Chapter 33

Fig. 286.Fig. 287.

Fig. 286.

Fig. 287.

The head owes its movements to the action of three different sets of levers, each terminating in a disc or pedal immediately over a circular hole in the under side of the base. The apparatus is so placed upon the table that these openings correspond in position with the same number of pistons.Fig. 287is a general view of the internal mechanism, the back of the head being removed (as in fact it may be in the original) to give access thereto.Fig. 288exhibits (as seen from the rear) the action of the left-hand group of levers, producing the movement of the eyes. When an upward pressure is applied to the foot of the levera, it causes the upper armc dof the elbow pieceb c dto describe an arc of about a quarter of an inch from left to right, thereby communicating a corresponding movement to the pair of leverse e, working on the pivotsf f; and, as a necessary consequence, a reverse movement to the opposite ends of such levers, on which are fixed the eyesg g. As soon as the upward pressure is removed, the springh, a spiral coil of fine brass wire, draws back the leverse e, and with them the eyes, to their original position. To produce a continuous rolling, the pressure of the piston is applied and relaxed alternately, the effect to the spectator being as if the figure looked first to the left and then to the right, although as already explained, the active movement of the levers is in the one direction only, the normal position of the eyes being in the other direction.

Fig. 288.Fig. 289.

Fig. 288.

Fig. 289.

Fig. 289shows the action of the second or middle group of levers, serving to produce the opening of the mouth. The chin of the figure consists of a solid block of woodi, working on a pivotjin each cheek, and so counterweighted that its normal position is as inFig. 289, thus keeping the mouth closed. When, however, the shaftkis raised by pressure from below, the leverlrises with it, and proportionately depresses the opposite end of the blocki, thereby opening themouth. As soon as the pressure is removed, the block falls back into its original position, and the mouth closes.

Fig. 290.

Fig. 291.

The third or right-hand set of levers is a little more complex in its operation, inasmuch as it has to perform a double office, the expulsion of two cards from the mouth, and the elevation of two others at the top of the head. The cards to be shot from the mouth are placed beforehand (from the front) in the receptacle indicated inFig. 289by the lettersm m, and a “plan” of which is given inFig. 290, and a back view inFig. 291.m mis a flat piece of tin, its edges folded over so as to form a receptacle or platform just capable of holding easily a couple of cards;nis a spring, which, when the cards are put in position, is “set” by being drawn back into the notch of the catcho. When an upward pressure is exerted by the shaftp pon the elbow-pieceq q q, the latter pressing againstrdraws back this catch, and releases the spring, which forthwith shoots out the two cards from the mouth. The other two cards are inserted in the clips(seeFig. 291), consisting of two small pieces of sheet brass soldered to the end of the rodt, which works up and down piston-wise in the tubeu u. Within the tube is a spiral spring which impelssupwards level with the top of the head, across which a slit or opening is made to allow of the passage of the cards. This portion of the apparatus is set by placing the two cards in the clip, and then drawing down the piston-rod by the cross-piecev, which is riveted thereto, and hitching such cross-piece under the catchw. The upward movement of the shaftp, at the same time that it draws back the catcho, also draws back the catchw, thereby releasingv, and allowing the clipsand the two cards therein to spring upward, and appear at the top of the head.

It is hardly necessary to remark that the cards chosen by theaudience are “forced” cards, of which duplicates have beforehand been placed in the head.

Fig. 292.

The Magic Picture Frame.—The performer, always borrowing, borrows this time a lady’s handkerchief, and any small articles—say a watch and a glove. These latter he rolls up in the handkerchief, and places the ball or bundle thus made upon the table. He looks about in search of his magic pistol, which is immediately afterwards brought in by the assistant. The performer places the handkerchief, etc., in the pistol, the assistant meanwhile bringing forward and placing on the table a handsome picture-frame, mounted on a stand. It contains no picture, the space which the picture should occupy being filled by a board covered with black cloth. The performer, standing at the farthest available distance from the frame, takes aim at it, and fires, when the borrowed articles are seen instantly to attach themselves tothe black background, whence, being removed, they are handed to the owners for identification.

Fig. 293.Fig. 294.

The picture-frame, which is of the appearance shown inFig. 292, and stands altogether about two feet high, is backed by a sort of wooden box, an inch and a half in depth, and a little smaller than the external measurement of the frame. The inside of this box is covered with black cloth, and in fact forms the true back of the frame; and it is upon this that the borrowed objects are fastened by means of small sharp hooks, the back opening on hinges to facilitate the doing so. An ordinary spring roller-blind, also of black cloth, works up and down just behind the opening of the frame. We have said an ordinary spring blind, but, in truth, the usual check at the side is wanting, and the blind therefore, if drawn down, instantly flies up again, unless held down from below. The blind terminates at bottom in a square lath, five-eighths of an inch in length by three-eighths in thickness, with a wire pin, half-an-inch in length, projecting at right angles from its hinder side. The ends of this lath, when the blind is drawn down, sink into two upright grooves, one at each side of the frame, thereby keeping the latter square, and the pin in a horizontal position. The catcha(an enlarged view of which is shown inFigs. 293, 294) is now hooked over the pin, as inFig. 293, thus holding the blind down. A wire rod, attached to this catch, passes down the column on which the frame stands, and terminates in the usual disc or pedal at bottom. When an upward pressure is applied to this, the catch assumes the position shown inFig. 294, thereby releasing the pin, and allowing the blind to fly up. The blind is represented inFig. 292in the act of flying up, but, in truth, its rise is so rapid as to be practically invisible.

The sudden appearance of the articles in the frame is thus sufficiently accounted for, but it remains to be explained in what mannerthey were placed there, as they have (apparently) never been removed from the sight of the audience. It will be remembered that the smaller articles were rolled up in the handkerchief, which was then placed on the table. In truth, what is placed upon the table is a substitute handkerchief, similarly rolled up, while the original is dropped on theservante, and carried off by the assistant when he brings in the pistol. Having thus obtained possession of the articles, he quickly places them in the frame, and draws down and fastens the blind. This done, he closes the door at the back, and brings forward the frame, taking care to place it immediately over one of the pistons of the table. As the pistol is fired he pulls the cord, the blind flies up, and the articles are revealed.

Fig. 295.

The Flying Watches and the Broken Plate.—This is a rather more elaborate form of the trick last described. The performer collects three or four watches from the company, the assistant, meanwhile, being sent to fetch a plate. On his return, the watches are laid one by one on the plate, and he is ordered to place them on the table. In attempting to do so he trips and falls, the watches being scattered in all directions, and the plate being smashed to pieces. The performer reprimands the offender for his carelessness, and picking up the watches, finds that they are injured in various ways. After a momentary hesitation, he hits on a way of repairing the damage. Calling for his pistol, he drops the battered watches and the fragments of the plate into it, keeping all down with a wad of newspaper. The assistant now brings in the picture-frame, as in the last trick, and the performer, taking good aim, fires at it. At the instant of firing, the plate is seen restored in the centre of the frame, with the borrowed watches encircling it. The performer advances to remove and return them to the owners, but is (or appears to be) thunderstruck at perceiving that the restoration is incomplete, a large piece being missing from the plate. (SeeFig. 295.) After a moment’s reflection, he discovers the cause of the defect, for, looking about upon the stage, he finds and picks up a fragment which he had overlooked when he put the rest in the pistol, and which consequently is wanting in the restored plate. He apologizes for the oversight, and proceeds to remedy it. Standing at the furthest portion of the stage, he makes the motion ofthrowing the recovered fragment towards the frame. It is seen to vanish from his hand, and the plate at the same moment appears whole as at first. The plate is removed, and with the restored watches handed to the audience for examination, when the closest inspection fails to discover any trace of fracture.

The first point to be explained is the mode in which the assistant obtains possession of the borrowed watches, in order to place them in the frame. The watches are collected by the performer in a changing apparatus (say one of the changing caddies described at page348, or a drawer-box with a shallow inner drawer, as described at page346). In this is placed beforehand a like number of dummy watches, and it is these latter which are placed on the plate, and meet the pre-destined downfall. The apparatus being left apparently empty, no suspicion is excited by the fact that the assistant, when sent to fetch the pistol or the frame, carries it off as no longer needed.

The sudden restoration of the piece apparently wanting in theplate, though marvellous to the uninitiated, is really effected by very simple means. The restored plate is throughout whole and unbroken, but the effect of a piece wanting is produced by covering one portion of its outer rim with an angular piece of black velvet or alpaca, similar to that which covers the back of the frame. The illusive effect is perfect. The frame is provided with two pedals, the first releasing the black blind in front of the plate and watches, and the second serving to withdraw the angular piece of cloth already mentioned, and thus (apparently) effecting the complete restoration of the plate. The pretended disappearance of the broken piece from the hand at the moment of throwing is effected by taking it first in the left hand, and thence apparently transferring it to the right by thetourniquet, so that when the right hand is opened in the act of throwing, it is naturally found empty.

The Magic Picture and the Chosen Cards.—We notice this trick in this place as having a very close affinity, in effect, to the two last described. It is, however, wholly independent of stage appliances, and is equally well adapted for the drawing-room as for the platform. The performer, taking an ordinary pack of cards, allows three to be chosen. These are returned to the pack, and the pack shuffled. He then brings forward a small picture in a frame, and measuring, say, fourteen inches by twelve. Having exhibited both front and back, he entrusts the picture to a spectator to hold, and taking the pack of cards, throws them smartly against the glass, when in an instant the three chosen cards appear in front of the picture, but under the glass. The back of the frame is next taken out, and picture, back, frame, and glass are separately handed for inspection; but the closest scrutiny of the audience cannot discover any mechanism or special arrangement to account for the effect above described.

The reader will already have anticipated that the three cards are “forced.” The picture is on the principle of the frames last above described, with a slight variation. There are, in fact, two pictures exactly alike. One of these is pasted upon the wooden back of the frame, and upon this are fastened duplicates of the cards to be chosen. The second picture is mounted on cloth, and works on a springroller artfully concealed in the upper part of the frame, taking, in fact, the place of the black blind in the other frames. This is kept down by a pin at the lower side of the frame, and is so arranged as to be released by the smallest pressure against the glass. The pack of cards, smartly thrown, supplies this pressure. The foremost picture flies up, and reveals apparently the same, but really a similar picture, with the chosen cards between it and the glass.

The Magic Portfolio.—The performer comes forward with a large portfolio, such as is used to contain engravings, and barely an inch in thickness. This he places sideways to the audience, upon a stand or trestle, thereby raising it to a convenient height, and at the same time negativing the possibility of its having any communication with the floor of the stage. Standing behind it, he proceeds to take from it a number of large engravings, then a couple of lady’s bonnets of the latest fashion, and showing no sign of creasing or compression. These are followed by a large bird-cage, containing a number of living birds; and finally by three brass stew-pans, one containing haricot beans; a second, water; and a third, fire. Other articles are sometimes produced, but the above are those most generally used.

This really surprising trick is performed by the simplest possible means. The bonnets and the bird-cage are made to fold nearly flat, on the principle of the reticules and bird-cages described at pages 309 and 311. In this flattened condition they are placed in the portfolio, which being turned sideways to the audience, and the performer standing behind it, the side which is towards the spectators naturally forms a cover for the operator, and gives him every facility for developing the folded articles. The stew-pans, however, cannot be made thus compressible, and consequently a different plan is adopted in respect of them. These have india-rubber covers, after the manner of the bowls of gold-fish, and, like them, are concealed about the person of the performer, who, producing them under cover of the portfolio, appears to take them out of it. The pan for the fire contains a little spirits of wine, which the performer, still behind the portfolio, ignites with a wax match before producing this particular pan.

Where it is desired to produce a child, or other specially bulky object, the portfolio is for a moment placed on the table, behindwhich such object is placed. The object having been introduced into the portfolio, the latter is then transferred to the proper stand.

The Glove Column.—This is an ornamental column, sometimes of brass, sometimes of glass, on a massive foot and standing about two and a half feet high. It is surmounted by a metal cup, about an inch and a half in depth and two inches in diameter.

The mode of using the column is as follows:—Three or four rings are borrowed, also a white kid glove, and the whole are placed in the magic pistol. The column is then brought in, and placed upon the table. The magician takes aim at it, and fires. At the instant of his doing so, the glove, expanded as though containing a living hand, appears at the top of the pillar, with one of the borrowed rings on each of its fingers.

The glove and rings, as the reader will probably conjecture, are exchanged at an early period of the trick. There are plenty of ways of effecting this exchange. Perhaps, as regards the rings, the expedient of having them collected on the performer’s wand by the assistant (seepage399) is as good as any. The assistant, having thus gained possession of the borrowed articles, arranges them as follows:—The glove is placed upon the end of a tube, which runs through the whole length of the column, terminating just within the cup at top, and is kept in position by an india-rubber ring slipped over it, and holding it tight to the tube. One of the borrowed rings is now placed over each of the fingers, and the glove thus prepared is pressed down into the cup, so as not to show above the rim. The column is now placed upon the table in such manner that the lower opening of the tube shall correspond with a small hole in the table, communicating by means of an india-rubber tube with a hollow ball of the same material, filled with air, and so placed as to be within reach of the hand or foot of the assistant. At the moment of firing a smart pressure is applied to the ball, thus causing a rush of air through the tube, and inflating the glove, which instantly springs up into a perpendicular position, with the rings upon it. The articles are now returned to the owners, and are identified as those which were borrowed.

Some columns have a large hollow black or gilt ball at the top,divided vertically into two parts, and so arranged as to fall apart at the moment of the inflation of the glove.

The Vanishing Pocket Handkerchief, found in a Candle.—This was a favourite trick of Robert-Houdin, by whom, we believe, it was invented. The performer borrows a lady’s handkerchief, drawing particular attention to the fact that he takes the first handkerchief which may be offered, and that it is wholly free from preparation. Fixing upon some gentleman among the audience, he asks him if he thinks he could set fire to the handkerchief. The person addressed naturally expresses his belief that he could. The performer ventures to doubt it, and at once fetches a lighted candle to enable him to try the experiment, meanwhile spreading the borrowed handkerchief over the top of a small round table, orguéridon, where it remains in full view of the spectators, showing clearly that it is not tampered with in any way. Returning with the candle, the performer hands it to the gentleman, and requests him to go and set fire to the handkerchief. Hardly, however, has he taken the first step to do so, when the handkerchief suddenly vanishes, its disappearance being so rapid that the spectators cannot even decide in which direction it travelled. The performer accuses the gentleman, who is still holding the candlestick, of having the handkerchief about him. This he naturally denies. The professor insists, and after keeping up the dispute as long as the audience are amused by it, offers to prove his assertion, and taking the candle from the candlestick, breaks it in half, and produces from it the borrowed handkerchief, which is immediately identified by the owner.

This capital trick requires the aid of a special table. The top is thin, and without fringe or ornament of any kind, allowing no apparent space for the concealment of even the smallest article. The centre pillar, however, is a hollow tube, and it is into this that the handkerchief is made to vanish. The first step in the trick is to exchange the handkerchief for a substitute. (Seepage240.) This substitute is spread over the top of the table. The real handkerchief the performer carries with him when he leaves the stage under the pretence of fetching the candle, and utilizes his momentary absence in placing it inside the candle, which is hollow, and of the descriptionmentioned at page251. When the gentleman advances to set fire to the handkerchief, the pulling of a string by the assistant causes a clip to rise up in the centre of the table, and nip the middle of the handkerchief, which is instantly drawn down within the tube through a small trap at its upper extremity.

The Sphinx.—Few tricks have of late years caused so great a sensation as this now well-known illusion, which was first introduced to the London public by the late Colonel Stodare, in 1865. We cannot better preface the explanation of the trick than by quoting a portion of theTimesnotice on the subject, of October 19, 1865:—

“... Most intricate is the problem proposed by Colonel Stodare, when, in addition to his admirable feats of ventriloquism and legerdemain, he presents to his patrons a novel illusion called the ‘Sphinx.’ Placing upon an uncovered table a chest similar in size to the cases commonly occupied by stuffed dogs or foxes, he removes the side facing the spectators, and reveals a head attired after the fashion of an Egyptian Sphinx. To avoid the suspicion of ventriloquism, he retires to a distance from the figure supposed to be too great for the practice of that art, taking his position on the borderline of the stalls and the area, while the chest is on the stage. Thus stationed, he calls upon the Sphinx to open its eyes, which it does—to smile, which it does also, though the habitual expression of its countenance is most melancholy, and to make a speech, which it does also, this being the miraculous part of the exhibition. Not only with perspicuity, but with something like eloquence, does it utter some twenty lines of verse; and while its countenance is animated and expressive, the movement of the lips, in which there is nothing mechanical, exactly corresponds to the sounds articulated.

“This is certainly one of the most extraordinary illusions ever presented to the public. That the speech is spoken by a human voice there is no doubt; but how is a head to be contrived which, being detached from anything like a body, confined in a case, which it completely fills, and placed on a bare-legged table, will accompany a speech, that apparently proceeds from its lips, with a strictly appropriate movement of the mouth, and a play of the countenance that is the reverse of mechanical? Eels, as we all know, can wriggle aboutafter they have been chopped into half-a-dozen pieces; but a head that, like that of the Physician Douban, in the Arabian tales, pursues its eloquence after it has been severed from its body, scarcely comes within the reach of possibilities; unless, indeed, the old-fashioned assertion that ‘King Charles walked and talked half-an-hour after his head was cut off,’ is to be received, not as an illustration of defective punctuation, but as a positive historical statement.

“Davus might have solved the ‘Anthropoglossus,’ but Colonel Stodare presents us with a Sphinx that is really worthy of an Œdipus.”

For the benefit of those who have never seen this illusion presented upon the stage, we will describe its effect a little more minutely. The Sphinx is always made a separate portion of the entertainment, as it is necessary to lower the curtain for a few moments before and after its appearance, in order to arrange and remove the necessary preparations. The curtain rises, and reveals a round or oval table, supported upon three slender legs, and utterly devoid of drapery. This stands in a curtained recess of ten or twelve feet square, open on the side towards the audience. The performer comes forward bearing a cloth-covered box, fifteen to twenty inches square, and places it upon the table already mentioned. He then unlocks the box, the front of which drops down, so as to give a perfect view of the interior, in which is seen a head of Egyptian fashion, and coloured in perfect imitation of life. (SeeFrontispiece.) The performer now retires to a position in the very midst of the audience, and raising his wand, says in a tone of command, “Sphinx, awake!” The Sphinx slowly opens its eyes, looking first to the front with a strong gaze; then, as if gradually gaining consciousness, to the one side and the other, the head moving slightly with the eyes. Questions are put by the performer to the head, and are answered by it, the play of the mouth and features being in perfect harmony with the sounds uttered. Finally, in answer to a query of the operator, the Sphinx declaims a neatly turned oracle in verse. This concludes the exhibition, and the performer closes the box. Should the audience call for anencore, the performer addresses them to the following or some similar effect:—“Ladies and gentlemen, I am glad that the Sphinx has afforded you satisfaction, and I should be only too pleased to be able to indulge thedesire which you kindly testify of seeing it again. Unfortunately, this is not possible. The charm by which I am enabled, as you have seen, to revivify for a space the ashes of an ancient Egyptian, who lived and died some centuries ago, lasts but for fifteen minutes. That time has now expired, and the head which has astonished you with its mysterious eloquence has again returned to its original dust.” As he speaks the last words, he again opens the box, and the head is found to have disappeared, leaving in its place a handful of ashes.

Fig. 296.Fig. 297.

This singular illusion depends upon the well-known principle, common to optics as to mechanics, that “the angle of reflection is equal to the angle of incidence.” Thus, if a person standing at the pointa, inFig. 296, look into a mirror placed in the position indicated by the lineb c, he will see reflected, not himself, but whatever object may be placed at the pointd. By an ingenious application of this principle a looking-glass may be used to conceal a given object behind it, while at the same time an image reflected in the glass may be made to represent what would be presumably seen if no glass were there, and thus prevent the presence of the mirror from being suspected. This is the secret of the Sphinx. The table, as already mentioned, has three legs, one in front, and one at each side. Between these legs the spectator sees apparently the curtains at the back of the recess, but really a reflection of the curtains at the sides. The space between the middle leg and that on either side is occupied bypieces of looking-glass (seeFig. 297, which represents a ground plan of the arrangement), extending fromatob, andatoc. The glass extends quite down to the floor, which is covered with cloth of the same material and colour as the surrounding curtains. The spectators, therefore, looking towards the table, see above it the curtains at the back, and below it the reflection of the curtains at the sides; which, however, if the relative angles are properly arranged, appears to be simply the continuation or lower portion of the curtains at the back. The illusion is perfect, and the spectator, from the position assigned to him, cannot possibly discover, by the evidence of his senses, that he is looking at any other than an ordinary bare-legged table, with the background visible in the usual way.

The rest is a very simple matter. The person who is to represent the Sphinx is beforehand placed, duly attired, underneath the table. There is a trap in the table through which he can pass his head at the proper moment. This trap is a round piece of wood, covered to match the surface of the table, and working on a hinge on the side nearest to the audience. It has no spring, but is kept closed by means of a button on the opposite side, and when released hangs down perpendicularly. It must be large enough to allow the passage of the somewhat elaborate headpiece of the Sphinx, and would therefore leave an open space visible round the neck. This difficulty is met by the expedient of having a wooden collar, whose upper surface is a facsimile in size and pattern of the trap, fastened round the neck of the representative of the Sphinx. When he lifts his head up through the trap, this collar exactly fills the opening, and thus shows no break in the surface of the table. The box is bottomless, and when brought forward by the performer is empty. A little caution has to be observed in placing it upon the table, for, if the performer were to approach the tablefrom the side, his legs would be reflected in the glass, and would thereby betray the secret. He must therefore make his appearance from some quarteroutsideof the curtained recess, and advance to a position well in front of, and at some little distance from the table, when, by moving in a straight line from the audience towards the middle lega, he prevents this inconvenient reflection. The placing the box upon the table, and the unlocking it, allow time for the representative of the Sphinx to get his head intoposition within it. This done, the box is opened, and the rest depends on the dramatic talent of the performer and his assistant. The performance being concluded, the box is again locked, and the head withdrawn, a handful of ashes being introduced on the trap in its stead.

The angle at which the two mirrors should be set cannot be determined absolutely, but will vary according to the distance and position of the surrounding drapery.

Some performers use a shawl or a screen of cardboard in place of the box, but we doubt whether any method is more effective than that above described.

The ghastly illusion of the so-called “Decapitated Head,” which drew crowds to the Polytechnic some few years since, was merely the “Sphinx” in a less pleasant form.

Fig. 298.

The Cabinet of Proteus.—This is another adaptation of the principle on which the Sphinx illusion is founded. It is the joint invention of Messrs. Pepper and Tobin, by whom it was patented in 1865. The first steps towards a patent for the Sphinx were also taken in the same year, but the latter invention never proceeded beyond provisional protection. The Cabinet of Proteus is a wooden closet, seven to eight feet in height by four or five feet square, supported on short legs, so as to exclude the idea of any communication with the floor. (SeeFig. 298.) It has folding doors, and an upright pillar extends from top to bottom of the interior, at about the centre of the cabinet. At the top of this pillar, in front, is fixed a lamp, so that the whole of the interior is brightly illuminated.

Fig. 299.

The cabinet may be used in various ways. One of the most striking is as follows:—The folding doors are opened, disclosing the interior perfectly empty. (SeeFig. 299.) The exhibitor directs his assistant to walk into the cabinet. He does so, and the doors are closed. Meanwhile, a couple of gentlemen, selected by the audience, are invited to stand behind or beside the cabinet, and see that no one obtains ingress or egress by any secret opening. Notwithstanding these precautions, when the doors are again opened, the assistant is found to have vanished, and another person, different in dress, in stature, and in complexion, is found in his place. This person steps forth, makes his bow, and retires. Again the cabinet, now empty, is closed, and after an interval of a few moments, again opened. This time a human skeleton is found to occupy the vacant space. This ghastly object having been removed, and the door having been once more closed and opened, another person, say a lady, appears. This person having retired, the doors are again closed; and when they are again opened, the person who first entered is once more found within. A committee from the audience are now invited to examine the cabinet within and without, out all their scrutiny cannot detect any hidden space, even sufficient to conceal a mouse.

Fig. 300.

An examination ofFig. 300, representing a ground plan of the cabinet, will make plain the seeming mystery. A moveable flapa b, working on hinges atb, extends from top to bottom of each side,resting when thrown open against the postcin the middle, and thus enclosing a triangular space at the back of the cabinet. The outer surfaces of these flaps (i.e., the surfaces exposed when they are folded back against the sides of the cabinet) are, like the rest of the interior, covered with wall paper, of a crimson or other dark colour. The opposite sides of the flaps are of looking-glass, and when the flaps are folded back against the posts, reflect the surfaces against which they previously rested, and which are covered with paper of the same pattern as the rest. The effect to the eye of the spectator is that of a perfectly empty chamber, though, as we have seen, there is in reality an enclosed triangular space behind the post. This is capable of containing two or three persons, and here it is that the persons and things intended to appear in succession are concealed. The assistant, entering in sight of the audience, changes places, as soon as the door is closed, with one of the other persons. This person having retired, and the door being again closed, those who are still within place the skeleton in position in front of the post, and again retire to their hiding-place. When all the rest have appeared, the person who first entered presses the flaps against the sides of the cabinet, against which they are retained by a spring lock on each side, and the public may then safely be admitted, as their closest inspection cannot possibly discover the secret.

The Indian Basket Trick.—This is another of the sensational feats identified with the name of Colonel Stodare, and is imitated from a similar illusion performed by the Indian conjurors. It is not a pleasant trick to witness, but, like the “Decapitated Head,” it drew immense crowds, its fictitious horror being apparently its chief attraction. Its effect, as the trick was originally presented by Stodare, is as follows:—A large oblong basket, say five feet by two, and as deep as wide, is brought in, and placed on a low stand or bench, so as to be raised clear of the stage. The performer comes forward with a drawn sword in his right hand, and leading with the other hand ayoung lady, dressed in a closely-fitting robe of black velvet. Reproaching her upon some pretended ground of complaint, he declares that she must be punished, and forthwith begins to blindfold her eyes. She simulates terror, begging for mercy, and finally escaping from him, runs off the stage. He follows her, and instantly reappears, dragging her by the wrist. Regardless of her sobs and cries, he compels her to enter the basket, in which she lies down, and the lid is closed. Simulating an access of fury, he thrusts the sword through the basket (from the front) in various places. Piercing screams are heard from the interior, and the sword when withdrawn is seen to be red with blood. The screams gradually subside, and all is still. A thrill of horror runs through the audience, who are half inclined to call in the police, and hand over the professor to the nearest magistrate. For a moment there is a pause, and then the performer, calmly wiping the bloody sword on a white pocket-handkerchief, says, “Ladies and gentlemen, I fear you imagine that I have hurt the lady who was the subject of this experiment. Pray disabuse yourselves of such an idea. She had disobeyed me, and I therefore determined to punish her by giving her a little fright; but nothing more. The fact is, she had left the basket some time before I thrust the sword into it. You don’t believe me, I see. Allow me to show you, in the first place, that the basket is empty.” He turns over the basket accordingly, and shows that the lady has vanished. “Should you desire further proof, the lady will answer for herself.” The lady at this moment comes forward from a different portion of the room, and having made her bow, retires.

This startling illusion is performed as follows:—To begin with, there aretwoladies employed, in figure and general appearance as nearly alike as possible. Their dress is also exactly similar. The little dramatic scene with which the trick commences is designed to impress upon the audience the features of the lady who first appears. When she is blindfolded, she, as already mentioned, runs off the stage. The performer runs after her, and apparently bringing her back, really brings back in her place the second lady, who is standing in readiness, blindfolded in precisely the same way, behind the scenes. As the bandage covers the greater part of her features, there is little fear of the spectators detecting the substitution that has taken place. Thesubstitute lady now enters the basket, where she lies, compressing herself into as small a compass as possible, along the back. Knowing the position which she occupies, it is not a very difficult matter for the operator so to direct the thrusts of the sword as to avoid any risk of injuring her. The chief thing to be attended to for this purpose is to thrust always in anupwarddirection. The appearance of blood on the sword may be produced either by the lady in the basket drawing along the blade, as it is withdrawn after each thrust, a sponge saturated with some crimson fluid, or by a mechanical arrangement in the hilt, causing the supposed blood, on pressure, to trickle down the blade.

Fig. 301.

The only point that remains to be explained is the difficulty which will probably already have suggested itself to the reader, viz., “How does the performer manage to show the basket empty at the close of the trick?” Simply by having the basket made on the principle of the“inexhaustible box,” described at page391. The performer takes care to tilt the basket over to the frontbeforehe raises the lid. This leaves the lady lying on the true bottom of the basket (seeFig. 302), while a moveable flap, fixed at right angles to the bottom, and lying in its normal position flat against the front of the basket, for the time being represents the bottom to the eyes of the audience. While the basket is thus shown apparently empty, the lady who first appeared in the trick comes forward, and is immediately recognized by the audience; and as they are fully persuaded that she was the person placed in the basket, the inference that she has escaped from it by some quasi-supernatural means seems inevitable.

The above is the form in which the trick was first introduced to the London public, but anothermodus operandihas since been adopted by some performers. The low table or bench on which the basket is placed is in this case constructed on the principle of the Sphinx-table, with looking-glass between the legs, and with a large trap in the top. The basket used is not made like the inexhaustible box, but the bottom is moveable, and hinged against the front, so as to lift up flat against it when required. One lady only is employed. When she is about to step into the basket, the bottom is pushed up from below, and she thus steps through the basket and the table, and thence passes, through a trap-door, beneath the stage. The basket is then closed, and the bottom allowed to fall back into its place. As the basket is left in this case empty, the performer may thrust into it in any direction at pleasure, the screams being uttered by the lady from her safe quarters below. At the proper moment the performer lifts the basket bodily off the table, and shows it really empty, while the lady, as in the former case, reappears in some other quarter.

Electrical Tricks.—Some of the most mysterious of the stage tricks are performed by means of electricity, or, to speak more correctly, of electro-magnetism. In describing these, which are nearly all attributable to the inventive genius of Robert-Houdin, it may be desirable, in the first place, to explain in a few words what electro-magnetism is, and how it operates. Every school-boy is acquainted with the ordinary steel horseshoe magnet, and knows that if the accompanying small iron bar, or “keeper,” is placed within a shortdistance from its ends or “poles,” it will be sharply attracted to them. In the case of the ordinary magnet this attractive force is permanent, but in that of the electro-magnet it may be produced or destroyed at pleasure. The electro-magnet consists of a short piece of soft iron, (either straight, or bent into a horseshoe form), with copper wire (covered with silk or cotton) wound round and round it nearly to the ends. If a current of electricity from a galvanic battery is made to pass through this wire, the iron core becomes powerfully magnetic, the attractive force, however, ceasing as soon as the current is interrupted.

Fig. 302.

Fig. 303.

Almost any kind of battery may be used to produce the necessary current, but for magical purposes one of the most convenient is the Bichromate Bottle Battery, depicted inFig. 302. This consists of a plate of zinc and a plate of carbon (or sometimes two plates of carbon) immersed in an exciting fluid, consisting of two ounces and a half of bichromate of potash dissolved in a pint of water, with the addition of one-third of an ounce of sulphuric acid. The bottle is only filled to the top of the spherical portion, and the zinc is so arranged that it can be drawn up into the neck, and so out of the solution, when it is desired to suspend the action of the battery. The wires for conducting the current should be of copper covered with silk or cotton, and one of them must be connected with the zinc plate, and the other with the carbon plate of the battery, which has “binding screws” affixed for this purpose. For the purpose of instantly completing or disconnecting the electric circuit, the wires are affixed to the opposite sides of what is called a connecting stud (seeFig. 303), being a circular disc of wood or porcelain, with a moveable stud or button in the centre. On pressing this stud with the finger, the endsof the two wires are brought in contact, and the circuit is completed; but as soon as the pressure is removed, the stud rises by the action of a spring, and the circuit is again broken.

Among the conjuring tricks depending upon the principle of electro-magnetic attraction, the simplest is that of

The Light and Heavy Chest.—This is a small brass-bound box, with the ordinary handle at top. The performer shows that it is empty, and without mechanism or preparation. Having been duly inspected, it is placed upon a small pedestal fixed to the stage, when the performer requests that some gentleman of considerable personal strength will step forward. A volunteer having been found, the magician asks him whether he thinks he can lift the little box before him. He naturally answers that he can, and proves his assertion by lifting it accordingly, which, as the box only weighs a few pounds, it is not very difficult to do. “Wait a bit,” says the professor, “you were able to lift it then, because it was my will and pleasure that you should do so. It now weighs” (say) “six pounds. I have only to breathe on it thus, and it will instantly weigh two tons. Try if you can lift itnow.” Again he tries, but the chest is as if glued to the pedestal, and the most violent efforts cannot dislodge it. Once more the performer breathes upon it, and it may be lifted with one finger.

The explanation may be given in half-a-dozen lines. The bottom of the box is an iron plate. The top of the pedestal is also an iron plate, and within it is contained a powerful electro-magnet, the poles being in contact with the plate, and the wires to convey the current passing beneath the stage to the hiding-place of the assistant. The latter, on receiving his cue from the expressions of the performer, presses the connecting stud and completes the circuit, thereby bringing the magnetic force into operation. Upon again receiving an agreed signal from the performer, he ceases to press the stud, the circuit is broken, and the iron ceases to possess any magnetic force. This may be repeated as often as desired.

The above trick is cited by Robert-Houdin in illustration of the great difference which there may be, in point of effect, between two modes of presenting the same illusion. The reader may possiblybe aware that Robert-Houdin was employed by the French Government, at one period of his career, in a mission to Algeria, with the object of destroying, if possible, the popular belief in the pretended miracles of the Marabouts, whereby these latter had obtained an extraordinary ascendency over the minds of the ignorant Arabs. The plan adopted was to show, first, that a European could perform still greater marvels, and then to explain that these seeming mysteries were mere matters of science and dexterity, and wholly independent of supernatural assistance. The “Light and Heavy Chest” was one of the prominent features of the programme, but if presented under that name it would have produced but very little effect. The fact that the chest became immoveable at command would only have been attributed by the Arabs to some ingenious mechanical arrangement, beyond their comprehension, but exciting only a momentary wonder. With great tact, Robert-Houdin contrived to turn the attention of his audience from the object to the subject of the trick, professing, not to make the chest light or heavy, but to make the person who volunteered weak or strong at his pleasure. Thus presented, the trick had the appearance no longer of a mere achievement of mechanical or scientific skill, but of a manifestation of supernatural power. We will tell the rest of the story as nearly as possible in Robert-Houdin’s own words, as related in the story of hislife:—

“An Arab of middle stature, but well-knit, wiry, and muscular; the very type of an Arab Hercules, came forward, with plenty of self-confidence, and stood by my side.

“‘Are youverystrong?’ I inquired, eyeing him from head to foot.

“‘Yes,’ he replied, carelessly.

“‘Are you sure that you will always remain so?’

“‘Perfectly.’

“‘You are mistaken; for in one moment I shall take away all your strength, and leave you as weak as a little child.’

“The Arab smiled scornfully, in token of disbelief.

“‘Here,’ I said, ‘lift up this chest.’

“The Arab stooped, lifted the chest, and said disdainfully, ‘Is that all?’

“‘Wait a bit,’ I replied. Then, with the solemnity appropriateto my assumed character, I made a gesture of command, and gravelysaid—

“‘You are weaker than a woman. Trynowto lift that box.’

“The strong man, perfectly indifferent about my magic spell, again catches hold of the box by the handle, and gives a vigorous pull to lift it; this time, however, the chest resists, and in spite of the most determined efforts, remains absolutely immoveable.

“The Arab wastes in vain over the unlucky chest an amount of force which would have lifted an enormous weight; till at last, exhausted, panting, and burning with shame, he ceases, looks dumfounded, and begins to appreciate the power of the magic art. He has half a mind to give up the attempt; but to give up would be to acknowledge himself conquered, and to admit his weakness; and after having been famed for his muscular strength, to sink to the level of a child. The bare idea makes him furious. Gathering new strength from the encouragement which his friends offer him by word and look, he casts towards them a glance which seems to say, ‘You shall see what the son of the desert can do.’ Once more he bends over the chest, his nervous hands grip the handle, and his legs, planted one on each side of the chest like two columns of bronze, serve as a fulcrum for the mighty effort which he is about to make. It seems almost impossible but that under such a strain the box must fly to pieces. Strange! this Hercules, a moment ago so strong and self-confident, now bends his head; his arms, riveted to the box, are drawn by a violent muscular contraction against his chest; his legs quiver, and he falls on his knees with a cry of agony.

“An electric shock, produced by an induction coil, had just been communicated, at a signal from me, from behind the scenes to the handle of the chest. Thence the contortions of the unlucky Arab. To prolong his agony would have been inhuman. I gave a second signal, and the electric current was cut off. My athletic friend, released from his terrible bondage, raised his hands above his head. ‘Allah! Allah!’ he cried, shaking with fright, then wrapping himself hastily in the folds of his burnous, as though to hide his disgrace, he rushed through the spectators, and made his way to the door of the hall.”

To describe completely the “induction coil,” above referred to,would be beyond the scope of the present treatise. It may, however, be summarily described as consisting of a coil of insulated copper wire, wound round a small bundle of straight iron wires, say five or six inches in length, and an inch in diameter. This is called the “primary” coil. Round this is again wound a quantity of much finer wire, also insulated. This constitutes the “secondary” coil. The ends of each coil are kept free. If a current of electricity be made to circulate through the wire of the primary coil, an independent current of great intensity is found to be thereby produced, by a mysterious process called induction, in the secondary coil. This current is strongest at the moment of first completing the circuit in the primary wire, and if a person is grasping the ends of the secondary wire, or any conducting substance in connection with it, at the moment when the circuit is completed, he will receive a very severe shock. A contrivance is attached to the coil, whereby the circuit is made and broken alternately with great rapidity, thereby producing a continuous shock, of such power that the victim loses for the time being the faculty of relaxing his muscles, and is compelled, after the manner of the unfortunate Arab, to grip, tighter and tighter, the cause of his pain, until released by the final severing of the circuit. Any reader who desires a more complete acquaintance with the induction coil, should purchase a little shilling manual, entitled, “Intensity Coils, How Made and How Used,” by “Dyer” (Suter, Alexander, and Co., Cheapside), where he will find an excellent account of this interesting subject.

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