Secrets of Wise Men, Chemists and Great Physicians

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.

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.

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.

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.

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.]

PART III.—MEDICAL.

Albuminuria (Bright’s Disease).

Sig. Take a dessertspoonful every six hours. Basham.

Alcoholism (Chronic).

Sig. Take a dessertspoonful in a teacupful of hop tea three or four times a day. Gerhard.

Amenorrhœa (Absence of Menstrual Flow).

Fiat massa et divide in pilulas l.

Sig. Take two or three pills at bedtime, for several nights successively. N. Chapman.

Asthma.

Sig. Take a tablespoonful every two, three, or four hours, as necessary. Bartholow.

Moisten the leaves with a solution of the opium extract in the cherry-laurel water. Let them dry thoroughly and roll into a cigarette. Two to four of these cigarettes may be smoked every day. Trousseau.

Biliousness.

Misce et fiant pilulæ No. ii.

Sig. One dose, at bedtime. Guy.

Burns and Scalds.

Sig. Apply liberally on linen or lint. Gross.

Sig. Apply to burn, covering with linen or lint. Bartholow.

Biliary Calculi (Stone in the Bile Duct).

Sig. Dose, from five to thirty drops, in sweetened water, every hour or two. Hartshorne.

Renal or Vesical Calculi (Stone in Kidney or Bladder).

Fiat mistura.

Sig. Take a tablespoonful three times daily. H. Green.

Cancer.

Fiat massa, et divide in pilulas xvi.

Sig. Take one pill morning and night. Marsden.

Carbuncle.

Sig. Take a tablespoonful every three hours, diluted. Gerhard.

Nasal Catarrh.

Sig. Apply cold by means of a hand-spray apparatus. Pugin Thornton.

Sig. From one to two drachms in one-half pint of water, applied by means of a douche. Is especially useful in catarrh with ulceration, usually due to syphilis.

For simple catarrh use the following:

Sig. Use with a douche, spray-producer, or by means of insufflation. Lennox Browne.

Cholera.

Sig. Dose five drops to one teaspoonful. Squibbs.

In time of epidemic cholera, or diarrhœa, when any person has two movements of the bowels more than natural within the twenty-four hours, the second one should be followed by a dose of this mixture to be repeated after every movement that follows. If the move­ments increase in frequency or in copiousness after the second dose of the medicine has been taken a physician should be sent for at once, and a double dose be taken after each movement until he arrives. Immediately after taking the first dose the person should go to bed and remain there for twelve hours after the diarrhœa has entirely ceased.

Sig. Inject under the skin of the arms, legs, and over the stomach every hour until the symptoms are relieved. (When rice-water discharges, vomiting, cramps, and shrinkage of the extremities supervene.) R. W. Mitchell, Memphis, Tenn.

Sig. One dose every two hours. (In the cold stage.) J. T. Jones, Nashville, Tenn.

Cholera Infantum.

Sig. Dose a teaspoonful every two or three hours. (For a child two years old.) Da Costa.

Misce et fiat pilula.

Sig. Take at bedtime. Lombe Atthill.

Constipation.

Sig. Dose, twenty drops in water, three times a day before meals. (In habitual constipation.) Bartholow.

Sig. Teaspoonful three times a day before meals. Luse.

General Debility.

Sig. Dose, a tablespoonful three times a day in water. (This is the celebrated Baûme de Vie, or Elixir of Life.)

Delirium Tremens.

Sig. Dose, a dessertspoonful in hop tea every two hours. (In the preliminary stage known as horrors.) Gerhard.

Sig. One dose. (To enforce sleep.) Liebreich.

Sig. Dose, a dessertspoonful in porter every two or three hours. (In strong and robust patients with boisterous delirium.) Ringer.

Diarrhœa (Children.)

Misce et fiant chartulæ No. x.

Sig. One powder after each evacuation. (In wasting diarrhœa of children.) Hazard.

Sig. Dose, for a child two or three years old, a teaspoonful every two or three hours. Getchell.

Diarrhœa (Adults).

Misce et fiant pilulæ No. xii.

Sig. Take one pill three times a day. (In chronic cases). Bartholow.

Sig. Dose, eight drachms for an adult; four drachms for a child of twelve years; two drachms for seven years old, after each liquid motion. (General cholera and diarrhœa mixture.) Henery Beasley.

Dysentery.

Fiat emulsio, secundum artem, ad f ℥vj.

Sig. Take a tablespoonful every two hours. Gerhard.

Sig. Dose, a teaspoonful every two or three hours. (Where there is much blood.) Ringer.

Dysmenorrhœa (Difficult Menstruation.)

Fiat mistura.

Sig. Dose, the one-half the instant pain is felt; if not relieved in an hour or two, give the remainder. Dewees.

Sig. Take a teaspoonful every two hours. Porcher.