ILLUSION WINDOWS.
[Illustration]
One of the best modes of attraction for window displays is the
“illusion” centerpiece. It originated with dime museums and side shows,
but is none the less sure to arouse the curiosity of the observer. The
illusion consists of a beautiful young lady, the lower half of whose
body is invisible to the spectator, the upper portion so resting on a
pedestal as to appear to have an independent existence. The effect of
the illusion is very striking. It is produced in a very simple manner: A
pedestal of wood is arranged as shown in the accompanying sketch, the
upper portion being a hollow bowl resting on a solid pillar or post, a
sufficient portion of the bowl being cut away to allow room for the
young lady who is to take part in the illusion to stand immediately
behind the pillar and within the upper portion of the pedestal.
Extending at right angles from the pillar at either side are mirrors
imbedded in the pedestal and having the edges A B and G H concealed by
sprays of artificial flowers or other ornament extending from top of
pedestal to platform on which it rests. Similar sprays are placed at
front. The lower portion of the mirror is concealed by the drapery which
constitutes a part of the window display or of the background. The
drapery at either side of the window corresponds to that of the
background. Its reflection in the mirrors deceives the spectator into
the belief that he sees the drapery of the background beneath and around
the pedestal.
This attraction could be used to advantage for the display of millinery,
fans, parasols, etc. The best effect is obtained by having the figure
quite a distance above the spectator.
THE VANISHING LADY.
[Illustration:
“THE VANISHING LADY.”
]
[Illustration]
An amplification of the foregoing illusion is called “The Vanishing
Lady,” and we reproduce a picture of a window in which this effect was a
recent attraction. It occupied but a small space in the center of the
display, showing the bust and head of a pretty young woman, supported on
a thin pedestal with a large bowl top. From the waist down the young
woman was invisible; at the same time one could see all around the
pedestal, which produced a startling illusion. At short intervals this
young woman would disappear right into the pedestal (or so it would
seem), and presently would reappear with new hat, waist, gloves, etc.
This would continue, showing every ten minutes or so a complete change
of hat, etc. The following diagram with description will explain the
workings. A platform 2 feet 6 inches high is built in the window, with
three frames around, 7 feet high, draped in green plush. Erect a thin
pedestal, with two large wooden meat chopping bowls, one on top, one on
bottom, neatly enameled. One-quarter of the bowls at back are cut away,
two grooves cut in pedestal and two mirrors set in, as in diagram. The
mirrors reflect the sides of frame, which gives the appearance of seeing
all around. A trap door in the floor allows the girl to disappear down a
simply constructed elevator into the basement, where she changes her
hat, neckwear, etc., to again reappear. The elevator is balanced by two
bags of sand. When the girl gets off, a bolt is put in the beam to keep
the platform from flying up. This window was a great success. The second
day the firm using it was compelled to put up an iron rail in front of
plate glass for fear it would be broken by the crowds. The young woman
was very pretty, and every hat was becoming; and her changes were many
during the day.
A CLEVER ILLUSION.
Fig. 1 shows an original method for a novel window attraction. It
consists in having a plush covered box on a table in the center of the
show window, and arranged in the rear as shown in Fig. 2.
[Illustration: 1 2]
The box should be about the right size to accommodate the head and
shoulders of a person. A hole is cut in the cover, through which the
person’s head projects. The entire bottom of the box is removed and a
corresponding opening is cut in the top of the table. By looking at the
arrangement from the front, the head, flags, box and table are seen, and
every one wonders where is the rest of the person. The box is of course
much too small to hold a person, and as the space beneath the table
appears perfectly clear, the mystery is increased. This illusion is
easily performed. Fig. 2 shows a side and rear view.
The whole plan is effected by means of two pieces of plate mirror, A and
B. These pieces should be high enough to reach from the floor to the
lower side of the table top, and wide enough to extend at an angle with
each, of about 45 degrees, the angle forming C, where the sides join,
and ending far enough back to cover the person. The angular formation of
the mirrors will reflect the floor in front, and if the edges of the
mirror are draped so as not to show from the front, the appearance from
the street is that the space below the table top is open, and that the
person of the individual whose head projects from the box is in some
mysterious way confined in the very limited room which the box affords.
The plate mirror is the only costly article, and as this is not injured
by use for a few weeks, it can be resold, or perhaps rented in the
beginning.
THE HIGH COLLAR ILLUSION.
[Illustration]
The effect shown in figure 1 never fails to attract a great deal of
notice. It is easily performed by two persons as illustrated in figure
1. The former is a front view, and from the street the people see a
person sitting comfortably in a chair in the center of the show window.
The remarkable feature is the very long neck of the person, on which is
a collar two or three feet high. The trick is done with mirrors as in
figure 2. First, quite a tall man is required to stand upright like the
figure at the back. The upper part of the high collar circles this man’s
neck. The collar is cut open at the back so that the shoulders are on
the outside. The collar extends down and over the head of the second
man. The latter is of small size, generally a boy. He is placed on chair
G, facing to the front. Plate mirrors C and D are now set up at an angle
with each other of about 65 degrees. The edges of the mirrors join at F,
completely obscuring the body of the man at the rear from the front
view. It is necessary that the mirrors be cut out at E for the shoulders
and correctly matched at B, so that from the front or the street, only
the man’s head and the collar show. If rightly adjusted, persons looking
in from the front will see only the man in the chair, the high collar
and the head. Of course the effect is startling and novel, but it always
interests. The edges of the mirrors should be trimmed with any goods
which it is desired to advertise. The reflection in the mirrors make it
appear as if the space back of the chair were vacant.
TO SHOW THREE DISPLAYS AT ONCE.
Fig. 1 is a section through the basement, ground floor and second floor
of a store in which an arrangement of reflecting mirrors makes it
possible for a person who is looking into the show window from G to see
what is displayed on the floors above and below. First the window floor
is cut out at A and the top at B. Mirrors, C and D, are adjusted on the
back of the openings, inclined twenty to thirty degrees. Each mirror is
the width of the opening, which would be about two-thirds the width of
the window. The mirrors must be pivoted on adjustable frames so as to
permit a proper setting for a good effect. The height of each mirror
would be about five and one-half feet, and swung so that about three
feet is inside the floor and ceiling line of the window. The large
mirrors, E and F, are arranged as shown. That in the basement should
reach nearly to the ceiling, and should be wide enough to take in the
floor. The upper mirror is arranged similarly. The next move consists in
so placing the goods in the ground floor show window that the edges of
the small mirrors are covered, also the edges of the openings to the
basement and top floor. The spectator standing on the sidewalk at G sees
not only the goods in the ground show window, but his sight line is
reflected from H to I and he sees all that is displayed in the basement.
By glancing upward, his sight line is reflected to J, thence to K, and
he sees the second floor display.
[Illustration: Fig. 1.]