THK OMAILV SUNDAY BEE: OCTOBER 31, 1900.
MAS0M
& HAMLIN PiAMn
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PARLOR AM INNOVATION
The A. Ilospc Co. Exploits Remarkable Toned In
strument in a Hovel Manner. Are Hon Sole
Western Representatives.
TENSION RESONATOR MARVELOUS
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Hospe'g Special New Mason at Jrtamun rarior
Something NEW even In the "over
worked " piano world!
e Here's the surprise.
After year, of ripened experience, the
A. IIosp Co, of 1618 Douglas street,
abruptly take, up another "make" to
head 1U already famous list of pianos.
And thin newly found treasurewhat Is
It called where Is It made how long
lias It been on the market WHY is It so
marvelous?
One question at a time please.
The make la the MASON & HAMLIN.
It is the product of a most sincere and
nationally known firm of instrument
builders THE MASON & HAMLIN CO.,
of Boston, Mass.
And the firm had its origin In 1854 a
period long enough to afford the "know
how" isn't it?
Now then, for an explanation WHY, the
Mason A Hamlin la referred to aa "The
Htradlvarlus Among Piano Fortes." Now
then for conclusive proof that its subtle,
lexponslve, dreamy, exquisite tone is
EXCLUSIVE.
Every Maaon St Hamlin plane is equip
ped with a "GERTZ TENSION RESON
ATOR" a devloo aa important to the
tone of a piano aa the sounding post la to
a violin.
A Sounding post In a violin la the little
pom ;uirecuy unuerneaia me onuge ine
means of giving th resistance to the
train of the strings the means of pro
longing or resonating" the tone.
The principle has been aptly carried
out in the Mason Hamlin piano by OK
W. Gertx' Invention the aforesaid mar
velous "Tension Resonator."
Age, usage, cllmatlo conditions and a
half dozen other causes actually CHANGE
the shape of the ordinary pianos' SOUND
ING BOARD that Is why a piano (al
ways excepting a Mason 4k Hamlin piano)
does NOT grow sweeter toned with age
aa doea a violin.
Here Is where the Tension Reson
ator" gets in Its fine work. Even if a
Mason & Hamlin aounding board WERE
to become affected by agn by usage or
by cllmatlo conditions even if it
1513 Douglas Otrect.
A. I.
'"
HOTELS.
SNAPP'S HOTEL
Excelsior Springs, Mo.
Strictly Modern. Culalne Unexcelled, Ser
vlca Ideal. Up-to-date In all Appointments.
Hot and cold water in every room.
All Rooms Equipped with Local and
I-oug Distance Telephone" 109 Rooms
Moatly with Bath, fcvery Room an Chit
Ida Room, All of Generous else,
la The Heart of The City.
Broad end aipeelous Yereadea,
S. E. and J." W. CNAPP,
Proprietors.
rtu 1 aw- ;
rw a ffrpV,
C SEATTLE
"Th-cIvc stories
of to lid comfort
EuHJuTCANFLANliSlJr'j
aUfiAMM
Call Us
by 'Phone
Whenever yea wmat socae
thing, call 'Pbone loulaa
13. . and make It know
Uireugh a I Want Ad
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fist La-I
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SHOuLD change Its prescribed shape
EVER so slightly, a few turns of the
tension Resonator rods will restore the
shape of the board to Its pristine con
dltion and consequent proper and magni
ficent tone.
In simpler words this marvelous device
KauuuATliiS the STRAIN upon the
pianos' sounding board. t
A visual demonstration would prove still
simpler and we should be pleased to ac
cord this demonstration at ANT time.
The Mason &. Hamlin piano has a 'thou-
sand and one" other points of superiority
its a masterpiece of cabinet makinr and
finish it has an ABSOLUTELY correot
scale and the action is adjusted to
nicety NEVER before equaled.
It is NOT a cheap piano it HAS NOT
been lightened here and there to enable
an "underprice" indlfferents parts and
actions have NOT been substituted to
bring down the cost.
The Mason & Hamlin is a majestio crea
tion for those who are willing to pay a
reasons Die price for Ingenuity, expert
ence, mechanical perfection and tonal su
perlorlty. .. -. .. .
VISIT Tu ICABOar XAMX.Ur
ozax riuoa oir TJtuto noon.
Twill aeoome kaowa as a zneooa for
lovers of music
The A. Hospe Co. entertains such a high
regard for the Maaon & Hamlin piano
that it has equipped a special "Maaon
Hamlin Parlor" upon the Third floor of
its establishment
Here, apart from the din of the street,
one lingers admires feels rested Is
entertained and drinks in the tonal beau
ties of the Mason Hamlin.
Here, side by side, are the grands and the
uprights pianos in any modurn atyle and
finish in cases that appeal to the eye.
You are welcome doubly welcome to
spend as much time as you wish In this
little "Mason & Hamlin" parlor.
And don't forget the "Tension Reson
ator." .
Omaha, Nebraska.
o
Engraved Stationery
W.ddint Invltmtioma Annomncmmnta
VUitint Card
All correct forma in current social aniaga engraved
In the beat manner sod punctually delivered when
promised.
Embossed Monogram Stationery
and other work executed at price lower man aaually
prevail eUewbera.
. w . .
KUU I , INCUKrUtvA 1 tO --V
- Q
Quality Is Our Guide
8UPDIKES
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IIGCO
A? PMA1U.NED. V
PLEASES TUB HOST CXUTIOAL
At all grocers
VTDCKM MOLUKO OOalPAWT. OOrLaJLa,
TWENTIETH CENTURY FARMER
Oa Delias Iai,
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gfVjFLOURi, "!
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BUSINESS END OF THEATERS
What the Country Payi for Domeitio
Education and Amusement.
OTAL AWAY UP IN THE MILLIONS
i form lag fig are. oa
arlea, MtasriaK Plays,
tellar Sal.
Traveling
Gxpenars, Reatala
Profits.
and
There Is a vast deal of talk about "art
for art's sake" In connection with the
theater. It's a fine notion. It always has
been. It probably began with the institu
tion itself and will last quite as long. It
will be solved some time when we all are
greed what art really Is. Long before
that, artistic plays will pay better than
punk drama. In the meantime It Is costing
the publio a whole lot for Its draraatlo ed
ucation which is as It should be, that it
may appreciate culture at the proper value.
It coats upward of $100,000,000 a year to
conduct the theaters in this country, and
to produce the attractions that are played
In them and, mind you, this doesn't In
clude the profit which would add at least
10,000,000 more. Of the total, about ItO.OOO,-
ono represents rental charges, while 130,000,-
000 Is paid to the actors In salaries. One
oesn't hear much about these figures
while the cost of the productions is heralded
with great acclaim, despite the fact that
12.000,000 a year will cover thle. The oper
ating cost of the theaters, the traveling
expense of the companies, advertising,
royalties to authors, salaries of employes
other than actors, office expenaee and the
many incidental oharges easily bring the
total up to the round 1109,000,000.
There are about S.000 recognised theaters.
distinguished from places of amusement
that are used for other purposes as well,
and, on an average, about 1,100 companies
on the road or playing in stock.
Rentals Come High.
Suppose we first consider the theater it
self. Of course the blrcest chance is the
rental, or where the company owns the
land the Interest on the Investment, which
amounts to the same thing. The time was
when this rental was baaed upon the repu
tation of the theater and the profit it
made as a theatrical enterprise. Nowadays
it is purely a real estate proposition. As a
rule, the best theater site is one of the
best sites in a rental district. The land
has a certain earning capacity, estimated
on the basis of the kind of building that
will bring in the largest revenue. This
earning capacity of the land, irrespective
of the value of the theater as a theater,
fixes the rental. The Shuberts, for In
stance, maintain a real estate department
with several experts, whose business it is
to determine the value of theater Bites,
present and prospective, and to keep track
of all the leases in various cities. A third
class theater on a flrst-claas site must
pay the rental of a first-clasa theater.
Many houses are operated under old
leases, made when the theater Itself was
the factor, and . the rentals of these are
usually very low. The renewals always
see a big advance. For instance, the
Broadway theater, whioh la at Forty-first
street In New York, waa leased for ten
years at a rental of $0,000i This year the
new lessees are paying $70,000 a year. The
Empire theater, whioh la almost across
the street, waa leased for $35,000 until re
cently, when the rental was jumped to
$60,000 a year. The New York theater rents
for $80,000 and the Criterion for $38,000
year, both being under one roof, but under
different management Recently $3,050,000
waa refused for the site, no account being
taken of the building, which cost consid
erably more than $1,000,000. There are first
class theaters In New York which still rent
for aa little aa $30,000. ", under old leases.
In Chicago, the Colonial theater rents for
$50,000, and the Forrest theater in Phila
delphia commanda the same amount. In
Boston, the range is from $30,000 to $16,000.
In 'Cincinnati, Detroit and St. Louis from
$20,000 to $40,000 a year and so It goes.
Coat of Operation.
In addition to the retnal, the cost of op
erating a theater is heavy. In New York,
In the best theaters, the number of em
ployes will average about sixty, and this
holds good in other large places for those
that oharge the maximum prices. The or
chestra of ten costs about $300 a week
under the union seal a As many ushers
are necessary. Then there are ticket-tak
ers, porters, carriage men, w at ah men.
Waterboys, cloakroom attendants, maids.
cleaners, engineers and firemen. Back of
the footlights are the stage manager, car
penter, electricians the head ones gets $36
week six men In the files and aa many
in the galleries, to say nothing of the
"grips" and handlers. For some heavy pro
ductions, as many as eighty stage bands
may be required for the scenery and prop
ertles. The house manager gets from $60
to $126 a week, but he never seems as
prosperous as the treasurer, who gets
about $30, and his assistant, whose salary
Is $26 a week.
The New Amsterdam theater in New
fork, which Is conducted on a more elab
orate scale than any other, has sixty-four
employes in the front of the house and
forty on the stage. To run a theater like
this and the Empire and the Knicker
bocker, It costs about $3,600 a week. Other
first class theaters, which have not so
tieavy a rental charge, grade down to $2,500
a week. Even a good theater where only
one-night stands are played can't be run
for l-s than $500 a week, even If the man
ager does most of the work himself and
pays as many people as possible with
pauses. In 'Kew York, the fixed advertls
ing expense to be met by the theater is
about $200 a week. But it usually amounts
to much more than that because of "extra
dlxplay," the cost of which Is shared by
the manager of the company. And the an
nual bill for repairs Is very large, the con
stant hard usage In transit compelling fre
quent renewals.
Side Rake-Offs.
The theater has a source of Income In
addition to the sale of tickets. A politician
might call It honest graft the sale of prlv
lieges. Theaters like the Empire, Knicker
bocker, Hudson and New Amsterdam not
only get their programs free, but the pub
Ushers pay about $6,000 a year for the prlv.
liege of providing them, making their
profit out of the advertising pages. Other
flml class theaters receive as tittle as $1,000
a year. Slot devices, which yield opera
glasses, or candy, to your dime are worth
from $30 to $40 a week to the theater, on
the basis of an equal division between it
and the owners.
Then there is the rakeoff on the tickets
furnished to the agencies which are usually
established In hotels. Ia the bir; cities,
from fifty to 150 of the best orchestra seats
for each performance' are sent out on
Monday for the ensuing week. These are
sold to patrons at an advance of 60 cents
on the regular price, the theater getting
half. The seats which have not bean sold
are returned half an hour before the per
formance begins. This doesn't include the
tickets that fall Into the hands of the side
walk speculators, who always have a plen
tiful supply when a production is popular.
Maybe this has some relation whh the ex
ceeding prosperity of the treasurers of
theaters.
Despite the heavy, fixed expenses of the
theater that often exceed, by far, those
of the company that plays In It, this end
of the business Is the more profitable. If
an "attraction" proves to be something
quite different, the failure tan pe elueed;
for the cost of providing a success falls
upon the owners of the company. This
co.t may be very great, because a dozen
companies If the play is a proved suoeene
must sometime be shifted nearly half
anroas the continent. On the other hand.
when a produrllon is a failure it is likely
to oe a dead lom.
tVbat the Stare Get.
In New York, and In a few theaters else
where, the rule Is an equal division of the
box office receipts. The exceptions are In
the case of a star, like the late Richard
Manafleld, or E. H. Sothern, who are In a
position to dictate-terms because of an es
tablished following which Insures a very
large business or with a costly musical
show. In the latter case the division of re
ceipts is arranged on a sliding scale, the
company having an advantage after the
theater begins to make a profit.
The expenses of the company vary
greatly. For instance, "The Climax," with
only four people In the cast, probably
doesn't cost $700 a week, all told, yet it Is
a very big success, with half a dosen com
panies playing It In the same theaters and
t the same prices as plays and musical
comedies that cost four times as much to
run. At the other extreme Is "Ben Hur,"
which costs nearly $10,000 a week to run,
and of which $6,000 Is for salaries.
In a former article I gave some Idea of
the cost of productions, the dramatic range
being, as a rule, from $5,000 to $20,400, while
a musical show costs from $15,000 to $50,000.
The exceptions come in spectacular plays
like "The Prinoe of India" that cost $110,
000 and failed and "Ben Hur" that orig
inally cost $96,000 to present, with a net
profit thus far of more than $3,600,000, and
that bids fair to emulate the brook in its
running. Occasionally the cost of produc
tion and the operating expenses are so
large that a manager is swamped. I think
"The Waits Dream" was one of the most
beautiful comlo operas I ever saw aa It
waa the most costly but It didn't happen
to be a phenomenal auocess. It managed
only to pay expenses, with receipts that
would have insured a large profit ordi
narily. On the other hand, "The Merry
Widow" productions cost only about $JO,000,
and the operating expenses Were smaller
than those of almost any comic opera pro
duced in New York In the last decade. Yet,
during the first nine months of its run In
the New Amsterdam theater In New York
It took In more than $1,000,000.
With a production that requires an initial
outlay of from $30,000 to $50,000, and from
2,500 to $5,000 a week to run, it Is plain
that the show must draw large houses In
order to prove profitable.. Even with an in
come of $1,000 a week over operating ex
penses, it takes many weeks to pay for the
production.
Salaries of Leaders.
A musical comedy or comlo opera of the
first class avereges a cast of about seventy-five
people, while I suppose about
seventeen la the average number for a
dramatio company. A prima donna, who Is
not a star, gets from $100 to $350 a week,
the principal comedian from $150 to $500 a
week, the tenor from $75 to $300, the bass
about the same. The minor characters
range from $40 to $100 a week, while show
girls get $25 and $30, and chorus people
from $15 to $25, the average salary being
about $18.
In a dramatic company, a leading man
la paid from $100 to $350 a week, the latter
salary being the highest that John Mason,
the best straight actor on the American
stage, commanded before he became a star.
A leading woman gets from $100 to $250,
while character actors like W. J. Ferguson
and E. M. Holland receive as large salaries
as those who play leading roles. The sal
aries of the dramatio company these fig
ures apply to the first class ones, remem
bergrade down to $26 a week. There still
exist organisations which pay a small sal
ary and all expenses "ten or fifteen a
week and cakes," in the vernacular. Lest
you may Imagine that players are very
highly paid. It la well to know that the av
erage lnoome of all the actors In the United
States Is $520 a year, that Is $10 a week
for every week In the year.
In addition to the players, each company
must have a business manager who usually
travels In advance, an executive with the
company, a stage manager, a carpenter,
an electrician and a property man. In
more pretentious productions the working
stage force has several assistants. These
high class mechanics gst from $25 to $40 a
week.
Travel and Royalties.
Transportation charges, apart from ths
baggage, average about $8 a week for
each person during a season of thirty-five
weeks. If only one-week stands are played
this drops to $5; if there are many one
night standa it jumps to about $1$ a week.
The handling of baggage and scenery be
tween the theater and the station la a very
considerable item, especially In one-night
stands.
Royalties to authors of plays form a very
considerable Item in the wl le cost of the
theaters. The business rule nowadays Is
to fix royalties on a sliding scale 6 per
cent on the first $4,000; 7 and 7Vs per cent
on the next $2,000, and 10 per oent on re
ceipts amounting to $6,000 or over, for the
week. In New York a company must play
to between $6,000 and $7,000 a week in order
to make money for the theater, and the
author gets his percentage on every dollar
that comes in the box office.
Expensive Companies.
The most expensive company, apart from
the big spectacular productions, is that of
a star playing in repertoire, like E. It
Sothern and the late Richard Mansfield.
For Mr. Sothern's company about $30,000 Is
the Initial outlay each season for a new
production and for refurnishing the old
ones. Costumes wear out last and prop
erties go to pieces very quickly with the
constant use and hard handling. Then
scenery must be repainted at Intervals
His company includes fifty playerB, three
stage managers, three musicians and
working crew of carpenters, electricians.
property men and fifteen handlers. Also
there are the two executives. The salary
list totals $3,000 a week. Mr. Sothern has
fifteen personal trunks, while the other
players have a total of seventy-five. In
addition there are twenty-five general
wardrobe trunks, forty crates and fifty
boxes for properties and electrical effects.
It requires eight baggage cars, sixty feet
long, to transport the scenery and bag
gage, and these bring the transportation
charges up to $1,000 a week. Advertising,
including the additional newspaper display
and the printed matter paper, as all sheets
are called, amounts to $500 more and Just
about equals the royalties paid to authors.
Of course Shakespeare isn't Included in this
benefit, and Mr. Sothern saves a little
there. Repairs, wagits of supernumeraries
hired In each city, cost of rehearsals and
Easy Fai Reduction
When buttermilk and gymnastics were
the only cures for overfatness many
pejple prtif.rrud to stay fat dreading the
remedy worse than tne aitteaae.
Now these two grim Hons on the road
to silmneas have been overcome and the
loss of 20 to 60 pounds has become a
very sale and pleasant affair, you can
eat and drink and be merry and lasy and
still lose 10 to 1$ ounces of useless fat
dally. Folks with double chins and tout
abdomens can lose them In a month and
yet not strain, bother or deny tliemaelvea
a single blessed thing. It does not coat
muoh, either any druggist will fix you up
and there Is no walling; results begin
ween you uo.
Take a teaapoonful after each meal and
at bedtime of thia simple, harraleaa mix
ture: V oa Marmola, oa Fluid Extract
Cascara Aromatic, and H os. Peppermint
water, ana you win strip orr evenly, with
out wrinkling, all the oseless Xat that
now annoys ana punLsnee you.
IL
better
66 A TVTn?7T5Y
J f huys an "American No. 1 de
tD'TpC ta aer registering to $2, a
t small but compact register
adapted for use in barber shops, cigar
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rh -4 r buys an "American" No.
J 38, total adder with printing
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registering up to $39. Shows which clerk
waited on customer and money received or
paid.
Entirely RIcw! Mogram Registers
TXB "American" Cash Beg-lste Co. hae Just brought out Its 1910 model "AutogTam" Oaah Begiater, furnished with , er
without the new SUBOTatZOAXi UTSIOATIOIT. Protection and scope of the register la increased a hundred fold, and
the same features cannot be aecured ia aay other make.
THB "Autogram" act only adds, print
formation aa the names of oaah or
PAID out and for what purpose and
chants wishing stock numbers or cost
rras new electrical niumlnatloa attracts attention to the Indicators every time an amount la registered ; lights up adding
x counters, printed sales record and cash drawer when register Is balanced; throws a bright light on the A I Tff?
'Autogram' devioe every time It le used) lights up your register and protects the store against burglars u I 3
at sight. Price le . ,.. ...... T " w
Please Note: "Americans'" open with a single pressure
of a button instead of the old style double turn crank.
Sole Western Representatives. Geo. E. Mickeh Manager.
15th and Harney Omaha. 334 Broadway. Council Bluffs
the handling of baggage and scenery, with
various incidentals, amount to $500 a week
more, so that the total expense, apart from
Mr. Sothern's salary, IS $5,600 a week.
Inoome of the Stars.
Now the Income of the big star is some
thing that no one save the managers and
the stars themselves may speak of with
certainty, and I can only give estimates
based upon the best information available.
Mr. Sothern Is said to receive $1,600 a week
and 25 per cent of the profits. Therefore
It will be seen that the total expense ef his
company is $7,000 a week. And while he
can command a very large percentage of
the total receipts, although not as great
those given to Mr. Mansfield, he roust
take in, on an average, $10,000 a week in
order to make any profit, outside of New
York, and in the metropolis be must draw
even more.
Julia Marlow Is said also to receive $1,600
a week and a quarter of the profits, which
explains why these two stars ceased ' to
act together. They could draw almost as
muoh money while playing alone as they
could in the same company. But they will
again join forces this season and probably
command an advance over regular prices.
Maude Adams, who Is probably the most
profitable star in the world, Is said to get
$y00 a week and one-half the profits from
Charles Frohman. For years Maude Adams
has averaged a profit of $100,000 a year.
Even in "Peter Pan," her moat phenom
enal success, the net profit was over $1,
000, so It can be seen that there Is no star
so fixed as she. Her personal income is
not far from $100,000 a year from acting
alone.
John Drew Is also an equal partner with
Charles Frohman. and In addition he
draws a salary of $500 a week. Ethel Bar
rymore Is said to receive $500 a week and
10 per cent of the profits. David Belasco
usually makes a canny contract, giving his
stars a small salary and a large percent
ageafter the production is paid for with
a certain amount deducted each week for
this purpose.
When Frltal 6cheff left grand opera to
become a comlo opera star, she received
$1,000 a week and 25 per cent of the profits,
Afterward her salary was Increased to $1,260
and now it Is said to be even larger. Sam
Htirnard. the comedian, gets a salary of
$500 a week, and "half the show" as they
say In the buuiness. For the things he in
troduces in his performance he receives a
royalty which le always as much as be
-n .L Lillian Russell, who plays to
enormous business outside of New York,
and exneclally lu smaller, towns, and in
one-night stands, receives a salary of $500
a week and a percentage which brought
her Income up to $75,000 last year.
The star system is a pure business prop
osition. Once established In popularity, a
star Is a valuable asset. Maude Adams
could make money in an utterly bad play.
John Drew, could carry a very poor oue
to financial success. But there is also a
vast deal of money in plays themselves
without a star.
What James Ford characterised as the
"b'gosh" drama holds the record. I
wouldn't pretend to estimate the millions
taken In by "The Old Homestead." "Way
Down East" Is now in Its thirteenth pros
perous season and it has netted William A.
$1,000,000. "The "Lion and the Mouse" and
Brady and Joseph R. Orismer upward of
"The Man of the Hour" nave also made a
fortune for managers and authors and they
are still going. Last season, Eugene Walt
er's "Paid in Full" made a profit of gJOO,
000, with tour companies on the road. That
Is vue advantage of baring a big success
made Anti-Monopoly
(CsisBn IRogj listen3
In the "American," we present to the butnes public of Nebraska,
and the west generally, a cash register giving MORE Information and
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34 to V4 In cost.
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Among the latest features of the 1900 models ready for delivery
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the compact key board; the visibility of the printed record; the flexible
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A page wouldn't tell all the new
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and Indicates the ales, but fnrttlshea oa the regular pri
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price of articles sold may also get the Information with the "Autograuxu"
without a star managers can send ttiree
or four companies out at one time. Harry
D. Parker haa grown rich with "Under
Southern Skies," which was. written by his
wife, and in which Grace Oeorge first
played in New York without being able to
make expensea. That waa when her hus
band, Mr. W. A. Brady, was establishing
her aa a star. It cost him $250,000 before
she had a profitable season, but long ago
she made it up. Hartley Davla in Every
body's Magasine.
BIG SHIPS AND BIG GUNS
Prospective Additions to the Amer
ican Navy and the Arma
ment. The designers of naval vessels are await'
Ing with much Interest the results of the
trial of the first 14-lneh gun, which la being
built at the Mldvaie Steel Works, near
Philadelphia, and will be tested at the
naval proving grounds at Indian Head
early in January. By that time the naval
officials will probably know something of
the intention of congress in regard to In
crease of the navy. The recommenda
tion of Secretary Meyer will probably be
In favor of two battleships, since that Is
the advice given htm by the Naval General
board and the Board of Construction.
The experts differ regarding the main
battery of ths great battleship to be de
signed. A conservative view Is In favor
of duplicating the ships for whioh con
tracts have just been made that Is, 28,
000 tons displacement, with twelve 12-inch
guns. The same size of ship could be built
to carry ten 14-lnch guns, but It is a ques
tion whether It Is not more advantageous
In a naval engagement to have twelve 12
Inch Instead of ten 14-Inch guns. The al
ternative which Is favored by some pro
gressive officers Is a 30,000-ton battleship,
such as has already been described In these
dispatches, carrying twelve 14-lnch guns.
This would be the largest and most power
ful battleship afloat or under design, so
far as the naval officers know.
There are many questions, however,
which must be considered in this matter
of design for the new battleships. It Is
not merely a question of power. Ships
beyond a certain displacement bring Into
the problem the sixe of existing or pro
jected drydoeks, and at present there Is
no drydock under construction or In exist
ence which would take in the 30,000-ton
battleship. The drydoeks now being built.
tin
must pass is so full of dread that the thought fills her with apprehension.
There is no necessity for the reproduction of life to be either very
painful or dangerous. The use of Mother's Friend prepares the system
for the coming event, and it is
remeayis
inu lias carncu inousanus or i
women through the crisis In
with but little suffering. U-
Peok eoatalniar isfanaatlea
B) all expectant aioioera
WADflELO RmULATOtt
n
n
5
gfa fm w buys an "American" No. 14, a
y total adder registering tm to
V $999, and equipped with a large
drawer, for use in stores having a large
trade. Counts cash, also the daily cu-fomera.
buys an "American" No. 4 de-
adder registering up to $5,
has special keys to record
credit sales, money received on ac
count, and money paid out. Many other
features.
printed sales Up audi In
to WHOM money was
an aooommodatlon. Mer
notably the one at the Puget sound navy)
yard, and the new naval station at Pearl
Harbor, In the Hawaiian Islands, are so
designed that they may be extended In
length, but some of the experts maintain
that the length of a dock is by no means a
factor to be considered. A 80,000-ton bat
tleship which has been disabled In an en
gagement would, of course, go to the dock
with much greater draft than the normal,
and It might not be easy to patch up such
a ship and fit her out so as to enable hen
to go over the sill of the dock.
Still another feature which must be con
sidered ia ths width of the locks of the
Panama canal, which have been designed
for 110 feet on the advice of the naval
general board. This board waa consulted
by the engineers of the canal when the
possibilities of battleship increase for some
time to come were taken Into considera
tion. Already there Is a prospot of a
30,000-ton battleship with its beam close to
100 feet. It is significant, the naval offi
cers say, that the German government Is
now rebuilding the locks of the Kaiser
Wllhelm canal so aa to widen them for
military purposes from SO to 147 feet.
In the matter of battery for the new,
ships, no doubt Is entertained by the naval
ordnanoe officers regarding the auperority
of the 14-lnch as compared with the 13-in oh
gun. It will throw a greater weight cf
metal In the form of projectiles and will
have a correspondingly greater range, thns
enabling a'battleshlp so armed to do dam.,
age to an enemy having only 12-inch guns,
and keep out of range of the latter. That
is the prims consideration, and It Is m
question which no one has decided whether
under these conditions ten 14-lnoh guns
would or would not be a more effeotlve
battery than twelve 12-lnch guns. New)
York Tribune,
A reliable medicine for croup and one
that should always be kept at hand for
immediate use Is Chamberlain's Cough
Remedy.
His Sedaea lasplratloau
All
at once the after dinner speaker
found his ideas deserting hire.
He had not used up half his time, but
he could think of nothing more to aay.
"My frieuds," lie said, I presume . er "
Suddenly a half formed idea ooourred to
him.
He grasped It as a drowning man grasps
at a straw.
"I scarcely need mention to this intelli
gent oornpany," he, said, "the name of the
real discoverer of the North pole. Aa you
all know, it is"
Then the storm broke loose, and be sat
down. Chicago Tribune.
No woman can be happy
without children; it is her
nature to love them as much
so as it is the beautiful and
pure. .Ihe ordeal through
which the exnectant mnthep
passed without any danger. This
ill 1 1 i i l i.ajuj't.
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