MISCELLANEOUS STAGE TRICKS.
The tricks in this chapter are no less interesting than those which have
gone before, but are rather of a more miscellaneous nature. The first
trick which we shall describe, is called “The Illusion of Trilby.”
The late Professor Herrmann won for himself a firm place in the regards
of the civilized world, representing the _fin de siècle_ Houdin. His
carefully executed work, with its perfect detail and finish, was a
standard among performances of natural magic, and other exhibitions are
referred to it as the gage of their quality. In Herrmann’s illusion of
“Trilby,” hypnotism is supposed to play a part. As will be seen, it is
really an ingenious application of mechanics.
[Illustration: PREPARING TRILBY’S COUCH.]
A plank is placed upon the backs of two chairs. A lady performer who is
supposed to represent Du Maurier’s “Trilby” enters and, stepping on a
foot-stool, lies down upon the plank. She holds a bouquet in her hand,
which bouquet, unknown to the audience, has its own part to play. The
other performer, Herrmann, who is supposed to be Svengali, carefully
arranges the drapery, walking around her as he does so. Then he makes
some passes, and one by one removes the chairs, and the lady and board
remain in the air. In response to his passes the lady, still resting on
the board, rises, and the position changes to an inclined one and back
to the horizontal one. Finally the chairs are replaced, the lady by
passes is supposed to be waked from her trance and steps down, chairs
and plank are removed, and nothing is to be seen further.
[Illustration: THE AËRIAL SUSPENSION OF TRILBY.]
Two of the cuts show the progress of the performance as seen by the
audience. The third cut explains the mechanism. Behind the scenes is a
strong frame, up and down which a movable slide works. Tackle is
provided to raise and lower the slide; and a workman behind the scenes
is intrusted with its manipulation. A bar carrying at its rear end
handles, and in front a socket, shown in the upper right-hand corner of
the same cut, is journaled in the slide, and can also be thrust in and
out through the journal box.
When Trilby has been placed upon her board couch, the bar is thrust
forward, drapery at the back having hitherto concealed its socket end.
The fair Trilby with her bouquet now effectually conceals it as it
emerges from behind the curtains. The performer, while apparently
sedulously arranging the drapery, guides the socket and causes it to
grip the board. The assistant behind the scene pulls upon the tackle and
works the handle, so that Trilby’s weight leaves the chairs one by one,
which are removed, and, supported by the bar, she seems to float in air.
By manipulating the tackle she can be raised and lowered. By the handles
she can be tilted about, giving a wonderfully good effect. Finally the
chairs are replaced, and the assistant lowers Trilby upon them. During
the waking passes the socket is detached and the bar is withdrawn. A
close observer may notice a slight agitation of the drapery or curtains
behind the stage as the bar is pushed out and withdrawn, but the
attention of the audience in general is so taken up with the performance
proper that this disturbance is overlooked by them.
[Illustration: THE ILLUSION EXPLAINED.]
The magician, it will be seen, can only walk completely around the
reclining lady before the bar is in place or after it is withdrawn. When
the bar is in place, he can walk behind her, but cannot go completely
around her. Hence his complete excursions are restricted to the time
when she is resting on the chairs, before the bar is in place or after
it has been withdrawn.
After the board is vacated, Svengali throws it down upon the stage, its
fall, with accompanying noise and disturbance, showing that there is no
deception about that portion of the display.
THE “HAUNTED SWING.”
[Illustration: TRUE POSITION OF THE SWING.]
[Illustration: ILLUSION PRODUCED BY A RIDE IN THE SWING.]
The supreme happiness of sitting in a swing which apparently whirls
around its points of support, giving the occupant what is most properly
described as a new sensation, may now be enjoyed by all. It is termed
the “haunted swing,” and has been in most successful operation at
Atlantic City and at the Midwinter Fair near San Francisco. Those who
are to participate in the apparent gyrations of the swing--and there
may be quite a number who enjoy it simultaneously--are ushered into a
small room. From a bar crossing the room, near the ceiling, hangs a
large swing, which is provided with seats for a number of people. After
the people have taken their places, the attendant pushes the car and it
starts into oscillation like any other swing. The room door is closed.
Gradually those in it feel after three or four movements that their
swing is going rather high, but this it is not all. The apparent
amplitude of the oscillations increases more and more, until presently
the whole swing seems to whirl completely over, describing a full circle
about the bar on which it hangs. To make the thing more utterly
mysterious, the bar is bent crank fashion, so that it seems demonstrably
impossible for the swing to pass between bar and ceiling. It continues
apparently to go round and round this way, imparting a most weird
sensation to the occupants, until its movements begin gradually to cease
and the complete rotation is succeeded by the usual back and forth
swinging, and in a few seconds, as the children say, “the old cat dies.”
The door of the room is opened and the swinging party leave. Those who
have tried it say the sensation is most peculiar and the deception
perfect.
The illusion is based on the movements of the room proper. During the
entire exhibition the swing is practically stationary, while the room
rotates about the suspending bar. At the beginning of operations the
swing may be given a slight push; the operators outside the room then
begin to swing the room itself, which is really a large box journaled on
the swing bar, starting it off to correspond with the movements of the
swing. They swing it back and forth, increasing the arc through which it
moves until it goes so far as to make a complete rotation. The
operatives do this without special machinery, taking hold of the sides
and corners of the box or “room.” At this time the people in the swing
imagine that the room is stationary while they are whirling through
space. After keeping this up for some time, the movement is brought
gradually to a stop, a sufficient number of back and forth swings being
given at the _finale_ to carry out the illusion to the end.
The room is as completely furnished as possible, everything being, of
course, fastened in place. What is apparently a kerosene lamp stands on
a table, near at hand. It is securely fastened to the table, which in
its turn is fastened to the floor, and the light is supplied by a small
incandescent lamp within the chimney, but concealed by the shade. The
visitor never imagines that it is an electric lamp, and naturally thinks
that it would be impossible for a kerosene lamp to be inverted without
disaster, so that this adds to the deception materially. The same is to
be said of the pictures hanging on the wall, of the cupboard full of
chinaware, of the chair with a hat on it, and of the baby carriage. All
contribute to the mystification. Even though one is informed of the
secret before entering the swing, the deception is said to be so
complete that passengers involuntarily seize the arms of the seats to
avoid being precipitated below.
THE “SCURIMOBILE.”
[Illustration: THE SCURIMOBILE.]
The peculiar gun shown in the cut is named after its inventor,
Alessandro Scuri, of Liège, Belgium. M. Scuri is also known as the
inventor of a unicycle and a quadruple cornet. The “scurimobile” is a
gun with two barrels which can be aimed at different objects, the
angle between the barrels being adjustable. The adjustment is effected
by moving a ring located on the under side of the gun. The pivot of the
barrels is so arranged that it is easy to sight two objects at the same
time. Both cartridges are automatically ejected after each shot fired.
It is also possible to use only one barrel in the ordinary way. In the
cut the inventor is shown aiming at two balls placed about a yard apart.
Another valuable feature of this new gun is its applicability as a range
finder. The observer first sights two objects which are at about equal
distances from him, and measures the distance or angle between the two
barrels, a graduation being provided for this purpose. Then the same
operation is made from a point more distant from the objects first
sighted. If the observer steps back ten yards, and finds that the
graduation indicates just one-half of the value obtained at first, he
will know that in the second position he was just twice as far from the
objects as in the first position, so that the objects are ten yards from
the observer’s first position. This operation will give distances with
sufficient accuracy in most cases, but more exact results can be
obtained by means of a simple trigonometric formula when the angle
between the barrels is measured.
“THE NEOÖCCULTISM.”
The X rays, after becoming the indispensable coadjutors of surgeons, and
even of physicians, are now competing with the most noted mediums in the
domain of the marvelous.
M. Radiguet, the well known manufacturer of physical apparatus, has been
devoting himself for a long time to experiments with the Roentgen rays
in the laboratory, which is encumbered with electric lamps, lamp globes,
and glass apparatus of all kinds. One day he perceived that these glass
objects, under the action of the X rays, shone in the darkness. Here
again was an amusing and perhaps a useful experiment due to accident.
Useful, because the radiographs obtained up to the present, by means of
artificial screens, have been really good only when the sensitive bodies
have been in small crystals. In a pulverulent state they are nearly
insensible to the X rays, and it is almost impossible to obtain the
grain of the screen upon the photographic plate. It is easy, on the
contrary, to work the glass in such a way as to prevent any irregularity
in the radiograph. Such experiments will certainly be made ere long,
but, for the present, it is the fantastic side of the discovery that we
shall present to our readers.
Porcelain, enamels, and diamonds, and also objects covered with
platino-cyanides (used by Roentgen) and with calcium tungstate, zinc
sulphate, etc., have, like glass, the property of becoming luminous in
darkness under the action of the X rays. We have, therefore, only the
trouble of selection in order to get up a “spirit séance” with every
certainty of success, while genuine spiritual séances fail in most
cases, as well known, because the spirits are in an ill mood and
disposed to be coyish.
[Illustration: ARRANGEMENT FOR A STRIKING EXPERIMENT WITH THE X RAYS.]
The following will prove a scene sufficiently weird to put the most
intrepid worldlings in a flurry if some one of our friends takes it into
his head to give them the mysterious spectacle thereof before they have
read an exposure of the trick.
[Illustration: THE APPARITION.]
The first figure that we present herewith exhibits a Ruhmkorff coil,
which is placed here to show the operation in its entirety. But, as the
first effect of its vibrations would be to attract the attention, and
consequently the suspicions of the spectators, whom it is a question of
transporting into the domain of the marvelous, this apparatus is
relegated to some distant room. The current that produces the X rays is
led into the Crookes tube by wires. This apparatus, moreover, which is
not very bulky, may be placed behind a door or be concealed under black
cloth. The objects designed to become luminous are placed as near to the
tube as possible. In the experiment under consideration a diner (who is
doubtless near-sighted, since he wears eyeglasses) is about to do
justice to his breakfast. Armed with a knife and fork, he attacks his
beefsteak; but he is assuredly a greater eater than drinker, since he
contents himself with water, while his light consists of a single
candle.
A black curtain on the other side of the table conceals from the
spectators a skeleton covered with zinc sulphide.
Let us now put out the light and set the Ruhmkorff coil in action. What
a surprise! A plate, a glass, a water bottle, and a candle shine in
space with the light of glow-worms.
A sinister guest in the form of a skeleton sits opposite the place
occupied by the near-sighted gentleman, who has disappeared, and whose
eyeglasses alone have held their own before this ghastly apparition.
Finally, to complete the illusion, hands are seen moving over the heads
of the spectators, and those multiply, and then disappear, only to
appear anew.
It must be remarked that, in order to render the experiment more
conclusive, it is allowable for the most incredulous members of the
party to tie the gentleman tightly to his chair, and, if they desire, to
hold his hands and feet during the entire time of the experiment. It is
scarcely necessary to explain how the latter is performed. The X rays
pass through the black cloth on the door that conceals the Crookes tube
and also through the body of the gentleman, and render luminous the
glass objects covered with zinc sulphide. As for the mysterious hands,
those are simply gloves covered with the same substance and fixed to the
extremity of long sticks that are moved in all directions by
confederates.
Such scenes may naturally be varied to infinity; and the spirit of
invention is so fertile, there is no doubt that before long ladies will
be giving a place in the programme of their soirées to this up-to-date
spiritualism.
“THE MASK OF BALSAMO.”
[Illustration: THEATRICAL SCIENCE. FIG. 1.--The Enchanted Death’s Head.
FIG. 2.--The Mask of Balsamo]
This illusion is a variation of the enchanted “death’s head” which was
for a long time the attraction of the Robert-Houdin Theater. Our
engraving shows both the “death’s head,” the “mask of Balsamo,” and the
method of producing the illusion. Under the influence of the passes of
the prestidigitateur the skull on the glass plate bends forward and
seems to salute the spectators. The nodding of the “death’s head” was
utilized in a number of ways, as, to indicate the number when dice was
thrown. This trick was performed as follows: Upon a table near the
magician was placed a ball of soft wax attached to a string which ran to
the side scenes, where it could be pulled by a confederate. After
passing the skull around to be examined, the prestidigitateur, in laying
it upon the table, fixed the ball of wax at the top of it. After the
experiment a simple scraping with the finger nail removed every trace of
the trick. The Isola Brothers used electricity in a somewhat similar
illusion. The skull is replaced by a wooden mask laid flat on a small
table and the mask answers questions by rocking slightly. The magician
then brings the table into the midst of the spectators, and the mask
still continues to move, to the astonishment of the onlookers. The
secret of the trick is that part of the wood which forms the chin is
replaced by a small strip of iron which is painted the same color as the
mask so that it cannot be seen; an electro-magnet is let into the top of
the table so that the cores shall be opposite the strip of iron when
the mask is laid upon the table. Contact is made by means of a push
button somewhere in the side scenes, the wires run under the stage, and
connection is made through the legs of the table when the legs are set
on the foreordained place. Upon the same principle is Robert-Houdin’s
heavy chest and magic drum. A rapping and talking table may be made by
carrying out the same idea. The battery is carried in the lower part of
the table, where the three legs join. The top of the table is in two
parts, the lower of which is hollow and the top being very thin. In the
center of the hollow part is placed an electro-magnet, one of the wires
of which connects with one of the poles of the battery, while the other
is connected with a flat metallic circle glued to the cover of the
table. Beneath this circle and at a slight distance from it there is a
toothed circle connected with the whole pole of the battery. When the
table is pressed lightly upon, the cover bends and the flat circle
touches the toothed one. This closes the circuit, and the electro-magnet
attracting the armature produces a sharp blow. When the hand is raised
the circuit is broken, producing another sharp blow. By running the hand
lightly over the table the cover is caused to bend successively over a
certain portion of its circumference. Thus contact is made at a number
of places, and the sharp blow is replaced by a quick succession of
sounds. This table is very useful for spirit rappings; as the table
contains all of the mechanism in itself, it can be moved to any part of
the room. The table may be also operated from a distance by employing
conductors passing through the legs of the table and under the carpet.
By substituting a small telephone receiver for the electro-magnet, the
rapping spirits may be made talking ones.
[Illustration: RAPPING AND TALKING TABLE.]
Electric insects may be constructed on the same plan and give a very
life-like appearance when placed on an artificial bunch of flowers in a
flower pot. The battery is concealed in the top. When the pot is raised
a drop of mercury which occupies the bottom of the pot will roll over
the bottom, closing the circuit successively on different insects,
keeping them in motion until the pot has been set down.
THE INVISIBLE WOMAN.
[Illustration: THE INVISIBLE WOMAN.]
At the end of the last century and the beginning of the present, a very
curious experiment, and one which was looked upon as marvelous by the
credulous, was wonderfully popular at Paris. The representation took
place at the old Capuchin convent. The spectator entered a well lighted
hall in which, in part of a window, there was a box suspended by four
brass chains attached by bows of ribbon. The box, which was surrounded
by a grating, was provided with two panes of glass that permitted of
seeing that it was absolutely empty. To one of the extremities was fixed
a speaking trumpet. When a visitor spoke in the latter, he was answered
by a hollow voice; and when he placed his face near the box, he even
felt upon it the action of a mysterious breath. When he presented any
object whatever in front of the mouthpiece, and asked the voice to name
it, an answer immediately came from the speaking tube. The box was
suspended freely from the ceiling, and it could be made to swing at the
extremity of the chains; it was empty and isolated in space. People were
lost in conjecture as to the secret of the experiment. Among the
unlikely theories that were put forth was that of the invisibility of a
person obtained by unknown processes.
As usual in these kinds of impostures, there was here merely an
ingenious application of a scientific principle. A physicist, E. J.
Ingennato, revealed the mystery in a pamphlet published in 1800 under
the title of “The Invisible Woman and Her Secret Unveiled.” This tract,
now rare, had for a frontispiece the engraving which we reproduce
herewith and which explains the whole experiment. The invisible woman of
the Capuchin convent was named Frances, and the following is the
explanatory legend appended to the original engraving:
“Questioner: ‘Frances, what is this that I have in my hand?’
“Frances (after looking through the little peep-hole, D): ‘A stick with
a crooked handle.’
“The entire assembly at once: ‘It is incomprehensible!’”
Ingennato, in his pamphlet, explains that above the ceiling there was a
low, darkish chamber, in which Frances was concealed, and that she
looked at the object presented to her through a small aperture, D, which
was skillfully hidden by a hanging lamp, and then answered through the
speaking tube, B B B, hidden in the wall. The sound traversed a space of
about six inches, that separated the speaking tube from the speaking
trumpet.
MAGIC HARPS.
The experiment which we are about to describe, while it is thoroughly
scientific, was taken up under the name of “Æolian Harps” by
Robert-Houdin, who introduced several modifications of it. When the
experiment was performed by Wheatstone in 1855, four harps were arranged
in a semi-circle on the stage of the Polytechnic Institution. These
harps, at the pleasure of the experimentor, vibrated as if they were
made to resound by invisible hands. This effect was produced by fixing
to the sounding board of each of them vertical rods of fir-wood which
passed through the floor of the stage and ceilings, into the cellar of
the Institution, where one of them was fixed upon a sounding board of a
piano, another upon the sounding board of a violoncello, and two others
upon the sounding boards of violins. In order to render it possible to
interrupt the vibrations between the instruments and the harps, the rods
supporting the latter were divided at two inches above the floor. Each
harp could be cut off from communication with the instrument below by
turning it around upon its axis. When Robert-Houdin introduced the
illusion, he used a stage elevated in the very midst of the spectators.
This stage was traversed by two fir-wood rods which, after passing
through the floor, rested upon harps placed in the hands of skillful
players. At the command of the prestidigitateur two other harps
supported upon the upper extremity of the rods executed a concert which
was very successful, thanks to the careful preparations and the elegant
_mise en scène_. Of course the harps were supposed to operate through
the intervention of mediumistic spirits.
[Illustration: ÆOLIAN HARP EXPERIMENT.]