The Weiser signal. [volume] (Weiser, Idaho) 1890-1904, 1900-07-05

DERIVE THEIR ORIGIN FROM ANCIENT
FOUNDATIONS.


1t seems that in all ages of the world
and among the peoples Of all nations
brilliant illumination was considered the
proper accompaniment of the celebration
of religious and patriotic festivals, and
with Jew and gentle, pagan and Chris
tian, it has always figured conspicuously
in the offering of sacrifice, in the worship
of God and in public demonstrations Of
all kinds, says the Louisville Courier
Journal.
To the races of antiquity gunpowder
and the subsequent invention of firearms,
fireworks, ETC., to which it led were I'M
known. and fire, regarded by them as the
symbol Of respect and immortality, was
the chief agency of their Examinations.
This element was held to be most proper
and holy for sacrifices by the pagans
and In this they initiated the Hebrews.
The vestal fire of the Romans was most
probably derived from that which fell
from heaven on the victim offered by
Aaron and long afterward religiously
kept up by the priests. To the Romans
fire also represented majesty, and when
used by them it was more for the cere-
monies of religion than for a peculiar
mark Of their rejoicings.
The Greeks lighted lamps at a certain
feast held in honor Of Minerva, who
gave them oil; Of Vulcan, who was the
inventor of lamps, and of Prometheus,
who had rendered them service by the
fire which he had stolen from heaven.
AnOfbQr ocf RI Pon
ed by grand nocturnal illumination, in
which wine was poured forth profusely
to all passengers. A feast in memory of
Ceres, who sought SO long in the dark
ness Of hell for her daughter, was kept
by burning a number of torches. Great
Nominations were made at various other
meetings, particularly the secular games,
which lasted three whole nights. So
carefully were these lights kept burning
that night had no darkness.
Examinations of fire were made at the
baptism of princes after the Christian
era as significant of the life of light into
which they were going to enter by faith.
On the tombs of the martyrs it was also
used to light the watchings of the night,
but many of these customs were abol
ished in time from the abuses to which
they led. But, although illumination
was employed at all times as typical of
solemnity and rejoicing, we can only
trace the rise Of fireworks, given merely
for amusing spectacles to delight the eye,
to the epoch Of the invention of gunpow-
der and cannon, in the thirteenth CEN
fury. From these two inventions sprang
all the military machines and war imple-
ments Of our present day, and to them
also do WI tho oil Of hoo
full fireworks.
To the Florentines and Siennese are
we indebted not only for the preparation
of powder with other ingredients to
amuse the sight, but also for the inven-
ton of elevated machines and decora-
lions adapted to augment the pleasure Of
the spectacle. They began their attempts
at the feasts Of st. John the Baptist and
he Assumption on wooden ediices, which
were adorned with painted statues, from
whose mouth and eyes issued a pretty
fire. Cabot has engraved numerous spec
linens of the pageants, triumphs and
professions under great variety of gro
tesQue forms-dragons, swans, eagles, |
ETC., which were built up large enough
to carry many persons while they vomit-
ed forth the amusing irework.
This use passed from Florence to
Rome, where at the creation of popes
they displayed Examinations of hand
grenades, thrown from the height Of a
castle. Pyrotechnics from that time
have become an art, which, in the degree
the inventors have manifested originality
and ability in combining architecture,
sculpture and painting, has produced
myriads Of magnificent effects, which
even give pleasure and entertain those
who simply read descriptions of them.
An interesting account of decorated
fireworks is given in the secret memoirs
of France In August, 1894, Tore, an
Italian artist, obtained permission to ex-
hibit pyrotechnic operation. The Parish
ans greatly admired the variety of colors
and the ingenious forms of his fire, but
this first exhibition was disturbed by the |
populace as well as by the apparent dan
ger of buildings taking FIRE, although it
was displayed on the boulevards. 1t was
repeated in October, and, the proper pre-
cautions having been taken, the people |
enjoyed the beauty Of the fire without
fearing it. These artificial fires are de- |
scribed as having been rapidly and splen-
didly executed. The exhibition closed |
with transparent triumphal arch, and |
a curtain Illuminated by the same fire |
reproduced the palace of Plu-
to. Around the columns stanzas were in
scribed, supported by Cupids, together
with other fancy embellishments.
According to the promise of the artist |
his succeeding exhibitions were improved, |
and more extensive and difficult ilustra-
tons were handled. His subject was |
chosen with much felicity and good judg-
ment. 1t was representation of the |
forge Of Vulcan under Mount Etna. The
interior of the mount discovered Vulcan |
and his Cyclops. Venus was seen to de-
scend and demand of her consort armor
for Eneas. Opposite this was revealed |
the palace of Vulcan, which presented a
deep and brilliant perspective, while the
labors of the Cyclops produced innumer-
able exquisite combinations of artificial |
fires. The public in delighted astonish-
ment beheld the effect of the volcano, so
well adapted to the nature of these fires
This art, like all the other arts and
sciences, has made vast strides toward |
perfection in the last century, and the in
ventions and innovations introduced by
skill, the power to picture ac-
the grandeur of nature, to re-
produce In fiarv sparks tha STORY of Dact