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As if by magic, a weary traveller trying to undress, is foiled by his mutinous clothes as they teleport and multiply before his eyes, refusing to stay on the clothing rack.

To escape the manager's wrath, a naughty cook who caused a small disaster with his amorous advances to a delicious waitress, hides in a wooden cupboard and suffers an immediate and unforeseen punishment. But, is this truly the end?

The scene represents the shop of a costumer who rents garments for masquerades and fétes, A young student presents himself for the purpose of selecting a costume for a masked ball. The proprietor shows him several, which he refuses, one alter the other, for one reason or another but principally because of their doubtful cleanliness and of the nauseating odors which emanate from them. The costumer, furious at having found nothing to suit his client, who seemed hard to please, opens a hamper from which he draws the clothing of a clown, of an acrobat, of a musketeer, of a danseuse, and of various other personages which, as soon as he throws them down beside him, begin to move about and become animated, These animated costumes seize the student, deal him some hard blows, and shut him in the hamper from which they have come out. After terrific efforts, the unfortunate student extricates himself from the basket and throws himself upon what he supposes to be human beings, but his hand only grasps some tatters without consistence. They fall to the floor and he flies away in astonishment.

Falling into the same perplexing predicament that doomed the hapless travellers in Le Déshabillage impossible (1900), and L'Auberge ensorcelée (1897), an unsuspecting man is harassed by an annoying poltergeist. Can he outsmart it?

An energetic Russian Cossack dancer who knows how to impress his audience with his extraordinary set of moves has a trick up his sleeve designed to capture applause.

A prestidigitator orders his assistant to bring a cabinet, which is displayed piece by piece to the audience. Two gentlemen are then introduced; they enter the cabinet and are securely bound with ropes to the chairs. The doors are closed and immediately the heads of the two men appear through apertures in the doors. The doors are immediately thrown wide open and the men are disclosed bound to the chairs as securely as at first. From this moment the most amusing scenes are enacted without interruption. The poor prestidigitator even loses his head, which is found upon a stool, while his body has been struggling in the most amusing way.

The chief actor is a kitchen maid who becomes envious of her madam's daughters as they enjoy themselves at the piano, arrayed in their finery. After serving them their tea, she goes straight to their boudoir, and with a little selecting she has soon chosen some garments to suit her hiking and she goes out for a promenade. She is soon accosted by an artistic masher, and he devotes much chesterfieldian energy toward capturing the fashionably attired damsel. He succeeds, and being near a shoe dealer's takes kindly to her expressed desire for a pair of shoes, and is soon escorting her into the store. While they are doing their buying, the girl's madam enters, and of course recognition is speedy; and just as speedy comes a sharp order to divest her self of the garments which she had obtained by grace of her own permission: she humbly complies and is soon hurrying home, an aproned kitchen maid, to the astonishment of the deceived masher. The rest of the party follow her, including the dude, and when they find her she is gently hustled into the kitchen below, but not before the dude had reclaimed and recovered the shoes for which he paid. These he takes back to the dealer's, but is refused the return of the money, and his adventure ends in a row. The last picture shows the much subdued kitchen maid in the embrace of a more appropriate lover, the dishwasher.

To fully describe the action as it occurs in this subject would cover several pages. Suffice it to say that, for surprising and startling incidents, black art and ghostly doings, marvelous effects and humorous, it is second to none of the many preceding subjects of a like character.

From the depths of a plain wooden box, a skilful conjurer materializes a lively boy in a clown suit. Next, he takes a heavy battle-axe. What are his intentions?

A sleeping apartment of a friend who retires for the night. The rays of the moon are shining upon the bed through the window. He is suddenly awakened by a bug of gigantic proportions crawling over him. This he attacks and destroys, but before again retiring he notices three more climbing up the wall. He lights the candle and applies the flame to each, causing them to explode with fine smoke effect. After this slaughter he retires in contentment and soon sleeps the sleep of the just. A very funny subject.

A respectable fellow has quietly taken a seat upon a bench in a park, and worn out from the excessive heat of the day, has fallen asleep. Two ramblers happen upon him and, seeing him an easy prey, chloroform him and proceed to rob him even to the extent of removing his clothes. The fellow under the influence of the drug has a pleasant dream while imagining himself surrounded by the houris of the seventh heaven of Mahomet. But he is quickly brought back to realize his actual situation by two policemen who, in the course of their rounds, have observed this man asleep in the park, only partly dressed. They lead him away to the station to the delight of the two thieves who, from afar, have watched his arrest. While they themselves follow with their eves the departure of their victim, a third thief sneaks up and snatches their booty which he successfully vets away with, The two prowlers accuse each other of the theft of the booty and come to most violent blows. The last scene shows us the heads of the three rogues in their natural size,-three fine specimens of ruffians who swarm about the environs of Paris.

Among the properties is a massive candelabrum, eight or ten feet high, with five branches. The king of sharpshooters enters, followed by his assistants. He first takes some large playing cards, passes them to a young woman who holds them for him to shoot at. When he has put some holes through them, he takes them from his assistant, runs his arm into the bullet holes, and then sends the cards fluttering through the air in as perfect a condition as they were before he shot at them. After a few shooting tricks he removes his own head from his body, throws it to an assistant who places it in one of the sockets of the huge candelabrum. 'The instant. the head is fixed in place, a new head appears on the sharpshooter and he throws this away to his assistants who put it into another socket of the candelabrum, and so on until all the sockets are filled. He takes his gun and shoots all the heads away except the one in the middle. Suddenly a body appears in the place of the middle head. It jumps to the floor: it is none other than the sharpshooter himself who, through a clever trick, had substituted one of the assistants for himself, while he was shooting at the heads. The sight of the five heads all absolutely alike dancing in the sockets of the candelabrum creates a sensation as mystifying as it is ludicrous, and the marvel of the trick is that the sharpshooter is able to get a new head as soon as he parts with the old one.

The magician appears upon the stage with an imp as his assistant. The imp holds a piece of cloth in his hand. At the command of the magician the cloth is suddenly transformed into a beautiful girl, clad in tights. A barrel is then introduced and the girl enters one end. As she makes her exit from the other she is transformed into a man. The man then jumps through a paper hoop, and as he lands on the other side is changed back into the girl. The girl is then placed upon a table, the table is removed, and, to the astonishment of all, she remains in her position, apparently resting in mid-air. Two benches are then introduced and chairs placed under them, a man occupying one and the girl the other. At a wave of the magician's wand the figures fade away. When they reappear the girl and the man have changed places. Wonderful magic.

Showing the rolling sea, upon which gradually appears a cloud of mist. From this evolves the figure of Christ, who proceeds to walk on the waves. The rolling movement of the water and the sudden apparition certainly give a most startling effect, illustrating the biblical miracle of Christ walking on the water.

1. Chanak: the strongly fortified entrance to the Dardanelles. 2. The Galata Bridge. Connecting Galata with Peras $2,000 taken daily in 1c. tolls on this Bridge. 3. A second view of the Bridge. Showing the Galata Tower, 4. The old Slave Market. The oldest part of the city; full of Oriental life. 5. Turkish Porters. Picturesque natives of the Bulgarian quarter. 6. Street near Seraskeriat. The surroundings of the War Office. 7. The Market Place, A scene of life and bustle. 8. The Pigeon Mosque. Built in 1497; named from the sacred pigeons living around it. 9. Mosque of St. Sophia. One of the finest mosques in the world. 10. Outside the Mosque. Showing the life in the main streets. 11. The Government Buildings. Typical view of every-day life in the busiest part of Constantinople. 12. Court of the Pigeon Mosque. Fine picture of the sacred pigeons. 13. Children scrambling for "Backsheesh." A familiar weakness of the Turk 14. Street in Stamboul. Showing some of the latest inhabitants. 15. Boot Cleaning. The Turkish "Day and Martin" boys. 16. The Bohemian Quarter. An interesting study of native life. 17. Outside the Prison. The heart of the city. 18. Bullock Carts near the Slave Market. A picturesque street scene, 19. The Fruit Market. Quaint Oriental market life. 20. The Dogs of Constantinople. The scavengers of this Eastern city. 21. The Golden Horn. The entrance to the Bosphorus. 22. Graveyard near the Great Tower of Bebek. Fine stereoscopic panorama. 23. The Tower of Europe. Built in 1442 on the site of ancient fortresses of Greek Emperors. 24. Summer Palaces on the Bosphorus. A particularly beautiful reach of the Straits. 25. Distant View of the Roumeli Hissar, The Tower of Europe; most imposing. 26. The Entrance to the Black Sea. Showing the fortifications on the European and Asiatic sides.

1. Panorama of Jaffa. A fine view of the town and road-stead. 2. The Jaffa Gate and Jaffa Road. The principal entrance to the City of Jerusalem. 3. The Tower of David. A portion of the original tower built by Herod. 4. The Walls of the City. The road by which the Wise Men traveled to Bethlehem. 5. Jerusalem from the Convent. Striking view of the city from the housetops. 6. David Street. Inside the walls. he market-place of Jerusalem. 7. The Holy Sepulchre. For sixteen centuries the supposed site of Calvary. 8. The Temple Area. The site of Solomon's and Herod's Temples. 9. The Mosque of Omar. Built in 637 A.D. by Omar, after his conquest of Jerusalem. 10 Filling Water Skins at a Well. Picturesque eastern scene. 11. Via Dolorosa. The road of Christ's journey to Calvary. 12. The Garden Gethsemane. The site of Christ's agony and betrayal. 13. The Mount of Olives, Full of sacred associations. 14. The Damascus Gate. Authentic site of the original North Gate of Jerusalem. 15. Jerusalem from the Mount of Olives. A magnificent view of the Holy City from outside the walls. 16. The Good Samaritan Inn. The basis of the Parable of the Good Samaritan. 17. The Escort on the Jericho Road. Picturesque Arab horsemen. 18. The Jordan. The most sacred and historical river in the world. 19. Ascending the Jordan. Showing the swiftness of the current. 20. General Panorama. Fine view of the banks of the Jordan. 21. The Return of Tourists. A very modern Pilgrimage.

The scene opens in a wizard's cavern, showing an inanimate figure resting against a table. The wizard with some mysterious passes converts her into a living woman, and after laying her on some trestles and covering her over with a large sheet of paper, saws her in halves. Taking the two cones of paper he places them on separate tables, when, on being removed, they disclose two ladies in the place of the one who has been cut in half. From the same receptacle he then proceeds to materialize six other beautiful damsels, who, after performing a mazy dance, vanish into thin air. The two maidens that remain are then duplicated and put through the most amazing complications, being merged into one person, and again duplicated; finally, however, they walk to the front of the stage together with the wizard, and, after bowing to the spectators, withdraw.

Mr. Dauber, a painter very favorably known, receives a visit Mr. Pierrot, a white clown enjoying a popularity as wide-spread as that of the painter himself, who comes to request a sitting for his portrait, The painter sets out promptly to execute his order, and in a few minutes he sketches upon a blackboard the portrait of his new patron. Hardly has he finished when the painting, nothing but that of a jumping-jack, begins to move its arms and legs and afterwards springs out of the frame. There follows between the three an irresistibly comic scene during which a number of amusing incidents take place, producing bursts of laughter from the audience.

The Count de Cagliostro, who occupies his spare time in working magic, has invited one of his friends to be present at an exhibition which has for its aim the object of showing how much the sense of sight can be abused and deceived. In the center of three fans he arranges a rose-window, which there appears a young page who is suddenly transformed into a marquis of the time of Louis XV. The count brings a large frame, the marquise arranges herself in it, and it seems to the visitor that she is changed into a nymph. He then approaches it to verify the fact, but he perceives that it is the count in person who is in the middle of the picture. But in order to assure himself that he is not mistaken, he strives to grasp him but the latter disappears mysteriously, and the frame, in the center of which he finds himself, is absolutely empty. What he has seen was only a marvelous illusion.

An easel appears, and soon after a canvas "walks" up from the floor of its own accord and takes its place on the easel. Now an artist's portfolio is seen, it opens up and different parts of a sketch which are enclosed therein, mysteriously fly from it upon the canvas until finally all the parts resemble the image of a man. When completed, the picture becomes animated and comes down upon the ground and engages in some merry antics with its own skeleton which shortly after is changed into a lady. After frolicking around for an interval, the man is changed to a sketch on the canvas; then it begins to dismember itself, one portion at the time. After all the parts of the sketch are in the portfolio, it folds itself up; then the animated person appears from some mysterious source and carries off the portfolio in which his own image is enclosed.

1. The Nile. A fine stereoscopic picture of the historical river. 2. Dhows on the river. Typical Egyptian scenery. 3. Tura Prison and Nile Banks. Panoramic view from a Nile steamer. 4. Tourists landing at Bedrashen. The enjoyments of the British Tourist. 5. The Nile Steamer. 6. The Kasr-en-Nil Bridge. One of the famous bridges of the world, full of native life. 7. Camels in the Palm Grove. A pretty scene on the Nile banks. 8. Camels descending a hill. The difficulty of arguing with a camel.

The setting of this fantastic scene represents the hall of an old chateau in which a miser has locked up seven large bags containing his wealth. Satan, who has made his way into the chateau, puts the seven bags in a strong box, and makes with his hands some cabalistic motions. The miser comes into the hall and is greatly astonished to find his fortune missing. He opens the coffer and immediately the bags leap out. He gathers them up and puts them back into the coffer. When he opens it again he finds that they have been transformed into seven young girls, who rush out and chase after him, beating him unmercifully. They shut him up in the coffer from which his gold has vanished. The miser pushes open the lid of the coffer, and to his profound despair finds that both young girls and money have disappeared. (This view is most sensational in its mysterious scenes.)

A high nobleman finds himself in the Temple of the Sun, where he meets Mascarille, who proposes himself as a juggler. After extracting from the nobleman's nose several playing cards, Mascarille enlarges these cards and transforms them into the flags of all nations. From these flags he extricates a group of beauties. The nobleman begins to pay court to the ladies. Instantly the group disappears and the lord finds himself face to face with an animated Sun, who starts in a grotesque dance. The Sun is changed to a pumpkin. Then the devil appears, replaces the head of the lord with the pumpkin and drives him away with an enormous candlestick, which sends out flames and smoke.

A fragment of a longer film, four small people are dancing a minuet, and are transformed through magic.

1. Mooring Cattle on Barges. Preparatory to shipping them to Constantinople. 2. Taking Cattle off to the Steamer. Towing the laden barges through the harbor. 3. Hoisting the Cattle on Board. The cattle being slung by legs and horns from the barges to the liner.