^!, OF WOOD AND PAPER-MACHE, WITH rRftMiS F@l PiiFC^EHCM® TfCi PiPPiTS. FANCY CHINA WARE, MUSIC BOXES —AND— OTHER NOVELTIES — AND— Selling at the Lowest Prices. ^o. 1006 Chestnut Street, FHILADKLPHIA. /;1^ HELMBOUJ'S DRUG STORE, ©@ffitla©atal S®'l©le iAElffIIi.Ii:¥ iiMP'illllP iJliirr llriifi^ ;iitil '^l! ;liciiiir:iH. OPEN ^LL INIGHLT. IMPORTER OF FRENCH, GERMAN AND ENGLISH COMPLETE LINE OF LADIES' REQUISITES. PRINCirAL AGENT OF ^TKI]l«aQ)e^^§;|Lli!]N]^San]^LiTai;iFQR©'S SOLE AGENT FOR THE @>@Mea Half MmMj L'AUREOLINE DE ROBARE, Patronage of the Public is Respectfully Solicited. ALBEMT L, HELIIBOLB, Pliihulclpliia, Pa. )V