The Three-Headed Woman.
In the booths of the market fairs at Paris and its suburbs (for
example, at the “Gingerbread” Fair, at the Féte of St. Cloud, etc.),
and in the tricks of jugglers, etc., who operate in the street, café
concerts, or circuses, we find phenomena that have a true scientific
interest, ingenious applications of different sciences, or simply
tricks that puzzle the spectator. Since, in general, people like
to know the secret of what has surprised them, it may not prove
uninteresting to devote a few articles to what may be called “side-show
science.” We will first speak of the process employed to produce the
“three-headed woman.”
[Illustration]
The exterior of the little booth in which this phenomenon is exhibited
is covered by a large painted canvas representing a three-headed woman
in evening costume in a richly decorated drawing-room along with a few
persons. For better convincing the curious a photograph taken from
nature exhibits the phenomenal woman as she appears in the show; and
every now and then the showman stops his drum to cry, “She is living,
ladies and gentlemen, she is living!” If we allow ourselves to be
persuaded to enter the booth we shall find ourselves separated from the
stage by a balustrade--a sort of screen, behind which is the curtain.
In a few moments the latter separates and there is distinctly seen a
woman’s body, the lower part of which is hidden by a basket of flowers.
This body has three heads; one in the middle and two others grafted at
the base of the neck of the first. These three heads move their eyes,
answer together a few questions put by the showman, stick out their
tongues, sing a few snatches of a popular song, and finally salute the
audience, when the curtain closes and the show is over.
On almost every occasion some ingenious person is heard to express pity
for this unfortunate person, who has no legs and three heads. This is
the best praise that could be bestowed on the trick--for naturally it
is only a trick. Moreover the showman is ready, for money, to explain
how it is done. If we allow ourselves to be tempted, and enter the
side-scene, we perceive on the little stage where the phenomenal woman
just appeared nothing but a large plate of glass, slightly inclined
toward the audience, and its edges hidden by drapery. Behind the mirror
there is a recess whose sides are covered with a dead-black fabric.
In front of the mirror, on the stage, sits the basket of flowers from
which issued the woman’s body. Then on an inclined board a little above
the ground lie three young girls. One of these, the middle one, is
clothed in a brilliant costume of silk of a light color, and it is she
who, in the exhibition, makes the trunk, arms, and the middle head.
Her legs are covered over with a black fabric, and she is supported
by a cushion so as to permit the two other girls to place their necks
closely against hers. The bodies of these two girls at the sides are
completely covered with a fabric of a dead-black color. In front of
these three young women are placed a dozen strong kerosene lamps
provided with reflectors.
The heads, hair, and arms of the “body” are covered with powder, so as
to present completely white surfaces. Such is the secret as revealed
from the side-scene, and it will now be understood how the phenomenon
is produced. All the white or light-colored surfaces being strongly
lighted by the lamps that reflect the light, their image is sent by
the glass toward the spectators, who perceive then the body of the
female, her two arms, and her three heads. All the portions covered
with black are, on the contrary, absolutely invisible in the glass, and
the spectators cannot see that they exist. The phenomenon is, on the
whole, a curious application of the effects of reflection which were in
fashion some twenty years ago under the name of “living ghosts,” and
by means of which it was possible in theaters to cause the apparition,
alongside of living persons, either of undecided forms or of bodies not
resting on the ground.
The “Gingerbread” Fair this year showed a two-headed woman produced
by a slightly different process, the body and head of the woman being
seen directly, and the second head alone being seen by reflection from
a glass. This phenomenon may be varied to infinity, so to speak. To
cite only a few examples, there may be produced by the same process a
decapitated person who talks; a decapitated person who holds his head
in his hand, and a Judith and Holofernes, the head of the latter being
held by the hair by the former.--_La Nature._
The Mysterious Voice.
“Some time ago,” says a correspondent of _La Nature_, “I was walking
around in a side show in which were exhibited mechanical portraits,
when I was surprised to hear myself called: ‘Monsieur! Monsieur!’
* * * I discovered that the voice came from a tin trumpet, which was
held in the mouth of a negro’s head made of wood, and suspended by a
small brass chain from semicircles of iron supported by a wooden frame”
(Fig. 1). The effect produced on the spectators by this speaking head
was one of universal astonishment, and no one was capable of solving
the mystery. The arrangement for producing the illusion is very simple,
however, and is thus explained by the writer above referred to:
[Illustration: FIG. 1.--THE SPEAKING HEAD.]
A person hidden behind the scenes speaks into a tube two or three
centimeters in diameter which runs from that point to the wooden frame,
and in the interior of the horizontal and upright pieces of which it
passes till it reaches the suspended head at A, as shown by the dotted
lines, E, D, C, B, A. The voice thus transmitted is reflected from the
sides of the trumpet, H, to the person holding a conversation with the
head.
[Illustration: FIG. 2.--THE SPEAKING GLASS CASE.]
[Illustration: FIG. 3.--THE INVISIBLE GIRL EXPERIMENT.]
This experiment, which is analogous to the one that precedes, was
explained by Nicholson, in 1832, in his _Journal de Physique_. Although
at first offered as a physical experiment, under the title of an
“experiment in acoustics,” it has since changed name and master, and is
now dignified by the imposing name of “invisible girl.”
Fig. 2 shows the arrangement of the original apparatus, which consisted
of a glass case, X, about four feet long by about one in height,
suspended from the ceiling by four chains at a distance of a foot from
the window frame. From the extremity of the case projected a speaking
trumpet, and the entire apparatus was surrounded by a latticework of
iron wire to prevent its being touched by the hands of the curious. The
phenomenon, although a puzzling novelty at the time, did not attract
much of a crowd, as it was not managed with sufficient address, and the
surroundings were not of a nature to please fashionable people. This
apparatus was improved upon and rendered more elegant in appearance
by Prof. Robertson. Fig. 3, copied from an old engraving, shows this
latter arrangement. A globe, A, made of glass or enameled sheet iron,
and to which are attached four trumpets, is suspended from the middle
of the room. This globe is not necessary for the experiment, but is
only an accessory to impose upon the imagination. Around it is placed
a framework, B, which is very necessary, for it is hollow, and it is
through it that the voice of the invisible person is heard. A tin
tube passes through the upright C and then runs to D, where there is
a small slit or aperture opposite the trumpet. This tin tube passes
under the floor of the room, and runs into the neighboring room, whence
the pretended invisible person speaks, and sees everything through the
keyhole or through an aperture in the wall. This is all there is of the
mystery.
An Improved Psycho.
Let me explain to those who have not seen “Psycho” that it consists
of a small figure dressed as a Turk, sitting cross-legged (as shown
by dotted lines) on a chest; this chest is in turn supported on a
glass tube, about 12 in. in diameter and 3 ft. long, which rests on a
four-legged stool. The bottom of chest and top of stool are covered
with green cloth, so as to make a tolerably air-tight joint. The right
arm is extended as per drawing, and a semicircular rack, in which are
placed the 13 cards dealt to “Psycho,” is fixed by means of a bracket
(not shown) in such a position that the edges come between the finger
and thumb, as shown at *. The arm turning horizontally on the pivot A,
the hand can be brought over any card, and by closing the finger and
thumb and raising the arm the card will be withdrawn from the rack and
held in the air.
[Illustration: _FIG. 1. a._]
[Illustration: _FIG. 1. b._]
In Figs. 1_a_ and 1_b_ (elevation and plan) the wheels E and M have
each a train of clockwork (left out for the sake of clearness),
which would cause them to spin round if unchecked. M, however, has
two pins, _p_ _p′_, which catch on a projection on the lever, N. E is
a crown-wheel escapement--like that in a bottle roasting-jack--which
turns A alternately to the left and right, thus causing the hand to
traverse the 13 cards. A little higher on A will be seen a quadrant B
(see plan) near the edge of which are set 13 little pins. The end of
the lever N drops between any two of them, thus causing the hand to
stop at any desired card. The lever being pivoted at _c_ it is obvious
that by pressing the end, N, B will be set at liberty, and the hand
will move along the cards; by slightly raising it this motion will
be arrested; by raising it still more the pin _p_ is released and M
commences to revolve, and by again depressing N this wheel will in
its turn be stopped. Near the bottom of the apparatus is a bellows O,
which contains a spring tending to keep the lever N, with which it is
connected by a rod X, in the position shown. This is connected with
the tubular support, which may be connected by a tube through the leg
of the stool, and another tube beneath the stage, with an assistant
behind the scenes. By compressing or exhausting air through this tube
it is obvious that the lever, N, will be raised or depressed, and
the clockwork set going accordingly. _a_ is a crankpin set in M, and
connected with the head by catgut, T, and with the thumb by S.
At R and R′ are two pulleys connected by gut. Thus if the hand moves
round the head appears to follow its motions, and when raised by
pulling S the head rises also by means of T. Further explanation
seems almost unnecessary; _l_ is a stop to prevent the elbow moving
too far, and _b_ _b′_ spiral springs to keep thumb open and head forward
respectively. When N is raised M pulls T and S, the latter closing
thumb, and then raising arm by pulley H. If the lever is allowed to
drop _p′_ will catch and keep arm up. On again raising N the arm will
descend.
[Illustration: _FIG. 2. a._]
[Illustration: _FIG. 2. b._]
Figs. 2_a_ and 2_b_ show another and simpler arrangement, in which
only one train of clockwork is used. On the same axle as H is fixed
a lever and weight, W, to balance the arm. A vertical rod, X, having
a projection, Z, slides up and down in guides, Y Y, and carries the
catgut S and T. The quadrant, B, has cogs cut, between which Z slides
and stops the motion of A, which is moved, as before, by clockwork.
The lower part of X is connected direct with O. When X is slightly
raised, as shown, A is free to move, but on exhausting air and drawing
X down Z enters the cogs and stops the hand over a card; continuing
to exhaust the thumb closes and the card is lifted up. The details of
the clockwork I leave to the ingenuity of your readers. There should
be a fan on each train to regulate the speed. The figure should be
so placed that your assistant can see the cards in the semicircular
rack.--_English Mechanic._
Magic Cabinets, Boxes, Etc.
Magic cabinets are much employed by magicians. The following is an
example of one of the scenes that may occur with them:
When the curtain rises there is seen in the center of the stage a
large dark colored cabinet, ornamented with mouldings, and mounted
upon legs that are a little longer than those of ordinary cabinets,
the object being to remove all possibility of a communication with the
stage beneath. These legs are provided with casters. The showman turns
this cabinet around and shows that there is nothing abnormal about it
externally. He then asks some of the spectators to come up close to
it, and lets them examine its interior, which is entirely empty. There
is no double bottom, nor any hiding place. When the witnesses have
made themselves certain of this fact they station themselves around
the stage, and a certain number of them even consent to remain behind
the cabinet and see nothing of the experiment. The cabinet being thus
surrounded on all sides, and even one being able to look under it,
fraud would seem to be an impossibility.
[Illustration: FIG. 1.]
A young woman dressed as a danseuse then comes onto the stage and
enters the cabinet (Fig. 1), and the doors are closed upon her. In a
few moments the doors are opened again, when, lo and behold! the closet
is empty, the young woman having disappeared. Then the doors are
closed again, and then opened, and the danseuse makes her appearance;
and so on. At the end of the experiment the witnesses examine the
cabinet again, and, finding nothing changed therein, are justly
stupefied.
In another style of cabinet there is no bar in the center, as shown in
Fig. 1, but there is observed on one of the sides in the interior a
bracket a few centimeters in length, and back and above this a shelf.
This arrangement permits of performing a few experiments more than
does the one just described. Thus, when the woman has disappeared the
showman allows a young man to enter, and he also disappears, while
the young woman is found in his place. This is a very surprising
substitution.
The box into which the harlequin takes refuge, and which appears to
be empty when Pierrot or Cassandra lifts the curtain that shields its
entrance, is also a sort of magic cabinet.
In a series of lectures delivered a few years ago at the London
Polytechnic Institution, a professor of physics unmasked the secret
of some of the tricks employed on the stage for producing illusions,
and notably that of the magic cabinet. The lecturer, after showing the
cabinet and causing the disappearance therein of an individual while
the doors were closed, repeated the same experiment with the latter
open. But in the latter case so quick was the disappearance that the
spectators could not even then see how it was done.
[Illustration: FIG. 2.--PLAN EXPLANATORY OF THE CABINET.]
The illusion produced by these apparatus is the result of a play of
mirrors.
In the first cabinet described (Fig. 1), when the exhibitor has closed
the doors upon the young woman, the latter pulls toward her two mirrors
that are represented in Fig. 2 by the lines G G. These mirrors are
hinged at O O, and when swung outward rest by their external edges
against the bar P, and then occupy the position shown by the dotted
lines G′ G′. When the cabinet is again opened the woman, placed at A,
is hidden by the two mirrors; but the appearance of the interior of the
cabinet is not changed, since the spectators see the image of each side
reflected from the corresponding mirror, and this looks to them like
the back of the cabinet.
The illusion is perfect. When the experiment is ended and the mirrors
are again swung against the sides, at G G, the spectators see nothing
but the backs of them, which are covered with wood; the cabinet is
really empty, and no one can discover what modification has taken place
in its interior during the disappearance of the woman.
In the second arrangement, which is shown in vertical section in
Fig. 3, the young man gets up onto the shelf _c n_, at the upper part
of the cabinet, by the aid of the bracket T, and then pulls down over
him the mirror _b c_, which was fastened to the top of the cabinet.
This mirror being inclined at an angle of 45 deg. reflects the top, and
the spectators imagine that they see the back of the cabinet over the
shelf just as they did before.
The box which the harlequin enters is based upon precisely the same
principle. Its interior is hung with paper banded alternately blue and
white. When the harlequin enters it he places himself in one of the
angles and pulls toward him two mirrors which hide him completely, and
which reflect the opposite side of the box, so that the spectator is
led to believe that he sees the back of it. In this case one of the
angles at the back of the box is not apparent, but the colored stripes
prevent the spectator from noticing the fact.
[Illustration: FIG. 3.--SECTION EXPLANATORY OF THE CABINET.]
=The Magic Portfolio.=
This is an apparatus which an itinerant physicist might have been
seen a few years ago exhibiting in the squares and at street corners.
His method was to have a spectator draw a card, which he then placed
between the four sheets of paper which, folded crosswise, formed the
flaps of his portfolio. When he opened the latter again a few instants
afterward the card had disappeared, or rather had become transformed.
Profiting then by the surprise of his spectators the showman began to
offer them his magic portfolio at the price of five sous for the small
size and ten for the large.
The portfolio was made of two square pieces of cardboard connected by
four strings, these latter being fixed in such a way that when the two
pieces of cardboard were open and juxtaposed the external edge of each
of them was connected with the inner edge of the other.
This constituted, after a manner, a double hinge that permitted of the
portfolio being opened from both sides. To one pair of strings there
were glued, back to back, two sheets of paper, which, when folded over,
formed the flaps of the portfolio. It was only necessary, then, to open
the latter in one direction or the other to render it impossible to
open more than one of the two sets of flaps.
This device is one that permits of a large number of tricks being
performed, since every object put under one of the sets of flaps will
apparently disappear or be converted into something else, at the will
of the prestidigitator (Fig. 4).
=Magic Envelopes.=
This trick is a simplification of the foregoing. The affair consists of
several sheets of paper of different colors folded over, one upon the
other. A card inclosed within the middle envelope, over which have been
folded all the others, is found to have disappeared when the flaps are
opened again. The secret of the trick is very simple. One of the inner
sheets of paper--the second one, usually--is double, and, when folded,
forms two envelopes that are back to back. It is only necessary then
to open one or the other of these latter to cause the appearance or
disappearance or transformation of such objects as have been inclosed
within it. (Fig. 4.)
[Illustration: FIG. 4.--MAGIC PORTFOLIO, ENVELOPES, AND BOXES.]
=Magic Boxes.=
Magic boxes are of several styles, according to the size of the objects
that one desires to make disappear.
There is no one who has not seen a magician put one or more pigeons
into the drawer of one of these boxes, and after closing it open it to
find that the birds have disappeared. Such boxes contain, as shown in
Fig. 4, two drawers, which, when pulled out, seem to be but one; and it
is only necessary, then, to pull out the inner one or leave it closed
in order to render the inclosed birds visible or invisible.
In order to cause the disappearance of smaller objects trick performers
often employ a jewel box, and, after putting the object (a ring, for
example) into this, they hand it to some person and ask him to hold
it, requesting him at the same time to wrap it up in several sheets of
paper. But this simple motion has permitted the performer to cause the
ring to drop into his hand through a small trap opening beneath the
box. Yet, while he is doing this, the spectators think that they hear
the noise made by the ring striking against the sides of the box. But
that is only a delusion; for the noise that is heard proceeds from a
small hammer which is hidden within the cover under the escutcheon,
and which is rendered immovable when the latter is pressed upon by the
performer. The box can thus be shaken without any noise being heard
within it, and the spectators are led to believe that the object has
disappeared.
Double-bottomed boxes are so well known that it is useless to describe
them. Sometimes the double bottom is hidden in the cover, and at
others it rests against one of the sides. Such boxes permit of the
disappearance or substitution of objects that are not very thick, such
as a note, an image, or a card.--_La Nature._
The Swinging Half Lady.
An arrangement is made similar to a hammock, which is attached to the
back of the cabinet, and is then affixed to a false wooden bust made to
fit the bust of the lady. It should be thickly padded where the part
of her body rests upon it, and should be tightly strapped to the lady
across the shoulders and back. The bust is covered with silk, satin, or
any fine dress material, and trimmed to represent a lady’s low-necked
dress bodice with short shoulder sleeves. The remaining portion of the
lady is encased in a dark-colored skirt (black velvet is the best), and
her feet are firmly strapped to a wood rest at the back of the cabinet,
as shown in Fig. 2. The bust is supported upon a swing, in the front of
the cabinet. Four brass chains support a slab of wood about 28 inches
long by about 8 or ten inches in width.
Midway up the chains at each side is a cross piece of wood fixed to
the chains by which, when the lady grasps them with her hands, she can
easily lift the bust from the wood slab, allowing a sword to be passed
beneath the bottom of the bust and the top of the wood slab. When the
lady is supported upon the swing she cannot swing _forward_, but can
only swing with a slight _sideway_ motion, because if she attempted to
swing forward the slab of wood would then no longer support the bust,
and the performer would be in danger of breaking her back, as she would
have no other support to sustain her, except the back of the cabinet to
which her feet are strapped.
The slab of wood forming the swing is made in some cases with two
half-round holes, to allow the lady to place her hands through, to show
that she can pass her hands beneath her.
[Illustration: FIG. 1.]
The interior of the cabinet should be of one uniform color, if possible
of a dark blue or dark maroon. It should be about six feet in depth
by about five to seven feet across the front, according to fancy. The
front should have either _dark_ blue, maroon, or green baize curtains,
so made as to draw right across. On each side of the cabinet are
affixed two lamps, as in Fig. 1, with large plated reflectors about 10
or 12 inches in diameter. These should be so fixed that the curtains
can be drawn at the back of them; and thus, when lighted, reflect
a strong and powerful light _outward_, throwing the interior of the
cabinet into deep and gloomy shadow. It must be evident, therefore, to
the reader that the four lamps and reflectors play a very important
part in making this illusion perfect, because in consequence of a
strong, bright, and dazzling light being reflected into the eyes of the
spectators it is impossible for them to distinguish anything inside the
cabinet, beyond the bust and head of the lady.
The position for the lady performing is one of pain. In the first place
she has to be tightly strapped to the bust, which causes difficulty
in breathing and talking; and, again, the head must be held well back
to make it appear from the front as if the false bust and neck were
completely one and upright.
[Illustration: FIG. 2.]
Many ladies performing this illusion cannot help showing in their look
the pain and suffering they are experiencing even when before their
audiences, thereby spoiling the effect the illusion would have had if
their features had been composed and the face wreathed with smiles.
The Aerial Suspension.
[Illustration]
This trick has been before the public for many years, but when
performed still causes considerable sensation. The apparatus required
is, first, a kind of iron corset, for which the performer doing
this trick must be properly measured and accurately fitted with it,
according to his or her size and build. This corset is strapped upon
the body, and attached to it is a rod passing down the right side
from beneath the arm, almost to the right knee. Below the arm is a
projecting piece so made as to fit into a socket, and almost in the
shape of a crutch; and the rod passing down the side of the performer
is so constructed that when a person has this apparatus strapped
securely upon him or her, and the projecting piece under the arm is
fitted into the socket of the pole, the body can be raised, and the
toes in rising will describe an arc of about 90 deg., assuming the
position shown in the figure. To effect this two poles are required of
the same length, one made of wood and the other of iron; the latter
being fitted into a socket in the stand, and having also a socket in
the top, in which is fixed the projecting piece under the arm, and
this rod therefore supports the whole weight of the body during the
performance. The two poles are both painted the same color, and to the
audience both appear to be the same.
The performer will have to provide a specially made costume to suit
the working of the apparatus. The young lady (we will imagine that it
is a lady who performs this suspension feat) is brought forward by the
professor, and the two rods are shown, and a stool is placed on the
stand on which the lady steps. The iron rod is now placed in position
and fixed under the right arm, and the wood rod is placed under the
left; the professor, now making a few passes with his hands, apparently
sends the lady performer into a mesmeric sleep, and gently draws the
rod from under the left arm and lays it down. Making a few more passes
he gradually raises the body of the lady into a horizontal position,
and she will appear to be suspended almost in the air. With a little
practice the body can be placed into any position. When the lady has
been suspended long enough, make a few more passes and gently lower
the body until in an upright position, and again place the wood rod
under the left arm and place the stool beneath her feet, and taking a
handkerchief wipe the lady’s face, and she will appear to awaken and
will step down from her exalted position.
An improvement has lately been introduced in the apparatus; the iron
column is hollow, and through the center another rod is worked from
beneath the stage, and in the socket of the iron rod at the top are
placed a number of teeth which catch corresponding teeth in the
projecting piece under the arm, and this being worked from below the
stage will cause the body of the lady to slowly rise into a horizontal
position without being so placed by the professor. This is certainly a
very great improvement in the mode of working, as while the professor
simply makes a few passes with his hands the body gradually rises,
apparently to the audience without any visible means whatever.
The Ghost Illusion.
This illusion, which created so much sensation in London and first
known here as “Pepper’s Ghost,” I will endeavor to explain, and make
the working of it as clear as I possibly can to the reader. It is
caused by the figure of a man or woman being reflected upon a sheet
of glass, and the audience looking through this glass, apparently see
the figure upon the stage, but in reality it is not so, being only
upon the glass. In the first place a sheet of plate glass perfectly
clear and without a blemish must be procured, and of such a size that
it will show the image or reflection of the performer who impersonates
the ghost. This glass is fixed at the front of the stage and inclined
slightly toward the audience. In front and below the stage a chamber
is made, completely concealed from the eyes of the audience, but
having an opening at the upper part, through which the reflection of
the person below is thrown upward upon the sheet of glass. The reader
can understand the position better by referring to the accompanying
cut. The body of the person to be reflected is against an inclined
plane, which is covered with black cloth. This inclined plane is fixed
upon castors, and the person leaning against it, moving this slightly
with his feet, either to the right or left, will cause it to appear as
if the ghost was either walking forward or backward. Below the stage
a person is placed with a powerful lantern, and the light from it is
thrown upon the figure representing the ghost, thus causing it to be
reflected strongly and brightly against the glass fixed above. The
stage must be darkened and dimly lighted, otherwise the ghost will
hardly be visible. In making various motions of the body the ghost
actor must reverse his movements; for example, if he raises his left
arm the figure reflected above will appear to raise its right arm. The
glass, as I stated before, must be without a blemish, and fixed at an
angle of 20 deg., inclining forward toward the audience, and the nearer
the audience are seated to it the larger the glass must be. The size
of the glass depends upon the height of the figure to be reflected and
the size of the stage and the theater or hall in which it is exhibited.
This again will be understood by referring to the figure, in which A
represents the eyes of that part of the audience seated in the lower
portion or body of the hall, while B represents the eyes of those who
are seated in the boxes or gallery, thus showing the angle by which
the height of the glass is determined, as the angles of incidence
are always equal to the angles of reflection; and the same angles
of incidence are likewise equal to the corresponding angles of the
reflected figure.
[Illustration]
This illusion was invented in 1863 by Prof. Pepper, by whom it was
patented, and for a long period it was exhibited at the Polytechnic in
London, in various forms and guises, and drew thousands from all parts
to see this wonderful exhibition. Although it cannot now be classed
as a “novelty,” yet it still creates a great sensation whenever and
wherever it is exhibited.
[If the reader desires to pursue this subject further he is referred to
“The Art of Modern Conjuring,” by Prof. Henri Garenne, to whom we are
indebted for much that we present here. Ward, Lock & Co., publishers,
New York and London.]