Pyrrho

ted to the top of the case containing the charge. These rockets are also terminated by a conical cap. We may remark, that in our common rockets the conical cap is not sufficiently stiff to maintain its form invariably, and so to aid in the regular ascent of the rocket. The balance-stick has next to be fastened to the rocket. The length, thickness, and weight of this stick, require calculation to suit it to the dimensions and weight of the case. On the Continent, rockets have been made to ascend without sticks by means of a triangle of pasteboard passing round the case, or by means of three pasteboard wings glued to the case. Each of these wings forms an isosceles triangle, in height six interior diameters of the rocket-case, and a little more than two of these diameters at the base. Each of these wings must be glued on quite parallel to the axis of the case, otherwise the flight of the rocket will be irregular. A short stick with similar wings has also been employed for rocket-cases. It is stated that all these winged rockets rose beautifully, even in a violent wind and bad weather; but some allowance must surely be made for the lateral action upon them of a strong wind.

The Roman candle consists of a strong case of paper or of thin pasteboard, which is completely closed at the lower end. It is generally charged with the same composition as sky-rocket cases, alternating with gunpowder and stars, as follows:—First a small quantity of composition is placed at the bottom of the case, and rammed down compactly by a rammer and mallet; next a small quantity of gunpowder, and above that a star without any ramming, but a gentle push to secure the contact of the star with the gunpowder; then a quantity of the composition, which is rammed down as before; next a little more gunpowder and a star, and then more composition rammed down; and so on till the case is filled. The case is then closed by a piece of paper-match pasted round the outside, and twisted to a point at the top. The charges of Roman candles might be diversified by variously-coloured fires and stars, &c.

The reader may consult the works of which the titles are subjoined:—Essai sur les Feux d'Artifice pour le Spectacle et pour la Guerre, Paris, 1750; Manuel de l'Artificier, Paris, 1757; L'Art de faire à peu de frais les Feux d'Artifice, Paris, 1828; Manuel de l'Artificier, par A. D. Vernaud, Paris, 1828; and Pyrotechny, by G. W. Mortimer, London, 1853.

Pyrrhica (Πυρρική), a celebrated dance among the Greeks, which, according to Plato (Leg. vii., p. 815), was the representative of all war-dances. It is usual to assign its origin to Crete or Sparta, and to the mythical age. Pyrrichos is said to be the inventor of it; and it is undoubtedly Doric in its origin. It has been also referred to Pyrrhus or Neoptolemus, the son of Achilles, by many who were probably misled by the name. This Byron does when he says—

"Have you the Pyrrhic dance as yet; Where is the Pyrrhic phalanx gone?"

It was danced to the sound of the flute or other musical instrument, with very quick and light time, as the Pyrrhic foot (πυρρίχιον), which is connected with this pastime, still testifies. Plato, in the passage above quoted, describes it as representing, by rapid movements of the body, the way in which missiles and blows from weapons were avoided, and also the mode in which the enemy were attacked. In the non-Doric states it was probably performed only as a mimetic dance; for we read of its being performed by women to entertain a company. It was performed at Athens at the greater and lesser Panathenaea; and Julius Cæsar introduced it into the public games at Rome. It was much admired by the Romans, and was exhibited by Caligula, Nero, and Hadrian.