Fig. 5.—Instantaneous knots.
Bring the first and second fingers (1 and 2, Fig. 5) over C, catching hold of the end, A, behind the wrist. This will be easy after a few attempts, but you must be careful to see that the end A is of fair length, otherwise the trick will be impossible.
Now bring the end A up through the resulting loop by means of the two fingers. The consequence will be a knot in the end of the handkerchief. Your left hand has, meanwhile, been doing the same thing and with equal rapidity, so that it will appear to the spectators that, by a sudden flash of the hands, you have formed two tight knots, one at each end of the silk.
A Flick Knot
Hold the handkerchief stretched between your two hands in the manner shown in Fig. 6—that is, inside the first and second, and outside the third and fourth fingers of each hand.
Fig. 6.—A flick knot.
Give the left hand a half turn, as in Fig. 7, thus enabling the first and second fingers of the right hand to grip the end A, whilst at the same moment the thumb and third finger of your left hand catch hold of the end B.
Fig. 7.—Second stage of the flick knot.
Slip free the fingers of the left hand, excepting those holding the handkerchief, and you will find a loosely made knot. A smart flick of the right hand will now complete the trick, and if you have done all this very rapidly none of the movements will have been noticed by the audience.
The Disappearing Knot
The foregoing remarks have dealt entirely with making knots in the handkerchief. By following the instructions now given you will be able to make a knot disappear entirely.
Take two differently colored handkerchiefs—red and white, for instance, and cross them, as in Fig. 8. Now make a simple knot similar to that shown in Fig. 9. By laying D over C and making another simple knot, as in Fig. 10, the red end will appear on the left, whilst the white end will be on the right. This is called a Grannie’s knot.
Fig. 8.—Colored silks for disappearing knot.
Fig. 9.—Simple knot for disappearance.
Fig. 10.—Grannie’s knot.
It is now plain that if you take hold of each end of the red handkerchief it can be pulled quite straight and entirely free of the turns so closely resembling a genuine knot. Heighten the deception, however, by seizing the end D and the bulk of the red handkerchief and pulling them with all your strength. The knot will now appear to have been tied most securely.
Take several handkerchiefs and tie them in the same way, making apparently a well-fastened rope to be exhibited to the spectators. Bunch them all together on a table, and under cover of the folds pull all the ends free, exhibiting as a result a number of separate handkerchiefs, not one of which has a knot of any description.
CHAPTER XXII
BLACK STAGE MYSTERIES
A Wily Worker of Wonders
The best method by which to advocate the “black stage” as a means of entertainment, will perhaps be to describe one of the many illusions that can be produced with its aid.
The audience first witnesses the performer—who is generally made up as a Chinaman—and a young lady dressed in white, standing in the center of a small “black stage,” as shown in Fig. 1.
Fig. 1.—The floating head.
The performer then throws a white cloth over the lady’s head. Without a moment’s pause he draws it away again, and—hey, presto!—the lady is headless! The Chinaman next takes a larger cloth, and holds it before the lady in such a manner that she is entirely hidden from the spectators. A second later, however, he drops the cloth to the ground. This time the audience is treated to the spectacle of the head of the lady floating in the air. More wonderful still, the head can speak, sing, and answer any questions that may be put to it.
After a while the illusionist picks up the cloth, and holding it before the head, once more cuts off the view of the spectators. Upon its being drawn away for the third time, nothing whatever is visible—even the mysterious head has vanished. But when the cloth is held up again and withdrawn, the young lady—in her entirety—appears, and after bowing to the audience, walks unconcernedly off the stage.
Almost every well-known conjurer has stated at one time or another that the secret of his success may be summed up in the one word—practice. But there are very few young ladies who would have either the courage or the ability to practice being decapitated. The ordeal might prove a trifle too exciting. However, they may pass through it without fear if the following method, given in explanation of the illusion, be adopted.
The interior of the stage must be fitted throughout with black cloth. The lights in the room are lowered, the only illumination of any brilliance being a row of candles or lamps, at the side of the stage. These are equipped with tin reflectors, so that the light, instead of shining on the stage, is projected into the eyes of the audience. The effect of this is that, whilst any white object can be seen quite plainly by the spectators, everything black remains invisible.
When the performer envelops the young lady’s head in the white cloth, he at the same moment throws over her a piece of black material of similar size and shape, attached to it by one corner. When he removes the white cloth, however, he allows the black cloth to remain, thus veiling the head and apparently causing it to disappear.
Another and larger piece of black material is similarly hidden in the folds of the second white cloth. Directly the performer spreads this before the lady assistant, so that she is hidden from the audience, she rapidly pulls off her head-veil, and taking the large black sheet, muffles herself in it up to the neck. Consequently only her head remains visible. In order to disappear entirely, it is only necessary for her to replace the head-veil or to pull the larger black cloth up over her face.
The Essential Assistant
It is usual when working illusions of this description to have the assistance of a third person. This assistant must be dressed completely in black, with black gloves and a black mask. The latter can very easily be made from a piece of silk, or any other material that is slightly elastic. It should be stitched into the form of a cylinder sufficiently large to pull over the head. Two eyeholes are then cut in the desired position, and the mask is complete (Fig. 5).
Garbed in this somber attire, the assistant is able to move about the stage quite freely without being seen by the audience, and to lend powerful but invisible aid in accomplishing many first-class deceptions. However, this point will be referred to later, and attention should now be turned to the construction of the “black stage” itself.
Fig. 2.—The finished frame.
Fig. 1 illustrates the appearance of the finished stage, and Fig. 2 shows the framework of which it is constructed. This framework is comprised of a number of laths fastened together by the method shown in Fig. 3. A small metal rod—a long nail with the head filed off will suffice—is driven into each upright lath. This must be done carefully or the wood will split. Next a hole is bored by means of a drill or red-hot poker in each of the laths fitting upon these uprights. By placing the hole in each cross lath over the nail in the upright lath, as shown in Fig. 3, the framework can easily be put together or taken to pieces, when it is necessary to convey the stage from one point to another.
Fig. 3.—Laths fastened together.
Fig. 4.—Method of joining laths of frame.
Fig. 5.—Cloth or silk mask.
Fig. 4 depicts the mode of fixing two laths together lengthwise. Instead of having one long lath, it considerably facilitates conveyance if two smaller laths are joined by two thumbscrews as shown in Fig. 4. A joint of this description is also shown at C, Fig. 2.
As can be seen by the diagram, the framework is simply a skeleton box; but a little way beyond the center another lath should be carried across at the top (A B, Fig. 2). Two curtains of black cloth must be obtained and fastened to this lath so that they overlap at the center (D, Fig. 2).
It will now be noticed that this curtain divides the stage into two separate compartments. The first of these is the stage proper, upon which the illusionist performs his various mysteries. The second compartment is reserved to provide an exit for the performer and his assistants, the flap in the curtains acting as a doorway. Some of the apparatus required for the various illusions may also be kept here during the performance.
The dimensions of the stage depend entirely, of course, upon the size of the room in which the entertainment is to be given. The minimum width, or “length of frontage,” should not be less than ten feet, and the distance from the front of the stage to the beginning of the partition curtain not less than six feet. The distance from the partition curtain to the back of the stage is not of great importance. Provided there is room for the assistant to move about, this is all that is required. Two and a half feet is ample.
The following dimensions will be found about as convenient as any; but if the reader is in a position to construct a larger stage, so much the better.
Frontage, 12 ft.; height, 7 ft. 6 in.; distance from front to partition curtain, 7 ft. 6 in.; from partition curtain to back of stage, 3 ft.
Having decided upon the measurements of the stage, a further supply of black cloth must be procured and fitted completely over the framework. It is preferable to have this cloth already stitched into shape (Fig. 6), so that it can be simply drawn on over the box-like structure of laths.
Fig. 6.—Cloth covering for frame.
It is also necessary to spread another piece of black cloth upon the floor.
Lastly, the stage front must be decorated. These decorations consist merely of two curtains hooked at each side of the opening, and a frieze draped along the top lath, as shown in Fig. 1.
The lighting arrangements must be left largely to the discretion of the reader. If he be a “handyman,” he can fit four incandescent gas burners to the front of the show. A very effective, although primitive, method of lighting is illustrated by Fig. 7. Two pieces of wire are hooked to the top lath, a pair at each side, and three small bull’s-eye lanterns fastened at intervals to them (see diagram).
Fig. 7.—Method of lighting.
Fig. 8.—Another method of lighting.
Yet another method is depicted in Fig. 8. About half-a-dozen holes are bored in a piece of gas-piping, which is stopped at one end. Ordinary burners are screwed into these holes and tin reflectors attached. The whole arrangement is then bound securely to the top lath after the framework has been fitted together. It is then necessary only to fix a length of gas-tubing from the open end of the pipe to the nearest gas-fitting. If the reader decides upon the latter method of illumination, his best course will be to go to a plumber and place the job entirely in his hands.
The chief thing to bear in mind is, that no light must shine into the stage, the only illumination being projected into the eyes of the spectators, thus dazzling their vision as much as possible.
The stage described can, of course, be greatly improved upon. The above description is intended simply as a rough guide for the boy whose skill in carpentry does not extend much beyond knocking a nail or tin-tack properly into a piece of wood, which, by the way, is not such an easy task as most people imagine.
Having constructed a stage suitable for working purposes, we may proceed with another illusion.
The Floating Barrel
The performer, who, as previously stated, should be dressed as a Chinaman, or in a white costume of some description, stands alone in full view of his audience. Presently he makes a beckoning motion, and a large white barrel floats slowly into view. To the amazement of the spectators, it drops gently to the ground at the magician’s feet.
He then turns to the other side of the stage and repeats the beckoning motion. Immediately a second barrel makes its appearance, and deposits itself on the ground a short distance from the first.
Turning to the audience the performer borrows a dozen or so rings, chains, and other trinkets. Walking back to the stage, he holds the borrowed trinkets above the mouth of one barrel, and clearly drops the mass of jewelry into it. The next moment, without a second’s pause, the illusionist seizes the barrel and turns it upside down.
Nothing falls out. It is perfectly empty!
Thereupon he darts to the other barrel, turns it over, and out shower the trinkets.
The performer replaces them, and immediately overturns that barrel as he did the first. But once again the jewelry is found to have disappeared. Nor can it be discovered in the other barrel.
Retreating to one side of the stage, however, the illusionist waves his hands. There is a slight flash, and a small Japanese table is seen standing in the center of the stage, with the trinkets heaped upon it.
This is a very effective illusion, but it can be even improved upon, as the reader will see when he has read the following simple explanation of the trick.
Its success lies almost entirely with the “black” assistant previously referred to. The “floating” barrels are simply carried in by this assistant, who must take care to hold them in such a manner that his black-gloved hands do not show up against the white wood.
Whilst the performer is collecting the articles of jewelry the assistant holds a small bag or sack in the mouth of the barrel. Consequently, when the performer drops the trinkets into the barrel, they in reality enter the sack, when it is a simple thing for the assistant to transfer them to the second barrel—the black bag rendering them invisible during transit.
Immediately the performer appears to deposit the trinkets in the barrel for the second time, the assistant again secures them in his small sack. This time, however, he carries them to the side of the stage, where a Japanese table has been placed in readiness out of sight of the audience. This table is draped with black cloth, which, as already explained, makes it invisible. The assistant merely lifts up this cloth and empties the trinkets from the sack on to the table. Then, replacing the cloth, he carries the table and its contents to the middle of the stage.
Next he simply whisks away the black cloth when the performer gives the signal, and the table, with its small heap of jewelry, stands revealed.
As previously stated, this illusion can easily be improved upon. For instance, the “black” assistant can place a live rabbit in one of the barrels, giving the audience the impression that the jewelry has undergone a somewhat extraordinary, though unprofitable, transformation.
The performer should attempt to vary the nature of his entertainment as much as possible, and the following illusion could very well occupy the next place upon the programme.
In obedience to the performer’s command, a large white box or wicker-basket floats on to the stage. This, as the reader will have been able to gather from the explanation of the previous illusion, is simply carried on by the “black” assistant.
After having shown that the box or basket—as the case may be—is perfectly empty, the illusionist raises it from the stage by placing four blocks, one under each corner. This is to prove the impossibility of a “false bottom” or trap-door being used.
A man now walks on to the stage, with a white sheet wrapped round him, and looking like a Dervish or bernoused Arab. Stepping into the basket, he coils himself up until he is concealed at the bottom.
There is a pause of a few seconds, after which a low groan issues from the interior of the basket. A moment later the sheet is seen to shoot up into the air, and collapse in a heap upon the stage. Both sheet and basket are examined; but their human occupant has disappeared—has vanished, as it were, into thin air!
The illusionist next throws the sheet back into the basket. No sooner has he done this than it is seen mysteriously to raise itself on end. Then for a second time it collapses. A moment later, however, a second disturbance is seen to be in progress inside the basket, and this time the white-robed man rises from it, and steps out upon the stage.
The secret of this illusion lies in the fact that the “black” assistant and white-robed man are one and the same person.
Directly the assistant has carried the wicker basket in, and whilst the illusionist is showing the audience that it is perfectly empty, he slips “behind the scenes,” and, taking off his black mask and gloves, hastily arrays himself in the sheet.
In this guise he again makes his appearance, and steps into the basket. No sooner has he snuggled down at the bottom, however, than he quickly throws off the sheet and replaces the gloves and mask. Giving vent to a hollow groan, he flings the sheet into the air. This for a moment diverts the attention of the spectators, and gives the assistant time to step from the basket, behind which he remains in readiness to continue with the second part of the illusion. In his black clothes he will, of course, be quite unseen.
When the performer puts the sheet back into the basket, the assistant merely stoops and slowly lifts it up, until he can step back into the basket under cover of it.
As he allows the sheet to collapse for the second time, he sinks down with it out of sight. He then again removes his black mask and gloves, and envelops his body in the sheet.
This done, the hard-worked “black” assistant in his Dervish disguise has simply to step from his place of concealment into full view of the audience, and the illusion is complete.
The Vanishing Man
Another good effect, which would act as an excellent climax to the entertainment, can be brought about as follows:
The performer makes his appearance carrying a large white shawl. This he spreads upon the ground. Taking the shawl by its two top corners, he holds it before him so that he is completely hidden.
Next he commences slowly to wave the shawl to and fro, to advance to the front, and then to retreat to the back of the stage. As he is advancing for the second time, however, the shawl is suddenly dropped, and—hey, presto!—there is nothing behind it; the illusionist has gone!
But at the very moment the shawl collapses, a loud shout is heard, and the illusionist is seen standing to the rear of the audience!
In this illusion, as in the others, the “black” assistant plays an important part. His task is not nearly so difficult, however, as those he has already been called upon to undertake. In fact, the whole illusion, although it can be made one of the most effective on the programme, is the easiest to accomplish.
Directly the illusionist picks up the shawl and holds it before him, the “black” assistant steps up and takes it. Still under cover of the shawl, the two slowly retreat to the back of the stage until they come to the opening in the partition-curtain (D, Fig. 2). It is then an easy matter for the illusionist to slip through the opening and get clear away. The assistant continues to wave the shawl slowly backwards and forwards, giving the audience the impression that the original performer is still behind it.
In the meantime the illusionist has made his way out of the room by a door in the vicinity of the stage. Thence he hurries to a door leading to that portion of the room containing the audience. Pushing this slightly open so that he may obtain a view of the stage, he waits until he sees the shawl drop, when he unexpectedly and dramatically makes his presence known.
The assistant being arrayed in black apparel will, of course, remain invisible.
The only drawback to this illusion is, that it necessitates there being two doors to the room in which the “black stage” is erected. Then again, although a room may possess the requisite doors, one of them may be so placed that it is impossible for the performer to reach it without being first seen by the audience. In such a case, however, the difficulty may be overcome by an ordinary screen placed from the door to the back entrance of the stage.
As already observed, these illusions can be easily added to and improved upon. In fact the “black stage” and its “black” assistant offer tremendous scope for a really first-class entertainment, teeming with bewildering and mystifying illusions.
If the stage is large enough, two assistants may be employed, and still more complex effects attempted. But having described several illusions of an entirely different nature, and having explained the principle upon which all such illusions are worked, it must be left to the reader to invent other “black stage” mysteries with which to entertain and bewilder his friends.
CHAPTER XXIII
CONCERNING GHOSTS
Mirror Frauds
If the Honorable Society of Stage Ghosts were to choose a motto, they would find few more suitable than the old adage, that “People who live in glass houses should not throw stones.” As the following remarks will serve to show, their very existence depends upon a sheet of glass, and if this be cracked or broken, farewell to the apparition and all its attendant mystery.
If you look out of the window of a lighted room upon a dark night, you will notice that the pane, instead of being transparent, acts as a mirror and reflects the room behind you. It is on this principle, applied to a stage, that the greater number of ghost effects are produced. Owing to the fact that apparitions are usually seen at night, a good excuse is found for having the stage darkened, whilst the gloom serves to conceal several things highly undesirable the audience should observe.
The ghost effect, as seen by the spectators, is somewhat of the following description. Any person from the audience is requested to come upon the stage and seat himself in a chair already provided. He has scarcely taken his seat when a white figure approaches him, passes in front, in doing so showing that it is transparent. Kneeling by his side, it lays a hand—a ghostly white hand—upon his arm, and appears to plead with him in a most touching manner. But the gentleman from the audience is implacable; he takes no notice whatever of his ghostly supplicant, appearing utterly unconscious of its presence.
Suddenly the object of the ghost’s entreaties becomes clear. Fumbling amongst its white robes it produces a ghostly cigar, again begs our friend with most urgent entreaties for a match, and finally, disgusted at his callous indifference, shakes a sepulchral fist at him, throws aside the cumbersome white shrouds, and appears to the spectators as a very well-dressed young man in immaculate attire. He is still a ghost, however, and calmly walks right through the gentleman from the audience, lights his ghostly cigar with an equally ghostly match, pats his friend condescendingly upon the head, and vanishes.
Unseeing and Disbelieving
“Ghost? What ghost? I saw no ghost, but I got very tired sitting up there all that time without anything happening.” So says the gentleman from the audience when he returns to his seat, and it is not until he has seen it all happen to some one else that he will believe anything really did occur.
Fig. 1.—Arrangement of stage for ghost-producing.
He is probably provoked when he finds that the next apparition takes the form of a fascinating young lady who vainly endeavors to make the young man who has taken his place kiss her. Indeed, such indifference is astounding, and all her pretty wiles and enticements are as wasted upon him as though he did not see her. As a matter of fact he does not know what pleasant temptations surround him.
In Fig. 1 the stage is shown in section, and the phenomenon is explained. C, G is the stage, upon which is a chair, H, occupied by the gentleman from the audience, I. A sheet of plate glass, A, B, rises from the floor of the stage to the flies, and extends from one wing to the other. This sheet of glass is tilted forward at an angle to be determined by circumstances. Between the footlights, D, and the end of the stage, C, is a space or well, to be occupied by the original of the ghost, K.
When the curtain is raised, the glass, A, B, is quite invisible to the spectators owing to its transparency, and the extinguishing of the footlights at D renders the whole of the stage more or less dark. The space, D, G, is also invisible to the spectators, to whom the stage appears to present nothing more exceptional than an ordinary chair.
Mr. I, as he may be called, is brought up from the auditorium, round by the wings and taken to his chair, whence, looking into the theater before him, he sees nothing of the plate of glass intervening.
Fig. 2.—The coffin trick.
Being already dressed in the conventional garb of a ghost, the actor, K, places himself in the space between D and C, whereupon strong lights on the walls, D, E, and C, F, are switched on, throwing their glare upon the actor.
Owing to the principle of reflection mentioned above, the glass, A, B, having a fairly dark background, becomes a mirror upon which is cast the reflection of the actor K. Of course, Mr. I in his chair is visible the whole time, but the spectators see in addition to him the reflection of K, which naturally appears transparent, and moves about the stage exactly as K moves in the space D, C.
The position of the chair, H, is already known to K, who is accordingly able to kneel in his space in such a position that his reflection appears kneeling to I, to go through the rest of the performance with perfect ease, and to leave our friend I perfectly ignorant of what has occurred. Returning for a moment to the example of a pane of glass in a lighted room, it must be remembered that the spectators are in the position of the persons within the room and see a reflection of what is their own side of the glass, whilst I is like a person outdoors who looks into the room unhindered. To him the stage and the audience remain the same throughout the whole performance.
A Paris Illusion
An interesting variation of this scene is produced in Paris at an old café, known as the “Cabaret du Néant,” in the Montmartre quarter. The whole interior of this restaurant is fitted up to appear as funereal as possible. Guests are served with refreshments upon coffins by waiters dressed as mourners, whilst the walls are covered with notices and advertisements of a similarly doleful character.
Upon payment of a small fee the guests are taken into a cellar, completely dark except for a small glimmer at the farther end. Having seated themselves they observe this light slowly increase until it is sufficient to disclose an open coffin standing upright.
Some person from the audience is then requested to accompany one of the attendants upon the stage, where he is asked to stand upright in the coffin. His friends and the remainder of the spectators are then informed in sepulchral tones that they are about to witness a change which it will some day be the lot of every one to undergo, being at the same time reassured that the subject of the experiment will suffer no harm from what is taking place.
A white cloth, stretching from the chin to the heels, is then tucked round the figure in the coffin, and after a few moments the living face gradually fades away and a skull is seen in its place, whilst a skeleton now fills the coffin (Fig. 2). This in its turn fades away, giving place once more to the original living occupant, who soon descends from the stage and expresses himself much surprised at what his friends describe, as he himself has seen nothing of the ghastly change.
As in the former experiment, a large sheet of plate-glass is interposed between the audience and the rear of the stage where stands the coffin. This plate of glass is placed diagonally, as can be seen in the plan, Fig. 3. The coffin, C, is lighted by several electric lamps when the man takes his place in full view of the audience. At D is another coffin in the wings, invisible to the man at C, as also to the spectators. When the white cloth has been wrapped around the living person, the lights are slowly switched off at C and on at D, with the result that the skeleton in the latter coffin is reflected in the glass, A, B, in such a manner that it appears to be actually within the coffin, C. To bring the man back to life the operation is reversed.
Fig. 3.—Plan explaining coffin trick.
The object of wrapping the white cloth about the living person is simply to hide any difference in size between him and the skeleton in D. Both coffins have, of course, been properly arranged to suit the reflections before the commencement of the experiment.
The Sea Nymph
The Sea Nymph, shown in Fig. 4, is really a beautiful illusion. The scenery represents a rolling sea beneath an azure sky, flecked here and there with skimming clouds. Suddenly from out the waves a graceful form is seen to appear, and, rising steadily, gambol in the billows. Circling in the air, she plunges down into the waves, only to reappear once more, and repeat her charming sport.
The sheet of glass is arranged for this performance as in the case of the ghost, Fig. 1. The scenery, A, B, Fig. 5, is painted as described, to represent the sea, and at L and M are placed additional waves, close to the footlights. The glass, H, K, descends diagonally. D, E is a large circular disc revolving upon an axle, F, which is connected by a rope or wire to a barrel and handle, G. At C and M strong lights are thrown upon this disc.
Fig. 4.—The sea nymph.
The young lady who performs the part of the nymph is suitably attired, and takes her place, lying upon the disc, D, E. At the proper time the lights are thrown upon the disc, with the result that the spectators see her reflection in the glass, H, K, as though she were really standing upright amongst the scenery on A, B. By turning the handle at G, the disc is made to revolve, carrying with it the recumbent nymph, who now appears to be turning elegant somersaults amongst the waves.
Fig. 5.—Plan explaining sea-nymph illusion.
The only difficulty about presenting any of these effects at home is the inconvenience of obtaining and handling so large a sheet of plate glass as is necessary. A good ghost effect can be easily produced, however, in a room with a large French window.
The window must be fastened open at an angle that will have to be ascertained by experiment. The room should then be thrown into complete darkness. The ghost takes his place outside the window and against the wall, D, F (Fig. 6), with two lamps, B, so arranged as to cast their light upon him. These lamps should be shaded in such a way that they cast no glare except upon the figure of the ghost.
Fig. 6.—Plan of room for ghost illusions.
What happens is very plain. The open window, G, C, reflects the shrouded figure of the ghost at A, making it appear to stand in the doorway, pointing ominously at some startled person sitting in the dark room. It may be added that it is but fair to inform the spectators of what is about to take place, as many people are alarmed at apparitions, and have nerves too weak to stand the sudden appearance of a ghost.
CHAPTER XXIV
SOME STAGE ILLUSIONS
For Home Presentation
Although from earliest times wizards and conjurers have attempted to create illusions to impose upon the more credulous of their dupes, it was not until the great Robert Houdin devoted his attention to the matter that any real progress was made in the art. Yet such was the genius of Houdin that his inventions have hardly been superseded in the many years which have elapsed since his death, whilst in the greater number of cases his original plans have barely been improved upon.
Fig. 1.—The principle of reflection.
Having dealt with the subject of stage apparitions in the previous chapter, it is the intention here to describe and explain the best illusions in so simple a manner that, with the minimum of trouble, any amateur can construct the apparatus necessary for their production. The successful working of the performance depends entirely upon the skill of the exhibitors.
A great number of stage illusions are based upon the principle that a person looking into a mirror from any angle sees the reflection of objects at a similar angle from the opposite direction. This is borne out by Fig. 1. Supposing A, B to be the mirror, with the spectator standing at D, he will see the reflection of an object at E, the angle D, F, B being equal to the angle E, F, A.
A simple adaptation of this principle is seen in
The Magic Cupboard
This is a large cupboard, of sufficient height to hold a man comfortably, and about 4 feet wide by 21⁄2 feet deep (Fig. 2). The doors should be double, and meet at the center post H. The cupboard can be lined with some simple paper of an unobtrusive pattern, and the doors should close easily and securely.
Now to describe the performance as it appears to the audience.
Fig. 2.—The magic cupboard.
Fig. 3.—Plan of magic cupboard.
The cupboard is opened, and anybody allowed to mount the stage and see for himself that there is no false bottom or trap in the floor. When he is perfectly satisfied and has returned to his seat, the magician introduces his assistant. At a nod from him she enters the cupboard, which is then closed. The wizard makes a few mystic passes with his wand, utters the words “Imshi! Imshi!” meaning in Arabic, “Depart! Depart!” The cupboard is then opened and—found to be empty!
Once more the doors are closed. The magician reverses his passes, claps his hands, looks upward, and again opens the doors. The pretty young lady stands inside, smiling radiantly!
The mystery is understandable by a glance at Fig. 3. At E and F are hinged two mirrors, identical in size with the walls of the cupboard. When opened inwards these mirrors meet at the post, H, which serves to conceal the line of their meeting.
Now the whole deception lies in the walls of the cupboard. When inspected by the audience the two mirrors were flush against their respective sides, and, having their backs covered with the same paper used to line the whole interior of the cupboard, they were mistaken for the real walls against which they were pressed. But when the mirrors are opened inwards the spectator can see only the reflection of the actual walls cast upon the mirrors in such a way that he imagines he sees the back of the cupboard. Of course this is really hidden from him by the opened mirrors, but they reflect the paper-lined walls so accurately that a discovery of the deception is impossible.
When the lady is introduced into the cupboard the mirrors stand flat against the sides of the box, which is really empty, but as soon as the magician closes the outer doors upon his assistant, she pulls out the sides, shuts herself into the triangle E, H, F, and awaits the opening of the cupboard. When this takes place the mirrors are, of course, in the position indicated by Fig. 3. The spectators, seeing in them the reflection of the walls, think they see the back E, F, and thereby conclude that the box is empty. This process is reversed when the lady makes her reappearance.