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.
4.--THE MISER AND MONEY-LENDER.
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 the _same_ roll,
replaces it, and returns to his seat, followed by the reappearing
phantom, which again rapidly disappears.
This requires a duplicate cabinet, parchment, &c.
5.--A STRANGE CHRISTMAS-BOX.
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 placed _at last_ in 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.
6.--THE DUEL.
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.
7.--THE MILLINER BEWITCHED.
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.
8.--THE GIPSY’S PROMISE.
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.
9.--A HAND SEEN WRITING.
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 black _without_
any 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.
10.--THE OTRANTO PICTURE, OR LIVING PORTRAIT.
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, or _vice versâ_. He walks from the frame to the
floor; and on returning reassumes the still attitude of painted
portraiture.
11.--WONDERFUL JUGGLERS.
No end of scenes might be brought out under this title, by
employing very little and exceedingly simple mechanical appliances;
as,--_Swallowing_ any length of rope, chain, or other material. To
be effected by passing a long endless band of the same over pulleys
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, one
_behind_ a small black screen on the acting stage, and the duplicate
_before_ a like screen on the other stage. While the actor appears
holding the phantom letter, he in reality has taken hold of its
duplicate _behind_ the screen, only producing it the instant the
other (or first seen letter) vanishes.
12.--THE WIZARD’S INCANTATION.
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.
13.--THE GREENROOM RIOT.
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.
14.--A SPIRIT-RAPPING SÉANCE.
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.
15.--WILL-O’-THE-WISP.
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.
16.--SPECTRE WORKMAN.
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.
17.--THE DRUNKARD’S DREAM.
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.
18.--CLOWN AND FAIRIES.
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.
19.--THE BLACK GHOST.
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.
20.--THE SPECTRE DOG.
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.
21.--THE HAUNTED HUT, OR WITCH’S LAUNDRY.
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.
22.--TEMPTATIONS OF ST. ANTHONY.
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.
23.--METAMORPHOSES.
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 become like 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.
24.--TRIAL BY FIRE.
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.
25.--ANY LEGENDARY SAINT’S MARTYRDOM.
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.
26.--EXECUTIONS BY AXE OR GUILLOTINE.
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 the _modus operandi_ is 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.
27.--THE NIGHTMARE.
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.
28.--THE DOUBTFUL VISITOR.
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.
29.--A PANTOMIME.
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.
30.--GHOST OF CHINA.
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.
31.--PILGRIM AND SAINT.
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.
32.--THE SPECTRE’S KISS.
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
coloured substance. 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 only _one_ of 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.
The necessity of corresponding stops and marks on the two stages is
shown in “The Duel.” A mark on the floor directs where to place the
feet; slender black rods, set in a weighted foot, mark places for the
body, feet, or hands; and suspended wires or cords answer the same
purpose. But such marks may be, as in the case of “The Milliner,”
some part of the furnishing of the apartment, as there we see taking
place with mere clothes’ props; or, indeed, as in “The Gipsy’s
Promise,” the very person of the actor.
As the entire person is, sometimes, not required to be seen, it
is always easy to exclude any portion by employing a black dress,
screen, or curtain, as in “A Hand seen Writing.”
A curious result is obtained by appearing to give animation to the
inanimate. This may be seen in “The Otranto Picture,” where the actor
standing within a framed recess has all the appearance of a painted
full-length portrait, the stepping of which from the canvas realises
a romantic story of “The Castle of Otranto.”
The absence of all machinery or trap-doors to get rid of “The Ghost”
can be rendered strikingly obvious in two ways: first, by the
very gradual dissolving of the vision until it becomes thoroughly
transparent; or, secondly, by placing in the hand some very bright
object, either a dagger, sword, censor, or small enclosed light. By
using a night light, having a paper or ground-glass shade, the same
will appear as though floating in the air after entirely losing sight
of every other spectral object.
Yet trap-doors and machinery may become accessories in many scenes.
“The Wizard’s Incantation” requires a duplicate caldron, which on the
spectre stage is merely an upright circular frame around a trap-door,
through which the spectre actor has to be raised to be presented
to the audience by reflection. So also in “The Spectre Workman,”
simultaneous action is produced by an underground shaft, which in
some cases may be otherwise produced; even bell-wires, cords, and
the like serving for many purposes, as illustrated in “The Ghost of
China.”
The method of double acting is shown in “The Witch’s Laundry,”
producing some strangely startling results. One or both of two actors
may, by changing to the opposite stage, become alternately spectral
or solid. What they are seen acting as real actors becomes wildly
ridiculous when converted into spectral acts. If after two actors
going through performances decidedly requiring mutual intercourse,
one adroitly passes to the spectral stage, then his friend, or his
adversary, cannot any longer succeed in friendly intercourse, or
commit any fatal act by means of sword or pistol.