THE SKIIIT DANCE.
MAGIC
STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS
INCLUDING TRICK PHOTOGRAPHY
COMPILED AND EDITED BY
ALBERT A. HOPKINS
EDITOR OF THE "SCIENTIFIC AMERICAN CYCLOPEDIA OF RECEIPTS, NOTES AND QUERIES," ETC.
WITH AN INTRODUCTION BY
HENKY RIDGELY EVANS
AUTHOR OF " HOURS WITH THE GHOSTS ; OR, XIX. CENTURY WITCHCRAFT," ETC.
WITH FOUR HUNDRED ILLUSTRATIONS
LONDON
SAMPSON LOW, MARSTON AND COMPANY
LIMITED
Fetter Lane, Fleet Street, E.G.
1897
COPYKIGHT, 1897, BY
MUNN & CO.
NEW TORE
ENTERED AT STATIONERS' HALL, LONDON, ENGLAND
All lights reserved
The articles used from the Scientific American and the Scientific American Supplement
are copyrighted
Prinlod in tlic U. S. A. by
J. J. I-ittlc & Co., New York City
/r-^-
^77„
/My
PREFACE
It is believed that the present Avork occupies a unique field in the exten-
sive literature of magic. There are already a large number of treatises on
natural magic and legerdemain, but in most of them very little attention has
been given to the expose of stage illusions, which are of great interest as they
are so largely based on ingenious applications of scientific j^rinciples. Optics,
mechanics, sound, and electricity have all been pressed into service by the fiti
de Steele prestidigitateur. In the present work great attention has been paid
to elaborate tricks of this nature, and in many cases the exposes have been
obtained from the prestidigitateurs themselves. In the first few chapters many
of the best illusions of Robert-Houdin, Dr. Lynn, Professor Pepper, Bautier
de Kolta, Heller, Herrmann, Maskelyne and Cooke, and Kellar will be found
clearly explained.
Conjuring tricks have been by no means neglected, but the number of
them which are given has been limited, owing to the fact that many of tlie
books on magic have gone into this subject quite extensively. Ventriloquism,
shadowgraphy, mental magic, etc., will also be found treated in the present
work.
The chapters relating to ''Ancient Magic" take up the temple tricks of
the ancient Egyptian, Greek, and Roman thaumaturgists, as well as a number
of automata which are very interesting in view of their very early epoch. It
is believed this will be found a particularly entertaining feature of the book.
There is always a great charm about the stage, and the methods of produc-
ing the effects which give realism to the drama. The chapters devoted to
" Theatrical Science " will be found to contain a very large number of effects
and illusions, many. of wdiich are here presented for the first time. Thus an
entire opera, "Siegfried," is taken up, and the methods by which the won-
derful effects are obtained are fully illustrated and described. Such amuse-
ments as cycloramas, the nautical arena, and fireworks with dramatic acces-
sories are not neglected.
The chapters on " Automata " and " Curious Toys " describe many inter-
esting tricks and mechanisms of an amusing nature.
The last few chapters of the book deal with " Photographic Diversions,"
and here will be found some of the most curious and interesting tricks aiul
deceptions which may be performed by the aid of photography. The practical
side of scientific photography will also be found represented. The chapter
1CS9560
vi PREFACE.
on " Chronophotography " describes the photography of moving objects of all
kinds, and shows how the results obtained are of valne to the savant. The
projection of moving pictures upon a screen is thoroughly treated, a number
of different forms of the apparatus being described.
The introduction is a unique feature of the work, being written by Mr.
Henry Eidgely Evans, of AVashington, D. C, author of "Hours with the
Ghosts ; or, Nineteenth Century Witchcraft." It contains a brief but
remarkably complete history of magic art from the earliest times to the present
date, especial attention being given to amusing incidents in the careers of
celebrated necromancers. Tliis Introduction will be found one of the most
entertaining parts of the present book. Mr. Evans has also contribnted two
chapters — one on "^ Shadowgraph y," or "Treweyism," as it has been called,
in honor of M. Felician Trewey, the classic exponent of the art ; the other on
"Mental Magic," or second-sight exjjerimeuts. The chaj)ter on " Shadow-
grapliy " is not only interesting because of the expose of the art of theatrical
silhouette-making, but on account of the sketch of the life and adventures of
M. Trewey, who is a jiersonal friend of the writer. Mr. Evans is also the
compiler of the excellent Bibliography which concludes the book. Though
this Bibliography makes no pretense to absolute completeness, it is believed
to be more extensive than any other bibliography of the subject, and it will be
found of great value to the student of psychology, as well as to the student of
modern magic. Other acknowledgmeiits are due to Mr. William E. Eobinsou,
the well-known j^restidigitateur, for many suggestions and favors and for
important help in connection with tlie Bibliography; Mr. Eobinson having a
very remarka])le collection of books upon magic, which he has gathered at
home and abroad during a long period. We are also indebted to Mr. H. J.
I>urlingame, of Chicago, for permission to use extracts from his writings and
for assistance in the Bibliography.
The matter for the present work is very largely compiled from articles
which have appeared in the "Scientific American" and the "Scientific
American Supplement," with the addition of much material hitherto unpub-
lished. Especial acknowledgments are due to our French and German con-
temporaries, particularly " La Nature.'''' The section on "Ancient Magic "
is taken almost wholly from the articles of Colonel A. de Rochas in " La
Ndtiirr.'''' These articles were afterwards amplified by him and published in a
most interesting book entitled " Zes Oritjiues de la Science.'''' It is hoped
that the present work will prove entertaining to those who are fond of the
art viiifjifjve.
^'KW YfdiK, Si'pl ember, 1897.
t*'
TABLE OF CONTENTS.
INTRODUCTION.
THE 3IYSTERIES OF MODERN MAGIC.
PAGE
Ancient Magic — Division qf Magic — Cagliostro — Robertson — Comte de Grisi — Robert-
Houdiu — Carl Herrmann — Signor Blitz — Robert Heller — Alexander Herrmann —
Bautier de Kolta — Harry Kellar, , . . . 1
BOOK I.
CONJURERS' TRICKS AND STAGE ILLUSIONS.
CHAPTER I.
Mystekioijs Disappearances.
" Vanity Fair " — " After the Flood " — " The Magic Palanquin " — " Cassadaga Propa-
ganda" — "The Appearing Lady" — "The Disappearing Lady" — "The Mys-
terious Trunk " — " The Indian Basket Trick " — " Decapitation " — " Spiritualistic
Ties," 37
CHAPTER H.
Optical Tricks.
The "Cabaret du Neant " — The Three Headed Woman — •' Amphitrite " — "The
Mystery of Dr. Lynn " — " Black Art " — -The Talking Head — The Living Half-
Woman — "She" — "The Queen of Flowers" — The" Decapitated Princess"
— " Stella " — Houdin's Magic Cabinet — A Mystic Maze — Platinized Glass — Statue
giving a Double Image, ............ 55
CHAPTER in.
Miscellaneous Stage Tricks.
•' Trilby "—The "Haunted Swing" — Tlie " Scurimobile " — TheXeooccultism — "The
Mask of Balsarao " — The Invisible Woman — Magic Harps, , .... 89
^
viii CONTENTS.
CHAPTER IV.
Conjuring Tricks.
PAGE
Trick witli an Egg and a Handkerchief — The Cone of Flowers — The Magic Rosebush —
" Magic Flowers" — The " Birth of Flowers" — Tricks with a Hat— A Cake Baked
in a Hat — The Egg and Hat Trick — Multiplication of Coins— Magic Coins — The
Dissolving Coin — The Spirit Slates — Second Sight — Magic Cabinets — The Travel-
ing Bottle and Glass — Disappearance of an Apple and a Ninepin — A Goblet of Ink
Converted into an Aquarium — The Invisible Journey of a Glass of Wine — The
Wine Changed to Water — The Animated Mouse — The Sand Frame Trick —
Houdin's Magic Ball, 105
CHAPTER V.
Jugglers and Acrobatic Performances.
Jugglers — The Leamy Revolving Trapeze — Walking on the Ceiling Head Down — The
Mysterious Ball, 139
CHAPTER VI.
Fire Eaters and Sword Tricks.
Fire Eaters, Tricks with Fire — A Stab through the Abdomen — The Human Target —
Sword Swallowers — Swcjrd Walker — Dancers on Glass, ..... 149
CHAPTER VII.
Ventriloquism and Animated PurrETs, 164
CHAPTER VIII.
SlIADOWGRAPIIY.
Sliadowgrai)hy — French Shadows, , . . . 173
CHAPTER IX.
Mental Magic.
Hol.irt Il.-lier- Sfcond Sight— 'I'lic Hsildwiiis juid Second Sight— Silent Thought Trans-
ference, 184
CONTENTS. IX
BOOK II.
ANCIENT MAGIC.
CHAPTER I.
Temple Tricks op the Greeks.
PACE
Puppet Sliows among tlie Greeks — The Shrine of Bacchus — The First Automobile
Vehicle — The Statue of Cybele — Marvelous Altars — The Machinery of the Temples
— Sounding of Trumpets when a Door was Opened — Opening and Closing Doors
when a Fire was Lighted on the Altar — Invention in 1889 a.d. vs. Invention B.C.
— An Egyptian Lustral Water'Vessel, 203
CHAPTER II.
Miraculous Vessels of the Greeks.
The Dicaiometer — Miraculous Vessels — Magical Pitchers — Apjiaratus for Permitting
the Mixing of Wine and Water in Definite Proportions — The Magical Bottle —
Ancient Organs, ............. 221
CHAPTER III.
The Origin op the Steam Engine.
The Eolipile of Heron — Heron's Marvelous Altar — Heron's Tubular Boiler, . . . 234
CHAPTER IV.
Greek Lamps, Toys, etc.
Perpetual Lamps — An Ancient Automaton — A Greek Toy — The Decapitated Drinking
Horse — Odometers, , . . , 239
BOOK III.
SCIENCE IN THE THEATER.
CHAPTER I.
Behind the Scenes of an Opera House — The Ordinary Stage — The English Stage — The
Stage Floor — The Cellars — The Flies — The Gridiron — Traps — Sliders — Bridges —
The Metropolitan Opera House Stage — Wing Posts — Curtain Calls — The Electric
Lighting — Paint Bridge — The Property Man — Striking a Scene — The Dressing-
Rooms — The Production of a New Opera, 251
X CONTENTS.
CHAPTER II.
Some Remakkable Stages, Ancient and Modern.
PAGE
An Electric Curtain — The Fan-Drop Curtain — An Elevator Theater Stage — Some
Remarkable American Stage Inventions — A Revolving Stage — The " Asphaleia"
Stage — A Theater with Two Auditoriums — Curio's Pivoted Theater — The Olym-
pian Theater of Palladio at Vicenza, . . 268
CHAPTER III.
Stage Effects.
Scene Painting — Sunrise Effect — Sun Effect — Change from Day to Night — Stars — Moon
Effects — Rainbow Effect — Wind Effect — Thunder Effect — Lightning — Snow
Effect — Wave Effect — Crash Effect — Rain Effect — Gradual Transformation — Fire
and Smoke Effect — Battle Scenes — Theatrical Firearms — The Imitation of Odors, . 293
CHAPTER IV.
Theatek Secrets.
Traps — The Swan in "Lohengrin " — The Floating Rhine Daughters in " Rheingold "
— The " Sun Robe " — The Ship on the Stage — Miscellaneous Stage Effects — The
Destruction of the Temple of Dagon — The Horse Race on the Stage — The Effects
in " Siegfried " — Siegfried's Forge — Siegfried's Anvil — The Dragon Fafner —
Wotan's Spear — The Bed of Tulips and the Electric Firefly — The Electric Torch
and Electric Jewels — An Electrical Duel — The Skirt Dance, . . . . .311
CHAPTER V.
The Nautical Arena 345
CHAPTER VL
A Tkii' to the Moon, c . 348
CHAPTER Vn.
Cycloramas.
The Electric Cycloraiiia— The Painted Cyclorama, 354
CHAPTER VIIL
FiUEW(»HKs with Dramatic Accessories 363
CONTENTS. xi
BOOK IV.
AUTO 21 AT A AND- CURIOUS TOYS.
CHAPTER I.
Automata.
PAGE
Automaton Chess Players — Tbe Automaton Cliess Player — A Curious Automaton — The
Toy Artist— A Steam Man, 367
CHAPTER II.
CuRiors Toys.
An Optical Illusion — The Money Maker — Experiments in Centrifugal Force and
Gravity — The Magic Rose — Electrical Toys — The Electric Race Course — Mag-
netic Oracle — The Dancers — An Ancient Counterpart of a Modern Toy — Un-
balanced Toy Acrobats — Columbus's Egg — -Jacob's Ladder — The Mikado — A Toy
Cart— The Phonographic Doll, 380
CHAPTER III.
Miscellaneous Tricks of an Amusing Nature.
Interesting Tricks in Elasticity — Novel Puzzle — Simple Match Trick — Crystallized
Ornaments — Magical A]iparition on White Paper — Magic Portraits — A Trick
Opera Glass— A Toy Bird that Flies — The Planchette Table — Japanese Magic
Mirrors — Magic Mirrors, 406
BOOK V.
PHOTOORAPIIIC DIVERSIONS.
CHAPTER I.
Trick Photography.
Lavater's Apparatus for Taking Silhouettes — Photography upon a Black Ground —
Spirit Photography — Artificial Mirage — Duplex Photography — Illusive Photog-
raphy — Photographing a Catastrophe — New Type of Photographic Portrait —
Photographing a Human Head upon a Table — Photographing a Head on a Platter
— A Multiple Portrait — Multiphotography — Pinhole Camera — A Photographic
Necktie — Magic Photographs— Electro-Photo Detective Thief Catcher — Com-
posite Photography, 423
xii CONTENTS.
CHAPTER II.
Chronophotography.
PAGE
Chronophotograpliy — The Registration and Ailalysis of the Movements of Men, Animals,
Birds, Fishes, Insects, etc. — Amateur Chronophotographic Apparatus, . . . 462
CHAPTER III.
The Projection of Moving Pictures.
The Edison Kinetograph — Reynaud's Optical Theater — Electric Tachyscope — Apparatus
for Projecting Moving Pictures by the Denien}-, Jenkins, Lumiere, and Other
Forms of Apparatus — The Kinetoscope Stereopticon — The Mutoscope and the
Mutograph, with Illustrations of Moving Objects — "Cinematograph" Camera
— Camera for Ribbon Photography. — The Micromotoscope, ..... 488
APPENDIX.
ADDITIONAL TRICKS.
The Magic Table—" Gone "—The Siiider and the Fly— The Trunk Trick—" La Stro-
beika Persane" — "Metempsychosis," 519
BIBLIOGRAPHY OF WORKS ON NATURAL MAGIC, . . . .539
INDEX, 553
MAGIC:
STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS,
INCLUDING TRICK PHOTOGRAPHY.
INTRODUCTION.
THE MYSTERIES OF MODERN MAGIC.
By Henry Ridgely Evans.
Far back into the shadowy past, before the building of the pyramids, magic
was a reputed art in Egypt, for Egypt was the " cradle of magic.'^ The magi-
cians of Egypt, according to the Bible chronicle, contended against iVaron,
at the court of Pharaoh. The Hebrew prophet " cast down his rod before
Pharaoh and before his servants, and it became a serpent. Then Pharaoh
also called the wise men and the sorcerers: now the magicians of Egypt, they
also did in like manner with their enchantments. For they cast down every
man his rod and they became serpents: but Aaron's rod swallowed up their
rods." [Exodus vii. 10, 11, 12.]
The late Robert Heller, prestidigitateur, traveler in the Orient, and
skeptic, once told me that he had seen this feat performed in Cairo many
times by the Dervishes. The rods actually were serpents and hypnotized to
such an extent as to become perfectly stiff and rigid. When thrown Tipon the
earth and recalled to life by sundry mystic passes and strokes, they crawled
away alive and hideous as ever. Said Heller: " It was in the open air tliat I
saw this strange feat performed. Transferred to the gloomy audience chamber
of some old palace, where the high roof is supported by ponderous stone
columns painted with hieroglyphics, where rows of black marble sphinxes
stare at you with unfathomal)le eyes, where the mise en scene is awe-ins])iring
— this trick of the rods turning into serpents becomes doubly impressive, and
indeed to the uninitiated a miracle."
In the British Museum is an Egyptian papyrus, whicli contains an account
of a magical seance given by a certain Tchatcha-em-ankh before King Khufu,
B.C. 3766. In this manuscript it is stated of the magician: " He knoweth how
to bind on a head which hath been cut off, he knoweth how to make a lion
follow him as if led by a rope, and he knoweth the number of the stars of the
ii INTRODtJCTlON.
house (constellation) of Thoth." The decapitation trick is thus no new thing,
while the experiment performed with the lion, undoubtedly a hypnotic feat,
shows hypnotism to be old.
The art of natural magic, then, dates back to the remotest periods of an-
tiquity. It was an art cultivated by the Egyptian, Chaldean, Jewish, Eoman,
and Grecian priesthoods, being used by them to dupe the ignorant masses.
Weeping and bleeding statues, temple doors that flew open with thunderous
sound and apparently by supernatural means, and perpetual lamps that flamed
forever in the tombs of holy men, were some of the thaumaturgic feats of the
Pagan priests. Heron, a Greek mechanician and mathematician, who lived in
the second century before Christ, wrote several interesting treatises on auto-
mata and magical appliances, used in the ancient temples. Colonel A. De
Eochas, in an interesting work, Les Origmes de la Science, has given in detail
Heron's accounts of these wonderful automata and experiments in natural
magic. St. Hippolytus, one of the Fathers of the early Christian Church, also
described and exposed in his works many of these wonders.
Magic is divided, according to old writers on the occult, into: White magic,
Black magic, and Necromancy. Modern magic, or conjuring, is divided by
Robert-Houdin into five classes, as follows:
1. Feats of Dexteeity, Tbe bauds and tongue being the only means
used for the production of these illusions.
2. Experiments in Natural Magic, Expedients derived from the
sciences, and which are worked in combination with feats of dexterity, the
combined result constituting " conjuring tricks."
3. Mental Conjuring. A control acquired over the will of the spectator;
secret thought read by an ingenious system of diagnosis, and sometimes com-
])elled to take a particular direction l^y certain subtle artifices.
4. Pretended Mesmerism. Imitation of mesmeric phenomena, second-
sight, clairvoyance, divination, trance, catalepsy.
5. Mediumhiiip. 8pii-itualism or pretended evocation of spirits, table-
Inruiitg. rai)i)ijig ;ind writing, mysterious cabinets, etc.
In I lie ^liddlo Ages magic was greatly in vogue and we read strange stories
of gliosis, goblins, and gnomes in the literature of that period. Shriveled
old women were burned at the stake for the crime of witchcraft, monks in
their gloomy cells wrestled with Satan and the ])ovvers of darkness, and grimy'
idchcmisls toiled djiy and night over the red fires of their furnaces, seeking in
vain for the talisinsuiic ])hilosopher's stone and wondrous elixir of life. With
the aid of the concave inirror, magicians of the period were able to produce
very fair ghost illusions to gull a susceptible public. IJenvenuto Cellini chron-
icles one in his fascinating auiobiogra])hy.
Cellini, as guileless as a (hild in matters of science, desiring to study sor-
cery, applied to a Sicilian priest who was a professed dabbler in the occult
INTRODUCTION. 3
art. One dark night they repaired to the ruins of the Coliseum, at Eome; the
monk described a circle on the ground and placed himself and the great gold-
smith within its mystic outlines; a fire was built, intoxicating perfumes cast
on it, and soon an impenetrable smoke arose. The man of the cowl then
waved his wand in the air, pronounced sundry cabalistic words, and legions
of demons were seen dancing in the air, to the great terror of Cellini. The
story of this spirit seance reads like an A-rabian tale, but it is easily explainable.
The priest had a brother confederate concealed among the ruins, who manipu-
lated a concave mirror, by means of which painted images were thrown on the
smoke. Later on ISTostradamns conjured uj) the vision of the future King of
France for the benefit of the lovely Marie de Medicis. This illusion was ac-
complished by the aid of mirrors adroitly secreted amid hanging draperies.
II.
The history 6i magic would be incomplete withont a sketch of Cagliostro,
the arch-necromancer of the eighteenth century, who filled all Europe with
his fame. Novels and plays have been founded on his strange career, as witness
Goethe's " Grand Cophta " and Alexander Dumas' " Memoirs of a Physician."
Thomas Carlyle has remorselessly dissected the character of Cagliostro in
an immortal essay, " Count Cagliostro," which makes fascinating reading.
Cagliostro like Nostradamus, and others of that ilk, as the Scotch say, was a
pretender to magic and sorcery. He manufactured elixirs of life, raised the
shades of the illustrious dead, pretty much after the fashion of our modern
spirit mediums; told fortunes, predicted lucky numl)ers in the lottery, trans-
muted metals, and founded occult lodges of Egyptian Masonry for the regen-
eration of mankind. Joseph Balsamo — for such was the Count's real name —
was born of poor parents at Palermo, Sicily, in the year 1743. He received
the rudiments of an education, and a smattering of chemistry, at a neighboring
monastery, and then started out to fleece mankind. He began by forging
theater tickets, after that a will; then he robl)od a goldsmith named ]\rarano of
a sum of money. Balsamo pretended that a secret treasure lay buried in a cer-
tain rocky chasm just outside the city of Palermo, and tlurt he, for a considera-
tion, was able to unearth the gold by means of certain magical incantations.
Poor Marano like a susceptible gudgeon swallowed the bait, hook and all. paid
the contingent fee, and accompanied by the amateur sorcerer (it was Balsamo's
first attempt in the necromantic line) paid a visit on a certain dark night to the
lonely spot Avhere the treasure lay hid from mortal gaze. Joseph drew a magic
circle of phosphorus on the earth, pronounced some spells in a peculiar gib-
berish known only to himself, which he denominated iVrabic, and bade the
goldsmith dig away for dear life. ]\rarano went vigorously to work with
pick and spade. Suddenly terrific yells were heard, whereupon a legion of
4: INTRODUCTION.
devils (Joseph's boon companions with cork-blackened visages) rushed from
behind the rocks, pounced upon the goldsmith, and nearly beat him to death
with their pitchforks. The enchanter, in order to escape the vengeance of the
furious Marano, was compelled to flee his native city. In company with a
Greek, Althotas, he visited various places — Greece, Egypt, Arabia, Persia,
Ehodes, Malta, Naples, Venice and Rome. According to his own account,
he studied alchemy at Malta in the laboratory of Pinto, Grand Master of the
Knights of Malta and St. John. At Rome he married a beautiful girl, Lorenza
Feliciani, daughter of a girdle maker, who proved of great assistance to him in
his impostures. They travelled over Europe in a coach-and-four with a
retinue of servants garbed in gorgeous liveries. Balsamo changed his name
to the high-sounding title of the Comte de Cagliostro, and scattered money
right and left. " At Strasbourg," says one of his biographers, " he reaped
an abundant harvest by professing the art of making old people young; in
which pretension he was seconded by his wife, Lorenza Eeliciani, who, though
only twenty years of age, declared that she was sixty and that she had a son a
veteran in the Dutch service." Cagliostro also pretended to be of a great
age, and solemnly declared that he had hobnobbed with Alexander and Julius
Csesar; that he was present at the burning of Rome under Nero and was an
eye-witness of the crucifixion of Christ. Cardinal de Rohan, of France, who
became a firm believer in the pretensions of the charlatan, entertained him in
Paris, introducing him to that gay world of the Old Regime which went out
forever with the French Revolution. This was in 1785. All Paris went
wild over the enchanter, and thronged to his magical soirees at his residence
in tlie Rue St. Claude. Cagliostro coined money in the French capital with
liis spurious Egyptian Rite of Freemasonry, which promised to its votaries the
length of life of the Noachites, and superhuman power over nature and her
laws. Imbert Saint-Amand, the interesting author of "Marie Antoinette and
tlie End of the Old L'egime," says (Scribner Edition): "The mania for the
supernatural, the rage for the marvelous, prevailed in the last years of the
eigbteenth century, ^\'liicli bad wantonly dei'ided every sacred thing. Never
were tlic Rosicrucians, the adejjts, sorcerers, and proj)hets so numerous and so
respected. Serioiis and educated men, magistrates, courtiers, declared tbein-
selvcs eye-witnesses of alleged iiiii-acles. . . . Wlien Cagliostro came to
France, be found tlie ground pre])ared for bis magical operations. A society
eager for distractions and emotions, indulgcMl to every form of extravagance,
neeessiirily welcomed sneli a niiin and bailed bim as ils guide. Whence did he
conie? What was bis counlr'v, bis age, bis origin? Wb(>re did he get tliose
exfraordinary diamonds wbiclv adorned bis dress, the gold wdiich he squandered
so freely? It was all a mystery. ... So far as was known, Cagliostro had
no resources, no lettcsr of credit, and yet he lived in luxury. He treated and
cured tlu' ])oor witbout y)ay, and not satisfied with restoring them to health, he
made them large presents of money. His generosity to the poor, his scorn for
INTRODUCTION. 5
the great, aroused universal enthusiasm. The Germans, who lived on legends,
imagined that he was the Wandering Jew. . . . Speaking a strange gib-
berish, which was neither French nor Italian, with which he mingled a jargon
which he did not translate, but called Arabic, he used to recite with solemn
emphasis the most absurd fables. When he repeated his conversation with the
angel of light and the angel of darkness, when he spoke of the great secret of
Memphis, of the Hierophant, of the giants, the enormous animals, of a city
in the interior of Africa ten times as large as Paris, where his correspondents
lived, he found a number of people ready to listen and believe him."
The interior of Africa was an excellent place in which to locate all these
marvels. Since no traveler in that age of skepticism and credulity had ever
penetrated into the mysterious land of Ham, it was impossible to deny the
Munchausen-like stories of the magician. All this bears a close analogy to
the late Madame Blavatsky and her Tibetan Mahatmas. Cagliostro, like all
successful and observant wizards, was keenly alive to the effects of mise en scene
in his necromantic exhibitions; he was a strong believer in the spectacular. To
awe his dupes with weird and impressive ceremonies, powerfully to stimulate
their imaginations — ah, that was the great desideratum! His seance-room
was hung with somber draperies, and illuminated with wax lights in massive
silver candlesticks which were arranged about the apartment in mystic tri-
angles and pentagons.
Says Saint- Amand: "As a sorcerer he had a cabalistic apparatus. On a
table with a black cloth, on which were embroidered in red the mysterious
signs of the highest degree of the Eosicrucians, there stood the emblems: little
Egyptian figures, old vials filled with lustral waters, and a crucifix, very like,
though not the same as the Christian's cross; and there too Cagliostro placed
a glass globe full of clarified water. Before the globe he used to place a kneel-
ing seer; that is to say, a young woman ^^'ho, by supernatural powers, should
behold the scenes which were believed to take place in water within the magic
globe.
" Count Beugnot, who gives all the details in his Memoirs, adds that for
the proper performance of the miracle the seer had to be of angelic purity, to
have been born under a certain constellation, to have delicate nerves, great
sensitiveness, and, in addition, blue eyes. When she knelt down, the geniuses
were bidden to enter the globe. The water became active and turbid. The
seer was convulsed, she ground her teeth, and exhibited every sign of nervous
excitement. At last she saw and began to speak. What was taking place that
very moment at hundreds of miles from Paris, in Vienna or Saint Petersburg,
m America or Pekin, as well as things which were going to occur only some
weeks, months, or years later, she declared that she saw distinctly in the globe.
The operation had succeeded; the adepts were transported ^vith delight."
Cagliostro became involved in the affair of the Diamond Necklace, and was
thrpwn into the Bastille. Though eventually liberated, he was compelled to
6 INTRODUCTION.
leave Paris. He made one remarkable prediction: That the Bastille would one
day be razed to the ground. How well that prophecy was realized, history re-
lates. In the year 1789 the enchanter was in Eome, at the inn of the Golden
Sun. He endeavored to found one of his Egyptian Lodges in the Eternal City,
but the Holy Inquisition pounced down upon him, adjudged him guilty of the
crime of Freemasonry — a particularly heinous offense in Papal Territory — and
condemned him to death. The sentence, however, was commuted by the Pope
to perpetual imprisonment in the gloomy fortress of San Leon, TJrbino. The
manner of his death, nay the day of his death, is uncertain, but it is supposed
to have taken place one August morning in the year 1790. The beautiful
Lorenza Feliciani, called by her admirers the " Flower of Vesuvius," ended her
days in a convent, sincerely repentant, it is said, of her life of impostures.
III.
With Cagliostro, so-called genuine magic died. Of the great pretenders
to occultism he was the last to win any great fame, although there has been
a feeble attempt to revive thaupiaturgy in this nineteenth century by Madame
Blavatsky. Science has laughed away sorcery, witchcraft, and necromancy.
Prior to Cagliostro's time a set of men arose calling themselves faiseurs, who
practiced the art of sleight-of-hand, allied to natural magic. They gave very
amusing and interesting exhibitions. Very few of these conjurers laid claim to
occult powers, but ascribed their jeux, or tricks, to manual dexterity, mechan-
ical and scientific effects. These magicians soon became popular.
Towards the middle of the eighteenth century we hear of Jonas, Androletti,
Carlotti, Pinetti, Katerfelto, Pliiladelphus Philadelphia, Eollin, Comus I. and
II. Pinetti, when he arrived in London in 1784, displayed the following
advertisement: " Tbe (^hevalier Pinetti with his Consort will exhibit most
wonderful, stupendous, and al)so]ut('ly inimitable, meclianical, physical, and
philosopliical ])ieces, wbicli bis recent dec]) scrutiny in those sciences, and
assiduous exertions, liave enabled liim to invent and construct; among which
Clicvjilicr Pineiti will bave tbe spccin] lioiioi- and satisfaction of exhibiting
various cxjx'riinents of new discovery, no less curious tban seemingly incred-
ible, particularly tbat of Madame Pinetti being seated in one of the front
boxes, wiili a liandkcrciiior over her eyes, and guessing at everything imagined
and proposed to ber by any ])erson in the com])any." Here M^e have the first
mention of tbe secrtnd-sigbt trick, wbicb in the hands of latter-day artists has
become so popular. Houdin i-cdiscovered it, passed it on to Pobcrt Heller
who improved it, and at the present time the conjurer Kellar makes it his
pikefJeresisfr/nre. ^Kollin had a romaniic cancer. He accumulated a fortune
at coiijiiriiig. and purchased the chalcau of h'ontenay-aux-Posos, in the depart-
ment of the Seine. Says II. J. Burlingame, an interesting writer on magic:
INTRODUCTION. 7
" Eollin incurred the suspicions of the Committee of PuhHc Safety in 1793,
and sutfered death by tlie guillotine. On the warrant for his execution being
read to him, he turned to those about him, and observed, ' This is the first
paper I cannot conjure away.' Eollin was the grandfather of the late political
celebrity of that name, who was minister of the interior in the provisional
government of France of 1848."'
Comus II., who played in London in the year 1793, gave a curious exlii-
bition of conjuring tricks and automata. His programme announced that the
Great Comus would present '' various uncommon experiments with his ' En-
chanted Horologium,' ' Pyxidus Literarum,' and many curious oijerations in
' Ehabdology,' ' Stenaganagraphy,' and ' Phylacteria,' with many wonderful
performances of the grand ' Dodecahedron,' also ' Chartomantic Deceptions '
and ' Kharamatic Operations.' To conclude with the performance of the
* Teretopasst Figure and ]\Iagical House ' ; the like never seen in this kingdom
before, and will astonish every beholder."
In the height of the French Revolution, when the guillotine reeked with
blood and the ghastly knitting-women sat round it counting the heads as they
fell into the basket, a Belgian optician, named Etienne Gaspard Robertson,
arrived in Paris, and opened a wonderful exhibition in an abandoned chapel
belonging to the Capuchin convent. The curiosity-seekers who attended
these seances were conducted by ushers down dark flights of stairs to the vaults
of the chapel and seated in a gloomy crypt shrouded -with Ijlack draperies and
pictured with the emblems of mortality. An antique lamp, suspended from
the ceiling, emitted a flame of spectral blue. AVhen all was ready a rain and
wind storm, with thunder accompanying, began. Robertson extinguished the
lamp and threw various essences on a brazier of burning coals in the center of
the room, whereupon clouds of odoriferous incense filled the apartment. Sud-
denly, with the solemn sound of a far-off organ, phantoms of the great arose
at the incantations of the magician. Shades of Voltaire, Rousseau, Marat,
and Lavoisier appeared in rapid succession. Robertson, at the end of the
entertainment, generally concluded by saying: '' I have shown you, citizens,
every species of phantom, and there is but one more truly terril)le specter — the
fate which is reserved for us all." In a moment a grinning skeleton stood in
the center of the hall waving a scythe. All these wonders were perpetrated
through the medium of a phantasmagoric lantern, which threw images upon
smoke. This was a great improvement on the simple concave mirror which so
terrified Cellini. The effect of this entertainment was electrical: all Paris went
wild over it. Robertson, lucky fellow, managed to save his neck from " La
Guillotine," and returned to his native province with a snug fortune to die of
old age in a comfortable feather bed.
Clever as was Robertson's ghost illusion, performed by the aid of the
phantasmagoric lantern, it had one great defect: the images were painted on
glass and lacked the necessary vitality. It was reserved for the nineteenth
8 INTRODUCTION.
century to produce the greatest of spectral exhibitions, that of Prof. Pepper,
manager of the London Polytechnic Institution. In the year 1863, he in-
vented a clever device for projecting the images of living persons in the air.
The illusion is based on a simple optical effect. In the evening carry a lighted
candle to the window and you will see reflected in the pane, not only the image
of the candle but that of your hand and face as well. The same illusion may
be seen while traveling in a lighted railway carriage at night; you gaze through
the clear sheet of glass of the coach window and behold your " double "
traveling along with you. The apparatus for producing the Pepper ghost has
been used in dramatizations of Bulwer's " Strange Story," Dickens' " Haunted
Man " and " Christmas Carol," and Dumas' " Corsican Brothers." In France
the conjurers Eobin and Lassaigne presented the illusion with many novel
and startling effects.
One of the most famous of the eighteenth-century magicians was Torrini,
a French nobleman, whose real name was the Comte de Grisi. His father,
a devoted adherent of Loiiis XYL, lost his life at the storming of the Tuileries,
on that fatal day in August, ever memorable in the annals of French history.
Profiting by the disorders in the French capital, the young De Grisi was en-
abled to pass the barriers and reach the family chateau in Languedoc. He dug
up a secret treasure his father had concealed for any emergency, and proceeded
to Italy to study medicine. He established himself at Xaples, where he soon
became a physician of note. Here his noble birth and aristocratic manners
gave him the entree into the best society of the city. Like many enthusiastic
amateurs he became interested in legerdemain, and performed for the amuse-
ment of his friends. A peculiar incident led him to adopt the profession of a
magician. At the Carnival of 1796, the Chevalier Pinetti arrived in Naples
to give a series of magical entertainments. Pinetti was the idol of the Italian
public. The Comte de Grisi, having unraveled the secrets of most of Pinetti's
illusions, performed them for his friends. Pinetti, who Avas furious at hav-
ing a rival, set about revenging himself on the aiidacious amateur. With-
out much difficulty he succeeded in ingratiating himself with De Grisi,
and complimented him on his success as a prestidigitateur. One evening,
he persuaded the young Count to take his place at the theater and give a
performance for the benefit of the poor of the city. Intoxicated with flattery,
io say notliing of numerous glasses of cbampagne, De Grisi consented. The
greater number of I'inetti's tricks were performed by the aid of confederates in
the audience, who loaned various objects of Avhich the magician had duplicates.
A diabolif-al trap was laid for De Grisi. One of the accomplices declared that
lie liad loaned the young magician a valuable diamond ring to use in a trick,
and harl bad returned to him a pinchbeck substitute. Here was a dilemma,
but Do Grisi put the man off with an excuse until after the entertainment.
Apy)roaching the box where the king and his family were seated, De Grisi
begged the monarch to draw a card from a pack. No sooner, however, had
INTROD UCTION. 9
the king glanced at the card he had selected, than he threw it angrily on the
stage, with marks of intense dissatisfaction. De Grisi, horror-struck, picked
up the card and found written on it a coarse insult. The conjurer rushed off
the stage, picked up his sword, and searched in vain for the author of the
infamous act of treachery; but Pinetti had fled. Do Grisi was so utterly
ruined, socially and financially, by this fiasco, that he came near dying of brain
fever, the result of overwrought emotions. On his recovery he vowed ven-
geance on Pinetti, a most unique vengeance. Says De Grisi: " To have chal-
lenged him would be doing him too much honor, so I vowed to fight him with
his own weapons, and humiliate the shameful traitor in my turn. This was
the plan I drew up: I determined to devote myself ardently to sleight-of-hand,
to study thoroughly an art of which I as yet knew only the first principles.
Then, when quite confident in myself — when I had added many new tricks
to Pinetti's repertoire — I would pursue my enemy, enter every town before
him, and continually crush him by my superiority.''
De Grisi sold everything he possessed, took refuge in the country, and
toiled for six months at sleight-of-hand. Then with splendid apparatus and
elaborate printing, lie took the field against his hated enemy. He succeeded
in accomplishing his ends: Pinetti had to retire vanquished. Pinetti died
in a state of abject misery at the village of Bastichoff, in Yolhynia, Russia. De
Grisi determined to proceed to Eome as a finish to his Italian performances.
Pinetti had never dared to enter the Eternal City, since he laid claims to genu-
ine necromancy to encompass his tricks. Remembering the fate of the Comte
de Cagliostro, he apprehended a trial for sorcery, and a possible auto da f^.
De Grisi, however, had no such fears, as his entertainment was professedly
a sleight-of-hand performance and did not come under the denomination of
v^'itchcraft and necromancy. The Frenchman set his wits to work to concoct
a trick worthy to set before a Pope. Happening one day to drop into a jewel-
er's shop, he espied a magnificent watch lying on the counter undergoing
repairs. " Whose chronometer? " inquired the wizard nonchalantly. " His
Eminence, the Cardinal de 's watch, worth ten thousand francs, and made
by the renowned Bregnet of Paris," said the jeweler. " Is there another time-
piece similar to this in Rome?" continued De Grisi, examining the watch.
" But one," replied the jeweler, " and that owned by an improvident young
noble who spends his time in the gambling hells wasting his ancestral estates."
That was enough for the juggler. He commissioned the jeweler to pur-
chase the Avatch at any cost and engrave the Cardinal's coat-of-arms inside of
the case. The expensive recreation cost De Grisi a thousand francs. When
the evening of the performance arrived the magician appeared before the Pope
and a brilliant assemblage of red-robed C^ardinals and executed his astonishing
experiments in conjuring. As a culminating feat he borrowed the Cardinal's
chronometer, which had been returned by the jeweler. After many promises
to handle it carefully, he dropped it on the floor of the audience chamber as if
10 INTRODUCTION.
by accident and set liis heel upon it. Smash went the priceless timepiece. The
Cardinal turned pale with rage, and all were horror-struck at the unfortunate
fiasco. But the Frenchman smiled at the consternation of the spectators,
picked up the fragments of the watch, had them fully identified in order to pre-
clude any idea of substitution, and then proceeded to pulverize them in a big
brass mortar. A detonation took place and red flames leaped up from the mor-
tar in the most approved order of diabolism; all crowded around to watch the
result. Watching his opportunity, the wizard surreptiously slipped the dupli-
cate chronometer into a pocket of the Pope's cassock. The mystification was
complete when De Grisi pretended to pass the ingot of melted gold from the
mortar into the pocket of His Holiness, resulting in the discovery of the watch,
which was produced intact. This seeming marvel made the lifelong reputa-
tion of the French artist. The Pontiff presented him the day after the seance
with a magnificent diamond-studded snuff-box as a mark of esteem.
Yeare after this event, De Grisi's son was accidentally shot by a spectator in
the gun trick. A real leaden bullet got among the sham bullets and was loaded
into the weapon. The wretched father did not long survive this tragic affair.
He died in the city of Lyons, France, in the early part of this century. De
Grisi was a superb performer with cards, his " blind man's game of piquet "
being a trick unparalleled in the annals of conjuring.
After De Grisi came a host of clever magicians, among whom may be
mentioned Dobler, whose principal trick was the lighting of one hundred
candles hy a pistol shot; Philippe, the first European performer to present the
" bowls of gold fish " and the " Chinese rings " ; Bosco, expert in cup and
ball conjuring; and Conite, ventriloquist and expert in flower tricks. Comte
was the most distinguished of these artists, being noted for his wit and
audacity. He was a past master in the art of flattery. The following good
story is told of him: During a performance at the Tuileries given before Louis
XVIII, Comte asked the king to draw a card from a pack. The monarch
selected the king of hearts, by chance, or by adroit forcing on tlie part of the
magician. Tlie card was torn up, and rammed into a pistol.
'' Loftk, your majesty," said Comte, pointing to a vase of flowers which
slot'd ii|)(in a talile in tlie center of the stage. "I shall fire tliis pistol at the
vase and the king of hearts will appear just above. the flowers."
The weapon Avas lii-ed, whereupon a small bust of Louis XVIII appeared
instantaneously out of the center of the Ijoucpiet.
"Ah," exclaimed the king to the conjuror, in a slightly sarcastic tone of
voice, "I think. Monsieur Magician, that you have made a slight mistake.
You promised to make Ihe king of hearts appear, but "
"Pardon me, yonr majesty," interrupted Ihe conjurer, "but I have ful-
(ilh'd my |)romiso to the letter. Behold, there is your likeness! — and are you
not tli(! acknowledged king of all our hearts, the well-beloved of the French
people?"
INTRODUCTION. 11
The king bowed liis royal head benignly, while the assembled courtiers made
the salon ring with their applause. The journals next morning reported this
little scene, and Comte became the lion of the hour.
Comte was in the zenith of his fame when a new performer entered the
arena of magic — Robert-Houdin. One day the following modest handbill
appeared on the Parisian bulletin-boards:
Aujourd'hui Jeudi, 3 Juillet 1845.
PREMIERE REPRESENTATION
DES
SOIREES FANTASTIQUES
DE
ROBERT-HOUDIN.
AUTOMATES, PRESTIDIGITATION, MAGIE
IV.
In the year 1843 there was situated in the Rue du Temple, Paris, a little
shop, over the door of which was displayed the unpretentious sign, " ]\I.
Robert-Houdin, Pendules de Precision." It was the shop of a watchmaker
and constructor of mechanical toys. The proprietor was destined to be the
greatest and most original fantaisiste of his time, perhaps of all times, the
founder of a new and unique school of conjuring, and the inventor of some
marvelous illusions. No one who stopped at the unpretentious place could
have prophesied that the keen-eyed little Frenchman, in his long blouse be-
smeared with oil and iron filings, would become the premier prestidigitateur
of France, the inventor of the electrical bell, improver of the electrical clock,
author, and ambassador to the Arabs of Algeria. During his spare moments
Houdin constructed the ingenious automata that subsequently figured in his
famous Soirees Fantastiqiies. When Re went abroad on business or for pleas-
ure he wore the large paletot of the period and practiced juggling with cards
and coins in the capacious pockets.
About the time of which I write he invented his "mysterious clock" — a
piece of apparatus that kept admirable time, though apparently without works
— and he sold one of them to a wealthy nobleman, the Count de I'Escalopier.
The Count, who was an ardent lover of the art amusante, or science wedded
12 INTRODUCTION.
to recreation, made frequent visits to the shop in the Rue du Temple, and sat
for hours on a stool in the dingy workroom watching Houdin at work. A
strong friendship grew up between the watchmaker and the scion of the Old
Regime. It was not long before Houdin confided the secret of his hopes to
the Count — his burning desire to become a great magician.
The nobleman approved the idea, and in order to give the conjurer oppor-
tunities for practice, so that he might acquire the confidence which he lacked,
constantly invited him to pass the evening at the De I'Escalopier mansion, for
the purpose of trying his skill in sleight-of-hand before a congenial and
art-loving company. On one occasion, after a dinner given in honor of
Monseigneur Afl:re, Archbishop of Paris, who was killed at the barricades
during the Revolution of 1848, Houdin performed his clever trick of the
" burnt Avriting restored." In the language of Houdin, the effect was as
follows: "After having requested the spectators carefully to examine a large
envelope sealed on all sides, I handed it to the Archbishop's Grand Vicar,
begging him to keep it in his own possession. Next, handing to the prelate
himself a small slip of paper, I requested him to write thereon, secretly, a sen-
tence, or whatever he might choose to think of; the paper was then folded in
four, and (apparently) burnt. But scarcely was it consumed and the ashes
scattered to the winds, than, handing the envelope to the iVrchbishop, I re-
quested him to open it. The first envelope being removed a second was found,
sealed in like manner; then another, until a dozen envelopes, one inside
another, had been opened, the last containing the scrap of paper restored
intact. It was passed from hand to hand, and each read as follows:
" ' Though I do not claim to be a prophet I venture to predict, sir, that
you will achieve brilliant success in your future career.' "
Houdin preserved this slip of paper as a religious relic for many years, but
lost it during his travels in Algeria.
The Count de I'Escalopier, after the incident at the memorable dinner,
urged Houdin to start out immediately as a conjurer. One day the watch-
maker, after considerable hesitation, confessed his inability to do so on account
of povc]-ty.
"Ah," replied the nobleman, "if that's all, it is easily remedied. I have
at home ten thousand francs or so which I really don't know what to do with.
Accept them, my dear Hondin, and begin your career."
But Houdin, loath to incur the responsibility of risking a friend's money in
a theatrical specidation, wiiliont some guarantee of its being repaid, refused
the generous offer. Again and again De rEsealoi)ier urged him to take it, but
without success; finally the nobleman, annoyed at the mechanician's obstinacy,
loft llic shop in a state of ])i(|ue. But after a few days he returned, saying, as
he (sntered: " Since you are determined not to acept a favor from me, I have
come to ask one of you. Listen! For the last year an escritoire in my sleeping-
apjiriinent has ])een ro])bcd from time to iime of large sums of money, not-
INTRODUCTION. 13
withstanding the fact that I have adopted all manner of precautions and safe-
guards, such as changing the locks, having secret fastenings placed on the
doors, etc. I have dismissed my servants, one after another, but, alas! have not
discovered the culprit. This very morning I have been robbed of a couple of
thousand-franc notes. There is a dark cloud of suspicion and evil hanging
over my house that nothing will lift till the thief is caught. Can you help
me?"
"I am willing to serve you," said Houdin; "but how?"
"What!" replied De I'Escalopier; "you a mechanician, and ask how?
Come, come, my friend; can you not devise some mechanical means for appre-
hending a thief? "
Houdin thought a minute, and said quietly: "I'll see what I can do for
you." Setting to work feverishly, he invented the apparatus, and aided by his
two workmen, who remained with him the whole of the night, he had it ready
at eight o'clock the next morning. To the nobleman's house Houdin went.
The Count under various pretexts had sent all his servants away, so that no
one should be a\\'are of the mechanician's visit.
While Houdin was placing his apparatus in position, the Count frequently
expressed his w^onderment at the heavy padded glove which the conjurer wore
on his right hand.
" All in good time, my dear Count," said Houdin. When everything was
arranged, the mechanician began his explanation of the working of the secret
detective apparatus. " You see, it is like this," he remarked. " The thief un-
locks the desk, but no sooner does he raise the lid, ever so little, than this claw-
like piece of mechanism, attached to a light rod, and impelled by a spring,
comes sharply down on the back of the hand which holds the key, and at the
same time the report of a pistol is heard. The noise is to alarm the household,
and "
" But the glove you wear! " interrupted the nobleman.
" The glove is to protect me from the operation of the steel claw which
tattooes the word Robber on tlie l)ack of the criminal's hand."
" How is that accomplished ? " said De rEscalo})ier.
" Simplest thing in the world," replied Houdin. " The claw consists of a
number of very short but sharp points, so fixed as to form tlie word; and these
points are shoved through a pad soaked with nitrate of silver, a portion of
which is forced by the blow into tlie punctures, thereby making tlie scars in-
delible for life. A peur dc li/s staiii])('(l by an executioner with a red-liot iron
could not be more effective."
" But, M. Houdin," said the Count, horror-stricken at tlie idea. " I liave no
right to anticipate Justice in this way. To brand a fellow-being in sucli a
fashion would forever close the doors of society against him. I could not
think of such a thing. Besides, suppose some member of my family through
carelessness or forgetfulness were to fall a victim to this dreadful apparatus."
14 INTRODUCTION
" You are right," answered Houdin. " I will alter the mechanism in such
a way that no harm can come to any one, save a mere superficial flesh wound
that will easily heal. Give me a few hours."
The Count assented, and the mechanician went home to his work-shop to
make the required alterations. At the appointed time, he returned to the
nobleman's mansion, and the machine was adjusted to the desk. In place of
the branding apparatus, lioudin had arranged a kind of cat's claw to scratch
the back of the thief's hand. The desk was closed, and the two men parted
company.
The Count did everything possible to excite the cupidity of the robber. He
sent repeatedly for his stock-broker, on which occasions sums of money were
ostentatiously passed from hand to hand; he even made a pretense of going
away from home for a short time, but the bait proved a failure. Each day
the nobleman reported, " no result," to Houdin, and was on the point of giving
up in despair. Two weeks elapsed. One morning De I'Escalopier rushed into
the watchmaker's shop, sank breathlessly on a chair, and ejaculated: "I have
caught the robber at last."
" Indeed," replied Houdin; " who is he? "
" But first let me relate what happened," said the Count. " I was seated
this morning in my library when the report of a pistol resounded in my
sleeping-apartment. ' The thief! ' I exclaimed excitedly. I looked around me
for a weapon, but finding nothing at hand, I grasped an ancient battle-ax from
a stand of armor near by, and ran to seize the robber. I pushed open the door
of the sleeping-room and saw, to my intense surprise, Bernard, my trusted
valet and factotum, a man who has been in my employ for upwards of twenty
years. ' What are you doing here? ' I asked; ' what was that noise? '
"In the coolest manner he replied: ^I came into the room just as you
did, sir, at the explosion of the pistol. I saw a man making his escape down the
back stairs, but I was so bewildered that I was unable to apprehend him.'
" I rushed down the back stairs, but, finding the door locked on the inside,
knew that no one could have passed that way. A great light broke upon me.
' Great God! ' I cried, ' can Bernard be the thief? ' T returned to the library.
My valet was holding liis right hand behind liiiii, hut \ dragged it forward,
and saw the imprint of llic claw thereon. Hu; wound was bleeding profusely.
Finding himself convicted, tlie wretch fell on liis knees and begged my forgive-
ness.
" * How long have you been robbing nie? ' I asked,
" ' For nearly two years,' he said.
" ' And how much have you taken? ' 1 in(|uii-('d.
"'Fifteen tlioiisand francs, wliich 1 invested in Government stock. The
scrip is in my desk.'
"I found the securities correct, iind in tlie presence of another witness,
made Bernard sign the fcjliouing confession:
INTRODUCTION. 15
" ' I, the undersigned, hereby admit having stolen from the Count de I'Esca-
lopier the sum of 15,0UU francs, taken by me from his deslv by the aid of false
keys.
*'* Bernard X .
" ' Pakis, the — day of , 18—.
" ' Now go/ I exclaimed, ' and never enter this house again. You are safe
from prosecution; go, and repent of your crime.'
" And now," said the Count to Houdin, " I want you to take these 15,000
francs and begin your career as a conjurer; surely you cannot refuse to accept
as a loan the money your ingenuity has rescued from a robber. Take it "
The nobleman produced the securities, and pressed them into Iloudin's
hands. The mechanician, overcome by the Count's generosity, emliraced him
in true Gallic style, and this embrace, Houdin says, " was the only security De
I'Escalopier would accept from me."
Without further delay the conjurer had a little theatre constructed in the
Palais Royal, and began his fajnous performances, called by him: " Soirees
Fantastiques de Bolert-Houdin," which attained the greatest popularity. He
was thus enabled within a year to pay back the money borrowed from the
Count de I'Escalopier.
Jean Eugene Eobert, afterwards known to fame by the cognomen of Robert-
Houdin, was born at Blois, the birthplace of Louis XII, on the sixth of
December, 1805. His father was a watchmaker. At the age of eleven
Robert was sent to a Jesuit college at Orleans, preparatory to the study of
law, and was subsequently apprenticed to a notary at Blois, but finding the
transcribing of musty deeds a tiresome task, he prevailed on his father to let
him follow the trade of a watchmaker. While working in this capacity, he
chanced one day to enter a bookseller's shop to purchase a treatise on me-
chanics, and was handed by mistake a work on conjuring. The marvels con-
tained in this volume fired his imagination, and this incident decided his
future career, but he did not realize his ambition until later in life, when De
I'Escalopier came to his aid.
In his early study of sleight-of-hand Ploudin soon recognized that the
organs performing the princi})al part are the sight and touch. He says in
his memoirs: "I had often l)een struck by the ease witli wliicli pianists can
read and perform at sight the most difficult pieces. I saw tliat. by practice, it
would be possible to create a certainty of perception and facility of touch,
rendering it easy for the artist to attend to several things simultaneously,
while his hands were busy employed with some comiilicated task. This faculty
I wished to acquire and ap])ly to sleight-of-hand; still, as music could not
afford me the necessary element, I had recourse to the juggler's art." Resid-
ing at Blois at the time was a mountebank who, for a consideration, initiated
the young Houdin into the mysteries of juggling, enabling him to juggle four
16 INTRODUCTION.
balls at once and read a book at the same time. " The practice of this feat,"
continues Houdin, " gave my fingers a remarkable degree of delicacy and cer-
tainty, while my eye was at the same time acquiring a promptitude of percep-
tion that was quite marvelous."
On Thursday evening, July 3, 1845, Houdin's first Fantastic Evening took
place in a small hall of the Palais Eoyal. The little auditorium would seat
only two hundred people, but the prices of admission were somewhat high,
front seats being rated at $1 or five francs, and no places were to be had under
forty sous. The stage set represented a miniature drawing-room in white and
gold in the Louis XV style. In the center Avas an undraped table, flanked by
two small side tables of the lightest possible description; at the side wings or
walls were consoles, with about five inches of gilt fringe hanging from them;
and across the back of the room ran a broad shelf, upon which were displayed
the various articles to be used in the seances. A chandelier and elegant can-
delabra made the little scene brilliant. The simplicity of everything on the
conjurer's stage disarmed suspicion; apparently there was no place for the
concealment of anything. Prior to Houdin's day the wizards draped all of
their tables to the floor, thereby making them little else than ponderous con-
federate boxes. Conjuring under such circumstances was child's play, as com-
pared with the difficulties to be encountered with the apparatus of the new
school. In addition, Houdin discarded the long, flowing robes of many of his
predecessors, as savoring too much of charlatanism, and appeared in evening
dress. Since his time, no first-class prestidigitateur has dared to ofl'end good
taste, by presenting his illusions in any other costume than that of a gentleman
habited a la mode, nor has he dared to give a performance with draped tables.
In fact, modern professors of the art magique have gone to extremes on the
question of tables and elaliorate apparatus, many of them using simple little
gueridons with glass tops, unfringed. Houdin's center table was a marvel of
mechanical skill and ingenuity. Concealed in the body were " vertical rods
each arranged to rise and fall in a tul)e, according as it was drawn down by a
sj)iral s])ring or pulled up by a whip-cord which passed over a ]>ulley at the top
of the tu])e and so down the table log to the hiding place of the confederate."
Tiien; Avere " ten of these ])istons, and the ten cords, passing under the floor of
tlie stage, terminated at a keyboard. Various ingenious automata were actu-
ated ])y this means of ii-ansniitting motion.'' M^'lie consoles were nothing more
than sliallovv wooden boxes with opcMiiugs ilirougli the side scenes. The tops
of the consoles were ])erforated with tray)s. Any ol)ject Avhich the wizard
desired to woi-k ofl" secretly to his confederate' behind the scenes was placed on
one of these tra])S and covered with a ])aper, metal cover, or a handkerchief.
Toucliing a spring caused the article to fall noiselessly through the trap upon
cotton batting, and roll into the hands of the conjurer's alter ego, or concealed
assistant.
Let us now look at some of the illusions of the classic prestidigitateur of
INTRODUCTION. 17
France. By far his best and greatest invention is the " light and heavy chest,"
of which he himself wrote: "I do not think, modesty apart, that I ever in-
vented anything so daringly ingenious." The conjurer came forward with a
little wooden box, to the top of which was attached a metal handle, and re-
marked as follows to the audience : " Ladies and gentlemen, I have here a cash
box which possesses some peculiar qualities. I place in it, for example, a lot
of bank-notes, for safe-keeping, and by mesmeric power I can make the box
so heavy that the strongest nian cannot lift it. Let us try the experiment."
He placed the box on tlie run-down, which served as a means of communication
between the stage and the audience, and requested the services of a volunteer
assistant.
When the latter had satisfied the audience that the box was almost as light
as a feather, the conjurer executed his pretended mesmeric passes, and bade the
gentleman lift it a second time. But try as he miglit, with all his strength, the
volunteer would prove unequal to the task. Reverse passes over the demon
box restored it to its pristine lightness. This extraordinary trick is performed
as follows: Underneath the cloth cover of the run-down, at a spot marked,
was a powerful electro-magnet with conducting wires reaching behind the
scenes to a battery. At a signal from the magician a secret operator turned on
the electric current, and the box, which had an iron bottom, clung to the
electro-magnet with supernatural attraction. It is needless to remark that the
l)ottoni of the cash box was painted to represent mahogany, so as to correspond
with the top and sides.
The phenomena of electro-magnetism were entirely unknown to the gen-
eral public in 1845, when this trick of the spirit cash-box was first presented.
As may be well imagined, it created a profound sensation. When people
became more enlightened on the subject of electricity, Houdin added an addi-
tional effect, in order to throw the public off the scent as to the principle on
which the experiment was based. After first having exhil)ited tlie trick on the
" run-down," he hooked the liox to one end of a rope which passed over a pulley
attached to the ceiling of the hall. Several gentlemen were noAV invited to
hold the disengaged end of the rope. They were able to raise and lower the
iwx with perfect ease, but at a wave of the magician's wand the little chest
descended slowly to the floor, lifting ofi' their feet the spectators who were
holding the rope, to the astonishment of everyone. The secret lay in tlie
pulley and block. The rope, instead of passing straight over tlie pulley, in on
one side and out on the other, went through the block and through the ceiling,
working over a doulile pulley on the floor above, whore a workman at a windlass
held his own against the united power of the five or six gentlemen below. It is
a simple mechanical principle and will be easily understood by those acquainted
with mechanical power.
Houdin's orange tree, that blossomed and bore fruit in sight of the audi-
ence, was a clever piece of mechanism. The blossoms, constructed of tissue
2
18 INTRODUCTION.
paper, were pushed up through the hollow branches of the tree by the pistons
rising in the table and operating against similar pistons in the orange-tree
box. When these pedals were relaxed the blossoms disappeared and the fruit
was gradually developed — real fruit, too, which was distributed among the
spectators. The oranges were stuck on iron spikes affixed to the branches of
the tree and hid from view by hemispherical wire screens painted green and
secreted by the leaves. When these screens were swung back by pedal play the
fruit was revealed. In performing this illusion Houdin first Ijorrowed a
handkerchief from a lady in the audience, and caused it to pass from his hand
into an orange left on the tree. When the disappearance was elfected, the
fruit opened, revealing the handkerchief in its center. Two mechanical
butterflies, exquisitely made, then took the delicate piece of cambric or lace
and flew upwards with it. The handkerchief of course was exchanged in the
beginning of the trick for a dummy l)elonging to the magician. It was worked
into the mechanical orange by an assistant, before the tree was brought forward
for exhibition.
Houdin was very fond of producing magically bon-bons, small fans, toys,
bouquets, and bric-a-brac from borrowed hats. These articles he distributed
with liberal hand among the spectators, exclaiming : " Here are toys for
young children and old." There was always a great scramble for these sou-
venirs. The conjurer found time to edit and publish a small comic news-
paper, " Cagiiostro," copies of which were handed to every one in the theatre.
The contents of this journal pour rire were changed from evening to evening,
which entailed no small labor on the part of the hard- worked prestidigitateur.
It was illustrated with comic cartoons, and was eagerly perused between the acts.
Here is one of Houdin's bon mots : Le Ministre de V Interienr ne recevra
pas demain, mais le Ministre des Fitiances recevra tous les jours . . . et
jours suivaiits.
The crowning event of Houdin's life was his embassy to Algeria to counter-
act the influence of the Marabout priests over the ignorant Arabs. The Mara-
bouts are Mohammedan miracle workers, and are continually fanning the
flames of rebellion and discontent against French donvination. The French
Government invited Eobert-Houdin to go to Algeria and perform before the
Ara])s in order to show them that a French wizard was greater than a Mara-
bout fakir. It was pitting Creek against Greek! ^'ho marvels of optics,
chemistry, electricity, and mechanics which Houdin liad in his repertoire,
coii])l('d wKli Ills digital dexterity, were well calculated to evoke astonishment
and awe. How well tlu' famous French wizard succeeded in his mission is a
matter of liislory. A Cull account of his adventures among the Arabs is con-
tained in bis memoirs and makes very entertaining reading. After his success-
ful embassy to the land of \}\q. white bournous and turban, Houdin returned
to France and settled down at St. Gervais near Blois, giving his time to elec-
trical studies and inventions.
INTRODUCTION. 19
He received several gold medals from the French Government for the suc-
cessful application of electricity to the running of clocks. The conjurer's
house was a regular ]\lagic Villa, being full of surprises for the friends who
visited the place. There were sliding panels in the walls, trap doors, auto-
matons in every niche, descending floors, and electric wires from attic to
cellar. Houdin died at St. Gervais in June, 1871. His son-in-law, M. Hamil-
ton, continued to carry on the Temple of Enchantment at Paris, and at the
present time there is a little theater on the Boulevard des Italiens called
" Theatre Eohert-Houdin," where strolling conjurers hold forth. It was a
great disappointment to Houdin when his two sons refused to take up magic as
a profession; one entered the French army, and the other became a watch-
maker.
V.
One of the best sleight-of-hand artists that ever lived was Carl TTornnann,
who styled himself the " Premier Prestidigitateur of France and First Pro-
fessor of Magic in the World." He died at Carlsbad, June 8, 1887, at the
advanced age of seventy-two. Of him Burlingame says: "Without using
much mechanical or optical apparatus, he produced many wonderful effects by
a sharp observation of the absence of mind of the human auditor, assisted by
a hand as firm as steel and capable of the most deft movement." Carl Herr-
mann traveled extensively, and many conjurers adopted his name as a nom de
thedtre. Magicians seem to have a penchant for this sort of thing, as witness
the case of Signor Blitz. Antonio Blitz, a very clever performer, no sooner
arrived in the United States than imitators sprang up like mushrooms in a
single night. In his " Fifty Years in the Magic Circle," he gives a list of
eleven of these impostors, who not only had the impudence to assume his name,
but circulated verbatim copies of his handbills and advertisements —
Signor Blitz.
Signor Blitz, Jr.
Signor Blitz, The Original.
Signor Blitz's Son.
Signor Blitz's Nephew.
Signor Blitz, The Great.
Signor Blitz, The Wonderful.
Signor Blitz, The Unrivaled.
Signor Blitz, The Mysterious.
Signor Blitz, By Purchase.
Signor Blitz, The Great Original.
A clever entertainer was Robert Heller. He was a magician, a mimic, and
a musician — a combination of talents rarely seen in one individual. He was,
indeed, the Admirable Crichton of fantaisistes. As a pure sleight-of-hand
20 Il^TRODUCTION.
artist. Heller was not the equal of some of his contemporaries, but he made up
for all deficiencies in this respect by his histrionic abilities. By the power
of his address and wit he invested the most insignificant feats of legerdemain
with a peculiar charm. In this regard he was like Robert-Houdin. Eobert
Heller, or Palmer, was born in London, in the year 1833. Early in life he
manifested a unique talent for music, and won a scholarship at the Royal Acad-
emy of Music at the age of fourteen. Having witnessed several performances
of the conjurer Houdin, in London, he became enamored of magic, and devoted
his time to perfecting himself in the art of legerdemain, subsequently travel-
ing around giving entertainments in the English provinces. In the year 1852
he made his bow to a New York audience at the Chinese Assembly Rooms, on
which occasion he wore a black wig and spoke with a decided Gallic accent,
having come to the conclusion that a French prestidigitateur would be better
received in the United States than an English wizard. I have this on the
authority of Henry Hatton, the conjurer, who wrote an article on Heller's
" second-sight " trick for the " Century Magazine " some years ago. Hatton
also says that Heller began his magical soiree with an address in the French
language. Not meeting with the desired financial success. Heller abandoned
conjuring, and settled in Washington, D. C, as a teacher of the piano and
organist of one of the large churches of the city. Eventually he married one
of his music pupils, a Miss Kieckhoffer, the daughter of a wealthy German
banker, and abandoned music for magic. He went to ISFew York, where he
opened Heller's Hall, in a building which then stood opposite Niblo's Garden,
on Broadway. His second delmt as a conjurer was an artistic and financial
success. After a splendid run in New York he returned to London, opening
what is now Pool's Theater. Subsequently he visited Australia, India, and
California, returning to New York in 1875. He died November 28, 1878, at
tlie Continental Hotel, I'liiliidGl])]iia, at the height of his fame. Like most of
his CO »/rcre.s, Heller was a clever advertiser. His theatrical posters usually
bore the following amusing verse:
'' SliakoRpoave wi'oto well,
Dickens wrote Weller ;
Anderson was ,
But the greatest is Heller."
His entertainments consisted of magic, mnsic, and an exhilntion of pre-
tended clairvoyance. Those w]io were not interested in liis feats of leger-
demain flocked to bear his snperb performances on the ])iano.
Heller, lik(! Iloudin. made great use of electricity in his magical seances.
Many of his eleclricnl iricks were of his own invention. In his will he
directed his execniors to destroy all of his apparatus, so that it might not come
into the possession of any other conjurer.
INTRODUCTION.
21
The most popular performer in this country was Alexander Herrmann, a
European by birth, but an American by adoption. I am indebted to Mr. Wm.
Kobinson, for years an assistant to Herrmann, for the following account of
the great conjurer's career:
"The late Alexander Herrmann was born in Paris, France, February 11,
1843, and died in his private car on December 17, 189G, while en route from
Eochester, N". Y., to
Bradford, Pa. He came
of a family of eminent
prestidigitateurs, h i s
father, Samuel Herr-
mann, being the most
famous conjurer of his
day. Samuel Herr-
mann was a great fa-
vorite with the Sultan
of Turkey, who fre-
quently sent for him to
give entertainments in
the royal palace at
Constantinople.
"The next in the
family to wield the
magic wand was (,.'arl
Herrmann, who was
the first of the Herr-
manns to visit Amer-
ica, and the first to use
and introduce t h e
n a m e ' prestidigita-
teur ' in this country.
Carl, Alexander's eld-
est brother, achieved
great success in the
world of magic. He
died June 8, 1887, at Carlsbad, Germany, possessed of a large fortune.
There were sixteen children in the Herrmann family, Carl being the eldest,
and Alexander the youngest. After Carl adopted magic as a profession,
the father abandoned it, and began the study of medicine. It was the
father's fondest hope that Alexander, his favorite son, should be a physician,
but fate decreed otherwise. Alexander's whole desire and ambition was to
become a magician like his father and his brother. He persuaded his brother
to take him as an assistant. One day young Alexander was missing from the
ALEXANDEK llKUIOrANN.
22 INTRODUCTION.
parental roof; lie had been kidnapped and taken away by Carl, with whom he
made his first public aj)pearance, at the age of eight, at a performance in St.
Petersburg, llussia. Even at that early age his great dexterity, ingenuity, and
presence of mind were simply marvelous. The sudden ajjpearance of the
father disiDelled the visions of the embryonic magician, and he was compelled
to return home. But the youth's attention could not be diverted from his pur-
jjose, and again he became his brother's assistant. This time, the father com-
jiromised by consenting to Alexander's remaining on the stage, provided his
education were not neglected. Carl engaged two competent tutors to travel
with the company and instruct the young prodigy. For six years the brothers
worked together, visiting Spain, France, Germany, Eussia, and the surround-
ing countries. Again the parents claimed Alexander, and placed him in the
University of Vienna. - At the age of sixteen, the old desire and fascination
took possession of him. He accepted his brother's proposal to make a tour of
the world, and ran away from home and studies. Their first appearance in
America was at the Academy of Music, New York, Monday, September 16,
1861. Their last joint engagement was in this country in the year 1869. On
the opening night, in New York, Monday, September 20, Carl introduced
xVlexander to the audience as his brother and successor. When this engage-
ment terminated, the brothers separated; Carl made a short tour of this coun-
try, but Alexander went to Europe, where he appeared in the principal cities,
subsequently visiting the Brazils and South America. After that he made a
remarkable run of one thousand performances at the Egyptian Hall, London,
England. From England he returned to the United States in the year 1874,
and from that period made this country his home, becoming a naturalized
citizen in Boston, 1876. His career as a magician was one uninterrupted
success. The many lengthy and favorable notices of him in the leading
jr)uriia]s of ihis country, immediately after bis death, sliowed that he was
regarded as a public character.
" Herrmann bore a remarkable resemblance to ' His Satanic Majesty,'
which he enhanced in all possible ways, in recognition of human nature's belief
in the superhuman i)owers of the arch enemy. Despite this mephistophelian
aspect, his face was not forbidding; his manner was ever genial and kind.
' Magicians are born, not made ' was a favorite paraphrase of his, and Dame
Nature certainly had him in view for one when she brought him to this
sphere.
"His success lay in his skill as a manipulator, in liis witty remarks and
ever-running fire of good-natured small talk. He was a good conjurer, a clever
comedian, and a fine actor. His 'misdirection,' to use a technical expression,
was ])eyond expression. If liis Inininous eyes turned in a certain direction,
all eyes were compelled (as by some mysterious power) to follow, giving his
marvelously dexterous hands the better chance to perform those tricks that
were the admiration and wonder of the world.
INTRODUCTION. 33
" Alexander Herrmann's pet hobby was hypnotism, of which weird science
he was master, and to its use he attributed many of his successful feats. His
great forte was cards; he was an adept in the ordinary tricks of causing cards
to disappear, and reappear from under some stranger's vest or from a pocket.
With the greatest ease and grace, he distributed cards about a theater, sending
them into the very laps and hands of individuals asking for them. On one
occasion he gave a performance before Nicholas, the Czar of all the Russias.
The Czar complimented the conjurer upon his skill, and decorated him, at the
same time smilingly remarking: ' I will show you a trick.' The Czar tore a
pack of cards into halves, and good-humoredly asked: 'What do you think of
that? Can you duplicate it?' His surprise was great to see Herrmann take
one of the halves of the pack and tear it into halves. Herrmann was as clever
wdth his tongue as with his hands, having mastered French, German, Spanish,
Italian, Russian, Dutch, and English. He also had a fair knowledge of Portu-
guese, Chinese, Arabic, and Swedish.
" He was decorated by almost every sovereign of Europe, and many of them
gave him jewels. The King of Belgium and the late King of Spain each pre-
sented him with a cross; there was a ring from the King of Portugal, one from
the Prince of Wales, and various other gems.
" At private entertainments and clubs Herrmann was especially felicitous
as a prestidigitateur. I will enumerate a few of his numberless sleight-of-
hand tricks: He would place a wine glass, full to the brim with sparkling
M-ine, to his lips, when suddenly, to his apparent surprise and consternation,
the glass of wine would disappear from his hand and be reproduced imme-
diately from some bystander's coat-tail pocket. He would place a ring upon
the finger of some person, and immediately the ring would vanish from sight.
A silver dollar would cliange into a twenty-dollar gold piece. A magnum
bottle of champagne, holding about two quarts, would disappear, to reappear
from under a gentleman's coat. He was a capital ventriloquist, an imitator of
birds, and quite clever at juggling and shadowgraphy, but lu' did not exhibit
these talents in public.
"The lines in Herrmann's hands were studies for adepts in cliirograpby.
There were three lines of imagination, instead of one. which indicates an
imaginative faculty little less than miraculous, and denotes a generous heart^
genius for friendship, a determined nature, and an artistic temperament.
The accompanying impression of his right hand, taken a few days after he
died, represents a slwrt hand, owing to the fact that in death the fingers
had curled inward somewhat. In life his hands were long, slender, and
tapering."
Leon Herrmann, a nephew of the great Herrmann, is now performing
in the United States with success. In personal appearance he resembles
his uncle. He is very clever at palmistry — the cardinal principle of con-
juring.
24
INTRODUCTION.
One of the most original and inventive minds in the domain of conjuring
is M. Bautier de Kolta, a Hungarian, who resides in Paris. He is ahnost a
gentleman of leisure, and only appears about three nights in a week. He is
the inventor of the flying bird cage, the cocoon, the vanishing lady, and the
trick known as the
" black art," reproduced
by Herrmann and
Ke>lar.
In England, the
leading exponent of the
magic art is J. N". Mas-
kelyne, who has held
forth at Egyptian Hall,
London, for many years.
He has done more to
unmask bogus spirit
mediums than any con-
jurer living. Appren-
ticed like Houdin to
a watchmaker, Maske-
lyne became acquainted
with mechanics at an
early age. He is the
inventor of some very
remarkable automata
and illusions, for ex-
ample " Psycho " and
the "Miracle of Lh'asa."
At the juggling feat of
spinning dessert plates
he has but few rivals.
To perform this re-
quires the greatest skill
ajul delicacy.
One of the best per-
formers in the United
Slates of anti-Ki)iritualistic tricks and mind-reading experiments is Mr. Harry
Kellar, a Pennsylvanian, who at one time in his career acted as assistant to the
famous Davenport Brothers, spirit mediums. Kellar is exceedingly clever
with handkerchief tricks, and his "rose-tree" feat has never been surpassed
for dexterous and graceful manipulation. Like Houdin, De Kolta, and Mas-
kelyne, he is an inventor, always having some new optical or mechanical illu-
sion to grace his entertainments.
f;
V,
IMlMiKSSION OK lIKKKMANiN S HAM).
INTRODUCTION. 25
Of late years he has made the fatal mistake of exposing the methods of
palmistry to the audience, thereby olt'ending one of the cardinal principles of
the art of legerdemain — never explain tricks, however simple, to the spectators.
People go to magical entertainments to be mystified by the pretended sorcery
of the magician, and when they learn by what absurdly simple devices a person
may be fooled, they look with indifference at the more ambitious illusions of
the performer. Palmistry is the very foundation stone of prestidigitation.
No magician, unless he confines himself to mechanical tricks, can do without
it in a performance.
Last but not least in the list of modern fantaisistcs is the French enter-
tainer, M. Trewey, an exceedingly clever juggler, sleight-of-hand artist, and
shadowgraphist.
VI.
In his advertisements, Eobert-IIoudin was extremely modest. His suc-
cessors in the art magique, however, have not imitated him in this respect. We
have Wizards of the North, South, and West, White and Black Mahatmas,
Napoleons of Necromancy, Modern Merlins, etc. Anderson, the English con-
jurer, went to the extreme in self-laudation, but managed to draw crowds by his
vainglorious puffery and fill his coffers with gold, though he Avas but an
indifferent performer. The following is one of his effusions:
" Theatre Eoyal, Adelphi . The greatest wonder at present in London
is the Wizard of the North. He has prepared a Banquet of Mephistophelian,
Dextrological, and Necromantic Cabals, for the Wonder seekers of the ap-
proaching holidays. London is again set on fire by the supernatural fame of
tlie eximious Wizard; he is again on his magic throne; he waves his mystic
scepter, and thousands of beauty, fashion, and literature, rush as if charmed, or
s])ell-commanded, to behold the mesteriachist of this age of science and wonder!
Hundreds are nightly turned from the doors of the mystic palace, that cannot
gain admission; this is proof, and more than proof, of the Wizard's powers of
cliarming. During the last six nights, 12,000 spectators have been witnesses
of the Wizard's mighty feats of the science of darkness, and all exclaim, ' Can
this be man of earth? is he mortal or super-human? '
" Whitsun-Monday, and every evening during the week, The Great Delu-
sionist will perform his Thousand Feats of Photographic and Alladnic En-
chantments, concluding every evening with the Gun Delusion! ! "
The Theosophical craze of recent years has had its influence on prestidigita-
tion. A modern conjurer who does not claim some knowledge of the occult,
or, at least, who has not traveled in the Orient, cuts but little figure in public
estimation. Every now and then some enterprising wizard rushes into print
26 INTRODUCTION.
and exploits his weird adventures in Egypt and India, the birthplaces cf magic
and mystery. Every intelligent reader reads between the lines, but the
extravagant stories of Oriental witchery have their effect on certain impres-
sionable minds. The magician Kellar is a reputed Oriental tourist. He
has journeyed, according to his own account, in the wilds of India, wit-
nessed fakir-miracles at the courts of Mohammedan Bajahs, hobnobbed with
Mahatmas in Tibetan lamaseries, and studied the black, blue, and white art in
all its ramifications. In one of his recent advertisements he says: " Success
crowns the season of Kellar, the Great American Magician. His Oriental
magic, the result of years of original research in India, enables him to present
new illusions that are triumphs of art, and attract enormous houses — dazing,
delighting, dumbfounding, and dazzling theater-goers."
BOOK I.
CONJURERS' TRICKS AND STAGE ILLUSIONS.
CHAPTER I.
MYSTERIOUS DISAPPEARANCES.
The fascination which the general public finds in clever tricks and ilkisions
is little to be wondered at, but it is a mistake to suppose that all the outfit
which the modern magician needs is a few paper roses, a pack of cards, some
coins, and a wand. The fact of the matter is, that usually the most entertain-
ing tricks are those which are produced at considerable expense in the way of
apparatus and stage fittings. It is for this very reason that the secret of the
illusion is always so closely guarded by the prestidigitateur. After a series of
sleight-of-hand tricks the magician usually leads up to what might be called
"set pieces" in contradistinction to the sleight-of-hand tricks. Chief among
the more important illusions are the wonderful cabinets and other articles
of furniture which enable the wizard to make away with his assistants. We will
describe a number of these arrangements for " mysterioiis disa])i)earances "
before proceeding with the mirror and other optical tricks to which the fin de
siecle magician is so largely indebted. All of these illusions, as they depend
upon pre-arranged machinery, afi^ord an introduction to the tricks wliicli,
though much simpler, require a certain amount of aptness in manipulation.
"VANITY FAIE."
The first illusion presents tlie disappearance of a lady, ai)i)arently through
a solid looking glass. The method used is remarkably ingenious.
A large pier glass in an ornamental frame is wheeled upon the stage.
The glass reaches down within about two feet of the floor, so that every one
can see under it. The only peculiarities which a skilled observer would be apt
to notice are a wide panel extending across the top of the frame and a bar
crossing the glass some four feet from the floor. The first is ostensibly for
artistic effect — it really is essential to the illusion. The horizontal piece pur-
28 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
ports to be used in connection with a jjair of brackets to support a glass shelf
on which the lady stands — it also is essential to the illusion.
Brackets are attached to the frame, one on each side, at the level of the
transverse piece, and a couple of curtains are carried by curtain poles or rods
extending outward from the sides of the frame. Across the ends of the brack-
ets a rod or bar is placed and a plate of glass rests as a shelf with one end on
SCUKKNING THE LAUY.
tlio ntd and ilie otlicr on tlic Jioj'izoiital })iece, thus imjn'ossing U})on the audi-
ence; the utility of the crosspiece. Its real function is not revealed.
A lady steps upon the shelf, using a step-ladder to reach it. She at once
turns to the glass and begins inspecting her reflection. The exhibitor turns
her witli Iut face to the audience and she again iiirns back; This gives some
l)yi»lay, and it also leaves her with her back to the audience, which is desirable
for the performance of tlio deception. A screen is now ])laced around her.
'J'he screen is so narrow tliat a considera])le portion of the mirror shows on
MYSTERIO US DISA PPEARANCES.
29
each side of it. All is quiet for a moment, and then the screen is taken down
and the lady has disappeared. The mystification is completed by the removal
of the portable mirror, it being thus made evident that the performer is not
hidden behind it.
Two of our cuts illustrate the performance as seen by the audience, the
second explains the illusion. The mirror is really in two sections, the a[»par-
THE DISAPPEAKANCE EXPI.ATNKD.
ently innocent crossbar concealing the top of the lower one. The large upper
section is placed just back of the lower piece, so that its lower end slides down
behind it. This upper section moves up and down in the frame like a window
sash, and to make this possible without the audience discerning it the wide
panel across the top of the frame is provided. When the glass is pushed up,
its upper portion goes back of the panel, so that its up])er edge is concealed.
Out of the lower portion of the same mirror a piece is cut, leaving an open-
30 2IAG1C: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
iiig large enough to admit of the passage of the person of the lady. The second
cut, with this description, explains everything. The mirror as brought out on
the stage has its large upper section in its lowest position. The notched por-
tion lies behind the lower section, so that the notch is completely hidden from
the audience. When the glass shelf is put in place, the performer steps upon
it and is screened from view. The counterpoised glass is raised like a window
TIIR I,ADY HAS VANISHED.
aO.^^^\^;
sash, ex])osing the notch. Tlie screen is just wide enough to conceal the notch,
the fact that a margin of the mirror shows on each side of the screen still
further masking the deception. From the scene piece back of the mirror an
inclined itlatl'oi'in is projected to llie opening in the mirror. Tln\)Ugh tlie
opening the lady creej)S and by tlie assistant is drawn away behind the scene;
tlien the platform is removed, tlie glass is pushed down again, and, the screen
being removed. Ihere is no lady to l)e seen. The fact that some of the mirror
was visible during the entire operation greatly increases the mystery. The
lady passes through Ihe notch feet foremost, and her position, facing the
mirroi-, makes this tlie easier.
MYSTERIOUS DISAPPEARANCES.
"AFTER THE FLOOD."
S^\V^X-
THE AKK OPENED FOR INSl'Et'TIOX.
In this illusion the curtain rises and shows upon the stage wliat is to he
interpreted as a representation of Noah's ark^ a rectangular hox with ends
added to it, which, curv-
ing upward, give it a / ^^v- ,,,^.,1;,,,., ..r,,
hoat-like aspect. It stands i
upon two liorses or tres-
tles. The cut, Fig. 3,
shows the ark in its en-
tirety. The exhibitor
opens it on all sides,
swinging down the ends
and the front and hack
lids, and raising the to])
as shown in Fig. 1. It
will he noticed by the
observant spectator that
the back lid is first
dropped and that the as-
sistant helps throughout,
the reason of which will
be seen later. The skeleton or frame of the structure is now disclosed and it is
seen to be completely empty. It is now closed, this time the back lid being
swung into place last, and all is ready
for the flood. This is represented
l)y the water poured in ad libitum
through a funnel inserted in an aper-
ture in the upper corner. To the audi-
ence it seems as if the ark were being
filled with water. In reality, the
water simply runs through a pipe,
carried through one of the legs of
the trestle, and so down beneath
the stage. The management of the
flood is illustrated in our cut, Fig. 3.
After the flood the exit of the
animals from the ark is next to
be attended to. 0])ening windows
in its front, a quantity of animals
and birds are taken»out as shown in Fig. 3. Ducks, chickens, pigeons, cats,
dogs, and a pig are removed and run around on the stage or fly about, and it
THE FLOOD.
MYSTERIOUS DISAPPEARANCES.
33
is wondered how so small an inclosure could contain such a collection. It is
also to be observed that none of the animals are wet — the water has not reached
them. More, however, is
to follow, for the exhib-
itor now lets down the
front, and a beautiful
Eastern woman, Fig. 4,
reclines gracefully in the
center of the ark, which
lias only room enough to
accommodate her. Where
the animals came from,
and how they and the
woman could be found
in the ark, which, when
opened before the audi-
ence, seemed completely
empty, and how they escaped the water, are the mysteries to be solved.
Our cut. Fig. 5, completes the explanation. The ends which are swung up
and down in the preliminary exhibition of the ark are the receptacles which
accommodate the animals and birds. They are stowed away in these, are
swung up and down with them, and are taken out through a]K'rtures in their
fronts.
The woman, the other tenant, is fastened originally to the back lid. When
the ark is opened for inspection, this lid is swung down, ostensibly to enable the
audience to see through the ark — in reality to prevent them from seeing
through the illusion. For, as stated, it is swung down before the front is-
TIIE LADY TENANT OF THE ARK.
THE MYSTERY EXPLAINED.
34 3IA0IC: STAGE ILLUSIONS AND SClENTlIIC DIVERSIONS.
opened, and as it goes down the woman goes with it, and remains attached to
it and out of sight of the audience, who only see the rear side of the door as
it is lowered. Fig. 5 shows the rear view of the ark when open, with the
woman in place on the rear lid, and also shows the animals in place in the side
compartments.
The illusion is exceedingly effective, and is received with high appreciation
by the audience. To those who understand it, the performance is of
heightened interest.
"THE MAGIC PALANQUIN."
The heroine in this play was presented on the stage in a palanquin carried
by four slaves. At a given moment the curtains were drawn and then imme-
diately opened, when it was seen that the actress had disappeared; and yet the
TIIK MAGIC PALANQUIN.
palanquin was well isolated on tlic sliciildci's of the carriers, who resumed
tlu'ir jorirncy niul cnrriod it ofT tlie stage.
This I rick, which |ti'cci'(lc(l l)y many years Buatier do Ivolta's experiment,
in which also a woman was made to disa])])('iu-, hut l)y an entirely different pro-
cess, as will be cx))lained later on in this chai)ter, was performed as follows: The
four uprights arranged at the four corners of the apparatus were hollow, and
each contained al ihc iop a pulley over which a cord pusscd. Tlu-se coi-ds were
attached by one end to the double bottom of the ])alan(piin. and by the other
end to ;i counterpoise concealed in the cano])y.
At llic |»recis(! nionient at which the curtains were drawn, ihc carriers dis-
MYSTERIOUS DISAPPEARANCES.
35
engaged the counterpoises, which, sliding witliin tlie uprights, rajndly raised
the double bottom, witli the actress, up to the interior of the canopy. The
person thus made to disappear was quite slender and took such a position as to
occupy as little space as possible. By making the shadows of the mouldings
of the canopy and columns more pronounced through painting, and by exag-
gerating them, the affair was given an appearance of lightness that perplexed
the most distrustful spectator.
" CASSADAGA PROPAGANDA."
One of the most mysterious among Ivellar's repertory of successful illusions
is the "• Cassadaga Propaganda," an explanation of which is herewith i)resented.
THE CABINET OPEN FOK INSPECTION.
The effect as produced on the spectators will first be outlined. A sheet
of plate glass about sixteen by sixty inches in size is placed upon the backs of
two chairs, and on it is erected a small beautifully tinislied cabinet consisting
of four pieces, of which the sides are hinged to the back, and which, with the
front, are seen resting on a chair at the side of the stage. When erected, the
cabinet is forty-two inches high, thirty-six inches wide, and fourteen inches
deep.
Tambourines and bells are placed in the cabinet and ilie doors closed, when
the instruments instantly began ])layiiig and are then tlirown out at tlie top of
the cabinet. The cabinet is now opened and found to be empty. A. slate
36 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
placed in the cabinet lias a message written thereon. In fact, all manifesta-
tions usually exhibited in the large cabinets are produced, and yet this cabinet
is apparently not large enough to contain a person. We say apparently not
large enough; for, in reality, the whole secret consists in a small person, or an
intelligent child of ten or twelve years of age, being suspended by invisible
wires behind the back of the cabinet, where there is a small shelf on which the
concealed assistant is sitting Turkish fashion. This folded cabinet is hung on
two fine wires which lead up to the " flies " and over rollers or pulleys to the
counterweights. When proper wire is used on a brightly illuminated stage
the wires are absolutely invisible.
THK J^l'IKIT MANIFESTATIONS
After sliowiiig tlie chairs and ])lacing the glass plate upon them, the per-
former picks up the folded part of the cabinet and places it on the glass, the
counterweights overcoming the extra weight of the concealed assistant. He
then opens out the sides, places the front containing the doors in position,
fastening same by hooks to the sides.
The inside of the cabinet and panels of doors are lined with pleated gold
silk. There is a concealed opening in the silk at the back of the cabinet, for
the assistant to pass his artii tlwoiigli, in order to handle whatever is placed
within it.
Everything hciiig in readiness, llic l:iinl)()iirin(> and bell are placed in the
cabinet and the doors are closed. Tlie assistant now passes his hand and arm
^f;
BEJiE *•„> ' , ... ,■
l^j -'"Bi'^ ■■■■". ^ ■ *
"■' '.«frj?4» : ■.:"* " ^r i h — ■■ -■»— m- »,
d . ^JHBl
38 31AGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
through the opening in the back and shakes the tambourine, rings the bell,
and tlirows botli out over the top of the cabinet. When the doors are opened
the cabinet is shown to be empty. Clean slates placed in the cabinet are
removed with messages written on them; in fact, the manifestations that can
be produced in the cabinet are limited only by the intelligence of the con-
cealed assistant.
One of the cuts shows the cabinet with open doors as seen by the audience.
The second cut is an end view looking from the side of stage, showing the
assistant on a shelf at the rear of the cabinet, and the wires leading up and over
to the counterweights.
The clever illusionist Chev. E. Thorn made great use of a variation of
the " Cassadaga Propaganda." He used two cabinets, each large enough to
receive a person in an upright position. They were constructed of slats and
were provided with curtains. Screens of the same color as the rear of the
stage served to close the space between the slats. The magician deceived the
audience by walking behind the cabinet or cage as often as possible when the
screens were open so that the audience could see him through the slats. The
carpet on the stage, the back of the stage, and the screen were all of the same
shade of green.
The performers, usually a caliph and an odalisk, appear and disapjDear at
will, really taking up the place on the wooden stage at the back of the cabinet.
Usually two cages were used, one being suspended, and by the use of confed-
erates who were dressed alike some very clever illusions were produced.
When the curtain rises the caliph stands on a little platform on the cage at
the left, hidden by the cage and the screens. Attention is then called to the
cage at the right whose screen is open so that the performer can be seen when
he passes behind it.
After the performer has demonstrated this he pulls down red silk curtains
over the side walls and the doors; the rear wall, however, remains uncovered.
Now a brilliantly dressed odalisk steps into the box at the left. The doors
have scarcely closed l)ehind her Avhen they open again, the curtains fly up,
and it is seen that the woman has disappeared, and in licr ])lace stands a white-
bearded caliph, while she appears at the rear dooi- of llic parquette smiling
behind her veil. Slie ])asscs down through the audience io ilie stage again.
In tlie meantime the cali])h has left the stage.
What follows is even more surj)rising. Tiie ciirtniiis of botli cages are'
])iilled down, ilic calipli goes into ibe cage at the left and the odalisk into that
at the riglit. '^^Die cage containing the odalisk is I'aised on a hoisting rope so
that it hangs in midair with the dooi-s open. I'he doors arc closed, a shot is
fired; at the same instant the doors of both cages s])ring open and the curtains
are raised; the odalisk has disap])eared from the cage, which stands again on the
floor of the stage, but, at tlic same instant, she steps, as smiling as ever, from
the cage at the left, from which the caliph has vanished. The two cages stand
MYSTERIOUS DISAPPEARANCES.
39
open and the audience can see right through them. The curtain falls and the
spectators rub their eyes in bewilderment.
The pulling down of the curtains serves to conceal the entrance of the
caliph in the box. When the odalisk is to vanish and the caliph to appear he
slips in from the board on the outside, while the odalisk takes her i)lace on the
board behind the screen. The odalisk who appears at the door of the audito-
rium and walks down through the audience is an exact double of the real
odalisk who is standing invisible behind the screen on the board of the cage
at the left. Owing to the i)eculiar costume of the odalisk tliis disguise is
rendered very easy. While the real odalisk is standing behind the screen on
the board of the cage at the left, the cali})h installs himself in the cage. The
false odalisk is then raised in the air in the second cage, through which the
audience has been able to see up to this time. A shot is now fired and just
at that time the odalisk moves very quickly on a board behind the screen and
the cage is let down and stands firmly on the floor, at the same moment the
odalisk in the other cage changing places with the caliph. The swinging cage
appears to be empty and a])parently the odalisk has passed through the air to
the other cage. The success of the trick depends upon making the spectators
believe that everything is done in cages through which they can see.
"THE APPEAEING LADY."
Of the many new illusions recently presented in Europe, an ingenious one
is that of the appearing lady, the invention of that clever Hungarian magician
Buatier de Kolta.
On the stage is seen a "• , ,
plain round top four-leg
table, which the magician
has been using as a rest-
ing place for part of the
apparatus used in his
magic performance.
Eventually, the p e r -
former removes all arti-
cles from the table and
covers it with a cloth that
does not reach the floor.
Our first engraving rep-
resents the table in this
condition. On command,
the cloth gradually rises
from the center of the table as though something were pushing it up. In a
few moments it becomes very evident that some one; or something, is on the
/
§kJ.vK><w:C\.
TABLE KEADV KOI{ THE APrEAKANOE.
40 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
table covered by the cloth. The magician now removes the cloth and a lady
is seen standing on the table, as shown in our second illustration.
The secret of this, as in all good illusions, is very simple, as the third illus-
tration will show. In the stage there is a trap door, over which is placed a
fancy rug that has a piece removed from it exactly the same size as the trap,
to which the j^iece is fastened. When the trap is closed the rug appears to be
THE APPEARING LADY.
an ordinary one. The table is ])laced directly over the trap. Below the stage
is a box, open at tlic to]), with cloth sides and wood bottom. To this box are
attached four very fine wires, that lead up through tlie stage by means of small
lioles where the irap ami floor join, over small pidleys in the frame of the
table and down througli the table legs, which are hollow, through the stage
to a windlass. In the table top is a trap that divides in the center and opens
outward. The top of the table is iuhiid in such a manner as to conceal the
MYSTERIOUS DISAPPEARANCES.
41
edges of the trap. The lady takes her place in the box in a kneeling position,
the assistant stands at the windlass, and all is ready. Fig. 1 of our third
engraving shows the arrangement beneath the stage, and Fig. 3 the under
side of the table top.
The magician takes a large table cover, and, standing at the rear of table,
proceeds to cover it by throwing cloth over table, so tliat it reaches the floor
in front of the table, then slowly draws it \\\) over the table top. The moment
that the cloth touches the floor in front of the table, the trap is opened and the
DETAILS OF THE APPARATUS.
box containing the lady is drawn up under the table by means of the windlass,
and the trap closed. This is done very quickly, during the moment's time in
which the magician is straightening out the cloth to draw it l)ack over the
table. All that now remains to be done is for the lady to open the traj) in
table and slowly take her place on top of the table, and close the trap.
The top and bottom of the box by means of which the lady is placed under
the table are connected by means of three strong elastic cords placed inside of
the cloth covering. These elastics are for the purpose of keeping the bottom
and top frame of box together, except when distended by the weight of the
lady. Thanks to this arrangement of the box, it folds up as the lady leaves it
for her position on the table top, and is concealed inside of the frame of table
43 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
after her weight is removed from it. A somewhat similar trick is called " The
Disappearing Lady." In this illusion the process is worked in the reverse
order.
"THE DISAPPEARmG LADY."
The accompanying figures illustrate a trick in which the prestidigitateur,
after placing a chair upon an open newspaper and seating a lady thereon, covers
her closely with a silk veil, and after the words " one^ two, three," lifts the veil
and shows that the lady has disappeared.
The newspaper is provided with a trap, which is concealed hy the printed
characters (Fig. 1). This trap is of the same size as the one that must exist
in the floor upon which one operates. As for the chair, that is generally an
mi
FIG. 1.
old affair, without any cross rod in front (Fig. 2). It is provided with a
movahle seat that lowers in oi'der to allow the lady to pass between the two
front legs. It is provided, besides, with a frame of wire which is invisible
on account of the feeble diameter of the latter, and which, attached to the
back, is turned backward on the side opposite the spectator. As soon as the
lady who is to be made to disa})pear is seated (Fig. 3), she causes the frame to
tilt and cover her head and shoulders. This operation is hidden by the veil
that the prestidigitateur spreads out nl this moment in front of the lady.
At this instant the operator actuates a spring, which opens the trap in the
floor. The lady passes between the legs of the chair (Fig. 4), and then through
the two traps, the one in ilic paper and the one in the floor. As soon as she
reaches the floor bcnc-illi llic stage she closes the trnp in the newspa])er with
gummed paper, mikI sliiils ihe one in the floor, and it might be thought that
she was still on tlie stage, a](li(»ugh she has disappeared. In fact, the veil, on
MYSTERIO US DISA PPEARAM CES.
43
account of the wire frame, seems always to outline the contours of the vanished
subject.
After the operator has said "' one, two, three," he lifts the veil and causes
tlie wire frame to fall back.
Since this trick was hrst introduced it has been more or less perfected or
modified in its form, but the preceding description states the methods generally
employed in performing the trick. In some cases if the newspaper is carefully
FIG. 3.
FIG. 4.
examined, it will be found to be made of India rubber and to contain a large
rent at about the center. In the next chapter Avill be described an interesting
illusion called " She," in which the lady disappears while being supposed to be
cremated. This ingenious trick depends for a portion of the effect upon
mirrors, so it is placed with the other illusions requiring the aid of mirrors.
44 31 AGIO: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
"THE MYSTERIOUS TRUNK."
A trick known by the name of the Indian Trunk, tlie Mysterious Trunk,
the Packer's Surprise, etc., formerly had much success in theaters of presti-
digitation. This trick, wliich may be presented in several ways, is executed by
different means, one of wliich we shall describe.
The following is in what the experiment consists: The prestidigitateur has
a trunk brought to him, which he allows the spectators to examine. When
every one is certain that it contains no mechanism, a person comes upon the
stage and enters the trunk. It is found that he fills it entirely, and the cover
is shut down. A spectator locks the trunk and guards the padlock.
The trunk is afterward wound in all directions with rope, the intersections
of the latter are sealed, and the whole is introduced into a bag provided with
leather straps, and which may in its turn l)e sealed at each of its buckles.
When the operation is finished, the spectators who have aided in the packing
remain on the spot to see that nothing makes its exit from the trunk, which has
been placed upon two wooden horses. The prestidigitateur then fires a pistol
over the trunk, which, when divested of its covering, ropes, and unbroken seals,
is found to be entirely empty.
The whole credit of the trick is due to the cabinet maker who con.structed
the trunk. The latter, in the first place, is exactly like an ordinary trunk,
and the closest examination reveals nothing out of the way about it. Yet one
of the ends, instead of being nailed, is secured by a pivot to the two long
sides, so that it can swing. The swinging motion is arrested by a spring plate
bolt. When the person in the interior presses upon a point corresponding to
this bolt, the pivot turns freely and the end of the trunk swings.
The following is the way that the operation is performed in order that the
spectators may not perceive the opening of the trunk. The operator's assist-
ant takes his place in the trunk, Avhich is closed and locked and the padlock
sealed. Some obliging s]iectators then aid in tying the trunk, around which
the rope is passed twice lengthwise, beginning at the side opposite the opening
part. T\\(i rope is Uicn passed over iliis ])art and runs in the axis of the pivots.
Then the trunk, for the convenience of tying, is tilted upon the end where
the rope passes. It is then that the assistant inclosed in the interior presses
iiie bolt. '^^I'lic (Mid of llic lriml< tlicii li;is a tendency to open, and as the
prestidigitateur lias taken care to tilt tlie trunk at a carefully marked point of
the stage fioor, the movable end meets in the latter with an exactly similar
lra|) tlint opens at ihe same liinc. iiiul it is llirough these two tra])S that the
invisible vanishing takes ])la(;e. As soon as tlie assistant has passed through
the trap, he pushes up the latter, and conse(pu'ntly the movable end of the
trunk, which closes upon its spring ])late bolt.
The time that it takes Ihe man to pass through the trap is insignificant,
46 MAGIC: STAGlJ ILLUSIONS AND SCIENTIFIC DIVERSIONS.
and while the ropes are being crossed the operation might he j^erformed several
times. Afterward, there is nothing to be done but to proceed with the experi-
ment as we have said, care being taken, however, not to abuse the complaisance
of the spectators, and not to allow them to try the weight of the trunk.
When the vanished person descends beneath the stage, he is supported by
some other individual if the theater is not well appointed, and by a trap with a
counterpoise if the construction of the stage admits of it. This trap permits
of expediting things in certain cases of the reapj^earance of the confederate,
but is useless in the process described above.
Such is one of the artifices employed. Whatever be the process, the
presentation of it is often complicated by causing the person who has vanished
to reappear in a second trunk that has previously been ascertained to be empty
and that has been sealed and enveloped under the eyes of the spectators. It
will be easily comprehended that the operation here is reversed, and that the
confederate beneath the stage awaits the proper moment to be lifted into the
interior of the second trunk, whose movable end is opened outwardly by the
prestidigitateur at the desired moment.
Boxes with glass sides also have been constructed. Tlie management is the
same, but, as the person inclosed is visible up to the last moment, care must be
taken to so pass the ropes as not to interfere with the trap of the trunk, which
then consists of one of the sides, and which operates at the moment when
the trunk, bound with ropes, sealed and laid upon this side, is about to be
wrapped up. This presentation has still more effect upon the sj)ectators than
tbe preceding, and seems to present greater difficulties.
"THE INDIAN BASKET TRICK."
Among the most remarkable experiments performed by prestidigitateurs
should be cited that of the Indian basket, which, as its name indicates, is of
Asiatic origin. Travelers in Hindostan have often told us that the Indians
practice this wonderful trick upon the public places. The Indian magician
makes use of an oblong osier basket provided with a cover. He takes a child
and incloses it in this basket, and around the latter buckles a belt. Grasping
a sword, he thrusts it into the basket here and there, and pulls out the blade
all dripping with blood.
The spectacle is shocking, and the feelings of the s])octators become
wrought up to a high pitch. The magicinn ilicii ojjcus the basket, which, to
the surprise of all, is empty.
At a few yards distance cries are licard jU'occHMling fi-oiu ilie cliild wlio had
been inclosed in the basket, and who is now running forward sound and happy.
Kobert-lfoudin, who studied iliis juggler's iv'wk, cxplMincd it perfectly, and was
liYSTERlOUS DISAPPEARANCES.
47
able to perform it himself. The basket used by the Indian prostidi^ritateiirs
is represented herewith.
Fig. 1 shows the basket open ready to receive the child. For the sake
of the explanation we have cut away one end. This basket is provided with a
double movable bottom,
A C B, the center of mo-
tion of which is at C. In
order to make the child
disappear, the cover being-
closed, the top of the bas-
ket is lowered by turning
it toward the spectators
(Fig. 3). But the bottom,
B, and the part A, that de-
pends upon it, do not take
part in this motion. The
weight of the child lying
upon the bottom forces the
latter to remain in place,
and by this fact the part
A C shuts off the bottom of
the basket (Fig. 2).
In order to turn the
basket over, the Indian
fastens it with strips of
leather, and, to facilitate
this operation, places his
knee on it. The child can
then easily hide himself under the robe worn by the magician. Replacing the
basket in its first position, the Indian insei'ts his sword and sticks the l)lade into
a small sponge fixed within and saturated witli a red liquid. Wliile Ihe atten-
tion of the spectators is absorbed by this exciting operation, the little Indian
escapes from beneath the robe, and runs a short distance from tlie spectators
without being seen. Iloudin says that when this trick is well performed, it has
a startling effect. In all the preceding tricks the magician has made way bod-
ily with assistants, we now come to a case of mutilation in which the luckless
clown must suffer decapitation.
THE INDIAN BASKET THICK.
48 3IAG1C: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
DECAPITATION.
The means employed in this illusion is the old-fashioned " defunct "
method of decapitation, and although this lacks the refinement and scientific
interest of execution by electricity, it has a certain precision.
A NOVEL STAGE T]{ICK — UEt Al'ITATION.
The poor clown who sufi^ers the death penalty twelve times a week usually
enters the circus ring, or appears on the stage, as the case may be, and after
performing certain acrobaiic feats, commits some crime against his fellows,
for which lie is condemned to die. He is ])laced u])on the block; his head is
covercfl with a cloth. Harlequin approaches as executioner, and begins to cut
with a huge knife across the victim's neck. In a moment all is over, the cloth
is removed, and lljir'lcciuin lifts in the air the severed head. Deligliterl with
his trophy, he carries it about under his arm, ])laces it in a cliarger in the center
of the ring, and finally takes it back to the T)lock wrap])ed up in the cloth, and
places it by the side of the headless trunk. lie removes the cloth, and
MYSTERIOUS DISAPPEARANCES.
49
then in sport places a lighted cigarette in its mouth. In a little while you
notice that the cigarette begins to glow, smoke comes from the nose, and the
eyes roll. Evidently the head has come to life. Not able to bear the horrible
sight, he throws the cloth again over the head, seizes it, places it in its original
position on the shoulders of the victim, kneads it to the body, and suddenly
the figure rises, head and all, and bows to the audience — an orthodox clown.
EXPLANATION OF THE DECAPITATI©N TRICK.
The trick is a good one, and takes with the audience. The way in which it is
done is explained in the second cut.
As soon as the clown lies on the box and his head has been covered with the
cloth, he passes his head through an invisible opening in the top of the box.
An assistant inside of the box passes up the dummy head, which is an exact
facsimile of the clown's head and face. This is seized by Harlequin, who
makes such sport of it as he sees fit. When he places it by the side of the
trunk, in reality he passes it through an opening in the top of the box to the
assistant within, who substitutes his own head (which is painted to match the
other two) in place of it. The other steps in the performance readily follow.
50 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVEHSIONS.
I'he cloth which the harlequin always carries conceals all the sleight of hand,
and the whole performance is a series of surprises.
Another performance of a somewhat similar character was recently per-
formed at a theater in New York^ in which a clown throws himself on a sofa
and is cut in two by a harlequin. One part of the sofa with the body remains
in one part of the stage w^hile the other part with the legs and feet (which are
all the time vigorously kicking) disappear through a wing at the other end of
the stage. The action is very sudden and the effect startling. Of course, in
this case there are two men similarly dressed. The head and body of one of
them appears at the head of the sofa, while the body of the second clown is
concealed in the box under the seat at the other end of the sofa, the feet and
legs alone being exposed.
SPIEITUALISTIC TIES.
The following article is not written with the intention or desire to antago-
nize any believer in Spiritualism, but merely to explain how anti-spiritualists,
as well as several professional " mediums," secured their release after being
fastened in their cabinet. During the years the writer (Mr. Caulk) has been
before the public as a magician and cabinet performer, he has met a number
of cabinet test " mediums," and can safely say that all of these people who have
come under his observation have been imposters. This may be due, however,
to the bad fortune of the writer.
Tlie writer has been tied with ropes, fastened witli handcuffs, brass collars,
aiid chains, many tijnes in many different cities, and by people who were jvist
as alert as any investigator of spiritualistic phenomena, yet, unlike many
" mediums " he has met with, was never exposed.
The methods used are many, some simple^ others complicated, but all
mystifying. To the average auditor the most wonderful point is, how does
the performer release himself after being so securely bound? For the benefit
of the curious the writer Avill explain a few of the methods by which he has
secured his release after being fastened by a committee from the audience.
All anti-spiritualists, as well as several " mediums " personally known to the
writer, make use of these same methods of release, or otherg founded on the
same principle.
Among tbe many successful rope tests, the following is about tlie best. A
piece of soft cotton rope a])out six feet long, and of tlie size known as sash cord,
is securely tied around the ])erformer's left wrist, dividing the rope so that
the ends will be of an equal length. When the committee is satisfied that they
have Jiiadc tlu' knots secure, tlie performer ])laces liis hands behind him, with
the right wrist resting over the knots on tlie left wrist, and the ends of the
rope are S('curely tied together, bringing the knots down tight on the right
wrist. This appears fair enough, but it is not as fair as it appears, because,
MYST^RIO US DISAPPIJA RANGES.
51
A ROPE TEST.
^.>\^^
while the knots are secure enough, there is suflfieient slack between the wrists
to enable the performer, by giving his right wrist a half turn, to withdraw this
hand from the rope encircling it.
The reader may say, '"n^
"That is all well enough, » ']^n /
but how and by what
means does he secure this
slack?"
In ])lacing his hands
behind him after the rope
is tied about the left
wrist, he gives the rope a
twist and knot with
over the other, pressing
the twist down on the
knot and covering the
twist and knot with
the right wrist, which is
then tied. When ready to release himself, the performer gives his right
hand and wrist a half turn, releasing the twist lying on the knot, which thus
liecomes a part of the loop tied around the I'ight wrist, and enlarging it
sufficiently to enable the performer to pull the right hand free from the rope,
when he can perform any trick he chooses with the free hand. Our first and
second engravings show
the formation of the
twist, thus making the
above explanation clear.
By re])]acing the liand in
the loop and giving the
hand a half turn the
knots can be sliown as
secure as when first tied.
T h e " Spiritualistic
Post Test " is among the
latest and most successful
of mechanical fastenings.
A piece of wood f o u r
inches square and three
feet long is given to the
coiiiinittee, who bore a
hole through it near one
end, and then pass an ordinary rope through the hole, tying a knot in the rope
on each side of the post, pressing the knots against the post so that the rope
EXPLANATION OF THE ROPE TEST.
62 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
cannot be drawn through the post. The ends of the rope are now unraveled,
and the post secured to the floor of the cabinet.
The performer, standing behind the post, places his wrists against the knots
e^v ffi:->> /M
S^vK'^N^S,. ^
THE SPIRITUALISTIC POST TEST.
in the rope, one on each side of the })ost, and the unravelled ends of the rope
are bound around his wrists and tied securely, and all knots are sealed with
wax. A large nail is driven in the top of the post, to which are fastened cords
tliat are passed out through the cabinet and held by members of the committee
in order that they may know if the performer moves the post in any manner
(luring ihc ])erforiiunice of any test, such as the ringing of bells, etc. Fig. %
MYSTERIOUS DISAPPEARANCES.
53
of our third engraving shows the performer tied to the post and the committee
hokling the cords. The curtains of the cabinet are closed and the usual nuini-
festations take place.
Before the performance a hole is bored in the center of the end of the
stick or post, in which is placed a chisel-shaped piece of steel sharpened at the
lower end and blunt at the upper end, as shown in Fig. 3 The opening in the
end of the post is now carefully closed and all signs of such an ojwning are
concealed by the aid of glue, sawdust, and a little dirt rubljed over it.
When the committee are invited to bore a hole in the post, the performer
takes care to start the bit, in order that there will be no mistake about getting
the hole directly beneath the chisel concealed in the post. When tlie rope is
passed through the hole and knotted it is directly under the sharp edge of the
chisel, with a thin layer of wood between. When the nail is driven in tlie
top of the post it strikes the chisel, forcing it through the thin sliell of wood
above the rope and through the rope, thus releasing the performer, wlio can
withdraw his hands from the post and do any trick he chooses, and when
finished, by merely replacing the ends of the rope in the holes from Avhich he
removed them, and holding the hands tight against the post, can allow a most
rigid examination of the seals to show that it was not possible for him to liave
released his hands, and the persons hold-
ing the cords that are fastened to the
nail testify that they did not feel any
movement of the performer or the post.
The Handcuff Test is a great favorite
of the " medium." In this test the per-
former uses any pair of handcuff's furnished
by the audience, and by them put on him.
Yet, in a very few moments after he takes
liis place in the cabinet, his coat is thrown
out, but on examination the handcuffs are
found to be on his wrists just as they were
placed by the audience. As a final test,
the performer comes out of the cabinet
holding the handcuff's in his hand, removed
from the wrist but locked.
The explanation of this trick is very
simple, but, like many simple tricks, very
mysterious. There are only a few styles of
handcuffs made in this country, and all
that a " medium " has to do is to secure
the proper key for each style, which keys
are concealed about the person, and by the aid of fingers and teeth tlie j)r()per
key can be fitted to the handcuffs. In some types of handcuffs it is impossible
THE Sl'IKIT COI.LAIJ.
64 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
to get the fiugers to the key -hole. If such a pair is placed on the performer aud
he cannot use his teeth to hold the key, he slips the key in a crack in the
chair or cabinet, which crack he makes sure is there before undertaking the
test, thus holding the key and unlocking the handcuffs.
As the space allotted for this article is limited, the writer will explain
but one other piece of apparatus used to secure the " medium," which is known
as the Spirit Collar.
The collar is made of brass, and fits closely about the performer's neck.
Through the openings in the ends of the collar is passed a chain, after the
collar is on the ^performer's neck, and this chain is passed around a post,
carried back and through the padlock which is used to lock the collar. By this
arrangement the performer is fastened securel}'' to a post, at least it appears so
to the audience. This collar is shown in our fourth engraving. As seen by
the cut, the collar is decorated with a number of small bolts, which impart to
it an additional appearance of strength.
These bolts are all false Avith one exception. This genuine bolt can be
removed by the performer when the collar is on his neck, thus allowing the
collar to come apart at the hinge, as shown in the cut, thus releasing the per-
former, allowing him full liberty to perform any trick he wishes, and permit-
ting him to again apparently fasten himself securely. This loose bolt fits so
securely that there is no danger of any of the committee removing it with their
fingers. The performer uses a small wrench to remove the bolt.
CHAPTER 11.
OPTICAL TPJCKS.
The prestidigitateiir has always been indebted more or less to the use of
reflection from mirrors and j^late glass as an important adjunct in conjuring.
Many of the illusions in the succeeding pages have often been used as an enter-
tainment in themselves so that it might really be termed " side show science."
Without doubt the most famous of all the illusions in which effects of ligliting
are used is " Pepper's Ghost " which was devised by that eminent experimentor
on physical and chemical science, John Henry Pepper. There are a number
of variations of the Pepper Ghost of which the " Cabaret du Neant " is an
excellent example.
THE "CABAKET DU NEANT."
The name " C aha ret du Neant, ^^ or "Tavern of the Dead" ("non-exist-
ing "), has been given by the proprietors to a recent Parisian sensation ; it was
also exhibited in New York. The interest of course centers in the ghost illu-
sion.
The spectators on entering the Caharet pass through a long hall hung with
black and find themselves in a spectral restaurant. Along the walls coffins are
placed for tables, and on the end of each coffin is a burning candle. From
the center of the ceiling hangs what is termed " Robert Macaire's chandelier,"
made to all appearances of bones and skulls. The spectators are here at liberty
to seat themselves at the tables and are served with what ihey desire by a
mournful waiter dressed like a French mourner with a long crape streamer
hanging from his silk hat. Around the walls of the room are placed pictures
to which the spectator's attention is called by the lecturer. Seen by the light
of the room these pictures are ordinary scenes, but a new aspect is given to each
when lights directly behind it are turned on; the figures in it appear as skele-
tons, each picture being in fact a transparency giving a different effect as it is
lighted from the rear or as seen simply by reflected light. The second chamber
is now entered; it is hung with black throughout. On the walls tears are
painted, and in close juxtaposition are two somewhat incongruous inscriptions,
" Requiescat in pace," and " No smoking." The reason for the latter admoni-
56 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
tion, which is also given by the lecturer, is that for the success of the illusion
an absolutely clear atmosphere is essential. At the end of this second chamber,
at the back of a stage, is seen a coffin standing upright, in which one of the
audience is requested to place himself. Entering the stage by the side door,
he is conducted by an attendant to the coffin and placed in it. Blocks of wood
are placed for him to stand on in quantity sufficient to bring his head to the
right height so that the top of it just presses against the top of the coffin, and
the attendant with great care adjusts his height according to the predetermined
THE SUBJECT AND HIS SKELETON,
position. Two rows of Argand burners illuminate his figure, which is then
wrapped in a white sheet. Now, as the spectators watch him, he gradually
dissolves or fades away and in his place appears a skeleton in the coffin.
Again, at the word of command the skeleton in its turn slowly disappears, and
the draped figure of the spectator appears again. The illusion is perfect to the
outer audience; the one in the coffm sees absolutely nothing out of the com-
mon. His interest, if he knows what is going on, is centered in watching the
changing expression of the spectators, being increased by the fact that at their
period of greatest astonishment he is absolutely invisible, although directly
before them and seeing them more plainly than ever. After the restoration
to life one or more auditors are put through the same performance, so that
the recent occupant of the coffin can see what he has gone through.
The third chamber is now entered, somewhat similar to the second, but on
OPTICAL TRICKS.
57
its stage is a table and seat, all the walls Leing lined with black. One of the
auditors is invited to seat himself at the table on the stage. Ho does it, and,
as before, sees nothing.
AYhile the description of
the lecturer and the ap-
pearance and comments
of the audience tell him
that something very in-
teresting is going on, the
remarks will probably
disclose to him the fact
that this time at least he
is never out of their
sight. He leaves the
stage and his place is
taken by another, and
then he understands the
nature of the drama in
which he has been an
unconscious participator.
He sees the other spec-
tator seated alone at the
table. Suddenly a spirit,
perhaps of an old man, appears at the other side of the table, while a bottle and
glass are seen upon the table. When exhorted to help himself to the liquid,
the performing spectator's idle gestures show that he certainly does not see
the glass, through which his hand passes unobstructed. Or perhaps it is a
woman who appears and makes the most alluring gestures toward him who
never sees her. This concludes the exhibition, which as accessory has the
strains of a funeral march, the ringing of deep-sounding bells as room after
room is entered, and the appearance of a brown-robed monk who acts as
Charon to introduce the spectator to his place in the coffin. In one of our
illustrations we show, side by side, the coffin with its living occupant draped
in a sheet and in the other the skeleton which appears in his place. Two other
cuts show the scenes between the spectator at the table and the specters, illus-
trating how active a part the specters take, they being no mere painted appear-
ances, but evidently living, moving things. Our large illustration shows pre-
cisely how it is done and so clearly that an explanation is hardly needed. The
floor of the stage is represented. To the left are seen the spectators and the
performer at the piano discoursing his lugubrious melodies. To the right is
seen Charon, and directly in front of him the coffin with its living occupant.
"When lighted up by the burners shown near him, the other burners being
turned down, the coffin with its occupant is all that is seen by the spectator.
THE SHEETED GHOST.
OPTICAL TRICKS.
59
Directly in front of the coffin, crossing the stage ol)liquely, is a large sheet
of the clearest plate glass, which offers no impediment to the view of the coffin
with its occupant, when the latter is fully illuminated. At one side of the
stage, in the back of the
})icture, is a painting of
a skeleton in a coilin
with its own set of Ar-
gand burners. It is
screened from view.
When strongly illumi-
nated, and when the
lights of the real coffin
are turned down, the
spectators see reflected
from the glass a brilliant
image of the pictured
coffin and skeleton. By
turning up one set of
burners as the others are
turned down a perfect
dissolving effect is ob-
tained, skeleton replac-
ing spectator and vice
versa at the will of the
exhibitor.
The magic lantern operator always realizes that to secure a good dissolving
effect perfect registration is essential. In the securing of this lies the secret
of the coffin exhibit of the Cabaret du Neant. By the blocks on which the
occupant of the coffin stands, and by the adjustment of his liead by the at-
tendant, the head is brought into perfect registration with the reflected head
of the skeleton. The wrapping with the sheet, presumably the enveloping in
a shroud, is done with a purpose. It covers the body from the shoulders down
and extends to the very bottom of the coffin, covering the blocks also, thus
doing away with all defects of registration which would be inciirred in the
persons of spectators of different heights. In other words, tlie exhibition fits
out everybody with a skeleton of precisely the same height, however tall or
short he may be, the draping of the sheet and accurate position of the head
concealing from the spectators this inaccuracy, the skull occupying precisely
the place of the head, the rest taking care of itself.
Still referring to the large cut, it Avill be seen that it serves to explain the
exhibition in the other chamber. Instead of the coffin there is the table and
chair, and in place of the pictured skeleton a live performer is placed. In this
act there is no dissolving effect; by turning up the lights at the side of the
THE FEMALE smRIT.
60 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
stage any object desired and performers dressed as spirits are made to appear
upon the stage, being reflected from the glass plate. The spectators simul-
taneously see their companion sitting at the table and the reflections of the
ghosts apparently executing tlieir movements about him.
From the scientific as well as scenic aspect, the exhibition is most interest-
ing, and to one who knows how it is performed, the interest is vastly enhanced.
To properly enjoy it, the stage position should be taken during one or both
performances.
I
THE THREE-HEADED WOMAN.
In this illusion the spectators are separated from the stage by a balustrade
— behind which is seen the curtain. In a few moments the latter is drawn
back and there is distinctly seen a woman's body the lower part of which is
hidden by a basket of flowers. This body has three heads, one in the middle
and two others grafted at the base of the neck of the first. The heads move
their eyes, answer questions and sing, and finally salute the audience, and the
curtains are drawn together and the 2')erformance is over. As in many tricks
of this kind the showman
usually announces that for
an additional admission the
secret of the illusion will be
divulged. The visitor then
enters the side scene and
perceives that on the little
stage where the phenom-
enal woman just appeared,
nothing is visible but a
large plate of glass slightly
inclined towards the audi-
ence and its edges hidden
by drapery. Behind the
mirror there is a recess
whose sides are covered
with a jet black fabric. In
front of the mirror on the
stage sits the basket of
flowers from which issued
the woman's body. On an inclined board which rests against the screen or
balustrade lie three young girls; one of these, the middle one, is clothed in
a ])rilliaut costume of light-colored silk, and it is she who in the exhibi-
tion makes trunk, arms, and the middle head. The lower part of her body
THE THHKK-irKADKI) I-ADY.
OPTICAL TRICKS.
fil
is covered over with a black fabric and she is supported by a cushion which
permits the two other girls to place their necks closely against hers. The
bodies of these two girls at the sides are completely covered with fabric of a
dead black color. In front of these three young women are placed powerful
lights. The heads, hair, and arms of the " body " are covered with powder
so as to present completely white surfaces. All the white or light-colored
surfaces being strongly lighted by the lamps reflect, the light; the image is
thus made upon the spectator. ■
" AMPHITEITE."
This illusion, which is presented under the name of " Amphitrite," is as
follows: When the representation is about to begin, the curtain of a small stage
^
AMPHITKITK
rises. There is observed a circular aperture, cut in a screen, over which is
stretched transparent muslin.
About six feet behind the latter there is a scene representing the sky with
clouds; below, in the foreground, there is a canvas representing the sea.
63 3IAGI0: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
" Ampliitrite, come forth!" exclaims the person in charge of the show.
All at once, a woman in the costume of an opera nymph rises from the sea
without anything being visible to support her in space, in which she turns
round and round, gracefully moving her legs and arms, now in one direction,
and then in another. When the exhibition is at an end, she straightens out
m the position of a swimmer about to make a dive, and plunges behind the
curtain representing the ocean.
The illusion that we have just described may be performed as follows:
Amphitrite is an image — a specter analogous to those of Robin. If we im-
agine that a trans-
l)arent glass, M M., in
our diagram, is in-
clined 45° with re-
spect to the stage, a
person clad in light
clothing, lying hori-
zontally upon a black
background beneath
the stage, and well
illuminated, will ex-
hibit an upright im-
age behind the glass.
This image will
a])pear to be formed
in front of the back
canvas, T T. Now,
as Am])hitrite is lying upon a table, P P, she will be able to go throiigh her
evolutions and bend herself in a circle; and if, during this time, the table,
movable upon its axis, A, is revolved, her image will turn in all directions.
Finally, to cause Amphitrite to appear or disappear, it will suffice to slide the
table upon rails, thus bringing it in front of or behind the glass. Amphitrite
should be placed upon an absolutely black background. Her costume should
be of a light color with metallic spangles, and she should be illuminated by
a powerful electric light.
The muslin stretched in front of the screen is designed to arrest anything
that jesters might throw against the glass, and which, sticking thereto might
explain a part of the mystery.
diagram: explaining the amphitrite illusion.
OPTICAL TRICKS.
63
"THE MYSTEEY OF DR. LYNN.
In this illusion which was presented at the " Folies Bergeres," at Paris,, the
stage is rather larger than in most of the talking heads and other analogous
tricks. At a short distance from the spectator is observed a woman cut off
at the thighs and resting on a small swinging shelf. The showman moves the
shelf laterally, and at a signal the exhibitor removes the shelf, and the half-
length body appears suspended in the air. The question which every visitor
asks is, where is the rest of the body ? In many of the tricks of talking heads,
isolated busts, etc., the illusion is obtained by the aid of mirrors, but the mys-
tery of Dr. Lynn is obtained in a much simpler manner. All painters
know that in a very strongly lighted picture the bright colors stand out at
the expense of the half-tones and dark colors, and this effect is greater as the
light becomes brighter. It is upon this principle that the Dr. Lynn trick is
based. The lower part of the bust seen is a dummy upon which the upper part
of the woman's body lies, the remainder of her body being extended nearly
horizontally upon a board which is capable of swinging and following the
motion of the shelf.
All this portion is
hidden by opaque
black drapery so ar-
ranged as not to re-
flect the light at any
point. The bust and
shelf receive a very
intense light ; then
immediately behind
there is seen intense
darkness, forming an
■absolutely dark back-
ground. The latter is
rendered still darker
by the brilliant cords
of the shelf, a metallic chain and a dagger suspended beneath it, as well as a
white handkerchief which seems to have been dropped upon the stage by
accident. At least six powerful gas burners or electric lights with reflectors
are turned towards the spectators, so that it will be seen that the latter are in
a manner dazzled by everything that strikes the eye in the foreground, and that
beyond this they see absolutely nothing but a black background.
Another variation of the illusion of the "Decapitated Princess," wliich will
be described later on, is obtained without the aid of mirrors. A young girl
THE ILLUSION EXPLAINED.
64 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
appears before the audience, accompanied by an executioner clad in red, and
armed with the traditional axe of his profession. The curtain then drops, and
rises in a few moments, the stage being somewhat darkened. Near the exe-
cutioner can be perfectly distinguished the girl's head lying on a round table
at the back of the stage. The body is seen lying on the bed a few feet from
her head and at her side is the fatal block that had served for execution. The
trick is the same as the preceding one; it requires, however, two persons of the
same size, wearing the same costume, to carry out the illusion successfully.
One of these, the one who shows herself to the public, makes the head, her
body being hidden behind the cloth in the rear of the stage, which is in dark-
ness, as has just been explained. The other, who makes the body, has her head
bent far back and hidden in a sort of box, a false cardboard neck contributing
to increase the illusion.
"BLACK AET.''
To the Yogi and Mahatmas of India, the magicians and illusionists of
Europe and America are indebted for the ideas of many of their best tricks
and illusions. While the published reports of many of the alleged marvelous
effects produced by the " wonder workers " of India must be taken with a very
large amount of salt, yet we riiust give these people due credit for being the
originators of many tricks from which the modern magician has taken prin-
ciples on which he has founded and created several of the grandest and most
successful illusions of modern times.
Take, for instance, the illusion known as " Black Art," or the " Midnight
Mysteries of the Yogi," made famous in this country by those master minds
of magic, Harry Kellar and the late Alexander Hermann. The weird illu-
sion is founded on an idea advanced by the Yogi of India.
No doubt nearly all of the readers of this article have seen " Black Art "
presented by one of the above named magicians, yet the number who could
advance a plausible explanation of how it was done, are very few, because as
soon as one thinks that he has discovered the secret, the performer produces
an effect in direct variance witli the principle on which the illusion appears
to be founded.
In this illusion the entire stage froin tlie first groove to the rear is hung
witli black velvet, the floor covered with black felt, and the top is covered
with black velvet, thus forining a large room lined entirely in black. The
regular footlights are turned out, and a special set are used, that consist of
a row of open gas jets ])laeed on a line with the boxes, and carried up the out-
side of the black room, as shown in the large engraving.
The lights tlirougliout tlie entire house arc either turned very low or put
out, with the exception of the special lights mentioned above.
€6 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
The curtain rises, disclosing the black chamber. In a moment the magician
appears, dressed in a white suit; a wave of his hand, and a white wand appears
floating in the air, which the magician secures. A wave of the wand, and a
table appears on the right, then a second table appears on the left. A large
vase appears on one of the tables, and a second vase appears on the magician's
outstretched hand. Both of the vases are shown and proven empty, and in
one is placed a few orange seeds, and the wand is passed over the vase, which
instantly becomes filled with oranges. The oranges are poured into the second.
AN ASSISTANT KEMOVING THE TABLE COVER.
then returned to the first vase, when they disa])p('ar as quickly and as mysteri-
ously as they appeared, and the vases are again sho\\n em])ty, and again placed
one on each of the tables. A borrowed watch is placed in one of the vases,
from which it disappears and is found in ihc; vase on the other ta1)le. A life-
size skeleton now appears and dances around tlic stage, becomes dismembered,
the separated parts floating about, but they finally rearticulate themselves, and
the skeleton vanishes. Now a rabbit is seen in one of the vases, from which
it is taken by the performer, and in liis hands it becomes two, which are
tossed in the air and disappear.
The number and stylo of tricks performed in tlie mysterious black chamber
OPTICAL TRICKS.
67
are almost unlimited, but an explanation of the ones mentioned above will
suffice to show how " Black Art " is performed.
While the stage is draped in black, everything that appears is painted white,
and the magician is dressed in white. There is an assistant on the stage all
through the act, but as he is dressed in black, with gloves on his hands and a
hood over his head, made of black velvet, he is not seen by the spectators, whose
sight is somewhat dazzled by the open gas jets. The tables are on the stage,
THE DISARTICULATED SKELETON.
but covered with pieces of Ijlack velvet, rendering tliem invisible. The second
engraving shows how the assistaiit removes the piece of velvet and causes a
table to appear at the magician's command.
The vases are also s-itting on the stage, but covered with pieces of black
velvet. By picking up the covered vases the assistant can cause tbem to
appear, by removing the velvet, one on the table and the other on the per-
former's hand. The oranges are in a black velvet bag, from which the assist-
ant pours them into the vase. To cause the oranges to vanish, the magician,
mstead of pouring them into tbe vase, pours them into the open mouth of a
large black bag held by the assistant just over the lower vase. The transposi-
68 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
tion of the watch from one vase to the other is just as easy. The assistant
merely removes it from the vase in which the performer placed it, and places
it in the second vase. The manipulation of the rabbit is equally simple. The
assistant places the first one in the vase by means of a black bag in which it
was concealed, then places the second one in the performer's hands from a
second small bag. In vanishing the rabbits the performer merely tosses them
up into a large open-mouthed black bag held by the assistant.
The skeleton is made of papier
mache, painted white, and fas-
tened on a thin board that is
sawed to shape and covered with
black velvet. One arm and one
leg are jointed so as to be readily
removed and replaced by the
assistant when he is operating the
skeleton. The last two illustra-
tions fully explain the method of
construction and manipulation of
the skeleton.
The tables are made either of
wood or papier mache and painted
white. The vases are made of
papier mache, painted white on
the outside and black on the in-
side. The reason the inside of
the vases are painted black is to
o^ih^v^^. prevent the hand of the assistant
THE JOINTED PAPEK SKELETON. ^^elug SCCU whcU hc plaCCS it lu
the vase.
This is one of the most expensive of stage illusions, costing several hundred
dollars to properly stage it with the best drapery and accessories, and unless
sucli are used the proper illusory effect is lost. In magic as well as in other
business, cheap apparatus is dear at any price.
OPTICAL TRICKS.
69
THE TALKING HEAD.
Probably the most common of all of the illusions which depend uj^on
mirrors is the Talking Head uj)on a table. The illustration is almost self-
explanatory. The apparatus consists only of a mirror fixed to the side legs of
the table. The mirror hides the body of the girl, who is on her knees and
seated on a small stool^ and reflects the straw which covers the floor so as to
TILE TALKING HEAU.
make it appear continuous under the table; likewise it reflects the front leg of
the table so as to make it appear at an equal distance from the other side and
thus produce the illusion of the fourth leg. It also reflects the end of the red
fabric hanging in front of the table and thus makes it appear to hang down
from behind. The visitor stands only a few inches away from the table and
head. Such proximity of the spectator and actor would seem to favor the
discovery of the trick, but on the contrary it is indispensable to its success.
THE LIVING HALF-WOMAN.
This illusion is a very ingenious improvement on the " Talking Head."
On entering the small booth in which it is usually exhibited, we perceive
OPTICAL TRICKS.
71
an elegant little room decorated with flowers and lights and hung with
tapestry. In front there are two railings and the floor is covered with a
carpet. In the center is seen a small table on which rests a kind of three-
legged stool supporting a cushion and the half body. The lady shows she has
arrived by moving her arms and head and speaking and singing. Tiie visitor
can see the four legs of the table and can perfectly distinguish the space under
the stool, the whole scene being brilliantly lighted, contrary to the usual
custom in any such illusions.
The secret of the illusion is as
follows:
The stool is formed only
of a hollowed out disk whose
supports are connected by two
mirrors that make with each
other an angle of forty-five
degrees. These mirrors rest on
the top of the table which was
decorated in regular designs
in mosaic and reflect the latter
in such a way that they seem
to continue uninterruptedly
under the stool. The table
presents an analogous arrange-
ment, its side legs being con-
nected with the middle one by
two mirrors. These mirrors
reflect not only the designs of the carpet which by their continuity produce
the illusion of a vacancy, but also two table legs located on each side behind
the railing, as shown in our small engraving; the mirror to the left transmits
to the spectators on that side the image of the leg placed on the left and this
image seems to them to be the fourth leg of the table. The mirror to the
right plays the same rdU with regard to the spectators on that side. These
mirrors in addition hide the lower part of the girl's body.
EXPLANATORY OF THE HALF-WOMAN.
'^2 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS
SHE.
During the season of 1891-92, among various interesting things to be seen
at the Eden Musee, perhaps tlie most interesting, and at tlie same time tlie most
scientific, was the weird spectacle entitled " She," exhibited by Powell, the
/SKM'^^
K
^^"^^''^^
PREPARED FOR CREMATION.
well-known illusionist, and suggested by the Cave sceue in H. Eider Haggard's
celebrated novel " She."
In this scene a beautiful young lady mounts a table arranged in an alcove
formed by a folding screen. Above the victim is suspended a cylindrical cloth
screen. The screen is lowered to the level of the table, completely inclosing
the subject. The table apparently has four legs, and four candles shown
beneath it indicate that the space underneath the table is open and clear. The
cylindrical screen is shown to be entire, with openings only at the upper
TUK ESO.VPE.
^^^"x"
.1&
THE BURNING.
74 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
and lower endS;, and no openings are seen in tlie folding screen which partly
surrounds the table. Upon the firing of a pistol the occupant of the table is
ignited, and smoke and flame bursting from the screen indicate that the
work of destruction is going on within. When the fire is burned out the screen
is lifted, and nothing remains upon the table but a few smouldering embers
and a pile of bones surmounted by a skull. Close observation does not reveal
any way of escape for the young woman. It is, however, obvious that the
magician cannot afford to sacrifice such a subject every evening, and the spec-
tators are forced to conclude that the whole affair is a very clever trick. In
fact, it is simply a modification of the beheaded lady and numerous other
tricks based upon the use of plane mirrors. The table has but two legs, the
other two which appear being simply
l|, reflections. The central standard sup-
j ports but two candles, the other two
being reflections. Underneath the table,
and converging at the central standard,
are arranged two plane mirrors at an
angle of 90° with each other and 45°
with the side panels of the screen. By
means of this arrangement the side
panels, which are of the same color as the
central or back panel, are reflected in
the mirror and appear as a continuation
of the back 2:)anel. The triangular box,
of which the mirrors form two sides, has
a top composed in part of the table top
and in part of mirror sections for reflect-
ing the back panel, or with a covering
of the same color as the back panel.
The operation of the apparatus is
now obvious. Wlien the victim is in-
closed by the cylindrical screen, she
immediately escapes through a trap door in the table top, places the bones and
the fireworks u])on the table, and at the firing of the pistol ignites the latter
and retires, closing tlie trap door after her.
/
THE FINISH.
"THE QUEEN OE FLO WEES."
One of Mr. Kellar's recent illusions is what lie is pleased to call " The
Queen of Flowers." Our first engraving represents the stage as the audience
sees it, and the last cut will help to explain it to the reader. The back-
ground, set against curtains, is about ten feet long and eight feet high, and
represents a mass of flowers and bushes indiscriminately thrown together, with
*m
76 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
blue sky above. There is a little flat roof which projects out about three feet
from the bottom of the screen and is supported by four red j^oles. The
bottom is a floor raised about a foot from the stage^ and in front of each of the
three divisions made by the poles between the stage proper and the floor of this
improvised summer house is placed an electric light. The audience usually
wonders what these lights are for in this strange place; but as audiences always
accept anything shown them by the prestidigitateur, these lights do not disturb
^C\K\A^\.
ENTIIANCE TO THE CABINET.
them very much except by dazzling them, as they are meant to do. So much
for the setting. There being no doors or screens or curtains of any kind, the
spectators have the satisfied feeling that there is no deception there, for they
can see all there is to see. They can, that is true, only they don't realize how
much they are seeing.
]\rr. Kellar next brings a semicircular stand which he ])laces in front of the
middle ])anel at the height of the floor. At the roof is fixed a brass rod in the
form of a semicircle, from whicli hangs a curtain inclosing the little stand.
This, liowever, cannot do much good, for, as Mr. Kellar says, tliose on the
extreme right and left of the audience can still see quite behind the curtain,
through the summer house, and they believe him, not only because he told
OPTICAL TRICKS.
11
them so, but because they can see with their own eyes. What coukl be more
convincing! In a moment the curtain is withdrawn and a beautiful lady
surrounded by flowers is seen standing on the little platform.
The last engraving will explain matters. The lines extending from the
two center poles to the background represent double mirrors; tbat is, each
mirror consists of two mirrors back to back, running from the iloor to the
roof of the summer house. On account of the indefinite arrangement of the
flowers painted on the back scene in monotonous design, the spectators do
not notice the mirrors. These, of course, form a passageway through which
anyone can walk from behind the scenes to the stand behind the curtain,
while the audience is still keeping guard with its ever watchful eye.
"THE DECAPITATED PEINCESS."
In this illusion the exhil)itor states that it is the head of an Egyptian
Princess who was accused of treason and beheaded. The head is exhibited in
ILLUSION OF THE DECAPITATED PRINCESS.
'^8 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
a curtained recess and it rejioses upon two swords lying across the arms of the
chair. The chair is upliolstered in red plusli and is placed close to the curtain
at the back of the recess. At the back of the chair is an opening just below
the level of the tops of the chair arms. This opening is not seen from the
front, as it is concealed by a mirror that is placed between the arms of the
chair at an angle of 45°. The ends of the mirror rest in folds of the fan-shape
"3^t
TIIK DK( Al'ITATED PRINCESS — EXPLANATION OF ITJ.TTSION.
upholstering on the inside of the chair arms. The lower edge of the mirror
is resting on the bottom of the chair and the upper edge is concealed by laying
one of the swords on it, as may be seen in the other illustration. At the
proper angle the bottom of tlic cliair is reflected in the mirror, leaving the
impression that one is looking at the back. The folds in the upholstering of
the inside of the arms eirectually conceal the ends of the mirror. There is a
hole in the rear curtain directly opposite the hole in the chair back, through
OPTICAL TRICKS.
79
which there passes a board supported at one end by resting on the seat of the
chair and at the other end by a small box or any convenient article.
The lady who is to impersonate the princess takes her position on this board
with her chin just above the edge of the mirror, the second sword is placed at
the back of her head and a wide lace collar that she wears around her neck is
adjusted so as to rest nicely on the two. swords. The second illustration shows
the board in position, passed through the curtain, with the lady lying on it,
her head on the swords and the lace collar in position. The curtain in the rear
must be close to the chair, but the side curtains are removed about five feet.
The board is padded so as to make the lady as comfortaljle as possible.
"STELLA.".
The following illusion is similar to the " Decapitated Princess." A small
stage is partitioned off l)y curtains. In the center of tlie stage, suspended in
AN ISOLATED HEAD IN THE CENTER OK A STAGE.
space, is a young girl's head, the neck of which starts from a satin collar.
This head is isolated on every side. One sees the rear of the stage, the sides,
the top and the bottom, and the brilliant illumination leaves no portion in
shadow. The head speaks and smiles and finally blows out a lighted candle.
The exhibitor then disappears behind the side scenes with the candle.
80 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
He now, as it seems, draws out a panel in the back of the stage, and through
the aperture thus formed the spectator very distinctly sees the top of a table
and upon it a candle which the head has just extinguished. Now this aperture
is directly under the head, but much farther off, and is in the direction the
body would occupy if the head possessed one. The absence of the body is
therefore apparently demonstrated to the visitors.
The illusion was oljtained by means of a simple mirror which starting from
the upper part of the back of the stage descended obliquely to the front. In
the center of this there was an opening which was concealed by the satin collar
and through this the young girl passed her head. The inclination of the
mirror was, in fact, indicated by a gold rod designed to hide the junction of the
mirror and the side. The arrangement will be better understood by reference
to the annexed diagram, which belongs to the same illusion, only the clown is
substituted for the girl's head.
Now, by virtue of the optical law that " an object reflected from a mirror
appears to be behind the latter at a distance equal to that which separates it
from it," every point of the
line, M I, reflected from the
mirror, P M, will appear to
be situated upon the line,
M L.
So, to the spectator lo-
cated at 0, the point, c,
reflected at C ' will appear to
l)e the point, C; the distance,
c C equaling C C. The
point, I, reflected at L', will
appear to be L. And it will
be the same for all the intermediate points. The spectator, then, will believe
that he sees the line, M L, when in reality he sees only the reflection of M I.
Now, as we liuve just said, he will believe that he sees the back of the stage,
wlien, in fact, he sees nothing but a reflection of the ceiling in the mirror. In
the same way, the reflection from the front of the ceiling will produce the
illusion of tlie stage floor. Tliis fact still further contributes to increase the
illusion, for the spectators are not aware of the diifcrence that exists between
the arrangement of the y)laco wliere the bust appears and of that of the place
wh(!r(! the showman is walking.
In the illusion of '' Stella " the aperture tlirough which the table was seen
was in reality at the top. The table was vertical and the candle which was
fifiiily flxcd to it was liorizonfal. '^Plie farce of blowing out the candle and
ciirrying it behind the scenes was only designed to make the spectators believe
it was the same candle that was seen at tlie rear of the stage, when in reality
it was only a duplicate.
DIAGRAM EXPLANATUliY OF THE PIIENUMKNUN.
OPTICAL TRICKS. 81
HOUDIN'S MAGIC CABINET.
These apparatus were formerly much employed by magicians — Eohert-
Houdin, for instance. The following is an example of one of the scenes that
may occur with them:
When the curtain rises, there is seen in the center, of the stage a large, dark-
colored cabinet, ornamented with mouldings, and mounted upon legs that are
a little longer than those of ordinary cabinets, the object being to remove all
])ossibility of a communication with the stage beneath. These legs are pro-
vided with casters. The showman turns this cabinet around and shows that
there is nothing abnormal about it externally. He then asks some of the spec-
tators to come up close to it, and lets them examine its interior, which is
entirely empty. There is no double bottom, nor any hiding-place. When the
Vv^itnesses have made themselves certain of this fact, they station themselves
around the stage, and a certain number of them even consent to remain behind
the cabinet and see nothing of the experiment. The cabinet being thus
surrounded on all sides, and every one being able to look under it, fraud would
seem to be an impossibility.
A young woman dressed as a danseuse then comes on the stage and enters
tlie cabinet, and the doors are closed upon her. In a few moments the doors
are opened again, when, lo and behold! the closet is empty, the young woman
having disappeared. Then the doors are closed again, and then opened, and
the danseuse makes her appearance; and so on. At the end of the experiment
the witnesses examine the cabinet again, and finding nothing changed therein,
are justly stupefied.
In another style of cabinet tliere is no l:»ar in the center, as sliown in our
engraving, but there is observed on one of the sides in the interior a bracket
a few centimeters in length, and, back and above this, a shelf. This arrange-
ment permits of performing a few experiments more than does tlie one just
described. Thus, when the woman has disappeared, the showman allows a
young man to enter, and he also disappears, while the young woman is found
in his place. This is a very surprising substitution.
The box into which the harlequin takes refuge, and which appears to be
empty when Pierrot or Cassandra lifts the curtain that shields its entrance, is
a] so a sort of magic cabinet.
In a series of lectures delivered a few years ago at tlie London Polytechnic
Institution, a professor of physics unmasked the secret of some of the tricks
employed on the stage for producing illusions, and notably that of the magic
cabinet. The lecturer, after showing the cabinet, and causing the disappear-
ance therein of an individual while the doors were closed, repeated the same
experiment with the latter open. But, in the latter case, so quick was the
6
OPTICAL TRICKS.
83
.■■)
0.1
\
A
/
/
/
s
\
\
/
/
C
\
\
\
s c
/G-
/
/
/
/
/
s
^
,'^1'
\
G
,•»
\^^
{.. —
-^
"~- — .
PLAN EXPLANATORY OF THE C^VBINET.
disappearance that the spectators could not even then see how it was done.
The illusion produced by the apparatus is the result of a play of mirrors.
In the first cabinet de-
scriljed, when the exhibitor
has closed the doors upon the
young woman, the latter pulls
toward her two mirrors that
arc rej^resented in our plan
of the cabinet by the lines,
G G. These mirrors are
hinged at 0, and, when
swung outward, rest by their
external edges against the
l)ar, P, and then occupy the
position shown by the dotted
lines, G' G'. When the cabi-
net is again opened, the woman placed at A is hidden by the two mirrors; but
the appearance of the interior of the cabinet is not changed, since the specta-
tors see the image of each side reflected from the corresponding mirror, and
this looks to them like the back of the cabinet.
The illusion is perfect. When the experiment is ended and the mirrors are
again swung against the sides, at G G, the spectators see
nothing but the backs of them, which are covered with
wood; the cabinet is really empty, and no one can discover
what modification has taken place in its interior during the
disappearance of the woman.
In the second arrangement, which is shown in vertical
section in our last engraving, the young man gets up on
the shelf, c n, at the upper part of the cabinet, by the aid
of the bracket, T, and then pulls down over him the mirror,
h c, which was fastened to the top of the cabinet. This
mirror, being inclined at an angle of 45°, reflects the top,
and the spectators imagine that they see the back of the
cabinet over the shelf, as they did before.
The box Avhich Harlequin enters is based upon precisely
the same principle. Its interior is hung with paper banded
alternately blue and white. When Harlequin enters it, he
places himself in one of the angles and pulls toward him
two mirrors which hide him completely, and which reflect the opposite side
of the box, so that the spectator is led to believe that he sees the back of it.
In this case, one of the angles at the back of the box is not apparent, but the
colored stripes prevent the spectator from noticing the fact.
r
\/
SECTION EXPLANA-
TORY OF THE
CABINET.
^4 MAOiC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
A MYSTIC MAZE.
We present an engraving of a very interesting optical illusion produced
with only three mirrors. By multiplying the mirrors the large number of
different effects can be obtained.
Let us imagine that three perfectly plain and very clear mirror glasses, as
large as possible, form a prism whose base is an equilateral triangle. A person
placed in the interior of this prism will see his image reflected a very large
number of times. A very simple geometrical construction, and one which we
recommend our young readers to carry out as an exercise in optics, by the
simple application of the principle that the angle of incidence is equal to the
angle of reflection, allows us to see that the image of any point whatever placed
in the center of this triangle of glass plates will be reproduced indefinitely by
groups of six images distributed symmetrically around points regularly spaced
in the prolongations of the planes of the three glasses.
A person, therefore, sees his image reproduced indefinitely in groups of
six until, the successive reflections attenuating the intensity of the images, the
latter cease to be visible. Three or four persons massed in one of the angles
present the illusion of a compact and mixed crowd standing upon a sidewalk
and awaiting the passage of a procession. The hats waving in the air convert
the peaceful waiting into an enthusiastic manifestation, which is so much the
more surprising in that it is made by but half a dozen persons at the maximum.
The accompanying figure gives an idea of this remarkable effect, and the
three persons, whose images reflected ad infinitum produce the curious result
that we call attention to, would have much trouble to believe that they were
the subject of an illusion.
Upon the whole, the experiment is nothing more than an application of
the principle of the old kaleidoscope enlarged and revived, in the sense that
the observer has before his eyes the successive reflections of his own image, and
that the objects are replaced with living beings movable at will.
Five or six persons may occupy, at the same time, the triangular prism, of
which the sides are about six feet wide, and whieli they enter through a trap
in the floor. When these five or six persons are walking al^out in all directions,
they present the aspect of a tumultuous and agitated crowd commenting upon
grave events.
86 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
PLATINIZED GLASS.
Platinized glass plates are no longer a novelty, but the illusion is very
effective. The mirrors give an image in the ordinary way when looked at by
reflected light, but are transparent when observed by transmitted light. The
metalization of glass with platinum was discovered a great many years ago by
FIG. 1.
the Messrs. Dode. This property of transparency by transmitted light affords
a very clever surprise. The mirrors are set in frames. In a panel behind the
latter there is an ai)erture closed by a shutter. As the glass is transparent
there may be seen through it, when the shutter is open, everything that is on
the other side, so it occurred to the inventors to utilize this transparency by
placing an image or photograph between the panel and the glass. On exposing
the mirror to the light to look at one's self in the ordinary way, if the shutter
is open, the human head will disappear and maj be replaced by the photo-
OPTICAL TRICKS.
87
graphic portrait or a horned devil, which is placed hehind the mirror. In the
illusion we illustrate the head of the devil whose body is hidden by two mir-
FIG. -i.
rors inclined at an angle of forty-five degrees, as in some of the illusions we
have already described. As he moves his head and smiles, the effect is rather
startling. Electric light is used to illuminate the trick.
MAOIG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
STATUE GIVING A DOUBLE IMAGE.
At the Italian exhibition held a few wears ago in the Champ de Mars, Paris,
there was a statue that attracted much attention from the visitors. It repre-
sented Goethe's Marguerite standing before a mirror. This latter gave by
reflection the image of Faust, as shown in our engraving. The artifice was
MARGUERITE AND FAUST.
well concealed by the sculptor. ]n reality, it was not a double statue, but the
figure of Faust was skillfully obtained by means of the folds of Marguerite's
robe.
Marguerite holds lier arms in front of her, and these same arms form
those of Faust, who holds tliom crossed beliind his back. Faust's face is
carved in Marguerite's back hair, and the man's figure is obtained, as before
slated, by means of the folds of the woman's robe.
CHAPTER III.
MISCELLANEOUS STAGE TRICKS.
The tricks in this chapter are no less interesting than those which have
gone before, but are rather of a more miscellaneous nature. The first trick
which we shall describe, is called " The Illusion of Trilby."
The late Professor Herrmann won for himself a firm place in the regards
of the civilized world, representing the fin de siecle Houdin. His carefully
executed ^^■ork, with its peirfect detail and finish, was a standard among per-
formances of natural masic, and other exhibitions are referred to it as the gaore
PREPAKING TRILBY S COUCH.
of their quality. In Herrmann's illusion of "Trilby," hypnotism is supposed to
play a part. As will be seen, it is really an ingenious application of mechanics.
A plank is placed upon the backs of two chairs. A lady performer who is
supposed to represent Du Manner's " Trilby " enters and, stepping on a foot-
stool, lies down upon the plank. She holds a bouquet in her hand, which bou-
90 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
quet, unknown to the audience, has its own part to play. The other per-
former, Herrmann, who is supposed to be Svengali, carefully arranges the
drapery, walking around her as he does so. Then he makes some passes, and
one by one removes the chairs, and the lady and board remain in the air. In
response to his passes the lady, still resting on the board, rises, and the position
changes to an inclined one and back to the horizontal one. Finally the chairs
are replaced, the lady by passes is supposed to be waked from her trance and
steps down, chairs and plank are removed, and nothing is to be seen further.
THE AEKIAL SUSPENSION OP TKILBY.
Two of the cuts show the progress of the performance as seen by the audi-
ence. The third ctit explains the mechanism. Behind the scenes is a strong
frame, up and down which a movable slide works. Tackle is provided to raise
and lower the slide; and a workman behind the scenes is intrusted with its
manipulation. A bar carrying at its rear end handles, and in front a socket,
shown in the upper right-hand corner of' the same cut, is journaled in the
slide, and can also be thrust in and out through the journal box.
When Trilby has been placed upon her board couch, the bar is thrust for-
ward, drapery at the back having hitherto concealed its socket end. The fair
Trilby with her bouquet now effectually conceals it as it emerges from behind
the curtains. The performer, while apparently sedulously arranging the
drapery, guides the socket and causes it to grip the board. The assistant
behind the scene ])ulls u])on the tackle and works the handle, so that Trilby's
MISCELLANEOUS STAGE TRICKS.
91
weight leaves the chairs one by one, which are removed, and, supported by
the bar, she seems to float in air. By manipulating the tackle she can be
raised and lowered. By
the handles she can be
tilted about, giving a
wonderfully good effect.
Finally the chairs are
replaced, and the assist-
ant lowers Trilby upon
them. During the wak-
ing passes the socket is
detached and the bar is
withdrawn. A close ob-
server may notice a
slight agitation of the
drapery or curtains be-
hind the stage as the bar
is pushed out and with-
drawn, but the attention
of the audience in gen-
eral is so taken up with
the performance proper
that this disturbance is
overlooked by them.
The magician, it will
be seen, can only walk
completely around the
reclining lady before the bar is in place or after it is withdrawn. When the bar
is in place, he can walk behind her, but cannot go completely around her.
Hence his complete excursions are restricted to the time when she is resting on
the chairs, before the bar is in place or after it has been withdrawn.
After the board is vacated, Svengali throws it down upon the stage, its fall,
Avith accompanying noise and disturbance, showing that there is no deception
about that portion of the display.
THE ILLUSION EXPLAINED.
THE "HAUNTED SWING.'
The supreme happiness of sitting in a swing which apparently wliirls
around its points of support, giving the occupant what is most properly
described as a new sensation, may now be enjoyed by all. It is termed the
"haunted swing," and has been in most successful operation at Atlantic
City and at the Midwinter Fair near San Francisco. Those who are to par-
93 31 A QIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
ticipate in the apparent gyrations of the swing — and there may be quite a
number who enjoy it simultaneously — are ushered into a small room. From
TRUE POSITION OF THE SWING.
a bar crossing the room, near the coiling, linngs a large swing, which is pro-
vided with seats for a number of people. After the people have taken their
MtSCELLANtlOJJS STAGE TRICKS.
93
places, the attendant pushes the car and it starts into oscillation like any other
swing. The room door is closed. Gradually those in it feel after three or
ILLUSION PRODUCED BY A RIDE IN THE SWING.
four movements that their swing is going rather high, but this it not all. The
apparent amplitude of the oscillations increases more and more, until presently
94 3IAGIG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the whole swing seems to whirl completely over, describing a full circle about
the bar on which it hangs. To make the thing more utterly mysterious, the
bar is bent crank fashion, so that it seems demonstrably impossible for the
swing to pass between bar and ceiling. It continues apparently to go round
and round this way, imparting a most weird sensation to the occupants, until
its movements begin gradually to cease and the complete rotation is succeeded
by the usual back and forth swinging, and in a few seconds, as the children
say, " the old cat dies." The door of the room is opened and the swinging
party leave. Those who have tried it say the sensation is most peculiar and
the deception perfect.
The illusion is based on the movements of the room proper. During the
entire exhibition the swing is practically stationary, while the room rotates
about the suspending bar. At the beginning of operations the swing may be
given a slight push; the operators outside the room then begin to swing the
room itself, which is really a large box journaled on the swing bar, starting
it off to correspond with the movements of the swing. They swing it back and
forth, increasing the arc through Avhich it moves until it goes so far as to make
a complete rotation. The operatives do this without special machinery, taking
hold of the sides and corners of the box or " room." At this time the people
in the swing imagine that the room is stationary while they are whirling
through space. After keeping this up for some time, the movement is brought
gradually to a stop, a sufficient number of back and forth swings being given
at the finale to carry out the illusion to the end.
The room is as completely furnished as possible, everything being, of course,
fastened in place. What is apparently a kerosene lamp stands on a table, near
at hand. It is securely fastened to the table, which in its turn is fastened to
the floor, and the light is supplied by a small incandescent lamp within the
chimney, but concealed by the shade. The visitor never imagines that it is
an electric lamp, and naturally thinks that it would be impossible for a
kerosene lamp to be inverted without disaster, so that this adds to the decep-
tion materially. The same is to be said of the pictures hanging on the wall,
of the cupboard full of chinaware, of the chair with a hat on it, and of the
baby carriage^ All contribute to the mystification. Even though one is in-
formed of the secret before entering the swing, the deception is said to be so
complete that passengers involuntarily seize the arms of the seats to avoid
being precipitated below.
THE " SCURIMOBILE."
The peculiar gun shown in the cut is named after its inventor, Alessandro
Scuri, of Ijiege, Ik'lgium. ]\r. Scuri is also known as the inventor of a uni-
cyclo and a quadruple cornet. The " scurimobile " is a gun with two barrels
96 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
which can be aimed at different objects, the angle between the barrels being
adjustable. The adjustment is effected by moving a ring located on the under
side of the gun. The pivot of the barrels is so arranged that it is easy to sight
two objects at the same time. Both cartridges are automatically ejected after
each shot fired. It is also possible to use only one barrel in the ordinary way.
In the cut the inventor is shown aiming at two balls placed about a yard apart.
Another valuable feature of this new gun is its applicability as a range finder.
The observer first sights two objects which are at about equal distances from
him, and measures the distance or angle between the two barrels, a graduation
being provided for this purpose. Then the same operation is made from a
point more distant from the objects first sighted. . If the observer steps back
ten yards, and finds that the graduation indicates just one-half of the value
obtained at first, he will know that in the second position he was? just twice
as far from the objects as in the first position, so that the objects are ten yards
from the observer's first position. This operation will give distances with
sufficient accuracy in most cases, but more exact results can be obtained by
means of a simple trigonometric formula when the angle between the barrels
is measured.
" THE NEOOCCULTISM."
The X rays, after becoming the indispensable coadjutors of surgeons, and
even of physicians, are now competing with the most noted mediums in the
domain of the marvelous.
M. Eadiguet, the well known manufacturer of physical apparatus, has been
devoting himself for a long time to experiments with the Eoentgen rays in the
laboratory, which is encumbered with electric lamps, lamp globes, and glass
apparatus of all kinds. One day he perceived that tliese glass objects, under
the action of the X rays, shone in the darkness. Here again was an amusing
and perhaps a useful experiment due to accident. Useful, because the radio-
graphs obtained up to the present, by means of artificial screens, have been
really good only when the sensitive bodies have been in small crystals. In a
pulverulent state they are nearly insensible to the X rays, and it is almost
impossible to obtain the grain of the screen upon the photographic plate. It
is easy, on the contrary, to work the glass in such a way as to prevent any
irregularity in the radiograph. Such experiments will certainly be made ere
long, but, for the present, it is the fantastic side of the discovery that we shall
present to our readers.
Porcelain, enamels, and diamonds, and also objects covered with platino-
cyanides (used by Eoentgen) and with calcium tungstate, zinc sulphate, etc.,
liave, like glass, the property of becoming luminous in darkness under the
action of the X rays. We have, therefore, only the trouble of selection in
MISCELLANEOUS STAGE TRICKS.
9t
order to get up a " spirit seance " with every certainty of success, wliile genuine
spiritual seances fail in most cases, as well known, because the spirits are in an
ill mood and disposed to be eoyish.
ARRANGEMENT FOR A STRIKING EXPERIMENT WITH THE X KAYS
The following will prove a scene sufficiently weird to put the most intrepid
worldlings in a flurry if some one of our friends takes it into his head to give
7
98 MAOIC: STAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
them the mysterious spectacle thereof before they have read an exposure of
the trick.
TIIK Ari'AUITlUN.
The first figure that we present hcrewitli ('xliil)its a Kulinikorfr coil, which
is placed here to show the operation in its entirety. But, as the first effect of
Miscellaneous stage trivks. 'jd
its vibrations would be to attract tbe attention, and consequently the sus-
picions of the s^jectators, whom it is a question of transporting into the domain
of the marvelous, this apparatus is relegated to some distant room. The cur-
rent that produces the X rays is led into the Crookes tube by wires. This
apparatus, moreover, which is not very bulky, may be placed Ijehind a door or
be concealed under black cloth. The objects designed to become luminous
are placed as near to the tube as possible. In the experiment under consider-
ation a diner (who is doubtless near-sighted, since he wears eyeglasses) is about
to do justice to his breakfast. Armed with a knife and fork, he attacks his
beefsteak; but he is assuredly a greater eater than drinker, since he contents
himself with water, while his light consists of a single candle.
A black curtain on the other side of the table conceals from tlie spectators
a skeleton covered with zinc sulphide.
Let us now put out the light and set the Euhmkorff coil in actjyn. What
a surprise! A plate, a glass, a water l)Ottle, and a candle sliine in space with
the light of glow-worms.
A sinister guest in the form of a skeleton sits opposite the place occupied
by the near-sighted gentleman, who has disappeared, and whose eyeglasses
alone have held their own before this ghastly apparition. Finally, to complete
the illusion, hands are seen moving over the heads of the spectators, and those
multiply, and then disappear, only to appear anew.
It must be remarked that, in order to render the experiment more con-
clusive, it is allowable for the most incredulous members of the i)arty to tie the
gentleman tightly to his chair, and, if they desire, to hold his hands and feet
during the entire time of the experiment. It is scarcely necessary to explain
how the latter is performed. The X rays pass through the black cloth on the
door that conceals the Crookes tube and also through the body of the gentle-
man, and render luminous the glass objects covered with zinc sulphide. As
for the mysterious hands, those are simply gloves covered with the same sub-
stance and fixed to the extremity of long sticks that are moved in all directions
by confederates.
Such scenes may naturally be varied to infinity; and the spirit of invention
is so fertile, there is no doubt that before long ladies will be giving a place
in the programme of their soirees to this up-to-date spiritualism.
loo IIAGIC: iyTAO'L' ILLUSIONS ANL SClLNTlFlU LlVEliSlUNS.
THE MASK OF BALSAMO."
This illusion is a variation of the enchanted " death's head " which was
for a long time the attraction of the Eobert-Houdin Theater. Our engraving
shows both the " death's head," the " mask of Balsamo/' and the method
of producing the illusion. Under the influence of the passes of the prestidi-
gitateur the skull on the glass plate bends forward and seems to salute the
spectators. The nodding of the " death's head " was utilized in a number of
ways, as, to indicate the number when dice was thrown. This trick was per-
TIIEATKICAL SCIKNCE.
Fig. 1.— The Kiiclmnteil Death's Head. Vic. 3.-^ The Mask of Ralsamo.
formed as follows: Upon a table near the magician was placed a ball of soft
wax attached to a string which ran to the side scenes, wliere it could be pulled
by a confederate. After passing the skull around to be examined, the prestidigi-
tateur, in laying it upon the table, fixed the ball of wax at the top of it. After
the experiment a simple scraping with the finger nail removed every trace of
the trick. The Isola Brothers used electricity in a somewhat similar illusion.
The skull is replaced by a wooden mask laid flat on a small table and the mask
answers questions by rocking slightly. The magician then brings the table
into the midst of the spectators, and the mask still continues to move, to the
astonishment of the onlookers. The secret of the trick is that part of the
wood which forms the chin is replaced by a small strip of iron which is painted
the same color as the mask so that it cannot be seen; an electro-magnet is let
into the top of the table so that the cores shall be opposite the strip of iron
31ISCELLANE0US STAGE TRICKS.
lol
when the mask is laid upon the table. Contact is made l)y means of a pusli
button somewhere in the side scenes, the wires run under the stage, and con-
nection is made through the legs of the table when the legs are set on the fore-
ordained place. Upon the same principle is Robert Houdin's heavy chest and
magic drum. A rapping and talking table may be made by carrying out the
same idea. The battery is carried in the lower part of the table, where the
three legs join. The top of the table is in two parts, the lower of which is
hollow and the top being very thin. In the center of the hollow part is placed
an electro-magnet, one of the wires of which connect with one of the poles
of the battery, while the other is connected with a flat metallic circle glued
to the cover of the table. Beneath this circle and at a slight distance from
it there is a toothed circle connected with the whole pole of the battery. When
the table is pressed lightly upon, the cover bends and the flat circle touches
the toothed one. This closes the circuit, and the electro-magnet attract-
ing the armature produces
a sharp blow. ^Yhen the
hand is raised the circuit
is broken, producing an-
other sharp blow. By
running the hand lightly
over the table the cover is
caused to bend successively
over a certain portion of
its circumference. Thus
contact is made at a num-
ber of places, and the sharp
blow is replaced by a quick
succession of sounds. This
table is very useful for
spirit rappings; as the
table contains all of the
mechanism in itself, it can
be moved to any part of
the room. The table may
be also operated from a
distance by employing con-
ductors passing through
the legs of the table and
under the carpet. By sub-
stituting a small telephone receiver for tlie electro-magnet, the rapping spirits
may be made talking ones.
Electric insects may be constructed on the same ])lan and give a very life-
like appearance when placed on an artificial bunch of flowers in a flower pot.
RAPPING AND TALKING TABLE.
102 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
The battery is concealed in the top. When the pot is raised a drop of mercury
which occupies the bottom of the pot will roll over the bottom, closing the
circuit successively on different insects, keeping them in motion until the pot
has been set down.
THE INVISIBLE WOMAN.
At the end of the last century and the beginning of the present, a very
curious experiment, and one which was looked upon as marvelous by the
credulous, was wonderfully popular at Paris. The representation took place
TlIK INVISIUI-t: WOMAN,
3nSCELLANE0US STAGE TRICKS. 103
at the old Capuchin convent. The spectator entered a well lighted hall in
which, in part of a window, there was a box suspended by four brass chains
attached by bows of ribbon. The box, which was surrounded by a grating,
was provided with two panes of glass that permitted of seeing that it was
absolutely empty. To one of the extremities was fixed a speaking trumpet.
When a visitor spoke iiL the latter, he was answered by a hollow voice; and
when he placed his face near the box, he even felt upon it the action of a
mysterious breath. When he presented any object whatever in front of the
mouthpiece, and asked the voice to name it, an answer immediately came from
the speaking tube. The box was suspended freely from the ceiling, and it
could be made to swing at the extremity of the chains; it was empty and
isolated in space. People were lost in conjecture as to the secret of tlie
experiment. Among the unlikely theories that were put forth was tliat of the
invisibility of a person o])tained by unknown processes.
As usual in these kinds of impostures, there was here merely an ingenious
application of a scientific principle. A physicist, E. J. Ingennato, revealed the
mystery in a 2:)amphlet published in 1800 under the title of " The Invisible
Woman and Her Secret Unveiled." This tract, now rare, had for a frontis-
piece the engraving which we reproduce herewith and which exi)lains tlie whole
experiment. The invisible woman of the Capucmin convent was named
Frances, and the following is the explanatory legend appended to the original
engraving:
" Questioner: ' Frances, what is this that I have in my hand? '
''Frances (after looking through the little peep-hole, D): '^ A stick with
a crooked handle.'
" The entire assembly at once: ' It is incomprehensible! ' "
Ingennato, in his pamphlet, explains that above the ceiling tliere was a low,
darkish chamber, in which Frances was concealed, and tliat slie looked at tbe
object presented to her through a small aperture, I), whicli was skillfully
hidden by a hanging lamp, and then answered through the speaking tube,
r> B C, liidden in the wall. The sound traversed a space of about six inches,
that separated the speaking tube from the speaking trumpet.
MAGIC HAEPS.
The experiment which we are about to describe, while it is thoroughly
scientific, was taken up under the name of "^Eolian Harps'' by Eobert-IIoudin,
wbo introduced several modifications of it. When the experiment was per-
formed by Wheatstone in 1855, four harps were arranged in a semi-circle on
the stage of the Polytechnic Institution. These harps, at the pleasure of the
experimenter, vibrated as if they were made to resound by invisible hands.
104 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
This effect was produced by fixing to tlie sounding board of each of them
vertical rods of fir-wood wliich passed through the floor of the stage and ceiHngs,
into the cellar of the Institution, where one of them was fixed upon a sounding
board of a piano, another upon the sounding board of a violoncello, and two
others upon the sounding boards of violins. In order to render it possible
.EOLIAN HARP EXPEUIMENT.
to interrupt the vibrations between the instruments and the harps, the rods
supporting the latter were divided at two inches above the floor. Each harp
could be cut off from communication with the instrument below by turning it
around upon its axis. When Robert-Houdin introduces the illusion, he used
a stage elevated in the very midst of the spectators. This stage was traversed
by two fir-wood rods which, after passing through the floor, rested upon harps
placed in the hands of skillful players. At the command of the prestidigi-
tateur two other harps supported upon the upper extremity of the rods
executed a concert which was very successful, thanks to the careful prepara-
tions and the elegant mise en schie. Of course the harps were supposed to
operate through the intervention of mediumistic spirits.
CHAPTER IV.
CONJURING TRICKS.
Having described some of the illusions wliich are ])rodiiced with the aid of
elaborate outlits, we now come to the more simjile tricks which are produced
with smaller and less expensive apparatus, and, sometimes, with no ajiparatus
at all. In the old days the mau of mystery appeared on the stage clad iu a
robe embroidered with cabalistic figures, the ample folds of which could well
conceal a wdiole trunkful of paraphernalia. The table in the center of the
stage was covered with a velvet cloth embroidered with silver, and its long folds,
which reached the ground, suggested endless possibilities for concealment. All
of these things have now passed away, and the modern magician appears clad
in ordinary evening dress, which is beyond the suspicion of concealment. The
furniture is all selected with special reference to the apparent impossibility of
using it as a storeroom for objects which the prestidigitateur wishes to con-
ceal. Some of the easiest and simplest of modern tricks that anyone with little
or no practice can perform are very'feffective. The tricks iu this chapter are
far from being all which have been published in the Scientific Atnerican and
the Scientific American Supple nieiit, but they are believed to be the best which
have been published iu those journals.
TRICK WITH AN EGG AND A HANDKERCHIEF,
• ^
In this trick we have an Qgg in an egg-cup, which the prestidigitateur covers
with a hat, and then he rolls a small silk handkerchief between his hands, as
shown in Fig. 1. As soon as the haiul kerchief no longer appears externally,
he opens his hands and shows the Q2.2,, which has invisibly left the place that
it occupied under the hat, while the handkerchief has passed into the egg-cup
(Fig. 3). We shall now ex})lain how these invisible transfers are effected.
Two eggs, genuine and entire, wei-e truly placed in plain view in a basket,
but it was not one of those that served for the experiment. Behind the
basket was placed a half shell, C, of wood (Fig. 2), jiainted white on the con-
vex side, so as to represent the half of an Qgg, and on the concave side offer-
ing the same aspect as the interior of the egg-cup, A, to which it can be
perfectly fitted in one direction or the other, as may be seen in the section in
Fig. 2. It is this shell, inclosing a small handkerchief exactly like the first,
/i
1
106 3IAGIC: STAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
that the prestidigitateur placed upon the egg-cup (Fig. 2). Then, while with
the left hand he covered the whole with a hat with which he concealed the
operation, he with the right hand quickly turned the shell upside down. The
shell, therefore, by this means disappeared in the egg-cup, and the handker-
chief, s^jreading out, assumed the appearance that it presents in Fig. 3.
TRICK WITH AN KGG AND HANDKERCHIEF.
The prestidigitateur, having afterward secretly seized with his right hand a
hollow egg of metal, containing an oval aperture (F, Fig. 2), stuffed into it the
handkerchief that he seemed simply to roll and compress between his hands.
It is almost useless to add that the metallic egg may be easily concealed either
with the palm of the hand that holds it, or with the handkerchief.
THE CONE OF FLOWERS.
In prestidigitation flowers have in all times played an important part,
arul they are usually emi)loyed in preference to other objects, since they give
tiie experiments a pleasing aspect. Jiut, in most cases, natural flowers, espe-
cially when it is necessary to conceal their presence, are replaced by paper or
feather ones, the bulk of which is more easily reduced. Such is the case in
the experiment which we are about to present, and which, it must be con-
fessed, requires to be seen from some little distance in order that the spectators
nuiy, without too great an effort of the imagination, be led into the delusion
that they are looking at genuine flowers. However, even seen close by, the trick
CONJURING TRICKS.
lor
surprises one to the same degree as all those that consist iu causing the appear-
ance of more or less bulky objects where nothing was perceived a few moments
previous.
The prestidigitateur takes a newspajier and forms it into a cone before one's
eves. It is impossible to suppose the existence here of a double bottom, and
)'et the cone, gentlv shaken,
becomes filled with flowers
that have come from no one
knows where. The number of
them even becomes so great
that they soon more than fill
the cone and drop on and
cover the floor.
The two sides of the flowers
employed are represented in
Fig. 3, where they are lettered
A and B. Each flower con-
sists of four petals of various
colors, cut with a punch out
of very thin tissue paper.
Upon examining Fig. A, we
see opposite us the petals 1,
2, 3, and 4 gummed together
by the extremities of their
anterior sides, Mdiile Fig. B
shows us the petals 2 and 3
united in the same manner
on the opposite side. A snuill,
very light and thin steel
spring, D, formed of two
strips soldered together at the bottom, and pointing in opposite directions, is
fixed to the two exterior petals, 1 and 4, of the flower, and is concealed by a
band of paper of the same color, gummed above. It is this spring that,
when it is capable of expanding freely, opens the flower and gives it its
voluminous aspect.
Quite a large number of these flowei's (a hundred or more), united and
held together by means of a thread or a rubber band (Fig. 2, C) makes a pack-
age small enough to allow the operator to conceal it in the palm of his hand,
only the back of which he allows the spectators to see while he is forming the
paper cone.
THE CONE OF FLOWKKS
108 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
THE MAGIC EOSEBUSH.
In lectures on chemistry, the professor, in speaking of aniline colors, in
order to give an idea of the coloring power of certain of these substances, per-
forms the follov'ing experiment:
Upon a sheet of paper he throws some aniline red, which, as well known,
comes in the form of iridescent crystals. He shakes the surplus off the paper
into the bottle, so that it would be thought that nothing remaiued on the
THE MAGIC KOSEBUSH.
paper. If, however, alcohol, in which aniline colors are very soluble, be poured
over the paper, the latter immediately becomes red.
This experiment may be varied as folloAvs: Instead of scattering the aniline
over paper, it is dusted over the flowers of a white rosebush, and the flowers are
shaken so as to render the dust invisible, and then when a visit is received
from an amateur of horticulture, we tell him that we have a magic rosebush
in our garden, the flowers of which become red when alcohol or cologne is
poured over them. The experiment is performed with the aid of a perfumery
vaporizer, and the phenomenon causes great surprise to the spectators who are
not ill the secret.
CONJURING TRIGKii. 100
"MAGIC FLOWERS."
A trick that has contributed mucli toward making one of onr leading magi-
cians such a favorite witli the fnir sex, is one in wliich a hush filled with genu-
ine rosebuds is caused to grow in a previously-examined jiot that contained
nothing but a small quantity of white sand.
After the bush is produced, the Howers are cut and distributed to the ladies,
and by many recipients of the magician's favors these buds are looked upoi^s
a production of fairy land. For many years this trick has occupied a promi-
nent position on the programme of the magician in question, and mystifies
tlie audience as much to-day as ever, thus proving how well nuigicians keep
their secrets from the public. The trick is not a difficult one by any means,
yet, regardless of its simplicity and the ease with which it may be performed,
the florist would find it anything but an economical method of raising roses,
as a perusal of the following will show.
On the stage is seen two stands with metal feet, and with long rich drapery
trimmed with gold fringe. On each of the stands is a miniature stand on
which are flower-pots.
The magician passes the pots for inspection, then places them on the stands,
and plants a few flower seeds in each pot. A large cone, open at both ends, is
shown, and can be carefully examined. One of the pots is covered for a
moment with the cone, and on its removal a green sprig is seen protruding
from the sand, the seed having sprouted, so the magician says. Now the sec-
ond pot is covered for a moment with the cone, on the removal of which a
large rosebush is seen in the pot, a mass of full-blown roses and buds. The
first pot is again covered for a moment with the cone, and when uncovered a
second rosebush is seen, equally as full of roses as the other. The cone is once
again shown to be empty.
A small basket or tray is now brought forward, on wiiich the roses and buds
are placed as the performer cuts them from the bushes, after which they are
distributed to the ladies.
The stands are not what they appear, as the drapery does not extend
entirely around them, but quite a space at the back of the stand is open.
There is a small shelf attached to the stand leg, near the bottom of the drapery.
Three cones are used, of which the audience see but one.
The rosebushes are merely stumps to which are attached a base of sheet
lead, cut of such a size as to fit nicely in the flower-pots, resting on the sand.
To the stumps the genuine roses are attachd by tying with thread. When the
bushes are prepared they are suspended inside of cones, by means of a stout
cord that is fastened to the stump by one end and to the -other end of Avhich
is attached a small hook, which hook is slipped over the edge of the upper
opening of the cone. When the bushes are placed in the cones, these cones
are placed on the shelves at the back of the stands. Keference to the second
CONJURiNO TRICKS.
Ill
engraving will make the arrangement of the shelf, back of etand, and posi-
tion of concealed cone plain to all. There is a variance in the size of the
bones. The cone shown to the andience is slightly larger than the cone that
is behind the first stand, and the cone
beliind the second stand is a fraction
smaller than either of the others. Thus
the cones will fit snugly one in the other,
in the order named.
After the performer has shown the
pots, planted the seed, and jDlaced the
pots on the small stands, which are nsed
to convince the spectators that there is
no connection between the pot and the
large stand, he shows the large cone,
which is nicely decorated, and covers
the top of the pot on the first stand, as
he says, to shut out the light, that the
seed may germinate. Between the fin-
gers of the hand holding the cone, he
has concealed a small metal shape,
painted green, which he drops through
the cone into the pot. In a moment
he removes the cone from over the pot,
and in a most natural manner passes it
down behind the stand and over the con-
cealed cone containing the rosebush, and
carries this cone away inside of the larger
one. At the same moment he picks
up the flower-pot and carries it down and shows the green sprout in the sand.
The performer now steps to the second stand and covers the flower-pot on
it with the cone. As soon as the pot is covered, he slips oif the small hook sup-
porting the rosebush, Avhich drops into the pot; the weight of the lead base
keeps it in position while the cones are being removed.
AVhen the performer removes the cone — or cones, wo should now say, as we
have two now in place of one, although tliis fact is unknown to the audience —
he passes it down behind the stand, over the concealed third cone, picking it
up with the second rosebush inside. He now returns to tlie flrst stand,
covers the pot, and by slipping oft' the hook holding the rosebush in position,
and removing the cone, or cones, properly, from the pot, shows the second rose-
bush. He now turns tlie large cone so the audience can see through it, and
as the upper and lower edge of each cone is blackened, there is no danger of
the inside cones being seen. The rear of the stand tops are something of a
crescent shape, to facilitate the passing of the large cone down behind the
stand in a graceful manner.
THE MYSTEKY EXPI.AIXED.
113 2IAG1C: ISTAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
THE "BIRTH OF FLOWERS."
The trick that we are about to describe, althoiigli old, is very interesting.
The prestidigitatenr conies forward, holding in his hand a small cardboard box
which he says contains various kinds of flower seeds.
"Here there is no need of moisture, eartb, or time to cause the seed to
germinate, the plant to spring up, and the flower to bloom. Everything takes
place instantaneously. AVould not a rose in my buttonhole produce a charm-
ing effect? A stroke of tlie wand upon the seed deposited in the desired
THK BIR'I'H OK THE FLOWERS.
place, and see! the rose appears. A few seeds are in this little box (Fig. 1, A)
that we shall cover for an instant so that it cannot be seen how flowers are
born. It is done; let us take off the cover; violets, forget-me-nots, and
Easter daisies are here all freslily blown.
" You are suspicious, perhaps, and rightly, of tiie little tin box, and more
BO of its cover. Well, tlien, here is a small goblet, the transparency of which
is perfect, and this borrowed hat with which I cover it can have undergone
uo preparation. Let us remove it quickly, for the flowers — What ! no
flowers? Ah ! it is l)ecause I forgot to sow the seeds. Let us begin the
operation over again. Wliat flowers do you want — a mignonette, a violet, a
marigold? Here is a seed of eacli kind, which I shall put into the glass.
Xow let each one tell me the flower tiuit he prefers. Now I cover the glass
and count three seconds. See the magniflcent bouquet! " (Fig. 3.)
CONJURING TRICKS. WW
Finally the trick is finished by taking- from the hat a number of small
bouquets that are offered to the ladies. The following is an explanation of the
various tricks, beginning with that which involves the houtonniere of the
magician himself.
I. The Buttonhole Rose.
This is a stemless artificial rose of muslin, which is secured by a strong
black silk thread arrested by a knot. To this thread, which should be five or
six inches in length, is attached quite a strong rubber cord capable of being
doubled if need be. The free extremity of the rubber traverses, in the first
place, the left buttonhole of the coat, and then a small eyelet formed beneath,
and then passes over the chest and behind the back, and is fixed by the extrem-
ity to one of the right-hand buttons of the waistband of the trousers.
When the prestidigitateur comes upon the stage, the rose is carried under
his left armpit, wdiere he holds it by a slight jiressure of the arm. At the
proper moment he raises his wand toward the right, and looks in the same
direction in order to attract the eyes of the spectators to that side; but at the
same time he separates his arms slightly, and the rose, held by the taut rubber,
suddenly puts itself in place. The magic effect produced by the instantaneous
appearance of this flower, coming whence no one knows where, could not be
appreciated without having been seen.
II. The FloweRvS ix the Small Box.
In the second appearance of flowers, 2n'oduced by means of the small appa-
ratus shown in Fig. 3, there is really nothing very mysterious. The special
object of it is to bring into relief the experiment that is to follow, and in which,
evidently, there can be no question of double bottom. Moreover, the diver-
sity of the means employed contributes powerfully toward astounding the
spectators.
Fig. 2 shows in section the three pieces of the apparatus, which are placed
separately upon the table in Fig. 1. A is the cylindrical tin box in which the
seeds are sown, and B another box of slightly larger diameter, but in other
respects just like the first, which it entirely covers. To the bottom of B is
fixed a small bouquet of artificial flowers. By slightly squeezing the cover, C
(which is of thin brass), toward the bottom, the box, B, with the bouquet, is
lifted. If, on the contrary, the box is left upon the table, the spectators do
not perceive the substitution made, and think that they all the time see the
first box, whence they believe the flowers started.
III. The Bouquet in the Glass.
This is the most interesting part of the experiment.
As we have said, the glass is first covered with a hat, and the j^restidigita-
teur feigns astonishment upon seeing that the flowers have not appeared, but
114 MAOlC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
at the very instant at which the hat is lifted, when all eyes are fixed upon the
glass, looking for tlie Ijouqiiet announced, the operator, who, with the right
hand, holds the hat carelessly resting upon the edge of the table, suddenly
sticks his middle finger in the cardboard tube fixed to the handle of the bou-
quet, which has been jjlaced in advance upon a bracket, as shown in Fig. 1,
and, immediately raising his finger, introduces the flowers into the hat, taking
good care (and this is an important point) not to turn his gaze away from the
glass to the bouquet or hat, as one might feel himself led to do in such a case.
This introduction of the bouquet should he efi'ected in less than a second, after
which the hat is held aloft, Avhile with the left hand some imaginary seeds, the
kinds of which are designated in measure as they are taken, are selected from
the cardboard box and successively deposited in the glass. So, this time, be
certain of it, the flowers will appear.
lY. The Small Bouquets in the Hat.
There is not a second to be lost; the spectators are admiring the houquet
and are astonished to see it make its appearance. The operator very quickly
profits by this moment of surprise to introduce, by the same process as before,
a package of small bouquets tied together with a weak thread that will after-
ward be broken in the hat. We have not figured these bouquets upon the
bracket, in order to avoid complication. Of course, a skillful operator will not
hasten to produce the small bouquets. He will advance toward the spectators
as if the experiment were ended, and as if he wished to return the hat to the
person from whom he borrowed it. Afterward making believe answer a request,
he says: "You Avish some flowers, madam? And you too? And are there
others who wish some ? I will, then, empty into the hat the rest of my wonder-
ful seeds, and we shall see the result." It is at this moment that the spectators
are attentive and that all eyes are open to see the advent of the flowers.
TEICKS WITH A HAT.
Prestidigitateurs frequently borrow from their spectators a hat that serves
them for the performance of very neat tricks which are not always easily
explained. We shall describe some of the most interesting of these.
The operator will begin by proving to you that the felt of your hat is of
bad quality, and, to this effect, he will pierce it here and there with his
finger, his magic wand, an Qgg, and with a host of other objects.
This is all an illusion, the mystery of which is explained by our first engrav-
ing. (See the finger B.) It is either of wood or cardboard, and terminates in
a long slender needle. The prestidigitateur, wiio has concealed the finger in
his left hand, thrusts the point into the top of the hat, whose interior is turned
toward tlie spectators. Afterward raising the right hand, the forefinger of
CONJURING TRICKS.
115
M^liich he points forward, he seems to be about to pierce the top of the hat, but
instead of finishing the motion begun, he quickly seizes in the interior, between
the thumb and forefinger, the point of tlie needle, wiggles it around in all
directions, turns the hat over, and the cardboard finger, which moves, seems to
1)6 the prestidigitateur's own finger. The same operation is performed with the
wooden half egg, C, and the rod. A, which, like the finger, appear to traverse
the hat, in tlie interior of which are hidden the true rod and egg. We may
likewise solder a needle to a half of a five-franc piece, and thus vary the
objects employed for this recreation to infinity.
I'AssrNG A FrN(;i:i!, hod, and kog Tm:()r(iii \ hat.
In order to take from a hat a large quantity of paper in ribbons, and then
doves, and even a duck or a rabbit, there is no need of special apparatus nor of
a great amount of dexterity, and still less of the revolving bobbin or of the
mysterious machiiie whose existence is generally believed in by tlie s))cctators
when they see the paper falling regularly from the h;it. and turning grace-
fidly of itself as tlie water from a new sort of fountain would do.
Nor is there here any need of a high hat; a simple straw hat (or a cap. at a
liinch) will suffice. The prestidigitateur holds close pressed to his breast and
hidden under his coat a roll of the blue paper prepared for the printing
apparatus of the Morse telegraph, and which is so tightly wound that it has
the aspect and consistence of a wooden disk with a circular aperture in the
center. In turning around after taking the hat, the opening of which rests
against his breast, the operator deftly introduces into it the roll of paper, which
has the proper diameter to allow it to enter by hard friction as far as the top
of the hat, and stay where it is put even when tlie hat is turned over.
116 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Were it needed, tlie ^xiper might be held by a proper pressure of the left
hand exerted from the exterior. The introduction of the paper is effected iu a
fraction of a second.
" Your hat, my dear sir, was doubtless a little too wide for your head, for I
notice within it a band of paper designed to diminish the internal diameter,"
says the prestidigitateur, while, at the same time, he draws from the hat the
end that terminates the pa-
per in the centre^of the roll.
Then he reverses the hat so
that the interior cannot be
seen by the spectators. The
paper immediately begins to
unwind of itself and to fall
very regularly and without
intermission to the right.
When the fall of the pa-
per begins to slacken, that is,
in general, when no more
than a third of the roll re-
mains, the prestidigitateur
turns the hat upside down,
and with the right hand pulls
out and rapidly revolves in
the air the paper ribbon^
whose cajiricious contours,
succeeding one another be-
fore the first have had time
to fall to the floor, produce
a very pretty effect, as shown
iu our second engraving.
The quantity of paper ex-
tracted from the hat ajjpears also in this way much greater than it really is,
and at length forms a 2)ile of considerable bulk.
U'liis experiment may be completed in the following manner: The operator,
approaching his table, which, upon aboard suspended behind it, carries a firmly
})ound ])igeon, quickly seizes the jjoor bird iu ])assing, and conceals it under
the pile of paper, while he puts the latter back into the hat in order to see, says
he, whether all that has been taken out can be made to enter anew.
Having thus introduced the pigeon or any otlier object into the liat, the
])ajter is taken out, and it is at the moment that the liat is restored to its owner
that he pretends to discover that it still contains something.
THE ENDLESS PAPER KIBBON.
CONJURING TRICKS.
117
A CAKE BAKED IN A HAT.
This old trick always amuses the spectators. Some eggs are broken into a
porcelain vessel, some flour is added thereto, and there is even incorporated
with the paste the eggsliells and a few drops of wax or stearine from a near-by
candle. The whole having been put into a hat (Fig. 1), the latter is passed
three times over a flame, and an excellent cake, baked to a turn, is taken
out of this new set of cooking utensils. As for the owner of the hat, who has
FIGS. . 1 :i. — A CAKE BAKED IX A HAT.
passed through a state of great apprehension, he finds with evident satisfaction
(at least in most cases) that his head gear has preserved no traces of the mix-
ture that was poured into it.
Fig. 2 shows the apparatus employed by prestidigitateurs to bake a cake in
a hat. A is an earthen or porcelain vessel (it may also be of metal) into
which enters a metallic cylinder, B, which is provided with a flange at one of
its extremities and is divided by a horizontal partition into two unequal com-
partments, c and d. The interior of the part d is painted wiiite so as to
imitate porcelain. Finally, when the cylinder, B, is wholly inserted in the
vessel. A, in which it is held by four springs, r, r, r, r, fixed to the sides, there
is nothing to denote at a short distance that the vessel. A, is not empty, just as
it was presented at the beginning of the experiment.
The prestidigitateur has secretly introduced into the hat the small cake and
the apparatus, B, by making them fall suddenly from a bracket affixed to the
back of a chair. That at least is the most practical method of operating.
118 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FIG. 4.
The vessel. A, about which there is nothing peculiar, is, of course, sub-
mitted to the examination of the spectators. The object of adding the flour
is to render the paste less fluid, and to thus more certainly avoid tlie produc-
tion of stains.
The cake being arranged under the apparatus,
B, in the space d, the contents of the vessel. A,
poured from a certain height, fall into the part
c of the apparatus ; then the vessel, gradually
brought nearer, is quickly inserted into the hat in
order to seize therein, and at the same time remove,
the receptacle, B, M'ith its contents, and leave only
the cake.
Fig. 3 shows this last operation. We have in-
tentionally shown the part, B, projecting from the
vessel, A, but it will be understood that in reality
it must be inserted up to the base at the moment
at Avhieh the vessel, A, introduced into the hat, is concealed from the eyes of
the spectators. The prestidigitateur none the less continues to move his finger
all around the interior of the double vessel as if to gather up the remainder
of the paste, which he makes believe throw into the hat, upon the rim of
which lie even affects to wipe his fingers, to the great dis-
quietude of the gentleman to whom it belongs.
The experiment may be complicated by first burning
alcohol or fragments of pajier in the compartment c of
the apparatus. Some prestidigitateurs even add a little
Bengal fire. But let no one imitate that amateur presti-
digitateur who, wishing to render the experiment more
brilliant, put into the receptacle such a quantity of powder
that a disaster supervened, so that it became necessary to
throw water into the burning hat in order to extinguish
the nascent fire.
The following method of baking a cake in a hat is a
decided improvement over the old trick with the porcelain
vessel. It has the advantage of being able to be employed
anywhere and of i^roducing a complete illusion.
liefore beginning the experiment, take three eggs, and
having blown two of them, close the apertures with white
wax. Place the three eggs upon a plate.
AVithin the left-hand side of your waistcoat place a fiat
cake, and then make your a])i)earance before the spec^tators.
Having borrowed a hat, place it upon the table, and, after secretly intro-
ducing the cake into it (Fig. 4), take an empty egg, crack the shell upon the
edge of the jtlate, and, inserting your hands in the hat, make believe empty
the contents of the egg into the latter (Fig. 5).
In order tiiat the means employed may not occur to any one, take the per'
FIG. 5.
CONJURING TRICKS.
119
feet egg and let it fall upon the plate so that it will break and its contents
flow oat. Then take the remaining egg and operate as with the first. All you
have to do then is to pass the hat back and forth a few times over the flame of
a candle in order to cook the mass and then to serve the cake.
THE EGG AND HAT TRICK.
An effect dne to an invisible thread is tlie following:
Some months ago, in a Parisian public establishment, a clown took a hat
and a handkerchief, and then, after showing, by spreading it out, that the
handkerchief was empty, drew
an egg from the folds of the
crumpled fabric and allowed
it to drop into the hat. Then
he took up the handkerchief,
shook it out again, crumpled
it up, found another egg, and
let it drop into the h^it, and
so on. When it might have
been supposed that the hat
contained a certain number
of eggs, he turned it upside
down, and, lo and behold, the
hat was empty ! All the eggs
from the handkerchief were
reduced to a single one at-
tached by a thi'ead to one of
the sides of the luindkerchief,
and which the amusing op-
erator maliciously exhibited,
after seeming to look for the
vanished eggs.
While the handkerchief
was stretched out, the egg
was behind it, and, although
it was shaken, remained suspended by its thread. In crumpling the handker-
chief it was easy to seem to find the egg in it, and to put it in the hat, where it
did not remain, however, for, lifted by the thread, it resumed its place behind the
handkerchief. Our engraving shows the handkerchief at the moment that the
egg has been removed by the thread on the side opposite that of the spectators.
On attaching a black thread, sixteen or twenty inches in length, to an
empty egg, and selecting the egg thus prepared from a lot of ordinary eggs, as
if by chance, we have a ready means of amusing and mystifying spectators for
TUE EGG AND HAT TRICK.
130 2IAG1C: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
a long time. Having hooked the free extremity of the thread to a buttonhole
of the Avaistcoat, let us lay the egg upon the table. After apparently ordering
it to approach us, it suffices to recede from the table to make the docile egg
obey the command. By the same means it may be made to make its exit
alone from a hat; or, again, by bearing upon the invisible thread, it may be
made to dance upon a cane or upon the hand; iu a word, to jDerform various
operations that eggs are not accustomed to perform.
MULTIPLICATION OF COINS.
Upon a small rectangular ti'ay of japanned sheet iron, similar to those in
common use, are placed seven coins (Fig. 1). A spectator is asked to receive
these iu his hand and to put the coins back upon the tray, one by one, and to
count them with a loud voice as he does so. It is then found that the number
has doubled, there being
fourteen instead of seven.
The same operation repeated
gives as a result twenty-one
coins..
As may be seen in the
section in Fig. 3, the tray
has a double bottom, forming
an interspace a little wider
tlian the thickness of one of
the coins, and which is di-
vided breadthwise into two
equal compartments by a
partition, B. These two
compartments are closed all
around, save at the ends of
the tray, where there are two
apertures, A and C, that in
length are double the di-
ameter of the coins. In this
interspace are concealed four-
teen coins, seven on each
side. When the contents of
the tray are emptied into the
.hand of a spectator, the coins
concealed in one of the compartments drop at the same time (Fig. 2). The
operator tlien takes the tray in his other hand, and thus naturally seizes it at the
end at which the now empty compartment exists, and this allows the seven coins
that are contained in the other compartment to join the first ones, when the
latter are rapidly emptied into the hands of the spectator for the second time.
Mi;i/lin,T( ATION OK (OINS.
CONJURING TRICKS.
121
A square tray, with a double bottom divided into four compartments by
divisions running diagonally from one corner to another, would permit of
increasing the number of coins four times.
Let us say, however, that skillful prestidigitateurs dispense with the double
bottom. They hold the coins sometimes nnder the tray with their fingers
extended, and sometimes on the tray, under their thumbs, and renew their
supply several times from secret pockets skillfully arranged in various parts of
their coats, where the spectators are far from suspecting the existence of them.
MAGIC COINS.
The street venders of Paris have for some time past been selling to pedes-
trians a coin that can be made to enter an ordinary wine bottle. This coin is
a genuine ten centime piece, but,
when it is handled, it is found that
it bends exactly like the leaves of
a dining-room table. Amateur
mechanics, clock-makers, and cop-
per turners can easily manufacture
similar ones. The process is as
follows :
By means of a very fine metal
saw, cut the coin in three pieces,
either by parallel cuts, or, better, by following the contours shown in Fig. 1.
If the operation be skillfully performed, the marks of the cutting, too, will be
FIG. 1.— MAGIC COINS.
FIG, 2.— mode; of INSEKTING THE COIN IN A BOTTLE,
122 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
nearly invisible. Before the coin is sawed, a groove about aline in depth should
be formed in the rim by means of a saw or file. In this channel or groove is
inserted a very taut rubber ring, which, before it is stretched, should be, at
the most, one and a half or two lines in diameter. If the rubber is well
hidden in the groove, the cleft coin will appear to be absolutely intact.
Owing to this process, the coin can be easily inserted in a bottle by placing
the hands as shown in Fig. 2. The hand that bends the coin covers the
mouth. The cohi is inserted, and then, by a smart blow given the bottle, it
is made to pass through the neck. Owiug to the tension of the rubber, the
jiiece at once regains its flat form, and the operator makes it ring against tlje
glass in order to sliow that it is really a piece of metal. In order to extract
it, it is necessary to get the saw marks exactly in the direction of the bottle's
axis, then the bottle is slightly inclined, neck downward, and through a few
blows on the latter the coin is made to drop into the
hand, where it will at once assume its original form.
We shall now have a few words to say about what is
called the " double sou." The operator places the prepared
coin in his hand, and calls strict attention to the fact that
there is no companion i^iece. Then he covers it with his
other hand for a moment, and finally shows two coins,
instead of one, in the first hand.
Fig. 3 shows, not how the experiment is performed,
but how the double coin is prepared. It is simply an ordi-
nary sou, over which is placed a sort of hollow cover con-
taining the impression of the coin, and which fits on the
latter so accurately that the piece looks like an ordinary
sou. This cover is lifted and made to slide alongside of
the coin, thus sliowing two pieces instead of one.
The cover is stamped from a thin sheet of copper placed upon a sou serv-
ing as a mould. It might possibly be made by means of some electro-metal-
lurgical process. The mutilation of United States coins is forbidden under
penalty of the law.
FIG. 3.
THE DOUBLE
sou.
THE DISSOLVING COIN.
Borrow a silver dollar, and have it marked, so that it can be identified.
Ask some one tp hold the coin horizontally between the thumb and forefinger of
the right liand within the folds of a silk handkerchief, and over a glass full of
water held in the left hand, Fig. 1. Your assistant's two hands being thus
occupied, you will have no sort of iiuliscretion to fear. Stepping back a few
feet, direct your assistant to let the coin drop; and the impact against the bot-
tom of the glass Avill be heard by the entire assemblage. When the handker-
chief is raised the coin is no longer in the glass, l)ut has made its way to your
hand or to the pocket of a spectator. I^et it be examined, and it will be found
to be really the coin that has been previously marked,
CONJURING TRICKS.
123
lu order to jierform this trick it is necessary to have a disk of glass of the
same diameter as a silver dollar (Fig. 2).
Hide this disk, A (Fig. 3), in the palm of your right hand, turned toward
you. This will not prevent you from holding the coin that has been confided
to you between the thumb and forefinger of the same hand. A\'hile your hand
is concealed by the handkerchief in which it is thought that you ])laced the
coin, you shift the latter and give the assistant the glass disk to hold, by the
DISArPKATJANCK OF A STI.VER DOLLAR.
edge, of course, and not by the flat surface, so that the substitution that you
have made cannot be perceived by the touch.
After the trick has been performed, do not be afraid to let the person who
has held the coin, and who is thoroughly astonished, examine the glass and its
contents at his leisure. The glass disk is entirely invisible in the water, and if,
as it is well to do, you have taken care to select a glass whose bottom is per-
fectly plane and of the same diameter as the disk (Fig. 2), the latter will
remain adherent to the glass even when it is inverted to empty the water in
order to prove once more to the spectators that it contains nothing but clear
water.
THE SPIRIT SLATES.
Two ordinary wooden-framed slates are presented to the spectators, and
examined in succession by them. A small piece of chalk is introduced between
the two slates, which are then united by a rubber band and held aloft in the
prestidigitatenr's right hand.
124 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Then, iu the general silence, is heard tlie scratching of the chalk, which
is writing between the two slates the answer to a question asked by one of the
spectators — the name of a card thought of or the number of spots obtained by
throwing two dice. The rubber band having been removed and the slates
separated, one of them is seen to be covered with writing. This prodigy, which
at first sight seems to be so mysterious, is very easily performed.
The writing was done in advance; but upon the written side of the slate,
A, there had been placed a thin sheet of black cardboard which hid the char-
acters written with chalk.
The two sides of thiselatethus
appeared absolutely clean.
The slate B is first given
out for examination, and after
it has been returned to him,
the operator says: "Do you
want to examine the other
one also ? " And then, with-
out any haste, he makes a
pass analogous to that em-
ployed in shuffling cards. The
slate A being held by the
thumb and forefinger of the
left hand and the slate B be-
tween the fore and middle
finger of the right hand (Fig.
1), the two hands are brought
together. But at the moment
at which the slates are super-
posed, the thumb and fore-
finger of tlie right hand grasp
the slate A, while at the same
time the fore and middle
finger of the left hand take
the slate li. Then the two hands separate anew, and the slate that has
already been examined, instead of the second one, is put into tlie hands of the
spectator. 'I'liis shifting, done with deliberation, is entirely invisible.
During the second examination the slate A is laid flat upon a table, the
written face turned upward and covered with black cardboard. The slate
having been sufficiently examined, and been returned to tbe operator, the latter
lays it upon the first, and both are then surrounded by the rubber band.
It is then that the operator holds up the slates with the left hand, of which
one sees but the thumb, while upon the posterior face of the second slate the
nail of his middle finger makes a sound resembling that produced by chalk
when written with. "When the operator judges that this little comedy has
lasted (juite long enough, he lays the two slates horizontally upon his table,
Sl'IIlIT SLATES.
CONJURING TRICKS. 125
taking care this time that the non-prepared slate shall be beneath (Fig. 2).
It is upon it that the black cardboard rests; and the other slate, on being
raised, shows the characters that it bears, and that are stated to have been
written by an invisible spirit that slipped in between the two slates.
SECOND SIGHT.
"The trick is performed as follows," says Judge James Bartlett in the
Popular Science Neivs : " Each person in the audience is presented with a slip
of paper, upon which to write anything he or she may choose. The paper
Avritten upon is immediately secreted by the writer, as much care as possible
being taken that no one else sees what is written upon it. The performer,
who has been absent from the room while this is being done, is brought in and
led, as if in a state of trance, to a chair within full view of eveiy one present.
A light piece of drapery is thrown over him so that he is completely covered
by it, and yet it is thin enough to be translucent, and it can be seen he has not
gone down through the floor or ascfended up through the ceiling. The audi-
ence is told the drapery j)revents the sphere or influence or spell that surrounds
him from being dissipated. He now begins and repeats, word for word, the
sentences written upon any or all the- slips of paper. Xothing can be more
astonishing; the paper has not left the possession of the writers; it is equally
certain that it is impossible that another j^erson could have seen what was
thereon written, and yet the trick is as simple as it is surprising, and that is
certainly saying a great deal.
'• The explanation is as follows: In order to write anything upon the sli]^ of
paper given out, one must have something firm and flat upon Avhich to jilace
it, and for this purpose bits of pasteboard of a convenient size are handed
about the audience. The pasteboard, however, is not solid, as it seems to be;
the uppermost layer of paper can be separated at one of the edges from the
layers beneath it, and into this slip white paper introduced. The upjoermost
layer of paper is blacked Avith crayon or soft pencil on its under side, and what-
ever is written upon the paper resting upon it is faithfully stenciled or traced
upon the white paper inserted. The pasteboards, being collected, are taken
out of the room and given to the performer by his assistant, who may or may
not be a confederate. That is, if the performer is very skillful, he may dupe
his assistant as well as his audience. He may tell him, for instance, it is
necessary for him to have these pasteboard rests and pass his fingers over them
so that he can become en rapjjort with the person with whom they were in con-
tact. It is better, however, at least at first, to have a confederate. The rest
is easy enough. The inserted slips of tell-tale papers are collected and carried
with him by the performer, who manages to read them either through a hole
in the drapery or by the light that sifts through it as he sits covered up in his
chair with his back to the audience. It is well, sometimes, not to have enough
pasteboard cards to go round the audience, and give apparently at haphazard
a book, an atlas or portfolio, which, of course, has been neatly covered with
1-^G MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSJOAS.
paper or cloth and supplied with blackened and with wliite p.qier as are the
pasteboard cards.
" If anything sliould happen that would prevent reading any particidar strip
of paper, the performer may at once say thab he does not pretend to be able to
read all, but only such sentences as appear to his mental vision. This will add
to the effect and make the trick a2)2)ear all the more mysterious. In supply-
ing pencils to your audience be sure to give them good, hard ones, that will
require some pressure to make the writing legible; be careful, too, that the
paper with which you furnish them is rather thin, so that you will get a good
tracing on that you have inserted in the pasteboard rest. As each slip is read
by the performer the assistant should ask if any one in the audience wrote that
sentence and if it is correctly repeated, and then, stepping to the M'l'iter and
taking the slip from him or her, he should himself read it aloud and show it
to any one desirous of seeing it; this enhances the wonder and interest of the
performance, and also gives the performer time to decipher the next slip. It
is well to have the sentences take the form ^f questions which the performer
can read, comment u2')on, and answer in an oracular way, especially as this
takes up time, and consequently gives fewer selected slips to read during the
period allotted to the trick; for to read a few is quite as Avonderful as to read
many.
"Now let the master of occult art cap the climax. Let him again be led
from the room, ostensibly to have his magic sphere renewed, and let some one
among the audience write the name of a deceased person, together with their
own, on a slip of paper. Lay a good deal of stress on the requirement that
one name shall be that of a person deceased ; this, of course, being only to
mystify the audience. "When the names have been written the performer is to
enter the room. He does so with the sleeve of his coat rolled uji, and his arm
bared to the elbow. After showing there is nothing wpon his arm, he turns
down his sleeve, readjusts his cuff, and proceeds with his trick. He first names
the person whom the audience has choseii, in ]n§ absence, to write the name;
he requests that person to crumj)le up the slip of paper ujkjii which the name
is written and rub it Avell over his arm just above his cuff, * so that the writing
will penetrate through his sleeve,' ho says; no'w turning up his sleeve he shows
the writing that was upon the pa])er in blood-red letters upon his bared arm.
The manner of performing this ptirt of the ti'ick is, having ascertained, as
before, the writing upon the sli]i of paper by means of the tracing, to write or
print it Avith red ink mixed with a little glycerine, or red jirinter's ink, or oil
color and turpentine, u]ion paper which is to be fastened upon the inside of
that part of the ])erformer''s coat sleeve which he instructs the person who has
written the name upon the j)aper to rub with the paper. The paper may be
neatly pinned to the lining of the sleeve, care being taken that the pins do
not scratch when the sleeve is turned down."
(JONJURiXG TRICiCS.
\2l
MAGIC CABIXETS.
The apparatus by means of whicli objects of various sizes — a card, a bird,
a child, a woman, etc. — may be made to apparently disappear play a large part
in the exhibitions of magicians, and also in pantomimes and fairy scenes.
Among such apparatus there are some that are based upon ingenious mechan-
ical combinations, while others bring in the aid of optics. We shall examine
a few of them.
The Magic Portfolio.
This is an apparatus which an itinerant physicist might have been seen a
few years ago exhibiting in the squares and at street corners. His method
was to have a spectator draw a card, which he then placed between the four
sheets of paper which, folded crossways, formed the flaps of his portfolio. When
he opened tlie latter again a few instants afterward the card had disappeared.
kfitf^.,r"'-4M t^^ iMR.' ,
MAGIC rUKTFULlOS, EiSVELOrES, AND IJUXES.
or rather had become transformed. Profiting then by the surprise of his spec-
tators, the sliowman began to offer tliem his nuigic portfolio at the price of five
cents for the small size and ten for the large.
The portfolio was made of two square pieces of cardboard connected by
four strings, these latter being fixed in such a way that when the two pieces
of cardboard were open and juxtaposed the external edge of each of tliem was
connected with the inner edge of the otlier,
Tliis constituted, after a manner, a double hinge that permitted of the port-
folio being opened from both sides. To one pair of strings there were glued,
back to back, two sheets of paper, which, when folded over, formed the flaps
of the portfolio. It was only necessary, then, to open the latter in one direc-
128 MAGIC: STAGE ILLUSIONS AX/J SClLNTIFlC DtVLliSloXS.
tion or the other to render it impossible to open more tluin one of the two sets
of flaps.
T|iis device is one that permits of a large number of tricks being performed,
since every object put under one of the sets of flaps will apparently disappear
or be converted into something else, at the will of the prestidigitateur.
Magic I^Isvelopes.
This trick is a simplification of the foregoing. The afPair consists of sev-
eral sheets of paper of dift'erent colors folded over, one upon the other. A
card inclosed within the middle envelope, over which have been folded all the
others, is found to have disappeared when the flaps are opened again. The
secret of the trick is very simple. One of the inner sheets of jiaper — the
second one, usually — is double, and, when folded, forms two env^elopes that
are back to back. It is only necessary, then, to open one or the other of
these latter to cause the appearance or disappearance or transformation of such
objects as have been inclosed within it.
Magic Boxes.
Magic boxes are of several styles, according to the size of the objects that
one desires to make disappear.
There is no one who has not seen a magician put one or more pigeons into
the drawer of one of these boxes, and, after closing it, open it to find that tlie
birds have disappeared. Such boxes contain two drawers, which, when pulled
out, seem to be but one; and it is only necessary, then, to jiull out the inner
one or leave it closed in order to render the inclosed birds visible or invisible.
In order to causb the disappearance of smaller objects, trick performers
often employ a jewel box, and after putting the object (a ring, for example)
into this, they hand it to some person and ask him to hold it, requesting him
at the same time to wrap it up in several sheets of j)aper. But this simple
motion has permitted the performer to cause the ring to drop into his hand
through a small trap opening beneath the box. Yet, while he is doing this the
spectators think that they hear the noise made by the ring striking against the
sides of the box. Vnxi that is only an illusion; for the noise that is heard pro-
ceeds from a small hammer which is hidden within the cover under the
escutcheon, and which is rendered movable when the latter is pressed upon
by the ])erformer. Tlie box can thus bo shaken without any noise being heard
within it, and the spectators are led to believe that the object has disappeared.
Double-bottomed boxes are so well known that it is useless to describe them.
Sometimes the double bottom is hidden in the cover, and at others it 7'ests
against one of the sides. Such boxes permit of the disai)poarance or substitu-
tion of objects that are not very thick, such as a note, an image, or a card.
CONJURING TRICKS.
129
THE TRAVELINCt BOTTLE AND GLASS.
Upon a table, at the rising of the curtain, are observed a bottle and a glass,
the latter full of wine up to the brim. The prestidigitateur pours into the
bottle half of the liquid, ''which otherwise," he remarks, '"might slop over
during the voyage." Then two cylinders of the same diameter as the bottle
are made before the eyes of the spectators out of two sheets of paper and four
pins.
These are designed to cover the bottle and the glass, which have been sepa-
rated from each other by a short interval (Fig. 1). Instantaneously, and in
an invisible manner, the
two objects change places
twice, and yet there is
never anything in the pa-
per cylinders, which are,
ostensibly, torn into a
hundred bits.
Fig. 3 unravels the
mystery. The bottle is of
varnished tin, and bottom-
less. It covers a second
bottle that is similar, but
a little smaller, and in the
center there is concealed
a glass similar to the one
that has been shown, but
empty. It receives the half
of the wine that was
poured from the first glass. This operation necessarily contributes toward
convincing the spectators that they have before them an ordiiuiry bottle pro-
vided with a bottom and capable of containing a liquid.
The operator first covers the bottle v.'ith one of tlie paper cyliiulers as if to
ascertain whether it has the proper diameter, but immediately removes it and
places it npright upon the table.
What no one can snspect, however, he has at the same time lifted the first
bottle by slightly compressing the paper. It is then the second bottle that is
seen, and which is precisely like the other, the labels of both being turned
toward the same side and exhibiting a slight tear or a few identical spots
designed to aid in the deception.
The operator, having finished his palaver, places the empty cylinder upon
the second bottle and covers the glass with the one -in which the first bottle
is concealed (Fig 2). The magic wand is then brought into play, and after
this the paper cylinder alone is lifted at the side where the glass was in the first
place seen, while at the opposite side, the bottle, on being removed, exposes the
9
THICK WITH A BOTTLE AND GLASS OK WINE.
130 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
glass that it concealed. The operation is begun over again in the opposite
direction ; and, finally, under pretense of once again showing that either
paper cylinder can be used indifferently, the operator replaces upon the second
bottle the cylinder that still contains the first one, unbeknown to the spectators.
This is done so rapidly that the action is apparently a gesture, but nothing
more is needed to free the cylinder of its contents and reestablish things in
their former state.
DISAPPEAKANOE OP AN APPLE AND A NINEPIN.
To an apple and a ninepin, the principal objects witli which this trick is
performed, are added as accessories a napkin, a large vessel of dark blue glass,
and a cone of coarse paper, which is made on the spot by molding it over
the ninepin.
First Disappearance (Fig. 1). — The apple, "in order that it maybe more
in sight," is placed upon the inverted glass. V, under the paper cone, while
TKICK WITH AN APPLE AND A NINEPIN.
the inverted ninepin is covered with the napkin, S, through which it is held.
All at once the napkin, quickly seized by the two corners, is vigorously shaken,
and the ninepin has disappeared, or, rather, it is found upon the glass in place
of the a})ple, which has passed into the prestidigitatour's pocket.
Second Disappearance (Fig. 3). — The api)lo, first placed upon the table, is
thrown invisibly toward the paper cone, under which, in fact, it is found.
GONJliRiNO TRICKS.
131
And the ninepin ? ' The prestidigitateur '' had forgotten " to tell it where it was
to go when he sent the apple in its place. As he gives up trying to find it and
seizes the blue vessel inordeptoput it in place, it is seen tliat the ninepin,
driven by the apple, has passed underneath.
Fig. 3 renders an explanation scarcely necessary. At the moment that the
paper cone was made, the ninepin. A, was covered with a dummy, B, of thin
metal, which remained in the cone when the latter was removed. In the
napkin, formed of two napkins sewed together by their edges, was concealed,
between the two fabrics, a small disk of cardboard of the same diameter as the
base of the ninepin. The latter was allowed to fall secretly behind the table
into a box lined with silk waste, only the cardboard disk being held, thanks to
which the napkin preserved the same form that it possessed when the ninepin
was beneath it, as shown in Fig. 1. There is no need of explanation in regard
to the apple that comes out of the prestidigitateur's pocket and which is
similar to the one that remained on the glass and was hidden by the false nine-
pin that covered it when the paper cone alone was removed.
For the second disappearance the apple, placed upon the table, is
surrounded by the two hands of the prestidigitateur, who, while it is thus
concealed, by a blow given with the little finger of the right hand, sends it
rolling on to a shelf behind the table. His hands, nevertheless, presers^e the
same position as if they held the apple. It is the first one that is seen upon
the foot of the glass, the false ninepin being removed this time with the pai3er
cover. Under the glass there is a second false ninepin, C, of metal, painted
dark blue in the interior and which has a narrow flange through A\ihich it
rests upon the edge of the glass, of which it seems to form a part. Fig. 3
shows it in section with the glass, and also the different pieces as they are
arranged at the beginning of the experiment.
A GOBLET OF INK CONVERTED INTO AN AQUARIUM.
Exhibit a goblet which is apparently nearly full
of ink, and place it upon a table. In order to prove
that the goblet really contains ink, partially immerse
a visiting card in the liquid, and, on taking it out,
show that it has been blackened. With an ordinary
spoon dip out some of the ink and pour it into a
saucer. Then, having borrowed a ring, pretend to
dip it into the ink, but really allow it to drop into the
saucer. Announce that you are going to make amends
for your awkwardness, not by plunging your hand
into the liquid, which would have the inconvenience
of blackening it, but by rendering the ink colorless
instantaneously. Take a white napkin or a large
FIG. 1.
132 MAGIC: STAGE ILLUSIONS AND SCtENTlFIG DIVERSIONS.
sized silk handkerchief and cover the glass with it. Upon removing the
napkin or handkerchief, the glass will be found to contain clear Avater in which
living fish are swimming. The hand may then be dipped into the liquid and
the ring be taken out without fear.
The trick is performed as follows:
Take a goblet containing water and some
fish, and place against the inner surface a
piece of black rubber cloth, to which at-
tach a black thread that is allowed to
hang down a few inches outside of the
glass, and to the extremity of which is
attached a small cork. Of course, the
thread and cork must be placed at the
side of the glass opposite the spectator.
Cover the glass Avith the napkin, and
on removing the latter, grasp the cork,
so as to raise it as well as the rubber cloth
in the interior.
As for the card, that should have been
previously blackened on one side for about
three-quarters of its length, and, after
being immersed in the liquid, with the
white side toward the spectator, should be
pifj _ 2 quickly turned around so as to show the
blackened side. As for the liquid taken
out with the spoon, care should have been taken to previously fixiu the interior
of the bowl a few particles of aniline black soluble in water, by breathing on
the spoon before introducing the powder, this serving to fix it. Then the water
taken out with the spoon will be converted into ink, which may be poured
into a plate or saucer.
THE INVISIBLE JOURNEY OF A GLASS OF WINE.
Being given an ordinary glass half full of wine, which everybody can exam-
ine closely, and. a hat situated at a distance, the question is to cover the glass
witii a piece of paper, and thence to send it invisibly into the hat.
A small piece of wood or paper that a spectator has put in the wine, or
any mark whatever that has been made upon the glass, will permit of verifying
the fact that it is really the same glass that was first exhibited, and that is
afterwards found in the hat.
In order to perform this trick, it is necessary to have one of those double
glasses (Fig. 4) that can be easily obtained in variety stores, and which contain
between their double sides a red liquid that has been introduced through the
CONJURINO TRICKS.
133
foot of tlie glass, which is hollow. A small cork, h, which is absolutely
invisible if it is not examined very closely, is inserted and withdrawn at will in"
order to change the lif|uid; but, for our trick, there is no occasion to occupy
ourselves with these details. This double glass is kept concealed until the
moment arrives for using it.
A second glass — this is a simple one (Fig. 4, B) and of the same appear-
ance as the other — is iilled with wine, in the presence of the spectators, to a
level equal to that reached by the red liquid in the double glass.
The prestidigitateur, after exhibiting the interior of the hat so as to allow
it to be seen that the latter is empty, introduces into it, while he turns his
Ijack to the spectators, the
double glass which he
had concealed under his
arm, and which can be
handled without any fear
of spilling the liquid that
it contains. The hat is
then placed upon the
table.
Afterward, taking the
simple glass in his hands,
the prestidigitateur asks
the spectators whether he
shall make it pass visibly
or invisibly into the hat.
As a usual tbing sugges-
tions are divided, and so,
in order to j^lease every-
body, the glass is first put ostensibly into the hat and then immediately taken
out; that, at least, is what is thought by the spectators, who are very readv to
laugh at the little hoax played upon those who perhaps expected to see the glass
carried through the air upon the wings of the wind. But the prestidigitateur
has taken care to leave the simple glass in the hat, and to take out, in place of
it, the double glass, which he presently spirits away with ease by the following
process. The glass having been placed upon the table, lie covers it with a
square piece of strong paper, which he folds around it in such a way as to
make it follow its contours and completely conceal it (Fig. 1). This paper,
which must be very stiff, as well as strong, afterward preserves the form upon
which, so to speak, it has been molded, although it is no longer supported by
tiie glass, which has been allowed to fall behind the table into a sort of pocket
of canvas, or into a box lined with silk waste, arranged to this effect (Fig. 2).
The prestidigitateur, having thus got rid of the glass, walks toward the
s])ectators, delicately pressing the top of the paper between the thumb and
forefinger of the left hand, as if he still held the glass in the paper, and the
foot of which seems to be supported by tlie right hand. A spectator is then
TRICK PERFORMED WrFH A GI-ASS OF WINE.
134 2IA0IG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
invited to take the glass with the paper, and care is taken to advise him not to
allow the wine to run np his sleeves. He then stretches out his hands, but
at the same instant the paper, suddenly crumpled into a ball, is thrown tnto
the air, and the glass of wine has passed invisibly into the hat.
THE WINE CHANGED TO WATER.
After having done considerable talking, as required by his profession, a
prestidigitateur is excusable for asking. permission of his spectators to refresh
himself in their presence, especially if he invites one of them to come to keep
him company.
WATEK CH.\N(iEl) INTO WINE .\NU WINE INTO WATER.
An assistant then brings in upon a tray two claret glasses and two perfectly
transparent decanters, one of which contains red wine and the other water.
The prestidigitateur asks his guest to select one of the two decanters and leave
the other for himself. No hesitation is possible. The guest hastens to seize
the wine and each immediately fills his glass. How astonishing! Upon its
contact with the glass the wine changes into water and the water becomes wine.
Judge of tiie hilarity of the spectators and the amazement of the victim!
The j)retended wine was nothing but the following composition: one gram
j)otassium permanganate and two grams sulphuric acid dissolved in one
quart of wat(n-. 'I'liis liquid is instantaneously decolorized on entering the
glass, at the bottom of which lias been placed a few drops of water saturated
CONJURING TRICKS.
135
with sodium hyposulphite. As for the water in the second decanter, that had
had considerable alcohol added to it, and at the bottom of the glass that was
^o receive it had been placed a small pinch of aniline red, which, as well
known, possesses strong tinctorial properties. The glasses must be carried
away immediately, since in a few moments the wine changed into water loses its
limpidity and assumes a milky appearance. The mixtures are, of course,
poisonous.
THE ANIMATED MOUSE.
Street venders are often seen selling, at night, a little mouse which they
place upon the back of their hand, and which keeps running as if, having been
tamed, it wished to take refuge upon them. In order to prevent it from
attaining its object, they interpose the other hand, and then the first one,
which is now free, and so on. The mouse keeps on running until the vender
has found a purchaser
for it at the moderate
price of two cents, in-
cluding the instructions
for jnauipulatii^g it, for,
as may have been divined,
it is not a question here
of a live mouse, but of a
toy. This little toy is
based upon two effects —
first, an effect of optics;
and second, the effect
due to an invisible thread.
The mouse, which is
flat beneath, is provided
near the head with a
small hook, and the op-
erator has fixed to a but-
tonhole a thread ten inches in length, terminating in a loop. He fixes this
loop in the hook above mentioned, and, tautening the thread, places the mouse
upon the back of his left hand (near the little finger, for example).
On moving the hand away from the body, the mouse, which does not stir,
seems to slide over the back of the hand, and, at the moment that it is about
to fall on reaching the thumb, the right hand, passed beneath, arrives just in
time to catch it near the little finger, whence, by the same movement as before,
it seems to go toward the thumb.
In order to perform the experiment off-hand, it suffices to take a cork and
carve it into the form of a mouse, then cut away the under part of the animal
thus rough-shaped, so that it may lie perfectly flat, then make two ears out of
THE ANIMATED MOUSE.
136 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
cardboard, and a tail out of a piece of twine, and finally blacken tbe whole in
the flame of a candle. After this, the black thread, terminating in a ball of
soft wax or a i)iu hook, having been fixed to a button-hole, allow the spectators
to examine the mouse, and, after is returned to you, fix the thread, either by
its ball of wax or its hook, to the front of the flat part of the rodent, which
you may then cause to run as above described.
THE SAND FKAME TRICK.
The sand frame is a very ingeniously constructed little apparatus which is
employed in different tricks of prestidigitation for causing the disappearajice
of a card, a photograph, a sealed letter, an answer written upon a sheet of
jiaper, etc.
In appearance it is a simple, plush-covered frame, tlie back of which opens
with a hinge behind a glass, which, at first sight, presents nothing peculiar.
In reality, there are two
glasses separated from eacli
other by an interval of three
millimeters. The lower side
of the frames is hollow and
forms a reservoir filled with
very fine blue sand. In tiie
iiiterior the door is covered
with blue paper of the same
shade as the sand. The card,
})ortrait, or letter that is sub-
se(|uently to appear is placed
in the frame in advance, but,
in order to render it invisible,
the latter is held vertically,
the reservoir at the top. The
sand then falls, and fills the
space that separates the two
glasses, and the blue surface
thus formed behind the first
glass seems to be the back of
the frame. In order to cause
the appearance of the con-
cealed object, the frame is
placed vertically, Avith the
roBcrvoir at the botlDin. and covered with a silk handkerchief. In a few seconds
till! sand will have disa])|)eared. The door that closes the back nniy be o])ened
by a s|)eiUator and the frame shown close by. provided that il be held vertically
in order to prevent the ,sand from ajipearing between the two glasses.
ilK SAM) IliAME.
CONJURING TRICKS.
1 O **
lOi
Fig. 2 shows the frame us seen from behind. The door. P, is seen open,
and at S is seen the sand falling between the two glasses. In the section at the
side, V and V are the two glasses, P, the door, and K, tiie reservoir.
Another experiment may ]>e made by means of a small standard on a foot,
A, upon which a spectator has placed the seven of hearts. The card passes into
the frame. To tell the truth, it is removed by the cover, C, along with the thin
disk, D, that covered tlje foot, A, and upon whicli it was placed. It will be
said that we have here to do with a double bottom. Allow the cover, C, before
covering the card, and the foot, A, after the experiment is finished, to be
examined. Is the cover asked for again ? One will hasten to show it without
saying that the back edge of the table has just been struck with it in order to
cause the disk, D, and the card to fall on to the shelf.
HOUDIX^S MAUIC BALL.
This ball, which was recently seen in a toy shop, has the aspect, externallv,
of the one used in the familiar toy known as the "■ cup and ball.'" Extending
through its center there is a straight cylindrical aperture, and when a cord is
[jassed through the latter, the ball easily slides along it.
iiouDLN s maor; ball.
138 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
If a person who is in the secret holds the cord by its two extremities, things
change, since the ball, far from falling, descends very slowly along the string,
or even remains stationary, and does not move again until the operator allows
it to. This trick, which was formerly performed by Eobert-IIovidin with a ball
of large size, very mnch surprised sjiectators.
How does the affair work '? That is explained in the section of the magic
ball shown in the figure. In addition to tbe central aperture, there is another
and curved one, which ends near the extremities of the axial perforation, and
a person in the secret, while making believe jiass the cord through the straight
aperture, actually passes it through the ctirved one. It will now be apparent
that it is only necessary to tighten the cord more or less in order to retard or
stop the descent of the ball. To the left of the engraving is seen the magic
ball thus suspended between the operator's hands.
CHAPTER V. ^
JUGGLERS AND ACROBATIC PERFORMANCES.
JUGGLERS.
The tricks performed by jugglers afford a most wonderful example of the
perfection that our senses and organs are capable of attaining under the influ-
ence of exercise.
The juggler is obliged to give impetuses that vary iufinitesimally. He
must know the exact spot whither his ball will go, calculate the parabola that
it will describe, and know the exact time that it will take to describe it. His
eye must take in the position of three, four, or five balls that are sometimes
several yards apart, and he must solve these different problems in optics,
mechanics, and mathematics
instantaneously, ten, fifteen, «g
twenty times per minnte, and "N,
that, too, in the least con-
venient position — upon the
back of a running horse, upon
a tight-rope, upon a ball, or
upon a barrel that lie causes to
revolve. His dexterity is won-
derful. Many jugglers are
content to perform their feats
of skill with their hands,
and, in addition, do balancing
wortliy of remark.
We can obtain experi-
mentally some idea of the dex-
terity shown by a juggler by
trying for ourselves the sim-
plest of his tricks. Whoever
IS capable of throwing two
balls into the air at once, and
catching them in succession .'...?.■<-
while standing steadily in the
same spot, and without being fig. l.
140 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
obliged to step to the right or left, or nndergoiug contortions, is endowed wiUi
an undoubted aptitude for juggling. On the other hand, whoever can stand
upright upon a rickety chair without any feeling of fear, or cross a country
brook, not upon a tight-rope or wire (which would be too much to ask for a
debut), but upon a plank of two hands' width, and do this without a quick
palpitation of the heart, has an aptitude for tight-ro})^ walking.
To perform with a couple
'^ ■:' _ of balls, however, is quite sim-
ple, and many children suc-
ceed in it after a few days'
practice. They proceed as
follows: Having a ball in each
hand, they throw the one in
the right vertically into the
air, pass into the right the
one that is in the left and
throw this up too, receive the
first ball in the left hand,
and pass it into the right,
throw it up again, and soon;
so that the two balls are al-
most constantly in the air,
eave during the time it takes
to receive the ball with orie
hand and pass it into the
other. If, instead of iising
both hands, the child em[)loys
but one, receiving and throw-
ing one ball while the other
is in the air, the difficulty is
greater, and the young man
who can perform this operation twenty times without dropping one of the
balls can treat the artist of the circus as a coufrhre. To perform with three
balls it is necessary to have been taught by a professor. Moreover, it should
be remarked that the art of juggling has sufficient advantages as regards the
development of the touch, the quick calculation of distances, the nimbleness of
the fingers, and the accuracy of the eye and of motion, to cause it to be added
to those gymnastic exercises which children are taught at school. It is to this
art that the celebrated prestidigitateur llobert-IIoudin attributcnl the dexterity
and accuracy that he displayed in his tricks. In his memoirs, he relates that,
while taking some lessons from an old juggler, he applied himself so closely
to the exercises that at the end of a month he could learn nothing further
fi-oiM his instructor. "I succeeded," says he, "■ in performing with four balls,
l)Ut tiiat did )iot satisfy my ambition. I wished, if it were [)ossible, to surpass
that faculty of reading by appieciatiou, which I had so much admired iu
• — -4>i>> ^ A,
FIG. 3.
JUGGLEUS AND ACROBATIC PlhiFORMANCES.
141
pianists; so I placed a book in front of me, and, while the four balls were
flying in the air, accustomed myself to read without hesitation. It could not
be believed how much delicacy and certainty of execution this exercise com-
municated to my fingers, and what quickness of perception it gave mv eve.
After in this way rendering my hands supple and obedient, I no longer hesi-
tated to directly practice prestidigitation."
In order to keep their hand in, professional jugglers have to exercise daily,
since a few days of voluntary or forced rest would necessitate double work in
order to give the hands their
former suppleness and dex-
terity. As is well known, the
same is the case with the agil-
ity of the danscuse, with
whom one day of rest often
moans more than eight days
of double work.
Some jugglers perform
with objects of the most di-
verse nature, throwing up,
for example, at the same time,
a large ball, an orange, and
a piece of paper, and giving
these articles of different size
and weight such an impul-
sion that each falls and is
thrown again at the moment
desired. Some jugglers, as
a support, use merely a simple
wooden bar held vertically,
and upon the top of which
they i^erform their various
feats of dexterity or contortion. It is the same apparatus formerly used by
Greek acrobats, and, by reason of its form, called naravpor (perch for fowls).
Some acrobats even balance themselves on the head at the top of this perch,
with their legs extended in lieu of a balancing pole. Their arms are free,
and they eat, drink, smoke, shoot off a pistol, jierform with balls and daggers,
and, in a word, perform the most diverse feats (Fig. 2).
Some jugglers are capable of performing extremely curious feats of dexter-
ity with the most diverse objects; for example, with rings that they throw into
the air, with hats that they revolve by striking the rim, or with a flag or na]>kin
that they revolve. These hats and napkins no longer seem to obey the laws of
gravity. Others, by means of a streamer, form helices and graceful curves;
and others, again, by means of a simple bit of paper, succeed in reproducing
the Japanese butterfly trick. Japanese maidens are noted for performing
this with extraordinary grace and skill.
FIG. 3.
143 3IAGJC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
THE LEAMY REVOLVING TRAPEZE.
The application of mechanics to scenic and gymnastic displays has an inter-
esting exponent in the revolving trapeze, an exhibition which, after attracting
much attention in England, has come back to the United States.
In the smaller cut we illnstrate the mechanism of tlie apparatus, while
the performance execnted npon the apparatus is shown in the larger cut.
From the ceiling of the great auditorium is suspended a vertical three sided
rectangular frame open at the bottom. In its lower extremity is journaled at
tlie center a four-sided rectangular frame,
from whose extremities two trapezes hang.
To the upper side of the vertical frame
is secured a bicycle, which, by gearing
shown in the small cut, connects with the
axle of the lower frame, so that when
the cranks of the bicycle are worked
tlie lower frame is turned round and
round. It can be brought into accurate
balance by means of shot. The whole ap-
paratus, including the bicycle, is studded
with incandescent electric lamps, and the
performer who rides the bicycle wears a
helmet carrying electric lights. The very
striking performance is explained in great
measure by the cut.
One of the performers sits on the bi-
cycle and, turning the cranks, as if rid-
ing, keeps the lower frame in rotation,
while two performers go through differ-
ent evolutions on the trapezes thus carried
around through the air. A switch board is placed at the head of the bicycle,
and by mani])ulating switches the vari-colored electric lights are turned on and
off so as to produce any desired effect. IndependentLof the high merit of the
performance simply as gymnastics, the mechanical points are of value; for ease
and safety of manipulation and security from any failure is an absolute es-
sential. No one has anything to do with its operation exceiit the three per-
formers, so that it is constantly under their control. Where any attempt is
made to operate such mechanism from behind the scenes, there is always a
great liability of trouble or partial failure; but here the performer on the
bicycle does all the work of actuating tlie mechanit-al portion and has every
part under constant supervision and control, while the illuminated bicycle,
located as it is at great lieight from the floor, is an added attraction. The
length of the trapeze ropes, it will be observed, is so adjusted as to allow the
performer to pass through the frame without touching it, and the absence of
a center bar in the frame is necessary to the same end.
DIAOHAM OF THE KEVOLVING TIIAPEZK.
144 MAGJC: STAGE tLLVStONS AND SCIENTIFIC DIVERSIONS.
WALKING ON THE CEILING HEAD DOWN.
A performance of considerable scientific interest lias been jiroduced in this
and other cities which is presented in the accompaoying illustration.* In
order to procure a perfectly smooth surface to walk on, a board twenty-four
and one-half feet long is suspended from the ceiling, and near one end of this
is a trapeze. The lower surface of the board is painted, and is smooth and
polished. The performer, who is known as Aimee, the hnman fly, is equipped
with pneumatic attachments to the soles of her shoes. Sitting in the trapeze
with her face to the audience, she draws herself upward by the arms, and raises
her feet until they jDress against the board. They adhere by atmospheric
pressure. She leaves the trapeze, and hangs head downward, as shown.
Taking very short steps, not over eight inches in length, she gradually walks
the length of the board backward. She then slowly turns round, taking very
short steps while turning, and eventually returns, still walking backward.
This closes the performance.
To provide against accident a net is stretched under the board. The per-
former has frequently fallen, but so far no serious accident has happened.
There is a certain art in managing the fall, as, if the shock were received
directly by the spinal column, it might be very severe.
The attachment to the shoe is, in general terms, an india-rubber sucker
with cup-shaped adhering surface. It is a disk four and one-half inches in
diameter and five-eighths of an inch thick. To its center a stud is attached,
which is perforated near the end. This stud enters a socket fastened to the
sole of the shoe. The socket is also perforated transversely. A pin is passed
through the apertures, securing the hold between socket and disk. The socket
is under the instep and is attached to the sliank of the shoe sole.
A wire loop that extends forward under the toe of the shoe is pivoted on
two studs which are secured on each end of the transverse central diameter of
the disk. This loop is normally held away from the disk and pressing against
the shoe sole by a spring. One end of the loop projects back toward and over
the rear edge of the disk. A short piece of string is secured to the India
rubber and passes through a hole in the extension, or rearwardly projecting
arm, of the loop. IMie disk when pressed against a smooth surface is held fast
by the pressure of the atmosphere. If now the loo]) is pressed toward the
surface to which it adheres, the string will be drawn tight and will pull the
edge of the india rubber away from the board. Air will rush in, and the
adhesion will cease. As each new step is taken, one disk is made to adhere by
pressure, and the other is detached by the action just described.
The power of the disk to sustain the weight of a performer may be easily
calculated.
* The ]K;rformer asofuids to the top ofrhe iuidicnfc hall and walkw on the ceiling, head
down. The ease with which it is ui)j)arently done is marvelous.
AIMEE, THE HUMAN FLY.
140 3lAaiC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Each sucker is ^^ inches in diameter, and contains therefore 10 square
inches of surface. The full atmospheric pressure for the area would amount
to 240 jDounds. The stud and socket attachment provides a central bcciring, so
that the full advantage of this and the disk is obtained, and a fairly perfect
vacuum procured. As the i)erformer only weighs about 125 pounds, there is
about 115 pounds to spare with a perfect vacuum.
THE MYSTERIOUS BALL.
At the circus of the Champs Elysees, at Paris, a performance was given
a few years ago that w^ould really put the sagacity of the spectators to the test,
did not the performer explain it after his exhibition.
A ball, thirty inches in diameter, is brought into the ring and placed on
top of a sloping bridge formed of two jilanks with an intervening platform
(Fig. 1). All at once the ball begins to rock a little, and then moves to the
edge of the platform, whence one might expect to see it roll immediately to
the base of the inclined plane; but it does nothing of the sort. It stops at the
edge and begins to descend with precaution. It seems to hesitate, passes over
but a small space, then ascends a little, stops again, and then starts off again
in fine style. When it has reached the base of the inclined plane, the lower
extremity of which is about twenty inches from the ground, it stops, and then
rapidly ascends to the top again. Here tlie mystery begins to be explained.
All at once a flag is seen to make its exit through a small aperture, then a shot
is fired from the interior; the ball is certainly inhabited. This we soon have
proof of, for, after rolling rapidly to the base of the second inclined pUme, it
falls ui")on a cushion placed upon the gronnd, where a man steps forth from it.
It is the clown Lepere. It is very surprising to see a man of such a stature
(five feet) make his exit from so small a ball.
Although we have seen " india-rubber men " who could place themselves
in so confined a space, we cannot compare their performance to that of M.
Lepere, who not only places himself within his ball, but moves therein with a
skill that is truly wonderful. It is necessary, in fact, to have a remarkable
sense of equilibrium and remarkable suppleness to be able, in such a position,
to contimuUly displace the center of gravity of the ball and keep it always in
the vertical plane passing through the axis of the bridge. Our second engrav-
ing shows how M. Lepere places himself. After the ball is closed, an equilib-
rium exists oidy when he is seated.
A\ hen he wishes to make his ball move forward, he must bend over and
walk upon his hands and knees, after the manner of a squirrel in his wheel.
But liow many precautions have to be taken to make the axis of the body
coincide with that of the bridge, so that the ball shall not fall fi-om the inclined
])lane, which is but twelve inches wide! And what agility does it not require
to react immediately against the velocity ac({uired after the ball, in conse-
148 MACrIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIOSS.
qnence of a displacement, has begun to roll! Center of gravity, velocity, and
inertia are principles of mecluinics that exhibitions of strength and dexterity
often put ujider contribution. Although clowns do not bother themselves
much with learning the principles of mechanics upon which their perform-
ances are based, iliey apply them with wonderful dexterity and have a sort of
instinct, a special aptitude, which permits tliem cpiickly to find the position
of equilibrium. The pei'formance that ]\[. Lepere presents in so ingenious and
new' a fashion is an evident proof of this.
FIG. 2. -THE CLOWN IN THE MYSTEBIOUS BALL.
CHAPTER Vl.
FIRE EATERS AKD SWORD TRICKS.
FIRE EATERS— TKICKS WITH FIRE.
Burning is nndoiibtedly that kind of pain against which the human
being most strongly revolts, and the fear of being burned is not confined to
man alone, but exists also as an instinct in the entire animal kingdom. This
fear, the liorror of being burned, which is so powerful in men, accounts for
tlie fact that in all times the wonder and curiosity of the public have been
excited by those who are capable of handling burning coals or red-hot iron with
impunity, or of touching molten metal, and by those who are proof against flames
or burning water or oil. There are many examples in history of individuals
who are more or less fireproof, and the trials by fire in ancient and mediaeval
times do not need to be cited here. It was not until about 1G?7 that the ques-
tion of the proof of man
against fire Avas looked at
from a scientific standpoint.
This was done by the phy-
sician Dodart, a member of
the Academy of Sciences.
These studies were i^rovoked
by the wonderful tricks
which were being performed
at that time in Paris by
ati English chemist named
Richardson. Dodart ex-
plained that these experi-
ments could be performed
without the aid of any
chemical prejiaration, by
taking a few precautions, and
also that the success of them
depended upon the harden-
ing that the epidermis may
acquire under the influence
ot an oft-repeated action. a mountebank licking a red-hot bak of iron.
150 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVLIiSIONS.
This hardening of the skin among laborers results in their frequently being
able to handle red-hot iron and lighted coals with impunity. This, however,
does not suffice to explain the tricks of those individuals who exhibit in public
as fireproof. The experiments of the Italian physician and chemist, Sementini,
have shown that there are prejiarations which, when put upon the skin, render
the latter absolutely insensible to contact with fire or incandescent materials.
His first experiments had no result; finally, after submitting himself to repeated
friction with sulphurous acid, he was ejiabled to apply a red-hot iron to his
FIRK RATERS AT THE OLYMriA THEATER, PARIS,
Bkin with impunity. Continuing his experiments, he found that a solution of
alum had the same property. One day, having accidentally rubbed soap upon
the surface of a hand that had previously been impregnated with alum, he
found that the hand was still further proof against fire. He then discovered
that a layer of powdered sugar covered with soap sufficed to render liis tongue
entirely insensible to heat. After all these experiments Sementini succeeded
in making liimself much better proof against fire than was the charlatan who
first suggested the experiment to h'uu.
Fire eaters have always been very popular on the vaudeville stage, and we
|)i'<'sciit iin engnvving shewing two five eaters at tho ()lympia Theater, Paris.
FIRE EATERS AND SWORD TRICKS.
151
When the performers appear upon the stage, they are clad in a tight-fitting
costume of a red color which represents that of the devils of fairy scenes.
The stage Upon which tlicy appear is but dimly lighted during their presence
upon it. The devils, after making their bow, go to the rear of the stage, and
put some preparations upon their hands; they come to the front of tiie stage
and cause very thin but brilliant flames to dart from their fingers; bringing
these flames near to their mouths, they seem to swallow them and then extin-
guish them between their teeth. When the two devils touch each other's hands
a crackling sound is heard, and long flames dart forth for a few seconds from
the tips of their fingers, which they continuously move. They subsequently
experiment without putting ^
anything in their mouths; | "^
they blow with energy, and a
brilliant flame makes its exit
from between their lips. They
shoot forth a bed of flame for
a considerable length of time,
which certainly exceeds half
a minute. The combustion is
due to a very volatile essence.
Certain eaters of burning
tow proceed as follows: They
form a little ball of material
which they tightly compress
and then light, and allow to
burn up almost entirely.
Then I'olling this in new tow
in order to guard the mucous
membrane in the mouth
against contact with the in-
candescent ball, they breathe
gently, taking care while do-
ing so to inhale only through
the nose, and thus project
smoke and sparks.
Another trick of the fire eaters is when they pretend to drink burning oil.
A little kerosene oil is poured iuto an iron ladle. The oil is now lighted, and
while the ladle is held in the left hand, an iron spoon is dipped into the oil as
though to take a spoonful; but in reality the spoon is only wet, and when it is
brought blazing to the mouth the operator throws back his head as though to
swallow it, and at the same time a slight pufl is given by the breath, which
blows it out. This trick is very effective if well done, but the reader is
especially cautioned against trying any experiments in tricks of this kind, as
the results are apt to l>e dangerous except in the hands of experts. This will
be seen by what is called the sponge trick. Two or three small sponges are
MOUNTEBANK SWALLOWING ULUMNG TOW,
152 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
placed in an iron ladle, gasolene is poured over tlieni, only a sufiicient quan-
tity being used to wet tbem; they must in no case drip. The sj^onges are now
set on fire, and the experimenter takes up one of them with his tongs, and,
throwing his head back, drops the blazing sponge into his month. He expels
his breath quickly all the time. Suddenly he closes his mouth; this cuts off
the oxygen necessary for combustion, and the flame immediately goes out. Per-
formers who jn'esent fire tricks for the amusement of a company frequently
try experiments which give a ghastly ajopearance to the audience. This is done
by pouring a few ounces of alcohol into a basin containing a handful of salt.
When this is lighted tlie complexion of. everyone is hideous.. A slightly differ-
ent effect isnsed by infusing saffron in alcohol for a number of hours, and then
adding salt as before; it is usually poured upon tow which is lighted. There
are some liquids that have the property of taking fire and burning without
injuring the object upon which they are ponred and without producing any
painful sensation upon the skin. As a usual thing such liquids are very vola-
tile and consist of essential oils, ether, etc. The reason that some substances
can be burned without injuring them, or uj^on the skin without burning, are
explained as follows: These substances are very volatile, and their tension is
considerable, and, in reality, when they are burning, it is merely their vapor
which is on fire. Tliis vapor then tends to borrow heat from the liquid,
whence the latter may remain at a relatively low temperature while the surface
is on fire. This is a reasonable explanation of the curious phenomenon of the
burning liquid.
SWORD TRICK— A STAB THROUGH THE ABDOMEN.
The sword employed is a simple, thin, flexible blade of steel, liot at all
sharp, and the plan of which is seen at A in the accomiaanying cut. The
point is sufficiently blunt to prevent it from doing any harm.
As for the prestidigitateur, whose body the sword will simply pass around,
but not 2'>ierce, he carries concealed beneath his vest a sort of sheath that con-
sists of a tube of rectangular section, and semicircular in shape, and the two
extremities of which are bent in contrary directions in such a way that they
arc situated in the same straight line, the two orifices opening in front and
behind at right angles with the abdomen. This apparatus, B, is held in place
by cords attached to two small rings at the two extremities of the tube.
It is the ])restidigitateur himself who, appearing instinctively to grasp tlie
point of the sword as if to protect himself, directs it into the metallic tube.
It makes its exit between the tails of the coat. It might be made to come out
at the center of the back, but in this case it would be necessary to have an
aperture formed in the seam of tlie coat. The illusion produced is com-
plete, seeing that tlie flexible blade straightens out on making its exit from the
tube, on account of the form of the hitter's extremity. It is necessary to
FIRE EATERS AND SWORD TRICKS.
153
operate rapidly, so that the spectators sliall not have time to see that the length
of tiie sword has diminished at this moment, the curved line that it follows not
being the shortest passage from one point to another.
A SWOKD TRICK.
The figure represents a variant of the trick in which the sword is provided
with an eye through which a long red ribbon is passed, and wliich follows the
blade when the latter is pulled out at the oj^posite side of the body.
THE HUMAN TARGET.
Japanese jugglers, as well known, are possessed of very extraordinary skill.
A few years ago two of them performed the following feat, which required
a wonderful dexterity. One of them stood, with arms exteuded, in front of
a thick board placed vertically; and the other, armed with a number of wide-
bladed knives, stationed himself at a distance of about six yards from the
board, and from thence threw the knives with a sure hand and stuck one of
them in the board just above the head of the target, two of them very close to
the right and left of the neck, and others around the arms; in a word, he out-
lined the form of his companion with the knives stuck very deeply into the
board. This performance met with extraordinary success, and an effort was
at once made to reproduce it; but as such dexterity is not possessed by every-
body, aud as, in addition, the operation is dangerous, the following substitute
was devised by M. Voisin for the use of prestidigitateurs.
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FIRE EATERS A2sD SWORD TRICKS. 155
The board that is employed in this case, instead of being, as in the genu-
ine performance, a simple one, is a piece of cabinet work containing an ingen-
ious mechanism. The place which the human target will occupy on this
board is carefully marked, and the knives that are to be stuck into the board
in succession around such place arc contained in the cabinet work, which, at
first sight and at a short distance, seems to be absolutely without preparation.
Each of these knives is fixed by its point upon a pivot. In addition, it is
controlled by a spring, and is concealed within the board by a very finely
adjusted double-valved window, which, at the proper moment, opens and
allows it to appear, and then closes. The spring causes the knife to fall or rise
according to the place that the latter is to occupy, ^'o. 'Z of the engraving
shows the window opening to allow of the fall of the knife, which Avill appear
as if stuck into the board just above the instep. In each of the valves the
angles that meet each other are cut slopingly either at the top or bottom,
according as the knife is to fall or rise, in order to make space for the blade
when the valves are closed. Before the exit of the knife, the incision is closed
with modeling wax the color of the wood. In our engraving the incision is at
the bottom.
Naturally the knives are concealed in the board in such a way that on
making their exit the field shall be free, and that they shall not come into con-
act with the limbs of the target. Each of these knives, with its window,
forms a distinct apparatus, which is controlled by a rod that ends at the edge
of the board just at the place where the fingers of the human target can reach
them. It is he who, by pressing ujwn the ends of the rods as if upon the
keys of a piano, causes the blades to come out of their place of concealment,
one after another, and appear as if they had just stuck into the board. The
sound made by the spring in expanding and the sudden ajipearance of the
knife, combined with the motion of the person throwing it, affords a complete
illusion. Let us add that each knife mounted on a pivot at its point, as we
liave explained, may he easily disengaged from its axis when, after the opera-
tion, the pei'son who threw the knives makes believe to pull them out by force
from the wood in which they seem to be inserted.
The board having been invented, it became necessary to find a method of
throwing the knives in such a way as to cause them to disappear. To this
effect the board is placed on one side of the stage, near the side scenes, and
the person who throws the knives stations himself on the other side of the
stage, near the opposite side scenes, and he can therefore act in two ways, viz.,
first, in poising his arms to take aim, he can, at the last moment, throw the
knife between the side scenes back of him while he takes a step forward. The
knife supposed to be thrown thus disappears completely at the desired moment,
but, since the spectators do not see the flash of the blade, traversing the stage,
it is preferable to employ the second method. This consists in a genuine
throwing of the knife, but in such a. way as to cause it to pass by the board
and fall between the side scenes, where the sound of its fall is deadened l)y
some such material as a piece of carpet. In both of these two methods, it is
156 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
for the human target to press the spring of tlie knife that he wishes to make
appear at just the precise moment, in order that the click of the expanding
spring may be taken by the spectators for the sound of the knife sticking into
the wood.
This triclv, when well executed, has often deceived the shrewdest specta-
tors, and that, too, with so much the more facility in that many had seen the
Japanese perform in the middle of a circus, where it was impossible to con-
ceal the knife, since it could be followed by the eye in its travel from the hand
of the Japanese to the point where it penetrated the board.
To be precise, and to omit no information, let ns say in conclusion, that
there exist boards in which the freeing of the knives is effected by the pulling
of a thread held in the side scenes by a third party. This process has the
advantage that there is no danger of the spectators seeing the manipulation of
the rods ; but, on the other hand, it has its inconveniences, viz., in a place
where a communication cannot be established between the invisible confederate
and the mechanical board, the use of it is impossible, and it is necessary to
employ the other method.
SWOED SWALLOWEES,
When a physician introduces his linger, the handle of a spoon, or a pencil
into the throat of a patient, the latter exjieriences an extremely disagreeable
sensation. Any touching of the pharynx, however slight it be, causes
strangling, pain, and nausea, and the organ reacts with violence against the
obstacle that presents itself to free respiration. There is no one who has not
more than once experienced this disagreeable impression, and for this reason
Ave are justly surprised when we meet with peo^Dle who seem to be proof
against it, and who, for example, introduce into their pharynx large, solid, and
stiff objects like sword blades, and cause these to jienetrate to a depth that
appears incredible. It is experiments of this kind that constitute the tricks of
sword swallowers.
These experiments are nearly always the same. The individual comes out
dressed in a brilliant costume. At one side of him there are flags of different
nationalities surrounding a panoply of sabers, swords, and yatagans, and at
the other, a stack of guns provided with bayonets. Taking a flat saber, whose
blade and hilt have been cut out of the same sheet of metal, the blade being
from fifty-live to sixty centimeters in length, he introduces its extremity into
liis throat, taps the hilt gently, and the blade at length entirely disappears.
lie then repeats the experiment in swallowing the blade at a single gulp. Sub-
sequently, after swallowing and disgorging two of these same swords, he
causes one to penetrate up to its guard, a second not quite so far, a third a
little less still, and a fourth up to about half its length, the hilts being then
Arranged as shown in our third illustration (C).
158 MAGIC : STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Pressing now on the hilts, he swallows the four blades at a gulji, and then
he takes them out leisurely one by one. The effect is quite surprising. After
swallowing several different swords and sabers, he takes an old musket armed
with a triangular bayonet, and swallows the latter, the gun remaining vertical
over his head. Finally he borrows a large saber from a dragoon who is present
for the ])ur|iose, and causes two-thirds of it to disappear. As a trick, on being
encored, the sword swallower
borrows a cane from a j^erson
in the audience, and swallows
it almost entirely.
A certain number of spec-
tators usually think that the
performer produces an illusion
through the aid of some trick,
and that it is impossible to
swallow a sword blade. But
this is a mistake, for sword
swallowers who employ arti-
fices are few in numl)er and
their experiments but slightly
varied, while the majority
really do introduce into their
i mouths and food passages the
J| blades that they cause to dis-
appear. They attain this re-
I suit as follows:
' The back parts of the
mouth, despite their sensi-
^ tiveness and their rebellion
affainst contact with solid
'UE *
bodies, are capable of becom-
ing so changed through habit
that they gradually get used to abnormal contacts. This fact is taken
advantage of in medicine. It daily happens that persons afflicted with dis-
orders of the throat or stomach can no longer swallow or take nourishmeiit,
and would die of exhaustion were they not fed artificially by means of the
u.'sophageal tube. This latter is a vulcanized rubber tube which the patient
swallows, after tiie maimer of swoi-d swallowers, and through the extremity
of which milk or bouillon is introduced. But the patient, before being able
to make daily use of this a])paratus, must serve a genuine a])prenticeship.
The first introduction of the end of the tulje into tlio ])harynx is extremely
j)ainful, the second is a little less so, and it is only after a large number of
trials, more or less prolonged, that the })atieut succeeds in swallowing ten or
twelve inches of the tubing Avithout a disagreeable sensation,
I'he washing out of the stomach, ]torfoi'n)0(l by means of a long, flexible
rosiTlON OCCUPIED BY THE SWORD BLADE
BODY.
FIRE EATERS AND SWORD TRICKS. loO
tube which the patient partially swallows, and with which he injects into ajid
removes from his stomach a quantity of tepid water by raising the tube or let-
ting it hang down to form a siphon, likewise necessitates an apprenticeship of
some days; but the patient succeeds in accustoming his organs to contact witli
the tube, and is finally able, after a short time, to swallow the latter with
indifference, at least.
With these sword swallowers it is absolutely the same; for with them it
is only as a consequence of repeated trials that the pharynx becomes suflficiently
accustomed to it to permit them to finally swallow objects as large and rigid as
swords, sabers, canes, and even billiard cues.
Swallowers of forks and spoons serve an analogous apprenticeship. As
known, the talent of these consists in their ability to introduce into the throat
a long spoon or fork while holding it suspended by its extremity between two
fingers. This trick is extremely dangerous, since the oesophagus exerts a sort
of suction on all bodies that are introduced into it. The spoon or fork is,
then, strongly attracted, and if the individual cannot hold it, it will drop into
his stomach, whence it can only be extracted by a very dangerous surgical
operation — gastrotomy. It was accidents of this kind that made the "fork-
man " and the '" knifeman " celebrated, and, more recently, the '"' spoonman "
who died from the effects of the extraction from his stomach of a sirup spoon.
All sword swallowers do not proceed in the same way. Some swallow the
blade directly, without any intermediate apparatus; but in this case, tlieir
sabers are provided at the extremity, near the point, with a small bayonet-
shaped apjiendage over which they slip a gutta-iiercha tip without the sjiecta-
tors perceiving it (F and G). Others do not even take such a precaution, but
swallow the saber or sword just as it is.
This is the mode of procedure of an old zouave, especially, who has become
a poor juggler, and who, in his experiments, allows tlie spectators to touch,
below his sternum, the projection that the point of the saber in his stomach
makes on his skin.
But the majority of sword swallowers who exhibit upon the stage employ a
guiding tube which they have previously swallowed, so that the experiments
they are enabled to perform become less dangerous and can be varied more.
This tube, which is from forty-five to fifty centimeters long, is made of very
thin metal. Its width is twenty-five millimeters, and its thickness fifteen (B).
These dimensions i)ermit of the easy introduction of flat-bladed sabers, among
other things, and of the performance of the four-sabers experiment, and of the
introduction of sabers and swords of all kinds.
To explain the latter from a physiological standjioint, the saber swallowed
by the performer enters the mouth and ])harynx first, then the oesophagus,
traverses the cardiac opening of the stomach, and enters the latter as far as
the antrum of the pylorus — the small cul-de-sac of the stomach. In their
normal state these organs are not in a straight line, but are placed so by the
passage of the sword. In the first jdace, the head is thrown back so that the
mouth is in the direction of the oesophagus, the curves of which disappear or
160 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
become less; the angle that the cesophagns makes with the stomach becomes
null; and, finally, the last-named organ distends in a vertical direction and
its internal curve disappears, thus permitting the blade to traverse the stomach
through its greater diameter; that is to say, to reach the small cul-de-sac. It
should be understood that before such a result can be attained tlie stomach
must have been emptied through fasting on the part of the operator.
The depth of fifty-five to sixty centimeters to which these men cause their
instruments to penetrate, and which seems extraordinary to spectators, is
explained by the dimensions
of the organs traversed. Such
lengths may be divided thus:
Mouth and pharynx, 10 to
13; oesophagus, 25 to 28; dis-
tended stomach, 20 to '2'2 — 55
to G2 centimeters.
According to the stature
of the individual, a length of
organs of from 55 to 62 centi-
meters may give passage to
swallow^ed swords without in-
convenience.
Sword swallowing exhibit-
ors have rendered important
services to medicine. It was
due to one of them — a swal-
lower of both swords and peb-
bles — that, in 1777, a Scotch
l)hysician, Stevens, was enabled
to make the first studies upon
tlie gastric juice of hunum be-
ings. In order to do this, he
caused this individual to
swallow small metallic tubes
pierced with holes and filled
with meat according toEeaumur's method, and got him to disgorge them again
after a certain length of time. It was also sword swallowers who showed
l>hysicians to what extent the pharynx could become habituated to contact; and
from this resulted the invention of the Foucher tube, the (esophageal tube,
the washing out of the stomach, and the illumination of the latter organ by the
electric light.
It sometimes happens tliat sword swallowers who exhibit in public squares
and at street corners are, at the same time, swallowers of pebbles, like him
whose talents were utilized by Stevens; that is to say, they have the faculty of
swallowing pebbles of various sizes, sometimes even stones larger than a hen's
egg, and that, too, to the number of four, five, or six, sometimes more, and of
VAUIOUS APPAKATUS FOl! SWOKD SWALI,OWEKS.
FIRE EATERS AND SWORD TRICKS. 161
afterward disgorging them one by one through a simple contraction of the
stomach. Here Ave have a new example of the modification of sensitiveness
and function that an individual may secure in his organs by determination and
constant practice.
In conclusion, let us say a word in regard to the tricks that produce the
illusion of swallowed swords or sabers. One of these, which deceives only at
a certain distance, consists in plungitig the saber into a tube that descends along
the neck and chest, under the garments, and the opening of which, placed near
the mouth, is hidden by means of a false beard. Another and much more
ingenious one, which has been employed in several enchantment scenes, is that
of the sword whose blade enters its hilt, and which is due to ^l. A'oisin, the skill-
ful manufacturer of physical apparatus. In its ordinary state this sword has a
stiff blade, eighty centimeters in length, Avhich, when looked at from a dis-
tance of a few meters, presents no peculiarity (see D in our engraving); but
when the exhibitor plunges it into his mouth, the spectator sees it descend by
degrees, and finally so nearly disappear that but a few centimeters of the blade
protrude. In realit}', the blade has entered into the hilt, for it possesses a
solid tip that enters the middle part, which is hollow, and these two parts
enter into the one that forms the base of the sword. The blade is thus reduced
to about twenty-five centimeters, a half of which length enters the hilt.
There then remain but a few centimeters outside the exhibitor's mouth, so that
he seems to have swallowed the sword see (G and E). This is a very neat trick.
THE SWORD WALKER.
Of all the daring tricks that have been introduced in the circus, none have
caused more comment than the one iu which a person, generally a lady, walks
with bare feet up a ladder of sharp swords, treading directly on the sharp edges
without any injury to the feet.
It is amusing to a person who is acquainted M'ith the secret to hear the
many explanations of " how it is done " offered by the spectators, yet none of
them ever come near guessing the truth. This secret has been so jealously and
successfully guarded that very few, even among the best informed experts,
know how it is performed.
From the illustration it will be seen how the swords are arranged in a rack
with the cutting edges on top. The rack is usually about seven feet high, and
eight swords are used. One of the most necessary points in the preparation for
the trick is that the rack should stand firm, and the swords fit snug and tight
in the slots made to receive them.
Usually the inspectors are invited to examine the rack as well as the swords,
and paper is cut with the swords to show that they are really sharp. The
secret is not in the swords or rack, but in the preparation of the performer's
feet. In a pint of water as much alum is dissolved as the water will readily
take up. To the alum water is added as much zinc sulphate, thoroughly
dissolved, as will lie on a silver dime.
11
162 MAGIC: STAGE ILLUSIONS AND SCIENTIFI C DIVERSIONS.
A few minutes before doing the act the performer bathes the feet in this
solution and allows them to dry without wiping. Just before leaving the
dressing-room the feet are dipped for a moment in as cold water as can be
secured, and at once wiped dry without rubbing.
By placing the feet squarely on the swords there is no danger, but great
care must be used not to allow the foot to slide or slip on the sword, or the
result would be a very bad accident.
5f.v*>N-.?t<..
SWORD WALKER,
'On leaving the circus in which one has seen the above act, visitors are almost
sure to see before the ever-present side show a large painting on which is the
representation of a Mexican dancing with bare feet in a shallow box filled with
broken glass.
If you are of an inquisitive nature, and have seen a lady walk with bare feet
up a ladder of sharp swords, you enter the side show to see this new wonder.
On a raised platform is found a box about four feet long, three feet wide,
and six inches deep, the bottom of which is covered with broken glass. In a
few moments a man dressed in the Mexican costume ai)pears on the platform and
proceeds to break a few old bottles and throw the broken glass in the box, then
removes his shoes, shows his feet to be free from any covering, steps in the box,
FIRE EATERS AND SWOJil) TRICKS.
163
and dances among the glast,. After lie has finished dancing he shows bis feet
to be nuinjured, and retires. The trick is performed in the following manner:
Secure a number of thick glass bottles, break them in rather small pieces
and file or grind all the sharp edges round. This stock of glass you place in the
center of a box made according to above measurement. Now soak your feet in
GLASS DANCET!.
strong alum water and wipe dry, and give them a tluirough rubbing with pul-
verized rosin. Dust the inside of your shoes Mith rosin, ])ut them on. and go
upon the platform. Take some old lamp chimneys and bottles, break tliem in
bits, and throw this fresh broken glass in the Ixix. around the edges and in the
corners, not in the center. Remove your shoes, step in the center of the box,
among the prepared glass, and do your dancing. Avoid the sides or corners of
the box, where you have thrown the glass, and you run no risk of cutting your
feet, especially if you use plenty of rosin. The amateur hardly needs to be
informed that such tricks should be left entirely to professionals.
CHAPTER YII.
YENTEILOQUISM AND ANIMATED PUPPETS.
Ventriloquists may, accordiug to their s^^ecialties, be divided into various
categories. Some devote their talent to the imitation of the cries of animals,
the songs of birds, the noise of tools, etc.; others imitate the sound of musical
instruments; some mock tlie noise produced by a crowd, a regiment, or a pro-
cession; while others, again, make dolls or dummies speak.
Certain ventriloquists imitate the sound of musical instruments^ from tbat
of the violin up to tbat of brass instruments with the most piercing notes.
Others excel in imitating the noise of the plane, saw, etc.
Certain ventriloquists, Avhile hidden by a screen simply, have the faculty of
making their audience believe that several persons, or even a crowd, are in the
vicinity.
At Egyptian Hall, London, a magician recently made his appearance upon
'the stage, carrying a doll, with which he held a somewhat uncoutli conversa-
tion. The lips of the doll were observed to move, and the illusion was com-
plete, when all at once the doll's head was strangely transformed. The
magician had just opened his hand, showing that it was tlie latter alone that —
inclosed in a white glove upon which were a few colored marks — formed the
doll's head.
In our engraving may be seen two methods of arranging the fingers for
forming a doll's head with the hand. The illusion is produced by making a
few simple lines with charcoal, and wrapping a handkerchief or napkin
around the hand; then, if one has a little aptness for ventriloquism, he may
hold a conversation with the head.
In our time, most ventriloquists who exhibit in public considerably facili-
tate the illusion that they desire to produce by using large articulated dum-
mies, which tlipy make speak and sing, and talk to one another — each in a
different voice. Those figures are so constructed that the ventriloquist's hands
can move theii' arms and legs, turn their heads to the right or left, give their
siioulders a slirug. open or close their eyes, and move their lower jaws in such a
way that their mouths seem to utter tlie words that tlie spectator hears.
We may s;i,v, in a general way, th;it these ventrilofjuists, tiianks to the use
of tlioir dummies, succeed in ])ro(liicing so coiii|ilete an ilhisioii tliat peo])le
are frequfsntly persuaded tliat the voice heard actually conies from the mouth
VENTRILOQUISM AND ANIMATED PUPPETS.
Klo
(if the liuiirc, uud that it does not proceed from the ventriloquist standing
near tlic latter, but from a confederate liidden somewhere about, whose voice
is heard through the intermedium of a speaking-tube.
There is one trick that always tends to confirm the spectator's illusion, and
that is this: in the little prefatory speech that tlie ventriloquist makes, he
gives out that he is a foreigner, and does not s])eak the language of his audi-
MKTIIon OK MAKIXO FACKS WTTTI TlIK MAM).
ence well; in fact, he expresses himself with difficulty and with a strong accent.
His dummies, on the contrar}-, answer in very good French or English, as the
ease may be; and when the anditors hear them, they are led to believe that
ventriloquism counts for nothing in their answers or conversation.
Explanation of Ventriloquism. — The art of ventriloquism is primarily
based upon an acoustic phenomenon — the difficulty that the ear experiences in
determining the exact point whence comes the sound that it hears. That there
is such an incertitude as to the direction of sounds is easily verified, and the
following are a few cases in proof of it. Mr. Stuart Cumberland, a mind
16G MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVEliSIONS.
reader, Avbo exhibited at Paris a few years ago, performed a little experiment in
the drawing-room, after his " second-sigjit " seances, which nsually resulted
in surprising and amusing his auditors. In this experiment, a willingly dis-
posed person, being seated in the middle of the room, allowed his eyes to be
bandaged. Then Mr. Cumberland took a five-franc piece and made it jingle
by striking it Avitli a hard object, say a key or another coin. The person sub-
mitted to the experiment then had to tell the direction from whence the sound
emanated, and to give the distance at which it seemed to liim to have been
made. In almost all cases the individual guessed a direction and distance
very different from the real one, and the error, which was ofttimes great, nat-
urally provoked great hilarity from the spectators. Moreover, Mr. Cumber-
land, bv varying the position of his hand in such a way that the latter formed
a screen between the coin and the ear of the blindfolded person, caused the
latter's perception as to the direction of the sound to vary, although, as a
matter of fact, the exiDcrimenter had not budged from his first position.
At a soiree, we have seen a member of the Institute, who had cheerfully
submitted himself to the ex2)eriment, extremely surpiised, when his bandage
was removed, at the gross errors in auditory i)ercej)tion that he had just com-
mitted. The illusion that it is thus possible to produce by varying the posi-
tions of the hand in which a coin is jingled is, in the main, analogous to that
obtained through ventriloquism. Another example: If several persons be
standing in the same line, at a few feet from a spectator, and one of them
emits a prolonged sound — a vowel, for example, say a a a — that requires no
motion of the lips, the spectator will be unable to determine from which of
the persons the sound proceeds; or if, moreover, he tries to point the one out,
he Avill be almost certain to commit an error, the person designated by. him
being the third or fourth to the right or left of the one Avho actually produced
the sound.
In the choruses of operas, an endeavor is made to have an agreeable aspect in
addition to vocal qualities; and, as a beautiful voice is not always accompanied
Avith a pretty face, it often happens that in the first row of a chorus they will
place pretty supernumeraries, who, although not obliged to sing, open their
mouths and make believe pronounce words, while in reality the singing is
being done only by their companions in the rear. This fraud is very rarely
detected by the audience.
If a man standing near a child should, without moving his lips, S2:ieak with
a squeaking voice, while the child was making believe pronounce words, it
might easily be believed that the words heard were being spoken by the child.
It is possible to teach a dog to ojien his mouth and follow the motions of his
master's hand; and if the master be any sort of a ventriloquist, he can easily
make believe that he has an animal endowed with speech.
The ventriloquist who, standing near his dummies, succeeds in keeping
his facial muscles absolutely immovable, while his figures become animate and
move their lips and seem to speak, produces such an illusion among the specta-
tors by virtue of the acoustic principle that Ave have just noted; that is, the
VENTRILOQUISM AND AM MATED PUPPETS.
1(57
FIRST SERIES, VOWEL A.
o(L
SECOK"D SERIES, TOWEL E.
eilx
difficulty that the ear experiences in determining tlie precise point whence
emanates the sound tiiat it hears.
It is to be remarked that the chief difficulty in the art of ventriloquism is
to keep the couutenauce immovable, and to speak without causing any of the
facial muscles to act.
The ventriloquist who talks with a dummy that is interrogating him,
addresses his questions in an ordinary voice, articulates distinctly, and plainly
moves his lips; but when
fhe dummy answers, the
ventriloquist's face no long-
er contracts, and his lips
scarcely part except to
smile. Tlie facial immo-
bility preserved by him
while he is really speak-
ing, then, can be explained
by recalling a few princi-
ples of grammar, which
are merely applications of
the physiology of the voice.
Articulate si^eech, which
separates the language of
man from that of the lower
animals, is divided, as gram-
mar teaches, into sounds
and articulations. The
sounds or vowels are made
up of all the continuous
and uniform noises that
the vocal organs can emit. Thus a, e, i, o, and ti are vowels, because
they may be infinitely prolonged ; a a a a a a, for example. There are a
greater number of vowels than is usually admitted in writing; it is possible,
in fact, to modify them to infinity, so to speak, by a slightly more open or
more closed sound. They may be classified in the form of gamuts, each
having a typical vowel, the entire corresponding series of which is but the
result of a more and more pronounced contraction of the lips, without the
tongue and other vocal organs having to undergo the slightest modification.
These type-vowels and their descending gamuts are shown in Fig. 2.
If, in pronouncing each of these vowels, we draw the base of the tongue
toward the back of the throat, without changing the position of the lips or
tongue, we shall obtain the nasal sound thereof. The chief of such sounds
are: a7i, nasal sound of a;
on, nasal sound of o ;
then, en, in, nasal sound of e ;
eiin, un, nasal sound of eu.
THIRD SERIES, VOWEL I.
n
-CLA^^SIFIC-VIIOX OK lllK. NOWKI.
168 JIAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
The vowels i and u have no nasal sounds, because of the back position
that the base of the tongue naturall}' occupies in pronouncing them, and
which is but slightly modified when we endeavor to give tiiem a nasal sound.
"What precedes may be called the theory of tiie vowels. From the stand-
point of ventriloquism, we must remark that, in order to pronounce the vowels,
no motion of the lips is necessary; but it w^ill suffice to allow the latter to
remain slightly parted in order to give passage to the sound — this being gener-
ally done by the ventriloquist through the aid of a smile, that seems to be pro-
voked by the interest that lie takes in the talk of his dummies.
All the modifications in the organs necessary for passing from one vowel to
another, as in the diphthongs oa and ae, or when they suppress certain inter-
mediate articulations, are easily obtained by tlie ventriloquist by the aid of the
tongue and the interior organs of the mouth, without causing the lips and
facial muscles to undergo the slightest motion or the least contraction; or, in
other words, without any visible sign exhibiting itself to the eyes of the spec-
tators. The pronunciation of the vowels, then, constitutes no difficulty for
the ventriloquist. The same is not the case with the articulations or conso-
nants, the pronunciation of some of which is a difficulty that the ventriloquist
can overcome only by virtue of practice and skill, or again by an approximate
pronunciation — the ai'ticulation difficult to })ronounce Avithout moving the
facial muscles being replaced by another which gives nearly the same sound,
but which is obtained with the internal vocal organs of the mouth.
The consonants may be classed by categories, according to the vocal organs
employed for pronouncing them. In each category they are divided into strong
and weak, and, as regards ventriloquism, they comprise two series. A classifi-
cation of them is given in Fig. 3.
Upon examining this table, it Avill be seen that, in the entire first series of
these consonants, the tongue, acting upon the jiharynx, bearing against the
teeth, or taking different shapes, can act and articulate without the aid of the
lips, and without the necessity of the facial muscles contracting. The ven-
triloquist, then, will be able to pronounce any word in which none but these
vowels and consonants enter, without moving his facial muscles.
The same is not the case with the consonan'ts of the second series, that is
to say, with the five labials,/, r, 7?, h, m. The ventriloquist's art consists in
pronouncing these without moving the lips or facial muscles. With a little
practice it is easy to reach such a result with /" and v, which may be pro-
nounced by causing only the interior muscles of the lips to act; p and h, and
m especially, present a greater difficulty, and we may say that, in most cases,
ventriloquists who wish to keep their lips perfectly motionless pronounce none
of these three constmants distinctly, but usually substitute for them a sound
bordering on that of the letter n.
It is partly for this reason that veiitriloquists succeed much better in imi-
tating the language of children, or that of persons of slight education.
So, upon the Avhole, the illusion produced by ventriloquists is the result,
primarily, of an acoustic phenomenon, the uncertainty of the sound's direc-
VLWTiiJLoguisJi A^n animated puppets.
169
FIRST SERIES.— COXSOXANTS FORMED BY THE
INTERNAL VOCAL ORGANS.
Strong. Weak.
9
ill
d
gn
2
J
Gutturals e
Palatal linguals I
Dental Unguals r
Dentals t
Palatal dentals n
Dental sibiilants s
Guttural sibiilants ch
SECOND SERIES.
tion, and, secondarily, of a habit acquired of speaking without moving the
facial muscles.
Those ventriloquists who, without accessories, have tiie power of throwing
their voices almost anywhere, succeed therein by utilizing the same principle of
acoustics that we liave exphiined aljove. As for the exact point whence the
sound proceeds, tlie ventriloquist usually takes care to show that by an expres-
sive motion and by looking in that direction, and by designating it, too, with
his finger, while his face expresses great fear, interest, or surprise. So the
spectator easily persuades
himself that the sound does
really come from the exact
spot that is thus pointed out
to him in a seemingly unin-
tentional manner.
The w^ords are often pro-
nounced very indistinctly by
the mysterious voice, but
the ventriloquist takes care,
as a general thing, to render
them intelligible by repeat-
ing them in his ordinary
voice, by accenting them,
and by commenting upon
them. He thus persuades his
auditors that these are the
very words that they heard.
In order to produce a muffled sound that seems to come from afar or from
an inclosed place, the ventriloquist arranges his tongue in such a way that its
base, upon bearing against the soft palate, shall form a sort of diaphragm that
allows but very little of the voice to pass. If , then, the ventriloquist articu-
lates his words with a strong guttural voice, the sound will appear to come
from the earth, from a grotto or cavern, or from a box, or cask, or closet. If,
oh the contrary, the tongue being in the same position, the ventriloquist speaks
with a sharp voice, he will produce the illusion of a voice coming from the
ceiling, or from some high place, such as the toji of a tree or the roof of a
neighboring house. But, in both cases, in order to effect the emission of this
muffled, somewhat indistinct, voice, tlie ventriloquist keeps his lungs distended,
and emits as little breath as possible in pronouncing.
Richerand, the celebrated physiologist, who had an ojiportunity of examin-
ing the ventriloquist Fitz-James, says: "His entire meclianism consists in a
slow and graduated expiration, which is, after a manner, protracted, and which
is always preceded by a strong inspiration, by means of which he introduces
into his lungs a great volume of air, which he carefully husbands."
As for the modifications to be introduced into the usual position of the organs
in order to obtain the voices of aged people or children, hoarse or nasal voices.
-LABIAL CONSONANTS.
Strong. Weak.
Sibillant labials / v
Siu) pie labials p b
Aspirated labials m
FIG. 3.— CLASSIFICATIOX OF THE CONSONANTS.
ITO :\IA(rlC: STAGE ILLUSIONS S AND SCIENTIFIC DIVEHSlONS.
the cries of animals, sounds of musical instruments, the noises of tools, and so
forth, they are easily effected, owing to the mobility, perfection, and resources
of such organs; and it is by practice and feeling his way that the ventriloquist
conies to know them and repeat them, so as to obtain the voice that he desires,
with certainty. Moreover, in order to get a good idea of the modifications that
may be introduced in the voice by regulating the breathing, the opening of
the pharynx, and the position and curvature of the tongue, it is only necessary
to devote ourselves to this exercise for a few minutes, when the processes used
by ventriloquists, and the illusions that it is possible for them to produce, will
be easily understood. Perhaps, indeed, such an exercise will reveal to the
experimenter that he has an aptness for ventriloquism that he was far from
suspecting.
ANIMATED PUPPETS.
Puppets have been in use since antiquity, and when skillfully constructed
and operated the effect is very amusing. The French painter M. G. Bertrand
devised some very ingenious puppets, which he calls "animated models,"
which he exhibited for a long time in Paris. When the characters make their
appearance and walk and approach each other, they appear to be real. One
of the most charming of the puppets was a violoncellist who bows, rubs resin
on his bow, and plays a march. After the player has finished, he bows and
repeats the piece for an encore. M. Bertrand's dansenses are no less wonderful.
Fig. 3 shows one of them while she is executing a difficult scene. The little
puppets are about half life size, being twenty-two inches in height. They
are suspended from the upper part of the theater by very fine wires fixed to a
rubber spring. Left to itself the puppet is suspended about three feet from
JlKKTItAMJ S ANIMATED I'dTETS.
VENTRILOQUISM AKD ANIMATED PUPPETS.
171
the floor of the stage. It is from beueatli that the operator holds it Ity means
of wires attacheil to its feet, wliich keep it on the floor and make it walk, jump.
FKi. ;.'. -I.A J;EN(X)NTKK (SKCOXD Sl'KNK).
or dance. Lateral wires are attached to the hands, and are manipulated from
the side scenes. Each figure is built up on a skillfully wrought skeleton.
Plfi. :S.— ArTO.MATK' UAXSEl'SE.
The fifth figure shows that the fundamental osseous framework is made of
hard wood, and the articulations formed of steel springs. When this wooden
172 3rA0I(' : STAflE ILLUSIONS AND SCIIJNTIFIC DIVLRSIONS.
skeleton is made to dance upon the stage, it has the attitude of an animated
being; all of the articulations operate of themselves, with perfect BUi)pleness.
KUi. 4. rilK lUILKT UF A DA.NShtSK.
The covering of tow and dress materials give the external human form. Our
last engraving shows the clown, who, at the rising of the curtain, recites the
I'Ki. 5.— TUM MlNui; TUK CLO\V^ AMD Ulb SKEI-KTo;,.
prologue. Tie is capable of showing his own skeleton to the spectators and of
saying, " 'i'his is the way I am made. Look at my framework! "
CHAPTER Vni.
SHADOWGEAPHY.
By Henry Ridgelt Evaxs.
Paris is the home of the fantaisisfce. These rare exotics flourish in the
genial atmosphere of the great French capital, and cater to the most critical, as
well as the most appreciative, public in the world. Xo matter how trivial your
profession may he, if you are an artist in your particular line, you may he
sure of an admiring audience. To-day you are a performer in the cafes;
to-morrow yon tread the boards of some minor theater, and the journals duly
chronicle your debut, sometimes with as much elaborateness as they would
'"write up" that of a new singer at the Grand Opera. Two of the greatest
entertainers in Paris to-day are Yvette Guilbert, chanteuse eccentrique, and
M. Felicien Trewey — fantaisiste, mimic, shadowgraph ist, and juggler. It
is M. Trewey and his wonderful art I wish to introduce to the American reader.
The clever Frenchman is one of the best sleight-of-hand artists in France, but
his lasting fame has been made through his ombromanie, or shadowgraphy, the
art of casting silhouettes with his hands, on an illuminated screen. These
silhouettes are projected Avith marvelous dexterity of manipulation.
The idea of projecting the shadows of different objects (among others the
hands) upon a plane surface is very ancient, and it would be idle to attempt to
assign a date to tlie creation of these animals and chissic figures, such as the
rabbit, swan, negro, etc., that have served to amuse children in the evening
since time immemorial.
Within a few years these rude figures have been improved, and the play of
shadows has now become a true art instead of a simple diversion. The Italian
painter Campi was one of the first who thought of adding new t\'pes to the
collection of figures capable of being made with the shadow of the hands. He
devised amusing forms of animals that delighted the school-children before
whom he loved to exhibit them. ITis imitator, Frizze, imported the nascent
art into Belgium, and it was in tliis latter country that Ti-ewey got his knowl-
edge of it.
Trewey was not long in discovering that ombromanie was capable of
improvement, and, after patient exercise of his finger.^? to render them supple,
he succeeded in producing new silhouettes, which ai-e. oiidi in its kijid. little
masterpieces,
SHADO W6RAPHY.
177
chisel that no flaw is visible in the cut, so equal everywhere is the imprint of
the tool — these and all superb workmen, all artists wlio shape white-hot iron
with the hammer, who chisel the precious metals, who sculpture marble and
stone, owe the exact precision in the force and accuracy of the blows that they
give with the hammer to the suppleness of the first joint of the thumb.
A second characteristic of skillfulness is indicated by the faculty of revers-
ing the metacarpal phalanges of tlie fingers, so that when the hand is extended
it is convex. On the greater or less flexibility of all the joints, either at the
base or extremity of the fingers, depend the dexterity and skillfulness dis-
played in work executed with tlie file, plane, or lathe.
The two characteristics
mentioned above — the
curved thumb and the pe-
culiar suppleness of the
fingers — are in most cases
united in the same person.
The more important of these
is the first.
Trewey's hand, repro-
duced by molding, figures
in several English museums.
It possesses the faculty of
reversal of the phalanges to
the highest degree, and the
thumb, which is of won-
derful suppleness, renders
Trewey, as we shall see, the
greatest service in the for-
mation of his shadows. Let
me add that his fingers,
which are long and slender,
differ very percej)tibly in
length, the middle finger,
for example, exceeding the
ring finger by nearly an inch.
In addition to the i^rofiles of men and animals, the artist, by means of a few
accessories, exhibits to us living persons j)laying amusing pantomimes. Here,
for example (Fig. 2), we have a fisherman. A piece of cardboard, properly
shaped and held between two fingers, forms the hat; the boat is apiece of
wood held in one of the artist's hands; a juetallic ring holds the fish-pole
against the thumb of the other hand, and ib is opposite tliis latter, bent as
shown in the figure, that we observe all the emotions of the fortunate fisherman,
who, phlegmatic at first, and livening uj) when the fish bites, finally is tri-
umphant when he has it at the end of his line. It is necessary to have wit-
nessed all these little scenes in order to understand how, liy means of his
-TUE KISUEKMAN.
178 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
fingers alone, the artist can evoke the laughter and applause of hundreds of
spectators. Here, now (Fig. 3), we have a scene with two persons. It is a
fight between a janitress and one of her tenants. As may be seen, the acces-
sories are here very simple again.
To make the shadows sharp, the following things are indispensable: The
source of light must be a single lamp inclosed in a projecting apparatus, throw-
ing very divergent rays. The lens must consequently be of very short focus.
The electric light or oxyhydrogeu lamp necessary in a theater may be replaced
at the amateur's house by a lamp, or, better, by a wax candle, or, indeed, even
by a common candle that gives very sharp shadows. The mirrors in the room
where the exhibition is given
must be veiled in order to
prevent reflections, and all
brilliant objects must be re-
moved. When the oxyhy-
drogen lamp is used, the
screen is placed ten feet away
from the light, and the art-
ist's hands at three feet from
the same, and consequently
at seven from the screen.
But it will be understood
that there can be no absolute
rule about this, all depend-
ing upon the scale of the fig-
ures. It suffices to recall the
fact that the nearer theliand
is brought to the light, the
more the shadow enlarges
and loses its intensity, while
on bringing the hand nearer
the screen, the shadow be-
comes sharper, but smaller
and smaller. Fig. 4 shows
Trewey exhibiting the scene
of the preacher in the pulpit. The canopy is formed by the arm and the first
phalanges of the fingers bent at right angles, while a block of wood affixed
to the arm near the wrist forms the pulpit. In order that the preacher may
appear smaller than the pulpit, he must necessarily be nearer the screen, and
this explains the distance apart of the artist's arms in the engraving, the
screen being situated in front of the arm that forms the preacher. The neces-
sary distances, however, are best determined by experiment.
Trewey's appearance on the stage is very prepossessing. He is a man of
commanding physique, with a jovial countenance, indicative of the comedian.
He always appears in full court costume — dress coat, silk stockings, and pumps.
KIG. 3.— FIGHT BETWEEN A JANITKESS AND TENANT.
SnADO WGRA PHY. 179
On his first appearance on the stage he wears a long Spanish cloak, which he
removes before beginning his entertainment of juggling and sleight-of-hand.
He is the past grand master of balancing feats, the startling nature of which
causes one to hold his breath with dismay at such boldness and audacitv. His
dexterity in throwing cards is really extraordinary. I have seen him project
these little oblongs of glazed cardboard from the stage of the Alhambra,
London (the largest hall in Europe) to the farthest part of the top gallerv.
He also jiossesses great skill \\\ the unique art of writing backwards any word
or sentence chosen by the audience, and he is a lightning sketch artist of no
mean ability.
"Tabarin," or twenty-live heads under one hat, is a performance named
after the inventor, a certain M. Tabarin, juggler, mountebank, and quack-salver,
who used to frequent the quays of Paris during the early part of the eighteenth
century. With the brim of an old felt sombrero, Trewey is able, by dexterous
manipulation, to construct every variety of headgear, from the shovel hat of a
snuffy-nosed French abhe to the headdress of a Xorman j^easant girl, to say
nothing of the famous chapecm affected by the great Napoleon. It is not these
varieties of headgear that astonish the audience, but Trewey's facial inter-
pretations of the different types of character assumed. His mobile features are
an international portrait gallery, and we see represented in the "Tabarin"
Irishmen, Scotchmen, Englishmen, Chinamen, and other nationalities. It
is a facial pantomime of exceeding skill.
The Paris F'ujdro has described the work of this fantaisiste as " Treweyism,"
and Illustration and I.a Nature never fail to send their staff artists behind the
scenes to make sketches of tiie ombromanist's latest creations. Robert-IIoudiu,
in his memoirs, says, the excellence of an artist's work must never flag, but
continue to excite and stimulate public curiosity. Trewey realizes this to per-
fection. He has something unique and novel from week to week to present for
the delectation of his audiences. He is the most tireless experimenter I have
ever met on any stage, and gets up early and goes to bed late to think out new
problems in the art amusunte. I first became acquainted M'ith this versatile
artist in the summer of 1893, when he was playing a phenomenally long
engagement in the music halls of London, and heard from his own lips the
story of his early struggles and hardships before attaining eminence in his
chosen profession. I quote the following, contributed by me to the pages of
Mahatma, a very clever little i)eriodical devoted to sleight-of-hand, jugglery,
and natural magic :
"Trewey was born in Angoulunie nearly forty-five years ago. His father
was a machinist employed at one of the pajier mills of the city, and desired
the young Trewey ti) become engineer in the manufactory. An unexpected
incident diverted Trewey 's mind from mechanics to juggler}'. He was taken
one day to the circus at Marseilles, and saw the performance of a conjurer. He
was so delighted with the entertainment of the mountebank that he forthwith
determined to become a professional prestidigitateur. Finding that he could
not enlist the interest of his son in machinery, Trewey j>ere sent him to a
180 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Jesuit seminary at Marseillec to study for the priesthood. One day, after he
had completed three years at the seminary, he returned liome for a short
holiday, and refused to return, whereupon his father sent him to work daily at
the factory. During his sojourn at the scliool, Trewey exhibited his skill as
an amateur juggler, and took part in tlie dramatic exhibitions given by the
students from time to time. He kept up his practice while at work at the
factory, and then one fine summer's day, at the age of fifteen, ran away from
home with a professional acrobat not much older than himself. The two
boys gave performances in the cafes of the neighboring towns, and eventually
Trewey succeeded in getting an engagement in one of the Marseilles music
-^
FIG. 4.— THE PHEACHEU IN THE PULPIT.
halls at the munificent salary of a franc a day. He had to give his own jug-
gling entertainment several times a day, and appear in a pantomimic perform-
ance every night. In this same company was Plessis, afterwards one of the
greatest of the French comedians. Speaking of this period of his interesting
career, Tl-ewey said to me: ' It was the custom in French places of amusement,
Avhen I was a young and struggling entertainer, for the spectators to throw
money on the stage to a successfnl actor. I carefully saved the coin obtained
in this M'ay until I was able to purchase two grand new costumes. These cos-
tumes and the popularity acquired enabled me to ol)tanv an engagement at the
Alcazar, tlit; ]»riticipal i)lace of amusoment in ]\Iai'seillos.
Otlier engagements olTci'cd theninclvcs in ((uick succession after that, and
Ibecame a favorite performci' in all the principal towns in the south of France,
where I remained foi- three or foui- years. Aftei- a while I returned to the
strolling branch of the profession. :iiiil started anew as the j)roprietor of a
trav'-iliiig pantominK! and vaudeville comi)any.
HIT A DO wan Amy. 18 1
"'I travek'il fnuii one little town to aiioLlier. ]>l;iyiiig various rolex
including Pierrot and ('ass;iii(li'c, the clown and- j)antaiot)n ol' Frencli panto-
mime; danced in the CUnhirJir, a grotesque quadrille; and took part in a
comedy, in addition to giving my ommi entertainment. It -was a bare living only
that was gained in this manner lor two years, after which an offer of an engage-
ment came to me from Bordeaux. Here I was most successful, and made a hit
with a number of new feats of balancing Avith bottles, etc., with which I had
been busy for a long time iierfecting myself. It was at this jieriod I invented,
the ombromanie. An offer quickly came for an engagement at the Concert dea
Ambassadenrs, in Paris, and my success was complete. I stayed in Paris nine
years, and since then traveled all over Europe — in Spain, Germany, Belgium,
Austria, Pussia, Great Britain, and, as you know, ' introduced shadowgraphy
to the American public in ISOI}.'
" Trewey's home in the Pue Iiochechouart, Paris, is an interesting place to
visit; it is crowded with ap})aratus and all sorts of new inventions intended for
use in his conjuring entertuinments. His scrap and memorandum books are
unique in themselves and contain hundreds of sketches in water colors of jug-
gling feats either performed by himself or by other artists. Under each
drawing is a carefully written description of the particular act.
'•'What are you going to do with all this material?' I once iusked him.
' I may publish a book one of these days,' he replied, with a merry twinkle of
the eye; ' who knows ? I've done worse things,' "
FPEXCH SHADOWS.
M. Caran d'Ache, the cartoonist and illustrator, got up a few years ago,
at the Tlieater d'Application, at Paris, a special representation, of Chinese
shadows which were devised by him, and are so superior to anything that has
previously been done in this line that he has been able to call them "French
shadows," in order to distinguish them from similar i)roductions.
M. d'Ache takes pleasui-e in representing the military scenes of the first
republic and first empire. He projects ujion the screen an entire army, wherein
we see the emperor with his stafl" at different distances amid the ranks. The
defiling of the troops is astonishing, and one would think that he was present at
a genuine review. A "Vision in the Steppes" is another series of pictures
that represent the advent of the Kussian army. The shadows entitled the
" Peturn from the Woods" form a }nasterpiece as a whole, and the figures are
so skillfully cut that the celebrities of the day who are passing in the Avenue
des Acacias can be recognized. Two amusing specimens of this part of the
representation are given in Figs. 2 and 3. These reproductions are much
reduced, the real height of the figures being about eighteen inches.
Says a writer in La Nature, " We were not content to remain in the body
182 :\[AGIC: STAGE ILLUSIONS AND SCIJLYTJFIC DIVERSIONS.
of the theater to witness the sliadows, but requested M. d'Aohe to admit us to
his side scenes for the sake of our readers, and to initiate us into the processes
of actuating his figures; for, aside from llie artistic aspect, tliere is here a
very interesting api^lication of jdiysics.
'^ The silliouettes, after being composed and drawn, are cut out of sheet zinc,
which gives them great rigidity. Tlie cutting is a very delicate operation and
requires great accuracy. Some figures, sucIj as tliose of cavali'ymen, hussars,
FKi. 1.— FHKNCH SHADOWS.
and dragoons of the grand army, have apertures in certain parts, and behind
these is pasted coh)red transparent paper. In this way, the bhick shadows
that move along the screen have certain ]iarts in color, such as the plumes of
the helmets and the liorses' saddles.
" A large number of the zinc silhouettes act through mechanism. At a
grand review, to the order 'Carry arms,' all the guns are seen to rise in
nnison. The silhouette is provided with a series of guns properly arranged
and mounted npon a rod which is lowered or raised by the action of a lever.
" l-'ig. 1 represents the back of M. d'Ache's theater. The screen being
Itrilliatitly illuminated by an oxyhydrogen lamp, and the light in the body of
SHADOWGRAPHY.
185
the theater heing turned down, the silhouettes, in passing, project upon the
screen a very strong shadow which the spectators perceive, but which is not
visible from the side scenes. Each silhouette is taken from a large box by a
man who places it in a groove at the bottom of the screen. Four or five oper-
ators suffice to keep the shadows succeeding one another without interruption.
FTOS. •?. AND 3.— FArsnriT.ES OF TWO SnJTOrKTTES.
During the Epopee we witness great combats, the capture of redoubts, and
terrible cannonading. Nothing is more amusing than the method of pro-
ducing the effects of these epic contests. The cannons are provided with little
fuses that an operator fires, and, at the same moment, the big drum of the
orchestra imitates the noise of the cannonading, and a rattle of large size
simulates the sound of the discharge of musketry. As for the smoke that
the spectators perceive ui)on the screen, that is produced by the cigarette of one
of the operators, who projects it at the desired place. The light of the shells
is obtained by means of a wad of gun cotton liglited and properly projected."
CHAPTER IX.
MENTAL MAGIC.
Bv Hexry Riugely Evans.
The most sphinx-like pi'oblem ever preseiiteil to the pul)lio for solution was
the " second-siglit '^ mystery. As has been stated in the Introduction, the
idea was an old oue, having originated with the Chevalier Pinetti, a conjurer
of the eighteenth century. On this subject the " Encyclopsedia Britannica "
says :
" In 1783 Pinetti had an automatic figure about eighteen inches in height,
named tlie Grand Saltan or AVise Little Turk, which answered questions as to
cliosen cards and many other things by striking upon a bell, intelligence being
communicated to a confederate by an ingenious ordering of the words, sylla-
bles, or vowels in the questions put. The teaching of jVIesmer and feats of
alleged clairvoyance suggested to Pinetti a more remarkable performance in
1785, when Signora Pinetti, sitting blindfold in a front box of a theater,
replied to questions and displayed her knowledge of articles in the possession
of the audience."
Robert-IIondin invented a "second-sight" system under the following cir-
cumstances:
" My two children," he says, in his memoirs, "were 2:)laying one day in
the drawing-room at a game they had invented for their own amusement. The
younger had bandaged his elder brother's eyes, and made him guess the objects
he touched, and when the latter happened to guess right, they changed places.
This simple game suggested to me the most complicated idea that ever crossed
my mind — 'second sight.'
" On the 12th of February, 184G, I jorinted in the center of my bill the fol-
lowing singular announcement:
"/n this programme M. Robert- Jlotidin's son, wJio is (lifted with a iiiarvel-
ous second sight, after his eyes have been covered with a thick bandage, will
designate every object jjresented to ttim by tJie andience.''''
Houdin never revealed the secret of this remarkable trick, but plainly indi-
cated ill his autobiogi'aphy that it was the result of an ingenious combination of
questions that gave the clue to the supposed clairvoyant on the stage. One
of the first to come forward with an expose was F. A. Gandon, who wrote a
work entitled La Seconde vue devoilSe, Paris, 1849. Robert Heller saw
MENTAL MAfiW.
18;
Houdin give an exhibition of " second sight " in LoihIoii. it was the idea of
people at the time that the oxiierimciit was the result of animal magnetism,
but the acute Heller thought otherwise, and he went to work to ^wrfect a sys-
tem that far exceeded any of his iiredeeessors in the art, adding certain subtle
improvements that made the trick all but supernatural.
Briefly stated, the effect is as follows: A lady is introduced to the audience
as possessed of clairvoyant powers. She is blindfolded and seated on the stage.
The magician, going down among the spectators, receives from them various
articles which the supposed
seeress accurately describes;
for example, in the case of a
coin, not only telling what the
object is, but the country
where it was coined, its de-
nomination and date. In tbe
case of a watch, she gives the
metal, maker's name, wliat
kind and how many jewels in
the works, and, lastly, the
time to a dot. And the same
with other objects, no matter
what they may be. Nothing-
offered by a spectator seemed
to baffle Houdin and Heller.
Half-obliterated Komau, Gre-
cian, and Oriental coins were
described with wonderful ease
and accuracy by the assistant
on the stage; also secret so-
ciety emblems and inscrip-
tions thereon, numbers on
bank-notes, surgical instru-
ments, etc.
At a performance in Bos-
ton, described by Henry Her-
mon in his work, "'Heller-
ism," a coin Avas handed to Hellei
his assistant to name the object.
"A coin," she quickly replied.
"Here, see if you can tell tlie name of the country, and all about it," he
next inquired.
Without a second's hesitation she answered, *' It is a large copper coin — a
coin of Africa, I think. Yes, it is of Tripoli. The inscriptions on it are iu
Arabic; one side reads, 'Coined at Tripoli;' the other side, 'Sultan of two
lands, Sultan of two seas, Sultan by iuheritajice, and the Son of a Sultan.' "
KOBERT HELLEU.
He fiflanced at it fur a moment and asked
186 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC ])J VEh'SloNS.
" Ven" well." sairl Heller. '' tbaf is eorreei. V>wi look, what is the date,
now?"
" The date is 1-2-2-0, one thousand two hundred and twenty of the Hegira,
or Mohammedan year, which corresponds to 1805 of the Christian era."
Salvos of applause greeted the performers at the conclusion of the scene.
Mr. Fred Hunt, Jr., who was Eobert Heller's assistant for many years,
wrote the followifig expose, of the trick for the London Twie^, soon after
Heller's death:
'' In the years we were together. Heller was constantly enlarging and j^erfect-
ing his system. He is now gone and has solved a greater mystery than that which
puzzled so many thousands while he was on earth, and I believe tliat his sister,
Haidee Heller, and myself are tlie only living persons in whom Robert Heller's
second sight is vested. Heller had so simplified this system as to embrace every
variety of article classified in sets; one question, with a word or two added,
sufficing to elicit a correct answer for ten different articles.
" The student must be first posted in a new al^jhabetical arrangement, with
which he must familiarize himself as thoroughly as a boy in learning his
primer. This is the most difficult part of the business, but when mastered
thoroughly, it comes as easy as if the question were plainly propounded.
" This alphabet is as follows:
A is H
J is L
SisN
BisT
K is Pray
Tis P
CisS
Lis C
U is Look
DisG
- M is
Vis Y
E is F
N is D
W is R
FisE
OisV
X is See this
G is A
Pis J
YisQ
II is I
Q is W
Z is Hurry.
lis B
Ris M
Hurry up — repeat last letter.
" For example, you want the initials or name in a ring. Say it is ' Anna.'
By the alphabetical arrangement H stands for A, D for X. The explanation
'Hurry up' always means a repetition of the last letter, and again H will
give the answer when put as follows:
'' ' Here is a name ? Do you sec it '? Hurry up. Have you got it ? '
"Attention is paid only to the first letter of every sentence, and it will be
perceived that the name of Anna is spelled.
"Again, take ' Gazette,' which is abbreviated in a phonographic manner in
order to simplify the question. G is A, A is H, Z is ' Hurry ' (not ' Hurry
up '), E is F, T is P. The question would be:
"' Are you able to tell the name V Here it is. Hunw. Find the name.
Please be quick.'
" Here you have ' Gazet ' in sliort meter. The letters K, U, X, and Z
being difficult wherewith to commcuco an interrogative sentence, the words
'pray,' 'look,' 'see this,' and 'hurry,' are used, as will be seen in the table.
MENTAL JLiatd. 187
Care must be taken uot to begin a sentence with either of these woras unless
applicable to the word to be spelled. For instance, if ' Xenia ' is required, X is
' See this,' E is F, X is D, I is B, and A is H. Thus the question:
" ' See this '? Find it quick. Do hurr\-. Be quick. How is it spelled ? '
"Again, for the initials U. S. you will say:
" ' Look. Xow, then.'
"U is 'Look,' audSisX.
"If you want Kentucky named, thus the question:
'•' ' Pray name the State. Quick.'
" Pray is K, and Q is Y.
" After the alphabet we have the numbers, which, it will be seen, are easily
understood after a little practice.
X UMBERS.
1 is Say or Speak. 7 is Please or Pray.
2 is Be, Look, or Let. 8 is Are or Ain't.
3 is Can or Can't. 9 is Xow.
4 is Do or Don't. 10 is Tell.
5 is Will or Won't, is Hurrv or Come,
6 is What.
' ' Well ' is to re2)eat the last figure,
'Example: The number l,::i:)4 is required; attention must only bo paid to
the first word of a sentence, thus:
' ' Say the number. Look at it. Can you see it ? Do you know ? '
' Or say the number is 100:
'' Tell me the number. Hurry! '
' A rather difficult numlter would be 1.111. The question would l)e put in
this wise :
' ' Say the number. Well ? Speak out. Say what it is,'
' On a watch or greenback there are sometimes eight or nine numbers,
which can be followed as easily as the above.
" The table of colors is as follows:
Colors,
1 is White, 5 is Red.
2 is Black, 6 is Green.
3 is Blue. 7 is Yellow.
4 is Brown. 8 is Gray.
"The solution of the numbers, as I have explained, will furnish the key.
For example, the article presented is green; the question will be:
" ' W^hat is the color ? ' green being the sixth color in the list.
" Blue is wanted, aud, as it stands third in the list, the word would be:
" ' Can you tell the color ? '
" White is wanted, and. as it stands first in the list, the question is:
"'Say the color.'
"Understand that the words explaining the numbers, as given in the list,
are applied to the articles enumerated in each of the subjoined tables.
188 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
1.
2.
3!
4.
5.
Gold.
Silver.
Brass.
Copper.
Lead.
1.
2.
3.
4.
5.
Diamond.
Ruby.
Pearl.
Amethyst
Onyx.
The Metals.
8.
Iron.
Tin.
Platina.
Steel.
The Setting.
G.
7.
Garnet.
Emerald.
8.
9.
Turquoise.
Carbuncle
lie stone-
10.
-opal.
'I'opaz.
" Take the metals, for instance. The metal presented is copper, which is
fourth in the list. The question would be:
" ' Do you know the metal ? '
"If steel, which is ninth in the list:
" ' Now, what is the metal ? '
"Sex, countries, materials, fabrics, watches, are as follows:
Of What.
[This set to describe the sex, etc., of the pictures.]
1. Lady.
2. Gentleman.
3. Bov.
4. Girl.
5. Child.
1. America.
^. England.
3. France.
4. Germany,
o. Russia.
1. Wood.
2. Stone.
3. Marble.
4. Bronze.
U. Ijava.
1. .Silk.
2. Wool.
3. Cotton.
4. Linen.
G.
7.
8.
9.
Group.
Animal.
Drawing,
Sketch.
Countries.
G.
9.
10.
Italy.
Spain.
Canada.
Foreign.
Mexico.
'he Matektal.
G.
< .
8.
9.
10.
Rubber.
Glass.
Bone.
1 vory.
(Miina.
'I'he Fabhic.
5.
G.
7.
8.
Leather,
Kid,
Buckskin
Lace .
21ENTAL JIAO'IC.
189
Watches.
77/6 makers name?
Of what compauji's make ?
[This is to tell the maker's name of watches.]
1. American Watch Co. (J. Johnson.
'Z. Waltham Watch Co.
3. Elgin Watch Co.
4. Dueber Watch Co.
5. Tobias.
7. Swiss.
8.
9.
10.
Miscellaneous articles are divided into nineteen sets, thus:
First Set.
What article is this?
1. Handkerchief.
2. Neckerchief.
3. Bag.
4. Glove.
5. Purse.
G. Basket.
7. Beet.
8. Comforter.
9. Headdress.
10. Fan.
1. Watch.
2. Bracelet.
3. Guard.
4. Chain.
5. Breastpin.
Secoxd Set.
Wluit is this?
G. Necklace.
7. Ring.
8. Kosary.
9. Cross.
10. Charm.
1. Hat.
2. Cap.
3. Bonnet.
4. Cuflf.
5. Collar.
Third Set.
What may this he?
G. Mulf.
7. Cape.
8. Boa.
9. Inkstand.
10. Mucilaffe.
1. Pipe.
2. Cigar.
3. Cigar-holder.
4. Cigarette.
5. Tobacco.
Fourth Set.
What is here?
G. Tobacco box.
7. Tobacco pouch.
S. Match.
!t. .Matchbox.
10. Cioar-lii^htcr.
190 MAGIC: STAGE ILLUSIONS A^W SCIENTIFIC DIVERSIONS.
1. Spectacles.
2. Spectacle case.
3. Eyeglass.
4. Eyeglass case.
5. Opera glass.
1. Knife.
2. Scissors.
3. Pin.
4. Needle.
5. Cnshion.
1. Book.
2. Pocketbook.
3. Needlebook.
4. Paper.
5. Newspaper.
1. Bank bill.
2. Treasury note.
3. Currency.
4. Coin.
5. Gold piece.
1. Stick.
2. Whip.
3. Parasol.
4. Umbrella.
5. Umbrella cover.
EiFTH Set.
What have I here f
6.
7.
8.
9.
10.
Sixth Set.
Can yuu sen fliiis ?
Opera-glass case.
Magnifying glass.
Telescope.
Compass.
Corkscrew.
6. Toothpick.
7. Comb.
8. Brush.
9. Thimble.
10. Looking-glass.
Seventh Set.
Do ynu knuw what litis is?
G. Pamphlet.
7. Programme.
8. BilL
9. Letter.
10. Envelope.
Eighth Si:t.
Look at this.
0. Piece of money.
7. Bank check.
8. Bond.
9. Silver dollar.
10. Postage stamp.
Ninth Set.
Now, what is this?
(J. Picture.
7. Shoe.
8. Boot.
0. Button.
10. Stud.
1. Earring.
2. Locket.
3. Sleeve button.
4. Hairpin.
5. Clothct^piii.
T'enth Set.
TeU77ie this.
f). Fork.
7. Spoon .
8. Armlet.
U. Ornament.
10. Cheek.
MENTAL MAGIC.
101
Eleventh Set.
/ ivant to I- now fin's.
1.
Apple.
G. Candy.
2.
Nut.
7. Po[)corn,
3.
Cake.
8. Lozenge.
4.
Orange.
'.). (Jrain.
5.
Lemon.
10. Wa.x.
Twelfth Set.
Frai/, what is this?
1.
Screw.
G. Knob.
2.
Hinge.
7. Rule.
3.
Tool.
8. Lock.
4.
Nail.
9. Buckle.
5.
Tack.
10. Kev.
1. Shot.
2. Powder.
3. Bullet.
4. Gun.
5. Pistol.
1. Bouquet.
2. Bouquet holder.
3. Flower.
4. Wreath.
5. Leaf.
1. Pen.
2. Penholder.
3. Pencil.
4. Eraser.
5. Rubber.
1. Card.
2. Cardcase.
3. Playing card.
4. Button-hook.
5. Key ring.
Thirteenth Set.
You k/to/v what this is?
G. Percussion cap.
7. Cartridge.
8. Surgical instrument.
9. Musical insti'ument.
10. Tuninof fork.
Fourteenth Set.
Quick! This article.
G. Toy.
7. Flag.
8. Bottle.
9. Game.
10. Doll.
Fifteenth Set.
Name this article.
6. Case,
7. Spool.
8. Soap.
9. Perfumery.
10. Cu]).
Sixteenth Set.
Say, what is this 9
6. Bunch kevs.
7. Tablet.
8. Cord.
9. Tweezers.
10. Cork.
193 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
1. Bible.
2. Testament.
3. Tract.
4. Bookmark.
5. Prayer book.
1. Diamonds.
2. Hearts.
3. Clubs.
4. Spades.
Seyenteenth Set.
This article ?
6. Hymn-book.
7. Mnsic.
8. Smelling bottle.
9. Vinaigrette.
10. Strap.
Eighteenth Set.
Playing cards.
Eight"— Ace.
' That's riglit " — King.
Good " — Queen.
Very good " — Jack.
Nineteenth Set.
Devices.
1. Masonic.
2. Odd Fellows.
3. Knights of Pythias.
4. Druids.
5. Musical.
Articles in Sets.
" It will be seen that the different articles are arranged in sets, numbering
no more than ten. Each set luis at the head a different question, worded very
nearly alike, so as to make the audience believe that the same question is being
constantly asked. The question at the head of the set, which is always asked
first, is the clue to the set which contains the article to be described. Eacii
set is numbered, as in the cases of tlie colors and metals, and the word conveys
each particular article.
" For tlie first set the question is:
'"What article is this?'
" This gives the clue to ten distinct articles. The next demand may be:
" ' Can you tell ? '
" Whicli would be solution for ' bag,' it being the third in tiic list.
"'Say the fabric'
" The reply would be, ' Silk,' that being the first in the line of fabrics, and,
as I have before stated, 'say' representing No. 1. If a leather bag, it would
be: ' Will you tell the fabric ? ' ' will ' standing for ?so. 5.
"A handkerchief is pi'eseuted, and the question is:
" ' What article is this? Say; ' which exphiins that it is a handkerchief, as
that is the first article in the list.
'"Can you toll the fabric?'
" ' Cotton,' cotton standiuL;- third in the list of fabi'ics.
MENTAL MAGIC. l'J3
" Then, again, if you want the color — say it is Ijlue —
" ' Can't you tell the color? '
" ' Blue,' which stands third on the list of colors.
" A watch embodies a greater number of questions than almost any other
;irticle. If you Avant to describe it fully, it is first in the second set, the key of
wiiich is:
'•'What is this?'
" We will say that it is a lady's watch, gold, double case, three hands, made
by Tobias, No. 9,725, the initials ' From B. C. to C. 11.' engraved on the case,
tlieyear ' I860,' and blue enameled, set with fivo diamonds. This is a complex
question, and must be put and answered as follows:
^^ Question. ' What is this? Say.'
" Atisiver. 'A watch.'
'' Q. 'Say the metal.'
"A. 'Gold.'
" Q. ' Say to whom it belongs.'
"A. 'A lady.'
" Q. 'Yes.'"
"A. 'A double case. '
" Q. ' Can you tell the number of hands? '
"A. 'Three.'
" Q. 'Will you tell the maker.'
"A. 'Tobias.'
" Q. ' Now the number. Please tell me. Be quick. AVon't you ? '
"A. '9,725.'
" Q. ' Can you tell me the color of this enamel ? '
"A. 'Blue.'
" Q. 'Tell the initials. Say.'
''A. 'B. C
" Q. ' Say to whom. I want to know.'
"A. 'C. H.'
" ^. ' Say these stones.'
"A. 'Diamonds.'
" Q. ' Will you tell liow many ? '
"^. 'Five."'
"If it is a double case, the sim[)le word ' yes ' conveys the intelligence aftei
'to whom it belongs.' If an o])en case, the word ' well ' is used.
Playixg Cauds.
" These will be fciund in tlio sixteiMith set. aud the order of suits in the
eighteenth. We will take tho nine of s])ades as having been pre>:ented. The
question will be:
" ' Say, what is this ? Can you tdl ? '
" ' A playing card.'
13
a (
a i
194 JIAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
" ' Do you know tbe suit ? Now, then.'
'' ' Do ' is four, which means spades, and ' now ' is nine. The cards are
told as follows: First, the ' playing card; ' second, the suit; third, the number
or picture. If, after the preliminary question is put and answered, it is an ace,
the interlocutor says ' Right; ' if a king, ' That's right; ' if a queen, ' Good; '
if a jack, ' Very good.'
Money.
" This will be found classed in the eighth set, the key to which is, ' Look at
this.'
" No. 6 of the set is described as ' a i^iece of money,' and is always of a less
value than a dollar. We Avill take a silver quarter of the date of 1820. The
question is:
'^' Look at this. What is it?'
"A. 'A piece of money.'
^' Q. ' Let me know the amount. Will you ? '
"A. ' Twenty-five cents; ' as we know that ' let ' is 2 and ' will ' 5.
"If the coin is of this century, only the last two figures are asked; if of a
prior date, the last three. The request therefore is:
Look at the date. Hurry! ' which would bring the answer, ' 1820.'
A foreign coin is furnished, say of Eome. The request would be :
Look at this. Do you know what it is ? '
" The answer is, ' A coin.'
'"What country?'
" 'Italy; ' as Italy stands sixth in the list of countries, as will be seen by
referring to the table.
''A Mexican dollar will elicit the remark:
" ' Look at this, now.'
'"A silver dollar.'
" "J'ell me the country.'
" The I'eply will be, ' Mexico,' as that country stands tenth on the list.
" A treasury note is presented of the value of fifty dollars; the cue is:
" ' Look at this. Be qiiick.'
*' Ansiver. ' A treasury note.'
" 'Will you tell me the amount? Come; ' which means 5 and 0, or $50;
' come ' being a substitute for ' hurry.'
"Again, a 12.50 gold piece is presented, and the question is as before:
'"Look at this." Will you ? '
" A nxicer. ' A gold piece. '
"' Let me know the amount. Won't you? Come.' 'Let,' 'won't,' and
' come ' standing for ' 2.")<>.'
(>iiii:i; KxAMi'i.Es.
" ' Pray, Avhat is this? 'i'ell me.'
" The answer is. ' A key.' •• key ' being the tenth aiticle (jf the set. Now, in
order to tell what kind of a key, these simple words will explain:
(( (
MENTAL MAGIC. 195
Yes,' a watch key; 'well/ a door key; 'good,' a safe key.
What is here ? Say. '
" The answer is ' pipe.'
'' Now, to ascertain what kind of a pipe, the same words as above:
'' ' Yes,' a meerschaum pipe; ' well,' a wooden pipe; ' good,' a clay pipe.
" ' Can you see this? Please say.'
" Answer is ' comb. '
" ' Yes,' a pocket comb; ' well,' a toilet comb; ' good,' a curry comb.
" ' Can you see this ? Are you going to tell ? '
" The answer is ' brush.'
*' ' Yes,' hair brush; ' well,' clothes brush; ' good.' paint brush.
"If an article is presented which is not down in the sets, the alphabet will
have to be resorted to and the article si:)elled out.
" This concludes the ' second-sight ' mystery which so perplexed the world,
and which I never would have exposed but for the death of my lamented friend,
Robert Heller."
The perfect memorization of the preceding system will enable two ambi-
tious amateurs or professioiuils to perform the " second -sight " mystery, but
it will not enable them to produce (dl of the effects exhibited by Heller. Robert
Heller had another system of conveying information to his blindfolded assistant
on the stage — a system that permitted him to give a minute description of an
object without spcnhinfj a loonl. It was this artistic effect that so puzzled
every one. It was accomplished by means of electricity. A confederate sat
among the spectators, near the center aisle of the theater, and the wires of an
electric battery were connected with his chair, the electric push button being
under the front part of the seat. Heller gave the cue to the set in which the
article Avas, its number, etc., by some natural movement of liis body or arms;
and the confederate, rapidly interpreting tlie secret signals, telegraj:)hed them
to the clairvoyante on the stage. Mr. Ilermon thus describes the receiving
instrument in his clever little book, " Hellerism " :
" It will be remembered by all whoever witnessed Mr. and Miss Heller's
' second-sight ' act that when he came on the stage to begin this part of his
performance, he rolled forward to the center of the stage a sofa. This sofa had
no back to it, thus enabling Miss Heller to sit with her back to the audience.
As the sofa was rolled forward it was so jilaced that one of the hind legs rested
on a little brass plate screwed to the floor of the stage. On the foot of the
leg there were two more, thus connecting and making a complete electric com-
munication between his secret partner and ]\Iiss Heller.
"In the sofa there was a little machine so arranged that when the button
was pressed a slight tap was the result. This tap could only be heard by Miss
Heller, for it struck against a thin piece of board covered by the haircloth of
the sofa, and sitting, as she was, directly on it, it could be easily felt."
The verbal system and the silent system were used interchangeably during
Heller's performances, to the complete bewilderment of the spectators. Even
magicians were mystified. When the former system was employed. Heller was
196 31 AGIO: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
enabled to go to any part of the theater; but in the latter, he was compelled,
for obvious reasons, to confine himself to the center aisle, just below where
the confederate was seated. The connecting -wires M-ere concealed beneath the
carpeting.
Other magicians, notably Kellar, have worked up the " second-sight " trick
in an ingenious way, by the use of apparatus. The clairvoyante sits on a chair
placed upon a raised platform, and, after her eyes have been carefully bandaged,
she tells the names of playing cards, the numbers on bank notes, and adds
columns of figures waittten on a blackboard by people in the audience. The
explanation is as follows: A rubber tube runs from behind the scenes, under-
neath the stage, and up through a hollow foot of the platform and the leg of
the chair, terminating at the back of the chair. In the back of the lady's
dress is a small tube which reaches her ear, being cleverly concealed by the
curly wig which she wears. When she has taken her seat, the magician pre-
tends to mesmerize her, and, under cover of the passes, connects the tubing in
the chair with the tubing in her dress. An assistant behind the scenes reads
the numbers on the bank notes Avitli a strong spyglass, and conveys the informa-
tion to the lady through the speaking-tube. To facilitate the assistant's work,
the magician holds the bank note against the blackboard, which is turned
slightly to one side. The clairvoyante calls out the numbers in aloud voice,
wdiereupon the magician proceeds to chalk them upon the board. The squar-
ing and the cubing of numbers are performed by the assistant behind the scenes,
with the aid of logarithmic tables. When the "second-sight" seance is con-
cluded, the magician removes the bandage from the lady's eyes, and pretends
to awaken her from the hypnotic state, taking advantage of the little comedy
to disconnect the speaking tube. She rises, bows herself off the stage, taking
particular care not to show her back to the audience.
A very clever exhibition of " second sight " is given by Professor and Mrs.
Baldwin. Professor Baldwin calls himself the "White Mahatma," and his
entertainment is a curious hodge-jDodge of pretended mediumshij), clairvoy-
ance, and vaudeville. Slips of paper and pencils, and small pads of millboard
to serve as writing desks, are distributed among the audience by assistants; the
recipients of the writing materials are requested to write questions on the slips,
fold them up, and secrete them in their pockets. The "White Mahatma"
disclaims any preparation about the millboards, remarking that they are given
to the spectators to obviate the inconvenience of writing ou the knee, and may
be discarded if desired. When the questions have been prepared, the assistants
collect the pads and place them on the stage, near the footlights, in full view of
the audience. After this there is some dancing and singing by the vaudeville
artists connected with the company, and then Mrs. Baldwin, the clairvoyante,
makes her appearance; she is carefully blindfolded and " mesmerized " by the
Professor. Her communications to the audience are made after the following
manner: " I see a lady in the orchestra, to the right. She wants to know some-
thing about a ring that was lost." Professor Baldwin, who stands in the
center aisle of the theater, near the stage, exclaims: "" Will the ladv who wrote
MENTAL ^r^r!TC. 197
that question kindly liold up the slip of jmper and ackno\vled<,''e the correct-
ness of Mrs. Baldwin's statement? " The lady complies, and a thrill of aston-
ishment pervades the audience. An assistant goes to the lady, takes the slip,
and hands it to Professor Baldwin, who reads it, exclaiming: '' Mrs. Baldwin
is correct; but let us see if she cannot give us more detailed information con-
cerning the ring which is lost." He mounts the stage, and, standing behind
the clairvoyante, makes violent mesmeric j)asses over her head, the piano in the
orchestra accompanying the operation with several loud chords and cadenzas.
Then the " White Mahatma" advances to the footlights and commands his
wife to speak. " The ring is of gold with a pearl setting," she says, " and has
the initials ' M. B.' engraved within. It was lost about January 1, 18 — ," etc.
The lady in the audience had only written: "I have lost my ring; can you
describe it ? " Consequently, when she hears this accurate description by Mrs.
Baldwin, she is very much impressed.
The trick is an ingenious one. It is worked up with great dramatic effect
by the Baldwins. The secret lies in the pads of millboard, some of which
contain carbon sheets under two layers of brown paper. The writing of the
spectators is thereby transferred by means of the carbon paper to sheets of
writing paper placed under the carbon sheets. The genuine millboard pads
which are distributed among the audience are laid on the stage, while the pre-
pared pads are carried off behind the scenes to Mrs. Baldwin, who has ample
time to post herself with the desired information before coming on the stage.
Of course, the spectators who get the genuine pads do not receive any clair-
voyant communications, nor do those who discard the genuiue pads. The
surprising part of the feat is the extraneous information imparted b}^ Mrs.
Baldwin, which seems to preclude any possibility of trickery. This informa-
tion is obtained from the spectators by the assistants Avhen they go to collect
the slips of paper, and is whispered by them to Professor Baldwin. Under
cover of the pretended magnetizing. Professor Baldwin gives his wife this
information, the chords from the piano preventing any one from hearing what
he says. It is all done very rapidly, the spectators being completely deluded.
The people who have been pumped by the assistants seem to forget the fact in
their interest in the main part of the trick, viz., the reading of the slips by ]Mrs.
Baldwin. One reason of this self-deception is, perhaps, the fact that they do
not suspect the integrity of the innocent-looking ushers, or regard them as a
part of the experiment.
Where numbers are to be conveyed, the Baldwins use a verbal code of sig-
nals. This obviates the necessity of Mr. Baldwin going upon the stage to
remae'uetize his wife.
Silent ThouCxHT Transference, No. 1.
In this ingenious trick the clairvoyante, while blindfolded, tells "the suit
and value of any number of selected cards, solves arithmetical problems,
gives numbers on borrowed bank notes, indicates time by any watch, describes
borrowed coins, and many other tests." All this is accomplished in silence.
108 JIAOIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the medium being surrounded by a committee from the audience, if desired.
Tlie trick can be given in a private parlor, and requires no electrical apparatus,
speaking tubes, etc. I am indebted for an explanation of " silent thought
transference" to Mr. H. J. Burlingame. In his little brochure, "Tricks in
Magic, Illusions, and Mental Phenomena," he writes as follows: "By means
of the silent code all the usual effects generally exhibited at thought-reading
seances can be reproduced. It consists in both medium and performer count-
ing mentally and together. It is a known fact that the beats for ' common
time ' are always the same in music; therefore, with little practice, it is easy for
two persons, starting on a given signal, to count at the same time and rate, and
wiien another signal is given, to stop. Of course both will have arrived at
the same number. This then is the actual method employed in this code, and
from it you will see that any number from to 9 can be transmitted by the
performer to the medium. It is best to experiment and find out what rate of
counting best suits the two persons employing this code, but the following sug-
gestions are offered: It may, perhaps, be best to begin counting at a slow
rate, gradually increasing until you find it advisable to go no faster. Say you
have in the room, when first practicing, a loud-ticking clock, with a fairly slow
beat. On the given beat or signal you both start counting at the same rate as
the clock. Of course the clock must be removed when the rate has been well
learned. If preferred, count at the rate of 'commoji time,' viz.: 1 and 2
and 3 and 4, and so on, or practice with a ' metronome,' such as is used dur-
ing piano practice for the purpose of setting time. A very good rate to finally
adopt is about 70 to 75 per minute. Whatever rate is found to suit best must
be adhered to. You will find at the rate mentioned that any number up to 9
can be transmitted with absolute certainty, after an hour or so of practice.
" Now that the princi|)le has been explained, the next items are the signals
to give the medium the cue when to start and when to stop counting mentally.
" Say the performer has borrowed a coin, the date of which is 1863. The
first figure of the coin ]. and 8 are generally understood, as most coins in use
are 18 something or other; if of date 18, in the hundreds. The performer
must advise the medium of this by his manner of thanking the person Avho lent
the coin, wiiicli can easily be arranged to suit one's fancy. The 6 and 2 have
therefore to be transmitted. The performer stands away from the medium or
among the audience. The medium being on the stage, securely blindfolded,
the performer takes his position, with chalk in right iiand, in front of a black-
board, holding coin in his left hand. He does not speak a word, but simply
looks at the coin. After a pause the medium calls out: ' Tlie first figure I picture
is a one,' or words to that effect. Immediately tlie lady stops speaking, they
both begin to count mentally at the rate agreed upon by practice. In this case
the number to be .transmitted is 6. As the last word of the sentence is spoken
they commence mentally 1-2-3-4-5-6; during this short period the performer
glances down at the coin as if to verify what the lady has called out. As soon
as they reach the figure 6 the signal 'stop' has to be transmitted. This is
done by the performer putting down on the blackboard sharply the figure
MENTAL MAGIC. 199
called out by the lady, viz.: 'One' (1). It will be peeii by thif; method that
the signal is quite easy to transmit, and it is perfectly natural to ]mt down the
figure on the board quickly and sharply. The third figure of the coin is now
known to the medium. The last figure, '1, is transmitted in the same manner
as the previous figure. The lady says, 'The second figure I see is 8.' As
soon as she ceases speaking, they begin the counting again, 1-2; on the
arrival at the figure 3 the jierformer puts down the 8, previously called
out, sharply on the board, which is the signal for 'stop.' The lady now knows
the full date of the coin. The metal of the coin must be indicated to the
medium previously by the wording of the reply to the owner of the coin after
it has been handed to the performer. This can easily be arranged. The value
of the coin or its equivalent nnmber is indicated in the same way as the previ-
ous figure; and between the 6 and the 2, that is, after the lady has called
out the 6, they commence to count for the value. When an occurs in the
date, no pause is made. The performer puts down the figure on the board
for the ' stop ' signal immediately the lady stops speaking. This if followed
carefully will be found quite easy and natural in practice.
''Any other system that one may adopt for giving the starting and stop-
ping signals can, of course, be applied, but the method here proposed will be
found to answer the 2Turpose, and cannot be detected.'"'
The bank-note, card, and other tests are arranged on similar lines.
Silent Thought Transference, N"o. 2.
This clever trick Avas introduced to the theater-goers of marvel-loving Paris by
Professor Verbeck and Mademoiselle Matliilde. (iuibal and ilarie Greville per-
formed it in England and America, creating a great sensation. It is based on a
very simple principle. Abbreviated somewhat from Burlingame's brochure, the
effect is as follows: " The pretended mesmerist announces to the spectators the
marvelous intuitive powers of his subject. Miss Venus, remarking: ' Miss Venus
shall be hypnotized by me, and, when launched into the hypnotic sleeep, can and
will perform any rational act that the spectatcws desire, despite the fact that I
will not sjieak one word during the seance. While in the trance state, she will
walk among you and comply with your requests. This, ladies and gentlemen,
is the trance-it of Venus. When I have her under control and in the hypnotic
trance, I will move about among you, and you can convey to )ne b}' whisper
what you would desire the medium to do.'
" Miss Venus is now introduced by the professor. She bows and seats her-
self on a chair, facing the spectators. The professor, by means of any of the
pantomimic gestures, pretends to hypnotize her, after which dramatic scene, he
goes among the audience, asking here and there what the spectators would like
the lady marvel to do. Having spoken to some twelve or twenty persons, he
solemnly enjoins the strictest silence. With serious mien he advances toward
the medium, without going on the stage, and motions or waves his right hand
in a downward movement in front of her. She slowly rises and goes through
2U0 MAGIC: STAGE JLLVSIONS AJSD SCIENTIFIC DIVERSIOAS.
each desired performance, finally returning to lier chair and allowing herself
to be dehypnotized. 'V\\c jn'ofeesor recaiiitulates for the l)enefit of all what
each spectator desired, and lunv Miss Yenns was successful in each and every
crucial test.
EXPLAXATIOX.
" In this trick a code of signs and things to be done must be learned by the
alleged mesmerist. These he forces adroitly into the minds of the i^eople.
The following is the forcing code:
" 1. Pull a gentleman's hair.
"2. Turn np his trousers.
"3. Tie a number of knots in his handkerchief.
"4. Take a watch out of a gentleman's pocket and place it in another
pocket.
'' 5. Open a lady's reticule; take out her purse, or anything she may desire.
" 6. From ont of a number of coins placed in a hat, pick out the special
one which has been selected.
" 7. Write any number selected on a card.
"8. Take a gentleman's cane or umbrella and put it in the hands of
another gentleman.
" 9. Take glasses off a person and place on own nose.
" 10. Take off lady's or gentleman's gloves.
" 11. Write autograph on programme gentleman holds.
'' 13. Take a handkerchief out of some person's j'ocket and tie it on his
neck or arm.
" 14. Tie a knot iu a watch chain, and so on.
" This can be varied indefinitely.
'' How to force these requests: The professor first pretends to hy^anotize
the subject; then moving among the audience, he goes to number one, or first
person, and asks him what he would like the medium to do. ' Let her tell me
Avhat I have in my pocket,' suggests the spectator. ' Oh,' says the professor,
'you forget that she is hypnotized and we cannot have her speak. Get her to
do so and so, or this, or that,' and so the professor rapidly shoots out a volley
of suggestions from his learned code. As a natural result, the person selects
one of these suggestions.
'' Going to the next, he forces the questions differently, saying, ' What shall
she do for you — turn up your trousers? Pull your hair? Tie a knot in your
liandkerchief V ' etc. In this case a volley of queries is fired before the gentle-
man has time to make any suggestions not mentioned by the professor. Seeing
a lady sitting near with a bag, the 'mesmerist' remarks: ' Madam, have you
a purse in it? *Yes? Shall the lady remove it, or somethiTig from it?'
and so on. Again he beholds a gentleman with glasses on, and suggests that
the medium remove the spectacles, etc. If, however, the gentleman does not
wish this done, the professor suggests some of the other tests. In going
through the audience the professor asks each individual his or her request in
31EXTAL MAOTC. 201
wliispei's only, and he j^^eiicrally lias oacli person wlnun he asks a couple of
yards apart.
"Again it is better, when forcing questions, to force only thiee at a time,
and force tlieni in rotation. To do this, suggest three questions, but emplia-
size or force oidy one of the three, 'i'he ]»i'ofessor has to keep his wits about
him. Having gone to a sufficient iinmber in the audience, he must keep
mental track of the gentleman who selected Xo. 1 of code, of him ■who selected
No. 2, and so on. When he returns to the stage to wave down ^liss Venus, all
she has to do is to follow him in front or at his side. The first person he stops
at (by signal), she merely does first on code; the second he stops at, she does
second on code; and so on right throngh. 'J'he professor mnst remember Avhere
each chooser is seated.
" lie directs the medium to the spectator in question by tlie movements of
his hands. He first shows her the rows in which the persons are seated, all
the time waving his hands as if making mesmeric passes. As soon as tlie
medium reaches No. 1 the professor drops his left hand at his side, wherenjion
she stops and pulls the gentleman's hair.
"The professor then directs her to No. 2. She stops and turns np the
gentleman's trousers. When she gets to No. 3 the man of mystery tells her
how many knots to tie in the liandkerchief, by the number of downward waves
of left hand, at the same time making jiasses with the right. To select any
special coin out of a liat, or other receptacle, Miss Yenus pours the coins from
the hat into her right hand, letting them drop one by one into the left hand.
When she reaches the proper article, the professor turns to the audience, as
if silencing them, and says 'hist! '
"The lady, however, continues pouring the coins into her left hand, and
when all are in, picks out the one she knows is correct.
" These methods may be readily varied to suit the taste of the performers.
"The medium's eyes appear to be closed all the time, but in fact are open
sufficiently for her to see all the movements of the professor. After becoming
expert it will not be necessary to use the forcing code often, because all requests
can be whispered to the medium by the so-called mesmerist, without the
audience becoming aware of it. He can do this when he escorts her from the
stage to the audience, or as he occasionally passes her in the aisles. The wav-
ing of his hands and arms in his different 'passes' will partly tell her what she
is expected to do.
"This 'hypnotic demonstration ' is one of the most puzzling effects in the
whole domain of mental masfic.
BOOK II.
ANCIENT MAGIC.
CHAPTER I. -
TEMPLE TKICKS OF THE GPvEEKS.
PUPPET SHOWS AMONG THE GREEKS.
The ancients, especially the Greeks, were very fond of theatrical represen-
tations; but, as M. Magnin lias remarked in his " Origines du Theatre
Moderne,'''' public representations were very expensive, and for that reason very
rare. Moreover, those who were not \\\ a condition of freedom were ex-
cluded from them; and, finally, all cities could not have a large theater and
provide for the expenses that it carried with it. It became necessary, then,
for every-day needs, for all conditions and for all places, that there should be
comedians of an inferior order, charged with the duty of offering continu-
ously and inexpensively the emotions of the drama to all classes of inhabitants.
Formerly, as to-day, there were seen, Avandering from village to village,
menageries, puppet shows, fortune tellers, jugglers, and performers of tricks
of all kinds. These prestidigitateurs even obtained at times such celebi-ity
that history has preserved their names for us — at least of two of them, Euclides
and Theodosius, to whom statues were erected by their contemporaries. One
of these Avas put up at Athens, in the Theater of Bacchus, alongside of that of
the great writer of tragedy, ^Eschylus, and the other at the Theater of the
Istiaiaus, holding in the hand a small ball. The grammarian Athenjeus, who
reports these facts in his " Banquet of the Sages," profits by the occasion to
deplore tlie taste of the Athenians, wlio preferred the inventions of mechanics
to the culture of mind, and histrions to philosophers. He adds with vexation
that Diophites of Locris passed down to posterity simply because he came one
day to Thebes, wearing around his body bladders filled with wine and milk,
and so arranged that he could spurt at will one of these liquids in apparently
drawing it from his mouth. AVhat would Athenseus say if he knew that it was
through him alone that the name of this histrion had come down to us ?
Philo of Byzantium, and Heron of Alexandria, to whom we always have
to have recourse when we desire accurate information as to the mechanic arts
•30-t MAGIC: STAGE ILLUSIONS AND SCIENTIFU' DIVERSIONS.
of antiquity, both composed treatises on puppet shows. That of Philo is lost,
but Heron's treatise has been preserved to us, and has recently been translated
in part by M. Victor Prou.
M>iCHINy< S E MOVEN T E Mo BILJ
i'Ki. I.-TIIK SJIJtlNE OK BACCHUS. VHOM AN ()I,I) I'KINT.
According to the Greek engineer, there were several kinds of puppet shows.
The oldest and simplest consisted of a small stationary case, isolated on every
side, in which the stage was closed by doors that opened automatically several
TE3IPLE TRICKS OF TILE GREEKS.
205
times to exhibit the diflereiit tableaux. The programme of the represeutatiou
was n-enerallv as follows: The first tableau showed a head, painted on the back
FIG. 3.— THE SHRINE OF BACCHUS. MECHAMSM FUK DKLlVEIU.Nti W IM.
AND MILK. FROM AN OLD VHINT.
of the Stage, which moved its eyes, and lowered and raised them alternately.
The door having been closed, and then opened again, there was seen, instead
206 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
of a head, a group of persons. Finally, the stage opened a third time to show
a new group, and this finished the representation. There were, tiien, only
three movements to be made — that of the doors, that of the eyes, and that of
the change of background.
i
^r*»
mm^
— - — 1__
11,1
'^■' d
■ ',il'i!l'ir'!|il|!li'il' i
»W/Ww;fiijwJWfjijy%m))»jiWi ! P«wg ' *j
FIG. 3.— THE sniilNK OF BACCHUS. SECTION SHOWING THE PKO-
VRIiLING MECHANISM.
As such representations Avere often given on the stages of large theaters, a
method was devised later on of causing the case to start from the scenes behind
which it was hidden from the spectators, and of moving automatically to the
front of the stage, where it exliibited in succession tlie different tableaux, after
which it returned automatically behind the scenes. Here is one of the scenes
indicated by Heron, entitled the "Triumph of Bacchus":
The movable case shows at its upper part a ])latforin from which arises a
cylindrical temple, the roof of which, su^iported by six columns, is conical, and
TEMPLE TRICKS OF THE GREEKS.
207
surmounted by a figure of Victory with spread wings and holding a crown in
her right hand. In the center of the temple Bacchus is seen standing, hold-
ing a thyrsus in his left hand and a cup in his right. At his feet lies a pan-
ther. In front of and behind the god, on the platform of the stage, are two
altars provided with combustible material. Very near the columns, but exter-
nal to them, there are Bacchantes placed in any posture that may be desired.
All being thus prejiared, says Heron, the automatic apparatus is set in motion.
The theater then moves of itself to the spot selected, and there stops. Then
the altar in front of Jupiter becomes lighted, and, at the same time, milk and
water spurt from his thyrsus, while his cup pours Avine over the panther. The
four faces of the base become encircled with crowns, and, to the noise of drums
FIG. 4.
and cymbals, the Bacchantes dance round about the temple. Soon, the noise
having ceased, Victory on the top of the temple, and Bacchus within it, face
about. The altar that was behind the god is now in front of him, and becomes
lighted in its turn. Then occurs another outflow from the thyrsus and cup,
and another round of tlie Bacchantes to the sound of drums and cymbals. The
dance being finished, the theater returns to its former station. Thus ends the
apotheosis.
We shall try to briefly indicate the processes which permitted of thet;e dif-
ferent operations being performed, and M'hich offer a much raoi-o gouei-al inter-
est than one might at first sight be led to believe; for almost all of them had
been employed in former times for producing the illusions to which ancient
religions owed their power.
There is a general belief among mechanicians that vehicles containing
within themselves the means of their own propulsion are of comparatively
recent origin ; and the fact of the adhesion of the rims of their wheels to the
earth or a supporting rail being sufficient to enable adequate power applied to
the wheels to move the vehicle was a discoverv of not earlier than the middle
20^ JIAGIC: STAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
of the last century; but in this instance the writers on locomotive machines
have not dived deep enough or stayed down long enough among the records of
antiquity to discover the bottom facts in the history of such mechanisms.
The first locomotive, or self-nioviug vehicle, of which we have any account
was this invention of Heron of Alexandria. In his work just cited descriptive
of automatic or self-moving machines, there is illustrated the mechanism bv
which the shrine of Bacchus, mounted njjon three wheels concealed within its
base, is moved. Fig. 3 is a vertical section of that jiart of the shrine below
the canopy, and exhibits the propelling apparatus of this ancient locomotive
machine. Within the base are seen two of the sujjportiug wheels; the driving
wheel nearest the eye having been removed. On the axle of the driving wheels
was tlie drum, b, about which was wound the rope, a, which passed upward
through the space on one side of tlie shriiie and over the pulleys, r r, and
was fastened to the ring, c, of the ponderous lead weight, d, which rested
upon a quantity of dry, fine sand. The escape of this sand through a small
hole in the middh; of the floor of the compartment containing it allowed the
lead weight, d, to gradually descend, and by pulling upon the cord, a, caused
the shrine to move slowly forward in a straight line.
Heron describes the method of arranging and proportioning the wheels in
(;ase it was desired tliat the shrine move in a cin-ular patli. He also shows
liow the shrine can be constructed to move in sti'aiglit lines at right angles
to oacrh other.
Fig. 4 shows the arrangenient of ilie wlu'cls foi- tliis j)urj)()sc. :ind Fig. 5 is
a i)erspective view, showing the screws by which the bearings of either set of
TEMPLE TRICKS OF THE GREEKS.
209
wlieels could be raised or lowered, so as to cause the shrine to move in the Avay
jn-oposed.
Supposing the motive cords i)roperly wound around vertical bobbins, instead
of a horizontal one, and we have the half revolution of Bacchus and Victory,
as well as the complete revolution of the Bacchantes. This is clearly shown in
the engraving (Fig. 2).
The successive lighting
of the two altars, the flow of
milk and Avine, and the noise
of drums and cymbals weie
likewise obtained by the aid
of cords moved by counter-
poises, and the lengths of
which were graduated in such
a way as to ojien and close
orifices at the proper mo-
ment, by acting through trac-
tion on sliding valves which
kept them closed.
Small pieces of combus-
tible material were piled up
beforehand on the two altars,
the bodies of which were of
metal, and in the interior of
which were hidden small
lamps that were separated
from the combustible by a
metal plate which was drawn
aside at the jiroper moment
by a small chain. The flame,
on traversing the orifice, tluui
communicated Avith the com-
bustible.
The milk and Avine which
flowed out at two different times through the thyrsus and cup of Bacchus
came from a double reservoir hidden under the roof of the temple, over the
orifices. The latter communicated, each of them, Avith one of the halves of
the reservoir, througli two tubes inserted in the columns of the small edifice.
These tul)es Avere ])rolongcd under the floor of the stage, and extended upward
to the hands of IJacclius. A key. nuuuinivnHl b}' curds, alfi'viiately opciUM] and
closed the orifices which gave passage to the two lifpiids.
As for the noise of the drums and cymbals, that resulted from the falling
of granules of lead, containt-d in an invisible box provided Avitli an automatic
sliding valve, upon an inclined tandtourine, whence they rel)ounded against
little cymbals in the interior of the base of the car.
14
FKi. 0. THK .MAK\Kl,or
iTAllK OK ( YBEl.t;.
210 3IAGIG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Fiiiall}^ the crowns and garlands that suddenly made their appearance on
the four faces of the base of the stage -were hidden there in advance between
the two walls surrounding the base. The space thus made for the crowns was
closed beneath, along each face, by a horizontal ti'ap moving on hinges that
connected it with the inner wall of the base, but whicii was held temporarily
stationary by means of a catch. The crowns were attached to the top of their
compartment by cords
that would have allowed
them to fall to the level
of the pedestal, had
they ]iot been supported
by the traps.
At the desired mo-
ment the catch, which
was controlled by a spe-
cial cord, ceased to hold
the trap, and the latter,
falling vertically, gave
passage to the festoons
and crowns that small
leaden weights then
drew along with all the
quickness necessary.
Two points here are
specially Avorthy of at-
tracting our attention,
and these are the flow^
of wine or milk from
the statue of Bacchus,
a!id the spontaneous
lighting of the altar.
These, in fact, Avere the
two illusions that Avere
most admired in ancient
times, and there were several processes of performing them. Father Kircher
possessed in his museum an apparatus which he describes in '^CEdipus
JE(jii;iHii(i(s^'' (t. ii., p. ;).'53), and Avhidi ])r()bul)ly came from some ancient
Egyj)tiau temjjle as sliown in l''ig. H.
It consisted of -ji hollow lu'inisphcrical dome, suppoj"tt'(l by four columns,
and placed over tiie statue of the goddess of many breasts. To two of these
colujiins were adapted movable brackets, at whose extremities tliere were fixed
lamps. The hemisphere was hermetically closed underneath by a metal plate.
The small altar which supported the statue, and Avhich Avas filled Avith milk,
communicated with the interior of the statue by a tul)e reaching nearly to the
hi>tl(»ni. Till! altiir likewise coniniunicatt'd MitU the hollow dome bv a tube
MARVELULs Al.TAU (A( C()1;U1.N(; TO IIKKO.N)
TEMPLE TRICKS OF THE GREEKS.
211
having a double bend. At the moment of the sacrifice the two lamps were
lighted and the brackets turned so that the flames should come in contact with
and heat the bottom of the dome. The air contained in the latter, being dil-
ated, passed through the tube X M and pressed on the milk contained in the
altar, and caused it to rise through the straight tube into the interior of the
statue as high as the breasts. A series of small conduits, into which the prin-
cipal tube divided, carried the liquid to the breasts, whence it spurted out, to
the great admiration of the spectators, who cried out at the miracle. The
sacrifice being ended, the
lamps were put out, and the
milk ceased to flow.
Heron of Alexandria de-
scribes in his " Pneumatics "
several analagous ajiparatus.
Here is one of them. (M. de
Eochas translates the Greek
text literally.)
'* To construct an altar in
such a way that, when a tire
is lighted thereon, the statues
at the side of it shall make
libations (Fig. 7).
*' Let there be a pedestal,
A B r /J, on which are placed
statues, and an altar, E Z H,
closed on every side. The
pedestal should also be
hermetically closed, but is
connected with the altar
through a central tube. It
is traversed likewise by the
tube, e A (in the interior of
the statue to the right), not
far from the bottom, which terminates in a cup held by the statue, e. Water
is poured into the pedestal tli rough a hole, M, which is afterward corked up.
•'If, then, a fire be lighted on the altar, the internal air will be dilated,
and will enter the pedestal and drive out the water contained in it. But the
latter, having no other exit than the tube, e A, will rise into the cup, and so
the statue will make a libation. This will last as long as' the fire does. On
extinguishing the fire the libation ceases, and occurs anew as often as the fire
is relighted.
" It is necessary that the tube through which the heat is to introduce itself
shall be wider in the middle; and it is necessary, in fact, that the heat, or
rather that the draught that it produces, shall accumulate in an iufiation, in
order to have more effect."
FIG. 8.— MARVKLOUS ALTAR (ACCORDING TO HEROX).
312 JIAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
According to Father Kircher, an author whom he calls Bitho reports that
there was at Sai's a temple of Minerva in which there was an altar on which,
when a fire was lighted, Dionysius and Artemis (Bacchus and Diana) poured
milk and wine, while a dragon hissed.
It is easy to conceive of the modification to be introduced into the apparatus
above described by Heron, in order to cause the outflow of milk from one side
and of wine from the other.
After having indicated it, Father Kircher adds: " It is thus that Bacchus
and Diana appeared to jiour, one of them wine, aud the other milk, and that
the dragon seemed to applaud their action by hisses. As the people who were
present at the sjiectacle did not see what was going on within, it is not aston-
ishing that they believed it due to divine intervention. We know, in fact, that
Osiris or Bacchus was considered as the discoverer of the vine and of milk;
that Iris was the genius of the waters of the Nile; and that the Serpent, or
good genius, was the first cause of all these things. Since, moreover, sacrifices
had to be made to the gods in order to obtain benefits, the flow of milk, wine,
or water, as well as the hissing of the serpent, when the sacrificial flame was
lighted, appeared to demonstrate clearly the existence of the gods."
In another analogous apparatus of Heron's, it is steam that performs the
role that we have just seen played by dilated air. But the ancients do not
appear to have perceived the essential difference, as regards motive power, that
exists between these two agents; indeed, their preferences were wholly for air,
although the effects produced were not very great. We might cite several
small machines of this sort, but we shall confine ourselves to one example that
has some relation to our subject. This also is borrowed from Heron's " Pneu-
matics." (Fig. 8.)
"Fire being lighted on an altar, figures will appear to execute around
dance. The altars should be transparent, and of glass or horn. From the
fireplace there starts a tube which runs to the base of the altar, where it
revolves on a pivot, while its upper part revolves in a tube fixed to the fireplace.
To the tube there should be adjusted other tubes (horizontal) in communica-
tion with it, which cross each other at right angles, and which are bent in
opposite directions at their extremities. There is likewise fixed to it a disk
upon which are attached figures which form a round. When the fire of the
altar is lighted, the air, becoming heated, will pass into the tube; but being
driven from the latter, it will pass through the small bent tubes aud . . .
cause the tube as well as the figures to revolve."
Father Kircher, who had at liis disposal either many documents that we
are not acquainted with, or else a very lively imagination, alleges {Q^dip. yEg.,
t. ii., p. 338) that King Menes took inucli delight in seeing such figures
revolve. Nor are the examples of holy fircjilaces tliat kindled spontaneously
wanting in antiquity.
I'liny {Hist. Nat., ii.,7) and Horace {Set'vi. Sat., v.) tell us that this phe-
nomenon occurred in the temj)le of (inatia, and Solin (ch. v.) says that it
was observed likewise on an altnr near Agrigentum. Athenjeus {Deipn., i., 15)
TEMPLE TRICKS OE THE GREEKS. 213
Kiys that the cclehnited ])restidigitiiteur, Cratistlicnes of Phlius, pupil of
another celebrated prentidigitateur named Xenophon. knew the art of prepar-
ing a fire which lighted spontaneously
Pausanias tells us that in a city of Lydia, avIiosu inhabitants, having fallen
under the yoke of the Persians, had embraced the religion of the Magi, '* there
exists an altar upon which there are ashes which, in color, resemble no other.
The priest puts wood on the altar, and invokes I know not what god by ha-
rangues taken from a book written in a barbarous tongue unknown to the
Greeks, when the wood soon lights of itself without fire, and the flame from it
is very clear."
The secret, or rather one of the secrets of the Magi, has been revealed to
us by one of the Fathers of the Church (St. Hippolytus. it is thought), who
has left, in a work entitled PliiJof^opliumetia, which is designed to refute the
doctrines of the pagans, a chapter on the illusions of their priests. According
to him, the altars on which this miracle took place contained, instead of ashes,
calcined lime and a large quantity of incense reduced to powder; and this
would exjjlain the unusual color of the ashes observed by Pausanias. The
process, moreover, is excellent; for it is only necessary to throw a little water
on the lime, with certain precautions, to develop a heat callable of setting on
fire incense or any other material that is more readily combustible, such as sul-
phur and phosphorus. The same author points out still another means, and
this consists in hiding fire-brands in small bells that were afterward covered
with shavings, the latter having previously been covered with a comj^osition
made of naphtha and bitumen (Greek fire). As may be seen, a very small
movement sufficed to bring about combustion.
THE :\rACHINERY OF THE TEMPLES.
A. Rich, in his "Dictionary of Roman and Grecian Antiipiities," relates,
u!ider the word adytum, that many ancient temples possessed chambers that were
known only to the priests, and that served for the production of tiieir mysteries.
He was enabled to visit a perfectly preserved one of these at Alba, on Lake
Fucino, in the ruins of a temple in Avhich it had been formed under the apsis,
that is to say, under the large semicircular niche which usually held the image
of the god at the extreme end of the edifice. '' One jmrt of this chamber,"
says he, "is sunk beneath the pavement of the principal part of the temple
{cella), and the other rises above it. The latter, then, must have appeared to
the worshippers assembled in the temple merely like a base that occupied the
lower portion of the apsis, and that was designed to hold in an elevated posi-
tion the statue of the divinity whose name Avas borne by the edifice. This
sanctuary, moreover, had no door or visible communication that opened into
the body of the temple. Entrance therein was effected through a hidden door
in an inclosure of walls at the rear end of the building. It was through this
214 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
that the priests introduced themselves and their machines without being seen
or recognized. But there is one remarkable fact, and one which proves with-
out question the purpose of the adytum, and tiiat is, that we find therein a
number of tubes or liollow conduits which form a communication between this
APPARATUS FOR SOUNDING A TRUMPET WHEN THE UOOR OK A
PLE WAS OPENED.
compartment and the interior of the temple, which end at the different parts
of the walls of the cella, and which thus allowed a voice to make itself heard
at any place in the temple, while the person and the place wd)ence the sound
emanated remained hidden."
Sometimes the adutu^n was simply a chamber situated behind the apsis, as
in a small edifice which was still in existence at Eome in the sixteenth century,
and a description of which has been left to ns by Labbacco, an architect of
that epoch.
Colonel Fain tells us that he himself has visited an ancient temple in Syria,
in the interior of all the walls of which there had been formed narrow passages
through which a man could make a tour of the building without being seen.
In the temi)le of Ceres, at Eleusis, the pavement of the cella is rough and
much lower tluin the level of the adjacent portico; and, moreover, the side
walls exhibit apertures and vertical and horizontal grooves whose jmrpose it is
difficult to divine, but which served, perhaps, for the establisliing of a movable
flooring like that spoken of by Pliilostratus in the " Life of Apollouius " (lib. iii.,
eh. v.). "The sages of India," says he, " led Apollouius toward the temple
of their god, singing hymns on tlie way, and forming a sacred procession. The
earth, which they strike in cadence with their staves^ moves like an agitated
^'EMPLF. TRICKS OF THE (;h'KEKS.
S15
eea, aud raises them to a height of nearly two paces, and then settles again
and assumes its former level."
The statues of the gods, when they were of large dimensions, possessed
cavities which tlie priests entered through hidden passages, in order to deliver
oracles (Theodoret, Hist. Eccl., vol. xxii.).
We read in Pausanias {Arcadiat, lib. viii., ch. xvi.) that at Jerusalem the
tomb of a woman of the country, named Helen, had a door made of marble
like the rest of the monument, and that this door opened of itself on a certain
day of the year, and at a certain hour, by means of a machine, and closed
again some time afterward. *" At any other time," adds he, *' had you desired
to open it, you had sooner broken it."
According to Pliny (xxxvi. 14), the gates of the labyrinth of Thebes were so
constituted that when they were opened they emitted a noise like that of thunder.
Heron, in his *' Pneumatics," gives us an explanation of some of these
prodigies.
Our first engraving is sufficiently clear to permit of dispensing with a repro-
duction of the Gfreek engineer's text in tliis place. It will be seen that when
the door is opened, a system of cords, guide-pulleys, and rods pushes into a
vessel of water a hemisphere, to the upper part of which a trumpet is fixed.
MECHANISM FOR OPENING AND CLOSING THE DOORS WHKX A FIRE
WAS LIGHTED ll'OX THE ALTAK.
The air compressed by the water escapes through the instrument and causes it
to make a sound.
Our second and third enirravings are likewise borrowed from Heron.
The altar is hollow, as shown at E, in second engraving. AVhen fire is
21G MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
lighted thereon, tlie air contained in the interior dilutes and presses against
the water with which the globe situated, beneath is filled. This water then
runs through a bent tube into a sort of pail suspended from a cord that passes
T7WK\
b .'■ 1 I ' Ui i ^'
P'
TEM1'T,E WHOS?: DOOKS OPENED WHEN A FIKE WAS IJGHTED XU'ON
TIIK AT,TA1{.
over a pulley, and afterward separates into two parts, and winds around two
cylinders movable upon pivots, and forming a ]n-olongation of the axes around
which the doors revolve. Around the same cylinders are wound in opposite
directions two other cords, wbich likewise unite into a single one before pass-
ing over a l)ulley, and then hang vertically iu order to hold a counterpoise.
1
TEMPLE TRICKS OF THE GREEKS. 217
It is clear that, wlieu the water from the globe eiiter.s tlie pail, the weight of
the latter will be thereby increased, and that it will descend and draw ou the
cord, which has been wound around the cylinders in such a way as to cause the
doors to open when it is drawn in this direction.
The doors are afterward closed again as follows: 'J'he l>ent tube that puts
the globe and pail in conmiunication forms a siphon whose longer arm enters
the globe. When the lire is extinguished upon the altar, the air contained in
the latter and in the globe becomes cooled and diminished in volume. The
water in the pail is then drawn into the globe, and the siphon, being thus
naturally primed, operates until all the water in the pail has passed over into
the globe. In measure as the pail lightens, it rises under the influence of the
counterpoise; and the latter, in its descent, closes the doors through the inter-
medium of the cords wound around the cylinder. Heron says that mercury
was sometimes used instead of water ou account of its being heavier.
INVENTION m 1889 A. D. VS. INVEXTIOX B.C.
At the railway stations, ferry houses, and even upon the street corners,
there may be found in almost every city and village in the United States auto-
matic vending machines, which, for a nickel, or more or less, will deliver the
various goods which they are adapted to sell. The purchaser niay procure a
newspaper and a cigar to smoke, or, if averse to the use of the weed, lie may
secure a tablet of chewing-gum or a package of sweets. If entertainment is
desired, it may be found in the '' nickel-iu-the-slot " jihouograph.
In Europe and America machines of this class are provided for dealing out
portable liquors; bouquets are also furnished in a similar wi^v; and if you desire
to know how mnch you have increased in weight since yesterday, all that need
be done is to mount the platform of the nickel-in-the-slot scales, and drop in
your coin, and the thing is done. One of the latest achievements in this line
is the automatic photographic apparatus, which takes your picture for a nickel,
Avhile you Avait.
The craze lias even gone so far as to apply the jirinciple to the distribution
of perfumery. In the railway stations and ferry houses may be found machines
which, for a penny, will dole out a drop or two of liquid wliich jiasses for per
fumery, and wdiich, in many cases, serves as a thin mask for bodily uncleau-
liness.
These various devices, and many others which we might mention, are
regarded as very clever inventions, and have certainly proved successful in
many cases in a pecuniary sense.
The last automatic vending machine alluded to is shown in our second
engraving. The perfume reservoir is located in the upjier ]iortion of the vase;
the tube communicating with the lower part of the reservoir extends through
the side of the vase, and is closed at its upper end by a valve attached to one
^18 MAGIC: STAGE tLLUStOh^S ANT) SOT^KTlPlC DTVlnnStOKS.
LUSTItAL WA'l'KI! \ H>
lOU B.C.
end of tlie lever, 0. The
other end of the lever, 0,
is connected by a rod
with the lever. E, the
longer arm of this lever
being provided with a
pan, R, for receiving coin,
while the shorter arm of
the lever is furnished with
a weight for counterbal-
ancing the pan and closing
the valve. A curved piece
of metal is arranged con-
centric with the path of
the pan, R, and serves to
retain the coin dropped
into it through the slot in
the top of the vase until
the pan, R, is carried
down beyond the end of
the curved plate, when the
coin is discharged into the lower part of the vase; the counterweight on the
short arm of the lever then returns the lever to the point of starting and closes
the valve, thus stopping the flow of the perfume.
This very clever device
Avas patented by Mr. Lewis
C. Noble,of Boston, Mass.,
on JSTovember 19, 1889.
Our illustration is pre-
]>ared directly from the
patent drawings. This
and other machines for
analogous purposes are re-
garded as the peculiar
product of our inventive
age, but in turning back
the pages of history, we
fiiul that in Eg3^pt, some-
tliing more than two thou-
sand years ago, when a
worshiper was about to
enter the temple, he sprin-
kled himself with lustral
noble's attomatic i'khki mk distiuhctoh. i'atenteu water, taken from a vase
IS 18.S!). near the entrance. The
TEMPLE TRICKS OP THE GREEKS. ;>10
priests made the distributiou of holy water a source of revenue by the employ-
ment of the automatic vending machine which is shown in our first engraving.
This apparatus would nob release a single drop of the purifying liquid until
coin to the amount required had been deposited in the vase.
A comparison of the ancient lustral water vase and the modern perfumery
vending machine will show that they are substantially alike. The ancient
machine has a lever, 0, fulcrumed in the standard, N, and connected with the
valve in the reservoir, H. The lever is furnished with the pan, R, for receiving
the coins dropped through the slot, A, at the tojj of the vase. An enlarged
view of the valve belonging to the vase is shown at the left of the engraving.
The mechanism is almost identical with that sliown in the modern device;
in fact, this ancient vase, described by Heron more than two thousand years
ago, is the prototype of all modern automatic vending machines, and simply
serves as another jjroof of the truth of the saying, '' There is nothing new
under the sun."
It is a curious fact that this ancient invention escaped the notice of the
Patent Office until long after patents were granted for the earlier automatic
vending machines. It was only a comparatively short time ago that the Patent
Office began to cite the vase of Heron as a reference. It was discovered in
an ancient -work on natural philosophy, and it is a matter of considerable
interest to us now to know that this device was well* known to the Patent Office
during the middle of this century. The vase of Heron is illustrated and
described in a work on hydraulics and mechanics published in 1850 by Thomas
Ewbank, who was at that time Commissioner of Patents.
AN ECtYPTIAX LITSTRAL WATER VESSEL.
Two- thousand years ago the Egyptian priests sold holy water to the faith-
ful by a similar process to that which we have just described, although the
apparatus did not partake of the nickel-in-the-slot character. Heron says of
them, that there are placed in Egyptian sanctuaries, near the portico, movable
bronze wheels which those who are entering cause to revolve ''because brass
passes for a jjurifier." He says that it is expedient to arrange them in such
a way that the rotation of the wheel will cause the flow of the lustral water.
He describes the apparatus as follows:
"Let ABFJ be a water vessel hidden behind the posts of the entrance
doors. This vessel is pierced at the bottom with a hole, E, and under it there
is fixed a tube, Z H K, having an aperture opposite the one in the bottom of
the vessel. In this tube there is placed another one, A M, which is fixed to the ,
former at A. This tube, A ]\[, likewise contains an aperture, U, in a line witlir
the two preceding. Between these two tubes there is adapted a third, X H P,
movable by friction on each of them, and having an aperture, 2, opposite E.
2'.^0 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC T)IVEI?SI0NS.
''If these tliree holes l)e in a straight line, tiie water, when poured into the
vessel, A B /'J, will flow out through the tuhe, A M; but if the tube, N H R,
be turned in sueh a way as to displace the aperture, 2, the flow will cease. It
is only necessary, then, to so fix the wheel, IS 'H O P, that, wheu made to
revolve, the, water shall flow."
This ingenious system of cocks having several ways was reproduced iu the
sixteenth century by Jacques Besson, in his "TJLeatrum Iiistrninentnrum el
Machinarum.'''' Besson api:)lied it to a cask provided with compartments,
which gave at will different liquors through the same orifice. Some years
later, Denis Papin proposed it for high-jiressure steam engines. Further im-
proved, it has become the modern long D valve.
EGYX'TIAN J^UfiTKAl. WATKK VESSEL.
CHAPTEU II.
MIRACULOUS VESSELS OF THE GEEEKS.
THE DICAIOMETER.
Heron, in liis " Pneumatics," describes a large number of wonderful vessels
that were used by tlie ancients, and, among them, one called the " dicaiometer "
(a correct measure), which allowed of tlie escape of but a definite quantity of
the liquid that it contained.
This was constructed as follows: Let us suppose a vessel (see the illustra-
tion) whose neck is closed by a diaphragm.
Near the bottom there is placed a small sphere,
T, of a capacity equal to the quantity that it is
desired to pour out. Through the diaphragm
there passes a small tube, z/ E, which commu-
nicates with the small sphere. This tube con-
tains a very small aperture, A, near and beneath
the diaphragm. The sphere contains at its
lower part a small aperture, Z, whence starts a
tube, Z H, that communicates with the hollow
handle of the ewer. Alongside of this aperture
tiie globe contains another one. A, through
which it communicates with the interior of the
e^ver. The handle is provided Mitlr a vent, Q.
After closing the latter, the ewer is filled with
liquid through an aperture that is afterwards
stopped up. The tube, A E, may likewise be
made use of, but in this ease it is necessary to
form a small aperture in the body of the ewer
in order to allow the air to make its exit. The
globe, T, fills at the same time that the ewer
does. Xow, if we turn the ewer over, leaving
the vent open, the liquid in tlie globe, 1\ and
in the small tube, z/ E, will How out. If we close
the vent and bring the ewer to its former posi-
tion, the globe and the tube will fill up anew,
since the air that they contain will be expelled tuk dhaid-mhtki!.
222 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
by the liquid that enters thereinto. The ewer being again turned over, an
equal quantity of liquid will flow anew, save a difference due to the small tube,
zJE, since this latter will not always be full, and will empty in measure as the
ewer does; but such difference is very insignificant.
MIRACULOUS VESSELS.
Ctesias, the Greek, who was physician to the Court of Persia at the begin-
ning of the fourth century of our era, and who has written a history of that
country, narrates the following fact: Xerxes, having caused the tomb of Belus
to be opened, found the body of the Assyrian monarch in a glass coffin which
was nearly full of oil. " Woe to him," said an inscription at the side, *' who,
having violated this tomb, does not at once finisli the filling of the coffin."
Xerxes, therefore, at once gave orders to have oil poured into it; but what-
ever the quantity was that was put in, the coffin could not be filled. This mir-
acle must have been effected by means of a siphon, analogous to the one found
in the Tantalus cup, and which becomes primed as soon as the level rises in the
vessel above the horizontal; that is, on a line with the upper part of the tube's
curve. In fact, proof has been found of the use of the siphon among the
Egyptians as far back as the
eighteenth dynasty, and Her-
on, in his "Pneumatics"
(book xii., chap, iii.), de-
scribes a very large number
of vessels that are founded
upon its use.
The ancients, likewise,
solved a problem contrary to
that of the tomb of Belus,
and that was one connected
with the construction of a
vessel that should always re-
main full, whatever was the
quantity of water that was
lemoved from it, or, at least,
which should remain full
even when a large quantity
of water was taken from it.
The annexed engraving
(Fig, 1) shows one of the ar-
rangements employed.
"Let A B be a vessel
Ki(i. 1. A Mil! Acii.ors vKssKi, (»i' iiKuoN, coutaiuiiig a (juantity of
MIRACULOUS VESSELS OF THE GREEKS.
223
water equal to that which may be demanded, and F J a tube that puts it in
communication with a reservoir, H Q, lower down. Xear this tube there is
fixed a lever, EZ, from whose extremity, E, is suspended a cork float, K, and
to whose other extremity, Z,
there is hooked a chain that
carries a leaden weight, ^.
"The whole shoukl be so
arranged that the cork, K,
which floats on the water,
shall close the tube's orifice;
that wlien the water flows out,
the cork, in falling, shall
leave such aperture free; and,
finally, that when a new sup-
ply of Avater enters, the cork
shall rise with it and close
the orifice anew. To effect
this the cork must be heavier
than the leaden Aveight sus-
pended at p.. Now, let A M
be a vessel whose edges should
be at the same height as the
level of the water in the reser-
voir when there is uo flow
through the tube because of
the cork float. Again, let
f) X be a tube that connects
the reservoir with the base of
the vessel, A M.
"So, then, when we remove water from the vessel, ./.M. after it has once
been fllled, we shall at the same time lower the level of tiie water in the reser-
voir, and the cork, in falling, will open the tube. The water thereupon run-
ning into the lower reservoir, and from thence into the external vessel, will
cause the cork to rise and the flow to cease, and this will occur every time that
we remove water from the tazza. "
There were, also, vessels which discharged but a certain definite quantity of
the liquid that they contained. AVe have already described one of these, but
here is another that is more comi)licated, wherein the quantity of liquid that it
measures out may be caused to vary in the same vessel.
A vessel containing wine, and provided with a spout, being placed upon a
pedestal, to cause the spout, l)y the simple moving of a weight, to allow a given
quantity of wine to flow ; now, for example, half a cotyle (0.13 liter), and now
a whole cotyle ; or, briefly, any quantity that nuiy be desired.
" Let AB be the vessel into which the wine is to be put (Fig. 'i). >.'eai-
its bottom there is a spout, J. Its neck is closed by a i)artition, K /, through
mii:acui>ous vksski. of ukhon.
224: 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
which pusses a tube that runs to the bottom, but leaving, however, sufficieiit
space for tlie passage of the water. Let K A M N be the i:)edestal upon which
the vessel stands, and H another tube tliat reaches as far as the partition and
enters the pedestal. In the latter there is sufficient water to stop up the orifice
of the tube, H 0. Finally, let i7P be a lever, half of which is in the interior
of the pedestal and the other half external to it, and which pivots on the point
2, aud carries suspended from its extremity, 77, a clepsydra having an aper-
ture, T, in the bottom.
" The spout being closed, the vessel is filled through the tube, II 0, before
putting water into the pedestal, so that the air may escape through the tube,
HO. Then, through any aperture whatever, water is poured into the pedestal
in such a way as to close the orifice, 0; and, after this, the spout. A, is opened.
It is clear that the wine will not flow, since the air cannot enter anywhere.
But, if we depress the extremity, P, of the* lever, a part of the cleps^^dra will
rise from the water, and the orifice, 0, being freed, the spout will flow
until the water lifted up in the clepsydra has, on running out, closed this same
orifice again. If, when the clepsydra has become full again, we still further
depress the extremity, P, the liquid in the clepsydra will take longer to flow
out, and more wine will consequently bo discharged from the spout. If the
clepsydra rises entirely from out the water, the flow will last still longer yet.
Instead of depressing the extremity, P, by hand, Ave may use a weight, ^,
which is movable on the external part of the lever and capable of lifting the
whole of the clepsydra out of the water when it is placed near P. This
weight, then, will lift a portion only when it is farther away from such point.
We must proceed, therefore, Avith a certain number of experiments upon the
flow through the spout, and make notches on the lever arm, PX, and register
the quantities of Aviue that correspond thereto, so that, Avhen Ave desire to cause
a definite quantity to flow, Ave shall only have to put the weight on the corres-
ponding notch, and lea\'e it."
The miracle of changing Avater into wine is one of those upon Avhich the
ancients exercised their imaginations most. Heron and Philo describe fifteen
apparatus designed for efl'ecting this, and more generally for causing different
liquors to flow at Avill from the same vessel.
Here is one of the simplest of them (Fig. 3): ''There are," says Heron,
''certain drinking-horns which, after Avine lias been jiut into them, allow of
the flow, when water is introduced into them, now of pure Avine, and now of
pure Avater.
"They are constructed as follows: Let A Jj /'J boa drinking-horn ])V0-
vided with two diaphragms, A E and Z H, through Avhich ])asse8 a tube, OK,
this being soldered to tlu'in and containing an a]ierture. ./, slightly above the
diaiihragm, Z H. lieneatli the diaphragm, J L, tliere is a vent, ^l, in the side
of the vessel.
"Such ai'rangenumts having been nuide, if anyone, on stopping the ori-
lii'i', / ', poiii-K wine into the horn, tlie li(iu()r will flow thi'ough thu aperture, J,
into tlic coniijartnicnt, JV/A\\, sin<;e the air contained tlicrcin can escMpe
MIRACULOUS VKSSF.LS OF THE GREEKS.
225
through the vent, M. If, now, wo close the vent, tlie wine in the compart-
ment, J E Z H, will be held there. Consequently, if, on closing the vent, M,
we pour water into the part, A B J E, of the vessel, pure Muter will flow out
through the oritice, F; and if, afterward, we opeu the vent, M, while there is
yet water above the upper diajihragm, a mixture of wine and water will flow
out. Then, when all the water has been discharged, jnire wine Avill flow.
" On opening and closing the vent, M, ofteuer, the nature of the flow may
be made to vary; or, what is better still, we may begin by filling the compart-
ment, AEZH,yf\l\\ water,
and then, closing M, pour
out the wine from above.
Then we shall see a successive
flow of pure wine and of wine
and water mixed, when we
open the vent, M, and then,
again, of pure wine when the
vent is closed anew; and this
will occnr as many times as
we desire it."
The apparatus represented
in Fig. 4 is very curious, and
might be put to some useful
application, without mention-
ing that which wine mer-
chants miglit make of it by
changing the order of the
liquids and leaving in view
only the vessel, A B, and the
cock.
''Being given," says Heron again, "two vessels, one of them containing
wine, it is required that whatever be the quantity of water j^oured into the
empty one, the same quantity of a mixture of wine and water, in any propor-
tion whatever (two parts of water to one of wine, for example), shall flow out
through a pipe.
'' Let A B be a vessel in the form of a cylinder, or of a rectangular parallel-
opipedon. At the side of it, and upon the same base, we place another vessel,
FA, which is hermetically closed, and of cylindrical or 2)arallelopipedal form,
like AB. But the base of AB must be double that of FA if we desire that
the quantity of water shall be double that of the wine in the mixture. Near
FA we place another vessel, EZ, wiiich is likewise closed, and into which we
have poured wine. The vessels, lA and E Z, are connected by a tube, IE f^K,
which traverses the diaphragms that close them at their upper ])art, and Avliich
is soldered to these. In the vessel, E Z, Ave place a bent si})hon, ./MlSr,
whose inner leg should come so near to the bottom of the vessel as to leave
just enough space for the li([uid to pass, while the other leg runs into a neigh-
15
FIG. 3.— HEHON's DKINKlN<i-HOHN.
226 MAGIC: STAGE ILLtlSlONS AND SCIENTIFIC DIVERSIONS.
boring vessel, HO. From this latter there starts a tube, II \*, which passes
through all the vessels, or the pedestal that supports them, iu such a way that
it can be easily carried under and very near the bottom of the vessel, A B.
Another tube, ^T, traverses the partitions in the vessels, AB and FA.
Finally, near the bottom of AB we adjust a small tube, T, which we inclose,
with the tube HL, in a pipe, ^X, that is provided with a key for opening or
closing it at wdll. Into the vessel, E Z, we pour wine through an aperture,
£1, which we close after the liquor has been introduced.
FIG. 4.— AN APPARATUS OF HERON PERMITTING OF MIXING WINE AND
W'ATER IN DEFINITE PROPORTIONS.
" These arrangements having been made, we close the pipe, X <?, and pour
water into the vessel, A B. A portion, that is to say, one-half, will pass into
the vessel, FA, through the tube, ^T, and the water that enters FA will
drive therefrom a quantity of air equal to itself into E Z, through the tube,
II ^^K. In the same way this air will drive an equal quantity of wine into
the vessel, H, through the siphon, yl M N". Now, upon oj)ening the pipe,
<?X, the water poured into the vessel, AB, and the wine issuing from the
vessel, OH, through the tube, TIP, will flow together, and this is just what it
was proposed to effect."
Tlie accompanying figures, borrowed from a work on ''Scientiflc Recre-
ations," by the late editor of La Nature, M. (Jaston Tissandier, roju-escnts
a magic vase and pitcher such as tlie ancients were accustomed to emj)loy
for the purpose of practicing a harmh'ss and amusing de(;option on those who
were not acquainted with the structure of tiie apparatus. For instance, if
any one should attempt to pour wine or Avater from the j'itcher shown in the
MlRACULOVS VESSELS OF THE GREEKS.
007
cut, the liquid Avould run out through the apertures in tlie sides. But the
person who knew how to use the vessel Avould simply place his fiuger over the
aperture in the hollow handle (Fig. G) and then suck through the spout, A,
when the liquid would flow iip through the handle and through a channel run-
ning around the rim of the vessel and so reach the spout. These magic vases,
cups, 2")itchers, etc., Avere not only in use among the ancients, but were quite
FIG. 5.— MAGICAL VESSELS OF THE EIGHTEENTH
CENTURY.
FIG. t). — SECTION OF A MAG
KAL PITCHER.
common in the eighteenth century, and numerous specimens are to be seen in
European collections. The ones shown in the accompanying cuts are pre-
served in the Museum at Sevres. These api)aratus are all based on the use of
concealed siphons, or, rather, their construction is based on the principle
of that instrument. Devices of this kind admit of very numerous modifi-
cations. Thus tankards have been so contrived that the act of applying
them to the lips charged tlie siphon, and the liquid, instead of entering the
mouth, then passed through a false passage into a cavity formed for its recep-
^-*S MAG JO: STAaE I ILLUSIONS AX/) SdlJJNTlFJC J)J VKliSIOXS.
tion below. By making the cavity of the siphon sufficiently large, a person
ignorant of the device would find it a difficult matter even to tdste the con-
tents, however thirsty he might be. Dishonest publicans, whose signboards
announced " entertainment for man and beast," are said to have thus despoiled
travelers in old times of a portion of their ale or mead, as well as their horses
of feed. Oats were put into a perforated mangei', and a large part forced
through the openings into a receptacle below by the movements of the hungry
animal's mouth. Heron, in the eiglith problem of his " Fjjiritalia,''' figures and
describes a magical pitcher in which a horizontal, minutely perforated partition
divides the vessel into two parts. The handle is hollow and air-tight, and at
its upper part a small hole is drilled where the thumb or finger can readily
cover it. If the lower part of the 2:)itcher be filled with Avater and the upper
with wine, the liquids Avill not mix as long as the snuill hole in the handle
is closed; the Avine can then be eitlier drunk or poured out. If the hole be
left open for some time, a mixture of both liquids will be discharged. " With
a vessel of this kind," says an old writer, "you may welcome unbidden guests.
Having the lower part already filled with water, call to your servant to fill
your pot with wine; then you may drink unto your guest, drinking up all the
wine; when he takes the pitcher, thinking to pledge you in the same, and
finding the contrary, will happily stay away until he be invited, fearing that
his next presumption might more sharply be rewarded." Another old way of
getting rid of an unwelcome visitor was by offering him wine in a cup having
double sides and an air-tight cavity formed between them. When the vessel
was filled, some of the liquid entered the cavity and compressed the air within,
so that when the cup was inclined to the lips and partly emptied, the pressure
being diminished, tlie air expanded and drove jiart of the contents in the face
of the drinker. Another goblet was so contrived that no one could drink out
of it unless he understood the art. The liquid was suspended in cavities, and
discharged by admitting or excluding air through several secret openings.
The apparatus represented in the illustration (Fig. T) represents an
arrangement similar to that of the inexhaustible bottle of Robert-Houdin, but
it is more ingenious. The problem proposed, as enunciated by Heron, the
Greek engineer, who describes the ajiparatus, is as follows: '"Being given a
vessel, to pour into it, through the orifice, wines of several kinds, and to
cause any kind that may be designated to flow out through the same orifice, so
that, if different i)erKons have poured in different wines, each jierson may take
out in his turn all the wine that belongs to him.
" Let A 15 be a hermetically closed vessel whose neck is provided with a dia-
phragm, EZ, and which is divided into as many comjiartments as the kinds of
wine that it is proposed to pour into it. Let us suppose, for example, H O and
KA are diaphragms forming the three com])artments, M, N, and H, into
which wine is to be poured. In the diaphragm, E Z, there are formed small
apertures that correspond respectively to each of the compartments. Let 0,
77, and P be such apertures, into which are soldered small tubes, 77.2", T,
and P T, which project into the neck of the vessel. Around each of these
MIRACULOUS VESSELS OF THE GREEKS.
229
tuljes there are formed in tlie diaphragm small apertures like those of a sieve,
through which the liquids may flow into the different compartments. When,
therefore, it is desired to introduce one of the wines into tiie vessel, the vents,
2, T, and F are stopped with the fingers, and the wine is poured into the
neck, <?, where it will remain without flowing into any of the compartments,
because the air contained in the latter has no means of egress. But, if one of
the said vents be opened, the air in the compartment corresponding thereto
will flow out, and the wine will flow into such compartment through the aper-
tures of the sieve. Then, closing this vent in order to open another, another
FIG. ;.— thp: magic bottle.
quantity of wine will be introduced, and so on, whatever be the number of
wines and that of the corresponding compartments of the vessel, A B.
" Let us now see how each person in turn can draw his own wine out through
the same neck. At the bottom of the vessel, A B, there are arranged tubes which
start from each of the compartments, to wit: The tube, X'l'- fi'f»'n the com-
partment, M; the tube oo <7, from X. and the tube A //, from B. The extrem-
ities, ij\ 0, and //, of these tubes should communicate with another tube, (v, in
which is accurately adjusted another, /i F, closed at A' at its lower extremity
and having apertures to the right of the orifices, //•, ff, and //, so that such aper-'
tares may, in measure, as the tube revolves, receive respectively the wine con-
tained in each of the compartments and allow it to flow to the exterior through
the orifice, /i, of the said tube, p F. To this tube is fixed an iron rod, S e,
whose extremity, s, carries a lead weight, ?/. To the extremity, d, is fi.ved an
^30 .JIAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
iron pin supporting n small conicul cu]) whose concavity points upward. Let
us therefore snpjiose this trnncated cone established, its wide base at 5, and
its narrow one (through which the pin passes) at ^.* Again, one must have
small leaden balls of different weiglits, and in number ecp;al to that of the
compartments^ M, N, and ^. If the smallest be jilaced in the cup, ^ 6, it
will descend on account of its weight until it applies itself against the internal
surface of the cup, and it will be necessary to so arrange things that it may
thus cause the tube, fiF, to turn so as to bring beneath //' that one of the
apertures that corresponds to it, and that will thus receive the wine of the com-
partment, M. This wine will then flow as long as the ball remains in the cup.
If, now, the ball be removed, the weight, rj, in returning to its first joosition,
will close the orifice, ?/', and stop the flow. If another ball be placed in the
cup, a further inclination of the rod, e d, w^ill be produced, and the tube,
ft r, will revolve further, so as to bring its corresponding aperture beneath ff.
Then the wine contained in the compartment, N, will flow. If the ball be
removed, the weight, r/, w^ill redesceud to its primitive place, the aperture, 0,
will be closed, and the wine Avill cease to flow. Finally, upon placing the last
ball (which is the heaviest), the tube, ft F, wall turn still more, so as to cause
the flow of the wine contained in the compartment, H.
" It must be remarked that the smallest of the balls should be so heavy that
when placed in the cup it shall outweigh the weight, ?/, and consequently bring
about the revolution of the tube, ft F. The other balls will then be suflficient
to cause the revolution of the said tube."
ANCIENT ORGANS.
The hydraulic organ filled with its powerful voice the vast arenas in which
the gladiators fought, and Petronius relates that Nero one day made a vow to
play one of them himself in public if he escaped a danger that threatened
him. The invention of them is attributed to Ctesibius.
Fig. 1 gives a reproduction of one of these instruments as described by
Heron in his ""Pneumatics."
Let BJ bo an altar f of bronze containing water. Let there be in the
latter an inverted hullow hemisphere, E Z II (called a damper), that allows the
water to pass all arouiul its bottom, and from the top of which rise two tubes
that communicate with the interioi'. One of these tubes. II K, is bent in the
interioi' and communicates with a snuill invei'ted box. J NTT, the aperture of
which is at the bottom, and the interior of whic^h is bored out so that it may
receive a piston, PI, Avhich should fit very accurately so as to allow no air to
* The text does not agree witli the figure given by the MSS. Moreover, there is an
arrangfinent liore that it is difficult to understand from Heron's descrii)tion.
f Altars ^vcre (cylindrical or S(juare ])<'d('stals, cliaracttM'izcd hy a cavity in the upper
]ilatf(irMi, in which a lire was lighted.
I'i'liis box performs here the office of a pump chamber.
31IRACUL0US VESSELS OF THE GREEKS.
231
pass. To this piston is fixed a very strong rod, T y, with which is connected
another rod, y 4>, movable around a pin at y.* This lever moves upon a fixed
vertical rod, WX. Upon the bottom of the box, N 77, is placed another box,
n, which communicates with the first, and -which is closed at the upper part
by a cover that contains an aperture to allow of the passage of the air into the
box, N 77. Under the aperture of this cover, and in order to close it, there
is arranged a thin disk, held by means of four pins which pass through aper-
FIG. 1.— HYDRAULIC OKGAN.
tures in the disk;, and are provided with heads in order to hold it in place.
This disk is called a iilatysmatira (Fig, 2). The other tube, Z Z', is carried by
the hemisphere, E Z H, and ends in a transverse tube, A A',f upon Avhich rest
pipes communicating with it and having at their extremities glossocomiums J
that communicate with these pipes, and the orifices, B', of which are open.
Across these orifices, covers provided with holes § slide in such a way that
when they are pushed toward the interior of the organ their holes cor-
respond to the orifices of the pipes (and to those of the tube A A'), and that
Avheu they are pulled back, the pipes are closed, since there is no longer any
correspondence.
* The figure shows anotlier arrangemeut.
f Called a wind-cliest in modern organs. I Flute mouths. § Registers.
3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
If, now, the transverse rod, y 0, be lowered at ^, the piston, P 2, will rise
and compress the air in the box, ^ 2 11, and such air will close the aperture
of the small box through the intermedium of the platysmatim described
above. It will then pass into E Z H by means of the tube, K H, then into the
transverse tube A A', though the tube Z Z', and finally from the transverse
tube into the pipes, if the orifices correspond to those of the covers, and this
will occur when all the covers (or only a few of them) have been pushed
toward the interior.
In order that tlieir orifices may be open when it is desired to make certain
pipes resound, and that they may be closed when it is desired to cause the
sound to cease, the following arrangement is employed: Let us consider iso-
lately one of the mouths placed at the extremity (Fig. 3). Let y d he this
mouth, 6 its orifice, A A' the transverse tube, and ff the cover that is adapted
and the aperture of which does not coincide with the apertures of the pijies at
this moment. Let us now
suppose a jointed arrange-
ment composed of three rods,
S, jA, and r, the rod, £ S, be-
ing attached to the cover, ff,
and the system as a whole
moving around a pin, //. It
will be seen that if we lower
with the hand the extremity,
V, of the system toward the
orifice of the glossocomiums,
we shall cause the cover to
move toward the interior, and that, when it arrives there, its orifice will co-
incide with the orifices of the pipes. In order that, upon removing the
hand, the cover may be carried back toward the exterior and close all com-
munication, an arrangement such as the following may be employed.
Beneath a number of glossocomiums, there is established a bar equal in length
to and parallel with the tube, A A', and to which are fixed strong curved
plates of horn, such as y, placed opposite yS. A cord is fixed to the
end of tliis ])hite and winds around the extremity, S, in such a way that when
the cover is moved toward the exterior the cord shall be taut. If the extremity,
K, then be lowered, and the register be thus pushed into the interior, the cord
will draw upon the horn jHate, and by its force, right it. But as soon as the
pressure ceases, the plate will resume its former position and draw the cover
back in such a way as to prevent its orifice from establishing a communication.
This arrangement being ado2:)ted for all the glossocomiums, it will be seen
that in order to cause any one of the pipes to resound, it will suffice to depress
the corresponding key with the finger. When, on the contrary, it is desired to
cuiis(> tlic sound to cease, Ave shall merely have to lift tlu' linger, and the effect
will l)e ])roduced l)y the motion of the cover.
AVater is ])oured into the small altar in order that tlie compressed air that
FIGS. 3 AXD
-DETAILS OF THE HYUKAULIC OKOAX
SHOWN IN FIG. 1.
MIRACULOUS VESSELS OF THE GREEKS.
233
is driven from the box, N77, may, owing to the pressure of tlie liquid, be
retained in the dandier, E Z H, and thus supply the pipes. AV' hen the piston,
P 2, is raised, it therefore expels the air from the box into the damper, as has
been explained. Then, when it is lowered, it opens the platysmatim of the
small Iwx. By this means, the box, N 11, becomes filled with air from the exte-
rior, which the piston, raised anew, drives again into the damper.
It would be better to render the rod, Ty, immovable at T, around a pin,
and fix at the bottom, P, of the piston a ring through which this pin would
pass, so that tiie piston would have no lateral motion, but would rise and
descend with exact perpendicularity.
Porta, at the beginning of the seventeenth century, constructed at Xaples
a hydraulic organ according to the arrangement just described. A few years
afterward, in 1G45, Fatlier Kircher constructed another at Eome for Pope
Innocent X. These organs had the defect of not preserving the note, but of
giving a series of harmonies. On the other hand, they produced an exceedingly
agreeable tremolo. It was probably these unusual variations in sound that
charmed the ears of the Greeks and Romans.
Heron afterwards describes a bellows organ, motion to which is communi-
cated not by manual power, but by a windmill. Fig. 4 shows the arrange-
ment with sufficient clearness to permit us to dispense with a description. It
is interesting to reproduce, in that it carries the origin of windmills (which it
is claimed were unknown to antiquity, because Altruvius and Yarro do not
speak of them) back at least to the second century before our era.
FKi. 1.— WINDMH^L ACTUATING THE liKLl.UWS OF AN UlUiAN.
CHAPTER III.
THE ORIGIN OF THE STEAM ENGINE.
All works tliat treat of the history of the steam engine speak of the eoli-
pileof Heron as the most ancient manifestation known of that power which
to-day fills the world. But very few persons know that we also find in the
" Pneumatics " of the Greek engineer the germs of the tubular boiler and of the
Papin cock which has been replaced in modern engines by the long D-valve.
Here, in the first place, is a literal translation of the two passages that have
reference to the a2:)2)aratus, so often cited, of Heron :
" Balls may he held in the air hy the following metliod :
" Fire is lighted under a boiler that contains water and is closed at its
npper part. From the cover starts a tube which rises vertically, and at the
extremity of which a hollow hemisphere is in communication with it. On
placing a light ball in this hemisphere it will happen that the steam, on rising
through the tabe, will raise the ball in such a way that it will remain sus-
pended.*
" To cause the revolution of a sphere on a pivot hy means of a hoiler placed
over a fire.
"Let A B (Fig. 2f) be a boiler containing water and placed over a fire.
It is closed by means of a cover, FA, Avhicli is traversed by a bent tube, E Z H,
whose extremity, H, enters the hollow sphere, K, in the direction of the
latter's diameter. At the other extremity is placed the pivot, AMN, which
is fixed upon the cover, T A. There are added to the sphere, at the two
extremities of one of its diameters, two tubes bent at right angles and perpen-
dicular to the line, HN. AVheu the boiler is heated, the steam will pass
through the tube, E Z H, into the small sphere, and, issuing through the bent
tubes into tlie atmosphere, will cause it to revolve in situ.''''
The following apparatus, likewise described by Hei'on, but not so well
known as those that preceded, shov/s that the ancients employed steam (mixed
Avith hot air, it is true) for causing liquids to rise. According to Father
Kircher, who reports it on the faith of an author iiamed Bitho, there was at
Sais, Egypt, a temple dedicated to Minerva in which there was an altar upon
*Fig. 1 is l)orrow(!(l from a MS. of the " Piicuinatics " datini,'- bark to tlie Renaissance.
Tbe boiler should liave been r(q)resente(l over a lirei)Iace.
f Tliis figure, likewise borrowed fruui a MS. of the Henuissance, is sulliciently clear to
alhnv letters to be dispensed with.
THE ORIGIN OF THE STEAM ENGINE.
235
which, when a fire was lighted, Dionysius and Artemis (Bacchns and Diana)
poured, one of tliera wine, and the other milk.
The miracle was performed as follows:
"' On lightiufj a Jire vpon an altar, Jifjures make libations and serj)ents
hiss (Fig. 3).*
" Let AB he a hollow pedestal upon which there is an altar, F, in whose
iuterior there is a large tube, J E, that descends from the fireplace into the
pedestal and divides into tliroe small tubes. One of the latter, E Z, runs to
the serpent's mouth; another, Ell &, to a vessel, K J, suitable for containing
I'lG. 1.— HEKO>''S EOLIPILE.
FIG, 2.— heron's whirling EOLOPILE.
wine, and the bottom of Avhich should be above the figure, ^l, as this tube has
to be connected with the cover of the vessel, K J, by a grating; and the
third tube, E N ~, rises likewise to a vessel, 0, suitable for receiving wine, and
is connected in the same way with its cover. The two latter tubes are soldered
to the bottoms of the vessels, and in each of these vessels there is a siphon,
P 2 and T T. One extremity of each of these tubes dips into the wine, while
the other, which ends in the hand of the figure that is to make the libation,
traverses the side of the wine vessel. ATheu you Avish to light the fire, you will
first put a little water into the tubes so that they shall not be burst by the
dryness of the fire, and you Avill stop up all the apertures so that the air shall
not escape. Then the blast from the fire, mixed with the water, will rise
through the tubes up to thu gratings, and, passing through these, will press
* The letters on the engraving are again dispensed with.
230 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC J)J VERSIONS.
upon the wine and cause it to flow tlirougli the siphons, P 2 and T T. The
wine issuing thus from the hands of the figures, the latter will appear to make
libations as long as the altar is burning. As for the other tube, which leads
the blast to the serpent's moutli, it causes the latter to hiss."
FIG. 3.— IIEKON's MAKVKIiOUS ALTAR.
As regards the cock and the tubular boiler, we find these in a hot-water
stove which Heron calls by the (Jra^co- Latin naine nnliarion, because of its
resemblance to a milestone.
Fig. 4 shows us, in the center, the lirephice in the shape of a vertical cvl-
THE ORKilN OF THE STEAM ENUINE.
'Z'il
inder, which shouhl have beneath it an air vent that is not shown in the cut.
All around this tliere is a boiler, likewise cylindrical, tilled witii water. A cer-
tain number of tubes, such as K and M N, put its different parts in com-
munication by passing through the fireplace, and thus increase the heating
surface.
The cock, T, serves to let off hot water, and the funnel, '2, to introduce
cold water into the boiler through a tube Avhicli runs to the bottom of the
latter. The object of the bent tube is to allow of the escape of air when
FIG. 4.— heron's tubular BOILER.
water is poured in, and to give exit to the steam that nuiy be formed, and thus
avoid the ejection of water through the funnel, '2. Heron, in his text, says that
this tube debouches in the interior of the fuimel so that it shall not be per-
ceived, and not as we have shown it for the sake of greater clearness. In the
figure there may be seen a compartment formed by two vertical jilates that
make an angle into Avhich water cannot enter. This is designed for actuating
different figures through tlie play of the steam and of the several way cocks
that I have mentioned. This latter consists of two concentric tubes capable of
revolving with slight friction one within the other. The external tube, V J,
23S JIAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVLUSWNS.
is fixed to the upper side of the stove, and traverses it. It contains three aper-
tures, q), f, and Xf pla;eed at diiJerent levels, and communicating, tlirongli
small tubes, with the figures that are to be jiresently mentioned. The internal
tube, A B, is open at its lower part, and thus communicates with the interior of
the compartment, but is closed at its upper part, which latter debouches above
the stove and may be manoeuvered by the handle, A. It contains tliree aper-
tures at the same levels as apertures q), f, and j, but differently placed, so
that when, through a rotary motion of the tube, A B, one of them is brought
opposite an aperture of the same level in the tube, FA, the two others do not
correspond. The positions that it is necessary to give them in order that such
correspondences shall occur are denoted by marks engraved on the visible por-
tions of the tubes. The tube, (p, terminates in a serpent's head which bends
toward the firei3lace, and tube, '/', terminates in a triton who holds a trumpet
to his mouth. Finally the tube, j, carries at its extremity a whistle that
debouches in the body of a bird filled with water.
It will now be seen what will occur. The tube, A B, is removed and a
little water is put into the compartment. This water flows i-nto the tube, jIB
(which passes under the fireplace and is closed at the side opposite its aper-
ture, H), and is converted into steam. When the tube, A B, has been replaced,
the steam may at will be passed into the body of tlie bird, which will warble,
or into that of the triton, who will blow his trumpet, or, finally, into that of
the serpent, which will blow into the fire and quicken the flames.
CHAPTER IV.
GREEK LAMPS, TOYS, ETC.
PERPETUAL LAMPS.
The ancients utilized, in their prestiges, combustible gases, which, in many
places, were disengaged naturally from the earth.
The Arab Schiangia, in a passage quoted by Father Kircher, expresses him-
self in this wise:
"In Egypt there was afield whose ditches were full of pitch and liquid
l)itumen. Philosophers, who understood the forces of nature, constructed
canals which connected places like these with lamps hidden at the bottom of
subterranean crypts. These lamps had wicks made of threads that could not
burn. By this means the lamji, once liglited, burned eternally, because of
the continuous influx of bitumen and the incombustibility of the wick."
It is possible that it was to an artifice of this same nature that Avere due
some of the numerous perpetual lamps that history has preserved a reminis-
cence of, such as that which Plutarch saw in the temple of Jupiter Amnion,
in Egypt, and that in the temple of Venus, which Saint Augustine could only
explain as due to the intervention of demons. But the majority of them owed
their peculiarity only to the precautions taken by the jiriests to feed them with-
out being seen. It was only necessary, in fact, that the wick, which was made
of asbestos threads or gold wire, should be kept intact, and that the body of
the lamp should communicate with a reservoir placed in a neighboring apart-
ment in such a way that the level of the oil should remain constant. Heron
and Philo have left us descriptions of a certain number of arrangements that
perniittted of accomplishing such an object.
The same authors likewise point out different processes for manufacturing
portable lamps in which the oil rises automatically. The most ingenious one
is that which is at the present day known under the name of "' Heron's Foun-
tain." *
The following is the Alexandrine engiueer's text:
" Construction of a candelabrum such that upon placing a lamp thereon,
there comes up through the handle, when the oil is consumed, any quantity
* In 1801, Carcel and Carreau applied Heron's system to lamps without, perhaps, know-
ing that they were thus returning to the primitive apparatus.
'^iO MAGIC: SfAGt: ILLUSIONS ANL> SCII^NTIFlV DlVEliSlONS.
that may be wished, and tliat, too, without there being any need of placing
above it any vessel serving as a reservoir for tlie oil.
"A hollow candelabra must be made, with a base in the shape of a jiyra-
mid. Let AB /" J be such pyramidal base, and in this let there be a parti-
tion, EZ. Again, let H O be the stem of the candelabrum, which should also
be hollow. Above, let there be placed a vessel, K A, capable of containing a
large quantity of oil. From the parti-
tion, EZ, there starts a tube, M N, which
traverses it and reaches almost to the
cover of the vessel, K A, upon which lat-
ter is placed the lamp in such a way as to
allow only a passage for the air. Another
tube, H 0, passes through the cover and
runs down, on the one hand, to the bot-
tom of the vessel, TLA, in such a way that
the liquid may be capable of flowing, and
on the other, forms a slight projection on
the cover. To this projection there is
carefully adjusted another tube, 77, which
is provided with a stopper at its upper
part, and, traversing the bottom of the
lamp and united with it, is wholly in-
closed within the interior of the lamp.
To the tube, II, there is soldered another
and very fine one which communicates
with ifc and reaches the extremity of the
lamp handle. This tube debouches in
the latter in such a way that its contents
may empty into the lamp, the orifice of
which is of the usual size. Under the
partition, EZ, there is soldered a cock
that enters the compartment, FA 'E^Ta, in
such a way that wdien it is open the
water from the chamber, A B E Z, may
pass into tlie compartment, /^ zJ E Z.
Through the upper })late, A B, there is
pierced a small hole, through which the compartment, ABEZ, may be filled
with water, the air within escaping through the same aperture.
" Fict us now remove the lamp and fill the vessel with oil by the aid of the
tul)e, H 0. The air will escape through the tube, M N, and afterward through
a cock which is open near the bottom, rA, when the water has flowed out
from the compartment, 7^Z/EZ. Let us place the lamp upon its base, con-
necting it at the same time with tlie tube, 77. When it becomes necessary to
pour oil into it, we will open the cock near the partition, E Z. The water
that is in the compartment, 7'z/ EZ, as well as tlie air therein, being forced
PLATO S LAMP.
GREEK LAMPS, TOYS, ETC. 241
through the tube, M N, into the vessel, will cuuse the oil to rise and pass into
the lamp through the tube, H 0, and the one that forms a continuation of it.
When it is desired to cause the oil to stop coining over, the cock is closed,
when the flow will cease. This may be repeated as often as may be necessary."
Such was, perhaps, Plato's lamp, of which Athen^eus speaks in the *' Ban-
quet of the Sophists," and by means of which the illustrious philosopher was
enabled to have a light for himself during the longest nights in the 3'ear.
AN ANCIENT AUTOMATON.
In his " Spiritalia " (written about 150 B.C.) Heron describes several auto-
mata of which figures of birds form a part; but perhaps the most remarkable
for its ingenious simplicity is No. 44, the illustration of whicii we reproduce.
The descrijition of this, as given by Heron, is somewhat meager and unsatis-
factory, but the drawing is so very plain that, taken in connection with other
mechanism in his work, operated in a similar way, it is easy to understand how
the desired result was accomjilished.
An air-tight box of metal was provided, which was divided into four com-
partments, 1, 2, 3, 4, by horizontal diaphragm plates. On the top of this box
was a basin, 0, for receiving the water of a fountain. Around this basin were
four birds. A, B, C, D, perched upon branches or shrubs, which api:)arently
grew out of the top of the box. Each of these branches was hollow, and
communicated with one of the compartments already named, by one of the
pipes, 9, 10, 12, and 13, which passed bat a very short distance through the
tops of the several compartments. The bodies of the birds were also hollow,
and were connected Avith the hollow branches by tubes in their legs. In the
hollow body of each bird were two musical reeds or whistles of different note.
One of these would sound when air was forced outward through the beak of
the bird, and the other would only respond to air drawn inward. This alter-
nate action of the air, and consequent variation of note, was produced by the
peculiar way in which the water supplied by the fountain was made to pass
through the several compartments.
The water from the basin, 0, entered compartment 1 near its bottom by
the pipe 11, and as it rose in the compartment, it compressed the air above it,
which escaped through the beak of the bird, A, and caused its first note to
sound; but when the w^ater reached the top of the bend of the siphon 5, it at
once began to discharge by that siphon into compartment 2 ; but as the
siphon 5 was so proportioned that it discharged the water much faster than
it was supplied by pipe 11, the level of the w'ater in compartment 1 gradu-
ally fell, and the air in passing into this compartment tli rough the beak of the
bird, A, caused its second note to sound. As the water rose in compartment
2, it compressed the air above it, wdiich passed by the pipe 10, to the bird, B,
which then sounded its first note, while the bird, A, was sounding its second,
16
U2 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
aud this state of affairs continued until all of the water was discharged from
the compartment 1, and compartment 2 was filled to the top of the bend of
siphon 6, which then began to discharge into compartments; and as siphon
5 had ceased to operate, the water
gradually fell in contpartment 2,
and the air entering by the beak
of the bird, B, sounded its second
note. While this was taking
]ilace, compartment 1 was again
filling, and the first note of bird,
A, sounding; and compartment
3 was also filling, and the air above
the water therein was being forced
by the pipe 12 into the bird, C,
and causing its first note to sound.
By following out the opera-
tions described, and tracing the
action of the flux and reflux of the
•water in the compartments 3 and
4, it will readily be seen that the
bird, C, will sound its second note
Avhen the compartment 3 is being
discharged by siphon 7 into com-
partment 4, and at the same time
the bird, D, will sound its first
note, and that eventually the
water will escape from the autom-
aton by the siphon 8, causing the
second note of the bird, D, to be
heard.
It is evident that by simple and well-known means any or all of the bird
notes can be made to trill, and that it is only necessary to properly proportion
the discharging capacity of the siphons to insure the rejietition and admixture
of the notes in a bird-like manner; and it is further evident that the employ-
ment of tlie iileas involved is not of necessity confined to but four birds, as
several birds, each having different notes, might be operated from the same
compartment, and of course as many compartments as may be wished can be
used. Furthermore, the wings of the birds could be made to move, and their
beaks to open and shut, by the movement of the same air which acted upon
the musical reeds or wliistles.
Each of the siphons in the automaton was intermittent in its action, ceas-
ing to flow when its compartment was emptied, and beginning again spon-
taneously when the Avater reached the level of the top of its bend. The
antifpiity of intermittent siphons is of special interest from the fact of their
eom])aratively recent application in sanitary plumbing.
i;> \'
'.',
1 ■
i|
— TT
'i
1
1 1 i\ .' 1
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AN ANCIENT AUTOMATON.
GREEK LAMPS, TOYS, ETC.
243
('haucer was not much in error as regards his own time (1328-1400), and
his words are only somewhat less true to-day:
'' For out of the okl fiekles, as men saithe,
Cometli al this new corne fro yere to yere;
And out of old hookes, in good faithe,
Cometh all this new science that men lere."
A GKEEK TOY.
Upon a pedestal there is fixed a small tree around which is coiled a dragon.
A figure of Hercules stands near by, shooting with a bow, and there is an
apple lying upon the pedestal. If this apple be lifted from the latter, Hercules
will shoot his arrow at the dragon, and the latter will hiss.
Mechanism of the Toy. — Let A B be the water-tight pedestal under con-
sideration, j^rovided with a diaphragm, F J. To this latter there is fixed a
small, hollow, truncated cone whose apex jjoints toward the bottom of the
vessel, and from which it is just sufficiently distant to permit the water to pass.
To this cone there is adjusted with care another one, G, which is fixed to a
chain that, passing through an aperture, connects it with the apple. Hercules
holds a small horn bow, whose string is stretched and laced at a proper distance
from the right hand. The left hand is provided with a detent. To the ex-
A GREEK TOY.
^44 MAGIC: STAGE ILLtlStONS AND SCIENTIFIC UI VERSIONS.
tremity of this latter there is fixed a small chain or a cord that traverses the
top of the pedestal, passes over a pulley fixed to the diaphragm, and con-
nects with the small chain that joins the cone with the apple. This cord
passes through the hand and body into the interior of Hercules. A small
tube, one of those used for whistling with, starts from the diaphragm, rises
through the top of the pedestal, and passes into the interior of the tree or
around it.
Now, if the apple, K, be raised, the cone, O, will be raised at the same time,
the cord, X0, will be tightened, the catch will be freed, and this will cause the
arrow to shoot. The water in the compartment A 7', running into the com-
partment B r, will drive out the air contained in the latter, through the tube,
and produce a hissing. The apple being replaced, the cone, O, will adjust
itself against the other, stop the flow, and thus cause the hissing to cease.
The arrow and its accessories will then be adjusted anew.
When the compartment B J^ is fidl, it is emptied by means of a spout pro-
vided with a key, and A J is again filled as we have indicated.
THE DECAPITATED DEINKING HORSE.
The optical delusion known as the talking decapitated person has already
been described in Book I., Chapter I., of the present work. The ancients
invented an analogous trick, but one that was founded upon a very ingenious
mechanical combination. This is found described at the end of Heron's
"Pneumatics," under the title, "To cut an animal in two and make him
drink. " It is as follows :
" Let us suppose a hollow pedestal, A B C D, divided in its center by a dia-
phragm, EF. Above the pedestal there is fixed a statuette representing a
horse and traversed by a tube, M N, which terminates on the one hand in the
horse's mouth, and in the other in the upper part of the compartment,
A B E F, after following one of the legs. It will be conceived, in the first
place, that if the said com])artment be filled with water through an aperture,
T, which is afterwards stopped up, and that then a cock be opened, so as to
form a communication between the upper compartment and the lower (which
latter is itself provided with an open air-hole), the water will flow, and, in
doing so, tend to cause a vacuum in the tube, MN, so that Avlien a vessel of
water is brought near the animal's mouth the water will be sucked up.
" If the cock be so arranged as to present its key upon the top of the pedes-
tal, and if to the key there be adapted a statuette representing a man armed
witli a club, things may be so arranged that the animal shall drink when the
man has his back turned, for example, and that he shall stop drinking when
the man threatens him with the club.
" The following is the way in which a knife may be passed through the ani-
mal's neck without causing the head to fall or interrupting communication
GREEK LAMPS, TOYS, ETC.
245
between the mouth and pedestal. The head and body form two distinct
pieces, Avhich are adjusted according to the plane, P (Figs. 1, 2, and 3).
The tube, M N, is interrupted to the right of this slit, and the two parts of it
are connected by a snuiller tube, aft, which enters by slight friction into the
interior of each of them; and to this small tube, aft, there are fixed two
racks, 6 and e. Above S and under e are placed two segments of toothed
wheels, n and p, which are movable around axles fixed in the body of the ani-
mal. Over the whole there is a third wheel, which is likewise movable around
heron's decapitated drinking horse.
an axle fixed in the animal's body, and the thickness of which keeps increasing
from the centre to the circumference. This wheel is cut out into three parts
of circles, /^, v, and B, which have for diameters three of the sides of the
inscribed hexagon. It is inclosed in the neck in such a way that the circular
cavity containing it embraces just four of the sides of the inscribed hexagon,
the two other sides projecting outside of the plane, P. In the piece that
forms the head a circular cavity is formed capable of containing this projecting
portion of the wheel, and a wedge-shaped profile is given it, so that when one
tooth of the wheel, G, is engaged therein by the edge, it can also only leave it
by the edge. Let us now suppose the wheel, G, free; let us engage one of its
teeth in the cavity, xt\ let us cause the head and body to approach; let us
fix the wheel, ff, in the body by means of the movable axle traversing it; and
let us introduce a knife into the slit, P, and see what will happen.
" The blade, on entering the space, B, will press against one of the teeth,
and cause it to descend until it, as well as the knife, is disengaged. The tooth
above the space, B, will then be disengaged in its turn and connect the head
246 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
with the body again. The knife-blade, which is now under the wheel, ff, rests
on the inclined plane that the figure shows in the segment, tt, and, on press-
ing thereupon, causes the wheel to turn, and with it the rack, 6, and the tube,
aft, which latter leaves the tube, M, and gives passage to the blade between it
and the extremity, a. Then the blade comes in contact with tbe lower pro-
jection of the sector, p, which has been carried upward by the motion of the
rack, e, that is connected with the rack, 6. On pressing against such pro-
jection the blade causes the segment, p, to revolve in a contrary direction,
brings e toward the left, and causes the small tube, a ji, to enter anew the
tube, M. Communication between -M and N is thus reestablished."
M. de Roclias has never found elsewhere than in the " Pneumatics " a descrip-
tion of this system of toothed wheels, although he has read the majority of
books treating of this class of ideas. The description given by Heron is itself
so confused and so mutilated, and the figure that accompanies it is so incom-
plete, that in all the Latin editions it is suppressed as incomprehensible.
TIIK JnX AITTATKI) MOKSK. ])RTAII,S OF THE MKCIIANISM IN THE NECK.
GREEK LA3IPS, TOYS, ETC.
247
ODOMETERS.
In the inventory of tlie objects sold after the death of the Emperor Corn-
modus, drawn up by Julius C'apitoliniis in the life of Pertinax, we find men-
tioned, among other valuable things, "' vehicles that mark distances and
hours."
Vitruvius (X, 14) describes the mechanism of these vehicles, but the fig-
ures that must have served to throw light upon the text have been lost, so that
his description is somewhat obscure. Fortunately, as a sequel to a manuscript
of the Dioptra of Heron, there have been found two Greek fragments upon
this same subject, dating back probably to the Alexandrine epoch and accom-
panied with figures. The following is a translation, says M. de Rochas:
To Measure Distances upon the Surface of the Earth by Means
OF AN Apparatus called an Odometer.
Provided with this instrument, instead of being obliged to measure land
slowly and laboriously with the chain or cord, it is possible in traveling in a
vehicle to know the distances made, according to the number of revolutions of
the wheels. Others, it is true, have, previous to us, made known certain
methods of accomplishing the same object; but every one will be able to decide
between the instrument described here by us and those of our predecessors.
Let us imagine an apparatus in the form of a box (Fig. 1) in which is con-
tained the entire machine that we are to describe. Upon the bottom of the
box rests a copper face wheel, A B, having, say, eight teeth. In the bottom
there is an opening in which a rod, fixed to the hub of oue of the wheels of
FIG. L— hekok's odometer k()){ vehicles.
248 2IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the vehicle and engaging at every revohitiou, pnshes forward one of the teeth,
Avhich is replaced by the following one, and so on indefinitely. Whence it
results that when the wheel of the vehicle has made eight revolutions, the face
wheel will have made one. Now, to the center of the latter there is fixed per-
pendicularly, by one of its extremities, a screw which, by its other extremity,
engages with a crosspiece fixed to the sides of the box. This screw gears with
the teeth of a wheel whose plane is perpendicular to the bottom of the box.
This wheel is provided with an axle whose extremities pivot against the sides of
the box. A portion of this axle is jirovided with spirals formed in its sur-
face, so that it becomes a screw. ^Yitll this screw there gears a toothed wheel
parallel with the bottom of tlie box. To this wheel is fixed an axle, one of
the extremities of which pivots npon the bottom, while the other enters
the crossjiiece fixed to the sides; and this axle likewise carries a screw that
gears with the teeth of another wheel placed perpendicular to the bottom.
This arrangement may be continued as long as may be desired, or as long as
there is space in the box; for the moi'e numerous are the wheels and screws,
the longer will be the route that one will be able to measure.
In fact, every screw, in making one revolution, causes the motion of one
tooth of the Avheel with which it gears; so that the screw carried by the face
wheel, in revolving once, indicates eight revolutions of the wheel of the vehicle,
while it moves only one tooth of the wheel u]3on which it acts. So, too, the
said toothed wheel, in making one revolution, will cause the screw fixed to its
plane to make one revolution, and a single one of the teeth of the succeeding
wheel will be thrust forward. Consequently, if this new wheel has again thirty
teeth (and this is a reasonable number), it will, in making one revolution, indi-
cate 7,200 revolutions of the wheel of the vehicle. Let us suppose that the
latter is ten cubits in circumference, and this would be 72,000 cubits, that is
to say, 180 furlongs. This applies to the second toothed wheel. If there are
others, and if the number of teeth likewise increases, the length of the journey
that it will be possible to measure will increase proportionally. But it is
well to make use of an apparatus so constructed tiiat the distance which it will
be able to indicate does not much exceed that which it is possible to make in
one day with the vehicle, since one can, after measuring the day's route, begia
anew for the following route.
This is not all. As one revolution of each screw does not correspond with
mathematical accuracy and precision to the escapement of one tooth, we shall
in an express experiment cause the first screw to revolve until the wheel that
gears with it has made one revolution, and shall count the number of times
that the wheel will have revolved. Let us sup])ose, for example, that it has
revolved twenty times wliile the adjacent wheel has made a single revolution.
This wheel has thirty tooth; therefore, twenty revolutions of tiie face wheel
correspond to thirty teeth of the toothed Avheel moved by the screw. On
the other hand, tlic twenty revolutions allow UK) ieotli of the face Avheel to
escape, and this makers a like number of rev(jlutions of the wlu^el of the vehi-
cle, that is to say, 1,G00 cubits; consequently, a single tooth of the preced-
GREEK LAMPS, TOYS, ETC. 249
ing wheel iutlicates 53 1 cubits. Thus, for example, when, in starting from
the origin of the motion, the toothed wheel will have revolved by fifteen teeth,
this will indicate 800 cubits, say two furlongs; upon this same wheel we shall
therefore write b'^\^ cubits. Making a similar calculation for the other toothed
wheels, we shall write upou each one of them the number that corresponds to
it. In this way, after we ascertain how many teeth each has moved forward,
we shall know by the same the distance that we have traveled.
Now, in order to be able to determine the distance traveled without having
to open the box in order to see the teeth of each wheel, we are going to show
how it is possible to estimate the length of the route by means of an index
placed upon the external faces. Let us admit that tlie toothed wheels of which
we have spoken are so arranged as not to touch the sides of the box, but that
their axles project externally and are squared so as to receive indexes. In this
way the v;heel, in revolving, will cause its axle with its index to turn, and the
latter will describe upon the exterior a circle that we shall divide into a number
of parts equal to that of the teeth of the interior wheel. The index should
have a length sufficient to describe a circumference greater than that of the
wheel, so that sucli circumference may be divided into parts wider than the
interval that separates the teeth. This circle should carry the number already
marked upon the interval wheel. By this means Me shall see upon the external
surface of the box the length of the trip made. Were it impossible to pre-
vent the friction of the wheels against the sides of the box, for one reason or
another, it would then be necessary to file them off sufficiently to prevent the
apparatus from being impeded in its operation in any way.
Moreover, as some of the toothed wheels are perpendicular to and others
parallel with the bottom of the box, so, too, the circles described by the indexes
will be some of them upon the sides of the box and others upon the top.
Consequently, it will be necessary to so manage that the side that carries no
circle shall serve as a cover; or, in other words, that the box shall be closed
laterally.
Another engineer, probably Graeco-Latin, since he expresses distances some-
times in miles and sometimes in stadia, has pointed out an arrangement of a
different system for measuring the jirogress of a ship.
We shall describe this apparatus, which we illustrate in Fig. 2.
Let A B be a screw revolving in its supports. Let us suppose that its
thread moves a wheel. A, of 81 teeth, to which is fixed another and parallel
wheel, E (a pinion), of nine teeth. Let us suppose that this pinion gears with
another wheel, Z, of 100 teeth, and that to the latter is fixed a pinion, H, of
18 teeth. Then let us suppose that this pinion gears with a third wheel, 0,
of 72 teeth, which likewise is provided with a pinion, K, of 18 teeth, and again
that this pinion engages with a wheel, yl, of 100 teeth, and so on; so that
finally the last wheel carries an index so arranged as to indicate the number
of stadia traveled.
On the other hand, let us construct a star wheel. M, whose perimeter is five
paces. Let us suppose it perfectly circular and affixed to the side of a vessel
250 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
in such a way as to have, upon the surface of the water, a velocity equal to
that of the vessel. Let us suj^pose, besides, that, at every revolution of the
wheel, M, there advances, if possible, one tooth of A. It is clear, then, that
at every distance of 100 miles made by the vessel the Avheel, A, will make one
revolution; so that, if a circle concentric with the wheel, A, is divided into
100 parts, the index fixed to yl will, in revolving upon this circle, mark the
number of miles made by the number of the degrees.
Odometers, like so many other things, have been reinvented several times,
notably in 1662 by a member of the Royal Society of London, and in 1724 bv
Abbot Meynier.
FIG. 2.— ODOMETER FOK VESSELS.
BOOK III.
SCIENCE IX THE THEATER.-
CHAPTER I.
BEHIXD THE SCENES OF AX OPERA HOUSE.
It would be difficult to find anyone who would not like to go behind the
curtain of a great opera house to see how realism is given to the performance,
and, incidentally, to gain an insight into that mysterious world upon the stage
which always has such an attraction to opera-goers. Before describing in
detail the commodious stage of the ^Metropolitan Opera House, New York
City,* we will consider for a moment a typical English stage which is the pre-
decessor of most stages in America. America is unfortnnate in having so few
really great opera houses, so that the description of the English stage will
answer for most of the theaters and opera houses, with the exception of the
^Metropolitan Opera House and the Auditorinm in Chicago, both of which
have features of interest. For our descrijition of the English form of theater
stage we are largely indebted to a series of papers by Mr. Edwin 0. Sachs,
architect, in the London "'Engineering," beginning January 17, 189G, and
appearing at irregular intervals for a year and a half. This valuable series is
most ])rofusely illustrated, and forms a treatise of great value. Mr. Sachs
has written other works on opera houses. In this connection may be men-
tioned the French work " Trues et Decors,'''' by M. Georges Moynet, architect.
This book is of rather more popular interest than the series of ^[r. Sachs. It
describes the ordinary equipment of the stage, but includes the obtaining of
special effects on a large scale. The modern adjuncts of the theater stage,
such as hydraulic platforms and bridges, are not neglected. Many of the illu-
sions which are illustrated in the present work are described in it, and at least
one of them appeared first, we believe, in the "Scientific American."
Before describing the ordinary English stage and that of the ^Eetropolitan
Opera llonse, a few generalities are in order. The audience really sees a very
small proportion of the stage, for behind the cnrtaiu is an enormous rectangu-
* The editor is indebted for courtesies to Mr. William Parry, stage manager of the Metro-
politan Opera House ; to Mr. C. D. McGielian, the stage machinist ; to Mr. Edward Siedle,
the property master ; and to Mr. Stewart, the electrician.
252 MAGIC: STAGE ILLUSIONS AN J) SCIENTIFIC DIVERSIONS.
lar structure which is usually much higher than the roof of the auditorium.
This great height is rendered necessary in order to raise the hanging scenes up
bodily without resorting to the necessity of rolling them up. Great space
is also needed for the ropes, pulleys, and other mechanism used for working
the curtains, drop scenes, and borders. Everything above the arch of the
proscenium is termed the " flies." The stage proper is the rectangular plat-
form upon which the drama is given. Its width is usually regulated by the
width of the sj)ace devoted to the orchestra. Tliere is considerable sjiace at
each side of the stage for workiug space. It is here that the '' wiug " or " side "
scenes are stored for the various scenes of the opera, and it is here that the
singers and the ballet wait before going before the curtain, through the so-
called "entrances" into which the depth of the stage is divided, the number
of entrances depending upon the number of wings.
The floor of the stage runs from the footlights to the rear wall of the build-
ing, but usually the last few feet of the stage are not utilized by the perform-
ers, as the scenery is usually painted there in what is called the "paint room."
It is here that a platform, called the "paint bridge," was formerly raised
or lowered, giving access to all parts of the canvas which was being jiainted.
But now the paint frames are usually run up and down, while the bridge remains
stationary. The stage is divided widthwise into sections, and these sections of
the stage floor can be raised or lowered as desired, and it is also arranged so
that scenes, or portions of scenes, may be dropped down through the floor. As
the scenes raised upwards have to be taken out of sight, the scenes which
are lowered below the stage floor have likewise to disappear from the view
of the audience. This results in deep cellars under the stage. The cellar
should, of course, be as high as the proscenium aperture through which
the audience views the scene; but this is often impossible, and various means
are employed to give a great depth to the cellar. This is sometimes man-
aged by raising the orchestra, or pit, above the ground, but this is ajittomake
the theater unpopular with those who jxitronize the galleries, as it necessitates
a greater climb; and if the orchestra is depressed below the street level, it
requires that the cellar shall be sunk in so much further. This increases
tlie difficulty of drainage, and the presence of water may be a constant source
of annoyance.
We will now describe a typical wooden stage of the English type. England
is the home of excellent stage management, and an English property master is
known all over the world by the excellence of his work. In England large
sums are spent on costly productions, and the arrangements which are provided
when the stage is built permit of lightning changes, which are so popular
there. In this country the question of expense prevents such elaborate fittings
as those in England, There are, of course, important exceptions to this rule.
In the commoner English and American stages there has been so little prog-
ress that Mr. Sachs notes the fact that there is little difference between "the
ordiiuiry London stage of 1805 and tlie stages of 1750," One reason that the
theatei's on the continent of Europe have such excellent stages — stages in
BEHIND THE SCENES OF AX OPEHA UoVSK.
253
which the ability of the architect and engineer are taxed to the utmost — is
that they are very largely assisted by subventions from either the government
or the municipalities ; so it is little wonder, then, that we have so many splendid
examples of the most modern stages in Europe. In tlie present chapter the
word "theater" maybe considered to mean eitiier a theater for the spoken
drama or an opera house.
The top of the stage is known as the "rigging-loft," or "gridiron," and
consists of a wooden or iron stage composed of an open floor laid upon the tie-
beams of the principal roof trusses. A considerable weight has to be supported
it
h^ '-fAAlhWA imUHMMMr ^^V'^IA^^ ^'WHHB|
...^'
[at w.«^,BL'.Rx;ii:-^i^|^
'0 ,w m vr. 4C1|
.^vixv^N
TOP OF THE GlilDIHOX.
upon this gridiron, for from it depend all the "cloths" (drops), "borders,"
and "gas battens." The strength of the roof is, therefore, calculated so as
to sustain this great weight. In some continental theaters there are two grid-
irons. The gridiron is also called the rigging-loft on account of the fact that
the scenes are "rigged up " by ropes from this floor. The scenes are raised
and lowered from this level by means of ropes passing through the spaces in
the floor, over blocks witli wheels in them, on to the drum, and thence down
to the "fly floors" below.
Our engravings show the upper and the uudev side of the gridiron of
the Castle Square Theater, in Boston, Mass. This gridiron has some inter-
esting features not possessed by the stage of the Metropolitan Opera House,
254 3IAGIC: .STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
which will be described a little fnrther on, as at the Metropolitan Opera House
there are no Avindlasses ou the gridiron. The windlasses are used to raise
heavy weights suspended from the gridiron, and are of the greatest possible
use iu aerial ballets and other theatrical performances. It will be seen that
the gridiron is in reality nothing but a slatted floor supported by iron
girders. The ropes will be seen passing over the pulleys to where they descend,
at regular intervals, to raise the drops. Our secoiul engraving shows the under
side of the gridiron, and the drops and borders which are suspended from
TUK GKIDIKON FKOM UNUKIi.NKATll, fSJlOWlNli DltOl" AND 150KUEK>>.
it. It gives an excellent idea of the maze of ropes which hang from the grid-
iron.
The flies consist of galleries, on both sides of the stage, running from tlie
proscenium wall to the back wall. The "fly rail " consists of a girder made
especially strong, to talce the weiglit and ])ull of the ropes and scenes which are
brought down from the gridiron. Each cloth or gas batten hung from the
gridiron has four or five ropes by which it hangs, and these are all brought
over the jjiilloys in the gridiron floor down to the flies, where they are made
fast on belaying-])ins or cleats fixed to the fly rail. The "fly floor" is sup-
ported by joists running from the fly-rail girder into the wall of the stage.
BEHIND THE SCENES OF AN OPERA HOUSE. 255
On the fly floor are often placed windlasses used to raise the heavy weights
which are suspended from the gridiron. The load is usually relieved by
counterweights which are placed agaijist the wall. The counterweights are
usually encased, to minimize the danger of accident in case the rope breaks.
The " fly galleries " are usually two tiers in nnmber, but in very large theaters
there are often three tiers of fly galleries, one above the other. Nearly all the
working of the flies is done from one side of the stage. The flies are often
connected by a bridge against the back wall of the stage, and sometimes there
are intermediate narrow bridges among the scenery. These enable the ''fly
men" to cross the stage quickly without necessitating their coming down to
the level of the stage. In modern stages of the better class, iron and steel con-
struction is very largely used for the gridiron, flies, etc., and, of course, tends
to decrease the danger from fire.
Nearly all of the older stage floors fall three-eighths to one-half inch in a
foot, from the back to the front, in order to enable the audience to see the
actor or singer as he retires " up " the stage; but in modern stages the floors
are usually level, as then the scenery can be set plumb. The divisions of the
stage are numerous, and include the imaginary divisions called for by the
stage directions, and the actual divisions of the stage into '"traps," "sliders,"
and "bridges." The imaginary divisions need not concern us here.
In the front and center of the stage is a trap called the "grave trap," on
account of its use in the grave scene of " Hamlet." It is a small wooden plat-
form made to rise up and down in grooves between four uprights. The stage
may have other traps. The trap as an aid in stage illusions is referred to in
Chapter IV. of Book III. of the present work.
In ordinary stages the traps are floored over, and before they can be
used a portion of the floor of the stage has to be removed. This is done by
releasing a lever and letting the section of the floor drop into a groove and
slide under the immovable parts at the side of the stage. The opening left in
the stage is filled by the floor of the ascending trap. Back of the grave
trap there are three narrow^ strips of openings which are technically called
" sliders," then a wider opening which is known as the " bridge." The rest of
the stage is taken up by alternate bridges and sliders. The sliders consist of
narrow strips of Avood which are made to slide horizontally^ right and left,
under the stage. They slide in grooves cut in the joists, and are moved
backwards and forwards by means of ropes which Avind around windlasses
which are operated from the mezzanine floor underneath the stage. A\'hen both
sliders are slid away right and left, the open space in the floor and the space
underneath is known /is the " cut," and it is in the " cut " that the scenery is
placed which is to be raised \\]} from below. Scenes are raised up the
"slider cuts" by means of lengths of wood sliding up and down in grooves
forming very wide and narrow elevators. The scene is attached to the lower
bar. The floor of the bridge is like the slider floor in construction; the only
difference is in the width of the opening left in the stage Avhen the section
of the floor has been removed. To fill this space a platform of the same dimen-
256 31AGIC: STAGE ILLUSIONS ANU SCIENTIFIC DIVERSIONS.
sions as the opening winch is left in the stage where the bridge is removed is
used. The bridge is used to raise bodily any heavy scene, furniture, or a group
of figures, but it only raises its load level with the stage, while some of the
\le^^[ hydraulic bridges, or the counterbalanced rising bridge, wliich we will
shortly describe, permit of lifting the part of the scene to any height. There
have recently been many reforms in this part of stage management. The
level underneath the stage floor is known as the mezzanine floor. This is the
working level for all the traps, sliders, and bridges, and it is on this level that
all the windlasses are placed which work the ropes to remove the sliders,
bridges, etc. The mezzanine takes the same position regarding the manipula-
tion of the stage machinery below as does the fly gallery above. In some cases
the mezzanine floors are multiplied so that there are three or four. The
lowest level of the stage is known as the " cellar," or '' well." From the
cellar spring the uprights which support the joists of the stage floor. At the
bottom of the cellar are placed the drums and shafts used for lifting the
bridges. In many theaters there is what is known as the '"back stage." It
has no movable portion, no gridiron, flies, or cellar. This space is most
useful for distant scenes. In the finest stages, as that of the Vienna Court
Theater, the entire cellar is constructed of iron and steel, and everything is
worked by hydraulic power. Scenes are not only raised np from the cellar
and let down from the gridiron, but are also " bnilt np " on the stage. Such
scenes may be only small "profile strips," or they may be large constructions
like a throne, in which the heavy foundations called "rostrums" run in on
wheels. Where the run of the opera is to be long, sometimes they are built
at great expense and are very ingenious; but they always take up considerable
room, and require time to adjust.
In continental theaters what is called the "chariot and jjole " is largely
used. Narrow slits in the stage permit of an upright pole jiassing through it,
the scene being fastened to it. The truck, or "chariot," which supj)orts the
pole runs on the floor of the mezzanine on rails. This manner of shifting
the scenes is sometimes very useful. The chariots can be worked singly or in
gangs, and they can be worked simultaneously Avith the borders and the drops,
as the ropes which manipulate them can all be brought under the control of one
drum or windlass.
Having now described a stage of the ordinary variety, we will take up a
large stage built on conservative lines. The stage of the Metropolitan Opera
House is one hundred aiid one feet wide, and the depth is eighty-four feet.
The height from the stage to the gridiron is ninety feet, to the first fly
gallery thirty-six feet, and the depth of the cellar is twenty-eight feet.
The stage is divided widthwise into four l)i'i(lge.s which run entirely across
the stage. Each bridge is divided into four parts, so there are really sixteen
working bridges. The wings, or side scenes, are held in place by means
of sliding scene posts. The general method of securing the side scenes by
scene frames and extension braces will be understood l)y reference to the
engravings' in the chapter entitled "Fireworks with Dramatic Accessories,"
HKtllXD Ttttl f^CES'P.S Op AX OPERA TlOVSiP. 2ot
ill the present work. When not in u.se, the wings for the opera are temjio-
rarily piled against the side of tlie house. At eacli side of the stage are liuge
scene-rooms. The stage proper is supported ujion an iron framework, and
there are tliree mezzanine floors, though one only is used. AYhen it is desired
to raise any part of the stage above the level in order to represent broken
ground, or for what is called a "runway," or for any other purpose, a narrow
trap door is lifted and a man at each end of the bridge raises it up to the
desired height. The bridges can be raised to a height of twenty-three feet.
They are counterweigh ted, so that it requires very little effort to raise them.
^^^ — 1 ^ F
PLAN OK STAGE OF MKTIJOI'OI.TTAN OI'EWA HOUSE.
It is considered that with this system the stage can be worked about as well
and quickly as iu the far more elaborate hydraulic stages, as those of Buda-
Pesth and Chicago; certainly the simplicity of arrangement is a point in its
favor, and, being jnirely mechanical, it is not liable to break down at a critical
moment. The simple bridges are not favored by all stage machinists, however.
The wing posts slide up and down through the floor and di-op down ibish into
it. They are at the ends of the bridges.
In the Metropolitan Opera House no use is made of the cellar for raising
up the scenes, as they find it more satisfactory to operate the scenes from
overhead, and nothing of the London pantomime order is done. The cellar is
17
BEHIND THE SCENES OP AN OPERA IIOUSK.
259.
valuable, however, for storage puri)oses. Going up several flights of stone
stairs, the visitor arrives at the first fly gallery. Here, as in the other parts
of the house, every precaution is taken to guard against fire. The floor is of
cement resting upon iron girders, and the visitor is at once struck with the
solidity of everything. On each side of the fly gallery is a large iron pipe
throngh which passes at freqnent intervals a series of belaying-pins to which
are secnred the ropes. All of the drops and borders, as well as the curtain,
STORING SCENES IN THE CELLAR.
are worked from the left fly gallery. In theatrical parlance, a scene which is
lowered to the stage is called a '"drop/' while the scenes which represent the
sky are called "borders." The drops at the Metropolitan measure forty-five
by seventy feet. The painted canvases, whether drops or borders, are se-
cnred at the top. The canvas is hemmed so as to permit of a wooden pole, or
batten, being thrust through it. This bar is secured by means of clamps to
the ropes which are to raise the scenes or drops. At the very top of the
building, underneath the roof, is what is called the gridiron. Tt is an iron
framework which supports the pnlleys over which the ropes run to raise the
2G() MAGW: STAGE tLLVStONS AND SCIENTIFIC DIVERSIONS.
drops, borders, aud the border lights. Each scene-droji is supported by five
ropes, and most of the borders are also supported by five ropes, though three
are sometimes used. These ropes are attached at equal intervals along the
length of the scene or border.
Each of the five ropes passes over a pulley on tlie gridiron, or rigging-
loft. The ropes are then assembled and pass down on the left of the stage to
WORKING FLY GAI-LEIIY.
the first fly gallery, where the fly men are located. In raising or lowering
a scene, the five ropes are pulled at the same time, and are secured to the fly
rail by means of the belay ing-pins. Tn all theaters tlie arrangement is not
the same as in the Metropolitan ; in some cases there ai'e two or three fly rails,
each provided with belaying-pins. Usually oiie rail will be in front, as shown
in our engraving, and the others back and at a slightly higher level. The ropes
for the drops, etc., which are not in immediate use, are fastened to the be-
laying-pins on this rail. The fly men climb up to the second and third fly
galleries when heavy scenes are to be raised, and, catching hohl ol' tlie ropes,
descend to the first fly gallei'y on the ropes.
BEHIND THE SCENES OF AN OPERA HOUSE.
261
There were one hundred and eighty coils of rope used in the stage machin-
ery of the Metropolitan Opera House, each containing one thousand one hun-
dred feet, and one thousand feet of wire rope was required to hang each border
light, they being, of course, very heavy. Twelve thousand feet of wire rope
was needed for the curtains and border lights.
The curtain is raised by hand, by means of a winch using wire ropes. An
asbestos curtain is also provided, and may be dropped instantly from the level
of the stage in case of fire, so that the conflagration can be confined to the
" back of the house."
We present an engraving of a corner of the stage, showing the great switch-
board and the prompter's desk, though, of course, in Grand Opera the
])ronipter takes up his position under a hood directly in front of the conduc-
il|!l!|!l«li!!!'i!l1!!lll!!l!il!!lill!!ll!lll!ll!i!l!lil!l!lil!lll!ll|llllll!lllil^
ELECTRIC SWITCHBOARD.
tor, just beyond the footlights. This hood can be dropped down under the
stage when not in use.
Just before the conclusion of the act the conductor of the orchestra rings
an electric bell in the Avorking fly gallery. This is a signal to the fly man to
get ready to lower the curtain, for the conductor knows the exact bar in the
music at which the curtain should descend. At the ])roper moment the con-
ductor rings again, and the curtain descends. When the men in the fly
gallery receive the first signal — that is, the signal to get ready — they turn a
switch which lights a colored electric lamp directly over the small prompt desk
shown in our engraving, where the stage manager or his assistant takes up his
position. When the conductor rings the curtain down, another colored elec-
tric lamp is lighted on turning on a switch by the men in the fly gallery.
Of course, audible signals would not answer. The stage manager or his
assistant stands in front of the little desk and orders the curtain up and down,
ilependijig upon the a])]>]aiisc of the audience, which governs the appearance of
262 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the artists. This little corner very much resembles the interior of the conning
tower of a ship. Here are speaking tubes and electric bells wjiich connect with
all parts of tlie house, from the box office to the cellar.
The inscriptions under the bells are as follows: "Prompter," "Stage,"
"Office," "Carpenter," "Music-Room," "Wardrobe," "Engineer,"
"Orchestra," "Gas Table," "Thunder,"' "Trap," "Fly," "Property
Artist," " Box Office." This means of communication for giving orders and
" cues " is very useful; for instance, Avhen the proper moment for thunder has
arrived, the stage manager pushes the button and it thunders. Here is also a
book upon which is inscribed the exact time of beginning and finishing the
various acts. A door at the right of the desk gives access to the stage in front
of the curtain; there is a corresponding door on the other side of the house.
These doors are very useful, as they enable the artists to appear in response to
encores, withoiit raising the curtain, which means loss of time which is much
needed in changing the scene. It is a wonderful sight to look through the little
peep-hole in the door at the audience. Tier upon tier of splendidly clothed
humanity rises up to the family circle at a dizzy height above. The whole is
bright and gay, and is very different from the practical world behind the stage,
where stand the stalwart stage hands ready for their duties; but, after all, the
world behind the stage has a charm which even the casual visitor willingly
admits.
The electric lighting of the Opera House is very interesting, the switchboard
especially. It is believed to be the finest theater switchboard in the world, and
cost a good-sized fortune. It is known as the Kelly-Cushing switchboard.
From the switchboard every light in the house is controlled both in front of and
behind the curtain. Of course, the necessity of arranging all the lights used
upon the stage so that the colors may be changed, greatly complicates the switch-
board. It is arranged so that the operator can move all the rheostats at once,
if desired, thus producing a gradual brightening or dimming of the lights.
This is done by the large lever at the right of the switchboard. Underneath
will be seen the fuses. At the right will be noticed a number of small switches.
These control the jnlot lights which are fastened at the top of the switchboard.
These pilot lights show the exact condition of every light both in the house and
on the stage; and the electrician, who has absolute control over all the lights
from the great switchboard, can see at a glance what lights he has on, whether
red, blue, yellow, or white, and their brightness. The footlights, Avhich are
between the conductor and the curtain, are provided with fifty candle-power
lamps. The drop scenes, and especially the borders, are lighted by means
of what are called border lights. The border lights consist of a batten
which runs clear across the stage and which is suspended from the grid-
iron by means of wire ropes. Tlie batten is backed with a tin reflector.
There are two hnndrod and thirty-four lamps in each of the border lights,
which are eight in nuiubor. The electric lamps are of thirty-two candle-
power, and arc arranged alternately in coloi's of red. Avliito, l)luo. and yellow.
It is, of course, [)ossiblc for two of the colors to he tui'UfMl on at once if (k-sired.
BEHIXD THE SCENES OF AN OPERA HOUSE. 263
Any degree of brightness may be obtained by maniinilating the rheostats on
the switchboard.
Tbe cables for furnif^hiiig tlie electricity for the border lights are attached
at the level of the lii'st ily gallery on the right side, or tlie side opposite to
the working fly gallery. The border lights are usually maintained at a height
just above the first fly gallery. In case of any breakdown in tlie electrical
system, gas is provided for the borders and the footlights, the burners being
secured to the battens of the border lights the same as the electric lights.
Rubber tubes which furnish the supply of gas are attached on the same side
as the electric cal^le. At the sides of the proscenium opening are what are
called ''side lights." They are one hundred in nimiber, and are of sixteen
candle-power. They are provided in the four colors already mentioned.
Fp in the first fly gallery, at the side of the border liglits, are eighteen arc-
light projectors, nine to the side, seven of which are Avhat are called "open
boxes,"" that is, they have a ground-glass front, and two of them are provided
with lenses and are called '"lens boxes." These arc liglits take the place of
the old calcium lights, and are better and more economical. The wings are
lighted by what are called "bunch lights," several incandescent lights being
placed in front of a reflector. They are supported by a standard. The electric
light can be obtained at nearly all parts of the stage from boxes which are pro-
vided with an iron cover. Gas may also be had for use in various effects.
In some operas, as many as a thousand incandescent lights maybe going on the
stage at one time, in addition to the arc-light projectors already referred to.
There is little wonder that under this intense light the ordinary complexion is
paled, and artifice is required to come to the aid of nature. There are about
nine thousand incandescent lights in the entire house, although they are not all
used at one time. Every part of the house is beautifully lighted, even to the
cellars.
When the Opera House is used for balls, splendid chandeliers are used, which
are stored in the cellar when not in use. The whole stage and orchestra are
boarded over, making a superb ballroom. The Opera House does not have its
own plant for generating electricity. It is all obtained from the street circuit.
It is believed that there is less risk of a breakdown or from fire than if an
isolated plant was provided. Electricity is i;sed in many of the effects and for
running the ventilating fans and the elevators.
\Ylien the house Avas rebuilt after the fire, the gas table made way for the
switchboard. The complicated gas plot is not used at the present time at the
Opera House, the electrician carrying the lighting in his mind, the effects
being determined upon at the rehearsal. Much of the lighting depends on
"cues;" thus, in the first act of "Siegfried," when Wotan appears in the
mouth of the cave, this is the signal for light being turned on him with a pro-
jector; and further on, wdien lie strikes the stage with his spear, white light is
thrown on him.
The electrical organ at the ^letropolitan Opei-a House is interesting. The
organ itself is fixed in the first fly gallery on the right, but it may be jtlayed
264: JfAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
from any part of the stage. At the extreme right of the stage is the organ
trap. When it is wished to use the organ either for rehearsal or for a per-
formance, tlie keyboard is raised by the trap and carried to any part of the
stage, a large cable carrying the wire whicli rnns up to the organ. This
arrangement gives great satisfaction.
Every precaution is taken to guard against fire, which once played such havoc
with the Opera House. Lines of hose are on every floor, and automatic
PAINTING SCENERY FROM THE PAINT BRlDCiK.
sprinklers are in all of the rooms. Axes and flre-hooks are disposed at frequent
intervals. A fireman is on the stage at all the performances, and the men are
carefully trained in a fire drill. The asbestos curtain affords absolute protec-
tion to the audience, as even a fire of the most serious character in the '' back
of the house" would give the most ani[)lo time for all of the audience to get
out comfortably. It may be di-o])])('(l cither from the flies or the stage. It is
lowered at night as a precaution.
'I'hc paint bridgi; is a \\n\o. ])lutl'orni at tJic Irvel of tlic first fly gallery,
ami furnishes a means of communication lictween the two flv galleries. The
BEHIND THE SCENES OF AN OPERA HOUSE. 265
canvas which is to be painted is run up the side of the paint bridge. The
scenic artist thus has access to all parts of the canvas. On the paint bridge
are long tables covered with large earthenware dishes in which the paint
is kept. The visitor Avill probably be surprised to see the enormous cpiantity
of color which is used in painting scenery; the color is mixed with a size.
At the Metropolitan the scenery is painted by daylight, but it can also be
liglited artificially by incandescent lights. The production of a new opera
necessitates the making of large quantities of scenery.
The property-rooms are most interesting. Here you may see Siegfried's
anvil, his forge, Wotan's spear, the Lohengrin swan, or the '' Rheingold; "
while under the second fly gallery will be seen the parts of "Fafner," the
dragon in " Siegfried," which will be described in another chapter. The armory
is a room containing a vast collection of helmets, casques, breastplates, swords,
spears, lanterns, daggers, etc. ; while in a case lighted by electricity are the
splendid jewels, crowns, etc., which make such an effective appearance when
seen on the stage. Here will also be found a model of the old dragon
which was burned up iji the fire. Hung up on one side of the wall is an ele-
phant's head with a trunk which is freely flexible, and in tlie next room will be
found the head of a camel Avhich winks his eyes. In here are also stored the
shields and weapons which the great artists use when they impersonate North-
ern gods and warriors. Under the property master's charge are modeling-
rooms and carpenter shops.
The day on which the opera is to be performed the property master gets out
all of the things which will be needed in the production. They are carefully
stowed away convenient to the stage, or upon it, so that they may be brought
to their proper place without a moment's delay. AVhen it is considered that
the size of the objects varies from the dragon to a pack of cards, it will be seen
that there is a great chance of forgetting something; but should this occur,
everything is arranged so that the error can be remedied with the smallest loss
of time. With properties, as with stage carpentry, everything depends upon
invention, and for every new opera the property master is obliged to devise new
properties and new effects for which he has often no precedent.
When the curtain falls for good after the encores, the stage machinist
blows a sharp blast on his whistle, and as if by magic all the singers and
the chorus who have not gone already, leave the stage, and their places are
taken by a swarm of stage hands. The fly men raise the drops and the
borders out of the way, while the men on the stage take away the mova-
bles and the set scenes. 'J'he wing scenes are unfastened and are placed at
the sides of the stage temporarily, while the new set scenes are brought out
and take their place. If rising ground is to be made, the men raise the trap
doors and, reaching underneath the bridges, haul them up to the jiroper height
and secure them with 2)ins. Then canvas to represent the ground is placed
over the front of the stage and u}) over the broken ground. Rocks and trees
of papier waclie and canvas are brought in and placed in position. If any
things like chandeliers are used, ropes are dropped from the gridiron to
266 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
secure them at the proiier height. The stage machinist stands in the middle of
the stage and gives an order now and then to some of the men, the scenes and
the drops and borders are raised or lowered, or the set scenes straightened until
all are iu order and able to pass the critical eyes of tlie machinist and the
stage manager. All of this is done without confusion, so carefully is every man
trained in his duties. Then calls are sent to the various dressing-rooms, and
the chorus or " supers " are brought out and placed in position. When every-
thing is in readiness, and the proper time has arrived, according to the music,
the prompter, from his little box under the stage, gives a signal which is
transmitted to the fly men, who wind away on the windlasses and raise the
curtain. It might naturally be supjjosed that all is now quiet at the back
and sides of the stage, but this is not always the case; the wings and the stage
back of the last drojj are filled with those Avho are to go on next, and one
may encounter Sicilian bandits, jieasants. Northern gods, or the inemiere dan-
seuse nervously 2^i"icticing her stejas Avith the master of the ballet. The
favored visitor is allowed to walk around in this new world without being
molested, and the opera as seen from the floor of the stage or from the " flies "
is a sight never to be forgotten.
After any one has viewed the ^Ji'od notion of an elaborate opera from behind
the scenes he will never again be in the slightest degree annoyed by the length
of the entr'acte. The only wonder is that the elaborate scenes can be gotten
ready in the fifteen or twenty minutes which elapse between the falling of the
curtain at the close of one act and the raising of the curtain at the beginning
of the next act; and it must be remembered that the artists are frequently the
canse of the delay.
The dressing-rooms at the Metropolitan are not luxurious, but often the
artists fix them up attractively. The dressing-rooms for the supers, chorus,
and ballet are, of course, large.
Few of those who hear the first production of a new opera realize that the
successful performance is the result not only of the singing of celebrities and
perfect orchestration, but also of the patient care which has been bestowed
upon the opera for months by the stage manager and those wlio have helped
liim.
When tlie director of the opera company decides to produce a new opera the
libretto is given to those who are charged with the construction of scenery,
costumes, and properties. The first thing to be avoided is the gross anachron-
isms which are so often seen upon even the stages of first-class theaters. The
examples of chronological errors Avhich might be cited are almost eiulless, and
for interesting examples the reader is referred to "Pictorial Art on the
Stage," by E. AV. and E. 11. Blashfield, in the ''Century,'^ vol. xxxv. At
the present time celebrated artists are often engaged to make drawings of the
scenes and costumes. Tlie results obtained for spoken dramas by Mr. Frank
Millet and Mr. Hamilton Bell are noteworthy. If artists are not engaged to
do the work it is enirusted to carefully ti'ained spociiilists. '^rhey first con-
sult l>ooks of costume and woi'ks bearing upon the i)eriod which is to be illus-
BEHIND THE SCENES OF AN OPERA HOUSE. 267
trated. These matters are discussed by the director, and the designs are modi-
tied if necessary. The scenic artist is then called in to sketch and model
the scenery. He lias a miniature stage on the scale of half an inch to a foot.
Little scenes are made for it of pasteboard, and carefully 2)ainted. They are
placed in position, and are modified from time to time, as required. It is really
Avonderful to the layman to see how many things have to be taken into consid-
eration in modeling a scene. The number of persons npon the stage, the proper-
ties, the music, and the difficulties of setting the scenes, all have to be most
carefully considered, as well as arrangements for traveling on the road.
Finally the miniature stage with all its properties is fully equipped, then the
whole force at the disposal of the stage manager is set to work to prepare
costumes, projierties, and scenery. All possible care must be taken to insure
the projoer effects of color when the costumes and scenery are brought into
juxtaposition. Frequently over two hundred and fifty costumes must be
made for a single opera, so that the costume-rooms of an opera house resemljle
a mammoth dressmaking and tailoring establishment. It is no small task to
preserve the thousands of costumes from dust and moths. Before each per-
formance all the costumes required must be gotten out, brushed, and placed
in tlie proper dressing-rooms. All repairs are made to the garments before
putting them away again. The number of properties which are required for
an opera is frequently several hundred, and they are of all sizes, from finger
rings to immense constructions which require the united efforts of a dozen
me?i to move them. It is naturally to be supposed that j)npier mncJ/eand plas-
ter of paris are two of the most valuable adjuncts of the property master's art.
Probably nothing it] the way of an opera requires such Yankee ingenuity as
does the office of property master. "We have not space to go into the subject
of rehearsals and how the final production of the opera is accomplished, but
we shall endeavor to give a few examples in the next chapter of how some of
the effects are produced.
Before taking up the minor stage effects, as well as those which might be
called ■' theater secrets," we will first describe some interesting old stages, then
stage effects in which the entire stage is required for the production of a certain
effect. In leaving the subject of opera it is only fair to say that the enormous
expense attending the maintenance of the opera house itself, the cost of proper-
ties, lighting, etc., to say nothing of the remarkable salaries of the singers,
really warrants the exaction of what are seemingly high prices. Opera is such
an education to music lovers that it is unfortunate that it cannot receive such
financial aid from the state that its success under good management will be
assured. On the Continent every care is taken to foster the opera. In Paris,
we believe, the government allots an annual subvention of 8U0,0U0 francs.
CHAPTER IL
SOME EEMARKABLE STAGES, ANCIENT AND MODERN.
AN ELECTRIC CURTAIN.
AVe present au engraving of the electric drop scene of the Comedie Fran-
9aise, at Paris. The curtain is held by five ropes, n, which pass oyer pulleys, o,
at the upper part, and wind round a wooden drum, B, to which motion is given
in one direction or the other in order to cause the curtain to rise or descend.
Such motion is obtained by the aid of a belt connected with an electrical shunt
motor, F; a counterpoise, D, held by a rope which passes around a drum, assures
an equilibrium at every point. It is an easy matter to maneuver the curtain
by means of the motor, the curtain being raised as required. Three dif-
ferent velocities in descent and two in ascent are obtained. The maximum
velocity of descent is five feet per second, the medium is three feet six inches,
and minimum is three feet five inches. The velocities of ascent are respectively
two and one- half and three and one-half feet per second. This was, we
believe, the 2>ioiieer of all theater curtains which were w'orked by electricity.
There have been many since.
THE FAN-DROP CURTAIN.
In Japanese ballets a large fan is sometimes used in place of a drop curtain,
and in some of the Paris cafes: a fan is also used, as this enables them to make
evasion of the law relating to theatrical perfornumces. We present an engrav-
ing showing the fan at the Paris Opera House, in a ballet called "Ze Reve''''
(The Dream).
It scarcely differs in principle from an oidiiiary fan, but the sticks are
twenty-three feet in length; that is to say, two stoi'ies high. There are in all
ten sticks that revolve around the same axis (letter K in our second engraving).
They are connected by strips of canvas of the sainc; width. The two extreme
sticks, A and 1^, and the two center ones, C! and D, are ])rolonged beneath the
axis of rotation. It is these four sticks only that are acted upon in order to
open and (dose the fan. Othoi's |»arti('i]):it(' in Ihcir motion through arcs of
iron which connect one with tlie other. The inunuuvering apparatus is readily
ELKCTIilC DKUl' SCKNK OK THE (O.MEDIK KKAN(;aI!<E.
270 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC D I V IJRSloNS.
understood by reference to our engraving, the ropes from the four working
sticks of the fan running over windLasses. The fan is arranged in advance
FIG. 1.— VIKW OK THK FAN AT THK I'AKTS OPEKA HOU8E.
under the stage. In the middle of the first act it is mounted vertically, all
closed, upon the stage, behind the streamer which completely hides the maneu-
AIM'AlJATrs FOli MANEUVEUINO THE FAN.
ver. The fan is manipulated by two men, one at each windlass; moreover,
the work is facilitated by the use of cables, provided with counterpoises, which
SOME REMARKABLE STAGES, ANCIENT AND MODERN. 211
are hooked above to the four principal sticks and pass over guide pulleys
placed in a semicircle. The cables are concealed behind a decoration repre-
senting foliage which hides the edges of the fan.
AN ELEVATOR THEATER STAGE.
We present an engraving of the theater stage of the jVEadison Square The-
ater, New York City, which shows a remarkable advance in stage management.
The first movable stage is probably that which the late Steele Mackaye patented
in 1869. The details of Mackaye's patent were not completely worked out,
but this was done by jMr. Nelson Waldron, the stage machinist, who elaborated
the system and obtained a patent on it. The stage in the theater we refer to is
moved up and down in the same manner as an elevator car, and is operated so
that either of its divisions can be easily and quickly brought to the proper level
in front of the auditorium. This enables the stage hands to get one scene ready
while the other one is in view of the audience. The shaft through which the
huge elevator moves up and down measures one hundred tind fourteen feet
from the roof to the bottom. The stages are moved up and down in a com-
jmct, two-floored structure of timber strapped with iron, and knitted together
with truss-beams above and below, and substantially bound by tie and tension
rods. The whole construction is fifty-five feet high and twenty-two feet wide
and thirty-one feet deej), and weighs about forty-eight tons. A vertical
movement of the structure or car is twenty-five feet two inches at each change.
The car is suspended at each corner by two steel cables, each of which would
be capable of supjiorting the entire structure. These cables pass upward over
sheaves or pulleys set at different angles, and thence downward to a saddle to
which they are all connected. Secured to this saddle is a hoisting cable attached
to a hoisting drum, by the rotation of which the stage is raised or lowered.
Only about forty seconds ai'e required to raise or lowei' the stage in i)osition,
and the entire structure is moved by four men at the winch. The movement is
effected without sound, jar, or vibration, owing to the balancing of the stage
and its weight with counterweights, which are suspended from the saddle to
which the cables supporting the stage are attached.
The borders and border lights are supplied to each of the movable
stages, and each stage has its own trap floor, with traps and guides and wind-
lasses for raising the traps. The space for operating the windlass uiuler the
top stage is about six feet. Our illustration shows that while the jilay is pro-
ceeding before the audience, the stage hands are setting the scene on the stage
above.
.STAdK UK TIIK MADISON SC^IJAUK TIIKATKK, NKW YOIiK ( ITY.
BOME REMARKAbLE STAGES, ANCIENT ANT) MODERN. 273
SOME REMARKABLE AMERICAN STA(iE 1 \ \ EM'loNS.
The fact that there have been many important ami l)rilliant inventions
relating to stages made by Americans has been overlooked, and nearly all of the
literature of the subject does not consider them at all. 'J'his is probably owing
to the fact that in many cases the inventions have been i)lanned" out on so
large a scale they can hardly bo nsed, and, unfortunately, they usually exist
only on paper. Still, ^ve cannot help but admire the genius of such men as
Steele Mackaye, whose inventions in this line were most remarkable, and to
whom we have already referred in reference to the elevator stage. AVe now
purpose to describe one of the most gigantic affairs that was ever devised for
obtaining scenic effects. It was intended for the " Spectatorium "' at the
World's Fair at Chicago, in 1803. It will be remembered that the unfinished
building was just outside the lower end of the Fair gronnds. Unfortunately
the scheme Avas not carried out.
In brief, Mr. Mackaye's idea was to increase realism in the jierformances,
and, at the same time, lessen the time of the waits between the scenes. To
this end he devised means for producing various scenic effects in imitation of
natural or other scenery, with sjiecial reference to the proper presentation
of important historical or other events, as, for instance, the discovery of
America by Columbus or the burning of Rome by Nero. liis arrangements
permitted of the exhibition of various occurrences, either on land or water, in
such a manner as to give the effect of the actual occurrence. Thus, near and
distant moving objects were to be moved at different rates of speed for the
production of perspective moving scenic effects. Ilis invention consisted
primarily of the combination of movable stages adapted to support and carry
the scenic arrangements and properties or persons. The building might, of
course, be of any desired form ; a proscenium wall or arch was to be provided,
and Mr. Macka3"e devised an adjustable proscenium openijig to meet the vari-
ous requirements of the drama. Back of the proscenium arch was a series of
stages which could be made in any desii'ed shape and fitted to support and carry
scenes, properties, or persons. They were provided with rollers or wheels and
ran on tracks or floated on tanks. These stages, or cars, as they might be termed,
were to be moved over a track which was really a segment of a circle. In order
to save space the cars were so arranged that they would telescopic. As already
mentioned, the cars could be driven at any rate of ' S])eed; thus, where there
were four concentric stages, the one the furthest away from the audience could
be moved much slower than the one nearest the spectators. Electric luotors and
cables Avere to haul the moving stages over the curved tracks, or guideways.
Ample facilities were to be provided for the use of vessels; the various tracks
on which ran the scenic car being arranged so that they could be flooded with-
out interfering with the moving of the scenes.
Waves were to be produced by what was known as a " wave maker," con.si.-i-
ing of a plate pivoted to a reciprocating frame which Avorks in guideways
18
214 MAGlV: STAdl'J ILIA'SJONS AND SCIhJNTlFK! I)J \ KJ.'SlONS.
fitted within clianuel bars, -vvliich are secured to plates forming a canal con-
nected with the curved water ways or channels. The wave plates were to be
connected by a pitman rod to the crank wheel or shaft of an electric motor.
When it was desired to give the effect of waves upon the surface of the water
contained in the reservoir of the foundation floor of the scenic department
which overspreads this department to sufficiently conceal the tracks in the
water channel, the wave maker could be set in motion by the operator or
prompter turning on the current to the motor. Channels, conduits, sluices,
and gates were to'be provided to cause the water to flow from one channel into
another. The current was to be made by spiral blades or archimedean screws
jonrnaled in proper supports and geared to electric or other suitable motors.
The rotary motion was to be imparted to the blades to force the water through
the clninnel and thereby produce a cnrreut.
Powerful electric fans were to be provided for the purpose of forming cur-
rents of air for producing the effect of a gale of wind blowing in either direc-
tion, and a motor in the dome over the scene would permit of the currents of
air descending, ascending, or moving in a rotary course, so that the effect of a
stiff gale, a hurricane, or a cyclone could be produced. The air could also be
sent through flexible tubes, so. that it could be guided in any desired directioii.
Mr. Mackaye had several other devices, also, for prodncing atmospheric
effects upon the stage. What he termed "' cloud creators," or " nebulators,"
consisted essentially of a clond cloth having the cloud forms of shadows placed
thereon and adapted to move in front of an illuminating lamp so as to cast the
cloud shadows over the landscape or scenic arrangement, or produce the effect
of moving clouds upon a sky foundation or other surface. The cloud cloth
may consist of any suitable material, on which may be placed various cloud
effects or forms, the cloth being secured to a sliding frame or fitted over rollers,
so as to move in proximity to an illuminating coloring device, from which light
may pass through the trans])arent or semi-transparent material on which the
cloud effects or shadows are placed so as to cast the shadows upon the scenic
arrangements or sky foundations, thereby imitating clouds moving through the
sky, or cloud shadows moving over land and water. Rain was provided for by
a series of perforated pii^es connected with a water supply, so that a gentle rain
or a hard shower could be jiroduced. These pipes were to cross the stage, being
secured to the fly galleries. The fog producer consisted of a trough contain-
ing lime. This trough, which was suspended from the fly galleries and the
roof, was to be lowered into another tank, slacking the lime, and thus forming
a fog, the wind-making permitting of the lifting or the dissipating of the fog.
A whole series of the " nebulators," " umbrators," and fog and rain producers
was arranged for, the patent drawings showing six. The audience could see
nothing of the mechanism, as each w.'is masked by borders. The scenes, with
Mr. ^lackaye's system of lighting, could be painted in their natural color,
the high lights not needing to be emphasized as in ordinary scene painting.
Another curious inventio)i is what Mr. j\Iackaye was ])leased to term a "lux-
auleator. " It was a stage appliance which was intended to prevent the audi-
SOME JiE.VARh'ABLE STAGES. ANCIEyT AXD MODERX. 27o
eiice from witueissiiig the operations or movements of the actors behind the
{)roscenium opening between t]ie acts or when it was desired to shift or rearrange
stage scenery. Tlie invention consisted of a series of lights, set in backings or
reflectors, phiced in the form of a border or other suitable arrangement around
the proscenium opening so as to tlirow the space in the rear of the opening
into complete shade while flooding tlie other space, as the auditorium, in front
of the opening, with rays of liglit. and so crossing each other and blending in
such a manner as to intercept all sight of anything that may be placed or
moved in the shaded portion of the stage. By this means the ordinary drop
curtain may be dispensed with. and. at the same time, it renders it unnecessary
to extinguish the light in the auditorium when removing or shifting stage
scenery. This was tried in a model and was found to be satisfactory. In
view of Mr. ]\Iackaye's remarkable invention, it can never be said that
America is behind England and the Continent in the matter of stage business,
and the inventions of iMackaye are representative ones of a whole class of
American inventors, although their work was perhaps not so brilliant as
his.
Another interesting theatrical construction is that of Mr. Claude L. Hagen,
the master nuichinist of the Fifth Avenue TJieater, Xew York City. In brief,
the invention provides for a building preferably of circular form, in the center
of which is a circular pit or cistern provided with an entrance which may be
used by carriages and persons on foot. This entrance is provided with a
lock gate which can be closed, so that the cistern or pit can be tilled with
Avater for aquatic purposes. The pit can also be used for a circus ring,
horse show, etc., or can be filled with chairs, or used for a standing audi-
ence or promenade; the center may be occupied by an electric fountain.
From the edge of the pit rise the tiers of seats and boxes in a similar
form to that of the Coliseum at Rome. The stage is designed to permit of a
series of tableaux or pictures being built permanently, so that it will not be
necessary to resort to the scene painter's art to give light and shadow. There
are no borders or overhead scenery, but the light is arranged to move iu the
same manner as the sun, surrounded with large cylinders of glass so covered as
to cause the lights on the scenes to be the same as in nature.
The proscenium opening is at one end of the circular building, and the
circular stage surrounds the entire auditorium, revolving into the empty space
underneath the tiers of seats and boxes. The space underneath the tracks in
which the stage runs being used as an arcade, connection with the lower por-
tion of the tiers is by means of stairways at the foot of each aisle, there being
similar exits midway of the aisle, connected with drawbridges to the stairways
on the exterior of the building. The top of the tiers of seats opens on to a wide
promenade which connects with a roof garden or rafe on the portion of the
building over the stage, behind the jiroseenium aisle. Entrance to this prom-
enade is made by means of endless traveling stairways which form parts of a
broad stairway. The moving stairway in case of accident is automatically
locked with and into the solid portion of the stairway, thereby forming an
276 MAGW: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
ample means of egress. The arrangement for the stage is of great interest, as
the scenes can be built in the most elaborate manner, and the effect is, of
course, far more realistic where real earth, trees, fences, etc., can be used.
Where a piece is to have a long run, as a spectacular performance, this added
realism will prove of great value, and the labor and time which is expended in
preparing the stage for each performance will be saved; for at the termination
of the scene the electric motors or other sources of power are put into motion,
the entire stage is rotated, and the next scene is moved in front of the prosce-
nium aisle.
A portion of the revolving stage consists of a tank filled with water, so that
marine scenes with ships and boats can be produced. For example : in case a
drama of "Columbus" was to be produced, Columbus is discovered bidding
his friends fareweU on the shores of Sj)ain ; he then gets into his boat, and the
stage is caused to slowly revolve, bringing into view his ship. The land then
disappears from view, and this is succeeded by scenes of the voyage, storms,
etc. Then the floating branch of the tree is discovered; then the coast of
America appears; then the disembarkment takes place; and this is followed by
the journey into the interior. Of course, the movement of the stage can be
reversed, and the return journey made.
The circular stage platform can at any time be cleared of all its appurte-
nances, and the stage can be used as a race track, being caused to move in a
direction opposite to that in which the horses run, and at such a speed as to keep
the horses in view through tl)e proscenium opening. Thus, the whole course
of a steeple chase, a hurdle or other race, or even a fox hunt, can be shown to
an audience, with the fences, walls, waterways, and other scenery moving in the
most natural manner. The whole plan seems to have great flexibility, and it
is to be hoped that at some time one of these interesting buildings will be built.
A EEVOLVING STAGE.
For some years past the ])ublic has been demanding more and more realistic
representations of plays. Managers have found great difficulty in satisfying
this demand, owing to the time required to set elaborate scenery. The public
Avill not stand long waits, whicii are often sufficient to cause the failure of a
play or opera. These delays are bad enough between the acts, but in plays
or operas which necessitate changes of scene during the acts, the waits be-
come well nigh unbearable ; and many of the works of Scliiller, Goethe, and
Shakespeare become well nigh monstrosities, as many of them are divided
into interminable acts aiul scenes. This difficulty has been sometimes avoided
by the use of an elevating stage such as we have just described, or by the
so-called '' Sliakcs})eare stage," in which the front part of the stage remains
unchanged, while on the raised rear stage different scenes succeed one another.
CHA.NUE FKUM TlIK THIRD TO TUE FOUKTH SCENE OF THE FIltST ACT OF " DON Jl AN.
278 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
This is regarded as eminently nnsatisfactory. Baron von Perfall, manager of
the Munich Theater, ji^blished a book setting forth his ideas in regard to the
thorough transformation of the stage as it then existed. The manager of
the royal stage in Munich made a practical and successful test of the inven-
tion of Herr Lautenschlager, the mechanical director of the Royal Theater of
Bavaria. The revolving stage was used in a representation of Mozart's " Don
Juan." When the nature of the invention first became known, many people
associated it with a device used on Japanese stages, which consists of a revolving
platform in the center of the stage, a similar device being employed in Amer-
ica and England for displaying "living pictures; " but this arrangement has
only a superficial resemblance to the revolving stage we are considering. The
arrangement nsed at the Court Theater at Munich is essentially as follows:
On the ordinary stage floor is placed a revolving disk, or platform, wliicli
raises the floor slightly. This circular platform is fifty-two feet five inches in
diameter, and presents not quite a quarter of a circle to the pi'oscenium open-
ing, which is thirty-two feet nine inches wide. It turns on rollers that run on
a circular track ; the revolving mechanism is driven by electricity. If a scene
is set on the quarter circle presented to tlie audience — perhaps a closed room
of considerable depth — something similar can be arranged on the opposite side
of the platform whicli opens to the rear of the stage, as well as on the other
quarters, so that four different scenes are set on the stage at the same time.
For a play of four acts, requiring a different setting for each act, all four
scenes can be jn-epared beforehand, and at the end of the first act the stage is
turned a quarter of a circle (which requires about ten or eleven seconds), and
the scene desired for the ]ie.\'t act is presented to the audience; and so on at the
end of each act. In case three changes Avere required in one act, after tlie por-
tion of the stage occupied by the first scene had been turned away from the
audience, it would be cleared and set for the first scene of the next act. The
scenes need not be limited to representations of closed rooms; any desired
scene can be set on the turning stage, and, if necessary, the whole stage can
be used the same as any ordinary stage. Difficulties will occur only when two
scenes requiring great depth — for instance, two landscapes witli distant views —
follow one another. But llerr Lautenschlager has shown that even these diffi-
culties can be overcome by setting the scene along the radius of the circular
stage so that the portion used decreases considerably toward the rear, and in
this way he gains the entire depth of the stage for another scene. Much more
of the artistic element enters into the setting of a stage of this kind than of a
stage that is set on straight lines.
The reader will understand the above al'tei- an examination of the accom-
panying ])lans, Mhieh show the stage set for tlie third and fourth scenes of tlie
first act of *• ])on Juan." The third scene shows Don Juan's gardeji, in
which the peasants invited to i\\o fete gather and the maskers meet. This is
changed to the liall in wliicli tiic first act closes. As sliown l)y the ])lan,
(!onsideral)le de[)th was retjuired for this sceiu". Our large illustration shows
iiow this change is accomplished, or how it would appear if darkness did not
5280 MAGIC: STAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
prevail wlien the stage was being turned. Before the garden had completely
disapjieared, a portion of the liall would be visible, with all the life and motion,
the dancers, and the gaily dressed crowd of guests.
The " under machiuery " — the traps, chariots, bridges, etc. — are worked in
various ways, and they are as accessible and as easily managed as in the ordi-
nary stage. The overhead work is about the same as in any other modern iron
tlieater.
A stage of this kind, constructed of iron, and equi])ped with electrical driv-
ing devices, wonld meet the most exacting requirements of the present age.
The success of Herr Lautenschlager's plan in the JVIunich Theater gives ground
for the hope that it will soon be adopted in other theaters.
The inventor of this stage, Karl Lantenschlager, was thoroughly educated
as an engineer, and has had so much experience in the management of the
mechanical devices of different theatres that he is admirably fitted to plan a
thoroughly practical stage which meets the entire approval of those interested
in "stage reform."
A revolving stage was patented by an American, Mr. Charles A. Needham,
in 1883. It certainly seems to contain the germ of Herr Lautenschlager's in-
vention. A Mexican, J. llcrrera y Gutierrez, of the City of Mexico, invented
in 1892 a theatrical arrangement in wliich the conditions of the revolving stage
are reversed. In the center of a circular building were five andifcoriums form-
ing a circle which was capable of turning. The stages were rectangular and
siiri'ounded the auditoriums. A different scene was set upon each, and the
auditoriums were turned, facing each scene in turn.
THE ''ASPHALEIA" STAGE.
In some theaters there is a whole series of traps worked by hydraulic
power. These traps are capable of raising a whole section of the stage if
desired. In the so-called " Asphaleia" stage — in which each trap goes right
across the stage and is divided into three parts, each of which rests on the
plunger of a hydraulic press, so that it can be raised and lowered either inde-
pendently or simultaneously with the rest of the traps in that division — the
whole of the floor can be raised or lowered as desired. It will be readily
seen that by this means a stage manager has at his disposal a very effective aid
in setting a large scene. Each section of the floor of the stage can be fixed
in an oblique position, and the traps can bo arranged one after the other so as
to form a succession of steps, bridges, b:ilconies, or even a sliip, in a moment,
with ])erfect safety, a)iil without previous pi'epara,tion. '^Phe old clumsy timber-
work set pieces aiul the building uj) of scenes is avoided, and tlie method of
working is in many ways an ideal one, but, after all, does not seem to possess
tlic fl(!xibility of a series of divided bridges such as are uscmI at the Metropolitan
OjxTu Ifouse, New ^'oi'k. The hydraulic ii-ajts jicrniitol' the easy representation
THE "ASPUALEIA" STAGE, SUOWI>'G UYDKAULIC TKAPS AND HORIZON.
2S2 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
of uneven ground, which strengthens the jiossibility of ilhision and gives a
chance for a far more picturesque arrangement than is permitted on the plain
ordinary stage. The trap arrangement of the " Asphaleia " stage should be
regarded as something more than a mere arrangement of traps. • In this theater
it is arranged so that entire scenes can be raised and lowered through the
slides simultaneously. It is possible to raise up from below the stage, in view
of the audience, a complete scene representing a room. With these facilities
the waits are very much shorter. The hydraulic stage of the Chicago Audito-
rium is a fine example of good hydranlic work. In the "Asphaleia" stage
even the drop scenes are manipulated by hydraulic power from a central point.
The fire curtain is also actuated by a hydraulic cylinder fixed to the middle of
the fire curtain. Valves are provided in various parts of the stage, which per-
mit of dropping the curtain. For detailed information concerning the splendid
stages at Halle, Buda-Pesth, and Chicago, the reader is referred to Mr. E. 0.
Sachs's series of articles on '' Modern Theater Stages," in " Engineering" for
October 23d and November 13, 189G, and to his monumental books upon the
same subject.
In our engraving it will be noticed that the horizon is represented by a can-
vas background like a panorama. In the "Asphaleia" theater the back of the
stage is much wide)', as compared Avith the opening of the proscenium, than
it is in ordinary theaters. Its whole area is surrounded by a continuous cloth
scene, on which there is painted a sky called the horizon, which runs from the
back of the stage and up each side for quite a distance. In order to produce
the effect of an unbroken surface the corners are rounded off very carefully so
that the eye of the s2)ectator is not brought up by the wings. AVith this sys-
tem it is no longer necessary to use so much rock and tree work, and it is quite
possible to represent boundless plains or the illimitable expanse of the sea.
This continuous horizon not only helps in the illusion, but it reaches so high
up that borders are no longer needed. The horizon, like the canvas in a cyclo-
rama, represents a uniformly illuminated surface, which gives the same impres-
sion as the sky. The horizon is carried by the rollers, and it may be painted
so that at a moment's notice the different aspects of the sky can be represented,
from the deep blue of Italy to the mists and fogs of the North, and from the
fleeciest clouds to a sky heavy with thunder. It is even possible to change, the
nature of the sky during the action of the play or opera.
Another very important feature of the '' Asphaleia" stage is the system of
lighting; gas battens and footlights arc dispensed with. In the "Asphaleia"
theater there is a special arrangement of the proscenium; all the lighting
is done from the side. There are many other interesting features of the
"Asphaleia" stage, which is almost entirely fireproof, and tends not only to
minimize the danger of fire, but also to insure the safety of the workmen and
artists. This form of theater stage is. of course, expensive in its initial outlay,
but it is niucli cJiciiiK'r in its actual woi'kJTig. ()])iiii«)ns seem to be very much
divided as to its niei'its; at any rate, it is a most interesting example of the
most modern form of entJ^ineeriny' talent beins devoted to the buildint; of a
SOME REMARKABLE STAGES, AXCIENT AXl) MODEIiN. 283
tlioronglily scientific stage. M. Georges Movnet says in '' Trues el Decors,''^
from which we take our engraving, that the manipuhition of the scenery at
Buda-Pesth is very slow and that the cellar is very damp.
We have just described the "'direct ram" system of operating traps and
bridges, but it will be readily seen that the space required for the rams is prac-
tically lost, so another system is sometimes used. This is called the " crane "
system. In this the bridges and traps are maneuvered by wire ropes which
are worked by hydraulic rams placed against the walls of the stage building.
Some of these systems are A^ery comjilicated, but the results are very satisfactory,
and are said to be economical, doing away with much handwork, especially so
in the day-time.
The Court Theater at AVeisbaden possesses a very novel feature. Tlie entire
space occupied by the musicians is really a gigantic tra]). the whole floor
being raised or lowered Ijy hydraulic power, noiselessly and in a moment. This
device was installed by llerr Fritz Brandt, of the Berlin Court Tlieater. Tlie
idea of having an orchestra movable was to permit of the musicians playing at
the bottom of the pit when the production of a Wagnerian opera was given, as
Wagner believed that the musicians should be out of sight. He made arrange-
ments at the theater at Bayreuth by Avhich the orchestra is entirely concealed
from view, the sound coming from the bottom of the deep orchestra well. At
Wiesbaden, if a small operetta is to be given, the platform for the musicians is
raised to tlie normal height. This arrangement is valuable in other ways, for
in the case of a ball the platform may be run to any height. The hydraulic
rams are powerful enough to raise the entire load of sixty-five musicians, so
that if desired the orchestra can be see-sawed up and down according to the
requirements of the score. The Lyceum Theater, Xcav York City, is similarly
equipped.
A THEATER WITH TWO AUDITORIUMS.
The people of jSTew York City have the reputation of being the most tire-
less theater-goers in all America; a statement which is verified by the ever-
increasing number of large and well-filled places of amusement. Of late
years the growth of tlie popularity of the style of entertainments Avhich are
classed under the name of "" vaudeville " has called into existence a special type
of theater, which, in addition to the resailation stage and auditorium, includes
special halls of entertainment, with lounging-rooms, rafcs, etc., and, for use
in the hot summer months, the inevitable roof garden. To judge from the
nightly programme of a first-class house of this type, the excellence of the
performance is measured, after its quality, by its length and variety. The
more rapidly the various artists can make "their exits and their entrances,"
the more concentrated amusement can be packed into any given hour of a
"continuous performance."
It was with a view to enlarging the stage capacity that the proprietor of
Proctor's Pleasure Palace, in 'New York City, resorted to the bold expedient
SOME REMARKABLE STAGES, ANCIENT AND MODERN. ^85
wliich is sliown in the illiistratioii on i)age 284, from which it will be seen
that a single stage is made to do duty for two separate auditoriums. The way
in which this was accomplished will be seen by reference to the sectional dia-
gram, which is taken longitudinally through tiie auditorium pro])er, the stage,
and the new auditorium, which is known as the Palm (jrarden, being so named
after the palms and tropical plants and vines with which it is decorated. The
part of the diagram which includes the auditorium and the stage shows the
construction of a typical summer theater of to-day — the cafe in the basement
and the roof garden being special features in a house of this kind — which intro-
duces no new structural features of much consequence beyond a strengthening
of the roof supports. Stripped of its galleries and scenery, a theater consists
of two four-walled structures, the auditorium being about square in plan, and
the stage floor about the same width as the auditorium, and half the depth.
Tlie walls of the stage are carried considerably higher than the roof of the
auditorium, in order to accommodate the drop curtains, which are hung by
ropes that pass over pulleys attached to what is known as the gridiron, a
stout framework located near the roof of the scene loft. When the drop
curtains are not in use they are raised clear of the proscenium, as the opening
from the stage to the audience is called, and hang in parallel rows as shown in
the diagram. Below the stage floor are shown the traps. Here, in the older
theaters, were frequently located the dressing-rooms of the performers, though
the more modern arrangement is to build them at the sides or the rear of the
stage.
In carrying out the idea of a double stage a hall was built immediately
behind the theater proper, and a proscenium arch was cut through the rear
wall of the stage, the floor of which was carried out into the hall and provided
with the regulation footlights. The new proscenium was provided with its
own curtain, and all that was then necessary was to paint the backs of tlie
existing wings and drop curtains with scenery, and the doubling of the stage
was complete.
The original intention was to have three or four perf(jrnuinces of such a
character that they would not interfere with each other going on upon the stage
at the same time, and during the summer months this Avas frequently done.
Ordinarily, however, the ciirtain opening to the palm garden is kept lowered,
and it is raised only during the intermissions, or when special acrobatic, gvm-
nastic, or animal acts are in j)rogress. A passageway leads from the audito-
rium to the palm garden, which are both accessible to the audience at all times.
This is the first time that such an experiment as this has been tried, and its
results will be watched with considerable interest. The elfect as one looks
through the stage may be judged from the larger engraving.
SOME REMARKABLE STAGES, ANCJE^T AM) MUDERX.
281'
CURIO'S PivoTp:r) theater.
One of the most ingenious of tlie ancient theaters of which we have any
record is that devised by Curio, which is described by Pliny. In the Inilf cen-
tury before Christ, a Avealtliy Roman citizen coustrncted a theater capable of
holding eightv thousand persons. The stage of this theater was ornamented
with three hundred and sixty cohimns, and between these columns tliere were
in all three thousand statues. Curio not being able to do anything more mag-
nificent, was, according to Pliny, obliged to substitute ingenuity for extrava-
gance; he therefore constructed two large wooden theaters near each other, and
they were so arranged that each could be revolved upon a pivot. In the morn-
ing plays were put upon the stages of each of the theaters, the latter being
back to back. In the afternoon the theaters were all at once revolved so
as to make them face each other, the people being carried witli them. It
was only necessary to connect the corners of the two theaters in order to have
an amphitheater in Avhich gladiatorial combats might be exhibited.
It is rather extraordinary that the Romans should have allowed themselves
SECTION OF CUKIO'S riVOTKD THKATER.
^88 MAGIC: STAGE ILL US TONS AND SCIENTIFIC DIVERSIONS.
to be carried around in tliis unstable niacbiue. Tlie theater, of course, was
only for temporary use, but during the last day of the celebration. Curio was
obliged to change the order of
his magnificent entertainments,
since the pivots became strained
and out of true. The amphitlie-
ater form was therefore pre-
served. The mode in which
these theaters were constructed
has occupied the attention of
several learned persons. The
architects in the first century
before Christ were accustomed
to build wooden theaters; the
first stone one was built in
Rome by Pomjjey. It will be
seen that the transformation
due to Curio's imagination
might have been effected, as
Pliny indicates, by a rotation
around the pivots, P and Q, of
the two great theaters, Avhose
framework rested upon a series
of small wheels movable on cir-
cular tracks. The stages, C
and D, of the theaters were
constructed of light framework,
and were so arranged that they
could be taken down and pushed
back at C and D', and thus al-
low the two theaters to revolve
on their own axes so as to come face to face, while leaving between them only
the space necessary for rotary motion. This space was then filled with light aiul
movable pieces of framework, A and B, which formed on the ground floor
vast doors for the entrance of the gladiators, and, in tlie story above, boxes foj
the magistrates.
PLAN OK CUHIO S I'lVUTKD TIIKATER.
SOME REMARKABLE STAGES, ANCIENT AND MODERN. 289
THE OLYMPIAN THEATER OF PALLADIO AT VICEXZA.*
The oldest permanent theater in Europe, at least of those bnilt since the
time of the Romans, is the Olympian Theater at Vicenza, Italy, and it is the
last of its race. Before considering this curious theater it ■would, perhaps, be
well to glance for a moment at the history of the theater in ancient and mod-
ern times. In the old Greek Theatre the spectators were seated in a semicircle
in front of a raised platform on which a fixed architectural screen was pro-
vided. The action took place upon this stage. The dramas of the Greeks and
Romans were of the simplest kind, the dialogue being simple, rhythmical,
and often intoned. The amphitheater, in which the seats rose in tiers, could
accommodate a large number of spectators. A theater with a radius of three
hundred feet conld seat twenty thousand spectators. The best counterparts of
the Greek theater are some of the concert halls which were built specially for
oratorios and concerts. The Greeks fully understood that the facial expression
of the actors Avas lost, the spectators being so far away from the scene of the
action of the drama. They attempted to overcome these difificulties by
requiring the actors to wear masks with strongly marked features, and to
increase their height they were provided with high-heeled shoes. The opera
glass in the modern theater has, of course, done away with all objections of this
kind.
The modern theater is the result of the blending of the old circular theater
of the Greeks with the rectangular theater (so-called) of the ^liddle Ages.
The earliest mediieval theaters in Italy and Spain consisted of courtyards Avith
balconies which were impressed into the service, and jilays were often per-
formed in churches ; but in France the climate was so bad that the tennis
courts were used. The trouble with the tennis court was that, owing to the
diflficulty of rooting a large open space, the room could be only forty or
fifty feet wide, and only six hundred to one thousand persoiis could see
and hear to advantage. The accommodations had to be increased by tiers of
boxes. The conch-like arrangement of classical times was soon found to be
unfit for a spoken dialogue, wdiich cannot be well heard more than seventy-five
or eighty feet away, or the expression of the actors' faces appreciated at a greater
distance, so that the next improvement was the roanding off of the corners of
the room and the multiplication of boxes, Avhich were placed tier upon tier in
the same manner as high office buildings ~are erected, to give increased accom-
modation, owing to the smallness and great value of some of our city blocks.
In 1075 Fontana invented the horseshoe form of theater, which has not
been departed from. In opera houses and lyric theaters the curve is elongated
into an ellipse Avitli the major axis towards the stage. In theaters for the
spoken drama. Avhere people must see and hear, the contrary process was neces-
sary and the front lioxes were brouglit near the stage. Tiie introduction of
*By Albert A. Hoi>kins,
19
*
290 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
painted movable scenery seems to have been due to Baldassare Peruzzi, who
used it in 1508 in the iDroduction of " La Calandra,^^ which was played before
Leo X. Further improvements led to the necessity of a recessed stage with a
framing like that of a picture. Such is in brief the development of the modern
theater.
Palladio (1518-1580) was a native of Vicenza, a town in northern Italy,
forty-two miles west of Venice. He was an architect of the first order, and it
is difficult to mention any architect Avho exercised a greater influence on the men
of his time as well as on those who succeeded him. He was an enthusiastic
student of antiquity, and, fascinated by the stateliness and charm of the build-
ings of ancient Eome, he did not reflect that reproductions of these, even when
they possessed great archifiological accuracy, were often lifeless and unsuited to
the uses of the sixteenth century. His writings and architectural work ren-
dered it easy for those who came after him to reproduce buildings which were
faultless in their details, but which were cramped, formal, and cold. The Oer-
tosa of Pavia would have been impossible in London, yet under the inspiration
of Palladio, Sir Christopher Wren was enabled to construct in London the
Cathedral of St. Paul, which would have done honor to the great Italian master
himself.
Palladio died before the theater at Vicenza was completed, and it was fin-
ished, though not altogether after the original design, by his pupil and fellow-
citizen, Scamozzi. It was an attempt to reproduce the classic theaters of
Greece and Eome, and his friends assisted him by sending designs of antique
buildings to help him. It consists of an auditorium under an awning in the
form of a semi-ellipse, it not being possible, from the narrowness of the situ-
ation, to use a semicircle. Its greater diameter is ninety-seven and one-half
feet, and its lesser as far as the stage is fifty-seven and one-half feet. Fourteen
ranges of seats for the spectators follow the curve of the ellipse. At the
summit of these receding steps, or seats, is a corridor of the Corinthian
order, which, from the narrowness of the ground, could not be detached from
the outer wall at all places. Palladio therefore filled up the nine center and
the three external columnations, Avhere the statues touch the external wall, with
pieces of statuary. The orchestra is five feet below the seats. The scene, which
is sixty feet broad, is an architectural composition of two orders of the Corin-
thian style superimposed, which are surmounted in turn with a liglit and well-
proportioned attic. On the stylobate of the second story are placed statues,
and the inter-columnations are enriched with niches and statues. The panels
of the attic are ornamented with reliefs of the "Labors of Hercules," and the
center panel over the largest of the three openings in the proscenium, which
is arched, with a representation of an ancient hippodrome. Over the arch is
the following inscription: *' Viktvti ac Gento OLYMPicoRVisr Academia
Theatrvm iioo a Fvnuamentis Euexit Anno MDLXXXIIII. Palladio
Archit."
In the lower order the middle interval has a high open arch, and the two
others, on the side, have square openings through which are seen streets and
2'J'Z 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
squares of stately architecture, each ending in a trinm))hal arcli. The position
of the diverging avenues will be understood by reference to the plan. The
magnificent palaces and private dwellings which are here portrayed furnish a
very effective setting for the plays which were performed in the theater.
Though the distance to the back of the theater is only forty feet, yet by skillful
and ingenious perspective and foreshortening it appears to be four hundred feet
distant. For tliis skillful and ingenious conceit, which is unclassical in spirit,
we are indebted to 8camozzi. Tlie exterior of the theater is by no means com-
parable to its internal beauty. It was built not at the expense of the govern-
ment, but by some private A^icentine gentleman of the Olymi^ic Academy.
The theater was completed in 1580, and was inaugurated by the performance
of the '■ (Edipns Tyraiinus " of Sophocles.
The general lines of the interior of the theater are noble and calm. The
theater looks as well on paper as in reality, for, like so inany of Palladio's
buildings built of brick aud stucco, Avhicli are now in a dilapidated condition,
it has an enduring shabbiness. It must be said that in this remarkable building
Palladio conciliated the precepts of Vitruvius and the needs of a contempora-
neous society. M. Eugene Miintz has expressed the conception of the theater
when he said that it was a " mirage of a Paolo Veronese in architecture," and
indeed, with its profusion of statues and niches and columns, it does resemble
the works of the great painter of Verona, who, in his great light-filled fres-
coes and canvases, crowds the space with monumental architecture, and fills the
buildings with the well-dressed courtiers of Venice, until the Avhole becomes a
gorgeous pageant.
St.'a-^N
I'l-AN OK rAM.ADK) S OLYMTIAN I II KATKH.
CHAPTEli III.
STAGE EFFECTS.
The present chapter deals with the various effects whicli are liable to be
called for in almost any opera or other dramatic production. It should be
remembered that the effects of sunrise, moonlight, thunder, lightning, Aviud,
rainbows, fires, etc., may be obtained in a great variety of ways, so that only an
outline of some of the methods of producing the illusion can be given. Stage
management is a constant study. Stage managers and stage machinists and
property masters vie with one another in producing more and more realistic
illusions. It is a curious fact that this business is largely a matter of inven-
tion, and it is little wonder that it is in the hands of exceptionally clever men.
SCENE PAINTING.
Scene painting is an art by itself. There is no other branch of painting
like it, either in the variety of subjects embraced or in the methods employed.
The scenic artist must be at home in landscape, marine, or architectural paint-
ing. He must be able to produce at any time the mountainous passes of Switz-
erland, the flat meadows of Holland, the palace of Versailles, or the Windsor
Hotel. The method by whicli he works and many of the materials he employs
are altogether different from tliose used by the ordinary oil or water-color
painter. The scene painter Avorks upon canvas. He first makes a pasteboard
model of his scene and gives it to the stage carpenter or stage machinist, who
builds the framework and secures the canvas to it. It is then ready for the
"paint frame." This is a huge wooden affair hung up with ropes with coun-
terweights attached. It is usually placed against the Avail at the back or side of
the stage, and has a windlass attached by Avhicli it may bo raised or lowered.
The artist Avorks upon a bridge built in front of this frame, the paint bridge
usually giving a passage between the two fly galleries. A paint bridge is
illustrated in Chapter I. of the present division of this Avork. By hoisting or
lowering the paint frame the artist is enabled to reach any part of the scene.
He is provided with plenty of brushes, ranging from a heaA'y two-pound brush,
such as is used by house painters, to a snudl shar}) one used for draAving fine
lines. In addition to these he has several whitewash brushes for laving in flat
394 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
washes and skies. The colors are kept in buckets, tin cans, and earthenware
vessels. His other requisites are a palette knife, plenty of twine, and sticks
of charcoal. He is then ready to go to work. His first duty is to "prime"
the scenes. This is done with a plain coat of white. Distemper color is
used in scene jiaintiug. The colors are mixed with sizing, which is simply a
weak solution of glue. The priming coat is laid on with a heavy whitewash
brush. After the canvas is primed and dry, the artist is ready to draw. After the
rough charcoal sketch is made, it is carefully gone over with an ink specially
prepared for the purpose. The architectural work must be done with preci-
sion; regularity of outline and accuracy are absolutely essential. The perspec-
tive requires to be laid off with the greatest possible care, as the effect of many
scenes depends almost entirely upon it. The next step is the laying in of the
groundwork. The sky is, of course, the first point. This is done with white-
wash brushes. The principal point is to get it on thickly, and here the great
advantage of painting in distemper is made plain. The color dries very
quickly, thus affording the artist a high rate of speed in working; and, secondly,
the color dries precisely the same shade it had before being mixed. Scene
painters of different nationalities have various methods of working, some
using a great deal of color, others very little. Some idea of the rapidity of
working can be obtained when it is stated that a scene painter of the English
school has been known to paint a scene of twenty by thirty feet in less than
four hours. Some of the colors used cost as much as 12,75 per pound. Indigo
is used in very large quantities by scenic artists. Ten pounds of indigo are
sometimes used in a single scene. A scenic painter, however, is not confined
to colors in producing effects. A number of other materials are of great
importance in this kind of painting. Gold and silver leaf are freely used for
certain kinds of scenes, as well as foil papers and bronze powders. Jewels in
the wall of the Eastern palace cannot be imitated with a sufficient degree of
realism to stand the glare of the light, so jewels are made of zinc and set in the
canvas; they are made of all colors; they are often covered with colored lac-
quers, or the painted surface is lacquered. In ice scenes mica powders are used
in large quantities to produce the glitter and sparkle. Nearly every scene
painter has a large collection of stencils which are very useful for producing
architectural decorations. The last thing the scene painter does before the
introduction of a new play is to have his scenes set upon the stage at night in
order that the lighting of tliem can be arranged. The artist sits in the center
of the auditorium aiid minutely observes every nook and corner of the scene
under the glare of the gas or electric light. Here a light is turned up and there
one is lowered until the proper effect is obtained. The gas man or electrician
takes careful note of his directions, and the stage manager oversees every-
thing.
STAGE EFFECTS. 295
SUNRISE EFFECT.
The sunrise effect is obtained in several ways. A semicircular screen is
placed across the stage and forms the background, as for mountains. Upon
a platform immediately behind the center of the stage is placed an arc pro-
jector that is maneuvered by hand, and throws a luminous disk upon the
canvas of the screen. Upon the stage are suspended colored incandescent
border lights. In other suitable places there are arranged groups of lamps
provided with reflectors of special form. These lamps nuiy be introduced suc-
cessively into the circuit. Colored gelatine plates may be slid over the reflec-
tors so as to give the light the color desired. Our engravings show the various
systems of lighting employed, showing the cords, pulleys, and other devices for
turning the gelatine shades around or raising them so as to give the desired
effect. The electrician first puts into the circuit the group of lamps that pro-
duce the blue light, and at the same time turns the blue shades over the lamps.
At a given signal the operator pulls the rope so as to bring the red colored
shades in front of the lamps. When the signal is given to him, the operator
in charge of the arc lamp places a red glass in front of the lenses of the pro-
jector and switches the current on to the lamp. The resistances in the circuit
of the various incandescent lamps are successively withdrawn so as to heighten
the red light of the rising sun. In some theaters colored incandescent lamps
are used, as at the Metropolitan Opera House, New York City, as described in
Chapter I. of the present division of this work. This system is, of course, pref-
erable in many ways.
To return to the sun-rising effect: after the sun has risen above the moun-
tains the red light is diminished, the red glass placed before the aperture of the
projector is gradually removed, and the color screens are removed from in front
of the lamps. Motion is given to the sun by means of an inclined plane up
which the arc lamp is carried by means of a winch which is slowly manipulated
by the assistant.
COLOR SCREEN CHANGING.
COLOR SCREEN ( IIANCilNd,
0—^ J ^^IQillU
JUJNCII Ol't SIDK IvUJIIT?
STAGE EFFECTS.
297
SUNRISE EFFECT.
SUN" EFFECT.
The stage effect which we are about to describe is produced by the mechan-
ism which was formerly in use in the Metropolitan Opera House, New York
City. The electrical sun was a big glass disk with an arc lamp of two thousand
candle-power behind it. It showed through a hole cut in a drop curtaiu, and
was set firmly in a frame covered with colored gauze to represent the various
hues which the sun imparts to the atmosphere, and the colors it projects upon
the clouds, during ascension and declination. It is very effective in many operas,
as in " The Prophet " and " Tannhauser."
CHANGE FROM DAY TO NIGHT.
One of the most beautiful effects produced upon the stage is the change
from day to night or from night to day, especially the former. This is accom-
l)lished in various ways, as the following: To produce the proper effect the back
drop is made nearly dou])le tlic height of the usual scene; the upper half is
painted to represent a sunset sky, and the lower half to represent moonlight. It
is hung so that the upper half ahnie is visible. The scenery of the distance is
then painted upon a separate piece, which is profiled — that is, cut irregularly
— to represent trees, mountains, or houses. This piece is placed immediately in
front of the sky drop. A few feet further in front is held what is known
as a cut gauze drop. This has sides and a top of canvas painted as the
case requires, while the center is filled with fine gauze which lends an aerial
298 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
effect to the distance. Red lights are employed to give a soft sunset glow to
the scene. At the proper moment the back drop is slowly and steadily raised.
While the red lights are slowly dimmed, the green lights are slowly turned on.
The moon effect is obtained in different ways, as we will shortly describe. The
moon is sometimes made in the night-half of the sky drop and rises with
it. When it rises above the distant horizon, the green lights are turned on to
their full power.
STARS.
The star which we illustrate consists of a single sixteen candle-power incan-
descent lamp fixed to a metal frame set in a drop curtain ; only the star itself,
with a covering of red gelatine tinctured with blue, showing through.
MOON EFFECTS.
There is hardly any illusion on the stage which is seen as often as the moon-
light effect, and there is nothing which can be as well counterfeited on the
stage as moonlight scenery. The artist usually begins his task by painting a
moonlight scene; by daylight such a scene is ghastly, being painted in cold
grays and greens, in which Prussian blue and burnt umber play an important
part, and the lights are put in with white, slightly tinged with emerald green.
The strong moonlight of the foreground is produced by a calcium light thrown
through a greeu glass. A fainter light upon the scenery at the back of the
stage is obtained from what are called "green mediums" — lamps with green
shades. They are placed upon the stage just in front of the main scene, and
are " masked in " by scenery. A row of them is often suspended from the
flies in order to light the top of the scenes. In this case they are hidden from
view by what are called the sky borders; thus a soft green light is given to
the entire stage without the source of it being visible. The position of the moon
STAGE EFFECTS.
299
being determined upon, immediately under it a number of small irregular
holes are cut in the drop, beginning at the horizon. These are covered on the
back with muslin, and are painted over on the front to match the rest of the
scene. Behind these holes is placed an endless towel about eight feet in
height, running around rollers at the top and bottom ; the lower roller has a
crank by which the towel is turned. In the towel are cut a number of holes
similar to those cut in the drop. A strong gas burner is jilaced between the two
sides of the towel. When the crank is turned, the flashing of the light through
the passing holes in the towel and the stationary ones in the drop
scene produces a fine efliect. Instead of a towel a large tin cylinder
may be used. Other interesting moon effects are described in the
chapter entitled "A Trip to the Moon," in the present work.
We now come to the moon proper, which is produced in a num-
ber of ways. The form which we illustrate is one in use in the
Metropolitan Opera House, Xew York City. It is about eighteen
inches in diameter, and is made of j^orcelain or milk glass and is
oval in form. Within are six incandescent lamps of sixteen candle-
power, connected with a rheostat.
It is very effective in many operas, as in " Tannhauser. "
The moon is moved by means of a batten, a thin piece of wood
let down from above, the course being marked for the operator
by the apparent, though exaggerated, movements of the moon as we see them
in an orrery. The mimic sun moves behind the drop, but the moon moves
before it, and therefore to keep up the illusion the wires it draws after it
must be colored the same as the drop.
?M9^^MWmM.M
RAIN MACHINE.
RAIN EFFECT.
The rain machine is usually placed high up in the flies.
A hollow wooden cylinder five feet in circumference and four
feet in length is provided. Upon the inside are placed rows of
small wooden teeth. A quantity of dried peas are placed in the
cylinder, and a belt is run around one end of it and down to
the prompter's desk. By turning these cylinders the peas run
down between the teeth, and the noise produced by them nuikes
a good imitation of rain falling upon a roof. Traveling com-
panies often have to go to small theaters where such luxuries as
"rain machines" are unknown. A sufficiently good substitute
is, however, easily obtained. A sheet of heavy brown paper is
pasted over a child's hoop and a handful of bird shot is placed
upon the paper. The hoop is tipped from side to side, and the
shot rolls around the paper, producing a fairly good rain effect.
Our engraving shows a French form of rain machine. It
300 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
consists of a wooden box seven or eiglit feet long, divided into compartments,
as shown in our engraving, by oblique pieces of tin which transform the interior
into a tortuous passage for the dried peas. The quantity of peas is regulated
at the top, and the violence of the drops of rain depends upon the quantity
of peas and the inclination of the box.
RAINBOW EFFECT.
In the hiist scene of "• Kheingold " the gods enter Walhalla over the rain-
bow bridge. The rainbow is a magnificent stage illusion, and ig produced as
follows: The prisms are fastened one above the other in front of an electri-
KAIIN'BOW Et'FEOT.
cal projector. The light from it passing through tiie prisms produces the
various colors of tlie prismatic spectacle due to the influence of the raindrops.
As in nature, there appear to be two arches, the primary and the secondary.
WIAI) FKFF("I\
AYind is very useful in licighteniiig the ell'ct^t of stage storms, especially in
melodramas. Where the effect is well done the pitiless blast is very realistic.
The wind machine is portable, and maybe placed anywhere the property master
wishes. 'I'lic wind machine is miulc in vai'ious ways, <»!' whicli the following is
one: A iieuvy frame is made in whi(;h to set a cylinder provided with paddles,
and i-cscnd)ling very much the stern-wheels seen on Ohio Kiver towboats.
STAGE EFFECTS.
301
Across the top of the cylinder is stretched ;is tight as possible a piece of heavy
gros-grain silk, but canvas is often substituted instead. The rapid passage
of the paddles over the surface of the silk or canvas produces the noise of the
wind. Often traveling companies
are in theaters where there is no wind
machine. In this case one of the stage
hands selects a heavy piece of flexible
hose and whirls it around his head.
The extraction of wind from the liose
is not entirely satisfactory, however.
Our engraving shows a French
form of machine for imitating the
noise of the wind. It consists of a
cylinder mounted on an axle. The
staves are triangular in shaj)e, and
end in a sharp point. Instead of run-
ning these staves over silk or canvas,
cords are substituted. The cords are
secured below, so that they can be
tightened so as to cut into the staves.
The cylinder is tnrned by a crank, and by turning it rapidly the friction of the
cord produces a good reiiresentation of wind.
W IND-PHODUCING MACHINE.
THUNDER EFFECT.
The thunder and lightning effect is somewhat complicated, especially the
thunder, which may be regarded as the result of the combination of a nnmber
of effects. First a large piece of sheet iron is shaken, which produces an imi-
tation of sharp, rattling thunder. This fails to give the dull roar, a reverbera-
tion which is usually heard in
storms. To produce this effect a
heavy box frame is made, and over
it is tightly drawn a calf skin.
Upon this the stage hand operates
Avith a stick, one end of which is
padded and covered with chamois
skin. This is called the thunder
drum, and when accompanied
with a flash of lightning produced
with the aid of a magnesium flash
torch renders the illusion very
realistic. Often two thunder drums are used at the same time. Then the
''rumble cart" is also used. 'J'he rumble cart is a box filled \\\i\\ some heavy
material, and mounted upon irreguhirly shaped wheels.
KUMRLE CAKT.
302 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Our engraving shows a rumble cart as used in the Paris Opera House.
With tliis a little wind is added from the wind machine, and the rain effect
is sometimes worked simultaneously. The result of this complicated effect is
very good, and, of course, the effect may be varied as the stage manager may
think proper for the opera.
In large opera houses a more complicated system is employed than those
which we have just described. It is usually placed against the wall of the
third fly gallery. It consists of a kind of cabinet with five or six slanting
shelves. On each shelf are kept a half dozen cannon balls which are retained
in place by hinged doors. When the signal is given, the stage hands open the
doors of one or more compartments, and the balls drop down into a zinc-lined
trough, which is some twenty feet long. The trough being built with inequali-
ties of surface, the effect is enhanced. At the end of the trough the balls drop
through the flooring to the gallery below by means of special slants. Arrange-
ments are provided by which the balls can be stopped before they pass through
the floor. It will readily be seen that by regulating the number of balls almost
any thunder effect can be produced.
LIGHTNING.
Lightning is produced in a number of Avays, of which the following is an
example. A metal box having a large opening in the top is provided. At the
bottom is placed an alcohol lamp having a wide-spreading flame. Immediately
above the flame is a shelf or partition punched with fine holes. This is, of
course, heated very hot by the flame. The
mixture which is used to give the effect of
lightning consists of three parts of mag-
nesium powder and one part of potassium
chlorate. This is poured upon the heated
grill, through the top of the metal box.
The sudden combustion of the composition
produces very vivid flashes of lightning.
A similar device has long been used by pho-
tographers for taking instantaneous photo-
graphs in dark places or at night.
Another method of producing lightning
flashes is to secure two large files to an
electric circuit. The files, when they are
rubbed over each other, produce a series of
brilliant flashes.
The nuignesium flash pistol, which we
show in our engraving, is very useful for
producing lightning flashes. It consists
l-IUHTNING.
STAGE EFFECTS.
303
of a barrel which is slotted. The barrel is filled with asbestos which is soaked
in alcohol. When the lightning effect is to be used the alcohol is lighted and
magnesium powder is projected into it by means of the blower on the top of
THE MAGNESIUM FLASH PISTOL.
tlie pistol. It is worked with the thumb. When a thunderbolt is to strike
an object, a wire is run from the flies to the object which is to be struck.
A rider runs on the wire. The rider consists of a section of iron pipe. Around,
it is secured asbestos by means of wire. The asbestos is soaked with alcohol,
and is lighted just at the instant when it is to be projected upon the object.
LIGHTNING I'UOJECTOR.
304 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
It is usually held by a, string, which is cut. It rushes flaming through the air,
and produces the effect of a ball of lire striking the object.
Our engraving illustrates still another method of producing lightning. It
consists of an electric projecting lantern with attachments for giving the effect.
The lightning and the clouds are scratched and painted on small pieces of glass.
Devices are provided for rotating them so that they jiroduce the effect of clouds
rolling across an apparently immense expanse of sky, as the operator revolves
the disks one over the other, and the forked lightning seems to shoot across
the heavens.
SNOW EFFECT.
The effect of snow is obtained in a number of ways. Sometimes pieces
of pajier, linen, or white kid are thrown from one of the intermediate bridges,
if the theater is provided with them. If well done the effect is very pleas-
ing. The flakes of snow are usually illuminated by the electric light. It
is often necessary to have the actors appear with traces of snow upon them.
One way of doing this is to sprinkle them with soapsuds by means of a birch
broom before they appear upon the scene. Of course, the soapsuds disappear
in a few moments, corresponding to the melting of the snow. In the case of
rich costumes it is impossible to use soapsuds, so that bone shavings or ground
corn are used instead. This forms a light coating which resembles snow. It
adheres to the hair, the shoulders, and the creases in the clothing, and pro-
duces no ill effects uidou the costume.
WAVE EFFECT.
An ocean of heaving waters is usually made as follows: Each wave is cut
out separately. The first row is set uj) at a distance of three or four feet
between each billow, and the second row is set so as to show in the openings left
by the first; small boys are usually employed to furnish the motive power. The
waves are rocked back and forth, not from side to side, and the effect is very
good. The noise of the surf upon the beach is obtained by allowing two or
three ounces of bird shot to roll around in a box of light wood lined with tin.
This is a variation of the rain machine we have already referred to.
CRASH EFFECT.
The noise on the stage is produccil l)y wluit is called the crash machine,
which is one of the oldest im])Iements of imitation on the stage. It is similar
to the wind machine in construction. It consists of a wheel with paddles set
STAiiE EFFECTS. u05
at au angle of about forty-five degrees. Upon the top of tlie wheel one end of
a stout piece of wood is phiced down by fastening the other end to a portion of
the framework. When the wheel is turned, the slats passing under the station-
ary piece produce a rattling crash. The princij)le of the machine is illustrated
by a boy running along a picket fence with a stick, allowing it to slip from
picket to picket. In many theaters a gigantic rattle is used in place of a
machine of this kind; it is more portable.
FIRE AND SMOKE EFFECTS.
Conflagrations are jiroduced in a number of ways, and if jiroper precau-
tions are taken, they are perfectly safe. Usually the buildings which are to be
destroyed by fire are constructed of separate pieces of stage carpentry, through
which the painted canvas is attached. They are raised and lowered by means
of hinges, slides, cords, and pulleys, so as to give the effect of tumbling down.
The fire jiroper consists of cliemical red fire and powdered lyco])odium used
separately, the former to give a red glow^ and the latter to repi'esent flames.
Variously colored electric lights and small pieces of fireworks simulate the leap-
ing of the sparks. In some cases the shutters on the houses appear to burn off
and fall down upon the stage; this is accomplished as follows: They are secured
to the scene with a preparation called " quick match." This is made of pow-
der, alcohol, and a lamp wick. The window frames and sashes are made of
sheet iron. They are covered with oakum soaked in alcohol or naphtha. These
sashes and frames are not fastened to the canvas scene at all, but are placed a
short distance behind it ujion platforms. The quickest possible touch of flame
ignites the oakum, and in a moment the fire runs around the sash, and
nothing is apparently left but the blackened and charred wood. Steam is used
to represent the smoke, and one method of using it is described below. An
occasional crash, followed by the ignition of a little powder, produces a sudden
puff of smoke which gives the spectator the idea of a fall of a rafter.
Ai)paratns for jn'oducing the smoke of a conflagration is more complicated
than that for producing lightning. Steam is largely used for producing smoke,
and is conducted to a place Avhere the smoke is to api)ear, by means of rubber
hose; but this is apt to cause considerable noise when it escapes into the air.
This difficulty has been surmounted in at least one stag eiliusiou which we illus-
trate, this being the '' Magian," the opera of Massenet. It Avas i)articularly
necessary in the case to have the smoke produced as noiselessly as ^lossible,
because the orchestral music at the moment of the fire is relatively soft and
low. The difficulty was surmounted as follows: The steam, generated by a
boiler in the Paris Opera House, was led to special devices shown in our
engraving, the steam being admitted to triangular boxes at the apex opposite
the base of the triangle. The boxes at the point of attachment with the steam
pipe have a considerable thickness, which gradually diminishes as the base of
SO
300 MAGIC: STAGS ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the triangle is approached, so that the steam, Avhich is distributed throughout
the whole extent of the box, escapes without any noise through a narrow
API'AKATUS FOR IMITATING THE SMOKH OK A fONFI-AORATFON UN I UK si u.h (»1 \ 1IIL\'IKH.
orifice between the two faces of the apparatus. In the interior of the boxes
there are pieces of felt, the principal object of which is to absorb the drops
of water which are carried along niechaniciilly or whicli may
condense. The advantage of this arrangement is that it per-
mits of the disengagement of the steam everywhere where it
is necessary. Tlie boxes are easily manipulated, and hooks
fastened to them permit of their being attached to the scenery
with ease. After a sinqde coupling pipe has been connected
with a steam pij)e, the ap2)aratus is ready to operate. In the
op(Ta we have referred to, twenty-nine double boxes are em-
ployed; seventeen are distributed over the stage at different
p()ints, and nearly up to the pipe of tlie soHit curtains. The
twelve others are beneath the stage, and the orifices through
which the stciarn escapes are flush with the floor.
The realistic fire clouds and flame in the last act of " The
STAGE EFFECTS. 307
Prophet," when the Prophet, learning that he is betrayed, orders the fire of
the palace of Mtinster, are done by concentrating the arc light upon colored
gelatine; usually, first yellow for the fumes, then yellow and white, then yellow
and red, rfed and white, and red and black. The sandstorm in the last act of
the "Queen of Sheba " is done in yellow and black and pink gelatine before
the light, and the rain by jiarallel scratches on a black surface, the arc light
being dimmed and brightened alternately, and the glass turned this way and
that, so that the parallelism of the drops shall follow a supposed changing of
the direction of the wind.
GRADUAL TRANSFORMATIONS.
One of the greatest triumphs of Wagner's scenic art is his method of scene
shifting, which is carried almost to perfection. lie was very much opposed to
sudden changes of scenes, which are so frequent in Shakespearian plays, as he
was desirous of avoiding everything Avhich broke the continuity of the dra-
matic action. In the greater part of his operas he lets a single scene suffice for
the entire act. Once in a great while he was obliged to provide for a shifting
of a scene during an act, but in " Rheingolci " the curtain remains, or should
remain, raised during the whole of the performance. These changes are usu-
ally accomplished in j)lain sight of the audience, or else the setting of the new
scene is hidden behind clouds. These effects are accomplished by means of
successive gauze curtains which are raised and lowered, and by the clever
use of light which is gradually diminished until almost total darkness reigns.
The effect is largely enhanced by the orchestra, which symbolizes the changes
which are taking place. The two best examples of this perfection of scene
shifting are probably those in "Parsifal," when the magic garden changes
to the sanctuary of the Holy Grail; and the other effect is in the third act of
" Gotterdiimmerung," when the warriors place the dead Siegfried upon the bier
and carry the body up the rocky patli, while the orchestra is playing the funeral
march of unearthly beauty. As the procession gradually disappears, mists
rise from the Rliine. The mist gradually thickens into fog, then clouds rise
upward, hiding the whole scene from view. Then the clouds rise and dissipate
into mists which finally disclose the moonlit hall of the Gibichungen. The
effects are produced by steam and a series of gauze curtains. The clouds really
serve as a screen to prevent the scene shifters being viewed by the audience. A
satisfactory effect can only be obtained when every detail is carried out with
the greatest care. The superiority of this method over the conventional curtain
is apparent.
Sometimes the gauze curtains are not droj^ped from the flies, but are
run across from the side. They are "profiled," or, in other words, they are
irregular in shape, so that they help to produce the effect without any notice-
able line of demarcation between the two halves of the curtain. The steam
o08 IIAGiC: STAG:^ ILLUSIONS AND SCIENTIFIC DIVERSIONS.
curtain is often very effective, especially in Wagnerian operas. The steam is
admitted through a perforated steam pipe in a sink cut, the floor being perfo-
rated. As the steam curtain is in a straight line, the effect is apt to be a little
formal.
BATTLE SCENES.
Battle scenes are particularly effective upon the stage when they are well
produced, and in the midst of a desperate battle a shell is seen to fall and
burst, carrying death and destruction in its wake. Our engraving shows the
method of obtaining this result. A ixvpi&r inaclie shell is formed of separate
pieces glued together. This contains the quantity of powder sufficient to sep-
arate the pieces and produce the bursting. In the powder there is an electric
S.SijSr"
BOMB EXPLOSION EFFECT.
primer which is ignited by a current. The primer is connected by wires which
go back of tlie scene. At one of the sides of the stage, out of sight of the
spectator, there is a charge which is also ignited by electricity at the same time
that the boml) is exploded. At the ])roper moment a man throws the shell and
touches tlie button, the bomb bursts, and the spectators, hearing the loud re-
port of the cannon at the same instant, imagine that the harmless paper ])ond)
is the cause of the formidable explosion.
STAGE EFFECTS.
309
THEATRICAL FIEEAEMS.
The accidents on the stage caused by firearms liave been man}- and numer-
ous. In melodramas, after great battles, the auditorium becomes filled with
dense smoke and a peculiarly disagreeable odor of burnt powder; and, owing
to the great precautions which are necessary to prevent danger of fire, the illu-
sion is seriously injured. On account of these drawbacks, a French dramatic
author and pyi'otechnist, M. Philippi, endeavored to produce a successful imi-
tation of the effects of firing guns, that is to say, the noise, fire, and smoke,
while at the same time avoiding the dangers and annoyances that have already
beeu pointed out. The charge consists of a small quantity of fulminate pre-
pared so as to give a red fire and a light smoke which quickly clears away, leav-
ing no disagreeable odor, and not affecting the throat. The preparation is
held in a cavity formed in a small cork which is introduced into the extremity
^^
THEATRICAL GUNS AND PISTOLS.
of the gun barrel. The firing pin passes through the barrel, as shown in Fig.
1 in our first engraving, causing the charge to explode through a simple blow.
By the very simple contrivance of the spring, as shown in Fig. 1, it is possible
to fit almost any gun, Avooden or otherwise, which the stage director may wish
to use.
Our second engraving represents a mitrailleuse formed by the juxtaposition
of a number of short barrels of thin copper arranged in the same manner as in the
guns described.
The firiug pins are left to the action of the spiral springs, when the hooks,
a, in which they terminate, are driven from tlie catches by means of slider, c.
310 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
which moves along a rod, j^laced back of the barrels, to wliich it is affixed by
a screw, in order to prevent its acting while the apparatus is being carried,
A movable bar, m, prevents the springs from being set free while the cliarg-
ing is being done, and. after they have been set. In order to manipulate, it is
only necessary to cause the slider to move along the rod. Firing by platoons
is imitated with great exactness. As soon as the cork makes its exit from the
barrel, it is thoroughly 2:)ulverized, and the discharges received at the end
of the muzzle cause no inconvenience.
THEATRICAL MITRAILLEUSE.
THE IMITATION OF ODORS.
The imitation of odors upon the stage is not very often attempted. In
some plays where a dinner is in progress, more realism is given by introducing
such things as a French cofPee machine. The penetrating odor of the coffee is
soon experienced by the audience, and it adds considerably to the effect. An
English impresario adopted a rather novel plan of imitating the salt odor of
the ocean for a marine scene. He took a large number of old salt-lierring
casks and disposed them in the flies and behind the orchestra. There is little
doubt that they produced the desired effect, as the persistence of the perfume
of this delicacy is well known.
CHAPTER IV.
THEATER SECRETS.
In the present chapter the subject of theater secrets will be taken up,
and it will treat of traps, complicated stage settings, proj)erties, and the means
of obtaining elaborate effects.
TEAPS.
The trap is one of the oldest and most primitive means of jiroducing stage
illusions, and it is in use to-day in most theaters and opera houses. The princi-
ple is very simple, and will be understood by reference to the engraving. The
actor, singer, or devil who is to make his sudden appearance upon the stage
stands on a platform which is hoisted to the stage level by means of winches
turned by the stage hands.
We also show another variety of trap which is much used in ojieratic and
ballet performances; it consists of an inclined plane up which the actor or claii-
setise is carried, the inclined plane itself being masked by scenery. The elab-
orate system of traps used in the "Asphaleia" stage has already beev
described in Chapter 11.
TRAP IN THB STAGB.
312 JIAGIC : STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FONTANA. DESCENDS INTO THE SEA.
THE SWAN IN "LOHENGRIN."
The swan und the swan boat in " Lohengrin " are most interesting proper-
ties. The apparatus which we illustrate is that used at the Metropolitan
Opera House, New York City, and is the result of many experiments. To
understand the action of the Lohengrin swan it will first be necessary to
describe the setting of the stage. At the back is a river drop; next come
set water rows, gradating in height to tlie level of the bank, giving the
effect of water rushes and reeds, and so set that the swan and boat, in passing
through, are enabled to describe a graceful curve. The foreground is a built-
up bank the width of the scene. Between the river drop and the first set
water row there is space enough for the miniature figures of Lohengrin aud
the swan to pass across the stage before the real Lohengrin and the swan come
into view. 'Y\\g drop and the set water rows — everything, in fact — give the
idea of the sluggish Scheldt winding in through the weedy meadows. In
order to produce the effect, two entirely distinct trucks are used — one for the
first act, when Lohengrin and his swan wind their way among the reeds; and
one for the last act, when the swan disa])pears, and the lost brother of Elsa
takes its place. The problem which confrojited the property master in de-
signing the first swan and » car, that is to say, the one which was to bring
fjfihengrin, was to devise a method of projielling the truck which carried
THE A TER SECRETS.
313
the swan and the car so that it could be run in a curved direction, adding
greatly to the naturalness of the illusion, and rendering tlie truck capable of
FIRST SWAN AND CAR IN "LOHENGRIN."
being turned in a short space. A three-wheeled truck was built, the top of
whicli was concealed b}^ draperies painted to match the Avater rows themselves.
The truck is propelled by two men seated within it, who shove the truck along
THK DISAPPEARING SWAN IN l,(>nEN(;KIN.
by shuffling with their feet on the floor. The first man steers by means of a
handle bar which is secured to the vertical' rod which carries the front wheel.
The swan is fastened to this vertical bar, so that when the direction of the steer-
314 31 AGIO: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
ing wheel is changed the swan also changes its direction. The neck of the swan
is built around a steel spring, and the wings are actuated by levers and strings.
The second man has nothing to do with steering the car and the swan. His
duties, besides propelling the car, consist in inclining the head of the swan and
operating the wings. This is accomplished by means of lines which are invisible
to the audience. Lohengrin, on reaching the steps at the bridge, in front, gets
out of the boat or car, and sings his farewell song. The swan then takes his
departure, drawing away the car.
Now, in the last act an entirely different mechanism is employed, although
the change is not perceptible to the audience. In this case it is not necessary for
the swan to take a sinuous course, and it proceeds in a straight line across
the stage. In this arrangement a truck is mounted on four wheels and is pushed
by the men; but in order to ti'ausform the swan into Elsa's brother, it is neces-
sary to resort to an entirely different system. The swan, instead of being sup-
ported by a couple of rods, is supported on a parallel which is hinged; it
is normally held in position by means of cords, so that it shows above the set
rows and the bank of the river. When the time has arrived for the trans-
formation to be made, a man at the rear of the truck lets go of the cords which
hold the swan in position; the jiarallel immediately drops, and is drawn back
into the truck, carrying the swan with it. At the same instant Elsa's brother
is raised by a trap which places him in precisely the same position as that occu-
pied by the swan. Then a clockwork dove descends on a wire, and as the dove
drops behind the set piece it takes the place of the swan. Lohengrin steps
into the boat, and the dove carries it off from the stage. The changes are so
remarkable that the Lohengrin swan must be regarded as one of the most
successful effects obtained in Grand Opera.
THE FLOATING RHINE DAUGHTERS IN ''RHEINGOLD."
When the curtain rises on the opera of " Rheingold," which is the prelude
to the music drama of the " Ring of the Nibelung," the scene represents tlie
bed of the Rhine. In the center rises a high rock which supports the " Rhein-
gold," a groat nugget of gold that glimmers on the summit of the rock. The
three tlhine daughters, Woglinda, Wellgunda, Flosshilda, suddenly appear upon
tlie scene, swimming with graceful movements about the rock which supports the
Rheingold. It may be asked how it is possible for the "Rhine daughters to float
in space while they sing. A reference to our engraving will explain the mystery.
Each of the singers is supported upon a cradle which is secured to a four-
wheeled car by an upright post strongly braced. Each of the cars is pushed
around by two attendants, Avhile a third sits in front and steers. They are
hidden from view by low scenes wliioh effectually conceal them. We believe
that in soine opera houses regular tracks have been provided upon which to run
them,
THEATER SECRETS.
315
At the Metropolitan Opera House, during the German opera season of Mr.
Danirosch, in the spring of 1897, an entirely different device was used. The
Rhine daughters were suspended from steel cables by means of trolleys. They
THE FLOATING RHINE DAUGHTERS IN THE OPERA " RHEINGOLD."
were drawn back and forth by means of wire ropes which ran to the sides of
the stage. Ropes were also run down to the level of the stage, and they Avere
swayed back and forth by men who were hidden from view of the audience by
the set rows Avhich masked the lower j^art of the stage. The arrangement was
considered to be very satisfactory.
THE ''SUN ROBE."
The illusion which we are about to describe is employed in the " Peau d'Ane "
for producing the fairy robes in the story — the color of the sun, the color of
the moon, and the color of the sky — required by the i)lay. In the midst of a
brilliantly illuminated procession come two porters carrying a large chest by
means of handles at the end. Having reached the royal throne they place the
chest on the floor and raise the cover. There is immediately seen a fabric
the color of the sun, a luminous golden yellow. Afterwards two other porters
come with a similar chest, which, when opened, exhibits a bluish -white phos-
phorescent fabric. The third chest contains a robe of a celestial blue. This
robe is also luminous. The fabrics are moved by the porters to make them
sparkle. The secret of the illusion is that the bottom of each of these chests
is capable of being opened over a trap, and by means of an electric lamp the
316 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
electric light is directed upon a light and transparent fabric so that it really
seems to be on fire. A yellow light sufEuses the fabric of the same color and
incorporates itself with it. After the cover has been shutdown upon the stage,
the bottom is closed from beneath, the light is extinguished, the trap is shut
THE SUN KOBE IN THE FAIRY 8CENE OF THE " PEAU DANE.
up, and the chest is carried away by the porters. The same is done with a
slightly bluish-white fabric and a white light, for the moon-colored fabric; and
then with blue tarleton and a light with a bluish tinge for the sky-colored
fabric.
THE SHIP ON THE STAGE.
An opera or ballet which requires a ship taxes the powers of the stage
macliinist and the property nuister to the utmost. The ship which we illustrate
was made for the ballet called the '"Tempest," at the Paris Opera House, and
is superior to most of the ships in the "Corsair" and " L' Africaine. " The
vessel, starting from the back of the stage, advances majestically, making a
graceful curve, and stops in front of the proni})ter"'s box. Our illustrations give
detailed views of the vessel and the setting of the scenery. The sea is repre-
sented by four })arallel sot rows, the locatioTi of which is indicated in our
second engraving.
The ship is carried by wheels that roll over the floor of the stage, and
is guided in its motio7\ by two grooved bronze wheels, and by a rail formed
of a simple reversed T-iron which is bolted to the floor. As the ship advances,
THEATER SECRETS.
ni
the set water rows open in the center to allow it to pass. As the vessel itself is
covered up to the water line with painted canvas imitating the sea, it has the
apjiearance of cleaving the wave. When the vessel reaches the first of the
mmmm
THE SHIP AS SEEN FKOM THE STAGE.
water rows the others spread out and increase the extent of the sea. The
three strips of water in the rear rise slightly. The shifting of the inclined ^nece
at the front is effected by simply pulling up the carpet which covers it, and
SETTING OF THE SCENERY 15EF0KE AND AFTEll IIIK ArPKAI!AN( E OK TIIK SMTP.
THEATER SECRETS.
319
which enters the groove in the floor in front of the prompter's box. At this
moment the entire stage seems to be in motion, and the effect is very striking.
We now come to the details of the construction of the ship. Our engraving
shows the boat while it was being built. The visible hull of the ship was placed
upon a large and very strong wooden framework formed of twenty-six trusses.
In the center there are two longitudinal trusses about three feet in height and
twenty-five feet in length, upon which are assembled perpendicularly seven other
trusses. In the interior there are six transverse i:»ieces held by stirrup bolts, and
at the end of each of these is fixed a tliirteen-inch iron wheel. The entire
structure rolls U2:)0n these twelve wheels. There are two bronze wheels which
we have already referred to. In the rear there are two vertical trusses, sixteen
feet in height, which are joined by ties and descend to the bottom of the frame,
to which they are bolted. They constitute the skeleton of the immense stern
SHIP OF THE NEW BALT.ET, "THE TEMPEST."
of the vessel. The skeleton of the prow is formed of a vertical truss which is
bolted to the frame. The rest of the construction of the shij) will be readily
understood by reference to the engraving. The large mast consists of a vertical
tube, ten feet high, which is set into the center of the frame, and in the inte-
rior of which slides a wooden spar Avhich is capable of being drawn out for
the final apotheosis. The mast carries three foot-boards, and a platform for the
reception of "supers.". It is actuated by a windlass placed upon the frame.
Panels made of canvas, painted, represent the hull; there are nine on each
side; above are placed those that cover the prow and the stern. The bowsprit
is in two parts, one sliding into the other; the front portion is at first pulled
back in order to hide the vessel entirely in the side scenes. It begins to make
its appearance before the vessel itself gets under way. Silken cordage connects
the mast, bowsprit, etc. On each side of the vessel there are bolted five iron
frames covered with canvas which reach the level of the water line, as shown
in the above engraving. Upon these stand the '"supers" who represent
the naiads that are supposed to draw the ship from the beach. At the bow
320 3IAG1C: STAGE ILTA'SIOKS AND SCIENTIFJC IH V HUSIOSS.
there is fixed a frame which supports a diinseiise representing the living
prow of the vessel. The boat is drawn to the middle of the stage by a cable
attached to its right side, passing around a windlass placed in the side scenes to
the left. It is at the same time pushed by stage hands placed in the interior
of the framework. The trucks or chariots which support the boat are entirely
covered w4th painted canvas resembling water. As the vessel, freighted with
harmoniously grouped spirits and uaiads, with fairies and gracefvd genii appar-
ently swimming about it, sails in upon the stage, puts about and advances,
and is carried along by the Avaves to the front of the stage, the effect is really
beautiful, and does great credit to the stage machinist's art.
MISCELLANEOUS STAGE EFFECTS.
A rather curious illusion occurs in ''Don Juan." The monument of
the Gubernator bears the inscrijition, ''Here revenge awaits the murderer."
The moment that Don Juan appears in front of the monument, cne of the stage
hands removes a strip of some opaque substance from behind the transparent
inscription, which now appears in brilliant letters on the base of the monu-
ment; the letters being lighted by lamps behind the statue.
In ballets the dancers are frequently represented as floating in the air.
This movement may be produced by means of a common sea-saw. In aerial
TlIK UUAVKVAUn Sl'KNK IN TUK Ol'KIiA " DOti JUAN."
THE APrAIUTIONS IX THE OPEKA OK " FIJEISCHUTZ."
THE ENCHANTED r.OOK IN THE OI'EItA "HANS HEII.IG."
21
322 MAQIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
ballets and in the appearances of angels, etc., special devices are provided in
up-to-date theatres, the mechanism nsually being in the form of a trolley.
The army of demons and ghosts which pass over the stage in the " Frei-
schiitz " manage in various ways; in some cases a movable scene is used, and in
others the uncanny creatures are painted upon a canvas roll and are projected,
by means of a powerful light, upon a scene representing clouds. Hissing, snap-
ping, screeching, and other hideous noises are produced by means of whips,
clappers, whistles, rattles, and other like devices behind the scenes.
THE FLOATING WIIJ.IS (BAT.LET.)
The enchanted book in the ojiera " ITans ITeilig " is operated by means of a
black thread which is manipulated by an attendant behind the scenes, as shown
in our engraving.
The palm tree in the ''Queen of Sheba," which bends in the sirocco, is
caused to sway in the same way, by means of a black line whicli runs back of
the stage. The branches of the tree are mounted on steel spi'ings.
THEATER SECRETS.
323
THE DESTEUCTION OF THE TEMPLE OF DAGOX.
In the pvoductiou of Grand Openi it is frequently necessary to represent
the wholesale destruction of a building or city. This is managed in various
ways, as in the destruction of tlie Temple of Dagon in the third act of " Sam-
son and Delilah." The stage setting is very comjjlicated. The temple appears
to be of great size, and is most imposing. The stairs at the center and at the
right and the left give access to the various parts of the building. A very
COLUMNS IN THE TEMPLE OP DAGON.
large number of persons are on the stage during this act. Two columns in the
middle of the scene are specially noticeable on account of their great size.
AVlien the moment has arrived for the destruction of the temple, Samson places
himself between the two columns, and with his outstretched arms hurls the
columns to the ground. The demolition of the temple quickly follows, each
piece of scenery falling in the exact place arranged for in advance, so that
there is no danger of injury to the artists or chorus. The two columns are
specially interesting, as they are really of great size and weight. In reality the
columns are hinged to the stage. To the interior of each column is secured an
iron lever which passes down underneath the floor of the stage. This lever is
bent like the bascule of a bridge. To the end of this lever is secured a rope
which passes over pulleys to a counterweight. From the counterweight
another rope runs over the pulley to the windlass. When the columns are to
d'U MAOTC: STAGE ILLUSIOKS ASD SClEXTIFIC nrVERSIO^*S.
be overthrown, their weight is btikiuced by the counterweight secured to the
end of the rope, so that there is little shock from the fall. The rapidity of the
descent of the column is equal to the rapidity of the rise of the counterweight.
It will readily be seen that these weights can be adjusted to give any effect
desired. The same windlass serves to raise both counterweights.
THE HORSE RACE OX THE STAGE.
"When first introduced, tlie horse race upon the stage was a decided novelty,
and it is doubtful if auy stage illusion is more ingenious. The two principal plays
in which the horse race has been used are Neil [son] Burgess's clever and pop-
ular play, " The County Fair," and aErench play called *" Paris Port de Mer. "
In both of these plays three horses, each ridden by a jockey, race upon the stage
without going out of sight of the spectators, ^^e have here a real effect plus
ail iHusion. The horses are free from all restraint and really gallop, but the
ground disappears nnder their feet, moving in a direction opposite to that of the
run; the landscape, as well as the fences, also fly j^ast in a direction contrar}^ to
tiie forward motion of the horses. The illusion in both of the plays we have
mentioned is very similiar, but we think the American invention is prefer-
able. At the proper moment tlie large screw shown in the lower part of our
engraving is set in motion by the electric motors. It lifts the mechanism of
the horse race up to the level of the floor, Avhicli had previously covered it.
The lights in the theater are turned out, and after a few moments of inky
blackness the flying horses appear at the side of the stage, in a blaze of
light, and seem to strain every nerve, fairly flying past the varied landscape.
Fences and trees disappear behind them with startling rapidity. When at last
the finish is near, one of the horses gradually Avorks forward and becomes the
winner by a neck as he approaches the judges' stand. After an instant of dark-
ness a flash of light follows, and the horses are pulled u]} in front of the judges'
pavilion and the race is Avon.
This result is accomplished by means of three flexible endless platforms
passing over rollers at the sides of the stage. These moving platforms enable
the horses to be in rapid motion Avithotit actually moving forward, and, as a
matter of fact, instead of nu)ving forward, they are Avell secured by Avire rope
traces. As the race nears the finish, the platform on Avhich the Avinning horse
is stationed is gradually slipped forAvard on a track provided for the purpose,
the actual movement being, of course, only a few feet. The space between the
fence ant! the scenery is fourteen feet, Avhich gives ample space for free action
of the horses. The fence in the foreground consists of a number of pickets
fastened to an endless belt. 'J'he pickets run in guides Avhicli hold them
rigidly i)erpendicular during their passage over the stage. The scenery back
of the stage is carried by two powerful rollers, and is turned by means of an
electric motor so arranged tliat it may be unwound at any rate of speed.
THE A TEll SECRETS.
:};
]\[uch of the effect of the scene is due to the speed with which the electric
lights are flashed from extreme darkness to brilliant light. The illusion is
further heightened by the way in which the horses' manes are tossed about.
KLECTKKAL UE VICES IN "TIIK tUUNTY KAIK."
This is accomplislied in a very novel manner. In the extreme lower riglit-
hand corner of our engraving will be seen a blower actuated by an electric
motor. Air from this blower is conducted to a large funnel which discharges
326 MAGJG: STAOE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the air just out of sight of the audience. This causes the horses' manes to be
blown in all directions. All of the complicated electrical apparatus is driven
from a single switchboard at the right, which is usually manipulated by Mr.
Burgess himself. Our engraving is from " The Electrical World."
Our other engraving shows the arrangement as used in the French play,
*' Paris Port de Mer. " The tracks are formed of an endless matting of cocoa-
nut fibre. This belt runs over drums at each side of the stage and is made
taut by a third drum on a level M'itli tlie stage floor. The belt is supported by
a series of wooden rollers which are i)Iaced very close together and revolve on
pivots. The drum at the left of the stage is driven directly by the motor. Tlie
fence is mounted on an endless belt, as in the Burgess illusion, and is operated
by an air motor. The panorama, which unwinds in a minute and a quarter,
is operated by hand.
Mr. Neil[son] Burgess devised another jilan for producing the illusion of
a horse or other race. Two or more disks or wheels of appropriate size are
secured to a common shaft so that they will rotate independently. The wheels
are of different diameters, so that the larger will afford a clear j^ath for the
contestants. The racers are held back by wires which pass over windlasses,
and their relative positions may be governed by paying out or drawing in the
wire. The runners, of course, cause the rotation of the disk as in a horse
power, and this gives the illusion of real running. An appropriate background
scene may be used, and the shaft carrying the disks may be moved across the
stage by journaling it in a four-wheel truck, the flooring being removed so as
to permit of this horizontal movement.
An American, Mr. Frank M. Chapman, invented another scheme for pro-
ducing the same illusion. He devised a circular track, or turntable, somewhat
the same as that used in horse powers. A panorama is carried by rollers, and
works across the proscenium opening. One or more horses are placed upon
the turntable at any desired point between the panorama and the front of the
stage, and are then started. They are held back in the same manner as in
the ordinary treadmill, and will not advance until the wire is slackened. In
the meantime the jianorama is moving in the direction opposite to that in
which the horses are supposed to be moving. This operation is accomplished
by means of the gear connection between the rollers of the panorama and the
horses actinia; on the surface of the turntable to turn the same.
328 .MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
THE EFFECTS IN "SIEGFRIED."
'' Siegfried " is the second drama and the third evening of the " Ring of
the Nibehmg." It is devoted to the life and adventnres of yonng Siegfried,
from his childliood nnder the care of the dwarf smith Mime, until he wakens
Briinnhilde.from her long sleep on the fire-guarded rock on which she was put
to sleep by Wotan as a punishment for disobedience in sheltering Sieglinde.
The first act of " Siegfried " is particularly charming. It is called the " Welding
of the Sword." The scene is laid in a large rocky cave with openings leading
out to the forest. The forge is built out of rocks, the bellows alone appearing
to be artificial. A large anvil and a few tools complete the equipment of the
siegfiued's force.
forge. As the curtain rises, JMime is seen hammering the sword, but the result
does not seem to be satisfactory. Suddenly Siegfried enters, clad in a dress of
skins, and accompanied by a bear wliich he captured, ^fime retires behind
the forge. After Siegfried and ]\Iime have indulged in a dialogue, the former
jumps up and goes towards tlie sword; grasping it, he tries it with his hand,
and finally strikes it upon the anvil, whereupon it is broken.
Siegfried forces ]\lime to tell him the story of his parentage. Mime then
brings out the pieces of the broken swoi'd which the dying Sieglinde had left as
a legacy to the child. The young hero now begins to set to work to forge the
sword, and Mime chuckles with delight when he thinks that after Siegfried
has forged the sword and killed the dragon he will ])()ison him. The scene
of the welding of the sword is magniticent, and is ])e<'uliarly Wagnerian in its
conception.
THEATER SECRETS. 329
Supported by a square frame of hewn timbers is the bellows, which is com-
posed of hides fastened together with rings. The leatlier cylinder rises and
falls by means of a lever secured to the top. Siegfried goes bravely to work.
Going to the forge, he heaps coals upon the open hearth, and gradually fans
the fire; it rises and rises nntil there is a roaring blaze. The light shines
fitfully npon Siegfried and upon the walls of the cave. At each stroke of the
bellows handle the fire rises higher and higher. Siegfried places a crucible in
the midst of the fire, and in it puts the pieces of the broken sword. When
the pieces appear to be melted, he takes up the crucible with a pair of tongs
and pours the fluid metal into a clay mold. Grasping the mold with a piece
of cloth, he carries it to the rough-hewn tempering log trough and throws it
iu. The heated metal coming in contact with the water causes the steam to
rise. When Siegfried judges that the sword has cooled sufficiently, he takes
it from the trough and, striking it a smart blow, breaks the mold which sur-
rounds it. He then heats the blade of the sword in the forge and proceeds to
the anvil. At each stroke of the hammer the sparks fly, producing a most
realistic impression. He now places the sword in a vise, files it, and then rivets
on the handle.
At last Siegfried finishes the sword and he says:
" Rescue! Rescue!
Welded anew!
To life once more I have waked thee.
Dead hast lain
In ruins long.
Now flashest thou fiercely and fair.
lilend thou the blatant
Now with thy blaze!
Fell thou the false ones.
Rend thou the rogues!
See, Mime, thou smith —
So smiteth Siegfried's sword! "
— T. P. .T<irl:>tnn'>t irrtion.
He now wishes to test its temper, and, raising it aloft, he l)rings it down,
giving a tremendous blow to the anvil, which is cleft in twain, sparks following
the anvil to the ground. Those who have never seen " Siegfried " can form but a
faint idea of the realism of this scene, which taxes the resources of the property
master to the utmost. It will now be asked how the very clever illusion of
the forge and anvil is produced. Our engraving gives an idea of the rear of
the forge. It consists of a rough table, the front of whicii is covered with
canvas to represent rocks. The top of the table is quite well hidden from the
spectators by painted work which masks the front of the forge so that the
mechanism for obtaining the light effects from the top is disguised. The gas
is connected with the forge by means of two pieces of rubber hose, one of which
is provided with a small burner which is kept constantly lighted. Before the
curtain is raised it is not noticeable, as it is turned down until the flame
is l)lue. AVhen Siegfried goes to the forge and heaps ou the coal, thfe stage
330 31 AGIO: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
hand called the '^ gas man " turns on the gas so that it flows through the other
pipe, which ends in a rose burner at the top of tlie forge. The instant the
gas reaches the rose burner it is ignited by the jet which was kept lighted. By
THE KOKGING OK THE SWOKD IN SIEGFRIED.
manipulating the valve, the quantity of gas is regulated so that the flame burns
high or low as desired. As soon as the Are is supposed to rise to any height
the glare of it is cast upon Siegfried's face. This is accomplished by means of
incandescent lamps which are arranged one on each side of the rose burner and
three just in front, in the painted work
which masks the front of the forge.
The lamps are arranged on two circuits ;
those in tJie middle on one circuit,
and those on the back of the forge on
another circuit. The wires run into
the Avings, and the electrician lights
them and dims them, as required, by
means of rheostats. Steam is used to
give the effect of smoke. This is ad-
TiiE DIVIDED ANVIL, mitted by a stage hand in the wings.
THEATER SECRETS. 331
The quantity of steam admitted depends upon the height to -wliich the fire is
supposed to have risen. It may thus be seen that the effect of the lighting is pro-
duced by a clever combination of gas, electricity, and steam, which must be com-
bined with the greatest possible art. In the old forge at the Metropolitan Opera
House, which was burned in the fire, the effect was obtained in a slightly differ-
ent way. A man was placed under the forge, and Avhen the flame Avas to rise,
he blew lycopodium powder into it from a box underneath the top of the forge.
A quantity of the powder was blown out at each stroke of the bellows. The
l)urticles of the volatile powder caught fire when they came in contact Avith the
gas jet, thus producing the effect of the gaseous flames from blacksmith's coal
and its sparks. The new arrangement is considered to be more desirable.
Under the top of the forge will be noticed a shelf on Avliich are kept two
swords. This enables Siegfried to substitute the swords as becomes necessary,
and here is kept the sword with a firmly riveted hilt which he finally uses to
strike the anvil.
The trough is also connected with a steam pipe. When Siegfried throws
into the trough the mold which encases the sword, and when he tempers the
sword, the steam rises. The steam is supplied from a drilled iron pipe. This
pipe is connected with the steam pipes at the side of the stage by means of a
hose Avhich is carefully covered from view. The anvil upon which Siegfried
strikes in forging the sword has one side covered by a piece of corrugated iron,
six by twelve inches, and another piece of iron is over it, as shown in our
engraving. It is arranged so that when the bow piece of iron at the top comes
in contact with the lower piece a momentary short circuit is produced, so that
at each stroke of the hammer a shower of sparks is produced. AYhen Siegfried
raises his sword and brings it down upon the anvil, he really strikes a spring
which lets one half of the anvil fall, its under and outer side having the cor-
ner cut off for the purpose, as will be seen from our engraving.
There are other interesting properties and illusions in " Siegfried. ' ' We have
just seen how Siegfried has forged his sword " Kescue; " now begin a series of
wonderful adventures which only end with his death in the " Gotterdammerung."
The second act of " Siegfried " takes place in a forest in which is seen a great
linden tree. The whole stage is covered with rocks, and at the left, at the back,
is a cave which shelters "Fafner," a giant who has taken the form of a
dragon in order to protect the treasures concealed in the cave, Avhich include
the mysterious ring and the Tarnlielmet, which gives the i)ossessor unlimited
power. Mime and Siegfried approach. Mime showing the way to tlie cave.
WwwQ then leaves Siegfried alone to his fate. The youthful hero sits down
beneath the linden tree and listens to the voice of the bird. He wishes tliat
he could understand its language, aiul, cutting a reed, he nuikes a rude
musical instrument with which he attempts to imitate the bird's notes, but the
result is a failure. He then takes up his silver horn and blows several blasts
upon it. He has, however, no comprehension as yet of the song of the birds,
but the sound of the horn has awakened Fafner, Avho appears in the mouth of
the cave. The hideous creature moves forward from the cave and says: *" Who
TlfEATEn SECRJ^T.'^. uljj
art thon ? " Then, after a moment's coiiversution. Fafner opens liis tremeiitloiis
jaws, displaying liis teeth. Siegfried seizes liis sword and confronts Fafoer.
Tlie now enraged dragon belches forth a snlphurons breath, wliile his eyes gleam
with a very wicked light. The young Siegfried seems no match for the enor-
mous beast. The dragon has almost seized Siegfried -when the latter succeeds
in wounding him slightly. The aninud rears up on his fore feet, with tlie inten-
tion of hurling himself upon the intruder in order to crush him. In doing
this, however, he exjioses his breast so that Siegfried is enabled to plunge his
sword into the monster's heart. Fafner rears up still higher, and finally sinks
upon the ground, and the dying monster sings of the race of the giants and
tlie curse of the dwarfs. At last he dies, and as Siegfried withdraws the sword,
his hand becomes sprinkled Avith blood. He puts his fingers to his mouth to
suck off the blood. He now hears the forest bird again, and this time he is
able to understand the language.
The fact of the matter is, it would have been much better if Wagner had
written the music-drama so that the dragon would have been killed off
the stage. Having once been jmt into the opera, it was, of course, impossible
to get along without the ugly beast, but the tendency is now to retire the
dragon as far as 2:)ossible to the rear of the stage. The dragon which we illus-
trate is the creation of Mr. Siedle, theproperty master of the Metropolitan Opera
House. Fafner is, without doitbt, the finest of his race. He gives one the
idea of something half siuike, half crocodile, and somewhat resembles some of
tlie now e.xtiuct animals of bygone geological times. It cannot be said that the
dragon is a thing of beauty, unless we can admit there is a beauty of ugliness.
Fafner is supremely ugly, but, from a scientific point of view, it is doubtful if
there are any properties connected with modern Gr;ind Opera which are more
interesting. The problem which presents itself to the property master in
building the dragon is an interesting and ditficult one. As the dragon
must be arranged so that it can be worked by two men, Avho are inside it, it
must be capable of considerable movement and must give the apjiearance
of great size. In the i)resent instance the head of the dragon was modeled in
clay, and each line and horny scale and boss was the result of careful calcula-
tion. After the head was modeled, a plaster of paris mold was taken from it,
and from this another plaster cast was made, upon which the actual head was
built up out of papier mache. After the papier mache work was finished, it
was painted dark green; different shades were, of course, used.
The body of the dragon is of cloth; tlie legs aiul feet are not attached to
it, but are put on by the two men who operate the dragon. The feet and
claws of the dragon are pulled on by combination overalls and boots. The
man who takes the part of the fore feet wears a heavy belt with hooks on the
side to carjT the Avires Avhich furnish the current for the electric lamps in the
eyes, and a rubber hose by which the dragon is enabled to breathe a sulphurous
breath. A long lever of iron runs from Fafuer's head through his body, and by
means of this the man who plays the hind legs moves the head up and down;
the shoulders of the first man being the fulcrum. Independently of this, the
334 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
\
' ^s^
WOTAN 8 SI'KAll.
m;ii"i in the fore legs moves tlio upper jaw and the feelers.
The painted cloth body might be likened to a camera bel-
lows. The antennae can be moved by means of cords, add-
ing greatly to the terrible appearance of the monster. The
enormous red tongue can also be moved by the first man,
and the jaws are freely hinged. The eyes are set in what
ajipear to be enormous saucers; they are covered over with
painted silk. Behind this are incandescent lamps which are
turned on and off fitfully by one of the stage hands behind
the drop scene which represents the mouth of the cave.
The wires run to the tail, as does also the steam pipe which
furnishes the breath of the monster. The steam is allowed
to escape from the mouth and through the nostrils. The
tail consists of a number of sections of wood articulated
l)y means of hinges. It is covered with painted cloth.
When the first act is about over, the two men who are to
act as the legs of the dragon get inside the body and are
tlien ehiborately fastened by the stage hands. They then
waddle along to the opening of the cave, assisted by several
of the stage hands, as the enormous body is very difficult
to manage. One man works the steam while the other
attends to the lighting of the eyes. After Siegfried kills
the dragon, the stage hands go at once to extricate the
two men from their uncomfortable position. The singer
who takes the part of Fafner may Ije disposed in two ways;
he may be either under the raised bridge upon Avhich the
monster stands, or he may bo in the wings. In either
case he sings through a speaking trumpet, which adds to
the effect. The bird which is seen going across the stage
and leading Siegfried to Briinnhilde is actuated by clock-
work. When it starts, the clockwork is set in motion
and makes the wings flap. Another bird, Avhich appears
to the audience to be the same, crosses the stage on
wire from right to left, further back, and a third one is
seen at the left, still further away. This one Siegfried fol-
lows to the rock of the Walkure, just as the curtain falls
upon the wonderful scene.
The third act of " Siegfried " opens in a wild, rocky
path at the foot of a high mountain. The scene is laid at
night, and there is considerable thunder and lightning.
Before the entrance to a cavern in the rock stands Wotan,
who never appears as a greater bore than in this act of
" Siegfried. " After a seemingly interminable conversation
with l^h'da. she vanishes and Siegfried ajipears. After
considerable conversation between Siegfried and Wotan,
TBEATER SECRETS. 335
Siegfried advances to the latter, holding his sword, which has once before been
shattered on the same shaft, in order that he may reach the summit of the
mountain upon which Briinnhilde sleeps, jjrotected by the sea of flames.
Siegfried fights with Wotan and hews the spear in pieces. A fearful flash of
thunder follows; flames and steam rise in front, and Siegfried's horn is heard
as he plunges into the fire. At length the fierce glow pales, the scene changes,
and represents the summit of a rocky mountain peak, as in the third act of the
Walkiire, and Briinnhilde is seen in deep sleep.
The illusion is very clever indeed. Wotan's spear, as shown in our engrav-
ing, consists of a divided shaft, one part of which telescopes with the other
for a few inches. The upper part of the spear is forced down over the lower,
thus compressing a coiled spring. AVhen the spring is compressed sufficiently,
it is caught by a catch. Now, when Siegfried strikes the spear Avith his sword,
Wotan presses a button which releases the upper jiart of the spear. The coiled
spring is sufficiently strong to throw it off from the lower part. As the upper
part rises, it lights matches secured by holders in the center of the lower part
of the spear. A piece of sandpaper is secured to a little door which opens
in the shell of the top part of the spear. As the sandpaper ])asses the matches,
it lights them, setting fire to a small quantity of gun cotton, which lights flash
paper concealed in the end of the spear. A lightning flash and a flash of
thunder usually accompany the breaking of the spear. Formerly an electric
spear was used, but it was found that the matches were simpler and more
reliable.
Arrangemeiits are provided at the Metropolitan Opera House so that an
entire curtain of steam can be made to rise across the whole length of the
stage, a narrow section of flooring being taken up, and a perforated section
put in instead. A perforated steam pipe is also provided.
THE BED OF TULIPS AND THE ELECTRIC FIREFLY.
A very pretty electrical effect has been introduced in the garden scene in
" Faust. " Siebel, the would-be lover of Marguerite, advances to a bed of tulips,
some red, some white, and some gold, to pluck a bouquet that he would leave
upon her window to speak for him. Concealed in the corolla of each flower is
an electric lamp. Now Mephistopheles had long before warned Siebel :
" Every flower that you touch
Shall rot and shall wither."
But, unheeding, Siebel plucks a golden tulip which shines as he lifts it up to
him. A fine wire which carries the current keeps the lamp aglow and is not
seen as it trails along the foliage. No sooner does Siebel examine it than
ooij JLiOiC: STAGE ILLUSIONS AND SCIENTIFIC rHYERSTONS.
Mephistopheles, partly concealed, raises liis liaud; the current is cut otT, and
the flower grows dull and withers perceptibly.
" What, faded! Ah me!
Thus the Sorcerer foretold at the fair:
That should I touch a blooming flower.
It shall wither.
But my hand in holy water FlI bathe —
See, now, will they wither?"
Then with his other hand he plucks a red tulip, a white and a golden one and
holds them up triumphantly, each glowing with a rich light ; for Mephistopheles
may not raise his hand against the power of what has been blessed. Then he
changes the flowers from one hand to the other, and instantly they fade ; but
they gleam again when, remembering it was with the other hand that he had
touched the holy water, he transfers them back again. This beautifnl illnsion
is easily produced.
THK IJKD OF ET.ECTIUC FLOWERS.
The electric firefly which has been used in the play of the " Kaffir Diamond "
depends upon a somewhat similar device. Tiny incandescent lamps are affixed
to the reeds and rushes in a swamp, each lamp being connected by means of
a fine wire to a storage battery, through the medium of wires in a switch-
board. Our engraving shows the manner of placing the lamp behind the
weeds and rushes. The operator, in his hiding place, by pressing upon the keys
of the switchboard, alternately lights up one and then another lamp, so that it
would appear to be a single flrclly darting hither and. thither; or, by pressing a
number of keys, any number up to a dozen or more could be lighted.
In " Die Walkiire," a red incandescent lamp is placed in a tiu box which
is painted so as to represent a knot in the tree. AYIien tlie light is turned on,
it causes a red glow on the hilt of the sword, and discovers it to be Siogmund.
77/ AM 7'A7.' SECh'ETS
337
ELECTKIC FIUEKLIKS.
THE ELECTRIC TORCH AXH ELECTRIC JEWELS.
We have already given several interesting examples of electricity upon the
stiige. We now present some engravings of the electric torch and electric
jewels for which the theatrical world is indebted to the Erench inventor M.
Ti-ouve. The electric torch Avas devised for use in ^[. Saint-Saens' " Ascanio. "
In the mythological ballet, Phoebus appears among the ]\Inses, holding the torch.
of Genius in his liand; the torch is of moderate size and elegant form, and innst
be brilliantly illuminated from twelve to fifteen minutes at each ])erformance.
An incandescent lamp scarcely concealed under colored glass jewels solves the
problem. Tiie principal difficulty was to light this lamp A\ithont the use of
conductors, which should furnish the electrical current desired. ]\l. Trouve
constructed some portable accumulators which are placed in the torch. The
accumulators are six in number; the first three occupy the upper part of the
torch, and the three others the lower part. They are of the Plante variety and
have lead plates. Each of the elements is ])laced in the interior of a cylindri-
23
338 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
cal piece of thin glass covered witli gutta perclia. The batfcei-y as a whole
weighs four hundred and twenty grams (fifteen ounces), and is capable of
furnishing electricity to supply the torch for two presentations. A small con-
tact button is placed above two buttons, so that at the least pressure the lamp
is lighted, and it is extinguished when the pressure ceases. Our engravijig
shows Madame Torri in the rSle of Phoebus.
H^^^^^m^^^giffWli'^J
1
■
Hb^
1
^B|
I^^^^H^B^^^^Ss^ i<'Cm
H
^HiSlij
^^K^
1
^Hl
H^l
1
■11
__ __v;--'-^^ir ^r-
A
H
FIG. 1.— rnCEBUS HOLDING THE TORCH OF GKNIUS.
M. Trouvo also invented what are termed electric jewels, in wliich glass
jewels cut into facets are illuminated by a small elec^tric light placed back of
them. TIk! jewels really consist of small lenses whose foci have been accurately
determined. The luminous source itself always occu])ies an invariable posi-
tion, that is to say in the center of the sphere, which is studded with the glass
jewels. I'he lamp is connected with a small battery through the medium of a
flexible conducting cord which is concealed under the garments^ The battery
is put into the pocket or attached to some part of the dress. Our engraving
THEATER SECRETS.
339
shows a number of these electric jewels which are used not only for theatri-
cal purposes, but for a novelty in dress.
The jewels are very effective when attached to a ballet costume, and we
give on page 341 an illustration of a danseuse as she appears when adorned
with this glowing electric jewelry.
Another interesting effect which is produced with the aid of a small elec-
Fm. 2.— EXTERNAL AND INTEUNAL VIEWS OF THE TORCH.
trie battery carried upon the person, is used in the duel scene in " Faust," and
is also due to M. Trouve. It is rather simpler than the device which we will
show for producing sparks from the sword in the duel. The two swords
and the two cuirasses are extremities of the poles of a bichromate battery car-
ried by the combatants. Wlien the two swords come in contact they cause
bright sparks to flash, and when one of the swords touches the cuirass of
the adversary, a fifteen candle-power lamp is lighted, and remains lighted
during the contact of the point of the sword with the cuirass; the lamp
THE A TER SECRETS.
341
is, of course, in front of the cuirass. lu furious sword ])]ay the two swords
touch reciprocally the two opposite cuirasses; both lamps are simultaneously
illuminated and give a considerable light around the combatants. This appar-
atus is not only useful in the theater, but has been tried in the fencing gallery
during an assault; the apparatus shows the location of the blows without the
possibility of contesting it.
FIG. 4.— DATVSKUSE WF.AKING RT.F.CTRTC JEWELS.
342 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
AN ELECTRICAL DUEL.
In the duel scene in " Faust," a striking effect was obtained a few years ago
at the ]\Ietropolitan Opera House. It will be remembered that the soldier
Valentine, brother of Marguerite, fights with Eaust. As Faust is unfamiliar
with the use of the sword, the devil, in the guise of Mephistopheles, stands
by, sword in hand, ready to aid him, iuteri:)osing his weapon when Valentine
presses the student too closely. In former productions of the opera there was
nothing apparent to indicate the possession of supernatural powers by Mephis-
topheles. The duel takes place at a part of the stage where two plates of
copper are sunk into the flooring. These plates are connected with the electi'ic
current. Copper nails are driven into one shoe of Valentine and one shoe of
Faust, and the wires run up their bodies to the swords. When they draw
their swords they insert the wire into the hilts by means of a plug; they are
then connected with the copper plate. Every time that Mephistopheles inter-
poses the sword and strikes up the contending weapons, which are in contact,
the sparks fly furiously and the weird crackling sounds are heard as in lightning.
When Valentine receives his death wound, he throws out the plug connecting
his sword with the electric current, and as he falls the sword flies from his
hand, and there is nothing to show the presence of any electrical connection.
THE SKIRT DANCE.
The famous skirt dance may be defined as peculiar in the sense that it is not
a dance as generally understood in stage parlance. The performer, standing
on the stage and dressed in voluminous attire, requiring, it is said, over a hun-
dred yards of material, by slow motions, comprising more arm movements than
foot movements, causes the light drapery to wave about in most graceful
curves. The variety of shapes and contours that can be produced by a skilled
performer is endless. To add to the effect, wands are used to extend the reacli
in the direction of the lines of the arms, and the gi'eater control thus obtain-
able adds immensely to the effect. This dance was made famous by Miss Loie
Fuller, whose reputation is now world-wide.
Our illustration which forms the frontispiece of the present work is designed
to show the methods adopted to produce the wonderfully beautiful effects which
have characterized the dance. The performance is executed in a darkened the-
ater. A number of projectors are distributed, four in the wings and one below
the stage, so as to be adapted for flooding the figure of the danseuse with light.
A pane of heavy plate glass set in the floor of the stage permits the projector
beneath it to produce its effects. Each projector has mounted in front of it a
disc about three feet in diameter, perforated near its periphery Avith a number
of apertures. Colored gelatine is fastened over most of these apertures, a
oU MAGIC: STAGE ILLUSION'S AND SCIENTIFIC DIVEJi'SlON'S.
different color being nsed for eiicli opening, except wliere one may be left for
white liglit. The operators at the projectors follow the movements of tiie per-
former, and can prodnce an almost infinitely extended range of effects by vary-
ing the colors thrown by each projector.
The theater being pitch dark, the dancer can be brought slowly into view
and can be made to slowly disappear by manipulation of the projectors. She
can appear in any color or combination of colors. It is needless to say that it
is a comjiosite performance in the sense that the dancer fills only a part of
the functions; skilled operators are absolutely essential at the projectors.
One of the prettiest effects is produced by a magic lantern operated from
the front of the stage and shown on the left hand in the cut. The operator
projects upon the drapery different figures and designs, using regular lantern
slides, making the flowing, misty drapery act as the screen for his projections.
It is obvious that he mnst give great attention to his focusing.
The skirt dance has won the attention of artists, and some very beautiful
statues have been based upon its cloudlike variations of form. The slight
idealization required in representing the soft forms of waving drapery in the
solid material of the sculptor's art has given most graceful and characteristic
effects.
One of the most startling effects is the flame dance. The filmy veil is pure
white, but as the dancer approaches the opening in the stage floor the veil turns
to a fiery red, and the flames wave to and fro as if they were being blown by the
wind. Shadows are then thrown on the veil and produce an exact reproduc-
tion of heavy black smoke, which suddenly changes to an ardent flame again^
as if the fire had broken out anew.
CHAPTER V.
THE NAUTICAL ARENA.
The nautical arena, or aquatic tlieater, was a few years ago one of the sensa-
tions of London and Paris. Spectacular entei'tainments in which water played
a prominent part go back to the time of the Romans, Avhen portions of the
arena of the amphitheater, or sometimes the entire arena, were flooded, and
mimic sea figlits took place in galleys carryi]]g gladiators who fought to the
death. The Paris aquatic theater is a very handsome building. It is situ-
ated in the liue St. Ilonore, and is called the " Arene Nautiqve.'''' It is
intended to fill two distinct roles ; first, it is a circus for equestrian, gym-
nastic, and aquatic performances, while during the summer it becomes a
huge swimming bath. The building was originally used for a cyclorama,
but was entirely remodeled when put to its new use. The circular hall
is one hundred and ten feet in diameter. In the lower part of this hall is a
circular tank seventy-nine feet in diameter, with a gallery running around it.
Over this gallery and the water are constructed tiers of seats, as shown in our
engraving. In the center is placed a powerful hydraulic cylinder. To the
top of the piston rod is affixed a large iron plate forty-four feet in diameter.
This plate can be sunk below the level of the water, the tank then being
available for aquatic performances. It is the work of a moment to raise the
plate. A firm floor is then provided for horses and men.
This arrangement permits of the water being maintained at such a height as
to provide a shallow tank for those who cannot swim. The rise of the piston is
caused by a compound pump, and the plate is guided in its movement by guide
bars fixed vertically around the outer rail. A catch is provided to secure the
plate in position. When it has attained a little more than its proper height, it
is caused to rotate slightly on its vertical axis by an endless screw. B\^ this
means the ends of the radial girders are brought over twenty shoes fixed to the
twenty columns; by letting a little of the water escape, the radial girders settle
themselves firmly down upon the shoes. The weight of the whole mass is
about twenty-five tons. When the arena is to be used for performances in
the ring the plate is covered with a mat of esparto Aveighing about one thou-
sand pounds. It is brought in on two iron trucks. Our engraving represents
the removal ol the mat before sinking the staj^e.
'^^^'^'^^'''^'^^^^''^^/m^y^^^^^^m!^^
CHAPTEli YL
A TKIP TO THE MOOK
This is the title of an illustrated lecture which has heeu very popular in
Berlin, and which was also produced in New York a few years ago. The lec-
ture as nsed in the United States, was rewritten hy Mr. Garrett P. Serviss.
The first scene is the reproduction of a solar eclipse as seen from t!ie shores of
one of the small lakes called Ilavel, near Berlin, on the morning of August
19, 1887.
On this morning the sun arose with the greater jjortion of its disc obscured
by the moon. As the sun ascended, the crescent diminished, and at the
moment of totality a Avonderful corona flashed into view. The scene gives the
audience an idea of what tlie astronomers mean when they attempt to describe
''W
IMSi; Its IIIK IIAVKI., M<;A1! IJKUI.IN, AIICiUST I'.t, IShT.
A TRIP TO THE MOON.
340
THE PliOWUCTION OK THE SULAK ECLU'SE.
this wonderful phenomena. The moon pas.ses t^lowly before
the sun nntil the earth is fully ilhiminated and the sky and
landscape assume a normal appearance. Interesting as these
imitations of celestial and terrestrial ])henomena are, the
manner in which they are effected is still more so, and our
engravings give a peep behind the scenes
^ and explain the means by which the
illusion is produced. The trees and
\\Xc:,T\A\^ ^ foreground are set in front of a trans-
2Darent scene upon the back of wincli
the opaque parts are silhouetted in l)l;ick.
s:>
leaving the sky and water translucent.
Two optical lanterns are provided, one of which carries
the crescent and the other the corona slide. They a,re
mounted n2)on a box movable along the inclined side of
a triangular frame by a drum and cord, and are thus
enabled to imitate the appearance and course of the heav-
enly bodies. The screen immediately below the horizon
intercepts the image of the luminary below that line.
The waves that play niion the surface of the lake are
'>UkM%;^\A'Qt
850 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
THE PLASTER IMAGE OP THE MOON.
produced by a slide in a third lantern. This slide consists of glass screens
upon which waves are painted. These screens are actuated by three eccentric-
ally mounted rods set in motion by clockwork. The interference with these
waves permits ribbons of light, of constantly varying position and width, to fall
upon the screen and to give the effect of water ruffled by a breeze. The play
of color and intensity of light produced by the revolutions of the earth and its
passage througli the penumbra and umbra of the moon's shadow, and the
development of full sunlight, are perfectly coordinated to the changing condi-
tion of their source, the sun. This part of the illusion is effected by the
management of the foot and border lights.
MT. ARIHTAW IHIH.
A TRIP TO THE MOO^.
361
CAPE LAPLACE.
These lights are red, white, and blue incandescent electric lamps arranged in
series, and controlled by a rheostat, permitting every possible combination and
intensity of tint, and to the intelligent manijinlation of which is due much of the
success of the scene. Our interest is intensified by a view froni a distance of
five thousand miles, showing the lunar mountains and other prominent features.
The plaster image of the moon, viewed through a circular piece of gauze set in
a black drop, is ten feet in diameter. The change of phase is produced from
the light thrown from the lanterns, as shown in the illustration.
The splendid scenes of Mt. Aristarchus and Cape Laplace are sjilendid
pictures and are shown from the height of two and one half miles. By trigo-
nometric mensuration of the shadows, and application of their values by per-
spective, the artist is enabled to represent the general features of the landscape
with fidelity. These scenes are lighted from behind by four arc lights, by
bunch lights and footlights, and the combined candle power is eight thousand
SUNRISE AND EAUTU LIGHT.
352 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC 1)1 VKh'SIONS.
llFSiilililil?
BACK OP EARTH WITH GELATINE
ATMOSPHERE.
THE SUN BOX INTEUIOU AND THE BOX
RISING.
five Imndred oauclles. This brings out the contrast cf tlie laudscape in tliis dead
world. From tlie moon surface, the earth always seems to occupy the same
place, and reflects to the moon a part of the light received from the sun. The
phenomena of earthlight and sunligiit upon the moou are given by transparent
SOI.AK E(I,II-SK AS VIK\Vi;i) |.|!(».M 'IIIK MOON.
A TRIP TO TEE MOOX. 353
places in the scene rejiresenting sky, and lit up by a lantern. The mountain
on either side has each a lantern, whose light is permitted to fall on the drop
by gradually lowering the screen. A modified arc liglit illuminates the front
of the scene and gives the earth light.
Probably the most unique of the cosmic phenomena is a solar eclipse viewed
from the moon. The earth is an opaque disc with a red gelatine band
attached to its circumference with white muslin, and suspended by two hooks
set in a shelf extending across its back. A coat of i)hosphorescent paint gives
the glow. The sun consists of a box with a cover of gelatine on which the sun
is painted; a semicircular wooden arm incloses a reflector and supports six
incandescent lamps set inwardly. The box hooks into a piece of leather
with a circular aj^erture coincident with the sun's face, and sewed into the
drop. Holes in the drop allow the light from an arc light to imitate
the stars. The surface of the moon is painted on canvas supported on
hinged props having spread feet. A stifE rod joins the hinges and forms the
horizon. A footlight is placed within this tent-like cover to illuminate it.
The drop curtain carrying the sun box is raised by a windlass, and as the sun
rises, accompanied by the stars, the footlight is turned up. In passing behind
the earth, the sun imparts a crimson view to the earth's atmosphere, which the
footlight transfers to the moon until the extinction of the solar disk. The
return to earth is marked by a view of that part of the earth surface most resem-
bling the moon's, the Tyrolean highlands. The afterglow of sunset, moonrise,
and a lunar eclipse are depicted with great accuracy. The gradual movement
of a deep red gelatine film across the lantern-slide holder causes the moon to
appear to enter and emerge from the earth's shadow. A sunset on the Indian
Ocean and moonrise on the first scene concludes the lecture. A series of stere-
opticon views of great beauty are intersjiersed between the mounted scenes,
thus furnishing a continuous performance.
23
CHAPTER VII.
CYCLORAMAS.
The origin of the cyclorama is traced to the use of scenery by the Italians
two or three hundred years ago. They arranged outside of their windows scenes
painted on canvas that simulated extensive gardens. Robert Fulton is said to
hav^e exhibited a panorama in Paris at the beginning of the present century. It
was not, however, a cylindrical painting, as is used in the cyclorama, and the
effect was not as illusive.. Cycloramas have been on exhibition in many cities
of the United States, and they are also very popular abroad.
The cyclorama which we illustrate is the " Battle of Gettysburg," which has
been shown in New York, Brooklyn, and other cities of the United States. It
was painted by M. Paul Philippoteaux.
The " Battle of Gettysburg " covers an immense sheet of canvas four hun-
dred feet long and fifty feet high. The canvas was imported from Belgium,
none being manufactured in the United States which would answer the pur-
pose; it is nine yards wide, and the seams run up and down. The immense can-
vas is supported from the sides of the building so as to form a C3dinder. The
building is circular, and a cornice is provided which runs entirely around the
building; the upper edge of the canvas is nailed to this cornice. The cloth is
first rolled smoothly on an iron roller surfaced with wood, fifty feet long. The
roller is held vertically in heavy framework which runs on tracks around the
building. From the roller thus carried around, the cloth is gradually j-jaid out,
as shown in our engraving. As fast as it comes off the roller it is seized and
held by pincers while the edge is being tacked to the cornice. The lower edge
is secured to a circle of gas pipes which run entirely around the building. As
the pipe would not give sufficient weight to stretch the canvas, a twenty-five-
pound weight is hung at every third foot.
The effect of the stretching is that the canvas loses the true cylindrical
shape; its sides are no longer parallel, but curve slightly inward, about one
foot in amount, at the center. Thus, at the horizon line, the most distant part
of the scene, the painting is about a foot nearer the vertical line than in the
foreground. In absolute distance from the eye the difference is still greater.
Owing to obliquity of the line of sight, the foregound, which seems so near at
hand, is really much further off than the horizon.
In a cyclorama of this kind it is necessary to have the scene portrayed with
the utmost fidelity. The result is that the landscape is really an artistic tran-
CYCLORAMAS.
355
SECTION THROUGH A CYCLORAMA.
script of photographic views of the field. The artist first went to the scene
of the great battle of Gettysburg, and selected one point of view, and caused a
small stage to be erected at tliis point, which was of the same height as that
upon which the people were to stand in the completed cA'clorama. Around
the stage a line of pickets Avas driven in a circle, as shown at the point B. The
distance Avas measured from the top of the stage as a center. From the top of
the scaffold three series of ten photographs each were taken, the instrument
being sighted by means of the posts. This series of photographs showed tlie
entire field; one series being taken for the foreground, while the other two, by
their focusing and exposure, were devoted to the middle distance and back-
ground. Each view was divided into squares, as shown in our illustration; the
canvas was marked off by corresponding divisions, and the pliotographs were
copied square by squnre; the blending of the ten views and the aerial i)erspec-
tive was, of course, the critical part of the perfornumce. The painting was
(lone from a scaffold which traveled around on the same tracks which carried
the roller frame, as shown in our illustration.
356 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
XA11,1.N(^ ON TllK CANVAS.
The painting was done in oil, tinsel being occasionally employed. After
the circular wall was covered, the foreground next claimed the attention of the
painter and his assistants. A wooden platform was huilt which extended all
around the platform npon which the visitors stood, and earth and sod covered
these boards. Fences, tufts of grass, wheat, etc., lent their aid to fill up the
scene. The continuation of the road was met almost perfectly on the canvas;
in fact, it was almost impossible to see the line of demarcation between the real
and the painted foreground. We give an interesting engraving of this method
of construcfcinc; a realistic scene.
I'llOTOUKAlMIING THE FIKLU.
CYCLORAJIAS.
357
Two men are seen carryiug a litter. Tlie more distant soldier is painted ou
the canvas; the litter is real, two of its handles passing through holes in the
canvas. The figure resting on the litter and the nearer hearer are cut out of
boards and ])ainted. Other scenes are similarly jiainted.
The spectators occupy an elevated stage which they Jiiount ])V means of stair-
cases running under the scatl'oldiug of the foreground. Once upon the plat-
PAINTINC. A (;Y( r,()liA>rA.
form the spectators lose all idea of orieutatiou, and cannot tell the points of the
compass or have any conception of the size of the building. Over the stage a
circular screen is suspended so that it shades it from the light which enters
from the skylight. The sky is thus lighted up, and a peculiar luminous
effect favoring the aerial perspective results. At night a number of electric
lights, suspended out of sight of the s2:)ectators, give about the same effect.
Many of the details of the picture were obtained from eye-witnesses of the
358 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
battle; the uniforms, the modes of cari'ving the blankets, and the details of
harness, and the minor parts of the scener}^ were studied carefully. Every-
thins: in the baildins^ combines to make a wonderful illusion.
^^^^-
HOW THE ILLUSION IS rHODUCED WITH KEAL OBJECTS.
THE ELECTEIC CYCLORAMA.
Notwithstanding the fact that cycloramas of the pattern we have just
described were the result of the most careful blending of science and art, still
their popularity seems to have been limited, and the cyclorama has been, in
numerous cases, obliged to bow to tlie taste of the day. One has been con-
verted into a circus, others into skating rinks and bicycle academies. The
cyclorama we arc about to describe ought to be able to bring panorama once
more into fashion. The idea of Mr. Chase, a resident of Chicago, was to turn
to account the most recent discoveries in the way of panorama photography,
projection apparatus, electric lighting, and the systems which permit of faith-
fully representing the phenomena of motion. The possibility of causing a
CYGL0RA3IAS.
359
considerable mimher of views to pass before the spectator in a limited amount
of time, of imparting life to tiiem, gives the cyclorama an animation and
diversity which is lacking in the ordinary panorama.
GENERAL VIEW OP THE CHASE ELECTRIC CYCLORAMA.
An ordinary panorama building is used; spectators stand upon the floor of a
cylindrical chamber one hundred feet in diameter aud thirty feet in height.
Upon the walls are thrown photographs placed in a projecting apparatus sus-
pended from the center of the scenery, after the manner of a chandelier.
Our first engraving gives a general view of the panorama as used at the
" Chicago Fire "cyclorama. Our second engraving shows the projection appara-
tus, and our third where a battery of lanterns are used, showing the lantern
carriages, Nothing more is required to convert an ordinary cyclorama into an
electric cyclorama than to paint the back canvas white and to suspend the
platform in the center of the building.
The apparatus is secured in the center of the panorama or cyclorama build-
ing by a steel tube and guys of steel wire. The operator stands in the center,
upon a circular platform, and is surrounded by an annular table supporting
eight carriages, upon which are mounted the lantqrns, cinematographs, kineto-
PLATFORM FOR THE OPERATOR AND PROJECTION APPARATUS SUSPENDED IN THE CENTER
OF THE HALL.
TiiK ;'i;o.;kltion apparatus.
CYCLORAMAS. ' 361
scopes, and all arrangenieuts required for imparting life to the scene and pro-
ducing the transformation. Each lantern i^ provided with an arc light, and
the wires to furnish the current pass tlirough the suspension tube. The annu-
lar table carries the rheostats by which the light is regulated, according to
tlie effects to be produced with iris diaphragms, which permit of obtaining
vanishing effects and night, sunrise, or sunset effects. The projecting lanterns,
eight in number, are double, one being ranged over the other, tlnis permitting
of the preparation of a view, and focusing it, while the spectators are looking
at another. The change of pictures is not effected until everything is in order.
The carriages which support the lanterns permit of accurately adjusting views
so that the registry is perfect. The eight positive slides produce a panorama
three hundred feet in circumference and over thirty feet high. The rays
which emanate from each of the projecting lanterns are such that they w^ould
overlap did not a frame fixed to the lenses, and carefully regulated, suppress
those parts of the views which would encroach upon one another. When the
lanterns are properly arranged it is possible to project moving pictures upon
any part of the canvas screen.
CHAPTER VIIL
FIKEWORKS WITH DEAMATIC ACCESSORIES.
The love of show and the spectacular is inherent in human nature. Games
and entertainments on a col-ossal scale have always appealed to the popular
taste. An important factor in such spectacles is the display of fireworks, in
the love for which the Americans can sympathize with the Orientals. As far
back as 1879, Mr. James Pain of London gave spectacular productions at
Manhattan Beach, one of New York's most popular resorts, and since that
time tlieir popularity has been increased, so that now entertainments of this
chiss are given in comparatively small cities. It is perhaps more proper to
speak of these entertainments as fireworks with dramatic accessories than to
.SCIC.NKS KKADV KOI! I,( )W KlilNO.
THE BURNING OF MOS( 0\V.
3G4: MAGIC: STAGE ILLUSIONS A^'D SCIENTIFIC DIVERSIONS.
call them dramas with fireworks, for the raison d'etre of the entire performance
depends not upon the loosely hung together plot, but on the gigantic display
of fireworks, which is accompanied by enough of realistic stage setting and dra-
matic performance to give a good excuse for the performance. Strange as it may
seem, these mammoth plays, as regards the scenery, are as interchangeable as
those in any theater, the gror.nds in which the scenery is installed being of the
same general dimensions in all cases. This, of course, greatly simplifies a
change of perfoiunance. The company which has been prominently identified
.with these spectacles sometimes has as many as seven in use at one time. They
LOW EKING A SCENE.
move about from place to place, so that in the course of a season thirty or forty
cities are visited, the stay varying from a week to a whole season. The per-
formance is held in the open air, at either some popular resort or in some place
where the grounds are rea;lily accessible.
An ami)hitheater is provided for tlie spectators in a rectangular enclosure
which may seat as many as ten thousand persons. The seats slope away until
the water is reached; here will be found an artificial lake, usually three hundred
and eighteen feet long and one hundred and fifty feet wide, and the width of'
the entire stage being three hundred and fifty feet. Behind the pond is a stage
mounted with set scenes. Of course, owing to the distance and darkness, the
refinements of acting would be entirely wasted. The management, therefore,
FIREWORKS WITH DRA3IATJC ACCESSORIES.
365
depends almost entirely on the spectacular, the cast including companies of
clever gymnasts and acrobats.
The performance is so arranged as to lead np to some stirring catastrophe.
The climax is generally awfnl cataclysm, or some blood-curdling war scene, or
a conflagration.
We select for the purpose of illustration one of the most successful of these
spectacles, the " Burning of Moscow " at the time of the French invasion. The
scene is a true representation of the docks and quays of the ancient Russian
capital. At each side appear arched stone bridges, and the whole is surrounded
by strong fortifications; sentinels walk back and forth upon the walls of the
Kremlin. The action of the drama is but brief, and after a gymnastic exhi-
SECTION THROUGH A SCENE.
bition of marching and countermarching by the actors, the band plays the
solemn strains of the Russian national hymn, while priests of the Greek Church
render classical music of a somber character, Avhich has a sti-iking effect. The
army of ISTapoleon now approaches, shells begin to fly over the doomed city,
and, as the beai'skins of the French grenadiers appear at the entrances at
either side, the terrorized Russians rapidly disappear.
The prisoners in the jails are liberated, and with torches prepare to light
the fires. The conflagration now begins, and the pyrotechnic display becomes
splendid. The roar of the flames is heard, and, amid explosions, the build-
ings seem to be licked np by the fire, and collapse, leaving charred remains.
The air is full of burning serjients, and the water is alive with incandescent
366 MAOIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
figures. The grand finale is an aerial burst of rockets, as shown in our
engraving.
Having seen one of these spectacles the reader will ask how the i*emarkable
effects are obtained. Our illustrations show the scenery as viewed from the
rear of the stage. The scenery is hinged and braced, some parts turning on
pivots, and all arranged so as to be quickly thrown down into such semblance
of ruin as shall best carry out the idea the piece is iu-
"^^ tended to represent. It is, however, only the work of
a few hours to rehabilitate the entire scenery for use
the next night.
In the performance which we have described, some
of the best effects of the art of pyrotechnics are shown
in the brilliancy and sustaining power of the various
lights and colors given out by the rockets, wheels, stars,
Roman candles, gold and silver rain, etc. Of course,
vast quantities of colored fire are also required to light the scene.
■*V."o V-.^.K^^^ (j^'E.-\
FIHKWOIiKS.
Our last engraving shows how some of the firework effects are obtained.
The grand aerial bouquet of rockets consists of a battery of rockets which are
discharged simultaneously from the stand, as shown in the engraving. Our
other engravings show water serpents, water dolphins, and the floating fire
fountains. As they float around in the water, tliey i)roiluce fine effects.
BOOK IV.
AUTOMATA AND CURIOUS TOYS.
CHAPTER I.
AUTOMATA.
The present division of the work deals with interesting automata, curious
toys, and miscellaneous tricks of an amusing nature. A very large number of
devices and tricks of this kind have been published in the " Scientific Ameri-
can " and the "Scientific American Supplement^" and the ones which we
select are among those which have been considered as the best. The subject of
curious toys and science in toys is very fully treated in the excellent work of
Mr. George M. Hopkins, entitled "Experimental Science," which is published
by the publishers of the present work.
AUTOMATO?^ CHESS PLAYEES.
For a very long time tlie automaton chess player, or " Psycho," has been
celebrated as the automaton, and quite a literature is centered about it. We
present two forms of the "Psycho," one of which depends upon compressed
air, and the other upon a small individual who is secreted in the cabinet. We
will first describe the one which operates by compressed air.
Let us explain to those who have not seen " Psycho " that it consists of a
small figure, dressed as a Turk, sitting cross-legged (as shown by dotted lines)
on a chest; this chest is in turn supported on a glass tube, about twelve inches
diameter and three feet long, which rests on a four-legged stool. The bottom
of chest and top of stool are covered with green cloth so as to make a toler-
ably air-tight joint. The right arm is extended as in the drawing, and a semi-
circular rack, in which are placed the thirteen cards dealt to " Psycho," is
fixed by means of a bracket (not shown) in such a position that the edges
come between the finger aud thumb. The arm turning horizontally on the
])ivot, A, the hand can be brought over any jiart, aud by closing the finger and
thumb and raising the arm, the card will be withdrawn from the pack aud
held in the air.
368 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
In Figs, la and lb (elevation and plan), the wheels E and M have each a
train of clockwork (left out for the sake of clearness) which would cause them
to spin round if unchecked. M, however, has two pins, p p', which catch on
a projection on the lever, N. E' is a crown-wheel escapement — like that in a
bottle roasting-jack — which turns A alternately to the left and right, thus caus-
ing the hand to traverse the thirteen cards. A little higher on A will be seen
F/a,i %
AN IMPHUVKl) PSYCHO.
a (luudrant, 15 (see i»lan), near the edge of which are set thirteen little pins.
The end of the lever, IS', drops l)etween any two of them, thus causing the
hand to stop at any desired card. 'The lever being pivoted at c, it is obvious
that, by depressing the end, N, B will be set at liberty, and the hand will move
along the cards; by slightly raising it this motion will be arrested; by raising
it still more the i)in, p, is released, and M l)egins to revolve; and by again
AUTOMATA. 369
depreteing N this wheel will, iu its turu, be stopped. Near the bottom of the
apparatus is a bellows, 0, which contains a spring tending to keep the lever, N,
with which it is connected by a rod, X, in the jjosition shown. 1'his is con-
nected with the tubular support, which may be connected by a tube through
the leg of the stool, and another tube beneath the stage, with an assistant
behind the scenes. By compressing or exhausting air throngh this tube it is
obvious that the lever, X, will be raised or depressed, and the clockwork set
going accordingly; « is a crankpin set in M, and connected with the head by
catgut, T, and with the thumb by S.
At E and R' are two pulleys connected by gut. Thus, if the hand moves
round, the head appears to follow its motions, and when raised by pulling S,
the head also rises, by means of T. Further explanation seems almost unnec-
essary; Hs a stop to prevent the elbow moving too far, and b h, spiral springs
to keep thumb open and head forward respectively. When N is raised, M
pulls T and S, the latter closing thumb, and then raising arm by pulley, H.
If the lever is allowed to drop, jy' will catch and keep arm up. On again rais-
ing N, the arm will descend.
Figs. 2a and 2b show another and simpler arrangement, in which only one
train of clockwork is used. On the same axle as IT is fixed a lever and weight,
Vi, to balance the arm. A vertical rod, X, having a projection, Z, slides up
and down iu guides, Y Y, and carries the catgut, S and T. The quadrant, B',
has cogs cut, between which Z slides, and stops the motion of A, which is moved,
;is before, by clockwork. The lower j)art of X is connected direct with 0.
AVhen X is slightly raised, as shown, A is free to move; but on exhausting air and
drawing X down, Z enters the cogs and stops the hand over a card; continuing
to exhaust, the thumb closes and the card is lifted up. The details of the clock-
work we leave to the ingenuity of the reader. There should be a fan on each
train to regulate the speed. The figure should be so placed that the assistant
can see the cards in the semicircular rack.
THE AUTOMATON CHESS PLAYER.
The newspapers announced some time ago that the police of Bordeaux had
forbidden the exhibition of the antonuiton Az Rah, one of the attractions of
the Exhibition Theater, because it had been discovered that the manikin was
set in motion, not by mechanical arrangements, but by a youth of eighteen
years, inclosed within a cavity behind the wheel work, and Avhose health was
gravely compromised by this daily torture.
This automaton recalls the famous Turkish chess j)layer that was constructed
iu Hungary by Baron Kempelen in 1769, and exhibited i)i Germany, Russia,
France, England, and America, \vithout the public succeed ing iu ascertaining its
mechanism. In 1819 and 1830 a man named ^lelzer elbowed it anew in England.
Robert-Houdin saw it in 1844 at the house of a mechaniciati of Belleville, named
24
370 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Crouior. Since then its fate has been unknown, and it is very probable the Az
Eah of Bordeaux is nothing else than the Turk of Vienna. Our readers who
have seen it at the Exhibition will be enabled to decide the question after read-
ing the description that we shall give. Baron Kempelen, a Hungarian noble-
man and an Aulic Councilor of the Eoyal Chamber of the Domains of Hun-
gary, being at Vienna, was called to the court to be present at a seance of
magnetism that a Frenchman named Pelletier was to hold before the empress.
Kempelen was known as an ingenious amateur of mechanics, and the persons
present having asked his opinion in regard to the e.\periments which he had
witnessed, he said that he believed he could make a machine that would be
'much more astonishing than anything that he had just seen. The empress
took him at his word and expressed a desire that he should begin the Avork.
M. De Kempelen returned to Presbourg, in his own country, and in six months
produced an automaton which played a game of chess against any one who
offered himself, and nearly always won it.
This automaton was a human figure of natural size, which was dressed in
the Turkish style, seated on a chair, and placed behind a wooden chest on
which was laid the chessboard. He took the pieces up with his hand in order
to play them, turned his head to the right and left in order to see them better,
and nodded his head three times when he checkmated the king, and twice on
attacking the queen. If his adversary made a mistake, he shook his head,
removed the wrongly-played piece, deposited it outside of the chessboard, and
played his own. The showman, who stood near the automaton, wound ujd the
mechanism after every ten or twelve moves, and occasionally replaced certain
wheels; and at every motion of the Turk were heard noises of moving wheel-
work. To show that there was nothing within but mechanism, doors were
opened in the chest and body. There was also a magnet lying on the table to
make believe that magnetism, then in great vogue, and as yet full of mystery,
played a preponderating role in the affair. M. De Kempelen was accustomed
to say: "The machine is very simple, and the mechanism appears wonderful
only because all has been combined with great patience in order to produce the
illusion."
Many hypotheses were put forth on the subject, and two books, one published
in 1785, and the other in 1789, were devoted to a discussion of them. Tbose
that appeared to be most likely were, on the one hand, that the Turk's body
contained an extraordinarily snuxll dwarf; and, on the other, that the showman
acted upon the automaton from a distance by the aid of magnetic influences.
These two explanations gave a very imjierfect account of the facts, and it was
not until some years ago that the trick was unveiled in an anonymous book.
The following is an exact description of the apparatus and the successive
operations performed by the exhibitor:
The chest was three and one-half feet long, two feet wide, and two and one-
half feet high, and was provided with doors and drawers whose use will pres-
ently be seen. Tlie front part of the chair seat was affixed to the chest, and
the back part rested on the floor by two legs which, as well as the four legs of
o72 3IAGIG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
the chest, were provided with casters. The right hand of the manikin was
movable on the upper part of the chest that formed a table, and, at the begin-
ning of operations, held a pipe, which was afterward removed, and it rested
upon a cushion lying in a certain definite position. The chessboard in front of
the player was eighteen inches square. The exhibitor, provided with a light,
begins by allowing the interior of the ajiparatus to be examined by the specta-
tors. He opens the door A (Fig. 1), and allows to be seen a series of gearings
that occupy the whole width of the chest. Tlien he passes behind and opens
the door B (Figs. 2 and 8), opposite the door A, and introduces a light into
the interior to show that it is empty. The spectators standing on the other side
can, in fact, see the light shine through the different pieces of mechanism
through the dooi". A, that remains open. He afterward locks the door B, and
comes in front of the chest and oj)ens the drawer G, from which he removes
the chessmen, and a cushion which he slides under the left arm of the auto-
maton. This drawer seems to serve no other purpose than the preservation of
these objects. He then opens the two doors, C C, in front of the chest,
and shows a large closet lined at the sides with dark drapery, and containing
two boxes, L and M, of unequal size, and a few belts and pulleys that seem to
be designed for putting in motion the mechanism contained in the boxes.
Passing behind again, he opens tlie door D, and introduces a light into the
interior of the chest to show that it has not a false bottom. Then he closes this
door again, and also the doors A and C, by means of the same key. Next he
turns the apparatus around so as to show the public the other side (shown in
Fig. 2), and raises the clothing of the Turk, and opens the apertures, E and
F, in the back and thigh, to show that no one is hidden within. These doors
remain constantly open afterward. Finally the showman turns the Turk back
to his former position, facing the spectator, removes the cushion and jiipe, and
then the game may begin.
We shall explain as clearly as possible how the game was directed by a man
who succeeded in hiding himself by a series of movements when the different
doors of the apparatus were successively opened :
The drawer C (J, when closed, does not reach the back side of tlie chest,
but leaves between it and its back an empty space, 0, measuring fourteen inches
in breadth, eight in hoiglit, and two feet eleven inches in length (Figs. 9, 10,
and 11). This space is never shown to the spectator. The little closet extend-
ing from A to B is separated into two parts by a dark hanging, S (Fig. 8),
which is raised when tiie door, B, is opened, and lowered when it is shut. Tlie
front part of the closet is entirely filled with the wheels that are thought to
move the aiitonuiton. IMie back part is empty and is sej)arated from the large
closet that the doors C form, by a thick cui-tain. 11. which hangs freely, being
only fixed at its upper ])art. A part, Q, of the bottom partition of the large
closet C C — the i)att in front of the 'J'urk — is movable around a liorizontal
axis, and is provided with a weight toward the interior of the closet sufficient
to cause it to fall always in a vertical position. The box L is movable, and
serves to Jiide an aperture in tlic llo(.r of the closet; and the box M is station-
AUTOMATA. 373
ar3% but has no bottom, and covers likewise a corresponding liole in the lower
tloor over the space O. The interior of the Turk is arranged as indicated in
Figs. 8, 10, and 11. The end of the chest to the riglit of the Turk slides
in horizontal grooves (})roperly hidden) in sucli a way as to give access to
the space K. It will now be seen that if a man of small stature introduces
himself into the chest on this side, he Avill be able to thrust his legs into the
empty space hidden beliind the drawer, and to place the rest of his body in the
space K, as may be seen in Fig. 5, and by pushing the curtain before him and
removing the movable box, L, he will be able to assume the position shown in
Figs. 3 and 4. It is in such position that he awaits the beginning of the exhi-
bition. The box M serves for receiving his feet.
It will be remembered that the first operation of the exhibitor consists in
opening the door A, at which time the public sees only the mechanism, and,
behind it, the dark curtain, S, whose distance cannot be estimated. The exhib-
itor next passes behind the chest, and, 02)euing the door B, introduces a light
behind the mechanism, which is believed to occupy the whole width of it. The
curtain, S, being raised, it is seen by the light that shines through the different
pieces that they cannot serve to hide any one. He then closes and locks the
door B, and, returning to the front, opens the drawer and performs the oper-
ations already described, in order to give his confederate time to take the posi-
tion shown in Fig. 5. The box L having been put back in place, as well as
the curtain R, the pnblic sees only an empty space when the doors are
opened. The curtain S, which has fallen, hides the back of the confederate,
although the door A remains open; and it is then tliat on introducing the
light through the door 1), the exhibitor shows that the large closet has not
a double bottom. The doors C being again closed with the same key, so
as to make believe that these different closings are due to the necessity of
removing this key at every o})eration, the chest is turned around, the two doors,
E and F, are opened before the public to show that the body of the Turk is
empty, and finallv the machine is wound up slowly, the wheelwork making
considerable noise the while. During this time the confederate raises the mov-
able partition Q, takes his legs from behind the drawer, introduces the upper
part of his body into a portion of the manikin, which is so arranged as to give
his loins a convenient snjiport, and seats himself on the box L, as shown in
Figs. 6 and 7. The game may then begin, the hidden player following his
moves through the sufficiently transparent fabric that forms the Turk's cloth-
ing. In order that the confederate may easily introduce his arm into that of
the manikin, it is necessary to give the latter a certain position, this being the
reason for the addition of a jDipe in the hand and a cushion under the elbow,
both of wdiich are removed when the game begins. A simple cord permits of
moving one of the manikin's fingers so as to pick up or drop the chessmen.
The left arm of the confederate, which remains in the machine, is employe'^ :'a
moving the head and in producing the noise of wheelwork at every motion.
In reality, in M. De Kempelen's automaton, it was the left arm that moved
the pieces. It is said that this peculiarity was due to the fact that the chess
374 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
player who operated tlic automaton was left-hand ed. There has even been a
touching romance related on this subject, to the effect that the hidden chess
player was a Polish officer who, having been compromised in the revolt against
Catharine the Great, and having lost his legs in fighting, was received by
Kempelen, who thus hid him so well from the searches of the Russian police
that he could go to conquer his sovereign in the game in the midst of her
court.
A CURIOUS AUTOMATON.
The automaton which we illustrate has a peculiarity of being actuated by
a simple flow of sand. It is curious that it was made in the first half of the
eighteenth century. The image, clad in Oriental costume of bright colors, is
seated behind a little table which is located in front of what appears to be a
brick and stone structure; it is made of pasteboard. All of the details are exe-
cuted with great care. When the automaton is in motion it acts as a juggler.
The arms rise alternately or in unison, and lift the cups, and at every motion
expose upon the table first to the right a white ball, then to the left a red ball,
which passes to the right and disapi)ears. Then two white balls make their
appearance on a new motion of the cups, and these are changed into red ones
Kid. 1.— AUTOMATON ItKrUliSKNTlNU A JUUGl-KU I'l-AYINCi WITH BALLS.
AUT03IATA.
375
at the next motion. The house forms a receptacle for fine sand which falls
ii|)on the wheel, (J, through the hopjier, F. The sand flows in a continuous
stream, and causes the wheel, G, to revolve with great rapidity. To this Avheel
are fixed six tappets which engage with the toothed wdieel, J, and thus dimin-
ish the rapidity. The wheel itself communicates through the medium of
teeth with the cylinder, H, which is thus given a slow motion, which causes
the automaton to act as follows: Opposite the cylinder there are two series of
levers of four each, the extremities of which we suppose to be marked A, B, C,
D, and A', B', C, D'. The two levers, D and D', lift the arms, L L, and the
FIG. 2.— INTERNAL MECHANISM OF THE AUTOMATON.
extremity of each of the six others is placed under a small strip of cardboard.
Each of these strips is hinged by one of its exti-emities to the table; the other
end, on rising, places itself just beneath the small aperture in the table, E. If
now we examine the cylinder, B, we shall see that it is provided with a series of
cams. A, B, C, and A', B', C, and opposite these, other and smaller ones, D and
D'. Each cam, when the cylinder revolves, strikes in turn one of the levers.
The larger cams lift the levers and consequently the hinged cards, with the balls
of different colors, and keep them lifted for some time, and during this period
the smaller cams act upon the levers of the arms that hold the cups. In this
way the balls are in place when the arms rise, and do not disappear, in order
to be replaced by others, until the arms have descended. The cams, A and A',
cause the red balls to act, and the white balls are raised by the cams, C and C.
As for the cams, B and B', they act upon strips of cardboard that merely sup-
port obturators for the apertures in the table.
376 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
TliE TOY ARTIST.
The mechanical toy shown in the accompanying illustration is one of the
most original and ingenions things of its kind that have recently appeared.
Within the base upon which the " artist " and his easel are placed, and imme-
diately below the figure, is a small pinion which is operated by a worm at the
end of the crankshaft which is seen projecting through the side of the base.
The pinion, which rotates in a horizontal plane, is provided with a couple of
pins upon which is placed one of the sets of removable cams which accompany
the toy. The cams are double, being provided with two separate peripheral
edges, and each edge is engaged by the short arm of a pair of levers, as shown
in the engraving. The upper lever attaches at the end of its long arm to a
vertical shaft which passes up through the body of the figure, and is pivotally
attached to its right arm at the shoulder. By this means the rotation of the
cam causes a vertical up and down movement of the arm and the drawing
pencil which it carries. The lower cam operates a system of levers by which
the arm is given a series of right and left movements. It is evident that by
giving the proper relative contours to the two edges of the cam, the arm, with
the pencil which it carries, may be made to trace any desired line upon the
tup: toy aktist.
AUTOMATA. 37'}'
paper, either vertical or horizontal, by the action of the first or second cam; or
diagonal or curved, by the joint operation of the two. Each of tiie double
cams which are provided with the toy is cut so that its operation will cause the
figure to draw some Avell-known object. The levers are kept in snug contact
with the cams by a pair of spiral springs.
The easel is hinged to the base and is pressed against the jiencil by means of
a coil spring. It is provided with four projecting pins upon which the sheet
of paper is held while tlie sketch artist is at Avork. The model from which our
engraving was made produced an easily recognized likeness of the Emperor
William of Germany (the device is "made in Germany"), and a drawing
which bore a strong resemblance to the familiar barnyard fowl.
A STEAM MAN.
A good many years ago what was supposed to be a steam man was exhibited all
over the country, but finally the " steam man " presumably died, as his remains
were seen quite recently in one of the downtown New York junk stores. The
steam man which we illustrate was invented by Prof. George Moore, who
exhibited him very widely in the Ignited States.
In our illustration we show the section and general view of the steam man.
In the body is the boiler, containing a very large heating surface which is
supplied with a gasoline fire. Below the boiler is situated the engine. While
this steam engine is not at all large, it runs at a very high speed and is of high
power, the combination of boiler and engine giving about one-half horse-
power. From the engine the exhaust pipe leads to the nose of the figure,
whence the steam escapes when the machine is in motion. Through the head
the smoke flue is carried, and the products of combustion escape from the
top of the helmet. The steam gauge is placed by the side of the neck. The
skirts of the armor open like doors, so as to give free access to the engine.
The main body of the figure is made of heavy tin. By reducing gear the
engine is made to drive the walking mechanism of the figure at reasonable
speed.
In our sectional view w^e show the combination of levers by which the fig-
ure is made to walk. The engine imparts a swinging to the whole length of
the leg from the liip; a second swinging motion, from the knee downward, is
accomplished by a similar system of levers and connections; and, finally, a true
ankle motion is given to the foot by the rod running down through the lower
leg. The heels of the figure are armed with calks, or spurs, which catch on
the surface on which it is walking and give it its power. As exhibited, the
steam man is connected to the end of a horizontal bar about waist high, which -.-
is fastened to a vertical standard in the center of the track. Thus supported,
the man walks round in a circle at quite a rapid rate of progress.
THE STKAM MAN.
AUTOMATA 379
For the last eight years the inveutor lias been at work ou a larger steam
mail which he hopes to have iu operation sometime. The new one is designed
for use on the open streets, and is to draw a wagon containing u baud. In
the upper figure we indicate the method of attachment to the wagon which
has been adopted. By the long spring at the side of the figure an elastic
connection is secured, so that t!ie figure sliall always have its weight supported
by the ground. The present man, which is about six feet high, when in
full operation, cannot, it is said, be held back by two men pulling against
it. The larger man, bnilt for heavier work, is expected to pull as many as
ten musicians in his wagon. Our cuts show the general appearance of the
figure, which is attired in armor like a knight of old, and which appears to
be thoroughly operative. The action is quite natural, and the hip, knee, and
ankle motion of the human leg have been very faithfully imitated. The figure
moves at a brisk walk and can cover about four or five miles an hour.
CHAPTER II.
CUFJOUS TOYS.
AN OPTICAL ILLFSTOX.
The gimple toy illustrated in the engrnviii^ lias iirinted on the underside
the rather high-sounding title, " X-Kay Machine. Wonder of the age! " But
it is neither an X-ray machine nor a wondei'. It is simply a reduced copy of
an ancient trick. The two cylinders mounted on the base, with a space between
them, are perforated axially and are supposed to represent coils. When the eye
is applied to the end of oue of these cylinders, objects may be clearly seen
through them; and when a coin is slipped between the ends of the cylinders,
as shown in the cut, it offers no obstruction to the light. Objects can appar-
V-^^
XliAY .\1A( IUM; Willi AO X JiAY.
CURIOUS TOYS.
381
ently be seen through the coin. Fig. 2 affords an explanation. The hole in
each cylinder is intercepted bv a mirror- arranged at an angle of forty-five
degrees with the axis of the cylinder, and in the base are two mirrors arranged
parallel with the first two, as shown. A hole extends downward from the cen-
tral hole of each cylinder, so that light entering at one end of the machine is
reflected downward at right angles by the firtit mirror, thence forward by the
second mirror to the third, which throws it up to the fourth mirror, by which
it is reflected to the eye. It will thus be seen that the light never passes
entirely through the cjdinders, and the observer does not see through, but
around, the coin.
The old device which jjreceded this was on a much larger scale, and Avas
generally used in connection with a brick, which, of course, had the same
transparency as the coin.
THE MONEY ^rAKER.
A few years ago a familiar sight on Broadway was the toy vender who
sells the little machine called the "Money Maker," the machine consist-
ing of a pair of rollers in one side of which are inserted plain sheets of paper
of the size of a bank note, and as the rollers revoWe, a bright new bill rolls out
from the opposite side; then another blank sheet is inserted, and another bill
rolls out, and so on. To the uninitiated this operation is a mystery, and to the
1- K;. 1. Till:: Mil.NKV M AM.K,
383 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
unprincipled it is apparently the device long looked for. This machine is
certainly as good as any device calculated to make something out of nothing,
but in this, as in other things, what you get you must pay for. jjj
FIG. 2.— CROSS SKCTION OK TIIK .MONEY MAKKU.
The explanation of the device is made simple by the enlarged cross section.
To the two rollers journaled in the standards are attached the ends of a strip
of black cloth which is wound around botii rollers in opposite directions, so as
to about evenly divide tlie clotli* between tlie rollers. The gudgeons of the
rollers are squared to receive an ordinary clock key, by means of which either
may be turned. To i)ropare the nuichine for operation, the cloth is wound
upon one of the rollers while it is partly unwound from the other; then the
CURIOUS TOYS.
383
key is transferred to the gudgeon of the jiartly filled roller, and as it is turned,
crisp new bank bills are fed into the machine and are wrapped with the black
cloth upon the roller between the convolutions of the cloth; one bill after
another is thus inserted until three, four, or more bills are hidden in the roll,
and the rollers present about the same appearance as to size. This prepai'a-
tiou, of course, takes place aside, and is not seen by the persons to whom the
trick is to be shown. The key is shifted from the roller containing the bills
(the upper one in the present case) to the lower one. Xow, as the lower roller
is turned so as to unwind the cloth from the upper roll, a piece of plain paper
of the width and length of a bank note is inserted at the moment the first bill
is about to emerge from the layers of cloth on the upper roll. The paper
begins to be rolled upon the lower roll under the outer layer of cloth, so that
while the paper appears to be simply rolled through between the rollers, coming
out upon the opposite side a complete bill, it is in reality only hidden by the
cloth on the lower roller. After the first bill is discharged from the rollers
another piece of paper must be supplied in such a manner that it will begin to
enter the machine as the next bill emerges, and so on.
EXPERIMENTS IN CENTRIFUGAL FORCE AND GRAVITY.
The elasticity of torsion and tension, the storage of energy, centrifugal
force, momentum, and friction are all concerned in the movement of the sim-
ple toy illustrated in Fig. 1; and yet, perhaps, not one in a thousand of the
people who see the toy realizes the composite nature of its action. Barring
the well-known return ball, nothing can be simpler than this toy, which con-
sists of two wooden balls of the same diameter connected by a slender rub-
ber band attached by staples, as shoAvn in the lower figure.
"-'^-^,
%
tlG. L— GYKATI.NG ]5ALLs>.
384 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
To prepare the toy for operation, it is only necessary to twist the rubber
band by holding one of the balls in the hand and rolling the other round in a
circular path upon the floor by giving to the hand a gyratory motion. As soon
as the band is twisted, the free ball is grasped in the hand, then both are
released at once.
The untwisting of the rubber band causes the balls to roll in opposite direc-
tions in a circular path, and centrifugal force causes the balls to fly outward.
Bv virtue of the acquired momentum, the balls continue to rotate after the
rubber band is untwisted, so that the band is again twisted, but in the opposite
direction. As soon as the resistance of the band overcomes the momentum of
the balls, the rotation ceases for an instant, when the band again untwisting
FIG. 2.— UNB.\r,ANCKD BAI.I-.
revolves the balls in the opposite direction, and the operation is repeated until
the stored energy is exhausted.
In Fig. 2 is illustrated another ball in which the center of gravity is
located near the periphery. The ball, which is hollow, is made of paper. To
the inner surface of the ball is attached a weight which is secured in place by
a piece of cloth glued over it. When this ball is thrown through the air with
a whirling motion, it describes a curve like that indicated by dotted lines in
the upper part of the engraving, so that it is difficult, if not imjwssible, to
catch it. When the ball is rolled on a plane surface, it does not take a straight
forward course, as would be expected from a well-balanced ball, but its course
is very erratic, as indicated by dotted lines in the lower part of the flgure.
THE MAOTC EOSE.
An artificial rose, wliich is of i»aper, is traversed ])y a metallic tube that
forms its stalk. One end of this tube extends slightl}' beyond the petals of the
flower, and the other is ])r()longed in such a way that it can be held in the
mouth, the flower being at a distance of about ten inches from the eyes.
If the tube be l)lown into regularly, and a small eUl<M--]iith l)all, to which
two artificiiil Initterflics are aflixei! by slender wires, be placed over 1he floAver,
CUinoVS TOYS.
385
THK MAGIC ItO.SK.
the ball, wheu well centered in the current of air, will remain suspended therein
at an inch or so from the flower. As the current of air is invisible, the effect
produced is very surprising, and the butterflies, incessantly in motion, appear
to be engaged in rifling the flower of sweets, after the manner of living ones.
It sometimes happens that the ball revolves in the current and carries along
the butterflies, M'hich thus describe a circle around an axis. It is unnecessary
to say that the blowing must be done with great regularity.
ELECTRICAL TOYS.
The vulcanite electrophorus shown in our lii'st engraving consists of a jilate
of vulcanite about one-third of an inch in thickness; one or more small pieces
of tin foil about the size of a inlaying card are pasted on one side of the plate.
The electrophorus is then placed on a table, and the surfaces are successively
rubbed with the palm of the hand. If the plate is raised from the table and
the tin foil is approached by the other hand, a spark is produced. A number
of flgures of elder pith complete the toy and show the phenomena of electrical
attraction and repulsion in the most comical numncr. Tlie plate being excited,
the small elder-})ith figures are jilaced on the tin foil, and the plate is lifted
from the table. The figures raise their arms, and the hair of the one in the
center stands out like the bristles of a porcui)ine.
Our second engraving shows some electrical bottle imps. A glass vessel is
mounted on a hollow base containing an electro-magnet providt'd with liattcry
•io
FIG. 1— ELECTKOPHOKUS WITH ELUEU-riTU FlGtKES.
I' Hi. ■^. lilAiVTHW BOTTl.E IMl'S.
CURIOUS TOYS.
38?
connections. One or two small figures surmounted by a hollow glass bulb
have a small piece of wire attached to the feet and are placed in the vessel.
The air in the hollow glass bulb will draw them up to the surface of the
water, as shown in the engraving, but as soon as the current is turned on,
the figures will be drawn irresistibly to the bottom of the vessel; as soon as
tlie current is interrujited the figures will rise rapidly.
Tlie magic fishes shown in our third engraving dejiend upon a similar trick.
The electro-magnet is replaced by a small electro-motor which rotates from
right to left, or from left to right, and causes a corresponding movement in
the fishes, as the shaft carries a magnet which, of course, attracts the fishes and
causes them to make a circular course around the small fish tank.
VM. o.— MAUXC I'lSUKS.
388 MAGIC: STAGE ILLUSIONS AND SCIENTTFig DIVERSIONS.
THE ELECTKIC RACE COUESE.
"Whatever may be the opinion that is hekl as to horse races and their moral
influence, it is none the less certain that they offer an irresistible attraction
to a large number of jiersons, and that this growing passion prevails equally
in all degrees of the social scale. Bold innovators have seen a vein to be
exploited in the racing mania, and the game of the miniature horse race, an
always i:)opular pastime at bathing resorts, is only one of the more happy forms
given to true races with a view of prolonging the excitement of betting, of the
unexpected, and of chance, at times when genuine racing could be done only
with difficulty and would attract too small a number of persons. The electric
race course that we are now going to present to our readers occupies a place
just between genuine races and the miniature horse race. It is, in fact, a
happy alliance of genuine races, the game just mentioned, hobby horses, and
electricity. Taken as a whole, it consists of a certain number of hobby horses.
MCi. 1. KI.KCrUK H.\< !•; tOlKSK AT M(. K,
CURIOUS TOYS.
5S0
half natural size, each moving over a circular track, under the influence of an
individual motor, and receiving the current of a single generator, but in an
independent manner; thus securing a perfect autonomy to each courser, quali-
fied, moreover, by the surveillance of the electrician who acts as a sort of des-
potic monarch over them. The horses are ridden by children and even by
grown persons, and it is in this that they resemble hobby horses, although the
possibility of imparting different speeds to them permits of their being j^assed
by competitors and of passing the latter in turn, thus increasing the excitement
of the riders. Bets may be made, of which the chances are just as certain as
those of the play of odd and even upon the numbers of the hacks traversing
the boulevards of Paris.
FIG. 2.— MECHANICAL HORSE.
M. Salle's race course constitutes an interesting application of the carriage
and of the distribution of motive pow'er by continuous currents. The instal-
lation erected in Nice (shown in Fig. 1) comprises a twelve-horse-power gas
engine that actuates a Eechniewsky dynamo with double winding, which sends
tlie current into six electric motors.
About the motor and dynamo there is nothing peculiar. An electric motor
is arranged behind each horse (Fig. 2). When tlie circuit of the dynamo is
closed, all the horses start at once and take on relative speeds that are so much
the greater in proportion as the circle upon which they are placed has a greater
radius. The speed of each horse, moreover, can be regulated at will by means
of a rheostat interposed in its particular circuit. An interrupter permits
of stopping any horse whatever without stopping the movement of all the
390 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
others. All the motions are controlled from the post of the electrician, who^
standing upon a lateral stage, overlooks the entire track, and can watch and
regulate what takes place upon it, for npou a horizontally arranged board he
has all the maneuvering ])ieces necessary for the play. These jjieces are, in
the first place, a main commutator that cuts the circuit from all the horses at
once ; then six individual commutators for each of the horses, six rheostats
interposed in the respective circuits of the six motors and permitting of regu-
lating the angular speeds of each horse, and finally an exciting rheostat of the
dynamo machine that permits of varying the speeds of all the motors at once,
in the same ratio.
It is therefore possible, by maneuvering these different pieces, to regulate
the general or particular gait of each horse, and to stop any one of the horses
almost instantly if an obstacle falls upon the track, or if one of the riders
becomes suddenly indisposed.
The driving of the motive wheel by the motor is done by direct contact.
To this effect the large wheel is provided with a rubber tire, against which the
pulley of the motor bears. The friction thus obtained is sufficient to carry
along the vehicle, which, with the rider, weighs a little less than six hundred
and fifty pounds. The mean speed is thirteen feet per second, but the horses
placed at the circumference can obtain a speed of sixteen or eighteen feet, a
velocity that it is not |)rudent to exceed, or even reach, on account of the diffi-
culty the rider would have in holding himself in equilibrium, and the feeling
of dizziness that he might experience.
The vehicle upon which each horse is mounted merits special mention,
because of the arrangements made to prevent upsetting. Each of the four
wheels has a different diameter. Their two axles converge toward the center
of the circular track upon which each horse moves, and the axis inclines
toward the center.
Each pair of wheels, therefore, constitutes a true rolling cone, Avhose apex
passes through the central point of the track situated upon the horizontal roll-
ing 2)lane. The inequality of the wheels naturally makes it necessary to
employ but a single driving wheel, and to mount the four wheels loose upon
the axles. Owing to these arrangements no tendency to derailment has shown
itself, even with speeds of from sixteen to twenty-two feet per second upon
curves of thirteen feet radius.
Two small rollers placed upon the track tend to prevent an upsetting under
the action of a lateral thrust or a strong impulsion. The track consists of a
single tram rail, with which engage the two external wheels. This rail serves as
a guide and suffices to prevent derailment. The current is led to each motor
by two rollers moving over two circular metallic bands in direct communication
with the poles of the dynamo, through the intermedium of the maneuvering
board, thus permitting of varying the speed of each of the horses, and even of
stopping the latter by interru})ting the circuit.
CURIOUS TOYS.
391
MAGNETIC OK' A CLE.
The toy shown in tlie ,sn])joiued figure, taken from '"' La JSfatnre,'''' althougli
far from new, is, nevertlieless, ingenious, and cleverly modernized b}' the con-
structor. This is the way to make the oracle speak; we will afterward give the
secret of its accurate answers. We write upon twelve prejmred cards a series of
questions relating to history, geography, science, customs, etc. One of the
company takes one of these cards at random and reads one of the questions;
FIG. 1.— THE MAGNETIC OKACLE.
then the card is placed nnder the magician's feet, in a groove made to receive
it. Immediately the oracle turns on its axis, and after some oscillations becomes
fixed in a certain position, its magic wand pointing to one of the numbers by
which it is surrounded. On referring to the corresponding number on a list,
we read an admirably exact and accurate answer.
We may see that by varying at Avill the cards of questions and answers we
may obtain from the oracle an indefinite nnmber of replies. Nothing could
be simpler than the process by which this result is obtained. The base of the
toy, into which the cards slip, bears a vertical pivot on Avhich rests the body of
the magician, whose robe conceals a vertical U-shaped magnet, having its two
poles near the base, as shown in Fig. 2.
393 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
N
N
N
/
N
/
\
N
/
N
I'S.^^^
FIO. 2.— ])ETAILS OK Till-; .\IA(;NK TIC ()HA( I.K.
Ill each of the cards there is another magnet concealed, a straight rod,
occupying a different position for each of the twelve cards. We see that, in
virtue of the well-known laws of the attraction of magnets for each other,
eacli time that a card is placed with its magnet in the base, the figure will turn
round this axis and effect a series of oscillations round its own axis until the
poles of the U-shaped magnet holder under its robe are opposite the contrary
poles of the straight rod hidden in the card. If the base has been correctly
marked previously, the divining rod will indicate the corresponding number
of the answer. Any boy with a little genius and a few tools can make an
oracle similar to our engravins:.
THE DAN^CERS.
We present an illustration of one of tlie toys of the year. It consists of
a nickel-plated box some three inches in diameter. In the center of the top
projects the end of a spindle, and at one side is a lever. To operate the toy
this side projecting piece is pulled out, and one of the triangular pieces of
tin, to which paper figures are attaclied, is placed in contact with the spindle in
the top of the box. The dancers then })egin a lively wait?: on the top of the
box. The secret of operation is not at first apparent, though it is evident that
magnetism has something to do with it. On opening the box the mystery is
solved. The spindle is of magnetized steel and extends through the top of
the box, forming a slight pnjjection. It turns freely and carries a pinion and
a metal disk. The pinion is actuated by the projecting side piece through the
medium of a toothed sector. Motion is transmitted to the triangular piece of
tin carrying the dancers by the magnetized spindle, causing a horizontal move-
ruh'Tors TOYS.
393
THE DANCERS.
ment, and giving it a movement around its own axis. Curved wires and a
spiral, one side of which is colored, are also provided, and they all move around
the pin at a lively rate, producing novel effects.
AX ANCIEXT COT^XTERPART OF A MODEEX TOY.
The very curious engraving which wo reproduce herewith (Fig. 1) shows
once again that, as regards manners and the details of life, there is nothing
new under the sun. Every one has seen in the show windows of toy-dealer«
a plaything called the "wrestlers," and which consists of two little weighted
and jointed figures tlmt are set in motion by a taut string. At every tension
of the latter these two little figures move about, go through the motions
of wrestling, and sometimes fall on top of one another, much to the amuse-
ment of the spectator. Xow, it is seven hundred years ago that Herrade de
Lansberg, abbess of Hohenbourg, in a sort of encyclopaedic compilation
entitled "Hortus Deliciarum,'' drew the little combatants that are reproduced
CURIOUS TOYS.
395
in Fig. 1. 'J'his valuable MS., Avhicli was destroyed by Prussian shells in 1870,
has been happily saved from absolute annihilation by the copies of M. i)e
Bastard, that are at present preserved in the Cabinet of Prints of the National
Museum. This book is a sort of abstract, in figures, of Alsatian life in the
twelfth century, and games have not been forgotten therein. llerrade de
Lansberg's little combatants are clad after the manner of the warriors of those
times, just as in our toy — the wrestlers — the figures preserve the traditional
FI6. 2.— A TOY OF 1897— THE WRESTLERS.
costume of wrestlers at fairs. The two little warriors wear a helmet Avith
nasal; and a coat of mail, a buckler, and a sword complete their equipment.
Their feet, which were probably weighted with lead, kept the puppets in a
vertical position, and upon maneuvering the strings an imitation of a sword
contest was obtained.
It is probal)le that this toy was not a recent invention in the time of TTer-
rade, and that the abbess of Hohenbonrg only put into her drawings a costume
that was already ancient.
390 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
NOVEL TOYS.
Oil any pleasant day may be found on lower Broadway and other down-town
thoroughfares venders who sell almost anything in the way of novelties. Among
these may be seen culinary implements, toilet articles, chea|) microscopes,
magnifying glasses, and various toys. Nothing takes better in the way of
articles for this kind of trade than some new toy. Whether a toy will probably
have a good run can be determined by these venders in a very short time. If
it takes well, crowds gather around him, and he does a thriving business,
making money for himself as well as for the inventor. If, however, the article
is not wanted, the vender very soon finds it out, and looks for other wares.
FIG. 1.— ACROBAT WITH MERCURY WEIGHT.
Some of the toys are scientific, others are not. We give two examples of
scientific toys which have sold very well. They are similar in character, and
illustrate what shifting the center of gravity can do. They are both acrobats.
The one shown in Fig. 1, and designated " McGinty," aud sometimes " Little
Tommy," consists of a paper figure attached to a tube closed at both ends and
inserted in })aper disks which are bent down on the tube, forming semicircular
end pieces on which the device may roll. A drop of mercury placed in the
tube completes the toy. AYhen placed on a slightly inclined plane, with the
tube parallel with the surface, the mercury rolls to the lower end of the tube,
causing that end to preponderate. The lighter end, actuated by gravity, then
moves forward until it strikes the inclined surface, when the mercury again
rolls to the lower end and causes another half revolution, and, so on. This
toy moves down the incline with a slow aud stately movement.
CURIOUS TOYS.
397
N
FIG. 2.— TUMBLER.
The toy shown in Fig. 2 is made upon the principle just described, but the
round ends of the figure furnish the rolling surfaces, and a bullet is used for
the weight instead of a globule of mercury, the body being simply a straight
paper tube with convex ends.
COLUMBUS'S EGG.
The accompanying engravings represent an object sold in the London
bazars. It is made of tin, is painted red, and is called " Christopher Colum-
bus's Egg," because those who do not
know how it is constructed canuot make
it stand up on the projecting part situ-
ated at the base. This egg, which it is
impossible to open, is hollow, and con-
tains a leaden ball which causes it to fall
over on its side, unless it (the ball) is in
the longer axis.
The sections in Figs. 2 and 3 ex-
l^lain the construction, and show how
the ball is brought into the desired posi-
tion to cause equilibrium.
Corresponding to the j^oint where
the halves of the e:gg are soldered to-
gether, there is internally a partition
that has the form of a channel, of semi-
circular section, which runs around the
tube, T. The ball, B, when the egg
is held vertically, is capable of revolving fio. i.-coi.iMr.r
3'J8 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
arouLiJ this tube, T, and as long as it remains in the chamiel will cause the
egg to fall every time the operator endeavors to make it stand on its base, c.
The egg can stand upright only on condition that the ball be made to pass from
the upper to the lower compartment, in which case it will take the position,
B'", at the base of the egg. This result is reached as follows: The central tube
contains, just beneath its upper extremity, an aperture, B", that forms a
communication between the two compartments, and that is sufficiently large
to allow the ball to j^ass through. Two small guides start from the side of
the egg, and follow the contours of the partition up to the orifice in the central
tube. On a line with the orifice, and on the outside of the egg, there is a
FIG8. 2 AND 3.— DETAILS OP CONSTRXJCTION.
small and scarcely visible point, o. If the egg be sufficiently inclined toward
this latter, as in Fig. 3, the ball will take the position, B', at the beginning of
tlie guides leading to the orifice, B". If at this moment the egg be gently
turned back in the opposite direction, tlie ball, being kept in the plane formed
by the point, o, and the egg's axis, will run along the guides and drop through
the orifice into the lower compartrnent. When the egg is righted, the ball will
take the position, B'", at its base, and the egg will then stand upright. By
turning the egg upside down, the ball may be made to enter the* upper com-
partment again, and things will then be as before.
With a little practice and skill, it is not even necessary to look for the posi-
tion of the poiiit, (I, and thus run the risk. of showing the uninitiated how the
trick is done. On giving the egg a slight angular motion, the hand will feel
the passage of the ball over the slight projection formed by the guides; the
])all will naturally seat itself upon the latter, and the double motion above
mentioned will accomplish the desired result. Effected in this way, and the
hand being covered with a handkerchief, the mode of operating will not be
perceived by the uninitiated spectator.
CURIOUS TOYS
399
JACOB'S LADDER.
The simple toy illustrated in the annexed engraving is very illusive in
action. When the upper block is grasped by the edges, as shown in Fig. 1,
and turned so as to lift the second block in the series to the same height, the
upper end of the second block falls into an inverted position, and appears to
pass downward on the other members of
the series, first upon one side of the lad-
der and then npon the other, nutil it
reaches the bottom. This effect is only
apparent, as the second block in reality
only falls back to its original position in
the series, but in the operation it becomes
reversed; what was before the lower end
FIG. 1.— Jacob's ladder.
FIC4. 2.— connections OF JACOB S LADDER.
400 3IAGIC': STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
becoming the upper end, the front having exchanged phices with the back.
This change of position of the second member brings it parallel with the third
block, which is then released, and the third member drops over on the fourth,
when the fiftii block is released, and so on throughout the entire series.
In Fig. 3 are shown the three upper blocks of the series, 1, 2, and 3, and
their connecting tapes, the blocks being represented as trans2)arent and sepa-
rated from each other a short distance to show the arrangement of the connec-
tions. Block 1 has attached to it tliree tapes, a, h, h. The tape, a, is attached
to the face of the block at the center, at the upper end, and extends over the
rounded end of this block and under the rounded end of block 2. The taj)es,
h, b, are attached to the face of block 1, extending downward, under the lovver
end of this block, and upward, over the upper end of block 2. The tape, a,
Avhich is attached to the center of the up^jer face of block 2, extends over the
end of this block, downward underneatli the block, and over the upper end of
block 3, where it is secured. This arrangement of tapes is observed through-
out the entire series.
In Fig. 2, block 2 is represented as falling away from block 1. When block
2 reaches block 3, the tape, a, Avill be parallel with the face of block 3, and the
latter will be free to fall in a right-handed direction, in the same manner as
block 2 is falling in a left-handed direction. When block 3 is parallel with
block 4, the fourth block will fall over in the left-handed direction.
The blocks, which are of pine, are each 3| inches long, 2f inches wide, and
\ inch tliick. The tapes, which are each 4| iuches long and ^ wide, are fas-
tened at the ends to tbe blocks by means of glue and by a snuill tack driven
through each end of the tape, as shown.
A NOVEL TOY.
1'he annexed engraving represents an nmusing toy recently sold on the
streets of New York. It is not particularly scientific, but it shows how a
device having little novelty finds sale in places traversed by the multitude.
It consists of the figure of a Japanese in sitting posture, representing the
"Mikado." In his right haiul beholds a Japanese umbrella, and in his left
a fan. 'I'he umbrella is provided with a little reel at the top. The stick of
the umbrella in this case is formed of a tiil)o which is held by the hand of the
Mikado, and a spindle attac'luu] to the und)rella top and passing through
the tube, with its lower end resting upon a beveled wheel journaled within the
figure. 'JMie beveled wheid carries a ci'auk pin working in a slotted arm that
extends through the side of the figure atul grasps a fan, as shown in Fig. 2.
When a cord is wound around the reel at the top of the umbrella, and drawn
off after the Inanner of toj) s|iinuing. the umbrella s[)ins, giving a rotary
motion to the beveled wheel, and the crank \)\\\ projecting from the wheel
CURIOUS TO IS.
401
THE ■' MIKADO," A NEW TOY.
imparts an oscillating motion to tlie arm carrying the fan. The umbrella,
being slightly out of balance, gives a vibratory motion to the figure, which
causes it to rock slightly and turn upon its support.
A TOY CAPvT.
This simple toy for the diversion
of children has been patented by
Mr. Paxtou Pollard, a deaf-mute
printer, of No. 89 Main Street,
Norfolk, Va. When the cart is
drawn along, either forward or
backward, the figures are caused to
bend or bow simultaneously ; and
at the same time, by the compres-
sion and escape of air through
drum-like pedestals beneath the
figures in the cart body, a whistling
or scpiawking noise is nuidc. The
86
1-(»I.I.AUI> ;< TOY ( Airr.
403 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
mMMM^MM>^M^^i^^^^^^^^^^^^
TUK IMIONOdl'v \niir DOl.I,.
figures may be of any de-
sired grotesque shape, formed
of paper or other suitable
material, and in each is a
spiral spring normally hold-
ing the images upright.
The pedestals, of which a
sectional view is shown in the
small figure, have each an
upper and lower head and a
covering of thin skin or
something similar, and in
each is a coil spring, while in
each upper head is a small
opening covered by a thin
metallic tongue arranged to
vibrate rapidly on the pas-
sage of air through the open-
ing. The upper portions of
the two figures are connected
by a transverse rod, and this
rod is centrally connected by
cord or rod with a crank in
the central portion of the
axle, whereby the figures are
made to bend or bow as the
cart is drawn along.
THE PHONOGRAPHIC
DOLL.
One of the novelties
which were introduced a few
years ago was the talking
doll. This interesting toy
consisted of a good-sized doll
which secreted a working
phonograph. The doll's body
is made of tin, and the in-
terior thereof is lilled with
mechanism very much like
that of the commercial pho-
nograph, but, of course,
CURIOUS TOYS.
403
much more simple and inexpensive. Tlie cylinder of the phonograph of
the talking doll is mounted on a sleeve which slides upon the shaft, the
sleeve being screw-threaded so as to cause the cylinder to move lengthwise
of the shaft. A key is provided by which the cylinder may be thrown out of
MECHANISM OP THE PHONOGT^APHTC DOI-I..
engagement with the segmental nut, and a si)ira] spring is provided for
returning the cylinder to the point of starting. The cylinder carries a ring of
wax-like material upon which is recorded the speech or song to be repeated by
the doll. Upon the same shaft with the recoi'd cylinder there is a large pulley
which carries a belt for driving the flywheel shaxt at the lower j^art of the
phonographic apparatus. The key is fitted to the main shaft, by which the
phonographic cylinder is rotated, and the flywheel tends to maintain a uniform
speed.
404 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Above the record cylinder is arranged a diaphragm such as is used in tlie
regular phonograph, carrying a reproducing stylus, which is mounted on a lever
in the same manner as the regular phonograph. The funnel at the top of the
phonographic apparatus opens underneath the breast of the doll, which is per-
forated to permit the sound to escape. By the simple operation of turning the
crank any child can make the doll say " Mary had a little lamb," "Jack and
Jill," or whatever it was, so to speak, taught to say in the phonograph factory.
.MAKING I'llONOOU.VI'UIC KECOKDS.
CUKtOVS TOYS. 405
Our last engraving shows the manner of preparing the wax-like records for
the phonographic dolls. They are placed upon an instrument very much like
an ordinary phonograph, and into the month of Avhich a girl speaks the words
to be relocated by tiie doll. A large number of these girls are continually doing
this work. Each one has a stall to herself, and the jangle produced by a num-
ber of girls simultaneously repeating "Mary had a little lamb," "Jack and
Jill," "Little Bo-peep," and other interesting stories, is beyond description.
These sounds united with the sounds of the phonographs themselves when
reproducing tlie stories make a veritable pandemonium.
In passing through the works it is noticeable that order and system reign in
every department. Everything is done upon the American, or '' piece," system.
The tools and machinery here used are the finest procurable. Every piece,
without regard to its size or importance, is carefully inspected by aid of stand-
ard gauges, so that when the parts are brought together, no additional work is
required to cause them to act properly.
The works of the doll are to some extent adjustable, and any adjustment
necessary is effected in an extensive department in which the little phono-
graphs are received from the assembling-rooms. Here they receive the finish-
ing touches, and are passed on to another room where they are placed in the
bodies of the dolls. From this department the finished dolls pass on to the
packing-room, where they are carefully stored away in boxes having on their
labels the name of the story the doll is able to repeat.
CHAPTER III.
MISCELLANEOUS TKICKS OF AN AMUSING NATURE.
interestinct teicks in elasticity.
The clever trick with billiard balls shown in Figs. 1 and 2 depends for its
success on a truly scientific principle. A number of billiard balls are placed
in a row against the cushion of the table. The player asks one of the specta-
tors to name a certain number of balls to be pocketed without any ai:)paient
disturbance of the others. Suppose the number to be three. Then at the
will of the player three balls separate from the others and roll into the pocket.
The number is perfectly controllable, and when the hand of the player and one
BCIENTIblC TKICKS Wrrii HIIJ,IARD BALLS AND COINS.
MISCELLANEOUS TRICKS OF AN AMUSING NATURE. 407
end of the row of balls iiS covered, the trick appears mysterious. It is hardly
less so when the entire experiment is visible. Tlie feat is accomplished bv
removing from one end of the series as many balls as arc to be projected from
the opposite end, and rolling them forward against the end of the row remain-
ing. An equal munber of balls fly off from the opposite end of the row and
roll into the pocket. Three balls driven against one end of the series will cause
three to roll off, two will drive off two, one will drive off one, and so on.
The principle of this trick is illustrated in the well-known classroom
experiment in which a series of contacting suspended balls of highly elastic
material are made to transmit a blow delivered on the first of the series to the
last ball of the series, so that the last ball will fly off without any apparent
disturbance of the other balls. In this experiment, the first ball of the series
is drawn back and allowed to fall against the first one of those remaining in
contact. The impact of this ball will slightly flatten the ball Avith which it
comes in contact, and each ball in turn transmits its momentum to the next,
and so on through the entire series, the last of the series being thrown out as
indicated.
In the case of the experiment with the billiard balls it is found by careful
observation that separate blows are given to the series, corresponding in num-
ber to the number of balls removed, so that while the separation of the three
balls at the end of the series is apparently simultaneous, in reality they are
separated one at a time.
In Fig. 3 is illustrated a method of repeating the experiment with coins in
lieu of balls. Dollars or half dollars may be used, and the effect is produced by
sliding the coins.
XOVEL PUZZLE.
Our engraving shows a single perforated piece of wood having the form of
a conventional heart, and in the perforation is inserted an arrow, also formed
of a single piece of wood, the barb and head being much larger than tlie per-
foration in which the shank of the arrow is received. The heart is made of
one kind of wood and the arrow of another. The question is. How did the
arrow get into the heart? We have heard of the philosoj)her who was unable
to rightly place a horse collar; and we have seen j)hilosophers who could readily
harness a horse, but who could not explain how the arrow got into the heart.
The puzzle illustrated is one of many thousands distributed gratuitously
upon the streets of Xew York as an advertisement. The heart is of black
walnut and the arrow is of basswood. Xow we fear that the secret is out; for
any one familiar with the properties of basswood knows that it may be enor-
mously compressed, after which it may be steamed and expanded to its original
volume. One end of the arrow was thus compressed, and in its compressed
state was passed through the aperture of the heart, after which it was expanded.
4t»8 MAGIC: STAGE ILLUSIOXS AND SCIENTIFIC DIVERSIONS.
\i\^^^^\.
A NO VET. PUZZI,E.
Advantage has been taken of this principle in the manufaetiii-e of certain kinds
of moldings. The portions of the wood to be left in relief are first com-
pressed or pushed down by suitable dies below the general level of the board,
then the board is planed down to a level surface, and afterward steamed. Tiie
compressed portions of the boai'd are expanded by the steam, so that they
stand out in relief.
SIMPLE MATCH TRICK.
To lift three matches by means of one, it is necessary to make an incision
in the end of a match and iTisert the pointed end of a second match into this
incision. Place them on the table, with a third match resting against them
A SIMI'I.K MAI< II THK K.
MISCELLANEOUS TRICKS OF AN AMUSING NATURE.
409
for a support, as shown at the left of the figure. Tlieu present a niatcli to an}'
one who may be looking on, and ask him to raise the three together Ijy means
of the match in his hand.
The solution is given at the right of the figure.
Bear lightly against the two nnitches that are Joined until the third falls
against the one held in the hand. Then raise it, and all three will be lifted
together. Although this trick, which we find described in a French paper,
" Ze Cliercheur,'''' is ])robably as ancient as the art of making matches, our
juvenile readers may find it of interest, and possibly it may afford them a half
hour's amusement at recess time.
CRYSTALLIZED ORNAMENTS.
A beautiful ornament, which is very easily made, consists of a wooden
cross covered with canton flannel, with tiie nap side out, and crystallized by
immersion in a solution of alum. The nap retains the crystals so that the}' are
FIG. 1.— GROTTO.
not readily loosened or detached. The flannel should be attached to the wood
by means of brass wire nails, and the cross should be suspended in a solution
formed by dissolving a pound of alum in a gallon of warm water. The cross
should be suspended in the solution while it is still warm and allowed to
remain in until the solution cools, when it will be found covered with bright
crystals.
Fig. 1 is a perspective view, and Fig. 2 a longitudinal section, of a grotto
formed by crystallizing alum in a box containing jagged points covered with
canton flannel, or wrapped about in various directions with coarse thread or
twine. The box may be of wood or metal. It should have apertures in the top,
ends, and sides. These apertures are stopped with corks while the box is
filled with solution. After the crystallization the corks are removed, and the
holes in the top, sides, and one end are covered with colored glass, and over the
410 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
Vm. 2— SECTION OF GKUTTO.
front aperture is secured a convex spec-
tacle lens, having a focus about equal
to the length of the box, AVhen the
interior of the box is illuminated by a
strong light passing through the colored
windows, the effect is fine.
The solution used in this case is the
same as that given for the cross. After
the crystals are formed and the liquid is
ponred from the box, the interior should
be allovved to dry thoroughly before clos-
ing the apertures.
MAGICAL APPARITION OF A DRAWING ON WHITE PAPER.
It is well known that the vapors of mercury are very diffusive in their
nature, and some quite singular experiments have been devised, based upon this
knowledge, and upon the fact that the salts of silver and the chlorides of gold,
platinum, iridium, and palladium are affected by these mercurial vapors.
If any one, for instance, should write upon a sheet of white paper with
platinum chloride, no mark would be visible, as the liquid is quite colorless.
If, however, the same sheet of paper should be held over a little mercury, the
metal will be brought.out on the paper in dark tints. This magical appari-
tion of a figure or drawing on a sheet of paper which appears to be perfectly
white is very astonishing to the spectator.
MAfiK Al, AI'l'AHfTION OK A DKAWING ON WIIll'K I'ArKH.
MISCELLANEOUS TRICKS OF AN AMUSING NATURE.
411
Reversing the experiment, a no less marvelous result is obtained. At lirst
expose tlie drawing or writing to the gases of mercury ; the lines will become
charged with mercury, and then by simply bringing the drawing in contact
with a sheet of paper previously sensitized with a solution of platinum, the
drawing will be reproduced, line for line, on the white paper.
Drawings made in this way give a charming effect^ the tones being very soft
and the lines distinct and clear.
MAGIC PORTRAITS.
An able chemist, C. AVideman, has recently devised a curiosity m the way
of engraving. It is a square piece of transjiarent glass in Avhich absolutely
nothing can be seen, even on the closest examination. If the glass be breathed
MAGIC POllTRATTS.
upon, so as to cover its surface with moisture, a face like that shown in the cut
makes its appearance. As soon as the moisture leaves the glass, the image dis-
appears.
A piece of glass is obtained similar to that used for making mirrors. The
glass maybe transparent, tinned, or silvered; that makes no diflFerence as to
the final result. Then a small quantity of fluorspar is placed in a porcelain
capsule and moistened w4th sufficient sulphuric acid to make the proper chemi-
41-^ MAGJC: STAGE ILLUSIONS AND SCIENTIPIC DIVERSIONS.
cal reaction to write Avith. W ith tliis liquid uikI a quill pen the desired draw-
ing or writing is executed on the previously well-cleaned glass. In about five
minutes, or ten at the most, the glass is to be washed in common water and
dried with a cloth. The plate will then be ready, and it will only be necessary
to breathe upon it to see the figures that have thus been traced make their
appearance.
A little practice will show the exact time necessary to leave the fluid lines
on the glass. Too long a biting of the acid would be accompanied by so deep
an engraving of the glass that the lines wonld always be perceptible, even on
the dry glass.
A TRICK OPERA GLASS.
We presfMit ati engraving of a trick opera glass which may be new to some
of our readers, although the principle involved is very old. One tube of the
opera glass is constructed in the ordinary manner, being provided Avith lenses,
while the other tube is arranged to give a view of any object at right angles to
the line of vision of the normal tube, or considerably to the rear of it. The
trick tube has no eyepiece, and the objective is done away with, a piece of
japanned wood taking its place. A portion of the tube and its leather cover is
A THK K OI'KHA (iF.ASS.
MISCELLANEOUS TRICKS OF AN AMUSING NATURE.
413
cut away, and a mirror is inserted at an angle in the tube. When the observer
wishes to use the trick ghiss at short range/ he covers up a portion of the
opening in the tube with his fingers, but at longer range this precaution would
not be necessary. The practical uses of the glass are a])parent. Our engrav-
ing shows a phin view of a theater, with the stage, boxes, and seats. The gen-
tleman in the box and the one on the right of the center aisle both appear to
be observing the actor on the stage, but in reality they are observing the lady
on the left of the center aisle. Of course each of the gentlemen has his
glasses turned a different way around.
A TOY mill) THAT FLIES.
The naturalness and the easy movement of the wings of the little toy bird
shown in the accompanying illustration, as the operator pulls gently on the end
of the supporting string over which the bird moves, in accordance with the
movement of the wings, always attracts observers Avhen this toy is shown on
the streets, as it has been by numerous venders within a short time. The tov
is one of the latest of the many novelties which are constantly being ex-
hibited by the wide-awake salesmen in the streets of New York and other large
cities, and in the construction of some of which a surprising degree of skill and
ingenuity are displayed. The cord leading from the aperture below the mouth
A TOT BIUD THAT EFFECTIVELY SIMULATES A BIRD FLYtNQ.
414 31 AGIO: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
of the bird is attached at its outer end to a hook in the wall or other support,
while its inner j)ortion passes over an idler and around a pulley, to which it is
attached. This pulley is a little smaller than another at its side, as shown in
Fig. 2, both pulleys being fast on the same shaft, and a cord from the larger
pulley passes over an idler and out rearwardly, having at its end a finger-piece,
on which the operator pulls in manipulating the toy. The cords are wound in
opposite directions on their pulleys, so that the unwinding of the cord from the
larger pulley, and the rotation of the same, winds up the cord on the smaller pul-
ley, and causes the bird to move forward on what seems to be only a single length
of cord, the backward movement taking place by gravity when the pull on the
string is released. The movement of the wings is effected by a crank on each
outer end of the pulley shaft, the crank being pivotally connected with an
extension of a member of the inner one of two pairs of lazy tongs, and this
member having also a pivotal bearing on a crossbar which turns in bearings on
the outer side of the toy, just under where the wings are hinged to the body.
The larger pair of lazy tongs is pivotally connected to the outer portion of the
wing, giving a longer sweep thereto than to the inner portion, with which the
smaller lazy tongs are connected; and the j^ivotal connection of the lazy tongs
with the bearing in the crossbar gives an oscillatory movement to the wings,
which constitutes a very good simulation of the natural movement of the wings
of a bird in flight. A high degree of mechanical skill is shown in the putting
together of this little toy.
THE PLANCHETTE TABLE.
This curious toy was popular as far back as 1867. Marvelous tales were
told by the credulous about it, and even as distinguished scientists as Profes-
sor Tyndall and Professor Faraday were drawn into controversies concerning
it. Many think there is some hidden secret .in the construction of the plan-
chette table. All that is necessary is that it should stand firmly and move
readily on its legs. All that is needful is a heart-shaped cedar board with two
nicely turned metal legs carrying well-oiled casters, and in the point of the
board an aperture of suitable size for the insertion of a lead pencil, which serves
as the third leg, and rests upon the paper. Many believe that humbug was
Btamj)ed over every movement of the planchette board, and that one or the
other of those whose hands bore upon it cons])ired with the little board in the
fortnuhition of its reply. Certain it is that planchette has performed some
curious feats and has made for itself a jiosition in the world of mysteries.
Prol)al)ly tlu; most generally aece]ited explanatitui is that advanced by I^ewes
and others, that although tliei'o is no intentional movenicnt of the hands of
tiiose wlio are subjecting planchette to the influeiu^e, still there is, in s])ite of
tliis, an unconscious ])ressure of the finger ti})S u])on the b(jard. which directs
the movement of the pen(;il. Nor does it seem that such can be at all un-
MISCELLANEOUS TRICKS OF AN AMUSING NATURE.
415
likely, for unconscious movement is by no means an unusual phase of our
existence. The somnambulist who nightly takes a promenade from cellar to
garret, or whose steps by chance have led him to the border of a precipice, has
as little knowledge of the peril he has escaped, when the morning beams have
awakened him, as planchette is conscious of its movements. How often also in
mercantile pursuits do those who are accustomed to a certain routine perform it
unconsciously, and after the work has been finished would be unable to tell you
of many of the details of the work which custom has taught them to perform
correctly, even while in a state of abstraction. Much. has been said at times of
PLANCHETTE.
planchette's prophetic nature. Under the influence of certain people of a
highly nervous temperament, or having to a certain extent the qualities of
mediums, future events are said to be foretold. Secrets of whicli the person
touching planchette is in ignorance have been divulged in a remarkable way,
and many anecdotes shrouding planchette in mystery are repeated and believed.
Were the testimony, however, more universal, were planchette more con-
sistent, and were it more generally truthful and less given to uttering remark-
able sayings only occasionally, there would be more reason for according it a
place for thorough and systematic investigation. J'erha})S the day will come,
when mesmerism is understood and mind reading is more satisfactorily
explained, in which there will be occasion for looking u])on planchette more seri-
ously, and of regarding it as a wonderful nu'ans of displaying a rational nervous
action independent of conscious mental ('(M-c])i'ation.
I
416 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS
JAPANESE MAGIC MIRRORS.
Mv. R. W. Atkinson, of the Uuiv^ersity of Tokio, Japan, communicates
to " Nature " the following interesting account of these curious mirrors:
" A short time ago a friend showed me a curious effect, which I had previ-
ously heard of, but had never seen. Tlie ladies of Japan use, in making their
toilet, a small round mirror about one-twelfth to one-eighth of an inch in
thickness, made of a kind of speculum metal, brightly polished, and coated
with mercury. At the back there are usually various devices, Japanese or Chi-
nese written characters, badges, etc., standing out in strong relief, and brightly
polished like the front surface. Now, if the direct rays of the sun are allowed
to fall upon the front of the mirror, and are then reflected on a screen, in a
great many cases, though not in all, the figures at the back will appear to shine
through the substance of the mirror as bright lines npon a moderately bright
ground.
" I have since tried several mirrors as sold in the shops, and in most cases
the appearance described has been observed with more or less distinctness.
*"I have been nuable to find
a satisfactory explanation of this
fact, but on considering the
mode of manufacture I was led
to suppose that the pressure to
which the mirror was subjected
during polishing, and which is
greatest on the parts in relief,
was concerned in the production
of the figures. On putting this
to the test by rubbing the back
of the mirror with a blunt-pointed
instrument, and permitting the
rays of the sun to be reflected
from the front surface, a bright
line appeared in the image cor-
responding to the position of the
part rubbed. This experiment
is quite easy to repeat; a scratch
with a knife or with any other
hard body is sufficient. It would
seem as if the pressure upon the
back during polishing caused
some change in the reflecting sur-
face corresponding to the raised
})arts whereby the amount of
.lAi'ANKSK M.vfiic Miuuoii. light rcflectcd was ureater; or
MISCELLANEOUS TRICKS OF AN AMUSING NATURE. 417
supposing that of the light which falls \\\)o\\ tiie surface, a part is absorbed
aud the rest reflected, those parts corresponding to the raised portions on the
back are altered by the pressure in such a way that less is absorbed, and there-
fore a bright image appears. This, of course, is not an explanation of the
phenomenon, but I j^ut it forward as perhaps indicating the direction in which
a true explanation may be looked for."
The following account of the manufacture of the Japanese mirrors is
taken from a paper by Dr. Geerts, read before the Asiatic Society of Japan,
and appearing in their " Transactions" for 1875-7G, p. 39:
"For preparing the mold, which consists of two parts jiut together witi)
their concave surfaces, the workman first powders a kind of rough plastic clay,
and mixes this with levigated powder of a blackish * tuflf-stone ' and a little
charcoal powder and water, till the paste is plastic aud suitable for being
molded. It is then roughly formed by the aid of a wooden frame into square
or round cakes; the surface of the latter is covered with a levigated half-
liquid mixture of powdered ' cliamottc ' (old crucibles which have served for
melting bronze or copper) and water. Thus well prepared, the blackish paste
in the frame receives the concave designs by the aid of woodcuts, cut in relief.
The parts of the mold are put together in the frame and dried. Several
of these flat molds are then placed in a melting box made of clay and ^ cha-
motte.'' This box has on the top an opening into which the liquid bronze is
poured after it has been melted in small fireproof clay crucibles. The liquid
metal naturally fills all openings inside the box, and consequently also the cavi-
ties of the moulds. For mirrors of first quality the following metal mixture
is used in one of the largest mirror foundries in Kioto:
Lead 5 parts.
Tin 15 "
Copper _80 "'
100
''For mirrors of itiferior quality are taken:
Lead 10 parts.
Natural sulphide of lead and antimonv 10 "
Copper '. _80 "
100
" After being cooled, the melting box and molds are crushed and the mir-
rors taken away. These are then cut, scoured, and filed until they are roughly
finished. They are then first polished with a polishing powder called to-no-ki,
which consists of the levigated powder of a soft kind of whetstone (fn-ishi)
found in Yamato and many other j)laces. Secondly, they are polished with a
piece of charcoal and water, the charcoal of the wood lio-no-ki {Magnolia hypo-
leuca) being preferred as the best for the purpose. When the surfaces of the
mirrors are well polished they are covered with a layer of mercury amalgam
consisting of quicksilver, tin, and a little lead. The amalgam is rubbed
27
418 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
vigorously with a piece of soft leather, which mauipulation must be continued
for a long time, until the excess of mercury is expelled and the mirrors have a
fine, bright reflecting surface."
MAGIC MIEROES.
The following article on magic mirrors by MM. Bertin and Dubosq outlines
several interesting experiments.
" The people of the Far East, the Chinese and the Japanese, in bygone
times were acquainted with metallic mirrors only; and even to-day they make
only these. They are made of speculum metal, of various forms and sizes,
but always portable. One of the faces is polished and always slightly convex,
so that its reflection gives images which are reduced in size; the other face is
plane or slightly concave, and always has cast on it ornaments which are in
relief. Among the many mirrors thus constructed there are a few which
possess a wonderful property: when abeam of the sun's light falls upon the
polished surface and is reflected on a white screen, we see in the disk of light
thus formed the image of the ornamentation which is on the back of the mir-
ror. The Chinese have long known of these mirrors and value them highly;
they call them by a name which signifies ' mirrors which are permeable to the
light.' We, of the West, call them ' magic mirrors.'
" Very few persons had seen magic mirrors till Mr. Ayrton, professor of the
Polytechnic School at Yeddo, exhibited several which he had brought with
him from Japan, and he experimented with them as already mentioned.
"In the meantime I received a visit from M. Dybowski, my former pupil,
who had returned from Japan, where for two years he had been the colleague
of Professor Ayrton. He brought back with him as objects of curiosity four
t&mple mirrors, that is to say, antique mirrors; tliese are far superior to those
of modern production, for their manufacture has been nearly abandoned by
reason of the introduction of the silvered mirrors of Europe. We tried them
together; three were circular, and the thinnest of them, which is a disk of 15.3
centimeters in diameter, was found to be slightly magic.
"To try such a mirror we reflect a sunbeam from its polished surface to a
white cardboard about one meter distant. But to obtain the very best effects
we must illuminate the mirror with a diverging pencil of light; this pencil is
made still further divergent by reflection from the mirror, because its reflecting
Burface is convex. AVe can now receive the reflected rays on a screen at a
greater distance, and we at once see distinctly the magnified image of the orna-
mentation on the back of the mirror. These raised designs appear on the
screen in white on a dark ground. The image thus made by our mirror was
confused, because it was not a good one; had it been properly made, the image
MISCELLANEOUS TRICKS OF AN AMUSING NATURE.
419
would have been sharply defined. I then knew of no means by which I could
make it give better effects.
" The means by which the mirror could have been improved were first jiointed
out by M. Govi in the second of his two j^apers. It is a consequence of the
true theory of magic mirrors. The theory was not reached at once. I proposed
to M. Dubosq to associate himself with me in order, first, to repeat the experi-
ments of the learned Italian, Govi, and then to study generally the interesting
phenomena of magic mirrors, in the hope of being able eventually to repro-
duce them in his workshops. At first we had only at our disposal the mirror
THE MAUIC MIIUJOU.
brought from Japan by ]\I. Dybowski, and which gave confused images with
the reflected solar rays. These images became very sharply defined when we
had heated the back of the mirror with a gas lamp, and it gave very magic
effects.
" We then made a mold and reproduced this mirror, not in Japanese bronze,
but in ordinary gun metal. Tlie first copy was roughly worked on the lathe,
after the Japanese manner, in order to render it magical, but this was broken.
The second was worked carefully on an optical grinding tool; the surface was
then polished and nickel plated, but it was not magical; it acquired this prop-
erty in a high degree when it was heated, and even retained traces of it after
it had been repeatedly heated. Several Japanese mirrors which Ave have pro-
cured have given analogous results.
■i20 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
"We then engraved' letters on the back of little rectangular Japanese mir-
rors. On heating these the letters appeared in black in the reflected image.
When we cut lines around the design on the back of the mirror, heat rendered
them very magical, for the design stood out, framed in the black lines which
bordered the figures.
" Thus it is seen that heat is very efficacious in rendering mirrors magical,
but it is not without its inconveniences. First of all, it injures the mirrors,
which thus lose their polish, especially when tliey ha\o been amalgamated;
also, the mirror is often not heated equally, and the images are deformed. It
occurred to us that the change of curvature wliich was required could be
obtained more uniformly by means of pressure. M. Dubosq therefore con-
structed a shallow cylinder of metal, closed at one end by the metallic mirror,
and at the other by a flat plate of brass, having in its center a stopcock
which M'e could attach, by means of a rubber tube, to a little hand pump. This
pump could be made either to condense or rarefy aii\ If the rubber tube was
attached to the pump, arranged as a condenser, a few strokes of the piston
sufficed to compress sufficiently the air in the shallow cylinder; the mirror
became more and more convex, the cone of reflected rays became more and
more open, and in the image on the screen the design on the back of the mir-
ror became more and more distinct. Our Japanese mirror when thus treated
gave very fine images, and the copy which we had made, and which gave no
result as ordinarily experimented with, now became a magic mirror as 2)erfect
as any of those which Professor Ayrton had exhibited before us. A mirror in
brass, nickel plated, on whose back was soldered tin-plate figures, around
whose borders were cut lines, became very magical by pressure, and gave the
design on its back in light surrounded by dark borders.
"This is what I call the positive image. We can also obtain the negative
image, or the inverse of the preceding one, by rarefying the air in the shallow
box. To do this we have only to attach the rubber tube to the pump arranged
as an ordinary air pump. On now working the piston the air in the shallow
box is rarefied; the mirror becomes concave; the cone of the diverging reflected
rays closes up; the image of the design is reduced in size, changes its appearance,
and becomes an image of the design on the back of the mirror; but this now
Bhows in shade edged with bright borders.
" These experiments require an intense light. A jet of coal gas is insufficient,
but the oxyhydrogen liglit is sufficiently intense. We iutercejit it with a screen
perforated with a snudl hole, so that the diverging pencil which falls on the
mirror may not spread too much. Tiie mirror is mounted on the top of a
column so that it can be made to face in any required direction. TJie effects
arc most brilliant and the best defined when we experiment with the rays of the
sun. When we expose the mirror to the beam of the parte-lumiHre it is gener-
ally not entirely covered by the light; in this case it is best to use a diverging
beam, obtained by means of a lens })laced between the piirte-hiiiiiere and the
mirror.
" Thus we have seen that we can now make copies of the Japanese mirrors,
MISCELLANEOUS TRICKS OF AN AMUSING NATURE. 421
some of whicli nuiy he magical, I)iit all may he rendered so hy making tlieni
covers of the shallow box containing either conijiressed or rarefied air. This
pressure box and its mirror, made in the Japanese style, certainly forms one of
the most curions pieces of apparatus which is to be found in the cabinet of
physics.
" We shall not, however, stop here. One of these days, while our mirror is
magical under the influence of pressure, we will take a cast of its surface, and
then reproduce this by means of galvano-deposition. This surface will have
all the irregularities of that of the magic mirror, and will produce by its
reflected rays the image of a design which no longer exists on its back."
BOOK V.
PHOTOGRAPHIC DIVERSIONS.
CHAPTER I.
TRICK PHOTOGRAPHY.
LAVATER'S APPARATUS FOR TAKING SILHOUETTES.
This is not a photographic diversiou, but it is so interesting and so mnch
of a historical curiosity that we reproduce it here. When first introduced,
the silhouette attracted the attention of the learned, and was regarded as
one of the wonders of the age. Lavater, in his celebrated work on physiog-
nomy, describes an accurate and convenient machine for drawing silhouettes.
The engraving is almost self-explanatory. ''The shadow," says Lavater, "is
projected upon a fine paper, well oiled and dried, and placed behind a piece of
plate glass supported in a frame secured to the back of the chair. Behind this
glass the artist stands, and holding the frame with one hand, draws with the
other." A candle was used to furnish the necessary light. The proportions of
the silhouette must be judged principally from the length and breadth of the
face; a correct and well-proportioned profile should be equal in breadth and
height. A horizontal line drawn from the point of the nose to the back of the
liead (provided the head be erect) should not exceed in length a perpendicular
line which extends from the top of the head to the junction of the chin and head.
All of the forms which deviate sensibly from this rule are so many anomalies.
SPECIMENS OF SILHOUETTES OBTAINED BY LAVATER.
TRICK PHOTOORAPHY
425
In support of these observations Lavater gives a iminber of siiecimens of sil-
lionettes, and insists upon the conchision Avhich he deduces from their study.
We take a few examples of them. In No. 1 Lavater sees an upright soul, an
even temper, taste, and frankness; in No. 2 the contour of the nose carries
the infallible mark of a good temper; in No. 3 we have clearness of judgment.
PHOTOGRAPHY UPON A BLACK GROUND.
Some of the most interesting trick photographs are obtained by the use of
a black background. In brief, the process consists in limiting the field of an
objective so as to preserve intact for subsequent exposures the unused portion
of the sensitized plate, and to be able to obtain upon the latter such combina-
tions as may be desired of any number whatever of successive poses. The
annexed diagram shows the arrangements which may be used. Nos. I. to IIL
are the ones most frequently used, and No. lY. ])ermits of taking a number of
])liotographs analogous to the one that we reproduce in our second engraving.
FRi. 1. -KXPLAiNATUltY DIAUKA.M.
Where a kneeling girl is represented as a statuette upon a table, the operator
is seen in. the rear, manipulating the rubber bulb which controls the shutter.
In Fig. 3 is shown a picture taken in open daylight, using as a black background
the opening of a large coach house; as a screen, a piece of blackened cardboard
was used, as is shown, su])ported by a violin stand to the right of the figures.
Now, if we closelv examine the child who, in front of the cart, is assisting in
PIG. 3.— COMPOSITE PHOTOGRAPH IN TWO POSES, AT DIFFEREINT DISTANCES, ON THE SAME
PLATE.
FIG. 3.-GnOUP IN OPEN AIR, IN TWO DIFFERENT POSES ON ONE PLATE,
FIG. 4.— FACSIMILE OF A COMPOSITE PHOTOGRAPH.
FIG. 5.— A DECAPITATION.
428 3TAGIC: STAGE ILLUSIONS AND SClENriFIC DIVERSIONS.
the delivery of Lis own head, we shall find that it \a traversed vertically by a
line of shadows, indicating that a slight veil was prodnced'at the first exposure
upon all that portion of plate tliat was exposed by the incompletely drawn
shutter of the frame. If the plate had been entirely exposed it would be dif-
ficult to suspect anything.
The apparatus for producing the composite photographs upon a black back-
ground is very simple. A blackened piece of cardboard is provided with an
aperture nearly corresponding to the place ]) reserved in the definitive picture
for the object, head, bust, etc., that one desires to isolate. This screen is slid
into the first fold of the bellows of the camera, that is to say, very close to the
FKi. ti.— ANOTIIKU 1)Kc:aPITAT10N.
sensitized plate, and at the moment of focusing, the position of the apparatus
is 80 regulated as to make the imago of the subject appear through the aper-
tures in the screen and in the proper position. '^Fhis process is the most
rapid and is the surest. No reflection is any longer possible, and the preserva-
tion of the plate is absolute. What is no less advantageous is the sharpness of
the outline, which permits of the most delicate junctions; such sharpness is
inversely proportioned to the distance that separates the screen from the sensi-
tized plate. We ])resent a numl)er of engravings of photographs taken upon a
black background.
FIG. 7.— THE HEAD IN THE WHEELBAKKOW.
FKi. «.— THE HEAD UPON A PLATE.
FIG. 9.— THE SAWED-OFF HEAD.
FIG. 10.— TUE EEDDCTION.
TRICK PnOTOGRAPHY.
431
Our next engraving represents a decapitation by means of a saber, and it is
taken by means of an exposure in Avliicli the head was placed upon a block,
the subject inclining forward upon his knees, and the diaphiagm occupying
about two-thirds of the plate, completely masking the body up to the neck.
Then, without changing the position of the apparatus, the diaphragm is placed
on the other side in order to conceal the head, and the body is photographed in
the second position along with the person rejiresentiug the executioner. It
would have been possible by a third exposure to so arrange things as to nuike
the executioner the decapitated person. By the same process the following
trick photographs are made.
FIG. 11.— MAN IN A BOTTLE.
The sawed-off head is one of the best of these photographs. Fig. 10 gives
the same individual photographed twice on two different scales. This kind of
reduction gives very astonishing results.
The most curious illusion of all is the one in which a nuin is seen inside of
a bottle. The individual represented was first photographed on a sufficiently
reduced scale to allow him to appear to enter the bottle. Tlie diaphragm was
arranged around the subject. The bottle was then photographed on a large
scale, and the result is, the man is seen in the bottle.
432 2IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
SPIKIT PHOTOGRAPHY.*
Many years ago, in the old wet-collodion days, a well-known photographer
was one day surprised by the visitation of a spirit. The apparition did not
make its appearance during the nocturnal hours, as is, we have been given to
understand, the custom of these ladies and gentlemen from the other world,
but, strangely enough, in broad daylight; and not by his bedside to disturb his
peaceful slumber, but upon the photograph he was in the act of producing.
Had this gentleman been of that soft-brained kind, so easily gulled by the
professional spiritualist, it is possible that he would not have done what he did,
which was to make a thorough and scientific examination as to the probable
cause of the phenomenon. The case was this: A gentleman sitter had been
taken in the usual manner upon a collodion plate. Upon taking a positive
print from the negative, he was surprised to fmd a dim white figure of a lady
apparently hovering over the unconscious sitter. Upon examination of the
negative, the image of the figure was also visible, but not so plainly as in the
positive. The explanation of the whole matter was soon made easy. In those
days glass was not so cheap as at j^resent, and all new or spoiled negatives were
cleaned off and freshly prepared with collodion for further use. In this case
the glass had jireviously supported the negative image of a lady dressed in
white. Some chemical action had evidently taken place between the image
and the glass itself, turning the latter slightly yellow in some parts. This
faint yellow image, altliough hardly visible in the negative, had, being of a
non-actinic color, given quite a distinct image in the positive. The case was
not an isolated one, as these spirit photographs, as they were called, often
made their appearance when old negatives were cleaned and the glass used
again. 'Y\\e precise action producing the image has never, we think, been sat-
isfactorily explained. It could often be made more distinct by breathing on
the glass. We do not know if any enterprising humbug ever took advantage
of this method of producing spirit photographs to extort money from the
unwary, but about ten years ago a work was published, entitled " Chronicles of
the Photograj^hs of Spiritual Beings and Phenomena Invisible to the Material
Eye," by a Miss Houghton. In this a number of reproductions of photo-
graphs of "spirits" were given with a detailed explanation of how they were
obtained and the difficulties attending their production, the "spirits" being
apparently of very independent natures, only making their appearance when
they felt so inclined. It is quite possible that a person entirely ignorant of
photogra[)liic methods might be led into the belief that they were actually
photographic images of tlie dead, but we fear tliat the book is hardly well
enough written to deceive tlie experienced ])h()t()grapher. At certain and most
unfortiiiuite })eriods in the process employed, some of the i)lates had a convcn-
*From "Photographic Amusements," by Walter E. Woodbury. New York, 1896. The
Scovill & Adams Co., publishers.
i
TRICK PHOTOGRAPHY. 433
ieut habit of slipping into the washing tank and tliere, according to the author,
becoming utterly ruined; also we learn that many were ruined by being acci-
dentally smudged by the photographer's fingers. We should not, we fear, have
a very high opinion of an operator who was in the constant habit of " smudg-
ing " negatives with his fingers so as to entirely spoil them, nor can we quite
understand what brand of plates was used that " got spoiled by falling into the
water. ' '
A "spirit" photograph.
It is not difficult to explain how these pictures Avere produced. There are
quite a number of methods. With a weak-minded sitter, over whom the oper-
ator had complete control, tlie matter would Ije in no wise a difficult one. It
would then only be necessary for the '" si)irit," suitably attired for the occasion,
to ap^iear for a few seconds behind the sitter during the exposure and be taken
slightly out of focus, so as not to a2)pear too corporeal.
If, however, the sitter be of another kind, anxious to discover how it was
done and on the alert for any deceptive practices, the method described would
be rather a risky one, as he might turn round suddenly at an inconvenient
moment and detect the mothis operandi. In such a case it sometimes becomes
necessary to find some other method where it would not be requisite for the
'* spirit" to make its appearance during the j)resence of tlie sitter.
The ghostly image can be preparetl upon the plate either before or after the
exposure of the sitter. The method is this: In a darkened room the draped
figure to represent the spirit is posed in a spirit-like attitude (whatever that
38
434 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
may be) in front of a dark background with a suitable magnesium or other
light arrangement thrown upon the figure, which is then focused in the
"naturalistic" style; or, better still, a fine piece of muslin gauze is placed
close to the lens, which gives a hazy, indistinct appearance to the image. The
exposure is made and the latent image remains upon the sensitized plate, which
is again used to photograph the sitter. Upon developing we get the two
SPIRIT PICTURE.
images, the " spirit " mixed up Avith the figure. The '' sjjirit " should be as in-
distinct as possible, as it will then be less easy for the subject to dispute the state-
ment that it is the spirit-form of his dead and gone relative. Some amouut
of discretion in this part of the performance must be used, we fancy, otherwise
the same disaster might happen as did to a spiritualist some little time ago.
An elderly gentleman had come for na seance, and, after some mysterious
maneuvers, the gentleman was informed that the spirit of his mother was
there. "Indeed!" replied the gentleman, somewhat astonished. "What
TRICK PHOTOGRAPHY.
435
does she say?" ''She says she will see you soon/' informed the medium.
" You are getting old now and must soon join her." " Quite riglit," replied
the old gentleman ; "I'm going round to lier house to tea to-night." — Total
collapse of spiritualist.
Fluorescent substances, such as bisulphate of quinine, can also be em-
ployed. This compound, although almost invisible to the eve, ])hotographs
SPIRIT PICTURE.
nearly black. If a white piece of paper be painted with the substance, excejit
on certain parts, the latter only will appear white in the picture.
We hope that it will not be inferred that we desire to explain how to deceive
persons with regard to photographs of "spirits," for this is not so; we only
hope that they will be made merely for amusement, and, if possible, to expose
persons who practice on the gullibility of inexperienced persons.
The engraving on page 43G is a reproduction of a "spirit" photograph
made by a photographer claiming to be a "spirit photographer," and to have
IMIOTOOUAPn OF " Sl'IHITS.'
TRICK mo TO a RA pn Y.
437
the power to call tliese ladies and gentlemen from the "vasty deep " and make
them impress their imago upnn tlio pensitized plate by the side of the portraits
of their living relatives.
Fortunately, however, we were in this case able to expose the fraud. ]\rr.
W. M. Murray, a prominent member of the Society of Amateur Photogra-
phers of Xew York, called our attention to the similarity between one of the
"spirit" images and a portrait painting by Sichel the artist.
PAINTIKG liY N. SIC 11 EL.
A reproduction of the picture is given herewith, and it will bo seen at
once that the " spirit " image is copied from it.
In a recent number of " The Australian Photogi'aphic Journal " we read of
the following novel method of making so-called " spirit " photographs: '* Take
a negative of any supposed ' spirit ' that is to be represented, put it in the
printing frame with the film side out; lay on the glass side a piece of platino-
type paper with the sensitive side u]v. clamp in place the back of the printing
frame and expose to the sun for half a minute. Now place in the printing
438 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
frame the negative of another person to whom the ' spirit ' is to appear, and over
it put the previously exposed sheet, film side down; expose to the sun for two
minutes until the image is faintly seen, then develop in the usual way, and the
blurred ' spirit ' photograph will ajipear faintly to one side or directly behind the
distinct image. Sheets of paper Avith different ghost exposures can be pre-
pared beforehand."
" Spirit " photograi^hs might easily be made by means of Professor Roent-
gen's newly discovered process of impressing an image upon a photographic
dry-plate without uncovering the shutter. The process would, however, entail
considerable expense, and would necessitate -the use of so much costly apparatus
that we will content ourselves with the simple mention of the possibility.
AETIFIOIAL MIRAGE.
The mirage is a well-known natural phenomenon, especially in tropical coun-
tries. Our engraviug shows an intei'esting experiment which permits of repro-
ducing a mirage by photography. A very even plate of sheet iron is taken and
placed horizontally upon two supports. The i^late is heated very uniformly
and sprinkled with sand. A small, painted Egyptian landscape is arranged at
one end of the ])late, and the " eye " of the photographic instrument is so placed
that the visual ray may be said to graze the plate. The mirage can be photo-
graphed as shown in our engraving.
DUPLEX PHOTOGRAPHY.
The following very ingenious method is pointed out by M. H. Due, of
Grenoble. It consists in making use of a special frame which, instead of
having a sliding sliutter, is provided with two shutters that operate like the
leaves of a door. These shutters, B B (Fig. 1),
l)ivot upon two vertical axes, A A, whose upper
extremities 2'>i'oject from the frame so that they
can be maneuvered from the exterior. As the
shutters must join very accurately, M. Due affixes
asbestos paper to their edges. A sliding steel
plate, E i), permits of keeping the two shutters
closed before and after exposure. This is removed
when the frame is in the camera.
The ground glass is divided into two parts by a
pencil line that exactly tallies with the junction
line of the shutters. The subject is focused on
Fio. i.-PLATE FKAME. oue of the halves of the glass, and then the
440 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
corresponding side of the frame is unmasked. After exposure the model
changes place, and then the other side of the frame is opened.
The photograph reproduced in Fig. 2 was taken in this manner. It contains
three representations of the same person. The easel, stool, and artist having
FIG. 2.— COPY OF A PHOTOGRAPH SHOWING THE SAME PERSON THRICE REPEATED.
been arranged, an image is taken on the left side of the plate, then the painter
moves his position to the right and a second exposure is made. The portrait
on the easel is that of the same person, but was taken afterward on the jiositive
by means of the negative and a vignetter (Fig. 3).
The other photograph (Fig. 4) is likewise very curious, and was taken Avith
the same apparatus. A liat was fixed firmly to a head rest, ami the same person
then glided under it and presented his two profiles.
Fin. :!. vi(;netteu.
TRICK PHOTOGRAPHY.
441
FIG. 4.— COPY OF A PHOTOGRAPH GIVING TWO PROFILES OF THE SAJIE PERSON.
ILLUSIVE PHOTOGRAPHY.
The amnsiug examples of illusive photography which we show herewith are
due to Mr. Frank A. Gilmore, of Auburn, R. I. The camera is so arranged
that the j^ictures which are reproduced suggest the story of Dr. Jekyll and Mr.
Hyde. The porter with the sack and the gentleman who is about to give him
some money are one and the same person. The pedestrian is walking with
himself, and the fighter is prepared to annihilate himself.
The method of producing the illusion is very simple. A black-lined box is
fitted to the back of a " kodak " or any other camera; the front of tlie box is
closed by two doors. On opening one door a picture may be taken on one
side of the plate; on closing this door and opening the other, the other half
of the plate is ready for exposure. The subject poses in one position and his
photograph is taken with one door open, care being taken to bring the figure
within half of the area of the sensitized plate. A good finder enables this
detail to be attended to. Then one door is closed and the other is opened, and
the exposure of the other half of the plate is accomplished. The plate holder
is not removed during the dual exposure. If possible, instantaneous pictures
443 MAOIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
"^w^x.
ATTACHMENT TO KODAK FOR DUPI.EX rHOTOGHAPHY.
should be taken, as time exposures are rather risky, involving danger of shak-
ing the camera, and the length of exposure may not be the same for both sides
of the plate. Our engravings were taken with an ordinary four by five
*' kodak," and the box was an ordinary cigar box cut down to fit, and black-
ened inside.
SHOWING TWO IMIOTOOKAI'HS OF SAMK I'EKHON ON A SINGLE NEGATIVE.
OTHER ILLUSTRATIONS OF DUPLEX PHOTOGRAPHY.
444 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
PHOTOGRAPHING A HUMAN HEAD UPON A TABLE.
The picture is made iu the following way: A table is provided with a top
having a portion of it movable at B, The person whose head is to be photo-
graphed sits in a chair underneath the table. The board is removed to allow
the person's head to pass above the table. The board is again placed in posi-
tion on the table, and the closer the person's neck fits the hole in the table the
better. The camera is arranged with a box, as in the illusion we have just
described; but in this case the camera is turned so that the two doors, C and D,
open lip and down instead of sideways. The camera is raised or lowered until
the crack between the two doors of the box is on a level with the edge of the
table. The upper door, C, in the box is opened wide, so as to expose to the
sensitized plate, when the shutter is worked, the head above the table, and all
of the objects within the range of the lens above the edge of the table.
ril()r(><!l!AI'lllN(i A lir.MAN IIKAI) lU'ON A 'I'AIJI.K.
TRICK PHOTOGRAPHY
445
UIAGIJAM SHOWING APPARATUS.
After milking these arrangements an exposure is made, then the person
whose liead has been photographed is no longer required. The top door, C,
is now closed, and the bottom door, D, is opened wide. By this means the
upper part of the plate is ])rotected from a second exposure and leaves the way
clear to expose the lower, and as yet nnexposed, part of the plate. The shntter
is again opened, and this time everything in range of the lens below the edge
of the table is photographed, and, of course, does not show the person nuder
the table. The illustration which we give, as well as the diagram showing
how it may be produced, are the work of ^Ir. James Burt Smalley, of Bay
Citv, Mich.
PHOTOGRAPIII^TI A HEAD ON A PLATTER.
We have already shown how a photograph may be made npon a table, and
we now show how one can easily take pictures of the same person in different
attitudes on one plate. This trick is performed by Mr. Frank Gilmore, of
Auburn, R. I. Pictures made in this manner seem extremely puzzling, when in
lIlfiAU OK LADY I'HUTUUHAl'llKU U^ A 1-1,ATTEU.
44G MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
I
PAN CUT AWAY TO KEPKESENT PLATTER.
reality they are very simple to make. An ordinary extension dining-table is
used, the person to be ijhotographed being seated in an opening between the
two ends of tbe table, caused by the removal of a leaf, Tiie tablecloth is then
arranged so as to cover the gap. If necessary, the table may be built up with
boards so as to support the cloth and other articles. To make the illusion
complete, a pan, cut away so that it may be conveniently placed around the
neck, as shown in our engraving, may be used. This gives the appearance in
the photograph of being an ordinary platter bearing the head of a living
person.
\
now THE I'lIOTOGUAPII IS MADE.
TRICK PIIOTOORAPHT.
447
PHOTOGRAPHING A CATASTROPHE.*
On this page we reproduce a curious photograpli by M. Bracq, which
appeared some time ago in the '' Photo Gazette."
Despite all the terrible catastrophe Avhich it represents, carrying pictures
along with him in his fall, the subject has not experienced the least uneasiness,
not even so much as will certainly be felt by our readers at the sight of the
tumble represented.
FIG. 1.— A CATASTROrHE.
The mode of operating in this case is very simple, and we are indebted to
"Za Nature'''' for the description of the method employed by M. Bracq.
The photographic apparatus being suspended at a few yards from the floor of
the room, in such a way as to render the ground-glass horizontal (say, between
the two sides of a double ladder — a combination that permits of easy focusing
and putting the plates in place), there is spread upon the floor a piece of wall-
* From " Photographic Amusements," by Walter E. Woodbury.
448 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
paper, about six feet in leugth by five feet in
width, at tlie bottom of wliieii a waiuscot has
been dravvu. A ladder, a few pictures, a statu-
ette, and a bottle are so arranged as to give an
observer the illusion of the wall of a room — that
of a dining-room, for instance. A hammer,
some nails, etc., are j)laced at the proper points.
Finally a five by two and one-half foot board,
to wliich a piece of carpet, a cardboard plate,
etc., have been attached, is jilaced under the foot
of a chair, which then seems to rest upon this
false floor at right angles with that of the room.
Everything being ready, the operator lies
down quietly in the midst of these objects, as-
sumes a frightened expression, and waits until the shutter announces to him
that he may leave his not very painful position. This, evidently, is merely an
example that our readers will be able to modify and vary at their will.
-ARRANGEMENT OF
CAMERA.
NEW TYPE OF PHOTOGRAPHIC PORTRAIT.
Our engraving shows a new type of photographic portrait which gives the
effect of a marble bust. The model is placed behind a hollow column or thin
pedestal of painted wood. If it is desired to represent a man in classic cos-
tume, a helmet of white cardboard is placed upon the model's head, his hair and
face is whitened with rice powder, and those portions of the body it is desired
to render visible are surrounded with white flannel. The background should
be formed of black velvet. After the negative is developed, the figure that it is
desired to preserve is cut around with a penknife, and the arms and all the
portions that arc not wanted are scratched out. The glass thus becomes trans-
parent when the scratching has been done, and in the positive the bust stands
out from the background.
ii
29
450 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
A MULTIPLE PORTRAIT.
The portrait which we reproduce was taken by a photographer of Constan-
tinople, Mr. Baboudjian. The subject of the photograph is represented a
FIG. 1.— KEPRODUCTION OV A PHOTOGRAPH OF A MULTIPLE PLATE.
■r(i. 3.— DIAGRAM SHOW-
INfl THE ARRANGEMENT
Of TlIK AITAUATU8.
number of times, so that the whole presents the aspect
of a number of persons standing in a line. Two mir-
rors, A and B, are placed parallel to each other, and
are separated by an interval of about two feet. In
the narrow corridor thus formed he places the sub-
ject to be photographed. One of the mirrors must
1)0 a little taller than the other, and the apparatus is
turned toward the shorter one and is slightly inclined
toward the floor. The mirrors are without frames.
The result of this arrangement is shown in our en-
graving, the same person being represented a number
of times. There is considerable ditliculty in lighting
the subject properly.
TRICK PHOTOGRAPHY.
451
MULTIPHOTOGRAPHY.
The system of photography which we illustrate gives un excellent opportu-
nity for a great range in the art of posing; the instrument is called the
'• multiphotograph." If an image is placed in front of two mirrors inclined
DIAGRAM OF THE rHODUCTION OF FIVE VIEWS OF ONE SUBJECT BY MULTIPHOTOOUAPHY.
to each other at an angle of ninety degrees, three images will be produced in
the mirror; at sixty degrees, five images will be produced; at forty-five degrees,
seven images; and if the mirrors ai'e parallel, theoi'ctically, an infinite number
Jiiiii|i!iisiliiiji!f'in;iffiiiilill:,!lll|!iiiiiliiiiiilp |iiil\- . ■A\v;mi',\«
;: ' M i i l iW [ « iilimnt«| iii iiiiilii|i|i m !ljJi;ill\ • ! , M , \\\\\\\-i ' .«• '■ Blllllii. mSW vn\4V III™ mill l;'L„.,-_ ._ Jii!b_„ -'' --- --*''''■'■ '■■'" ' '"■' '' ra'''-™™ BJllllHI Jll
GALLERY ARRANGED FOR MULTIFllUUKiUAlUV.
TRICK PI in TOGRA PH V.
453
of images will result. In the jirocess of the photography whicli we illustrate,
advantage is taken of this to produce at one exposure a number of different
views of the same subject. The person to be photographed sits with the back
to the instrument, while in front of the face are two mirrors set at the desirerl
angles to each other, the inner edges touching.
In the case illustrated, these mirrors are inclined at an angle of seventy-two
degrees; four images are produced. The exposure is made, and on the nega-
tive appears not only the back view of the subject, but also the four reflected
images in profile and different three-quarter positions.
The courses taken by the rays of light are determined by the law that the
angle of incidence is equal to the angle of reflection. In the diagram the ravs
of light are traced in their course from the subject to the mirror, and back
and forth, giving a good idea of the relation of the images to the subject and
of the five images to the focal plane, the virtual jiosition of the images being
further from the instrument than the subject proper. We also give an engrav'
ing showing images of a full-length figure.
IMAGES OF A FULL-LENGTH PORTRAIT.
454 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
PINHOLE CAMERA.
We illustrate in the cut a camera for photography in which the ne plus
■ultra of simplicity may fairly be said to be attained. It is a little tin box two
inches in diameter and three-quarters deep from cover to bottom. A hole was
punched in the center of the cover, and over this a piece of foil was secured
by varnish. The foil was taken from a button card. Small mother-of-pearl
buttons are generally mounted on pieces of pasteboard with this foil under
them. Through the foil, where it extended across the hole in the box cover, a
hole was made with a No. 10 needle. The needle was pressed through until
PINHOLE CAMEHA.
its point could be just felt by the finger held against the opposite side of the foil.
This made an aperture one-sixtieth inch in diameter. The interior of the box
was blackened, A piece of Eastman's " A " bromide paper, cut circular so as
to fit in the box, was placed in it against the bottom, and the cover put on.
This, of course, was done in the absence of actinic light. Then, with an
exposure of four minutes, at a distance of about ten feet from the object, the
negative shown in the sketch was taken. It was developed with oxalate devel-
oper. Castor oil or vaseline was used to make it transj)arent, so as to adapt it
for printing from. The sul)ject of the negative was the old armory at Summit
Hill, Mt. Jefferson, Pa.
As nothing special, noitlier paper, glass negative, nor developer, was used,
this process of pinhole photography deserves special mention. It might often
TRICK PHOTOGRAPHY.
455
be of considerable use in emergencies that sometimes will present themselves to
the photographer.
The special novelty that presents itself is the use of paper instead of glass
for the negative, as paper can be cut to fit any size or shape of box. The
brand of paper employed is slow paper.
A PHOTOGRAPHIC NECKTIE.
This ingenious apparatus is a French invention. The general appearance
of the necktie is seen in our second engraving, the first figure showing the
back of it. The metallic camera is flat and very light, and is hidden under the
FIGS. 1 AND 2.— PHOTOGRAPHIC NECKTIE— FRONT AND RAf'K VIEW.
vest. The interior mechanism comprises six small frames which are capable of
passing in succession before the objective. These frames each hold a sensitized
plate or film. The necktie liaving been adjusted, the shutter is set by a pull
upon the button, A, which passes under the vest. In order to change the i)late
it is necessary to turn from left to right the button, B, which has been intro-
duced into the buttonhole of the vest and which simulates a button of that
garment. The frames are attached to a link chain, something like an ordi-
nary bicycle chain, which is operated by the button. In order to open the
shutter it is only necessary to press the rubber bulb, which may be placed in the
pocket. The shutter is tripped pneumatically by means of the bulb and tube.
In order to change the plates it is only necessary to turn the small springs,
450 MAGIC: STAGE ILLUSTONS AND SCIENTIFIC DIVERSIONS.
G G G. The sensitized plates or filnis arc put in the frames, and the springs
ure turned back to their former position. The lens is, of course, concealed in
the scarf piu.
MAGIC PHOTOGRAPHS.
A recent novelty is a cigar or cigarette holder accompanied by a small pack-
age of photographic paper abont the size of a postage stamp. One of these
papers is placed in the interior of the holder, before an orifice arranged for the
PHOTOGRAPHIC CIGAR HOLDER.
purpose. The smoke of the tobacco, coming in contact 'vvith it, develops a
portrait or other subject. The jsrocess employed is very simple and consists in
preparing a small photograph on chloride of silver i)aper. The paper can be
purchased ready prepared. The prints are fixed r\ a bath of sodinm hyposnl-
phite (eight to ten* per cent.), without hav-
_ ^rr^' ^r^ ing been toned with gold. They are then
washed with great care in order to free the
fibres of the ])aper from every trace of the
salt, which would cause a yellowing of the
print after it was finished. Tlie jarint is
now taken and floated on a five per cent,
bath of bichloride of mercury. The images
at first gradually fade and finally disappear
altogether. After the prints are thoroughly
bleached, the}^ are Avashed in water and al-
lowed to dry. In order to make the latent
image appear, it is only necessary to im-
merse the print in a weak flve-per-cent.
DKVKi,oiMN(i THK piTOTo. solutlon of sulpliite or hyposulphite of
TRICK PHO TOGRA PIT Y.
457
sodium. When the prints ure to be developed photographically, they are
placed in the cigar holder so that the lateral orifice in the holdei' will admit the
smoke to the j)riiit. The ammoniacal vapors coutaiued in tobacco smoke pos-
sess, like sodium hyposulphite, the property of coloring black the chloride of
mercury contained in the pre])ared paper.
AN ELECTRO-PHOTO DETECTIVE THIEF CATCHER.
The device which we illustrate has been very successful in secnring photo-
graphs which have led to the identification of the perpetrators of petty thefts.
A cigar dealer of Toledo, Ohio, had for some time lost cigars from his show-
case, and the detectives were foiled in their attempts to discover tliese thieves,
so he had recourse to the proprietor of the photographic apparatus shown in
FIG. I.—TIIK rHOTO DKTKCTIVE.
458 MAGIC: STAGE ILLUSIONS AND SClJSNTlMC DIVERSIONS.
our engravings. The apparatus was set up and arranged in working order.
It was then left to do its work. Early one morning two boys entered the
place, opened the showcase, and, in so doing, set in operation the appa-
ratus, which made a permanent record of their deed, and upon the evidence
thus obtained they were sent to prison. As the boys opened the case they
closed an electric circuit which released the camera shutter, and at the same
instant operated the flashlight apparatus. Our first engraving shows the pho-
tograph being taken, and our second shows the mechanism. The side and end
of the camera are removed so as to show the mechanism. The camera is placed
in a box which is provided with a shutter operated by the spring seen at the
front of the box. The shutter is tripped by an electro-magnet. On the top
via. 8— DETAILS OK THE I'UOTO DETECTIVE AI'I'MtATUS,
I
TRICK PHOTOGRAPHY. 459
of the camera box is arranged another electro-magnet, and a vertical spindle
carrying at the top a roughened disk; the electro-magnet being connected
with a detent which engages an arm on the vertical spindle. A match is
placed in a spring-pressed holder which rests against the roughened disk, and
above the disc is supported a flashlight. When the circuit is closed by tamper-
ing with the showcase, the shutter of the camera is opened by the action of the
magnet connected with the escapement, and the detent magnet at the top of
tlie box is operated with the shutter. The detent is then released and allows
the vertical spindle to revolve, the power for the purpose being stored in
a volute spring connected with the spindle. The match is ignited, and as the
disk comjiletes its revolution, the match projects through the aperture and
ignites the flashlight powder. All this occurs in a fraction of a second, and as
soon as the shutter is opened and closed the image on the sensitive plate is pre-
vented from being further acted upon. To secure the closing of the shutter, the
current which lets olf the igniting mechanism is taken through a fusible Avire
or strip located in the flashlight chamber. When the flashlight powder burns,
the wire or coil is melted, the circuit is broken, and the shutter is released, so
as to close automatically. The effectiveness of the apparatus is clearly proved
by the work it has done. At the same time there seems to be no good reason
why the burglar could not smash the whole apparatus, thus destroying all 2)ho-
tographic record of the crime.
COMPOSITE PHOTOGRAPHY.
Composite photography consists in the fusion of a certain number of indi-
vidual portraits into a single one. This is effected by making the objects which
are to be photographed pass in succession before the photographic apparatus,
giving each of them a fraction of the long exposure, equal to such exposure
expressed in seconds and divided by the number of the objects which are to be
photographed. Composite photography is interesting when applied to photo-
graphs of persons. Theoretically this is what occurs : Features peculiar to each
of the portraits, not having been sufficiently exposed, do not take; and the
features common to all. having been given a proper exposure, alone leave a visi-
ble trace along the sensitized plate. Therefore, the result obtained may be
considered as the type of the race or the family, but, of course, is only of
limited value. Our engraving shows twelve portraits, six men and six women,
some of whom are quite young and some middle-aged, as may be readily seen.
An exposure was made in succession of No. 1 to No. 13, that is to say, begin-
ning with the youngest woman and ending with the oldest man; and then from
No. 13 to No. 1, that is to say, in inverse order. A man and a woman were
interposed, and the experiment was renewed, preserving the same arrangement,
but changing the order of the subjects. The result remained constantly tiie
same, as may be readily seen by glancing at the four composites, A, B, C, and
•4G0 MAGIC: STAGE ILLUSTONS AND SCTENTTFTC DJVERSTONS.
D, of tlie engraviiiij. Upon one side the type of six men (composite E) was
made, and on the other, of six women (composite F). Here the change prodnced
is very percejitible. It is always the same liead; but while before we had a being
of indeterminate sex, we find here, with perfect distinctness, a man on one side
and a woman on the other. The experimenter wished to see whether twelve
other persons (six men and six women), taken from the same population,
would give a type analogous to the first. As may l)e seen (composite G), there
is a slight difference, but the character of the head is the same, the difference
existing especially in the physiognomy. The same remark may be made as to
the composite H obtained from the six women of the preceding group joined
with the six women figured Nos. 1, 2, 3, 4, 5, G, which alone gave the composite
F. This observation proves (what was to be foreseen) tliat the more the num-
ber of subjects for each experiment is increased, the greater will be the prob-
ability of obtaining the true type of the population studied. On the contrary,
when but three are taken, a great risk will be run of generalizing too much.
In this case, moreover, each exposure is necessarily too long, since it consists of
a tliird of the normal exposure and is no longer the resultant of the three
heads, but their superposition. Hence the slightest increase in the length of
one of the three exposures assumes considerable importance.
COMPUSITK PHOTOGUAl'IIS.
CHAPTER 11.
CHRONOPHOTOGEAPHY.
Instantaneous photography has been of tlie greatest possible nse to science,
especially that branch of it which has been termed '' chronophotography. " It
is to the investigations of Mr. Muybridge and M. Marey that we are indebted
for the most valuable researches on the subject. Chronophotography consists
in taking a number of photographs of any object at short and regular inter-
vals of time. This is accomplished in many ways, and results obtained are
useful for many purposes. The graphic method has been of great service in
almost every branch of science, and laborious statistics obtained by computation
have been replaced by diagrams in which the variation of a curve expresses in
the most striking manner the various phases of some patiently observed phe-
nomena. Furthermore, by the methods of modern science, a recording
apparatus has been devised which, Avorking automatically, traces the curves of
such physical or physiological events which, by reason of their slowness, fee-
bleness, or their speed, would otlierwise be inaccessible to observation. The
development of these methods of analyzing movement by photography have
enabled the researches of physiological laboratories to become of the greatest
possible value. The matter in this chapter is very largely an abstract of M.
Marey 's researches, which were originally published in " La Nature,'''' and
their publication in the "Scientific American Supplement" extended over
a period of several years. Subsequent to this publication M. Marey wrote a
book called " Le Mouvement,'''' which has been translated by Mr. Eric Pritch-
ard under the title of ''Movement." It is published in the International
Scientific Series; and for a more extensive and scientific treatment of the sub-
ject than we are able to give here, we refer our readers to this excellent work.
M. ]\Iarey describes the rudiments of chronography by supposing we take a
strip of paper which is made to travel by clockwork at a uniform rate. A pen
affixed above the paper nuirks, as it rises and falls alternately, the various
periods and intervals. When the pen comes in contact with the paper it leaves
a record in the form of dashes of different lengths at varying intervals. If
the dashes should be equidistant it shows that the periods of contact follow
one anotlicr at e(|ual intervals of time. Now, as it is known that the speed at
wliich the paper travels is so many inches or feet per second, it is an easy
matter to obtain an accurate measurement of the duration of contact and of
the intervals between, In brief; this is the principle of chronography. Chrono-
CHRONOPHO TOGRAPHY.
403
photography is simply an amplification of this system and has many advan-
tages, rendering measurements possible where the moving body is inaccessible.
In uther words, there need be no material limit between the visible point and
the sensitized plate.
Mr, Muybridge's experiments on the gaits of the horse are famous. He used
a battery of cameras as shown in our first engraving. Some of the results
obtained are shown in Fig. 2.
FIG. 1.— ARRANGEMENTS ADOPTED BY MR. MUYBRIDGE IN HIS EXPERIMENTS ON THE GAITS
OF A HORSE.
On the left is the reflecting screen against which the animal appeared en silhouette. On the
right is the series of photographic apparatus, of which each one took an image.
In Mr. Muybridge's arrangement, photographic instruments faced a white
screen before which passed an animal walking, trotting, or galloping. As fast
as the animal advanced, the shutters of the lenses opened and permitted the
taking of negatives of the animal. These were, of course, different from
each other, because they were taken in succession. They therefore showed
the animal in the various attitudes he assumed at different instants during his
passage across the field covered by the instruments. The dazzling white light
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CIIIioyoPIIOTOGRAPHY.
405
FIG. 3.— CHRONOPHOTOGRAPHIC T1{A.JK( TO]{Y OV A BHIIJ.IANT IJAI.I, TllKftWN At HOSS
THE BLACK SCREEN.
brought out en silhouette the body of the animal. Eacli shutter is actuated by
a powerful spring; the shutter is opened as the animal advances. Threads may
be observed across the road; the animal, breaking these threads one after the
other, opens the shutters. Mr. Muybridge varied his experiments most suc-
cessfully. He studied the gaits of different animals, and those of men in jump-
ing, vaulting, and in the handling of various utensils. But since this time the
I
FIG. 4.— CHRONOI'IIOTOGHAIMIH Al'I'Al! All S I'i;( )l)l ( I N(t 1 I'dN ONK I'l.ATK A SKHIKS OK
PlIOTOGRAl'llS AT Kt^CAI, INTKKVAl.S til' TIMK.
The ajjpaiatus is open and show.s the position of tiie disk, with its opeuiugs moving in I runt
of the plate.
30
CnRONOPHOTOGRAPHY.
467
progress of photographic chemistry has wonderfully increased the sensibility
of the plates, and at the present day more than mere silhouettes of moving
animals and men can be obtained. In a good light full images Avith all
desired relief can be obtained. For example, if an athlete in motion is photo-
graphed, all of the muscles of the body are perfectly traced in relief, indicat-
ing the parts taken by each of them in the movement executed. The methods
FIG. 6.— DARK CHAMBER ON WHEELS.
used by Mr. Muybridge would always suffice to illustrate the successive phases
of the displacement of the members if they were taken at equal intervals of
time, but the arrangements adapted for bringing about the formation of tlie
successive phases cause irregularity in the extent of these intervals. The
threads give more or less before breaking; moreover, the progress of the horse
is not at an even rate of speed. Nevertheless, Mr. Muybridge endeavored to
develop from a series of images the trajectory of each leg of a horse, but the
curves obtained in these laborious attempts had not sufficient precision. A
very simple method enables us to obtain, with perfect fidelity, the trajectory
of a body in movement; it is the photographing of this body in front of a
black surface. If the photographic apparatus is directed against a black
screen, the objective can be uncovered without effect on a sensitized plate, as
468 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
it will receive no light; but if a white bull strongly ilhuninated by the sun if?
thrown across the j)lane of this screen, and parallel with it, its image will be
reproduced upon the plate, which will show the track of the ball in its trajec-
tory, just as the eye receives a momentary impression of lines of fire when a
lighted piece of charcoal is waved through the air at night.
FIG. 7.— INTERfOR AKRANGEMENT OF THE DARK CHAMBER.
Fig. 3 shows the iiarabolic trajectory of a brilliant ball thrown across the
face of a dark screen; but it is discontinuous, as exposures were only produced
each fiftieth of a second on account of the number of the openings and the
speed of the rotation of the disk. This is only an example which shows the
almost limitless number of varieties of movement which may be analyzed by
chronophotography.
With ordinary shuttei's it would l)e difficult to ol)t;iiu this quickness, but
the perforated disk which is used in chronophotograpliy gradually ac<]uires a
speed of rotation that may be very great. Fig. 4 shows the arrangement of
this disk by which a rotary movement is imparted by a powerful gearing con-
trolled by a regulator. As soon as the disk obtains a speed of ten turns a
second, the regulator maintains this speed with perfect uniformity. The disk
moves in front of the sensitized plate a few millime'ters only; then, knowing
CHRONOPHO TOOK A PEY.
409
tlie uiigiilcir value of each of the openings, the period of exposure is easilv
deduced therefrom.
The condition most difficult of fullilhnent is the absohite darkness of the
screen before which the phototrraphs are taken. Little light as there is, the
FIG. 8.— WALKING MAX, CI.OTUKI) IX WIIIIK, I'ASSIXO ACKOSS THE FIELD.
screen might reflect npon this sensitized plate, during a single exposure, small
quantities of light, which would tend to f(jg the ])Iate. A wall painted with
any black jiigment, or even covered Avith black velvet, exposed to the sun,
reflects too much liglit for a plate to withstand. The term '"black screen"
is used in a metaphorical sense. In reality the work is done before a dark*
cavity, being in truth what is known as '" ChevreuTs black." To obtain these
favorable conditions, a chamber nearly thirty-three feet deep and of equal
breadth was constructed; one face of this chamber was open, and restricted by
movable frames to the exact height necessary. The interior of the chamber was
completely blackened, the ground was coated with pitch, and the back hung
with black velvet.
470 MAGIC: STAGE ILLtJStONS AND SCmNTll'lG DIVERSIONS.
FIG. 9.— INSTANTANEOUS PHOTOGRAPH OF A MAN JUMPING OVER AN OBSTACLE.
Before entering into a detail of the experiments, we shall point out the gen-
eral arrangement of the Physiological Station of Paris. Fig. 5 gives a general
view of the grounds and buildings.
On these grounds, which were laid out by the city of Paris as a nursery,
there is a circular road, thirteen feet wide, designed for the exercise of horses,
and, outside of this, a footpath for men. All around this road there runs a
telegraph line whose poles are spaced 164 feet apart. Every time that a person
walks in front of a pole a telegraphic signal is given, and this is inscribed in
one of the rooms of the principal building. Further on we shall speak of this
sort of automatic inscription, by means of which we ascertain at every instant
the sjoeed of the walker, the variations therein, and even the frequency of his
steps. In the center of the track there is a high post that carries a mechanical
drum which regulates the rhythm of the gait, and which is actuated by a spe-
cial telegraph line running from one of the rooms in the large building, wherein
the rhytlim is regulated by a mechanical interrupter.
From the center of the circle, likewise, there starts a small railway upon
which runs a car that forms a photographic cliamber, from the interior of
which is taken a series of instantaneous images of the horses or men whose
gait we desire to analyze.
Fig. G represents the photographic chamber in which the experimenter
places himself. This chamber is mounted upon wheels, and runs upon a rail-
way in such a way tliat it can approach or move away from the screen accord-
ing to the objectives that are being used and to the size of the images that it is
desired to obtain. As a general thing, it is advantageous to place the photo-
graphic apparatus quite far from the screen, say about 1G4 feet. From this
distance the angle at which the subject whose imago is being taken does not
change much during tlic time it takes to pass before the black screen. From
the exterior of this chamber are seen the red windows through which the
CBRONOPBOTOGRAPHY.
All
operator can follow the different motions that he is stud}ing. To have the
different acts performed he gives his orders through a speaking trumpet. 'J'he
front of tlie chamber is removed in Fig. 6 in order to show a revolving disk
provided with a small window through which the liglit enters the photo-
graphic objective intermittently. This disk is of large dimensions (four and
three-quarters feet in diameter), and the window in it represents only one
hundredth of its circumference. It follows from this that if the disk makes
ten revolutions per second, the duration of lighting will be but one thovsandlh
of a second. Motion is communicated to the disk by a train of wheels which
is wound up with a winch and which is actuated by a weight of one hundred and
fifty kilograms placed behind the chamber. The motion of the disk is arrested
by a brake, and a bell maneuvered from the interior serves to give orders to
an aid either to set the disk in operation or to stop it.
Fig. 7 shows the inner arrangement of the chamber, a portion of one of
the sides being removed to show the photographic apparatus. A, placed npon a
bracket before the screen. This apparatus receives long and Jiarrow sensitized
plates that exactly hold an entire image of the screen. At B is the revolving
disk which produces the intermittent illuminations, and at D is a cut-off which
is raised vertically at the beginning of the experiment, and Avhich is allowed to
fall at the end so as to allow light to enter only during the time that is strictly
necessary. E is a wide slit in front of the objective, for allowing the latter to
take in the field in which are occurring the motions that are being studied.
The darkness that reigns in the rolling chamber permits of manipulating
the sensitized plates therein at ease, and of changing them at every new experi-
ment.
Against the dark field just described, a man placed in full light, naked, or
clothed in white, gives a sharp image on the sensitized plate. The results in
running and jumping which are obtained by this means are very satisfactory.
For scientific purposes it is found that the results are better if, instead of
FIG. 10.— INSTANTANEOUS PHOTOGRAPH OF A MAN WALKING.
4^2 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FIG. 11.— MAN CLOTHED IN BLACK VELVET.
The axes of tbe limbs are traced by white cords ; the joints carry white buttons placed at
the point of rotation. The head is covered by a helmet ot black velvet which com-
pletely hides it, and to which is affixed a bright ball at the level of the ear.
white clothing, the runner is clothed in black velvet. By this means lie
becomes nearly invisible before the black area. If white cords are attached to
this costume, following the direction of the axes of his limbs, and white buttons
used for the principal articulations, the white parts are reproduced and re-
obtained on the sensitized plate in an almost unlimited number of positions.
FIG. 12.— CHKONOrnOTOGHArillC IMAGER OF A KUNNRR.
Below the figure is a scale whose divisions are 0.50 meter (19,^,, inches) long, and serve to
give the extent of tlie movements.
I
CHRONOPIW TOGRA PHY.
473
v\u. i:{.^oscn.i>ATioxs of the leg of a wat.kixg max.
Usiug a disk pierced with five holes, which gives tweuty-five images per sec-
ond, the result shown in Fig. 12, which shows in full detail the movements of
the left half of the body, head, arm, and leg. was obtained by this method for
the action of running. Every fifth image is a little stronger than the others.
This is effected by making one of the apertures in the disk larger than the
others. The time of exposure is thus increased, and the intensity of the image
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FIG. U.— SUCCESSIVE POSITIONS OF THE I.IMBS IX AX ELASTIC .11. Ml' L I'OX THE IJAI.L OF
THE FOOT.
An MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
is greater. The object of this disposition is to furnish base marks, by means
of which it is always easy to recognize traces corresponding to the same image,
that is to say, to a given attitude of the runner. For detailed studies a part of
the image is screened, as shown in Fig. 13. These diagrams are very Avell
adapted for the comparison of two sorts of movements whose difference cannot
be discerned by the eye. Thus, in jumping from an elevation the shock
FIG. 15.— INELASTIC JUMP UPON THE HEELS.
caused by the feet striking the ground is reduced in intensity by bending
the legs, while the extensor muscles operate to sustain the weight of the
falling body. Our next two engravings show two kinds of jumps: the first,
the flexure of the legs and the reduction of the shock; the second, with
tlie leg almost straight, which implies a severe shock by the feet striking the
ground.
The practical applications of chronophotography are soon seen. Just as
machines are driven so as to obtain a useful effect at tlic smallest expenditure
of power, so a man can govern his movements so as to produce the wished-for
effects with the least waste of energy, and, consequently, with the least possible
fatigue. Of two gaits which can carry us over a definite space in a given time,
the one should be preferred which costs the least possible fatigue. Chrouopho-
CHRONOPEOTOGliAPlir.
m
tography furnishes the missing elements of the problem, giving exactly the
velocity of the difEerent parts of the body, by the balancing of which we can
determine the masses in movement. From a long series of comparisons, impor-
tant conclusions can be drawn, as, for example, the following : in walking, the
most favorable gait is one where step succeeds step at the rate of about one
hundred and twenty a minute; for running, the step should be nearly two hun-
dred and forty a minute. Fewer or more numerous steps will give less ellect
at a greater expenditure of the work. The applications are therefore obvious;
FIG. 16.— OSCrr-LATION OP THE POKE LEG IN A GALLOP. INTERVAL BETWEEN EXrOSniES
ONE TWENTY-FIPTH OP A SECOND.
they enable us to fix the rate of steps of soldiers to economize as much as pos-
sible their strength in the severe trials to which they are subjected. These
studies have been followed out at great length, under varying conditions, using
a considerable number of subjects; and the results, while not final, have shown
that the true method has been found. Experiments have confirmed that
which the laws of mechanics could not foretell when the dynamic conditions
of the work of man were incompletely knoAvn.
M. Marey's studies of the legs of the horse are particularly interesting.
We give one engraving showing the oscillation of the fore leg of a horse in a
gallop.
The analysis of the flight of birds presents special difficulty. Owing to
the extreme rapidity of the movements of the wings, an extremely short ex-
posure is required. The direction, often capricious, of the flight of the bird,
and the length of the j^ath which must be followed, to include on the sensi-
tized plate sufficiently sharp images, add to the difficulty. Several repetitions
of the same experiment are generally required before success.
The photographic gun is particularly valuable for taking photographs of
birds. Our engravings show the mechanism of the photographic gun and the
method of usiuff it.
476 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
We present a photograph of a gull taken during its flight and an enlarge-
ment of the same.
The photographic gun will be understood by reference to the engraving,
and is fully described in the "Scientific American Supplement," No. 386, to
which the reader is referred.
We also give photographs of a ])igeon rising in flight and the successive
attitudes of a gull.
Space forbids ns to more than state that the analysis of the flight of birds
is a most interesting and important subject, and the results obtained by chro-
nophotography are most gratifying.
KlU, 17.— MODK OK US1N(J TUK rilOTOGKAPllIC GUN.
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478 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FIG. 19.— PIIOTOGRArH OP A GULL TAKEN DURING ITS FLIGHT.
The analysis of locomotion in water is one of the most interesting develop-
ments of chronophotography. In order to study locomotion in water it was
necessary to modify the method. The animals experimented with swam in a
glass-sided aquarium fitted in an aperture in a wall, as shown in our engrav-
ing. The aquarium was directly illuminated by the light of the horizon, form-
ing a very clear field upon which the animals were outlined as silhouettes.
Sometimes the external glass of the aquarium was covered by letting down an
opaque shutter; then, upon opening another shutter, placed above the water,
the brightly illuminated animals were seen standing out from the black field.
FIG. 20.— ENLARGEMENT OF AN IMAGE FIG. 21.— ENLARGEMENT OF ANOTHER IMAGE
TAKEN BY TUB PIIOTOQRAPHIC GUN. OF A BIRD TAKEN BY THE SAME APPARATUS.
CERONOPHO TOGRAPHY.
479
FIG. 22.— PIGEON RISING IN FLIGHT,
The successive images correspond to less and less advanced phases of the wingr's revolution.
Ill most cases it was found necessary to ojierate before tlie luminous ground, so
it was not j^ossible to receive several successive images upon a removable plate,
but it was necessary to cause the sensitized surface to move by starts, so as to
bring before the objective points which were always new for each new image
that is to be formed. A flexible gelatino-bromide-of -silver film was used.
The film was cut into a long and narroAV strip which in the camera passed along
at the focus of the objective, and unwound from a supply bobbin, and wound
around a receiving one.
The objective turned toward the right has a slit in the center for the })as-
sage of the diaphragm which, in revolving, allows the light to pass intermit-
tingly. When the small diaphragm makes one revolution the large one makes
five revolutions, and it is then only that the apertures meet and the light
passes. The bellows behind the objective allows the light to reach the sensi-
tized film. The box is, of course, tightly closed. The focusing is done by
means of a small telescope or spy glass. It is necessary at each new experiment
to use a new band of film, and the substitution of rolls of films is effected in
the light by means of bobbins upon which the film is rolled.
FIG. 23.— ELEVEN SUCCESSIVE ATTITUDES OF A FLYING GULL.
Jo this series of images, traced from the originals, the distances representing the positions of
the bird in space are exaggerated to avoid confusion.
480 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
At the extremity of each baud of film are glued paper bauds of the same
width. Oue of these prolougations is red and the other is blaclc. Each of
them is about tweuty iuches in length. Having the two colors makes it almost
impossible to reexpose a film, as one is not liable to confouud a bobbin which
has been used with oue that has not, the color of the roll beiug different.
Special devices are employed iu the camera to render the film immovable for
an instant while it receives the impression from the object. Arrangements
FIG. 24.— ARRAN«!F,MKNT OF TIIK, AtJUAKIUM FOR THK STUDY OF AQUATIC UX'OMOTION.
are also provided for obtuiuiug a uuiforui velocity. 'Vhe u,se of tlie apparatus
which we have just described peruiitted of seeing with what a variety of means
of locomotion the various kinds of aquatic auinuds — fishes, mollusks, crus-
taceans, etc. — propel themselves. The motion of the medusa is particularly
interesting, ami the phases of the movement of the uml)r(!lhi are shown in Fig.
30. The ])ropulsion of this mollusk is effected through the alternate contrac-
tion and dilation of its umbrella. Ten images per second were sufficient to
obtain a pretty complete series of the ])hases of this motion. These images
gain much by being examined in the zoetrope, wherein they reproduce with
absolute perfection the aspect of the auimal iu motion.
I
CRRONOPROTOGRAPET.
4S1
The hippocampus, which is otherwise known as the "sea-horse," affords
another interesting example of aquatic locomotion. The principal propeller of
this animal is a dorsal fin which vibrates with such rapidity that it is almost
invisible, and has an appearance analogous to that of the branches of a tuning
fork in motion. With twenty images per second it is seen that this vibration
is undulatory. "We have before us the successive deviations of the lower, mid-
dle, and upper rays of the film. In the present case the undulation takes
place from the bottom upwards.
FIG. 25.— PjrOTOt'HHONOOIl.VnilO APPARATUS.
The comatula is habitually fixed to the Ijottoni of the arjuuriuni, just as a
jtlant is fixed to the earth by its roots. It therefore m;ikos nothing but vague
motions of the arm, which it rolls up aiul unrolls; })ut if the animal be excited
by the means of a rod, it will be observed to begin a strange motion which
carries it quite a distance. In this kind of locomotion the ten arms move alter-
nately; five of them rise and keep tightly pressed against the calyx, and the
other five descend and separate from it. Upon the arms that rise, the cirri
are invisible, anil while upon those that descend, they diverge in order to
obtain a purchase upon the water. These motions of the cirri seem passive,
like those of a valve that obeys the thrust of a liquid.
31
483 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
M. Mareysays: "I have obtained images of a certain number of other
aquatic species, the swimming of the eel, the skate, etc. These types of loco-,
motion ought to be studied methodically, compared with each other, and consid-
ered in their relations with the conformation of the different species. It will,
I hope, be a new element for the interpretation of the laws of animal morphol-
ogy, which are very obscure."
M. Marey has also investigated the flight of insects by means of clirouo-
photography. These experiments are most delicate and interesting, and the
results obtained go a long way towards making up a satisfactory theory of insect
life. M. Marey says that the wing in its to-and-fro movements is bent in vari-
ous directions by the resistance of the air. Its action is always that of an
FIG. 36.— MOTIONS OF THE UMBRELLA OF THE MEDUSA.
inclined plane striking against the fluid, and utilizing that part of the resist-
ance which is favorable to its onward progression. This mechanism is the
same as tliat of a waterman's scull (reference of course being to " sea sculling "
and not to "river sculling"), which, as it moves backward and forward, is
obliquely inclined in opposite directions, each time communicating an impulse
to the boat. There is, however, a difference between these two methods of
propulsion. The scull used by the waterman offers a rigid resistance to the
water, and the operator has to impart alternate rotary movements to the scull by
his hand — at the same time taking care that the scull strikes the water at a
favorable slant. The mechanism in the case of the insect's wing is far simpler.
The flexible membrane which constitutes the anterior part of the wing presents
a rigid border which enables the wing to incline itself* at the most favorable
angle. The muscles only maintain a to-and-fro movement. The resistance to
the air does the rest, namely, effects those changes in surface obliquity which
CSRONOPSOTOQRAPSY.
483
determine the formation of an 8-shaped trajectory by the extremity of the
wing.
M. Marey states tliat he succeeded in obtaining a photograph of the gilded
wing of an insect, which, tliough not absolutely at liberty, could fly at a com-
paratively high rate of speed. The photographs of the trajectory of the wing
of an insect are very interesting. A wooden box was lined throughout with
black velvet. The bottom of the box, a simple disk supported by a foot piece,
was placed in position; the periphery of the space was covered with a white
material, leaving between it and the central disk an annular track covered with
black velvet. It was around this annular track the insect was ma^e to fly. A
needle stuck in the middle of the disk served as an axis for a revolving beam
and its counterbalance. This beam consisted of a straw, and at the end of it
was fixed a light pair of forceps to hold the insect. The dragon fly commenced
flying around the track at a very rapid rate, drawing the straw after it. The
gold spangles passing through his wings described a trajectory which was easily
photographed.
FIG. 27.— MOTIONS OF THE DOJfSAL FIN OF THE SEA-HORSE.
The chronophotography of insects by the use of a moving film has been
also accomplished by means of very ingenious apparatus. In some cases the
insects were held in forceps, and in other cases they were allowed free flight in
a cardboard box.
"Comparative locomotion," which is rendered possible by chronophotog-
raphy, might almost be called a new science. It is, at any rate, an important
adjunct to the studies of the zoologist. The researches of M. Marey upon the
different terrestrial mammals, birds, tortoises, lizards, frogs, toads, tadpoles,
snails, eels, fish, insects, and arachnids are of the greatest possible value and
interest. The applications of chronophotography to experimental physiology
are numerous. It supplements the information obtained by the graphic meth-
ods. It has rendered possible the photography of the successive phases of car-
diac action in a tortoise under condition of artificial circulation. The mechan-
ism of cardiac pulsation has also been studied by its means, as well as the
determination of the centers of movements in joints.
It has been found that chronophotography could be ajiplied not only to
I
484 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
' r\
iijs^tea ac«!
WX_^M
FIG. 28.— MUTIONS OF THE COMATDLA.
objects of considerable size, but to those of microscopic size as well. Special
arrangements of apparatus are necessary for this purpose. By its means the
retraction of the spiral stalks in vorticellae, the movement of the blood in
capillary vessels, and the movements of the zoospores in the cells of conferva
have been determined.
The great value of chronophotography is nn questionable for use in every
case where the body whose rapid changes of jiosition or form we wish to know
is inaccessible to us, or its movements cannot be mechanically traced.
U
■J,- I I i fc i
FIO. 2H.
TUKl'IiUO liAULV KIRED. TOKI'EDO I'KOl'EHLV FIKED.
f
CHRONOPHOTOORAPHY. 485
Chronophotography has beeu used in J'rauce for studies touching the mili-
tary art, being employed for registering the firing of projectiles having a rela-
tively slow motion, such as the explosion of stationary torpedoes, the recoil of
guns, the motion of automobile torj)edoes, etc. Special arrangements are pro-
vided to permit of electrically controlling the phenomenon to be photographed.
The apparatus is described in detail in the " Scientific American Supplement,"
No. 743.
We present a diagram showing the results obtained by photographing the
firing of torpedoes. Although the velocity of these projectiles is not very great,
about sixty feet per second, it is yet very difficult for the eye to take exact
account of what is occurring during the launching. As the net cost of a tor-
pedo is considerable, it is essential that the conditions which influence the regu-
larity of its submarine flight shall be known with precision. If it inclines in
front more or less in plunging, the regularity of its running will be put to
hazard; if, on the contrary, it falls flat upon the water, the results will be
very different. Our engraving shows the torpedo starting from the tube and
traversing the different panels in the field of firing. In the first half the
torpedo, gradually inclining, falls point foremost; it has been badly fired. In
the second series, on the contrary, the torpedo is maintaining itself horizon-
tally, and, in a manner, moving always parallel with itself. Under such cir-
cumstances it falls flat and starts off normally and regularly to the object to be
reached. This shows the great utility of chronophotography.
AN AMATEUR CHRONOPHOTOGRAPHIC APPARATUS.
The experiments which Ave have been describing necessitate apparatus of
the most expensive kind, and they are unadapted for the use of the amateur.
The apparatus of M. Georges Denieny, which we illustrate, is, however, very
simple. The reader needs to be reminded that there are three types of chro-
nophotographic machinery in use, in two of which a single objective, with a
disk shutter revolving at great speed, is employed. In one the object shifts,
and gives several images from an immovable plate, while in the other the
object is stationary, and the movable sensitized surface gives well-separated
images. The third metliod, which is the least interesting, consists in taking
as many objectives and plates as it is desired to have images, and in freeing the
shutters of each objective, one after the other. The most scientific solution of
the problem is that which permits of obtaining upon a baud of film, and with
a single objective, a succession of well-separated images whose number depends
only upon the length of the band employed. The difficulty in using a sensi-
tized band consists in arresting it for tlie very brief instant in which each
image impresses the plate. The Demeny apparatus which we are about to
describe is very simple. A wooden box having about the dimetisions of an
ordinary seven by nine inch apparatus is provided with an objective of wide
486 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FIG. 1.— amateur's chronopiiotoguaphic apparatus.
aperture, of which only the center is utilized. Back of this objective, and as
near as possible to the sensitized surface, the disk shutter is revolved by means
of a crank. Up to this point there is really nothing new in the apparatus;
but the principal improvement consists in the unwinding and arrest of the
sensitized film. Number 1 of our first engraving represents the principle of
the system. Two disks, R and P, are each mounted upon an axis passing
through their centers; bobbins that carry the films are fixed, one of them at
R, upon a spindle mounted in the axis of rotation of the disk, and the other at
P, upon a spindle mounted eccentrically to such axis. It is this eccentric
position that chiefly constitutes the invention. Let us suppose that the two
bobbins are in place, as shown in cut. The film wound upon A, having one
of its extremities attached at B, follows the course, C, S, during which it
passes behind the objective; the two bobbins cannot have any jsroper motion
in consequence of the method of fixing which is adopted; they and the
disks, R and P, that support them, become interdependent. Because the
disk, P, revolves, the film coming from A will wind around B; but, in
consequence of the eccentric position of this bobbin upon the disk, traction
will cease to occur for a very brief instant at the moment at which the bob-
bin, B, approaches A as closely as possible, Despite this, as the winding
CHRONOPHO TOGRAPHT.
487
r
always proceeds to a degree proportional to the unwinding, the film remains
perfectly taut. It is at this moment that the window, H, of the disk, L, un-
covers the objective for an instant. It will be understood that the crank, M,
sets the disk in motion, and it is this, through a mechanism of gears, that con-
trols the operation of the bobbins. There is, therefore, an exact mathemati-
cal coincidence between the arrest of the film and the passage of the window,
and this is essential for the sharpness of the image. This would not always
occur if a friction device was depended upon for the rest of the film, for in this
case a sliding might occur which would produce a blurring of the image.
The solution offered by the Demeney apparatus is,, therefore, the simplest and
one of the surest known. The simplification of the mechanism has per-
mitted of constructing an ajiparatus light enough to allow of operating without
a tripod, by holding it in the arms, as shown in our second engraving. Each
film terminates in a strip of black paper glued to it, and forms a complete
covering after the winding upon the bobbin. This arrangement protects the
sensitized j^art from the light, and permits of changing the bobbin in daylight.
Twenty of them can be stored in the spaces in the box left by the mechanism,
so that one may always have a large supply on hand.
FIG. 2.— METHOD OF USING THE DEMENY APPARATUS.
CHAPTER III.
THE PKOJEUTlOiN OF MOVING PICTUKES.
THE EDISON KINETOGliAPlI.
The " kinetograph," which is the precursor of the apparatus for showing
moving photographs, is of great interest. The kinetograph as first proposed
consisted of a clever combination of a photographic camera and the pliono-
graph, by wliich the words of a speech or phxy were to be recorded simultaneously
with photographic impressions of all the movements of the speakers or actors.
The photographic impression is taken at the rate of forty-six per second. The
celluloid film upon which the photograjihic impressions are taken is perforated
along one edge with a series of holes, arranged at regular intervals with as
much precision as can be secured by means of the finest perforating mechan-
ism, to secure perfect registry. This was found necessary because the phono-
graphic cylinder must be in exact synchronism with the shutter-operating and
film-moving devices of tlie camera. The 2)honograph and camera mechan-
isms are driven by the same motor and controlled by the same regulating
mechanism. The greatest difficulty was experienced in devising mechanism
for the stopping and starting of tiie film. It was found that the stopj^ing and
starting of the film forty-six times a second required about two-thirds of the
time, the remainder being utilized for the exposure of the plate. To take these
pictures special camera lenses of large aperture had to be constructed. The
reproducing apparatus is practically a reversal of the camera; that is, a superior
form of projecting lantern is employed which is provided with a strong light,
and mechanism for moving forward the strip with an intermittent motion,
corresiionding exactly to the motion of the negative strip in the camera. Tiie
lantern is furnished with a light interrupter which eclipses the light during the
i
<f;^ <;f^ ^^ 4r^ 4^%-. 46^4 4f,
niOTO-KNGRAVING OF A I'OUTIOK OF TIIE STRIP NKGATIVE OF THE KINETOGRAPH
(ACTUAL SIZE).
THE PROJECTION OF MOVING PICTURES. 489
brief period required for shifting the film forward to a new position to show
the succeeding picture. The apparatus was largely manufactured on a small
scale, without the phonograph, for use in railway stations, cigar stores, etc.
It was found to be almost im2)ossible to combine the two instruments. In
this case the pictures were not projected upon the screen, but were upon a
ground-glass plate which the observer looks at.
EEYNAUD'S OPTICAL THEATER.
Up to the time of the invention of this theater, the apparatus that pro-
duced the synthesis of the successive phases of an action were limited to repro-
duction upon a very small scale, which can only be enjoyed by a limited grouj).
The object of the optical theater was to provide an apjiaratus for the repro-
duction of a series of actions upon a considerable scale. The continuity of
the image obtained by the praxinoscope, invented in 1877 by M. Eeynaud,
had not up to this time been realized by any projecting apparatus. The
effect is produced by using a crystalloid band upon which the images are
painted as represented at A in our engraving. The operator can revolve it in
one direction or the other by means of two reels. The images pass before the
lantern, B, and are projected by the aid of the objective, C, upon an inclined
mirror, M, which projects them upon the transparent screen, E. Another
projection lantern, B, causes the appearance on the screen of the scene, amid
which appear the characters, which change their posture according as the
painted band. A, is revolved by the operator.
ELECTRIC TACHYSCOPE.
The apparatus which we are about to describe is an important link in the
history of the synthesis of animated motion. The apparatus is the invention
of Ottamar Anschuetz, of Lissa, Prussia. A special camera was used,
adapted to take a number of photographs in quick succession. The instru-
ment for displaying the pictui'es is called the "electrical tachyscope." It
consists of an iron wheel of sufficient diameter to hold an entire series of posi-
tive prints on the periphery. The wheel is arranged upon a rigid standard,
and provided with a series of jiins which register exactly with the picture.
Upon the standard behind the wheel is located a box containing a spiral Geiss-
ler tube which is connected with the terminals of a Ruhmkorff coil. The
primary coil is provided with a contact maker and breaker adapted to be oper-
ated by the pins projecting from the wheel, so that every time a picture comes
before the Geissler tube it is illuminated by an electrical discharge through the
ANSCHUETZ'S ELECTRICAL TACHYSCOPE.
492 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
tube. This discbarge, being instautaueous, shows each picture iu an appar-
ently fixed position. These pictures succeed each other so rapidly that the
retinal image of one picture is retained until the next is superimposed upon
it, thereby giving to the observer the sense of a continuous image in constant
motion.
THE DEMENY CHRONOPHOTOGRAPIIIC APPARATUS.
The cbronophotographic apparatus which we illustrate was invented by
M. G. Denieny, wlio is the assistant of Dr. Marey, whose work in chronophoto-
graphy we have already described. As long ago as 1891, M. Demeny was able
to project upon a screen figui'es which simulated the motion of animal life.
Strips of sensitized films from sixty to ninety feet in length were not availa-
ble at this time, aud it was necessary to employ some makeshift. Images were
taken from the chronophotographic aj^paratus upon a strip four or five yards
in length, and were printed as positives upon a glass disk sensitized by chloride
of silver, and it was by means of this disk that the projection was made. The
FIGS. 1 AND 'i.—TUK DEMENY I'UO.IECTION Al'I'ARATUS.
1. Arranged for use without electricity or gas.
3. Arraiigomeut for stopping the strip of filua.
THE PROJECTION OF MOVING PICTURES.
493
number of images was limited to forty or fifty, according to the subject, but
the advent of the long strips of sensitized film induced the inventor to so
modify tlie apparatus as to be able to take images in long series and for project-
ing them. The apparatus of M. Demeny, which we show in our engraving,
employs strips of any length, but at present the longest that have been used
are one hundred and fifteen feet. This gives about one thousand images of
the dimensions adopted by the inventor, one and one half hy one and three
quarter inches. This wide surface of the image has an immense advantage,
since, with the electric light, it permits of throwing the moving pictures on a
screen sixteen feet high.
For a small screen the oxyhydrogen light will be sufficient. The lantern is
provided with an ordinary condenser, in front of which is placed a water tank
to absorb a portion of the heat. At the opjiosite end of the table stands the
chronophotographic projector Avhich carries the film wound around its 1)ob-
bins. The lantern is so regulated that the luminous rays will fall exactly upon
the aperture as the image passes behind the o1)joctive, 0.
After the focusing has been effected, all that has to be done is to turn the
crank, M. At P and R are seen guide bolibins that serve to put in their nor-
mal direction the films that have been used. As is well knoAvn, the principle
of all projecting apparatus of this kind consists of arresting the film for an
FIG. 3.— INTERIOR VIEW OF M. DEMENY'S KEVEKSIBI>E TKOJECTIOK APPARATUS.
TSE PROJECTION OF MOVING PICTURES. 495
instant at the moment it is uncovered by the shutter. The process employed
in the Demeuy apparatus is very simple. It is shown in Fig. 3 of our engrav-
ing. Upon coming from the bobbin the film passes over a guide roller, S, and
then over a rod, D, mounted eccentrically; thence it goes to the toothed
roller, C, designed for causing the images to register accurately. The film
then reaches the magazine roller, B. The mechanism is entirely enclosed in a
box, and the shutter disk, which is not shown in the engraving, is situated at
the other side of the aperture, F. Beneath the bobbin. A, is a rubber roller,
E, mounted upon a spring in such a way that it will bear against the film,
whatever be the thickness of the ribbon on the bobbin. It is tliis roller which
is moved by gearing that causes the film to unij'iud in a continuous manner,
and thus prepares it for the eccentric rod, D, which pulls upon a portion of
the film already unwound, but does not screen it. The film passing under the
guide, S, passes between two velvet-lined frames, H and T, that are provided
with an aperture F. It is upon making its exit thence, and passing over the
guide, S, that the film is taken up by the rod, D, then runs over the toothed
roller, C, and finally over the bobbin, B. All these parts, exclusive of the
shutter, are interdej^endent, and are connected by gear wheels set in motion by
the crank, ]\r. Xone of them have a jerky motion. All of the parts of the
mechanism have uniform rotary motion, and the stopjiage of the films is pre-
pared for by a graduated diminution of the velocity. One advantage of this
apparatus is that it is very tender with the films. Our last engraving repre-
sents a few images on a strip made for a spectacular drama at the Chatelet
Theater, Paris. This strip is one hundred and fifteen feet long, and embraces
a thousand images, each of which was colored by hand. The effect is very
pleasing.
THE KINETOSCOPE STEREOPTICON.
Since the time the " kinetoscope " brought the art of moving jihotography
prominently into notice, many inventors have been striving to perfect ap-
paratus for successfully projecting these miniature pictures upon the screen
by means of a stereopticon, producing the same effect of motion as in the
kinetoscope. In the kinetoscope the successive images are illuminated by
reflected light, and are seen through a lens enlarging them considerably, say
from half an inch in diameter to about four inches. The problem of the
kinetoscope stereopticon was to successfully project these little images several
thousand times, and secure sufficient illumination upon the screen to make
them aj^jiear distinct and clear. The two factors which aided in solving the
problem were the use of the electric lamp as an illuminant and of continuous
flexible transparent celluloid films. Our first engraving shows some kineto-
scopic pictures taken directly from the negative film, by the "phantoscope "
invented by Mr. C. F. Jenkins. The successive motions of practicing " putting
THE PROJECTTOK OF jVOVTNG PICTrh'ES.
407
the sliot," shown in these fifteen iiictures, may l)e traced by beginning at
tlie lower left-hand corner and reading upward for each column of pictures.
The device for taking tlie phantoscope pictures is shown in Figures 5
and 0.
On a sliaft is fixed a disk sujiporting four lenses, and geared to the shaft is
a vertical shaft engaging a bevel gear on tlie axis of the fihn-Avindiug reek As
the shaft is revolved by the handle on the outside, the lenses are brought
respectively behind tlie opening in the front of the box and transmit tlie
\
FIG. 1.— THE EDISUX •" VITASCOl'E. "
momentary im-
ages as they pass
the opening to
the moving sensi-
tized film whicli
goes in the same
direction as the moving lens, and at the same speed. The exposed film is at
the same time wound up on the top reel. With the same apparatus the
positive pictures may be' reeled oif of one spool to the other, being pro-
jected by the electric light in the rear, illuminated by rotating condensers, one
for each lamp. The pictures may be looked at in the box, through a small
screen; they are made at the rate of twenty-five to the second, and are about
three-quarters of an inch in diameter, and one-quarter of an inch ai^art, on
a continuous sensitized celluloid strip about one and a half inches wide, hav-
ing perforations in its edges, in which the sprocket wheels of the projecting
device engage. The projecting apparatus is shown in Fig. 1, and consists of
an electric arc lamp in front of which is a condenser. In advance of that
is the motor for operating the feed mechanism, and in fi'ont of all is the
film traveling device and the objective. Our second engraving is a view of
the stand comjdete, showing the rheostat, switches, etc., for regulating the
current. The film, after passing behind the lens, is Avound up on the reel
below. Our third engraving shows the use of the apparatus in the theater. It
is placed in a cabinet surrounded by curtains, in an upper gallery, the images
being thrown forward upon a screen upon the stage.
33
4.US
3IA0IG: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS
In projecting pictures of this kind it has been usual to employ slmtters
operating in unison with the movements of the picture ribbon. After a series
of experiments it was found that the same effect of motion could be produced
by causino- the ribbon itself to have an intermittent movement without the
use of shutters at all, which greatly simplifies the apparatus. A film-working
apparatus based on this
idea is shown in detail
at Fig. 4. The elec-
tric motor operates a
THK KDISON " VITASCOPE.
muin shaft to which it is geared, a worm engaging a gear on the shaft
witli the main sprocket pulley, and draws the picture ribbon downward at
a uniform speed. Back of this shaft maybe seen the mam shaft, intended
to rotate rapidly, on the end of which is a disk having a roller eccen-
trically fixed thereto. Behind tliis is a standard supporting spring-tension
fingers behind the leus. As the film is drawn forward by the main sprocket
THE PROJECTION OF 2I0VINO PICTURES.
40'J
I
FIC4. 3.— THE •• \ ITASCOPE IN THE TUEATEli.
pulley, it is quickly pulled downward by each rotation of the rapidly moving
eccentric roller on the disk. The sjirocket pulley meanwhile takes up the
slack of the ribbon, so that at the next rotation the eccentric roller quickly
pulls the film down and makes the change; from the sprocket pulley the film
is carried to the winding wheel operated automatically from the main shaft by
FIG. 4.— FILM PROJECTING APPARATUS.
500 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
FIGS. 5 AND 6.— THE JENKINS " KINETOSCOPE " « AMK1{ A.
means of pulleys; or, when it is desired to repeat the subject over and over
again, the endless film is allowed to drop into folds in a box lo;3ated under tlie
sprocket pulley, passing out at the rear, npward over pulleys arranged above
the spring-tension fingers, then downward between them again to the main
pulley.
Fig. 7 is a diagram of a film-moving mechanism of an English inventor,
Mr. Birt Acres, which has been successfully operated in Loudon.
FIG. 7.— aches' projecting DEVICE.
The picture film is drawn from an npper reel, passed over a sprocket pnlloy,
downward through a retaining clamjj, and over a second jnilley to the bottom
or winding reel. The film passes over both sprocket pulleys at a uniform
speed, between a stationary and swinging clamp operated automatically from
the shaft of the shutter and which holds the film stationary Avhen the opening
of the shutter is behind the lens, during the interval the picture is projected on
the screen. The clamp is released; then the pivoted lever below, with a roller
on the upper end, is pulled inward at tlie other end by a spring and immedi-
ately takes up the slack (as shown by the clotted lines), and causes, by such
sudden movement, the bringing of the next picture into position.
THE PROJECTION OF MOVING PICTURES.
501
THE "MUTOGRAPII" AND '' MUTOSCOPE."
The " mutograpli" and '' mutoscope " are names of very interesting
machines for presenting moving photographs. The camera frame is mounted,
by means of three adjustable legs, upon a triangular turntable, which may be
placed upon any suitable support. Ujion the top of the frame is bolted a two
horse-power electric motor which is driven by a set of storage batteries; the
combination of the turntable with a vertical adjustable enables the camera to
be shifted so as to take in the required field. In the front of the camera is
fixed a lens of great light-gathering quality which produces an image of
exceedingly clear detail. Inside the camera is a strip of gelatine film two and
three-quarter inches wide, and usually about one hundred and sixty feet in
length, which is wound upon a small pulley and drum. The length of the
film varies for different subjects. In case of a prolonged scene it may extend
several thousand feet. The film is led through a series of rollers, and is
caused to pass directly behind the lens of the camera, and is finally wound
upon a drum. The object of the rollers is to cause the film to pass behind the
lens with an intermittent instead of a continuous motion. At ordinary speeds
this could be easily accomplished, but the difficulties are increased when it is
remembered that the impressions are taken at the rate of forty per second, and
that the film, which is running at the rate of seven or eight feet a second, has
to be stopped and started with equal frequency. The film comes to a rest just
as the shutter opens, and starts again as the shutter closes. The impressions
vary in actual exposure between one one-hundredth and one four-hundredth of
THE JJAllK ROOM ANU KEEL FOK UEVELOriNG FILMS.
1
504 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
a second. While the ordinary speed is forty a second, the mutoscope can take
equally good pictures at the rate of one hundred per second, if it is necessary.
The highest speed would be used in j)hotogra23hing the flight of a projectile or
other object which was in extremely rapid motion. After the mutograph has
done its work, the films are carefully packed and sent to the New York estab-
lishment of the American Mutoscope Company. Here they are taken to tiie
dark room, the interior of which is shown in our engraving. Arranged along
each side of this room is a series of troughs^ above which are suspended large
skeleton reels three feet in diameter and seven feet long, the axes of the reels
being journaled in brackets attached to the end of the trough. The films are
wound upon the reels and snbjected to the action of the various solntions for
developing, fixing, etc., the reels being transferred from bath to bath until the
films are ready to go to the drying-room. In this room are also prepared posi-
tive transparent strips for use in the biograph and the bromide prints for the
m utoscope.
ATCHLH STUrrEMS
:^H!': AGE FACTORY
~1
THE SAUSAGE FACTORY.
The films are unwound on to large wooden drnms about the same size as
the reels, where they are carefully dried. At the far end of the room are seen
the machines for cutting up the bromide prints. Here also is carried on the
work of retouching the films aiul 2)reparing them for use in the biograpli and
mutoscope pictures. The biograj)h is somewhat similar to machines which we
have aready described.
The annexed engravings show pictures" of clay-jiigeon shooting and of the
firing of a ten-inch disappearing gun at Sandy Hook.
Upon the roof of the New York establishment of the company there has
been erected a large movable stage for taking photographs of celebrated scenes
from plays or of individual performance's in which it is desired to reproduce
the motions as well as the features of the subject. It consists of a floor of
steel I-beams wlii(;h carries a series of three concentric steel tra])s. Upon this
rotates the massive fiiime at one end of which is a stage suijplied with the
necessary scenery, and at the other end a con-ugated iron house, in which
■
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506 3IAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
is located the mutograpli. Tlie stage is bolted to the frame, but the house
travels upon a track, so that it may be moved to or from the stage as required.
The frame carrying the stage and house rotates about the smaller circular track
located beneath the house, and may be swung around so as to throw the light
full upon the scene at any hour of the day.
INTERIOR OF THE "MUTOSCOPE."
The " mutoscope " is compact, and the pictures are large. It is not any
larger than the cover of a sewing machine. The enlarged bromide prints, meas-
uring four by six inches, are mounted in close consecutive order around the cyl-
inder and extend out like the leaves of a book, as shown in the illustration.
In the operation of the mutoscope the spectator has the performance entirely
under his own control by turning a crank which is placed conveniently at hand,
and may make the operation as quick or as slow as he desires, and can stop
the machine at any particular picture at will. Each picture is momentarily
held in front of the lens by the action of a slot attached to the roof of the
box, wliich allows the pictures to slip by in much the same way as the thumb is
used upon the leaves of a book.
508 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
" CINEMATOGEAPH " CAMERA.
The "cinematograph" camera, invented by the Messrs. Lumiere & Sons,
works on a somewhat different principle from those we have ah'eady described.
In this camera the film is carried forward intermittently, no sprocket wheel
being used. The film-moving mechanism is fully illustrated in Figs. 1 and 3.
The film-moving device consists of two prongs which somewhat resemble
a fork. It is shown at D in Fig. 3. The prongs are alternately pushed
through or withdrawn from the perforated ribbon by the aid of a rotating bar,
C. The film-moving device, D, has really a shuttle movement, having a
rapid reciprocating motion. The rotating bar, C, which is secured to the
main shaft, is so arranged that its ends, which are bent in opposite directions,
strike on alternate sides of the wedge-shaped piece which is secured to the
fork, D, and thus impart to the latter a reciprocating motion. The up-
and-down motion of the film is accomplished by the aid of a cam which is
secured to the main shaft. The reciprocating yoke piece. A, is given a vertical
motion when the crank shaft is rotated. The arm, B, is attached to the yoke
piece. A, and this carries down the film through the medium of the fork, D.
When the film has been lowered the distance of one exposure, the rotating
bar, C, strikes the fork and removes the prongs from the film. The yoke
piece then raises the prongs, and the other arm of the rotating bar strikes
the wedge-shaped piece, and forces the fork, D, through the apertures in
the film. On the main shaft is also arranged the shutter, E, which rotates
KIOS. 1, :i, AN|) :t. l<ll,M-M()VIN(i MIOCUANISM.
THE PROJECTJOK OF MOVING PICTURES.
5U9
FIG. 4.— DRIVING GEAH AND FILM 8UITOKT.
with the film-moviug mechanism. Fig. 2 shows the simplicity of the camera.
On tlie npper end of the box is the sensitized ribbon, which passes downward
between guides before the lens opening. The bent ends of the cam operating
bar, which give the fork, D, its reciprocating motion, are shown in Fig. 3.
Fig. 4 is a general view of the instrument, showing the driving gear and film
support. Fig. 5 shows the cinematograph camera in operation. It will be seen
that the camera is very portable. The same camera can be converted into a
projecting apparatus for throwing moving pictures upon the screen. The
images are about an inch square.
CAMERA FOR RIBBON PHOTOGRAPHY.
The camera for ribbon photography which we illustrate is the invention of
Mr. C. F. Jenkins, the inventor of the '* vitascope," which we have already
described. Instead of using a rotary disk shutter, the radial apertures, and a
iiii|iiiiiiii''iP''"Tiiiiii|iiii!iiin!'w:,iiw^^^
THE PROJECTION OF 3tOVlNG PICTURES. 511
fixed leus, this camera has a single opening in the front, tlie size of tlie aper-
ture being regulated at its rear end by a diaphragm disk having radial slots
of varying widths cut therein. Tlie oi)erator is thereby enabled to govern
the amount of light admitted to the lenses according to the subject to be pho-
tographed and the length of the exposure desired. Tliis disk is rotated by
hand, like an ordinary stop in a wide-angle lens. Back of the diaphragm disk
is the battery of lenses, each of the same focus, arranged in a circle, joining
each other, upon a rotating disk which is secured to a shaft which extends
rearward and terminates in a bevel gear wheel which meshes Avitli a side
bevel gear wheel fixed upon the main shaft, suitably geared to the main
driving shaft.
The main shaft may be operated by a crank on the outside of the box, by
hand or by any suitable motor. The sensitized celluloid perforated ribbon film
may be noticed passing downwards near the front end of the camera, in front of
the exposure tension plate, the square aperture in which is exactly in line
with the front aperture in the box. From this point the film, after exjiosure,
passes downward between the sprocket wheel and pressure roller to the wind-
ing reel in the rear end of the camera, which is rotated by belt-connection to a
pulley on the upper shaft and takes up the film ribbon as rapidly as it is
exposed. A feed roll for the supply of unexposed film is not shown, but may
be located at the rear of the camera, over the winding reel. The operation will
be readily understood. The camera is placed upon the tripod or stand; the
crank on the outside is rotated, which causes the film to travel downwards con-
tinuously, at exactly the same speed at which the lenses rotate, so that at every
fraction of a second tluit it takes for each leus to pass behind the camera
aperture an impression of light is made on the downwardly moving film; and
as the lenses and film both move in unison, it follows that a sharp 2)ictare will
be the result while the brilliancy of the illumination is at its maximum. The
camera can be carried about as readily as any other camera. In practice it is
found that the motion of the hand-operated crank is sufficiently uniform to
permit of the proper reproduction of motion by the positive pictures projected
upon the screen.
Our next engraving shows how the positive ribbon pictures for the vitascope
and other forms of apparatus are printed; this is also the invention of jMr.
Jenkins. It consists of reels supported on suitable upright standards holding
respectively the sensitized ribbon film and the negative film. The film from the
negative supply wheel is carried along over the sensitized film wheel, and both
pass in contact, in continuous motion, under an exposing chamber illuminated
by any source of white light, as an incandescent lamp or a Welsbach incandes-
cent gaslight, thence over the toothed sprocket driving wheel to the winding
wheels, the exposed film being ■wound first. This Avill be better understood
by reference to our detailed diagram of the mechanism. It will be noticed
that the reels are interchangeable, and hence, to make duplicate cojnes it is
only necessary to remove the negative spool from the winding-up end to the
supply-spool standard of the apparatus, and begin over again. The perfora-
m l,l|'||n\||ilIi;iHf«
THE PROJECTION OF MOVING PICTURES.
513
tions in the edges of the fihn are of a siDecial square shape, and give the square
sprocket wheel of the propelling pulley a better tension on the film. The teeth
pass through the perforations of both films, causing both to move at exactly
the same time, and at all times to keep in perfect registry. The speed of the
film passing under the exposing chamber must be absolutely uniform; this is
obtained by propelling the sprocket wheel by an electric motor or by a spring
motor. The electric motor is seen in the large wood cut. The axle of the
RIBBON PHOTOGRAPHY — EXPOSING AND PRINTING APPARATUS.
motor has worm gear operating a cog wheel on the main shaft. The V-shaped
elastic band holds the frame in which is a ground glass in contact with the film,
producing a kind of tension on the film. To the left of the liglit chamber is
a supplementary tension adjusted by screw nuts, as shown. Eeferring to the
diagram, two slotted diaphragm cards will be seen. These are placed over the
ground glass just mentioned, at the bottom of the light chamber, and are for
the purpose of regulating the amount of light that acts on the negative. If
33
514 MAGIC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
RIBBON PHOTOGRAPHY — DIAGRAM OP THE PRINTING DEVICE.
the negative film, as a wliole, should be thin, then a card with a narrow slot is
used, which allows a short exposure to be made if the negative and film are
passed under it. If the negative is fall of density, then the narrow card is
removed, and the wider slotted card substituted, which allows a larger volume
of light to act upon the negative film. The exposed film is wound around
large open reels from a spool and is developed by passing through cloths of
developer solution. The novelty in the device which we illustrate consists in
the fact that the film moves continuously under a uniform source of light,
under any intermittent motion or the use of shutters. The operation of
exposing the film is carried out in a room illuminated by the usual ruby light.
THE MICROMOTOSCOPE.*
The principles of the kinetoscope or mutoscope have been applied to the
microscope, with some interesting results, by Dr. Robert L. Watkins, of New
York City. The instrument, though simple, was made a success only after
many experiments and failures in adjusting the objective of the microscope in
a line with the right sort of light and a rapidly moving film.
The principal difficulties in making a mutoscope out of so delicate an
instrument as the microscope are the light and the lens. Every electric lamp
in the market, when its light has been concentrated sufficiently for pho-
tography, will, after a short time, with its heat, kill, dry up, or impair almost
any kind of life in the microscopic field. The greater the magnification, the
* By D. F. St. Clair.
THE PROJECTION OF MOVING PICTURES. 615
:>Tj ■ ,^.j<w^
1
A KOTIFEH AS SEEN IN THE MICKOMOTOSCOl'E.
more intense the litjht must be and the nearer the microscope. This difficulty
was often enhanced by the length of time it took to get a focus on the sensitive
film, but most of the pictures taken were good, and show well the various
characteristics of the action taking place in cell life, so far as it can be
observed with the microscope.
Whatever is to be photographed, once it is put in the field of the lens, is
adjusted to a horizontal plane. Near one end of the microscope is placed an
electric lantern containing a small arc light concentrated on the object. Xear
the other end is the box that covers the ajiparatus for moving the long, sensi-
tive gelatine film. The film runs like a belt, on wheels, and passes in front of
a tiny window in the box and on a direct line with the lens and light. This
machinery is turned by a crank, and its ordinary capacity is about 1,600
pictures per minute. It is possible to increase it to 2,000 or 2,500, but for
most purposes 1,000 or even less per minute will record every motion taking
place in most cell life. Dr. Watkins found, however, after a number of trials,
that he could not tarn the machine fast enough to photograph the motion of
the blood circulating in the web of a frog's foot. He simply needed a larger
wheel.
The advantages of mutoscopic photography to microscopy are quite evident,
especially as regards the action of bacteria and blood cells. Nearly all the
numerous families of bacteria have motion, many having motion that the eye
cannot always follow clearly. It has already been discovered that the same kind
of bacteria will act very differently under different circumstances. For instance,
a flash of bright light will suddenly drive some kinds to cover. Some kinds
will readily seek the negative j)ole of the battery. They will also seek food
with avidity and reject poison with true instinct. All such phenomena can,
of course, be followed with the eye, but not with the same detail in the micro-
scopic field as in a series of clear photographs. The fact is that on account of
the motion of some bacteria it has been well nigh impossible to photograph
them. The books have had to depend upon the eye and hand of the draughts-
man and upon vague description. This may not be of much importance either
way, but as yet comparatively little is known about bacteria. It is not yet
known whether they are the cause of disease, or its results, or neither. Pho-
tography, under the proper circumstances, is most needed for the investigator,
and it can be only moving photography.
516 3IA0IC: STAGE ILLUSIONS AND SCIENTIFIC DIVERSIONS.
The capillary or circulatory motion of the blood cells, after the blood has
been drawn, is comparatively slow at best ; but the amoeboid movement of
the white cells and the changes taking place in the nuclei are complicated, and
often hard to intelligently watch in the field. Many of these changes occur-
ring in the white cells are certain to escape attention, but all of them will be
clearly recorded on the rapidly moving sensitive film. These motions in tlie
white cells, though they are as yet imperfectly understood, are full of meaning
to the physiologist and pathologist. The offices that the blood performs in the
body are believed to be due mainly to the action of the white cells. Certainly,
the character of their amoeboid action is one of the surest indications of health
or disease.
But with the micromotoscope it need no longer be impossible to photo-
graph the blood in actual circulation. With a better light the cells may be
seen in the thin tissue of the ear or the web of the fingers. They have often
been examined in the peritoneum dui-ing an operation, and Dr. Watkins him-
self has made a close study of them in the web feet of some birds and the tails
of fishes.
Unfortunately, the illustration of blood here reproduced does not show the
white cells. They stuck to the glass, while the red cells, it will be perceived,
retain something of their motion, continuing to flow across the field for half
an hour after the blood was drawn.
MOVRMRNT OF lU.OOD CORPUSCI,ES SHOWN BY THE MTCHOMOTOSCOI'E.
APPENDIX.
APPENDIX.
ADDITIONAL TRICKS.
THE MAGIC TABLE.
This was a trick of the late Alexander Herrmann. lu the center of the
stage is placed a light table with three legs and a plush top. The prestidigi-
tateur moves his hand over the table ; suddenly it rises in the air and follows
his hands wherever he moves them. The secret of the trick will be easily
understood by reference to our engraving. A small nail is driven in the
center of the table. This nail is not noticed by the audience, and the plush
top tends to hide it. The magician wears a ring w^hich is flattened on the
inner surface and a small notch is filed in it. The ring is placed on the middle
linger of the right hand ; the hand is spread over the table until the notch fits
under the head of the nail. The table can then be lifted with great ease, and
it appears to follow the hand of the conjurer in obedience to the magic wand.
THE MAGIC TABLE.
530
APPENDIX.
"GONE."
This very clever illusion was desigued by Mr. W. E. Robinson, tlie assistant
of the late Herrmann the Great. It lias been exhibited in several of the lai'ge
cities, and is always a great success. When the curtain is raised the square frame
is seen ; this frame is braced laterally by side pieces. At the lower part of the
frame, within easy reach of the prestidigitateur, is a windlass. Hopes pass from
this windlass, over pulleys, to a crossbar in the upper part of the frame. A
THE LADY KKADY KOK KLECTKOCUTION.
lady is now brought upon the stage and for some terrible crime is sentenced to
be electrocuted. She is seated in a chair, which she grasps tightly. She is
then tied tightly to the chair with ropes, and her hands are chained together.
The prestidigitateur now secures the chair, with its fair occupant, to the ropes
which are connected with the windlass, by means of hooks which fasten to the
top frame of the chair. Wires are now secured to the unfortunate lady so
APPENDIX.
521
that it really seems as though she was to receive the death-dealing curreut.
Tlie professor of magic now winds away at the windlass and raises the chair
until the head of the victim is on a level with the crossbar. He then
discharges a pistol, and at the same instant the lady disappears and the chair
drops to the floor. Such is, in brief, the mode of operation of the trick called
'• Gone."
In reality the illusion is a clever atla^jtation of the "Pepper (Jhost" of
Avhich we have already described several variations. A reference to our first
engraving will show that at the sides of the frame is a row of incandescent
lights. AVhile the lady is being secured to the chair, and while she is being
hoisted up to the crossbar, these lamps are kept lighted; but the instant the
pistol is fired, these lights are extinguished by a stage hand in the side scene.
Up over the proscenium arch is arranged a background which corresponds to
%yl^y.V.l
KAISIKG TUE LADV BY MEAKS OF TUE W1NI)]-ASS.
the background of the stage. Two wooden bars cross it. Directly below this
screen, and carefully shielded from the observation of the spectators, is a row of
incandescent lights. As the pistol is fired these lights are turned on, while
those in the frame are extinguished. Xow, according to the princi])les of the
'' Pepper Ghost " which we have already described, the person or thing which
is brilliantly lighted has its image projected on a sheet of glass and appears to
be real. The front of the frame, from the windlass to the horizontal cross
piece, is covered with a sheet of glass Avhich is not apparent to the audience.
APPENDIX. 523
The image of the backgrouud is projected upon this glass, which hides
the lady from view, although she is immediately behind it, and the pieces of
wood and this artificial background take the place of the back posts of the
frame, thus deceiving the audience. The chair is made in two sections, the
lady being tied to the upper, or skeleton chair. She holds a heavy chair with
her hand tightly, and at the instant when the pistol is fired she releases the
chair, which falls to the floor with a loud noise.
There is another illusion, called " Out of Sight," invented also by Mr. AV. E.
Eobinson, which is somewhat similar, but is not as interesting from a scientific
point of view. It is, however, better adapted for a traveling company, as
there is no glass to break, the large sheet of plate glass in the front of the
frame being entirely dispensed with. When the pistol is fired, a curtain of the
same color as the background is released by theprestidigitateur, and it is drawn
down quickly by means of rubber bands. It takes only an instant for the cur-
tain to descend, its lower edge being hidden from view by the windlass. The
audience is usually deceived as easily by this illusion as by the more com-
plicated one.
THE SPIDER AND THE FLY.
This is one of the most interesting of the series of tricks which depend
upon mirrors, and of which the '" Decapitated Princess " is a type. AVhen the
curtain rises, the scene shows a gentleman's country house set upon the
embankment and surrounded by grass plots and shrubbery. This is painted
scenery such as is usually used in theaters. The house is approached by a set of
stone steps which are built out from the scene proper, or, in other words, the
drop. These are what is known in theatrical parlance as " practical " steps ;
that is, they may be ascended. The steps are encased by side walls, and these
walls are surmounted by vases of flowers and handsome lamp posts. The steps
lead to the doorway of the house ; the door is also "practical," and can be
opened and shut. The story runs that the house was deserted for such a long
time that the steps were covered by a gigantic spider's Aveb, and the spectator is
surprised to see this web, Avliich extends from post to post and to the side walls
of the steps.
In the center of this gigantic web is seen a spider's body with a woman's
head. The steps leading to the doorway of the house are open, and a person
starts to descend, but stops on seeing the spider, and retreats after taking three
or four steps down the stairs. This adds greatly to the illusion, as it looks as
if it could not be produced by a mirror. You can see both above and below
the head, and the steps may be. seen at any angle you choose. The puzzling
part of the trick is the question of the whereabouts of the lady's body.
Eeference to our second and third engravings will give the secret of the
trick. The mirror lies at an angle of 45° and runs from the base of the posts
APPl]NDtX.
b-ib
to the rear of one of the treads of the lower steps. The mirror extends the full
width of the steps. A semicircular hole is cut out of the center of the mirror,
at the top edge ; this is to receive
the lady's head.
The spider's bodj' is fastened
to the network of rope ; the lady
has simply to affix this Ixtd}' to
lior head, and the illusion is com-
jjletc, as the body of the lady is
concealed behind the glass. The
mirror reflects the lower steps, so
that this reflection really appears
to bo a coutinnation of the steps,
and the entire flight seems un-
broken. A\ hen the person appears
at til e door and descends the steps,
he must 1)0 careful not to come
l)elow the line of reflection, as
his legs Avill not be visible. The
top edge of the glass is concealed by a rope of the web, as it is directly in front
of it, and for safety is usually cemented to tlie glass.
In our diagram. No. 1 represents the steps ; 2, the mirror ; 3, the web;
and 4, the lady. This tricic requires the most careful prejiaration and adjust-
ment, but when this is accomplished, the results arc extremely satisfactory.
THE ILLUSION EXPLAINED.
DIAGUAM SniJAVING AUUANGEMENT <»F MIIilJOK.
526
APPENDIX.
THE TRUNK TRICK.
This trick, which attracted the attention of the world for montlis, is of
English origin, and was presented in England long before it was introduced
into Paris. The experiment consists of having a trunk examined, tying it,
securing a cover over it, tying it a second time, sealing it with wax, and then
showing that in a few seconds a young East Indian has succeeded in getting
inside of it without unfastening the cords, breaking the seals, or opening the
trunk.
THE TRUNK TRICK.
APPENDIX.
527
TRAP DOOR IN TRINK.
Half the bottom of the trunk constitutes a trap door which is opened by
inserting a round key in one of the ventilating apertures. As soon as the trunk
has been tied, sealed, and placed under a canopy, the curtains of which are let
down so as to hide the trunk from the spectators, the East Indian, who is also
invisible to the spectators, lays the trunk down as shown in our second engrav-
ing, unbuckles the cover and slides it down, takes his key, opens the trap door,
gets into the trunk, puts the cover in place, buckles it, and then closes the trap
door. To raise the trunk to its proper position, he takes a long screw, some-
thing like a gimlet, from his pocket, inserts it in one of the holes under him,
and turns it ; the trunk rises slowly, and when it has reached its point of equi-
librium, it falls back suddenly on its bottom. The noise thus made is the signal
for the operator, who immediately draws back the curtains, finds by the weight
that something is in the trunk, and then unties it slowly and presents the mys-
terious traveler to the audience.
It will be seen by one of our engravings that the Indian appears tied in a
bag in the trunk. This is a variation of the trick. The bag is made of some
light or soft material, and is provided with a hem at the mouth. In this hem
runs a cord or tape ; the performer draws the string tight, and seals the knots
at the same time. The bag is then placed in the trunk, and the trunk is
secured as above. The assistant who enters the trunk has concealed under
PUTTING ON THE COVER.
b28
APPENDIX.
METHOD OP RAISING THE TRUNK.
his blouse a similar bag, the string of which is long enough to correspond in
appearance to that of the otlier bag when it is tied and sealed. There are
a couple of stitches missing on each side of the hem, leaving space enough
for the assistant to insert his fingers. When he enters the trunk he removes
this bag from his blouse, placing the original bag in the place of the duplicate.
He now goes into the duplicate bag and places it up over his head, and, insert-
ing his four fingers into the opening in the hem, draws in all the slack of
the string, thus closing the bag, which is, of course, to all apj)earauces, tied
and sealed as the oridnal.
REMOVING THE RAG FROM THE INDIAN.
APPENDIX,
529
'^^A STIIOBEIKA J'EKSANE."
Tliis illusion, made jiopnlar a few years ago by the late A. Herrmann,
under the name of ''Strobeika" was originally produced at Iloudin's Little
Hall, in Paris, by the inventors of it, two Germans, llerren Lutz and Markgraf.
The trick is supposed to take phice in a prison or dungeon. In the center
of the stage, quite near the back scene, stand four upright posts about eight
feet high, and set about eight feet apart on tlio long side, and four ou thesliort.
These posts are made fast to a rectangular iron frame at the top, from the four
corners of which are chains supporting a plank about an inch and a quarter
thick, all in full view of the audience. Curtains hang from the framework to
about a foot bohjw the level of the board ; these curtains can be opened or closed
b}' sliding them back and forth on the frame, rings being sewed on them to
allow of this being done easily. A man supposed to be a prisoner is stretched
upon the plank ; his wrists and ankles are manacled and locked by a committee
from the audience, who can furnish, if tliey desire, locks of their own. Ilis
neck is also enclosed in a steel collar and locked to the plank. At a signal the
curtains are closed, and, as they reach only a little way below the plank,
permit of a full view underneath, to the rear wall of the stage. In less
than a minute the curtains are withdrawn again, and a young lady is seen to
FIG. 1. — '"LA STltOBElKA I'KKSANE."
34
530
APPENDIX.
FIG. 3.— TOP OF BOARD, SHOWING LOCKS AND HASPS.
have taken the phice of the man, who, at the instant of the girl's discovery, is
seen running down the aisle of the theater. Now, let us see how this strange
trick is accomplished.
The first thing is the explanation of how the man hecomes released from
the shackles. It jirincipally lies in the construction of the board. There is no
deception about the keys, locks, or manacles, since it is not at all neces-
sary to the decej)tiou that there should be. The board is hollow and contains
cunningly concealed levers, four in number, which move simultaneously.
The eyes that the manacles slip over, and to which the locks are fastened,
go into the board and are held fast by the ends of these levers, which enter
a hole or notch, as the case may be, in the eye. The shackles and neck
piece and their respective eyes are all made fast to an iron plate or bed
which is bolted to the board ; a bolt at each corner of the plates goes
through the board and secures another plate at the bottom of it, making
all firm. There is one bolt, however, that does not go through ; it is
riveted to one of the short levers, and by its means the system of levers is
p^^=
I--
=s
1^
"[ i
_ -^^x
1
1
i
U^UI
■ 1
= ^==!|
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FIG. ^.— liOTTUM OF JiOAUD, SHOWING PLATES.
i
APP^NMX.
631
I
FIGS. 4-7
-DETAILS OF THE MECHANISM,
pushed backward or forward. There is a nut on the bottom plate to make it
appear as if this identical bolt went completely through, the same as the others.
The levers run in grooves made in any suitable part of the board and covered
by a strip of wood or other material, thus rendering the mechanism invisible,
and appearing as if the board was solid.
At each corner of the board is a ring or screw eye, into which the chain pro-
vided with a hook is secured, by which to susjiend the board. The four levers
■^
FIG. 8.— THE ESCAPE OF THE I'lUSONEU.
633 APPENDIX.
are i^ivoted to a rocking lever in the center of the board, wliicli is likewise
pivoted. By this means all the levers are moved simultaneously. When the
lever is moved it releases all the shackles, and the prisoner is then, of course,
free, and it is but the work of a moment to climb out through an opening in
the scene at the back, where the lady who is to take his place is now waiting
on the end of a long board pushed out through the opening in the scene.
The lady gets on the trick board, the man slams the shackles into place,
moves the bolt back, thus shoving the levers back into tlieir notches in the
e3'es, again making everything fast, makes his escape through the scene, and
appears a minute later from the front of the theater.
The trick is varied sometimes by using double curtains at the back; con-
cealed between them is the lady. After the exchange the man hides in the
same place, and another man, his exact counterpart, is the one who makes his
appearance in the audience.
" METEMPSYCHOSIS."
"Metempsychosis" is the name of an illusion which was the joint inven-
tion of Messrs. Walker and Pepper, of London. It was devised by the former
gentleman, and the latter assisted in perfecting it. It is probably the most
mystifying of any of the optical tricks. It has of late years been shown in
America, by Kellar, under the title of the "Blue Room." The first effect
produced upon the spectator after witnessing the illusion is that he has been
dreaming, or seeing ghosts or spirits, for it seems utterly impossible for man
to accomplish the wonders produced by it.
Our first engraving shows the stage set as an artist's studio. Through the
center of the rear drop scene is seen a small chamber in which is a suit of armor
standing upright. The floor of this apartment is raised above the level of the
stage and is approached by a short flight of steps. When the curtain is I'aised
a servant makes his appearance and begins to dust and clean the apartments.
lie finally comes to the suit of armor, taking it apart, cleans and dusts it, and
finally reassembles it. No sooner is the suit of armor perfectly articulated than
the soulless mailed figure deals the servant a blow. The domestic, with a cry
of fear, drops his duster, flies down the steps into the large room, the suit of
armor pursuing him, wrestling with him, and kicking him all over the st;ige.
Wlien the suit of armor considers that it has punished the servant sufficiently,
it returns to its original position in the small chamber, just as the master
of the house enters, brought there by the noise and cries of the servant, from
whom he demands an explanation of the commotion. Upon being told, he
derides the servant's fear, and, to prove that he was mistaken, takes the suit of
armor apart, throwing it piece by piece upon the floor. This is only one of
the countless effects which can be })roduced by this interesting illusion.
534
APPENDIX.
The working of the ilhision will be understood by reference to the diagram,
Fig. 2. At A we have the proscenium opening ; B B are two flats of scenery
which close in the scene from the front
wings to the steps, C, which in their turn
lead up to the small chamber, D, at the back,
in which all the changes occur. The walls
of the chamber are lettered E', E', E', E'.
F is a large mirror extending from floor to
ceiling, and capable of being wheeled back
and forth on a truck or carriage. When this
mirror is withdrawn, as seen at the dotted
lines, G, the spectators see through the open-
ing of the chamber to the rear wall. The
suit of armor is marked H. Now, if the
mirror be pushed across the chamber, both
the armor, H, and the rear wall disappear,
and the walls of the chamber at E' and E'^ are reflected so that they appear to be
the walls E' and E\ There is another suit of armor at I. It is placed so that,
when it is reflected in the mirror, it will occupy the exact position of the other
suit of armor, H. When the mirror is shoved forward and hides the suit
of armor, H, an actor dressed in a similar suit enters behind the glass by a
secret door, removes the dummy armor, and assumes the same place himself.
All this time the suit of armor at I is reflected in the mirror, so that a suit of
armor is always visible. The mirror is now drawn back, and the suit of armor
which the actor wears is seen. When the servant now dusts the armor, it sud-
denly seems to become endowed with life and chases him around the room ;
and when it again mounts the stej)S in the smaller room, the mirror is
shoved forward, the actor making his escape in time to place the first suit of
armor where it formerly stood. Now the mirror is again drawn out, revealing
the sides of the room, E'' and E*, and of course exposing the suit of armor, H.
If the walls, E' and E^ and the armor, I, are correctly placed as regards reflec-
tion, he can pass the mirror to and fro at will, without any change being
detected, as the reflection takes the place of
the reality, and v/e suppose we are looking
at the real object.
As the edge of the mirror jiasses the suit
of armor a hard line is to be seen, a distinct
vertical line, which would seem to wipe out
the object as it ])asses. To avoid this, the
inventors hit upon a novel and purely in-
genious expedient. They etched vertical
lines in the silver back of the glass at the
end which first passes across the field of view, beginning with thick silvered
spaces close together, and tapering, with the lines farther apart as shown in our
diagram, Fig. 3. It can thus be seen that the reflected article gradually appears
FIG. 3.
APPENDIX. 535
instead of coming suddenly into view, and when the mirror is moved away the
real article gradually appears.
In order that the edges of the glass may be better disguised as it moves
forward or backward, the edge is cut or ground into steps, as shown in Fig, 4.
By the ap2:)aratus described above, many changes can be made, as a livino^
man appearing in a previously empty chair, flowers growing on an empty bush,
a change of a man into a woman, a painted picture into a living one, etc. In
some effects a table is employed, to all appearances tlie common square
kitchen table. A person is seen sitting at the table, which is empty ; sud-
denly there appears before hiiu a large dish of oranges or a meal. This is
arranged by providing the table with a slot which runs diagonally from corner
to corner. This allows the glass to travel through it, and thus shuts off one-
half of the table. Articles are placed on the table, behind the glass, which
is now withdrawn, leaving them to be seen upon the table. The slot in the
top of the table is covered with sheet rubber or other material.
FIG. 4.
BIBLIOGRAPHY OF NATURAL MAGIC AND
PRESTIDIGITATION.
BIBLIOGRAPHY
OP
NATURAL MAGIC AND rRESTIDIGlTATIOX.
compiled, with notes, by
Henry Ridgely Evans.
I.
ENGLISH.
Arnold, George, and Cahtll, Frank. TLe Magician's Own Book; or, tlie Wliole Art
of Conjuring. New York, 1857. 8vo. 363 pp.
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Bacon, Roger. Discovery of the Miracles of Art, Nature, and Magic. (About 1260.)
Bailey, F. H. Hindu Jugglery. Journal of Education (Boston), vol. xliv. p. 378.
Ball, W. W. Rouse. Card Tricks. la Ids Matlienuitical Recreations.
Bancroft, Frederick. Yogi Magic in India. Scientific American Supplement, vol. xliii
p. 17845.
Bartlett, J. Second Sight. Scientific American Supplement, vol. xlii. pp. 17477, 17478.
Beckmann. History of Inventions. (About 1770.)
Benjamin, M. Modern Magic and its Explanation. Cliautau(iuan, vol. xi. p. 731.
Berkeley. Card Tricks and Puzzles. London, 1892. 8vo.
Bertram, Charles. " Isn't it Wonderful ! " A History of Magic and Mystery. L(mdon,
1896. 4to. 300 pp.
Bishop, Washington Irving. Houdin and Heller's Second Sight. Edinburgh, 1880.
Blitz, Antonio. Fifty Years in the Magic Circle. An Account of the Author's Profes-
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as a Magician, Necromancer, and Ventriloquist. Hartford, 1871. 8vo.
Breslaw. Last Legacy ; or, The Magical Companion. London, 1784.
Brewster, Sir David. Letters on Natural Magic. London, 1832. 16mo.
Burlingame, H. J. Around the World with a Magician and a Juggler. Chicago, 1896.
8vo. 172 pp.
540 BIBLIOGRAPHY.
BuKLiNGAME, H. J. Herrmann, tlie Magician. His Life ; His Secrets. Chicago, 1897.
12mo. 250 pp.
History of Magic and Magicians. Chicago, 1895. 8vo. 41 j)]!. (Pamphl<;t.)
Leaves from Conjurers' Scrap-Books ; or, Modern Magicians and their Works.
Chicago, — . 8vo. 274 pp.
Modern Magical Marvels : A Practical Treatise on Magic and ('onjuring for Profes-
sionals and Amateurs. (In preparation.)
Tricks in Magic : Illusions and Mental Phenomena. Chicago, — . 8vo,
A series of eutertaiuiug works ou modern magic and its professors.
BuRSiLL, H. Hand-shadows to be thrown upon the Wall ; Consisting of Novel and
Amusing Figures formed by the Hand, from Original Designs. Second series, in one
volume. New York. — ,
Caulyle, Thomas. Count Cagliostro. In his Miscellaneous Essays.
This is a fascinating sketcli of tiie most famous of cliarlatans and pretenders to magic. It is written in
Carljle's characteristic style, and is, perhaps, more of a philosophical study of the genus quack than an impar-
tial biography of the celebrated necromancer of the old regime. A more detailed account of Cagliostro's
romantic career is to be found in the series of articles by William E. A. Axon, published in the Dublin University
Magazine, vols. Ixxviii. and Ixxix. (1871, 1872). All biographies of Cagliostro are founded on the work published
in Rome, 1790, under the auspices of the Holy Apostolic Chamber. The Italian life contains an elaborate expose
of the great magician's system of Egyptian masonry, also thy full Inquisition sentence pronounced against him.
This highly interesting product of pai)al jurisprudence makes strange reading for the nineteenth century. In
the year 1791 the Inquisition biography was translated into French, under the title of Le Tie de Joseph
Balsamo, contni sous le nom de Comte Cagliostro. It has for a frontispiece a steel -engraved portrait of
Cagliostro. Original editions of this rare and curious old work may be seen in the Peabody Library, of Balti-
more, Md.; the Scottish Rite Library, of Washington, D. C; and the Masonic Library of Grand Rapids, Iowa.
Cagliostro made adroit use of hypnotism, optical illusions, and chemical tricks. He was past master of the
art of deception. Modern professors of conjuring are fond of using the name of Cagliostro for all sorts of
magical feats, such as the " Mask of Balsamo," " Cagliostro's Casket and Cards," " Cagliostro's Cabinet," etc.
Cakpenter, William H. At an Algerian Aissaoua. Current Literature, vol. xix. pp.
409-411.
The Aissaoua are the miracle-mongers of Algeria. For explanation of their tricks, see the concluding chap-
ter of Rbbert-Houdin's memoirs.
Conjurer Unmasked, Tue : With the Tricks of the Divining Hod, Magical Table,
etc. 1790.
Conjurer's Guide. Glasgow, 1850.
Cremer, W. H. Hanky-panky : A Collection of Conjuring Tricks. London, — . 8vo.
The Magician's Own Book. London, — . 8vo.
CuMBEULAND, Stu.vkt. A Thought-Reader's Thoughts : Impressions and Confessions of
a Thought-Reader. liondon, 1888. 8vo.
Daveni'OKT, Reuben Briggs. The Death-Blow to Spiritualism. Being the true story of
the Fox sisters as revealed by authority of Margaret Fox Kane and Catherine Fox
Jencken. New York, 1888. 8vo. 247 pp.
A rare and interesting work, with portraits of Margaret Fox Kane and Katie Fox Jencken, the pioneer
mediums of American spiritualism.
Dessoir, Max. The Magic Mirror. Monist, vol. i. p. 87.
The Psychology of I^egerdemain. Open Court, vol. vii.
Seriea of arlicluB translated from the German. Of great interest to psychologists.
BTBLIOORAPBY. 541
De Vere, M. S. Modern Magic. 1869.
Evans, IIenky Ridcki-Y. Hours with the Ghosts ; or, XIX. ('cntiiry Witclicraft. Inves-
tigations into the Phenomena of Spiritiiahsni and Theosoi)hy. Chicago, 1897. 8vo.
This work, in the main, is a critit-al study of tlio phenomena of modern spiritualism. It is divided into two
parts— psychical phenomena and physical j)henomena. Concerning the first, the author ascribes the manifesta-
tions witnessed by him in test seances, with professional and non-professional subjects, to telepathy, etc., not to
spirit intervention. As regards the second phase, he takes a decidedly negative view. Kxpoxen are given of
psychography, or slate-writing tests, had with such famous mediums as Pierre Keeler, Dr. Henry Slade, etc. The
alleged miracles of modern theosophy are also treated at length. Interesting features of the book are the
biographies of Madame Blavatsky, I). T). Home, Dr. Sladi,-, etc., and the history of the Theosophical Society from
its inception to the present tiiie (18.17). A Bibliography of the leading critical treatises on psychic phenomena is
appended to the book.
EwBANKS, T. A Descri]>tive and Historical Account of Hydraulic and Other Machines for
Raising Water, Ancient and Modern, with Ohservations on Various Sul)jects connected
with the Mechanic Arts. New York, 1851. Svo.
Contains many descriptions of magical automata of ancient Greece and Rome.
F1TZGERAT.D, H. A Chat with Mr. Maskelyue and Mr. Charles Bertram. Liidgate Illus-
trated Magazine, vol. vi. p. 198.
Forces, John. Card-Sharpers; their Tricks Exposed. (Translated from Robert-Houdin's
Les Tricheries des Grecs.) London, 1891. Svo.
Fi;iKEi-ii, (J. Hanky-panky : A Book of (\jnjuring Tricks. London, 1875.
Magic no Mystery : Conjuring Tricks with Cards, Balls, and Dice ; Magic Writing,
Performing Animals, etc. Edited by W. II. Cremer. London, 1876.
Frost, Thomas. The Lives of the Conjurers. London, 1881. 8vo.
Tlie Old Showmen and the Old London Fairs. London, ISSL Svo.
Gai,e. Cabinet of Knowledge : With Mechanical, Magnetical and Magical Ex])eriments,
Card Deceptions, etc. London, 1803.
Ganthony, R. Practical Ventriloquism and its Sister Arts. London, 1893. Svo.
G.\RENNE, Prof. Henri. The Art of Modern Conjuring, Magic, and Illusions. A Prac-
tical Treatise on the Art of Parlor and Stage Magic, Illusions, Spiritualism, Ventrilo-
quism, Thought-reading, Mesmerism, Mnemotechny, etc. London, — . 8vo.
Gatcheli>, Cuart.es. The Methods of Mind-Readers. Forum, vol. xi. pp. 192-204.
Scientific account of the so-callel mind-reading feats of Stuart Cumberland, Washington Irving Bishop,
and others, showing them to be muscle-reading. Worked in conjunction with certain conjuring tricks, umscle-
roading has an all but supernatural effect. Mr. Gatthell explains many of the devices used by charlatans to
imitate clairvoyance, etc. See also chapters on similar subjects in Burlingame's " Leaves from Conjurers' Scrap-
Books," Carl Wilhuann's "Moderne Wunder," and Sid. Macaire's " Mind-Reading, or Muscle-Reading :■ "'
Good, Arthur. Magic at Home : Book of Amusing Science. Translated by Prof.
Hoffmann [Angelo Lewis]. Londcm, 1890. Svo.
IIalt-e, J. S. Magic. Berlin, 1783.
Hart, Ernest. Hypnotism, ^Mesmerism, and the New ^A'itchcraft. New York, 1893.
12mo. 212 pp.
A new and enlarged edition, with chapters on "The Eternal Gullible," " The Confessions of a Professional
Hypnotist," and notes on the hypnotism of Trilby.
Hattox, Henry. Secrets of Conjuring. Scribners, vol. xxi. ])p. 304-306.
The Art of Second Sight. Scribners, vol. xxi. ])p. 65-69.
642 BIBLIOGRAPnt.
Heather, H. E. Cards and Card Tricks. London, 1879. 8vo.
Henry, T. Shekleton. "-Spookland." A record of research and experiment in a much-
talked-of realm of mystery, with a review and criticism of the so-called spiritualistic
phenomena of spirit materialization, and hints and illustrations as to the possibility of
artificially producing the same.
Hercat. Card Tricks and Conjuring up to Date. London, 1896. 8vo. 123 pp.
Hermon, Harry. Hellerism : Second-sight Mystery ; Supernatural Vision, or Second-'
sight. What is it ? A Mystery ; A Complete Manual for Teaching this Peculiar Art.
Boston, 1884. 16mo.
A fine expose of Robert Heller's second-gight trick.
Herrmann, Addie. Confessions of an Assistant Magician. Lippincott, vol. viii. p. 482.
Herrmann, Alexander. Light on the Black Art. Cosmopolitan, vol. xiv. p. 208.
^ Necromancy Unveiled. Lippincott, vol. viii. p. 475.
. Some Adventures of a Necromancer. North American Review, vol. civ. p. 418.
The Art of Magic. North American Review, vol. cliii. p. 92.
Interesting magazine articles by the great Herrmann, giving his personal experiences as a magician.
Hocus-pocus, Jr. The Anatomy of Legerdemain. Fourth edition. London, 1654.
Hodgson, Richard. Indian Magic, and the Testimony of Conjurers. Proceedings : Society
for Psychical Research, Part 25, p. 354.
Prof. [Angelo Lewis]. Drawing-Room Conjuring. London and New York,
1887. 12mo. 179 pp.
Modern Magic. A Practical Treatise on the Art of Conjuring. With an appendix
containing explanations of some of the best known specialties of Messrs. Maskelyne
and Cooke. London and New York, — . 12mo. 578 pp.
An elaborate treatise on prestidigitation. Very useful to students. Palmistry in all its branches explained,
as well as stage illusions.
More Magic. London and New York, 1890. 12mo. 457 pp.
See also under Robert-Houdin.
Hoffmann, Walter J. Juggling Tricks among the Menominee Indians. United States
Bureau of Ethnology ; fourteenth annual rejjort, 1892-93. Part 1, pp. 97-100.
HoLDEN. A Wizard's W^anderings. London, 1886.
[Hurst, Lulu]. The Revelations of Lulu Hurst, the Georgia Wonder. — . 267 pp.
Jastrow, Joseph. Psychological Notes upon Sleight-of-Hand Experts. Science, vol. iii.
pp. 685-689. Reprinted in " Scientific American Supplement," vol. xlii. p. 17488.
Professor Jastrow, at his i)sychologioal laboratory, subjected the conjurers Herrmann and Kellar to a
series of careful tests to ascertain their tactile sensibility, sensitiveness to textures, accuracy of visual percep-
tion, quickness of movement, mental processes, etc. In " Science " he details the results obtained by him in his
experiments, the first of the kind ever made with magicians as subjects. Read in conjunction with the highly
interesting series of articles on the " Psychology of Dece])tion," Robert-IIoudin's memoirs and magical revela-
tions, and Max Dessoir's fine papers, these studies of Herrmann and Kellar are of great interest to all students
of experimental psychology. Tliere are no finer illustrations of mental and visual deception than the tricks of
I)restidigitateurs.
Psychology of Deception. Popular Science Monthly, vol. xxxiv. pji. 145-157; 721-732.
Kellar, Harry. High Caste Indian Magic. North American Review, vol. clvi. pp. 75-86.
In this entertaining paper, Kellar the conjurer describes some of the magical i)erformances of the Hindu
fakirs and Zulu wizards. They not only out-Herod Herod, but out-Haggard Rider Haggard, the prince of
^ISLIOGRAPHT. 543
romancerB, for weirdnees and improbability. The article reads as if it had been " written up " for effect, being
the product of an elastic and brilliant imagination, though Kellar claims to have been an eye-witness of all the
marvels he describes. Some few of them, hypnotic in character, such as the feat of '• imitation death," arc
unquestionably true, as witness the evidence of Sir Claude M. Wade and other eminent Anglo-Indian investigators.
The magician Herrmann, who traveled over India, had but a contemptuous opinion of Hindu fakir tricks.
Modern theosophists have done much to exploit the so-called miracles of Tibetan and Indian necromancers.
Madame Blavatsky's works are full of absurd stories of Oriental magic. See her "Caves and Jungles of Hindu-
stan," " Isis Unveiled," etc., for example. But also see Arthur Lillie's work, " Madame Blavatsky and her The-
osopliy," London, 1897, for amusing revelations of theosophical marvels.
Magic among the Red Men. Nortli American Review, vol. clviii. pp. 591-600.
KuNARD, Prof. R. Book of Card Tricks for Drawing-Room and Stage. London, 1888.
8vo.
Modern Magic ; a Book of Conjuring for Amateurs. London, 1888. 8vo.
Le Roux, Hugues, and Garnier, Jules. Acrobats and Mountebanks. Translated by
A. P. Morton. London and New York, 1890. 4to.
A very entertaining work, tracing the history of the mountebank from his inception in the nomadic caravan
to his apotheosis in the splendid modern circus and vaudeville theatre.
Lewis, T. Hanson. The Great Wizard of tbe West [J. N. Maskelyne]. English Illus-
trated Magazine, vol. xii. p. 75.
LocKHART, W. Advanced Prestidigitation. London, 1894.
Logan, Olive. The King of Conjurers [Robert-Houdin]. Harper's Magazine, vol. Iv. pp.
817-831.
Macaire, Sid. Mind-Reading, or Muscle-Reading ? London, 1889.
A capital little work on muscle-reading and pretended second-sight.
Macc.\be, Frederic. The Art of Ventriloquism. London, — . 12mo. 110 pp.
Magic and Pretended Miracles. London, 1848.
Marion, F. Wonders of Optics. New York, 1869. 8vo.
Contains interesting translations from the memoirs of Robertson, the eighteenth-century ghost illusionist.
Maskelyne, John Nevil. Modern Spiritualism. London, 1875. (Pamphlet.)
Natural Magic. Leisure Hours, vol. xxvii, pp. 5-204.
Sharps and Flats. London, 1894. 8vo.
An expose of the multifarious devices used in cheating at games of chance and skill. One of the best works
on the subject.
The Magnetic Lady ; or, A Human Magnet Demagnetized. Being an appendix to
" The Supernatural." Loudon, — . 8vo. 16 pp.
Natural Magic. Chambers' Miscellany, No. 82.
Naude, G. History of Magick, by way of A])()Iogy for all the Wise Men who have been
Unjustly Reputed Magicians, from the Earliest Times to the Present Age. Loudon,
1657.
Pepper, John Henry. The Play-Book of Science. London, — . 8vo. 506 pp.
The True History of the Ghost, and all about Metempsychosis. London, 1890.
8vo. 46 pp.
Professor Pepper, inventor of the famous "Ghost," gives full details in this little book of the apparatus used
in performing the startling optical illusion, together with many amusing personal experiences connected with its
stasre production. There were spiritualists in London who asserted that Professor Pepper was a powerful medium,
and produced his weird phantasms by some occult influence. They deluged him with letters on the subiect. The
illusion known as " Metempsychosis " is the basis of Kellar's ingenious " Blue-Room " trick, which has puzzled
thousands of spectators.
544 BIBLIOGRAPHY.
PiESSE, G. W. S. Ohymical, Natural, and Physical Magic. Tliird edition. liondon,
1865. ICmo.
QuiNN, John Philip. Nineteenth Century Black Art ; or, Gambling Exposed. With
illustrations of all crooked gambling appliances. Chicago, 1896. 12mo. 104 pp.
Revelations of a Spikit-Medium ; or, Spiritualistic Mysteries Exposed. A detailed
explanation of the methods used by fraudulent mediums. By A Medium. St. Paul,
Minn., 1891. 8vo. 324 pp.
Robert-Houdin (Jean-Eugene). Card-Shari)ing Exposed. Translated and edited, with
notes, by Professor Hoffmann. London and New York, 1882. 12rao. 316 pp.
Memoirs of Robert-Houdln, Ambassador, Author, and Conjurer, written by himself.
Translated from the French by R. Shelton Mackenzie. Philadelphia, 1859. 12mo.
445 pp.
The Secrets of Conjuring and Magic ; or, How to Become a Wizard. Translated and
edited, with notes, by Professor Hoffmann. London and New York, 18T8. 12mo.
373 pp.
The Secrets of Stage Conjuring. Translated and edited, with notes, by Professor Hoff-
mann. London and New York, 1881. 12mo. 252 pp.
Robert-Houdin's works on magic are genuine classics, and are so regarded by all conjurers. No more fas-
cinating biography was ever written tlian Iloudln's Memoirs. It contains interesting sketches of old-time magi-
cians, such as Philippe, Bosco, Comte, Tonini, and Pinetti, also a great deal of scientific and historical informa-
tion relating to early inventions, etc. " The Secrets of Conjuring and Magic " {Les necreis de la preslidigUation
et de la mag'ie), published in 1S68, is an admirable treatise on sleight of hand. The French edition is out of print.
" The possession of a copy of this book," says Angelo Lewis, "was regarded among professors of magic as a
boon of the highest possible value. It is unquestionably the most scientific work ever written on the art of
conjuring." The English translation has been received with the greatest favor by amateur and professional
sleight-of-hand performers. Students of psychology will find much to interest them in this clever book.
ROCHAS, Albekt de. Trials by Fire, and Fire Jugglers. Popular Science Monthly, vol.
xxi. pp. 645-650.
ROTERBERG, A. The Modern Wizard. Containing an essay on " The Art of Magic," by
W. E. Robinson. Chicago, — . 8vo. 120 pp.
Latter Day Tricks. A sequel to The Modern Wizard. Chicago, 1896. 8vo. 104 pp.
Capital little manuals of the latest marvels in the magical line.
Sachs, Edwin O. Modern Theater Stages. Engineering, January 17, 1896, to June 11,
1897.
Sleight of hand; a Practical Manual of Legerdemain for Amateurs and Others. London,
1885. 12mo. 408 pp.
An excellent work' for students. Palmistry carefully explained. •-
Salverte, E. The Occult Sciences ; Philosoj^hy of Magic, Prodigies, and Ajjjiarent
Miracles. From the French, with notes l)y A. T. 'Thomson. 2 vols. London,
1846. 12mo.
Shaw, W. II. J. Magic and its Mysteries. Chicago, 1893. 8vo. 61pp.
Skinner, W. E. {Comjnhr). — Wehmann's Wizard's Manual. New York, 1892. 8vo.
122 i)p.
Society for Psychical Research : Proceedings, vols. i. to xi. London. 1882-83 to 1895.
Contain many exposes of iinleiidcd iii('(liunit<liii), etc.
Stanyon, Ellih. Conjuring for Amateurs. A Practical Treatise on How to Perform
Modern Tricks. London, 1897. 8vo. 122 pp.
Bibliography. 545
Taylor, Rev. E. S. History of Playing Cards. 48 plates and woodcuts. London,
1865. 8vo.
Contains anecdotes of the uses of cards in conjuring, fortune-telling, and card-sharping.
TiiAUMATURGiA ; or, Elucidations of the Marvelous. By an Oxonian. London, 1835. 12mo.
TniAYENNis, T. T. History of the Art of Magic. With a Sketch of Alexander Herrmann.
New York, 1887. 8vo.
TiNDAL, Marcus. Tricks with Pennies, New Illustrated Magazine, August, 1897,
pp. 373-376.
TisSANDiER, Gaston. Popular Scientific Recreations, a Storehouse of Instruction and
Amusement ; in which the Marvels of Natural Philosophy, Chemistry, Geology,
Astronomy, etc., are Explained and Illustrated, Mainly by Means of Pleasing Experi-
ments and Attractive Pastimes. London and New York, — . 4to. 884 pp.
This monumental work is a translation of Tissandier's Les recreations sciefitiflques, with many additions.
It contains a few conjuring feats of a very simple nature, and an expose of the ghost illusion and decapitated-head
trick. In the chapter on clocks, the reader will find an interesting description of Robert-Houdin's famous
magical timepiece, which ran apparently without works. It will be remembered that one of these wizard
clocks was the means of introducing Houdin to the French public as a prestidigitateur, as explained in the
introduction— " The Mysteries of Modern Magic."
Trewey, Felician. Shadowgraphy : How it is Done. London, 1893. 8vo. (Pamphlet.)
Trxjesdell, Johx W. The Bottom Facts Concerning the Science of Spiritualism : derived
from careful investigations covering a period of twenty-five years. New York, 1883.
8vo. 331 pp.
Exposes of slate-writing feats and cabinet arts. A valuable work.
Weatherby, L. a. The Supernatural ? With chapter on Oriental Magic, Spiritualism,
and Theosophy, by J. N. Maskelyne. London, — . 12mo. 273 pp.
Welton, Thomas. Mental Magic ; a Rationale of Thought-Reading and its Phenomena.
London, 1884. 4to.
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II.
FEENCH.
Antonio, Carlo. Dictionnaire encyclopedique. Avec atlas. Paris, 1792-1799. 4to. 900 pp.
Scientific recreations, illusions, and conjuring tricks, ingenious applications of science to industry, etc.
The works of Decremps, Ozanam, Guyot, Pinetti, and Montucla, etc., are largely drawn upon.
Tresor des jeux. The Hague, 1769.
Cup and ball conjuring, tricks with cards, etc., illustrated.
Cepak, Abel. Ce qu'on pent faire avec les oeufs. Collection complete et variee des experi-
ences faciles et amusantes pouvant gtre executees par tout le monde avec des ceufs.
Paris, 1889. 12mo. 163 pp.
A work devoted solely to conjuring tricks performed with eggs.
CoMBiNAisoN Egyptienne du cklebre Cagliostro. Veritable explication des six cents
principaux songes. Figures noires et coloriees. Paris, — . 12mo,
35
546 BIBLIOGRAPHY.
COMTE, and FoNTENELLE, JuLiE DE. Sorciers, ou ]a magie blanclie devoilee par les
ddcouvertes de la cbimie, de la physique, et de la mecanique. Paris, — .
CoMUS. Physique amusante. Paris, 1801.
DECREAfPS, N. La magie blanclie devoilee. ou explication de tours surprenants qui font
depuis peu I'admiration de la capitals et de la province, avec des reflexions sur la
baguette divinatoire, les automates joueurs d'ecbecs. Figures explicatives. Paris,
1784, 1788, 1793. 8vo.
Supplement a la Magie blanche devoilee, contenant Fexplieation de plusieurs tours
nouveaux jou«^s depuis peu a Londres, avec des eclaircissements sur les artifices des
joueurs de profession, les cadrans sympathiques, le mouvement perpetuel, les chevaux
savans, les poupees parlantes, les automates dansants, les ventriloques, les sabots
elastiques. Figures. Paris, 1785, 1788, 1792. Bvo.
Eclaircissements a la Magie blanche devoilee. Paris, 1785. 8vo.
Testament de Jerome Sharp, professeur de physique amusante, ou Ton trouve parmi
plusieurs tours de subtilite qu'on pent executer sans aucune depense, des preceptes,
des exemples sur I'art de faire des chansons impromptu, pour servir de suite et de
complement a la Magie blanche devoilee. Figures. Paris, 1786, 1788, 1789, 1793. 8vo.
Codicile de Jerome Sharp, professeur de physique amusante, ou Ton trouve parmi
plusieurs tours, diverses recreations relatives aux sciences et beaux-arts, pour servir
de suite a la Magie blanche. Figures. Paris, 1788, 1791, 1793. 8vo.
Les petites aventures de Jerome Sharp, professeur de physique amusante, ouvrage con-
tenant autant de tours ingenieux que de le9ons utiles avec quelques petits portraits a
la maniere noire. Avec 18 figures grav. en bois. Bruxelles et Paris, 1789, 1790,
1793. Bvo.
Original editions of the works of this ingenious writer are exceedingly rare. They are gennine curiosities in
the domain of magical literature, being the first scientific treatises on the art of sleight of hand written in the
French language. Decremps was a pioneer in this line, and hundreds of authors, English, French, and German,
are indebted to him for material for their books. lie exposed the tricks and illusions of the eigliteenth-century
wizards, and, according to Larousse, did much to dispel by his revelations the pretended sorcery of Cagliostro.
The Codicile de Jerome Sharp was published during the "Reign of Terror "of the French Revolution. Its
author did not fall a victim to the guillotine, but lived to a good old age, dying in the year 1826. This work
contains a portrait of Decremps.
De Muson. La Magie blanche devoilee. Paris, 1855.
Manuel des sorciers. Paris, 1802.
Recreations de physique. Paris, 1828.
DiCKSONN. Mes trues. Paris, 1893.
Dictionnaire de trucs ; illusions de physique amusante. 1 vol. (with one volume of
steel plates). Paris, 1792. 878 pp.
Dictionnaire des Ana. Paris, 1794. 4to.
DrnoT. Nouvelle biographie g^ndrale. Paris, 1859. See article Robert-Houdin.
DucRET, Etienne. Tours d'escamatoge, anciens et nouveaux. Paris, — .
Faideau, F. Les amusements scientifiques, recreations sur les illusions, ou erreurs des
sens. Paris, — .
Gandon, F. a. La seconde vue devoilee. Paris, 1849.
Grandpkb. Magicien moderne. Paris, — . 570 pp.
I
BIBLIOGRAPHY. 547
Grand tratte des songes, ou explication complete des visions et inspirations noc-
turnes. Paris, 1831. ISuio.
GuYOT. Nouvelles recreations pliysi<jues et matbt'inatiques. Paris, 17fi9, 1775, 1786,
1790, 1799, 1800.
Hatin. Robert-Houdin, sa vie, ses ORuvres, son tlicatre. Paris, 1857.
Hei,ION. Physique amusante. 1660.
L'Ai-bert moderne. Paris, 1782. 2 vols. 12mo
La magie naturelle. Lyons, 1787. Figures.
Landau. Petit magicien. Paris, 1810.
La Nouvelle Magie Blanche Devoilee. Amusantes grande initiation a la vraie
pratique des celebres pbysiciens et prestidigitateurs. Par un amateur. Paris, 1855.
8vo. 324 pp.
L'Escamotetjr Habile, ou I'art d'amuser agreableraent une Societe, contenant les tours de
cartes, etc. Pestb, 1816.
Magus. Magie blanche en famille. Paris, 1895. 352 pp.
Manuel des sorciers, ou cours de recreations y)hysiques, mathematiqiies, tours de
cartes et gibeciere ; suivi des petits jeux de societe et le leurs penitenas. Cinquieme
Edition, avec figures. Paris, 1820. 16mo. 293 pp.
Marion, F. Magie naturelle, ou optique amusante. In his Optique. 1869.
Marly. Physique amusante. 1626.
Mathiot, Germain. Nouvelles recreations physiques et mathematiques. Paris, 1799.
MoYNET, Georges. Trues et decors. Paris, 1895. 8vo.
, M. J. L'Envers du theStre. Paris, 1875. 16mo.
Naude, G. Apologie pour tons les grands homnies qui ont este accusez de magie. Paris,
1669. 24mo.
OzANAM, Jacques. Recreations mathematiques et physiques. Paris, 1694. 2 vols. 8vo.
■ Other editions published in 1720, 1723, 1725, 1735, 1741, 1749, 1750, 1778, 1790.
Contains many curious scientific diversions, besides tricks with cups and balls, pyrotechny, etc.
Pinetti, de Wildalle, Jean-Joseph. Amusements physiques. Paris, 1784. 8vo. 95 pp.
The Same. Nouvelle Edition augmentee par I'auteur de six nouvelles grav. Paris,
1785. 8vo.
• Tlie Same. Troisieme edition augmentee de quelque nouvelles experiences physiques
et de gravures. Paris, 1791. 8vo.
This work by the famous Pinetti, king of conjurers of the eighteenth century, is a little handbook of very
simple experiments in natural magic, evidently designed to be sold in the theatre. It contains no sleight-of-hand
experiments, or anything of value to a professional. Pinetti carefully preserved the secrets of his tricks, and
died without making any revelations. Decremps, however, has sufficiently acquainted us with them in his
3fagie Uatiche devoilee. An edition in English of Pinetti's book was published in London. On the title-
page the conjurer expresses himself as follows : " Physical amusements and diverting experiments composed and
performed in different capitals of Europe, and in London. By Signor Giuseppe Pinetti, de Wilidalle, Knight of
the German Order of Merit of St. Philip, professor of mathematics and natural philosophy, pensioned by the
court of Prussia, patronized by all the royal family of France, aggregate of the Royal Academy of Sciences and
Belles-lettres of Bordeaux, etc. London, 1784." 65 pp.
The most interesting thing about this insignificant booklet is a steel-plate frontispiece containing a portrait
of the great magician. Two winged cherubs are depicted, placing the bust of Pinetti in the temple of arts. The
motto reads : "Desgenies placent le buste de M. le Professeur Piuetti dans le temple des arts, au milieu des
instruments de physique et de mathematiques."
64^ ^IBLIOGRAPHi'.
PONSIN, J. N. Nouvelle magie blanclie devoilee, physique occulte, et cours complet de
prestidigitation, contenant tous les tours nouveaux qui ont ete executes jusqu' a ce
joursur les theatres ou ailleurs, etqui n'ont pas encore dtd publids, et un grand nonibre
de tours d'un effet surprenant, d'une execution facile, et tout a fait incouuus du public
et des professeurs. Paris, 1853. 8vo. 313 pp.
Sleight of hand with cards, coins, cups and balls.
Prestidigitation moderne. Figures. Paris, — .
Scientific recreations, tricks with cards, etc. Spiritigm exposed.
Raynally. Les propos d'un escamoteur. Paris, 1894.
ROBERT-HOUDIN (Jean-Eug:ene). Les confidences d'un prestidigitateur. 2 vols. Paris,
1858. 8vo.
Les secrets de la prestidigitation et de la magie. Paris, 1868.
Les triclieries des Grecs. Paris, 1861.
Magie et physiques amusante. Paris, 1877.
Robertson, Etienne-Gaspard. Memoires recrdatifs et anecdotiques. 2 vols. Paris,
1830-84. 8vo. (With a volume of plates.)
Memoires physiques et phantasmagoric. 2 vols. Paris, 1840.
Very interesting exposes of ghost illusions, phantasmagoria, optical tricks, etc.
Robin, D. Histoire des spectres vivants et impalpables ; secrets de la physique amusante.
Paris, 1864, 4to.
Ghost illusions explained. Illusions similar to those described by Pepper in " The True Story of the Ghost. "
E.OCHAS, Albert de. Les origines de la science et ses premieres applications. Paris, 8vo.
288 pp.
A very elaborate treatise ou the natural magic of ancient times, primitive science, etc,
III.
GERMAN.
Anders, Fritz. Der junge Tausendkuenstler. Leipzig, 1884.
COMTE. Das Gedankenspiel oder dieKunst der Menschen Gedanken zu erforschen; Beitrag
zur natuerlichen Magie. Mit 12 Tafeln. Halle, 1782. 8vo.
Handbuch der Taschenspielerkunst oder die Geheimnisse der natuerlichen Magie.
2 Bande mit 3 Tafeln. 1834. 8vo.
CoNR.\Di. Zaiiber Sj^iegel, monthly magazine.
Karten Kiinstler.
Cumberland, Arthur W. Der Experimental-Spiritist als Orakel, Hellseher, blinder
Rechner und Gedaechtnisskuenstler. Stuttgart, 1895. 8vo. 125 pp.
DrE Kunst Zauberer zu werden, von Philadelphia. Leipzig, 1870.
Eckartshausen, V. Aufschluesse der Magie. 8vo. About 1790. 4 Bde. Mystische Maechte
oder der Schulessel zu den Geheimnissen des Wunderbaren ; Nachtrag zu den Auf-
schluessen der Magie. Mit Kpfr. Muenchen, 1791. 8vo.
— — Verschiedenes zum Unterricht und zur ITnterhaltung. fuer Liebhaber der Gaukel-
tasche, des Magnetismus und auderer Selteuheiten. 2 Bde. mit Kpfr. Muenchen, 1793.
8vo.
BIBLIOeRAPHY. 649
GuETLK, J. Zaubermeclianik oder Beschreibuug mechanisclier Zauberbelustigungen, mit
darzu gehoerigeii Maschinen fiier Liebhaber belustigender Kuenste. 3 Bde. mit 58
Tafeln. Nuernberg, 1794. 8vo.
Gdyot. Neue physikal. und matbemat. Belustigungen oder Samrahing. von neuen
Kunststuecken zum Vergnuegen, mit dem Magnete, mit den Zablen, aus. der Optik und
Chemie. 7 Thle., 4 Bde. mit vielen Kpfrn. Augsburg, 1772-77. 8vo.
HiLDEBKAND. Das Bucb der alten natuerl. Magie oder Kunst und Wunderbucb, darin
entlialten viele wunderbare Geheimnisse, Kunststuecke, etc. Baltimore. 8vo.
Jacoby-Hakms. Illustrierte Zauber-Soiree. Leipzig. 117 pp.
Kerndorpfer, Prof. Carl Bosco. Zauber-Cabinet. Leipzig, 1874,
Marian, Rudolph. Das Buch der Kartenkuenste : in 126 Piecen und 75 lUustrationen.
Wien, 1890. 8vo. 158 pp.
Das Ganze der Salon-Magie ; in 169 Vortraegen und 220 lUustrationen. Wien, 1889.
13mo. 240 pp.
MoLWiTZ, F. Magische Unterbaltungen oder Tasclienbucb faer magische Unterbaltungen.
Jahrg. 1809-JO.
RocKSTROH, Heinbich. Mecbanemata, oder der Tausendkuenstler. Berlin, 1831. 8vo.
344 pp.
SuHR, H. F. C. Der Kartenkuenstler. Eine Sammlung neuer leicbt ausfuebrbarer
Karten-Kunststuecke, mit und obne Ai)parate. Stuttgart, 1895. 8vo. 125 pp.
Die Magie im Salon. Eine Auswabl neuer, leicbt ausfuebrbarer Zauber-Kunststuecke
obne Apparate. Stuttgart, 1895. 8vo. 104 pp.
Zauber-Soiree. Ausfuebrlicbe und genaue Anleitung zur Vorfuebrung von Zauber-
Kunststuecken in privaten Kreisen. Stuttgart, 1895. 8vo. 94 pp.
Tromboldt, J. Streicbbolzspiele. Leipzig, 1890.
Wagner, J. Neuestes Zauberkabinet ; Auswabl von magiscben, Karten, Recbnungs-u.
anderen Kunststuecken. Wien, 1799. 8vo.
Wallbergens. Sammlung. natuerl. Zauberkuenste oder aufrichtige Entdeckungen
bewaebrter Gebeimnisse nebst vielen Kunststuecken, so zu Hausbaltung, Gaertnerey,
Wein u. Feldbau geboeren. Stuttgart, 1768. 8vo.
WiLLMANN, Carl. Die moderne Salon-Magie. Leipzig, 1891. 460 pp.
Moderne Wunder. Leipzig, 1893. Tbird Edition, 1897. 8vo. 330 pp.
"Moderne Wunder" contains interesting exposes of pretended mediumship, clairvoyance, second sight
automata, and stage illusions.
Zauber-Welt.
A monthly magazine of natural magic and prestidigitation, edited by Willmann.
Zauber-Buch. Natiirlicber, oder neu erOffneter Spielplatz rarer Klinste, in welchem alle
Tascbenspieler-, matbemat. und pbysikal. Kilnste, Karten-, Wiirfel- etc. Spiele
bescbrieben u. mit vielen Figuren erlautert warden. Sebr saltan u, juteressant.
Niirnberg, 1763. 8vo. 753 pp.
550 BIBLIOGRAPHY.
IV.
SPANISH.
Gomez, S. R. Los divertidos, curiosos, juegos de escamoteo.
Krespel, Karl. Nuevo manual de magia blanca. Paris, 1888.
MiNGUET E Yrol, P. Juegos de manos. Madrid, 1733. 16mo.
Palonca, D. R. El moderno prestidigitador. Valencia, 1887.
V.
ITALIAN.
GioCHi NuMERici Fatti Arcani Palesati, da Giuseppe Antonio Albert! Bolognese
seconda edizione adornata di figure. In Venezia, 1780. 8vo.
The Same Napoli, 1814. 8vo.
YI.
LATIN.
Hildebrandt, W. Magise Naturalis, 1610.
HiPPOLYTUS. Ref. Om. Haer, iv. 34, 35.
Porta, Giovanni Battista della. Magise Naturalis, sive de miraculis rerum natura-
lium, Libri iv. 283 ff. , 3 1. Lugduni, apud G. Rovillium, 1561.
SCHOT, K. Physica Curiosa. 2 vols. 1667.
Thaumaturgus Physicus sive magise universalis naturase. 1659.
INDEX.
I
INDEX.
Acres' projecting device, 500.
Acrobat, weighted, 396.
Altar, Heron's marvelous, 236.
Altars, marvelous, 210, 211.
Amphitrite, 61.
Ancient magic, 203-250.
Anvil, Siegfried's, 330.
Apple and ninepin, disappearance of, 130.
Aquarium, ink converted into an, 131.
Aquatic locomotion, 480.
Arena, nautical, 345-347.
Artist, toy, 376.
Automata, 367-379.
Automata and curious toys, 307-406.
Automaton, an ancient, 241.
Automaton, curious, 374.
Automaton, the oldest, 206-208.
Bacchus, shrine of, 204-208.
Baldwins and second sight, the, 196.
Ball, Houdin's magic, 137.
Ball, the mysterious, 146.
Balsamo, see Cagliostro.
Basket trick, the Indian, 46.
Battle scenes, 308.
Beugnot cited, 5.
Bii-d that flies, toy, 413.
Birds, photography of, 478.
Black art, 64.
Black ground, photography upon, 425.
Blitz, Signor, 19.
Blue-room trick, 532.
Boiler, Heron's tubular, 237.
Borders, 259.
Bottle and glass, the traveling, 129.
Bottle magic, 229.
Bridges, 255.
Burlingame, H. J., cited, 6, 19.
Bust, photographic, 448.
Cabaret du Neant, 55.
Cabinet, Houdin's magic, 81.
Cabinets, Thorn's, 38.
Cagliostro, 3-6.
Cake baked in a hat, 117.
Camera for ribbon photography, 509.
Camera, pinhole, 454.
Carlotti, 6. ,
Cart, toy, 401.
Cassadaga propaganda, 35.
Catastrophe, photographing a, 447.
Catcher, photo thief. 457.
Caulk, William B., 50.
Cellini, Benvenuto, invokes sorcery, 3.
Centrifugal force, experiments in, 383.
Chariot and pole, 256.
Chess players, automaton, 367.
Chest, Houdin's magic, 17.
Chronophotographic apparatus, amateur,
485.
Chronophotographic camera, 465.
Chronophotography, 462-487.
Cinematograph camera, 508.
Coin, the dissolving, 122.
Coins, magic, 121.
Coins, the multiplication of, 120.
Collar, the spirit, 53.
Columbus's egg, 397.
Comatula, 484.
Composite photography, 459.
Comus, 7.
Conjurer's tricks, 106-138.
Crash effect, 304.
Crystallized ornaments, 409.
Curious toys, 380.
Curtain, electric, 268.
Curtain, fan drop, 268.
Cybele, the statue of, 209.
Cycloramas, 354-361.
D'Ache, M. Caran, 181-183.
D'AfEre, Monseigneur, 12.
Dance, the skirt, 342.
Dancers, the, 392.
Dark chamber, 467.
Day to night effect, 297.
Death's head, enchanted, 100.
Decapitfttjon, 48.
554
INDEX.
Demeny chronophotographic apparatus, 491.
Detective thief catcher, 457.
Doll, phonographic, 403.
Dragon in " Siegfried," 332.
Drawing, magical, 410.
Drinking horn, Heron's, 335.
Drops, 359.
Duel, electrical, 343.
Duplex photography, 488.
Egg, Columbus's, 397.
Egg tricks, 105, 115, 119.
Egypt, magic in ancient, 1.
Elasticity, tricks in, 406.
Electric cyclorama, 358.
Electrical stage effects, 338-344.
Electrical toys, 385-387.
Electro-photo thief catcher, 457.
Engine, origin of the steam, 334-338.
Eolipile, Heron's, 335.
Escalopier, 13-15.
Fafner, 333.
Fire and smoke effects, 305.
Fire, tricks with, 149, 152.
Firearms, theatrical, 309.
Fire eaters, 149, 153.
Fire eaters and sword tricks, 149-163.
Firefly, electric, 335.
Fireworks, 362-366.
Flies, 354.
Flood, after the, 31.
Flowers, the birth of, 113.
Flowers, the cone of, 106.
Flowers, magic, 109.
Flowers, the queen of, 74.
Forge, Siegfried's, 338.
Ghost, Pepper's, 55.
Glass, platinized, 86.
Glass of wine, invisible journey of a, 132.
"Gone," 530,
Gravity, experiments in, 384.
Greek lamps, toys, etc., 339-250.
Gridirons, 353.
Grisi, Comte de, 8-10.
Gull, photograph of, 479.
Gun, photographic, 476.
Hagen's theatrical system, 275.
Half-woman, the living, 69.
Handkerchief tricks, 105, 133, 131, 133,
Harps, magic, 103.
Hat tricks, 114-119.
Head, photographing a, 444.
Head, the talking, 69.
Heller and second sight, 185.
Heller, Robert, 19.
Heller, Robert, in the East, 1.
Heron cited, 303-350.
Herrmann, Alexander, 31-33.
Herrmann, Carl, 19, 31-22.
Herrmann, Leon, 23.
Horse, photograph of, 464.
Horse race on the stage, 324.
Horse, the decapitated drinking, 244.
Horse's gallop, photograj^h of, 475.
Houdin's magic ball, 137.
Houdin's magic cabinet, 81.
Illusion, optical, 380.
Illusive photography, 441.
Ink, goblet of, 131,
Introduction, 1-36.
Invention a.d. vs. b.c, 317-319.
Isola brothers, 100.
Jacob's ladder, 399,
Japanese mirrors, 416,
Jewels, electric, 337.
Jugglers, 139, 141.
Jugglers and acrobatic pei'formances, 139-
148.
Jumping, photograph of, 470.
Kellar, H., 24.
Kellar's " Queen of Flowers," 74.
Kinetograph, 488.
Kinetoscope, stereopticon, 495.
Kircher cited, 313, 239.
Kolta, B. de, 24.
Kolta's appearing lady, 39-42.
Ladder, Jacob's, 399.
Lady, tlie appearing, 39-42.
Lady, the disappearing, 42, 43.
Lamps, perpetual, 239.
Lamps, toys, etc., 239-250.
Lavater, 423.
Lightning effect, 303.
Lohengrin's swan, 312.
Louis XVIII, and Comte de Grisi, 10.
Lustral water vessel, 219, 220.
Lynn, the mystery of Dr., 63.
Mackaye's theatrical inventions, 373, 274,
INDEX.
555
Magic, beginning of natural, 2.
Magic boxes, 128.
Magic cabinets, 127.
Magic envelope.*^, 128.
Magic, mysteries of modern, 1-26.
Magic photographs, 456.
Magic portfolios, 127.
Magic table, the, 519.
Magnetic oracle, 391.
Man, a steam, 377.
Marvelous vessels of the Greeks, 221-233.
Mask of Balsamo, 100.
Maskelyne, J. M., 24.
Match trick, 408.
Maze, mystic, 84.
Medusa, photograpliy of, 482.
Mental magic, 184-202.
Metempsychosis, 532.
Micromotoscope, 514.
Mikado, the, 401.
Mirage, artificial, 438.
Mirrors, Japanese, 416.
Mirrors, magic, 418.
Money maker, 381.
Moon, a trip to the, 348-353.
Moon effects, 298.
Mouse, the animated, 135.
Moving pictures, projection of, 488-516.
Multiphotography, 451.
Multiple portrait, 450.
Mutograph, 501.
Mutoscope, 501.
Muy bridge's experiments, 467.
Mysterious disappearances, 27-54.
Nautical arena, 345-347.
Necktie, jthotographic, 455.
Neoocultism, 96.
Nostradamus, 3.
Odometers, 247-250. '
Odors, imitation of, 310.
Opera glass, trick, 412.
Opera house, behind the scenes of an,
251-267.
Optical tricks, 55-88.
Oracle, magnetic, 391.
Organ, electrical, 263.
Organs, ancient, 230-233.
Ornaments, crystallized, 409.
Paint bridge, 264.
Palanquin, the magic, 34.
Palladio's theater, 289.
Pepper, professor, 8.
Phonographic doll, 402.
Photographic diversions, 423-516.
Photographic gun, 476.
Photographic necktie, 455.
Photographic portrait, 448.
Photographing a catastroplie, 447.
Piiotograplnng a head, 444.
Photographs, magic, 456.
Photography, composite, 459.
Photography, duplex, 438.
Photography, illusive, 441.
Photography, spirit, 432.
Photography upon black ground, 425.
Plioto thief catcher, 456.
Physiological station, 466.
Pictures, moving, j)rojectiou of, 488-516.
Pigeon, photograph of, 479.
Pinetti, 184.
Pinhole camera, 454.
Planchette table, 414.
Platinized glass, 86.
Portrait, multiple, 450.
Portraits, magic, 411.
Post test, spiritualistic, 52.
Princess, the decapitated, 77.
Property room, 265.
Psycho, 368.
Puppets, animated, 170-172.
Puzzle, novel, 407.
Race course, electrical, 388.
Race on the stage, 324.
Rainbow effect, 300.
Rain effect, 299.
" Rheingold," floating women in, 314.
Ribbon photograpliy, 509.
Robert-lloudin, 11-19.
Robert-Houdin, second siglit, 184.
Robertson, E. G., 7.
Robinson, W. E., 21.
Rochas, A. de, cited, 2.
Rollin, 6.
Rosebush, the magic. 108.
Running, pliotograph of, 472.
Saint-Amand cited, 4, 5.
Sand frame trick, 136.
Scene painting, 293.
Scenes, changing, 265.
Science in the theater, 251-366.
Scurimobile, 94.
556
INDEX.
Sea horse, photographs of, 481.
Second sight, 125.
Shadovvgraphy, 173-181.
Shadows, French, 181-183.
" She," 72.
Ship on the stage, 316.
"Siegfried," effects in, 328-355.
Silhouettes, apparatus for taking, 423.
Skirt dance, 342.
Slates, the spirit, 123.
Sliders, 255.
Snow effect, 304.
Spear, Wotan's, 334.
Spider and the fly, the, 523.
Spirit photography, 432.
Stage, " Asphaleia," 280.
Stage effects, 293-310.
Stage, elevator, 271.
Stage inventions, American, 273-276.
Stage, revolving, 276.
Stage tricks, miscellaneous, 89-104.
Stages, ancient and modern, 268-293.
Stages, opera, 252.
Stars, 298.
Statue giving a double image, 88.
Steam engine, origin of the, 234-238.
Stella, 79.
Strobeika Persane, La., 529.
Sun effect, 297.
Sunrise effects, 295.
Sun robe, 315.
Suspended head, 63.
Swan, Lohengrin, 312.
Swing, the haunted, 91.
Switchboard, theater, 261.
Sword swallowers, 156-161.
Sword trick, 152.
Sword walker, 161, 163.
Table rapping, 101.
Tachyscope, electric, 489.
Target, the human, 153.
Temple of Dagon, construction of, 323.
Temple tricks of the Greeks, 203-220.
Temples, the machinery of, 213-317.
Theater, curious pivoted, 287.
Theater, optical, 489.
Theater, Palladio's, 289.
Theater secrets, 311-344.
Theater with two auditoriums, 283.
The dicaiometer, 221.
Thief catcher, photographic, 457.
Thorn, E., 38, 39.
Thought transference, 197-202.
Thunder effect, 301.
Ties, spiritualistic, 50.
Torch, electric, 337.
Torpedo, 484.
Torrini, see Grisi.
Toy, a Greek, 243.
Toys, ancient, 393.
Toys electrical, 385-393.
Transformation, gradual, 307.
Trapeze, revolving, 143.
Traps, 255, 311.
Trewey the shadowgraphist, 2."), 173-181.
Trick photography, 423-516.
Tricks, miscellaneous, 407-421.
Tricks, optical, 55-88.
Trilby, the illusion of, 89.
Trunk, the mysterious, 44.
Trunk trick, the, 536.
Tulips, electric, 335.
Tumbler, 397.
Vanity Fair, 27.
Ventriloquism and animated puppets, 164-
173.
Vessels, magical, 237.
Vicenza, theater at, 389.
Vitascope, 497.
"Walking on the ceiling, 144.
Walking, photograph of, 471.
Wave effect, 304.
Wine changed to water, 134.
Woman, the invisible, 103.
Woman, the three-headed, 60.
X-ray illusion, 96.
EXPERIMENTAL SCIENCE
BY
GEORGE M. HOPKINS
Seventeenth Edition Revised and Enlarged. 840 Pages^ 800 Illustrations.
Price by mail^ cloth^ $4.00 ; half morocco^ $5.00.
This book treats of various top-
ics of physics in a popular and
practical way, describing the
apparatus in detail and explain-
ing the experiments in full so
that those interested in physics
can make the apparatus at small
expense and perform the experi-
ments without difficulty. The
subject is not treated from the
'. mathematical side, and thereby
i its field of usefulness to a very
^ large number is increased. This
book should not be confounded
with books which give hackneyed experiments and illustrations.
Nearly all of the experiments are new or are performed in a new way.
The illustrations cost $10,000. It is impossible to give even an out-
line of the book in the present advertisement, but the publishers
will send a four-page circular giving samples of the illustrations
and a full table of contents on request.
MUNN & CO., Publishers
Scientific American Office
361 BROADWAY, - - NEW YORK CITY
THE SCIENTIFIC AMERICAN
CYCLOPEDIA OF RECEIPTS, NOTES
AND QUERIES
12,500 Receipts. 708 Pages. Price, in cloth, $5.00; in sheep, $6.00;
in half morocco, $6.50; postpaid.
This work was edited by Mr. Albert A.
Hopkins, the editor of "Magic, Stage Illu-
sions and Scientific Diversions." It presents
a careful compilation of the most useful
receipts given in the Notes and Queries
column of correspondence of the Scientific
American during the last fifty years, to-
gether with important additions. This is
by far the latest and most comprehensive
volume of the kind ever placed before the
public. Those who are engaged in any
branch of industry will find much of practical value to their
respective callings in this work, w^hile those who are in search of
independent business or employment will find in it hundreds of
most excellent suggestions. Many of the principal substances
and raw materials used in the arts are defined and described. A
full-page prospectus will be mailed free on request.
MUNN & CO., Publishers
Scientific American Office
361 BROADWAY, - - NEW YORK CITY
rv^
^ O' .IFORNIA LIBRARY
UNIVERSITY OF CALIFORNIA LIBRARY
Los Angdes
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