99. Coin and Card Sleights.
99. Coin and Card Sleights.
99. Coin and Card Sleights.
“2. Place the coin between the joint of the thumb and the hand, and on slightly bending the thumb the coin will be held flat. This is most useful for changing, described further on, but as an ordinary concealment of a coin it is too dangerous except for small coins which the thumb is large enough to hide.
“3. The principal palm (from which the manipulation derives its name) is as follows: Place the coin so that one edge just touches the highest of the three marked lines that cross the palm of the hand, rather towards the thumb. On slightly bending the hand the coin will be retained; you will find it difficult at first, but practice will show you the exact spot, where the difficulty is reduced to a minimum. If you take the coin flatwise between the thumb, the tips of the second and third fingers, by naturally closing the fingers over and clasping them tight in the palm of the hand, the coin will be brought into the exact position, so that if you pick up a coin, by a sudden outward sweep you can cover this movement, and on recovering the hand the coin will be palmed and the hand apparently empty.
“Other means of holding a coinen cachewill naturally present themselves when these have been thoroughly mastered.
“Passing.—1. Take the coin edgeways, between the thumb and the tips of the second and third fingers of the right hand, having the palm of the hand upwards, therefore the backs of the fingers presented to the audience, as atc. Approach the left hand to the right, with back of the hand upwards, and as soon as the left hand hides the tips of the fingers of the right hand, loosen the thumb so as to drop the coin on to the second and third fingers, as atd. Immediately close the left hand as if taking the coin out of the right hand and raise it up; meanwhile bend the fingers of the right hand so as to effect palm No. 1, and lower it steadily to the sideorholding the coin as in palm No. 1, and hidden by the bend of the little finger raise the right hand to the mouth and cough slightly before lowering it, this shows the audience (apparently) that the right hand is empty. Meanwhile you play about with the left hand, in which the audience thinks is the coin, and when you have diverted their attention and disposed of the coin you can imitate the motion with the left hand of throwing the (imaginary) coin into the air or rubbing it away to nothing, or any other fanciful way of (apparently) disposing of it, or if you have safely got rid of the coin, suddenly rub your hands together and gradually display the two hands both empty. This is one of the most effective and easy passes.
“2. Lay the coin on the left hand, approach the right to it, take the coin between the fingers and thumb of the right, carry the right hand smartly back, performing palm No. 3. Holding the left hand open jerk the right hand close to it, really holding the penny in the right palm, but apparently throwing it into the left; as you do it shut the fingers of the left hand smartly over the palm so as to produce a slap which people think is the slap of the coin falling into the hand, hold up the left hand so that people look at it, and lower the right with the coin palmed (No. 3); if any one is suspicious shift the coin to palm No. 1, and apparently show the hand empty in some artful manner. Then do what you like with the imaginary coin in the left hand.
“3. To pass several coins, let them all be (if possible) of the same size and hold them tight in the palm of the right hand, then perform pass No. 2, in exactly the same manner as with a single coin, except that instead of holding them in the palm they fall with a clink into the bend of the fingers where they must at once be secured by the thumb beyond fear of further rattle. The chink thus produced, the audience thinks is produced by the coins falling into the other hand, which being immediately closed apparently holds the coins. It is a ticklish trick to perform well, owing to the necessarily constrained position of the right hand, but when got well into control is very effective indeed.
“There are many other palms and passes, but with these all sleight-of-hand tricks may be done, and out of them the amateur can invent a quantity of simple little impromptu experiments.
“Card Sleights.—These are far more extensive than coin tricks, for the cards in themselves are in a way apparatus, the active principles of which are, as with coin, the palm, the pass, and cheek, to which are added last, but not least, the slip and the turnover.You must constantly ‘Ruffle’ the cards, i.e. holding the pack in one hand draw the fingers or thumb of the other across the edges at one end so as to rattle them all together. It conceals any manipulation which may have startled the audience, and should therefore be done in a quick ordegagémanner after every sleight or whenever needed, and as the audience do not understand it, they think that this movement is the actual operation by which the wonders are performed.
“Palming.—This is done as follows: Hold the pack as atd, Fig. 99, in the left hand, and covering the pack lengthways with the right, so that the top joint of the fingers touches the top edge of the top card, slide the top card forward, and press down the tips of the fingers; the card will be thus pressed into the hand and lie curled up in it as ine, if thin small cards are used, a card (or even two or three) thus held will be completely hidden by the hand, and may be curled up tight without injury to the card. In this sleight, it is difficult to avoid a constrained position of the hand, but it is very useful as hereinafter described for changing cards.
“Passing.—This is the great stumbling-block of the amateur miracle-monger, and will require most practice, for when you begin it will seem impossible to do iten cache. Its object is to reverse the two halves of the pack (in fact, a sort of automaticcut; in fact the French term is ‘sauter la coupe,’ for by its means the demoralising effect of a cut may be avoided), and when properly practised and perfected it is done noiselessly, in a manner incomprehensible to the conjuror himself. Often, practising the pass before a looking-glass, I have wondered myself at my own performance, so completely does the automatic and sympathetic movement of the hands deceive the eye. The pack being divided into two halves, it is held in the left hand as atf, i.e. as seen from the front there is no division, but really whilst three fingers clasp it, it is divided (above or below any given card, or, as the case may be) by the little finger. Now cover the pack lengthways with the right hand, slip the first finger in also as atg, so that the upper half of the pack is held as it were in a hinge formed by the fingers of the left hand. Now seize the lower half between the thumb and fingers and the right hand, and press it sideways into the lower joint of the thumb as ath. Now by means of the fingers of the left hand raise the upper half hinge-wise, and with the fingers and thumb of the right, lift the lower half till it is just clear of the top half as ati, when on pressing down the thumb the lower half will be pressed over the top half as atj. The fingers may then be removed, and your purpose is accomplished; i.e. the top and bottom halves of the pack have changed places. As you acquire practice it will only be necessary to insert the little finger of the left hand, instead of two. It is well to lower the hands sharply as you perform this sleight, to cover the movement, which, however, by practice is reduced to a minimum. It is also well, if you feel that some one is suspicious, to ruffle the cards immediately afterwards to divert suspicion. This sleight requires much private rehearsal, but is the mainspring of a great many tricks, and its practice gives the hands a suppleness and sympathy not to be acquired in any other way.
“Theturnoveris a sleight, practised when it is desired to present the backs of the cards whichever way the pack is presented. It is performed as follows: Beginning exactly as with the pass, except that wheniis reached instead of pressing the lower half over the top, the movement is continued tok, so that the two halves of the pack face one another, and now whether the top or bottom half be uppermost, the backs of the cards will be visible. You can now deal off cards from either half, and when you want to cease, and begin from the other, hold the cards as ind, but the thumb instead of being over the pack it is underneath as atl, so that the attention of the audience being diverted (by counting the cards already dealt, or otherwise) by an upward pressure of the thumb the pack is completely reversed, and the heretofore undermost card is now at the top. This is the principle of most tricks involving counting off cards.
“Slips.—These are the most useful and frequently required sleights practised by the amateur conjuror, and consist of the knack of drawing a card from the top, middle, or bottom of the pack, and placing it in any position in the pack which may be required by the trick.
“1. The pack being held in the ordinary manner in the left hand, with a chosen card on the top (either placed there by the chooser, or by the pass, or one of the subjoined slips), lift off the top half, raising it rather hingewise, so that thetopcard being retained by the fingers of the left hand it is left on the top of the half retained in the left hand, as inm.
“2. The chosen card being on the top of the pack, being held as atd, and covered lengthwise by the right hand, by a sudden contraction of the fingers of the left hand, the top card is drawn off (under the right hand) as atn, with a ‘flip,’ caused by the bending of the card as it bends and straightens out at the bottom of the pack. The cards are immediately ‘ruffled’ to disguise the flip. In the same manner a card may be sprung from the bottom to the top, or from the top to the centre, in the latter case the pack being opened a little in the left hand, and the top half slightly raised by the thumb and fingers of the right hand. The elasticity of the card will cause it to spring, in the instant it finds an opening.
“3. A card having been chosen, the pack is presented, just raising the top half to make a place for it, but not looking at the place, or indeed at the hands at all. The card being inserted, before replacing the top half the two middle fingers are inserted just over it, and directly the two halves join, the card is flipped out by the two fingers as inn, and brought to the bottom. The cards are immediately ‘ruffled,’ and your point is gained, i.e. you know the exact card chosen. If the chooser demurs to re-inserting the card at the opening you make—
“4. Spread out the pack fanwise before him, spreading themto your right, and letting the fingers of your two hands meet underneath the fan. By this means wherever he pushes in his card, you can feel it, and in collapsing the fan into pack form, the fingers are slipped in over the top as in slip No. 3, and the card is flipped out as there set down.
“These demonstrate the active principles of slips, which your own ingenuity will multiplyad infinitum. It will be seen that by their means any card chosen and returned to the pack may be at once secured and ascertained, which is the prime object of the card trickster, in whatsoever experiment he may be engaged. Simply a ‘slip,’ combined with any of the following ‘exposures,’ will constitute a trick in itself, far above the comprehension of any one not himself a master of the art.
“Exposures.—These are the methods of ‘exposing’ a card chosen, and returned to the pack. Your own fancy will suggest any quantity of methods, but the following are a few for a start. In fact, almost all card-tricks consist of one sleight, and a more or less complicated exposure.
“1. Slip the chosen card to the top. Let the pack be held by any one (say the chooser of the card) with the face upwards, i.e. so that his card is at the bottom. See that the pack is held well into the hand of the holder, secured by the thumb set rather near the edge of the pack. Now, with your own hand, or let any one else, strike the pack smartly downwards, and all the cards will be knocked out of his hand except the bottom one (his own) which remains staring him in the face, retained by adhesion to his own fingers. Result, natural, but extraordinary.
“2. Slip the chosen card to the top. Take the pack in the right hand, and cover it with the left, as you do so sliding the top (chosen) card sideways till it projects nearly half over the side of the pack. This state of things will be hidden by the left hand, holding the pack endways. On dropping the pack bodily from the left hand at an elevation of about 1½ feet from floor or table, the top (chosen) card will turn as it falls, and lie face upwards on the top of the pack. Result, simple, but startling.
“3. Slip the chosen card to the top. Give the chooser a paper knife, and, holding the pack as atd, tell him to cut the pack with it where he likes. Where he cuts, divide the pack, and lift off the top half, doing at the same time slip No. 1, which will bring his card to the top of the lower half. Put down the top half, and observing that you in no way influenced his cut, tell him to take the (now) top card. He will be surprised to find it his own. Result, easy but supernatural.
“Space forbids me to suggest any others, which you can easily work out for yourself. If time and space would allow, it would be easy to fill a volume with card tricks requiring no preparation, apparatus, or accomplices; but as they are all based upon the above sleights, mere repetition would be useless.
“The following selection are very telling and are easily performed.
“1. To tell any card by looking at its back. This is founded on a manipulation, which I have not described above, and which is called the ‘drawback.’ The pack is held in the left hand as atp, with the faces downwards. Look at the bottom card, and as you turn the pack down draw down the bottom card with the little finger as atq. Asking some one to tell you when to stop, commence drawing back the cards on the top as ato. When told to stop, name the bottom card (looked at and drawn back) and drawing out all the intermediate cards, inform the teller that that is the card he stopped at, and in effect on turning up the remaining cards, the card drawn back and named will be at the bottom, and apparently the one at which he stopped. I have done this trick twenty times running without being detected.
“2. Let any one choose a card and get it to the bottom of the pack by slips Nos. 3 or 4. Put down the cards haphazard in three packs, noting at the bottom of which the chosen card is. Ask the chooser in which pack he would imagine his card to be; if he chooses the right one (which is lucky) throw away the other two; if not, place the one he choosesonthe right one and throw away theotherwrong one. Redivide the cards left into three packs and proceed as before, always retaining the packat the bottom of whichhis card is, until only three cards are left, including the right one. If he now chooses the right one it is exceptional luck, though it often so happens: if not, appear to hesitate a moment, and then retaining his own and the one he chooses, throw away the third, and mixing the two left but remembering his own yourself, throw them down, and the chances are even he will choose his own card. If he doesn’t, boldly throw down the one he chooses and turn up the other, which is his own. Casually observe that you in no way influenced his choice, and leave him astonished.
“3. Pass or slip the chosen card to the top and make a great show of a false shuffle, i.e. shuffle all the cards, but retain or manipulate the top card so that it is shuffled to the bottom and thence back to the top. Then have the cards cut, and taking them up yourself, slip out the card by slip Nos. 3 or 4, and re-slip it to the top, or avoid the entire cut by means of the pass. Havingconvincedhim that his card is lostin gurgite vastoof the pack, let him count off 8 cards from the top and spread them in any order in a row, face downwards,butkeep your eye on and note the position of the first or top card, which is his own. Put away the rest of the pack, and tell him to touch four out of the eight. If he touches his own amongst them, take up and throw away the four untouched, or if he does not touch his own, take up those he touches. Then let him touch two of the four left, and throw away as before, leaving his own one of the two left. Then let him touch one of the two left, and as before leave his own solus. Turn it up, and his astonishment will be unbounded. Your victim will often enable youalwaysto throw away the ones touched, and of course this improves the trick, otherwise it is twenty to one against his noticing that you do not always throw away the same set. If he does, you must trust to providence and let the best liar win.
“4. Choose out the four kings (or any other four similar cards) and divide the pack into two halves, place the cards, a black on the top and a red on the bottom of one half, and a red on the top and a black on the bottom of the other half, so that when the halves areunited the two blacks will be in the middle and the two reds on the top, as you reunite them slip in the little finger as atf. Make the victim recite aloud the position of the reds and that of the blacks, and repeat it after him so that there isnodoubt. Freely expose the faces fanwise (keeping the place) to let him be certain. When this is accomplished make the ‘pass’ so as to reverse the order of things. Expose the pack as reversed, and begging him to be more careful in future repeat the experiment to his utter mystification. If you are really good at ‘passing,’ this trick may be repeated over and over again with great effect.
“5. To change a card without the help of the pack proceed thus: Slip the chosen card to the top, and make a false shuffle. Then take off, apparently only the top one, but really the top two, and hold them up by the edges, so that the top (right) one is completely hidden by the second (wrong) one. Putting the pack quite away behind at some distance from you, bring forward your (double) card in the left hand and show it to the chooser, asking if it is his own. As he will say no, appear confused and let him be quite positive and assertive that it is not his own. Take the (double) card lengthwise and face downwards in the right hand, walk back towards the pack, as you do so draw off the (right) card, leaving the wrong one palmed in the right hand as atd. Bring it forward again in the right hand (which in holding, the right will conceal the wrong card), as if to make quite sure, when the chooser will find it to be changed into his own card.
“6. This trick is somewhat similar to the last. Take out the four kings, and spread them out fanwise,butlet the second have concealed behind it as in the last trick, two other court cards (court cards are best as being not so noticeable in case of accident). Hold them up, saying, ‘You see I have here the four kings,’ close them up smartly and lay them face downwards on the top of the pack, so that the order is now, 1 king, 2 false ditto, 3 false ditto, 4, 5 and 6 kings. Take off the first (which is real) and apparently unintentionally show its face and place it at the bottom of the pack. Take off the next (false one)withoutshowing it, and place itintothe pack near the bottom. Place the next (false one) similarlyintothe pack near the top. Take off the fourth (real) and apparently unintentionally exposing its face,commenceto put it into the middle; when half way, however, change your mind and place it on the top of the pack. Say, ‘Well, these kings are all well separated now, to mix them still further will you kindly cut the pack;’ this operation will of course join all four again in the middle. ‘Ruffle’ the pack and spreading it out fanwise expose themen massein the centre. If neatly done this is an excellent illusion.”
Physical Experiments.—There are many illustrations of physical laws which admit of exhibition without the aid of any special apparatus, and which may be made highly instructive. Most of the following examples are borrowed from Max Adeler’sCurious Company.
100. Equilibrium Trick.
100. Equilibrium Trick.
100. Equilibrium Trick.
(a) Equilibrium.—Stick 2 forks into a cork, and place the cork on the brim of the neck of a bottle (Fig. 100). The forks and the cork form a whole, of which the centre of gravity is fixed over the point of support. You can tip the bottle, empty it even, if it contains fluid, without the little construction over its mouth being in the least disturbed from its balance. The vertical line of the centre of gravity passes through the point of support, and the forks oscillate with the cork, which serves as their support, thus forming a movable structure, but much more stable than one is inclined to suppose. This curious experiment is often performed by conjurors, who inform their audience that they will undertake to empty the bottle without disturbing the cork. (b) If a woodcockhas been served for dinner, or any other bird with a long beak, take off the head at the extreme end of the neck; then split a cork so that you can insert into it the neck of the bird, which must be tightly clipped to keep it in place; two forks are then fixed into the cork, exactly as in the preceding example, and into the bottom of the cork a pin is inserted. This little contrivance is next placed on a piece of money, which has been put on the opening of the neck of the bottle, and when it is fairly balanced, give it a rotatory movement, by pushing one of the forks as rapidly as you please, but as much as possible without any jerk. You will then see the two forks, and the cork surmounted by the woodcock’s head, turning on the slender pivot of a pin. Nothing can be more comical than to witness the long beak of the bird turning round and round, successively facing all the company assembled round the table, sometimes with a little oscillation, which gives it an almost lifelike appearance. (c) Lifting a glass bottle full of water by means of a simple wisp of straw. The straw is bent before being passed into the bottle of water, so that, when it is lifted, the centre of gravity is displaced, and brought directly under the point of suspension. It is well to have at hand several pieces of straw perfectly intact and free from cracks, in case the experiment does not succeed with the first attempt. (d) The next experiment, though apparently very difficult, will be found easy enough in practice if the hand be steady. Take a key, and by means of a crooked nail, or “holdfast,” attach it to a bar of wood by a string tied tightly round the bar. To the other extremity of the bar attach a weight, and then drive a large-headed nail into the table. It will be found that the key will balance and even move upon the head of the nail, without falling. The weight is under the table, and the centre of gravity is exactly beneath the point of suspension. Inertia.—(e) Take a broomstick, and place it horizontally, passing the ends through two paper rings. Then ask two children to hold the paper rings by means of two razors, so that the rings rest on the blades. This done, take a stout stick, and, with all your strength, strike the broomstick in the centre; it will be broken into shivers, but the paper rings will not be torn in the least, or even cut by the razors! (f) A modification ofe. A needle is fixed at each end of the broomstick, and these needles are made to rest on two glasses, placed on chairs; the needles alone must be in contact with the glasses. If the broomstick is then struck violently with another stout stick, the former will be broken, but the glasses will remain intact. The experiment answers all the better the more energetic the action. (g) A wooden ball is suspended from the ceiling by a rather slender thread, and a similar thread is attached to the lower end of the ball. If the lower thread is pulled forcibly it will break with the force of the pull; the movement communicated to it has not time to pass into the ball; if, on the contrary, it is pulled very gradually, and without any shock, the upper thread instead will break, because in this case it supports the weight of the ball. Motion is not imparted simultaneously to all parts of a body, but only to the particles first exposed to a blow, for instance. One might multiply examples of this. If a bullet be shot from a gun, it will make a round hole in a piece of wood or glass, whilst if thrown by the hand—that is to say, with much less force—it will shiver the wood or the pane of glass to pieces. When the celerity of the motive force is very great, the particles directly affected are disturbed so quickly that they separate from the adjacent particles before there is time for the movement to be communicated to the latter. (h) It is possible, for the same reason, to extract from a pile of money a piece placed in the middle of the pile without overturning the others. It suffices to move them forcibly and quickly with a flat wooden ruler. The experiment succeeds very well also if performed with draughtsmen piled up on the draught-board. (i) Take a strip of paper, and upon it place a coin, on a marble chimney-piece. If, holding the paper in the left hand, you strike it rapidly and forcibly, you will be enabled to draw away the paper without causing the coin (say a five-shilling piece) to fall down. (j) It is not impossible to draw away a napkin laid as a tablecloth for one person’s dinner, without disturbing the various articles laid upon it. A quick motion is all that is necessary, keeping thenapkin tightly extended by the hands at the same time. This latter experiment, however, is not recommended to boys home for the holidays.
Pressure of Air.—(k) The force of air can be shown as acting with considerable pressure upon an egg in a glass. By blowing in a claret glass containing a hard-boiled egg, it is possible to cause the egg to jump out of the glass; and with practice and strength of lungs it is not impossible to make it pass from one glass to another. (l) The force of heated air ascending can also be ascertained by cutting up a card into a spiral, and holding it above the flame of a lamp. The spiral, if lightly poised, will turn round rapidly. (m) A wine glass, a plate, and water will serve for the next experiment. Pour some water on the plate, light a piece of paper resting on a cork, and cover the flame with the glass, which turn upside down. The water rises in the glass. Why?—Because the burning of the paper having absorbed a part of the oxygen, and the volume of confined gas being diminished, the pressure of the outer air has driven back the fluid. Next fill a goblet with water up to the brim, and cover it with a sheet of paper, which touches both the edge of the glass and the surface of the water. Turn the glass upside down, and the sheet of paper prevents the water running out, because it is held in place by atmospheric pressure. It sometimes happens that this experiment does not succeed till after a few attempts on the part of the operator; thus it is prudent to turn the glass over a basin, so that, in case of failure, the water is not spilt. (n) Having obtained a vase and a bottle, both quite full of water, take the bottle, holding it round the neck so that the thumb can be used as a stopper, then turn it upside down, and pass the neck into the water in the vase. Remove your thumb, or stopper, keeping the bottle in a vertical position, and you will see that the water it contains does not escape, but remains in suspension. It is atmospheric pressure which produces this phenomenon. If, instead of water, we put milk in the bottle, or some other fluid denser than water, we shall see that the milk also remains suspended in the bottle. (o) Light a piece of paper, and let it burn, plunging it into a water-bottle full of air. When the paper has been burning a few seconds close the opening of the water-bottle by means of a hard-boiled egg, which you have previously divested of its shell, so that it forms a hermetic stopper. The burning of the paper has now caused a vacuum of air in the bottle, and the egg is gradually thrust in by the atmospheric pressure outside. (p) Take a thin piece of wood about ⅛ in. thick, 8 in. wide, and 24 in. long, and lay it upon a table so that it shall project over the edge. It is evident that the least pressure will make it tilt and fall. Next spread out a large newspaper over the end that lies upon the table. Now if you strike a sharp blow with your fist on the projecting portion, you will be much surprised to see that the board resists the shock, just as if it were nailed to the table. If you strike hard you may injure your hand, or perhaps the board will break into pieces, but you will not lift the simple paper that holds it. The downward pressure of the atmosphere upon a wide surface explains the phenomenon. In order that the experiment may succeed well, the paper should be spread flat and evenly upon the table, and all the folds should be smoothed out so as to expel the interposed air.
Equilibrium of Floating Bodies.—(q) The equilibrium of bodies floating upon liquids is an occurrence of daily observation, but such is not the case as regards aeriform fluids—a soap bubble filled with air and floating upon a stratum of carbonic acid, for example. Although this pretty experiment would seem to require complicated apparatus to carry it out, it may nevertheless be performed very simply, as follows:—Having procured a glass vessel, such as a bell-glass, of medium size, place it, mouth upward, upon a tripod made of coarse wire, or upon any other support. In the bottom of this vessel place a mixture formed of equal parts soda bicarbonate and tartaric acid reduced to powder. The quantity of powder to be employed depends upon the size of the vessel and the thickness of the stratum of carbonic acid that it is desired to have. Soda bicarbonate contains carbonic acid to the amount of half its weight, and consequently it is necessary to decompose 4 grammes (66 gr.) of bicarbonate to produce 1 litre (61 cub. in.)of carbonic acid gas. Over the mouth of the glass vessel place a disc of cardboard of sufficient size to cover it exactly, and, in the centre of this, make a circular aperture to allow of the passage of a glass rod of sufficient length to rest upon the bottom and project externally. Through this tube, and by means of a small funnel, water is introduced in small quantities at a time (so as not to produce too lively an effervescence) until the powder is entirely covered. When the carbonic acid ceases to be given off, the tube is taken out.
Care should be taken to prepare beforehand a solution of soap in water, or, what is better, some of Plateau’s glyceric liquid. With either of these liquids, bubbles about 4 in. in diameter are blown at the extremity of a tube that flares slightly. This tube should be held vertically while carrying the bubble over the cardboard cover, and the latter should be carefully removed by sliding it off horizontally, and the bubble be then detached in such a way that it shall fall in the direction of the vessel’s axis. If the fall occurs from a certain height, the ball will rebound as if it were repelled by a spring. It will then descend and rise again, and finally become immovable. It is at this moment that it is well to replace the cover, so that no disturbance shall occur in the interior of the vessel.
The bubble then resembles a small balloon in equilibrium in the atmosphere of the vessel; but, in reality, it is floating upon the invisible stratum of carbonic acid. This equilibrium, however, is of short duration, since the carbonic acid rapidly dissolves in the liquid envelope of the bubble, and passes into the interior of the latter, and increases its weight to such a degree as to cause it to gradually descend to the bottom of the vessel, where it disappears. But a suspension of several balls may be obtained successively, that is to say, the experiment may be repeated several times, if, on removing the cover, care be taken not to disturb the atmosphere of the vessel.
The soap bubble may be replaced by one of those small rubber balloons that please children so much, and that weigh, on an average, 1 gramme each. Upon inflating one of these to a diameter of about 6 in., we shall obtain an equilibrium that has greater fixedness and duration, and may observe the phenomenon at our leisure.
Chemical Experiments.—It is well known that the vapours of mercury are very diffusive in their nature, and some quite singular experiments have been devised based upon this, and upon the fact that the salts of silver and the chlorides of gold, platinum, iridium, and palladium are affected by these mercurial vapours. If any one, for instance, write upon a sheet of white paper with platinum chloride, no mark would be visible, as the liquid is quite colourless. If, however, the same sheet of paper be held over a little mercury, the metal will be brought out on the paper in dark tints. This magical apparition of a figure or drawing on a sheet of paper which appears to be perfectly white is very astonishing to the spectator.
On the other hand, reversing the experiment, a no less marvellous result is obtained. At first expose the drawing in 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 sensitised 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 being distinct and clear.
Optical Delusions.—Those talking decapitated persons that are so often seen in various kinds of shows are one of the sights that always prove successful. They have already astonished a number of generations past, and will probably prove just as attractive to those that shall succeed our own. These decapitated persons are seen under different aspects according to the tricks employed to produce the illusion, and which all have the same aim in view, that is, to cause the appearance, on a table or tray, of a living head with no visible body. This illusion may be produced in several ways. (a) At the Foire aux Pains d’Epices of 1880, one of the side shows exhibiteda decapitated person as follows: The small stage, which was draped with a black fabric covered with silver spangles, was feebly lighted by a sort of night lamp attached to the ceiling. To the right and left were seen panoplies of skulls and cross-bones. The spectators were in darkness. In the middle of this grim place a tray was suspended by 3 small chains at about 3 ft. from the floor, and upon this tray there was a living head—that of a young man who an instant before had shown himself to the public. His body lay extended out under the tray, and his head talked, drank, and smoked, while his arms and legs moved. Both, although quite distinct, were perfectly alive.
The trick by which the illusion was obtained consisted in this: The body belonging to the apparently decapitated head was hidden behind, under the tray, and was completely invisible owing to the shadow of the latter, and the partial darkness of the stage. The apparent body was that of another person of exactly the same height, size, and dress, whose head was in the dark and further hidden by black cloth.
(b) Recently there was exhibited at Paris, in what is called the “Théâtre des Merveilles,” another example of a decapitated person. A young girl first appears before the audience, accompanied by an executioner clad in red and armed with the traditional axe. Then the curtain drops, but rises in a few moments, and shows the stage a little darkened. Near the executioner, however, can be perfectly distinguished the girl’s head lying on a round table at the back of the stage; her body is seen lying on a bed at a few feet from her head, and at her side is the fatal block that has served for the execution. The effect is dramatic. The trick employed is the same as the preceding, in that it requires two persons of the same size wearing the same costume. One of these—the one who showed herself to the public—makes the head, her body being hidden behind the cloth in the rear of the stage. 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.
(c) Upon entering the room we perceive a black wooden square table having 4 legs. Over one of its angles there is thrown a piece of red fabric whose other end may be perfectly seen hanging from the opposite side. The floor, which is strewn with straw, is continuous to the back of the stage. There is nothing under the table, then—there can be no doubt of it. Still, upon this table there lies on a tray the head of a young girl which smiles and answers questions that are asked it. The ingenuous spectators are almost persuaded that the girl has no body; others ask themselves where it is hidden; and very peculiar suppositions are indulged in on all sides. In a word, the illusion is perfect.
When, through favour or money, we enter the side scene and look at the table sideways, we are almost ashamed of having allowed ourselves to be deceived by so simple a trick; for the apparatus consists, in fact, only of a mirror fixed obliquely to two legs of the table. This mirror hides the body of the girl, who is on her knees or seated on a small stool, and reflects the straw which covers the floor so as to make it appear continuous under the table, and likewise 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 a 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 also from behind. It should be remarked that during the exhibition the spectator stands only a few inches away from the table and head, being separated therefrom by a wooden railing from which hangs a curtain reaching to the ground. Such proximity of the spectator and actor would seem to favour a discovery of the trick; but, on the contrary, it is indispensable to its success. Were the spectator placed at a distance, and did the curtain not exist, he might by stooping see his legs reflected in the mirror. The curtain, then, prevents any one from looking under the railing, and the rays that might reach him from the curtain, by being reflected in the glass, are lost beneath the table, owing to the proximity of the latter.
As may be seen, the trick is easily understood, and, moreover, it is one of those that gives the best results, since it deceives the public the best. Besides, it has the merit of great age.
(d) The living half-woman is a very ingenious improvement on the decapitated individual. On entering, we perceive, when the curtain is drawn aside, an elegant little room decorated with flowers and lights and hung with curtains and tapestry. In front there are two railings, and the floor is covered with a carpet. In the centre is seen a small square table, on which rests a sort of three-legged stool supporting a cushion and the half body. The latter is the body of a young woman apparently cut in two just beneath the thighs. Naturally, this young person shows that she is alive by moving her arms and head, and speaking and singing. Now, as we can see the 4 legs of the table and can perfectly distinguish the space under the stool, and that too in full light, we naturally ask by what means the lower part of the girl’s body is hidden. On raising the stool, it will be seen that it is formed only of a hollowed-out disc whose supports are connected by two mirrors, that make with each other an angle of 45°. These mirrors rest on the top of the table, which is decorated with 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 arrangement, two legs being connected with the foremost one by two mirrors (the table is placed cornerwise to the audience). These mirrors reflect not only the designs of the carpet, which by their continuity produce the illusion of a vacancy, but also 2 table legs located on each side behind the railings. 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 rôle with regard to the spectators on that side. These mirrors, in addition, hide the lower portion of the girl’s body.
(e) The Dircksian phantasmagoria, which was more generally known as “Pepper’s Ghost,” is another example of the illusive effects of mirrors suitably arranged. On a moderate scale the same spectral apparitions can be produced as an entertainment for the drawing-room.
Dircks arranged an oblong chamber in two equal portions, making the separation by means of one vertical screen of thin glass having a perfectly true surface. Suppose each chamber to measure 12 ft. square and 12 ft. high. Let one of these be the stage on which the acting is to take place; its floor and three of its walls are solid, and the fourth or front of it is one entire glass screen; the ceiling must be made to open at different parts to let in light, and have suitable blinds to regulate the light and shade in which the actors perform. The chamber opposite, or facing the actors, is in reality a second stage for carrying out the spectral performances, and is differently constructed; the two sides may be large folding or sliding doors, or may be left quite open, or one side closed and the other open; but the ceiling must cover only that half of the top away from the glass screen or partition, thus leaving an open space in the ceiling of 6 ft. by 12 ft.; through this space so left in the ceiling the spectators obtain a full view of the stage, their seats being above the half ceiling described, and thrown rather backwards than forwards; the line of vision thus being at an angle of about 45° with respect to the vertical glass screen, or plane unsilvered crystal mirror. It will now be obvious that the actor on the stage beneath the seats of the spectators can only be seen by reflection, and the trained actor on the opposite stage, knowing the precise situations of the reflection as seen by the spectators, performs accordingly, so that, when really seeming to stand confronting the vision, the actor, whose reflection is thus seen as a vision, is as far from the screen on one side as his reflection is cast on the other.
Some striking effects may be produced illustrative of the illusive properties of optical apparatus constructed on the principle described. Thus,a figure placed before a white screenis so strongly reflected, that the spectator cannot divest his mind of their being the substance and not the shadow which he observes, particularly as hecontrasts them with an adjacent solid figure. By placingtwo figures of corresponding formequidistant, one on each side of the glass mirror or screen, they appear as one, until one is moved; and if they differ in colour, as one blue and one white, the effect seems more remarkable. Ifa cabinet,box,or the like, is placed, one on each side of the mirror, until the image of one exactly corresponds with the material figure of the other, then the spectator may see the visionary figure open a drawer or door, and remove and replace anything therein, and afterwards the solid figure repeat the same acts. If the reflection of an actor is thrown on a transparent screen it is invisible, but by gradually decreasing the light the spectral appearance will be as gradually developed until apparently it becomes a firm solid figure in all its proper costume, and acting in perfect conformity to its designed character.
101. 102. The Dircksian Phantasmagoria.103. 104. The Dircksian Phantasmagoria.
101. 102. The Dircksian Phantasmagoria.103. 104. The Dircksian Phantasmagoria.
101. 102. The Dircksian Phantasmagoria.103. 104. The Dircksian Phantasmagoria.
The arrangement of the apparatus will be understood by reference to Figs. 101-104, in which—
Fig. 101 is an external perspective view, Fig. 102 a vertical section, Fig. 103 a top, or bird’s-eye view, and Fig. 104 a plan. A, B, C, D, E is a box, closed on all sides, but provided at D with a door F, and on the other side with another door G, both hinged to the back A, D. H, I, J are flapped openings on the top of the box; K, K a partition dividing the interior of the box, made of a good, clear, and even surface of thin patent plate-glass, kept in its place within two side grooves; L, M, two separate chambers or compartments produced by K, K, the transparent mirror; N, a ceiling orscreen over the compartment L, to exclude any object therein from the direct view of the spectator, as shown by the dotted line,a, b.
If two figures be now introduced, one Y, the other Z, and the eye of the spectator be fixed at A, he will observe two images, one the real figure Z, the other Y’, the mere reflection of Y. By this arrangement it is evident that the plain, unsilvered glass, thus viewed at an angle of about 45° has all the properties of a mirror, but owing to its transparency two figures are seen, possessing little or no distinguishable difference between them. Of course a person placed at Z sees only the figure Y, but, as a piece of acting may, under proper arrangements of a suitable stage, approach the situation apparently occupied by Y’, and thus indicate to a spectator placed at A any pre-arranged dramatic scene requiring Z to be in correspondence with the visionary figure Y’.
In using the apparatus the flap H must be open, but I may be shut, being mostly useful to get admission for inserting or withdrawing the screen or the figures; the flap J may be closed or opened to regulate the admission or exclusion of light. The doors F, G may both be wide open, though one is generally sufficient, provided it is turned as direct as possible to the light. A mirror placed at an angle close to the opening F or G, will assist the illusion by illuminating the figure Y, thus heightening the effect of the reflection Y’.
If two geometrically proportionate figures, as spheres, cubes, or the like, be placed in the situations Y, Y’, then the image at Y’ will be a vision and a substance combined, as will at once appear by slightly moving the substantial body in either compartment L or M. Let the duplicate figure be a box, and then the spectator might observe the apparent anomaly of the same box being opened and a substance taken from it and replaced either by a substantial or visionary actor. When the compartment M is lighted up no vision appears, but the light being made gradually to fade and disappear, the vision would seem lifelike, as at first. As it is evident that the right hand of the vision is the left hand of the actor in the compartment L, all his acts requiring the right would have to be performed with the left hand, to appear natural to the spectator. It is also requisite for insuring a good effect, that no solid figure in the compartment M shall come before or behind the visionary image, as its transparency would at once become evident; but if anything of the kind is desired, then the background, figure, or object, should be placed behind the actor Y, and become with him also visionary; in this waya white screenplaced behind the actor Y will allow his shadow to appear on it and give great force and solidity to his reflected figure or vision at Y’.
A few examples will better illustrate than any elaborate description, the singular effects that may, in different ways, be adopted for realising spectral dramas.
A student is seen sitting at a table spread over with books, papers, and instruments. After a while he rises andwalks aboutthe chamber. In this there is nothing remarkable. But the audience is perplexed by a different circumstance: they not only see a man rise from his seat and see him walking about, but they also see thathe still sits immovably in his chair—so that evidently there are two persons instead of one, for, although alike in dress, stature, and person, their actions are different. They cross and recross; they alternately take the same seat; while one reads the other is perhaps walking; and yet they appear very sullen and sulky, for they take no notice of each other, until one, after pushing down a pile of books, passes off by walking through the furniture and walls.
The art in this arrangement is to have two actors sufficiently alike in person, similarly dressed, and placed so that the phantom figure sits so exactly like the livingfigure as to match into it. It consists in having two actors, two chairs, and two tables exactly matching each other. On the acting stage, the actor, table, and chair have each their duplicate; so that, if they were pulled a little to one side, the audience would see two actors, two tables, and two chairs. But such an exhibition would be a defect, as the table and chair are mere guides for the spectre actor: if there were no chair he could not sit, and if no table he could not appear as leaning upon one, or seem to do so.
In this and other pieces of a like nature, it is presumed that the parts are not performed in dumb show, but that an able speaker either explains and gives the dialogue, or that concealed actors address the audience, timing their speech to the action before them.
A naval officer or other seafaring character, belonging to some particular vessel reported to have been wrecked, is seen in a chamber, into which his wife or sister, &c., on entering rushes forward to embrace him, but, clasping nothing, immediately falls down in a swoon.
Two men, dressed almost like brigands, engage to play some game with cards or dice. They sit one on each side of a table, on which they place their revolvers. After a short play they dispute and wrangle, during which, one seizing his pistol discharges it at the other. He is horror-stricken by the bullet being returned to him, and his playmate passing away by neither window nor door.
He is an aged man, counting his money, and writing up his unjust gains. His room is furnished with bookshelves and cabinets. With a small taper before him, he is absorbed in monetary calculations. Presently a careworn female enters. He shudders—with cold. She opens a cabinet, takes out a long roll of parchment, replaces it, and closes the door again—not quietly, but with a clap like thunder. The miser is colder than ever—shivers more and more, and rises to look into his cabinet, from which he apparently takes thesameroll, replaces it, and returns to his seat, followed by the reappearing phantom, which again rapidly disappears.
This requires a duplicate cabinet, parchment, &c.
A porter enters the sitting-room of a bachelor while at breakfast. He lays down a deal box, is paid for it, and retires. It is a present—and after being turned over and over, hammered a good deal to burst it open, and seemingly as hard to open as an oyster would be with a pair of scissors; the cord off, the nails out, and all ready for inspection, the bachelor is suddenly called to any little attention, as the over-boiling of his kettle. He has but turned his back a moment, and behold—a cupid sits on his box! On his approach it walks round to his breakfast table. He removes the box lid and finds it crammed full of old clothes returned to him from his last residence. He is very angry, takes a seat, and is rather startled to see the box lid open, cupid get into it, and at the risk of the pretty boy being smothered, down goes the lid again. He reopens the box, taking from it cloaks, coats, boots, pipes, &c. But, where is cupid?
The box has its duplicate, and the appointed place marked out for each. The box seen by the spectators, however tossed and carelessly used, is very carefully placedat lastin one precise spot, where it matches an opposite empty box, large enough for a child trained to perform the part. The lid supposed to open does not open, but by rapid action the eye is so easily deceived as not to observe the duplicate lid.
It is to be fought with swords. After various passes, one is stabbed, but instead of falling, he either holds his sword behind him, as if in support, or elevates it, as if appealing to the justice of his cause; but in an instant, to the horror of his affrighted antagonist, he rushes on him with a blazing sword.
The sword is a suitable flat perforated gas tube, with a vulcanised gas tube attached to the handle. A small gas jet above, or an assistant below, enables the actor instantly to produce the desired result.
This example is curious, as showing with what nicety the required effect can be obtained, so as actually to bring the two blades opposite and crossing each other, when the space intervening may be 20 feet or more. It is easily done by stretching a cord or wire, or having movable metal or wood rods held upright by a solid base, placed equidistant on both stages; for it can readily be ascertained where to place them, so that a sword blade crossing a wire on one side is absolutely seen crossing the same on the other side.
A dressmaker and assistants are in a work-room containing a number of empty props, each with a kind of wire-shaped body for displaying dresses upon. She scarcely turns round to her work before every pole has upon it white, black, red, and other dresses, to her evident consternation. Calling in a friend, they are again empty; so, settling down, she is once more terrified by a total change of millinery in cloaks, shawls, bonnets, &c. All this is brought about by employing corresponding wired props.
A plain country servant-girl in a white under-dress stands at her glass, and, having had her fortune told, is ardently wishing to be a fine lady. As she retires from the glass in her mistress’s room, she is all amazement to find herself suddenly transformed to a princess. She is attired in a splendid pink or other silk dress, and wears a turban with ostrich feathers; but before she can show herself off to her friends the whole proves a vision!
The arrangement is like the former, only requiring more care and management.
The spectre hand may actually write or gradually withdraw a slide over the letters. Either way is very surprising. The actor is behind a black curtain, his hand only seen by reflection. There are corresponding boards, that on the acting stage being blackwithoutany writing. If the board has a piece inserted in it like a valve, working on centres, the written words or name can thereby be turned out of sight with sufficient rapidity.
A scene from the “Castle of Otranto” may be imitated, representing the full-length figure in a painting stepping from the canvas into the picture gallery.
The picture and frame are a phantasm; the figure being represented by a living actor, orvice versâ. He walks from the frame to the floor; and on returning reassumes the still attitude of painted portraiture.
No end of scenes might be brought out under this title, by employing very little and exceedingly simple mechanical appliances; as,—Swallowingany length of rope, chain, or other material. To be effected by passing a long endless band of the same overpulleys on the real stage, so as to appear entering the mouth of a visionary actor, keeping his head fixed and mouth wide open at one fixed point.
Strong and weak bandboxes—on which an actor is seen standing, but which when another actor attempts he falls through, crushing the whole to the floor. The first actor was a mere spectre, standing on strong duplicate boxes, which being removed, the other actor has nothing but the actual weak bandboxes to sustain his weight, which he therefore crushes flat with the floor.
The handing of flowers, miniatures, letters, or any article, by the spectre to the real actor, is so easy as scarcely to require explanation. There must be two of any article to be so used, onebehinda small black screen on the acting stage, and the duplicatebeforea like screen on the other stage. While the actor appears holding the phantom letter, he in reality has taken hold of its duplicatebehindthe screen, only producing it the instant the other (or first seen letter) vanishes.
An aged wizard in a den-like habitation, standing within the magic circle, and with a boiling caldron before him, attended by certain spirit-seekers, is endeavouring to raise the spectre of some departed relative. In due form the phantom does appear amidst the vapours of the caldron.
The caldron has its duplicate, and is in fact the entrance for a trap door on the opposite stage, through which an actor is mechanically raised, appearing to the audience as the spectre, for he would be seen gradually fading away, first becoming transparent and next slowly invisible.
A male and female actor are seen vigorously throwing at each other the masks, dresses, boxes, and other furniture of the greenroom, with the absurd effect of never being once incommoded by the hats, cloaks, coats, and dresses littered about.
Of course each is throwing at nothing, and the audience is amused by the mixture of the real and the reflected actions.
A company of this sect being assembled, rapping is heard, hands and heads seen, flowers distributed, and a spirit dimly rises, but just as the circle is about to depart the table with its books, lights, &c., turns rapidly round to their great delight.
The table is visionary, and suspended for the purpose.
This ignis fatuus may be represented by a young slender actress in a white gauze dress, holding in her hand a small neatly-made paper lantern. A misguided traveller is seen groping his way along a treacherous heath to trace the whereabouts of the fascinating vision, which at last vanishes, all but the dimly lighted lantern, which last of all dies out, and the actor appears emerging from a quagmire.
The small lighted lantern is seen longest, owing to its own illumination, while its smallness allows its being easily extinguished.
Two men appear to be working a pump, one on each side, like some ships’ pumps, or fire-engines, but presently quarrel and fight. The mechanism is connected with an underground shaft, so that opposite actors cannot fail to rise and fall simultaneously in the requisite motions; and all the rest is a mere piece of acting.
A drunkard is supposed to have ruined himself and family, and hastened the death of his wife and children for want of proper sustenance. He is seen lying on a couch, surrounded by visions of his deceased partner and children. He wakes disturbed as they disappear. Again retiring to rest they surround him once more, each bringing him large goblets of his loved beverage, which he attempts to seize, falls on the floor, and awakens in a state of violent horror and passion.
A tree is seen rising from a green and flowery mound, on which sits a country clown half asleep, with his basket, bottle, and broken victuals before him. Presently a dozen or more fairies forming a ring dance around the tree, to the great delight of the rustic, who, rubbing his eyes, attempts to join the merry dancers, who as speedily flash out of sight.
The mound and trunk of the tree have their duplicate, otherwise the dancers would not be hid in passing behind it, and would therefore appear shadowy and unnatural.
This effect is produced by the actor being first dressed in as white a dress as possible, and then covered with a cowl and flowing black gown; so that sometimes only the head is seen, at others only the hand or hands, and occasionally only a foot, or both feet. Or he may be dressed as usual, in black velvet, wearing a black mask, becoming observable only whenever he passes before a white screen.
A well-trained Newfoundland or other dog may appear to cross the stage as if passing through the furniture, and while jumping towards his master behind a screen, may appear by reflection as though attacking the real actor on the stage.
The witch, appropriately dressed, in a low cottage chamber, may be seen with some fantastically dressed young female preparing to wash clothes. They arrange a large tub, fill it with buckets of hot water (judging from the white vapour), and put in quantities of linen. Each takes a turn at washing, raising their work into the air, in the operation. But presently the girl retires, and on returning, is seen taking quantities of all kinds of boots, shoes, hats, cats, dogs, and children out of the washing tub, finishing by throwing the wet linen into the witch’s face, who becomes excessively aggravated.
This pantomime may be carried to any length. It is effected by commencing with two real actors on the stage, and then one of them leaving to commence a series of phantom actions, the audience never suspecting so odd a change.
St. Anthony may be seen in his cell surrounded by all manner of imps. By having a duplicate seat, a number of youthful actors in pantomime masks and dresses can easily play the phantom part, climbing the arms and back of the chair, and gambolling at its feet, or upon and around a duplicate stand or table.
These may be carried to a great extent; nothing that poets have imagined appearing too difficult, not even the change of the human form to the trunks of trees.
An actress, dressed in a brown or green dress, on taking a certain assigned place and position, with upraised arms and outstretched fingers, would appear gradually to becomelike the young oak or elm, with but slight indications indeed of humanity, until disenchanted.
Here the only phantom would be that of the trunk and branches of a tree, either natural or artificially arranged to correspond with the body and upraised arms and fingers of the actress.
Changes from age to youth, male to female, friend to foe, and so on, may be achieved by the phantom actor stepping on a small turning portion of the stage, like a double sentry box, of which one half turn does the magic business, being occupied by two actors.
Men in Gothic costume may be seen at an altar, on which wood is burning. The accused has to test his innocence by a fiery ordeal; for which purpose the priest advances, declares the crimes, and promises clearance from guilt should the accused come off scatheless. He is seen as if washing his hands in the blaze, and burning drops falling from his clasped hands.
The duplicate altar has upon it a metal dish of inflamed alcohol, with a sponge dipped in it, which at the moment of clasping the hands, is raised and pressed by iron tongs, from which the dropping spirits take fire.
Anything of this kind would be too terrible for the stage, but the principle on which it is conducted may be applied in different ways, this being but one out of many striking examples.
The stake and faggots are in duplicate. The duplicate stake and faggots are employed alone for arranging among them gas pipes, and in suitable metal dishes, either spirits, or thin paper, or both, to produce varieties of fiery effect. On the acting stage the martyr would appear surrounded by the terrors of the reality of such a frightful doom.
The descent of the instrument of execution is followed by the rising up or falling down of a black screen, effectively to hide the head, of which there must be a duplicate in waxwork. The executioner only is a real actor, and he only has access to the head. When his axe falls, all the rest takes place on the phantom stage; therefore the axe literally descends upon and adheres to the very block on which the audience saw the culprit place his neck.
Such an exhibition would be anything but desirable; at the same time themodus operandiis capable of happier applications, and therefore is only introduced on account of its impressive character, the Author having no desire to encourage the too prevalent vitiated taste for horrors.
Some disturbance has caused a nervous gentleman to dress in a hurry in his night-cap, morning gown, and red slippers. With a blunderbuss under one arm and a night candle in one hand, he proceeds with a horse pistol in the other to look warily about, when suddenly appears before him an old grey mare eating hay—the unconscious intruder on his peace and quiet.
The mare in this instance is the only spectre, and the whole scene is due to a well-known engraving of such a subject.
A lady is informed that a strange lady has called upon her. They meet in the drawing-room, courtesy to each other, and finally take their seats on a couch. Soon afterwards they rise, but the stranger rudely drops her cloak, parasol, reticule, gloves,veil, &c., and runs off. The lady in astonishment attempts taking up the cloak and other things, which to her infinite terror seem to be swallowed up by the floor, so she in her turn makes her escape.
Supposing the stage to appear as if supplied with real scenery, which should only after all be phantasms, it is clear that the feats of harlequins would be infinitely more surprising than with interposed wood and canvas. Such a scene as jumping through the mouth of a large mask could in no other way be represented. Fire may be held to the person without danger, outvieing the red-painted poker so amusing to youth in all such wild gambolling scenes. The kicks and cuffs that might be bestowed on a spectre actor, actress, horse, or dog, without disturbing the gravity or person on whom bestowed, is of itself sufficiently ludicrous. In fairy and goblin scenes the rapid appearance and disappearance of such visitors form an essential part in their introduction, and when they are grotesque, their phantom-like character would encircle them with all the sparkling attributes of a lively jest.
Among other parts of any suitable scene, large china jars, dishes, jugs, plates, or other earthenware and glass, may appear so placed that on the actor falling on the floor the audience shall hear the crash of china and glass, and see the whole fall upon him, yet shall he rise unhurt, as though nothing had happened.
This is obtained by means of communicating wires or cords between the two stages, so that the one cannot fail to act in concert with the other.
The worthy saint is seen with outstretched sandalled foot, and a pilgrim with pointed iron-shod staff standing beside him. Wishing to show the holy man some relics he strikes his staff into the ground to release his hand in the act of opening out his treasure. But, behold! he has pinned the saint’s foot to the earth with his pilgrim’s staff.
Two young ladies enter a drawing-room from opposite ends, courtesy and dance; when their performance is over they approach and kiss each other, and then seem to be attempting to shake hands, but in vain, on which one falls down while the other slowly and almost imperceptibly vanishes.
In many other devices, as in this, the same means for effecting a near approach may be resorted to, nothing more being required than a piece of glass supported on a black pole, which, as ascertained beforehand, exactly distances the two heads, the lips approaching the glass on an opposite side, in opposite directions, far apart.
It must not be overlooked that these various scenes require different modes of action, a leading one being the peculiar property that this phantasmagoria affords of uniting as one body a phantom with a substance, whether alike or unlike in form and colour. This is a feature so important that it will not be out of place here to dwell upon it more at large, to impress so important a property on the attention of all who may desire an intimate acquaintance with the subject.
As a preliminary step, let a few chromotographic experiments be made. Set a yellow cube before the mirror and a blue one behind it, in a model apparatus, employing the sun’s light. Blue and yellow it might be supposed would give a cube having a green tint, instead of which it will be snow white. Again, for blue, substitute a deep pink; and for yellow white, when the pink will disappear all but the faintest possible tinge—the shadow or phantom appearing to overwhelm the colouredsubstance. These effects are so surprising, simple as they appear, that, unless tried and seen, description alone must fail to convince any one of the full force of the results stated.
Acting on this property of matching one body into another, so as to all appearance to absorb it into itself, many curious dramatic effects may be produced, whether the subjects be animate or inanimate. And this mode of procedure is always in demand where the phantom is required to touch, handle, and repeat the actions of an ordinary actor.
On this peculiarity of matching one body into another so exactly depends the striking character of “The Haunted Man,” where the actor himself is so placed; so likewise “The Miser,” with several others, where furniture, chairs, or any other things or vessels require to be so conjoined. In “The Bachelor,” the article used is a box, which is carried and moved about, but ultimately fixed in a pre-arranged spot. It would not be easy to perform such parts with animals or with children, as they would not be likely to keep sufficiently quiet and immovable. Whenever the actors on the opposite stages have to play similar parts, then such duplicates of solid and shadow or reflection must always be employed. Two couches are required to make it appear that two persons are sitting on one couch, although in reality each couch has only one occupant; but in the acting the only spectre that appears is the actor, while the spectral couch is absorbed into and hid by the real couch. So likewise in sitting to a table—two tables and two persons must act the part, and the result that follows is the same as before; but if onlyoneof these actors places anything on the table, then the opposite actor cannot touch it, unless its duplicate is already placed there for the purpose, behind a black screen, by which means flowers, letters, books, &c., may appear to pass from hand to hand.