On the stage is seen a plain round top four-leg table, which the magician has been using as a resting place for part of the apparatus used in his magic performance. Eventually, the performer removes all articles from the table and covers it with a cloth that does not reach the floor. Our first engraving represents the table in this condition. On command, the cloth gradually rises from the center of the table as though something were pushing it up. In a few moments it becomes very evident that some one, or something, is on the table covered by the cloth. The magician now removes the cloth and a lady is seen standing on the table, as shown in our second illustration.

The secret of this, as in all good illusions, is very simple, as the third illustration will show. In the stage there is a trap door, over which is placed a fancy rug that has a piece removed from it exactly the same size as the trap, to which the piece is fastened. When the trap is closed the rug appears to be an ordinary one. The table is placed directly over the trap. Below the stage is a box, open at the top, with cloth sides and wood bottom. To this box are attached four very fine wires, that lead up through the stage by means of small holes where the trap and floor join, over small pulleys in the frame of the table and down through the table legs, which are hollow, through the stage to a windlass. In the table top is a trap that divides in the center and opens outward. The top of the table is inlaid in such a manner as to conceal the edges of the trap. The lady takes her place in the box in a kneeling position, the assistant stands at the windlass, and all is ready. Fig. 1 of our third engraving shows the arrangement beneath the stage, and Fig. 2 the under side of the table top.

The top and bottom of the box by means of which the lady is placed under the table are connected by means of three strong elastic cords placed inside of the cloth covering. These elastics are for the purpose of keeping the bottom and top frame of box together, except when distended by the weight of the lady. Thanks to this arrangement of the box, it folds up as the lady leaves it for her position on the table top, and is concealed inside of the frame of table after her weight is removed from it. A somewhat similar trick is called “The Disappearing Lady.” In this illusion the process is worked in the reverse order.

“THE DISAPPEARING LADY.”

The accompanying figures illustrate a trick in which the prestidigitateur, after placing a chair upon an open newspaper and seating a lady thereon, covers her closely with a silk veil, and after the words “one, two, three,” lifts the veil and shows that the lady has disappeared.

The newspaper is provided with a trap, which is concealed by the printed characters (Fig. 1). This trap is of the same size as the one that must exist in the floor upon which one operates. As for the chair, that is generally an old affair, without any cross rod in front (Fig. 2). It is provided with a movable seat that lowers in order to allow the lady to pass between the two front legs. It is provided, besides, with a frame of wire which is invisible on account of the feeble diameter of the latter, and which, attached to the back, is turned backward on the side opposite the spectator. As soon as the lady who is to be made to disappear is seated (Fig. 3), she causes the frame to tilt and cover her head and shoulders. This operation is hidden by the veil that the prestidigitateur spreads out at this moment in front of the lady.

At this instant the operator actuates a spring, which opens the trap in the floor. The lady passes between the legs of the chair (Fig. 4), and then through the two traps, the one in the paper and the one in the floor. As soon as she reaches the floor beneath the stage she closes the trap in the newspaper with gummed paper, and shuts the one in the floor, and it might be thought that she was still on the stage, although she has disappeared. In fact, the veil, on account of the wire frame, seems always to outline the contours of the vanished subject.

After the operator has said “one, two, three,” he lifts the veil and causes the wire frame to fall back.

Since this trick was first introduced it has been more or less perfected or modified in its form, but the preceding description states the methods generally employed in performing the trick. In some cases if the newspaper is carefully examined, it will be found to be made of India rubber and to contain a large rent at about the center. In the next chapter will be described an interesting illusion called “She,” in which the lady disappears while being supposed to be cremated. This ingenious trick depends for a portion of the effect upon mirrors, so it is placed with the other illusions requiring the aid of mirrors.

“THE MYSTERIOUS TRUNK.”

A trick known by the name of the Indian Trunk, the Mysterious Trunk, the Packer’s Surprise, etc., formerly had much success in theaters of prestidigitation. This trick, which may be presented in several ways, is executed by different means, one of which we shall describe.

The following is in what the experiment consists: The prestidigitateur has a trunk brought to him, which he allows the spectators to examine. When every one is certain that it contains no mechanism, a person comes upon the stage and enters the trunk. It is found that he fills it entirely, and the cover is shut down. A spectator locks the trunk and guards the padlock.

The trunk is afterward wound in all directions with rope, the intersections of the latter are sealed, and the whole is introduced into a bag provided with leather straps, and which may in its turn be sealed at each of its buckles. When the operation is finished, the spectators who have aided in the packing remain on the spot to see that nothing makes its exit from the trunk, which has been placed upon two wooden horses. The prestidigitateur then fires a pistol over the trunk, which, when divested of its covering, ropes, and unbroken seals, is found to be entirely empty.

The whole credit of the trick is due to the cabinet maker who constructed the trunk. The latter, in the first place, is exactly like an ordinary trunk, and the closest examination reveals nothing out of the way about it. Yet one of the ends, instead of being nailed, is secured by a pivot to the two long sides, so that it can swing. The swinging motion is arrested by a spring plate bolt. When the person in the interior presses upon a point corresponding to this bolt, the pivot turns freely and the end of the trunk swings.

The following is the way that the operation is performed in order that the spectators may not perceive the opening of the trunk. The operator’s assistant takes his place in the trunk, which is closed and locked and the padlock sealed. Some obliging spectators then aid in tying the trunk, around which the rope is passed twice lengthwise, beginning at the side opposite the opening part. The rope is then passed over this part and runs in the axis of the pivots. Then the trunk, for the convenience of tying, is tilted upon the end where the rope passes. It is then that the assistant inclosed in the interior presses the bolt. The end of the trunk then has a tendency to open, and as the prestidigitateur has taken care to tilt the trunk at a carefully marked point of the stage floor, the movable end meets in the latter with an exactly similar trap that opens at the same time, and it is through these two traps that the invisible vanishing takes place. As soon as the assistant has passed through the trap, he pushes up the latter, and consequently the movable end of the trunk, which closes upon its spring plate bolt.

The time that it takes the man to pass through the trap is insignificant, and while the ropes are being crossed the operation might be performed several times. Afterward, there is nothing to be done but to proceed with the experiment as we have said, care being taken, however, not to abuse the complaisance of the spectators, and not to allow them to try the weight of the trunk.

When the vanished person descends beneath the stage, he is supported by some other individual if the theater is not well appointed, and by a trap with a counterpoise if the construction of the stage admits of it. This trap permits of expediting things in certain cases of the reappearance of the confederate, but is useless in the process described above.

Such is one of the artifices employed. Whatever be the process, the presentation of it is often complicated by causing the person who has vanished to reappear in a second trunk that has previously been ascertained to be empty and that has been sealed and enveloped under the eyes of the spectators. It will be easily comprehended that the operation here is reversed, and that the confederate beneath the stage awaits the proper moment to be lifted into the interior of the second trunk, whose movable end is opened outwardly by the prestidigitateur at the desired moment.

Boxes with glass sides also have been constructed. The management is the same, but, as the person inclosed is visible up to the last moment, care must be taken to so pass the ropes as not to interfere with the trap of the trunk, which then consists of one of the sides, and which operates at the moment when the trunk, bound with ropes, sealed and laid upon this side, is about to be wrapped up. This presentation has still more effect upon the spectators than the preceding, and seems to present greater difficulties.

“THE INDIAN BASKET TRICK.”

Among the most remarkable experiments performed by prestidigitateurs should be cited that of the Indian basket, which, as its name indicates, is of Asiatic origin. Travelers in Hindostan have often told us that the Indians practice this wonderful trick upon the public places. The Indian magician makes use of an oblong osier basket provided with a cover. He takes a child and incloses it in this basket, and around the latter buckles a belt. Grasping a sword, he thrusts it into the basket here and there, and pulls out the blade all dripping with blood.

The spectacle is shocking, and the feelings of the spectators become wrought up to a high pitch. The magician then opens the basket, which, to the surprise of all, is empty.

At a few yards distance cries are heard proceeding from the child who had been inclosed in the basket, and who is now running forward sound and happy. Robert-Houdin, who studied this juggler’s trick, explained it perfectly, and was able to perform it himself. The basket used by the Indian prestidigitateurs is represented herewith.

Fig. 1 shows the basket open ready to receive the child. For the sake of the explanation we have cut away one end. This basket is provided with a double movable bottom, A C B, the center of motion of which is at C. In order to make the child disappear, the cover being closed, the top of the basket is lowered by turning it toward the spectators (Fig. 2). But the bottom, B, and the part A, that depends upon it, do not take part in this motion. The weight of the child lying upon the bottom forces the latter to remain in place, and by this fact the part A C shuts off the bottom of the basket (Fig. 2).

DECAPITATION.

The means employed in this illusion is the old-fashioned “defunct” method of decapitation, and although this lacks the refinement and scientific interest of execution by electricity, it has a certain precision.

The poor clown who suffers the death penalty twelve times a week usually enters the circus ring, or appears on the stage, as the case may be, and after performing certain acrobatic feats, commits some crime against his fellows, for which he is condemned to die. He is placed upon the block; his head is covered with a cloth. Harlequin approaches as executioner, and begins to cut with a huge knife across the victim’s neck. In a moment all is over, the cloth is removed, and Harlequin lifts in the air the severed head. Delighted with his trophy, he carries it about under his arm, places it in a charger in the center of the ring, and finally takes it back to the block wrapped up in the cloth, and places it by the side of the headless trunk. He removes the cloth, and then in sport places a lighted cigarette in its mouth. In a little while you notice that the cigarette begins to glow, smoke comes from the nose, and the eyes roll. Evidently the head has come to life. Not able to bear the horrible sight, he throws the cloth again over the head, seizes it, places it in its original position on the shoulders of the victim, kneads it to the body, and suddenly the figure rises, head and all, and bows to the audience—an orthodox clown. The trick is a good one, and takes with the audience. The way in which it is done is explained in the second cut.

As soon as the clown lies on the box and his head has been covered with the cloth, he passes his head through an invisible opening in the top of the box. An assistant inside of the box passes up the dummy head, which is an exact facsimile of the clown’s head and face. This is seized by Harlequin, who makes such sport of it as he sees fit. When he places it by the side of the trunk, in reality he passes it through an opening in the top of the box to the assistant within, who substitutes his own head (which is painted to match the other two) in place of it. The other steps in the performance readily follow. The cloth which the harlequin always carries conceals all the sleight of hand, and the whole performance is a series of surprises.

Another performance of a somewhat similar character was recently performed at a theater in New York, in which a clown throws himself on a sofa and is cut in two by a harlequin. One part of the sofa with the body remains in one part of the stage while the other part with the legs and feet (which are all the time vigorously kicking) disappear through a wing at the other end of the stage. The action is very sudden and the effect startling. Of course, in this case there are two men similarly dressed. The head and body of one of them appears at the head of the sofa, while the body of the second clown is concealed in the box under the seat at the other end of the sofa, the feet and legs alone being exposed.

SPIRITUALISTIC TIES.

The following article is not written with the intention or desire to antagonize any believer in Spiritualism, but merely to explain how anti-spiritualists, as well as several professional “mediums,” secured their release after being fastened in their cabinet. During the years the writer (Mr. Caulk) has been before the public as a magician and cabinet performer, he has met a number of cabinet test “mediums,” and can safely say that all of these people who have come under his observation have been imposters. This may be due, however, to the bad fortune of the writer.

The writer has been tied with ropes, fastened with handcuffs, brass collars, and chains, many times in many different cities, and by people who were just as alert as any investigator of spiritualistic phenomena, yet, unlike many “mediums” he has met with, was never exposed.

The methods used are many, some simple, others complicated, but all mystifying. To the average auditor the most wonderful point is, how does the performer release himself after being so securely bound? For the benefit of the curious the writer will explain a few of the methods by which he has secured his release after being fastened by a committee from the audience. All anti-spiritualists, as well as several “mediums” personally known to the writer, make use of these same methods of release, or others founded on the same principle.

Among the many successful rope tests, the following is about the best. A piece of soft cotton rope about six feet long, and of the size known as sash cord, is securely tied around the performer’s left wrist, dividing the rope so that the ends will be of an equal length. When the committee is satisfied that they have made the knots secure, the performer places his hands behind him, with the right wrist resting over the knots on the left wrist, and the ends of the rope are securely tied together, bringing the knots down tight on the right wrist. This appears fair enough, but it is not as fair as it appears, because, while the knots are secure enough, there is sufficient slack between the wrists to enable the performer, by giving his right wrist a half turn, to withdraw this hand from the rope encircling it.

The reader may say, “That is all well enough, but how and by what means does he secure this slack?”

In placing his hands behind him after the rope is tied about the left wrist, he gives the rope a twist and knot with over the other, pressing the twist down on the knot and covering the twist and knot with the right wrist, which is then tied. When ready to release himself, the performer gives his right hand and wrist a half turn, releasing the twist lying on the knot, which thus becomes a part of the loop tied around the right wrist, and enlarging it sufficiently to enable the performer to pull the right hand free from the rope, when he can perform any trick he chooses with the free hand. Our first and second engravings show the formation of the twist, thus making the above explanation clear. By replacing the hand in the loop and giving the hand a half turn the knots can be shown as secure as when first tied.

The “Spiritualistic Post Test” is among the latest and most successful of mechanical fastenings. A piece of wood four inches square and three feet long is given to the committee, who bore a hole through it near one end, and then pass an ordinary rope through the hole, tying a knot in the rope on each side of the post, pressing the knots against the post so that the rope cannot be drawn through the post. The ends of the rope are now unraveled, and the post secured to the floor of the cabinet.

The performer, standing behind the post, places his wrists against the knots in the rope, one on each side of the post, and the unravelled ends of the rope are bound around his wrists and tied securely, and all knots are sealed with wax. A large nail is driven in the top of the post, to which are fastened cords that are passed out through the cabinet and held by members of the committee in order that they may know if the performer moves the post in any manner during the performance of any test, such as the ringing of bells, etc. Fig. 2 of our third engraving shows the performer tied to the post and the committee holding the cords. The curtains of the cabinet are closed and the usual manifestations take place.

Before the performance a hole is bored in the center of the end of the stick or post, in which is placed a chisel-shaped piece of steel sharpened at the lower end and blunt at the upper end, as shown in Fig. 3. The opening in the end of the post is now carefully closed and all signs of such an opening are concealed by the aid of glue, sawdust, and a little dirt rubbed over it.

When the committee are invited to bore a hole in the post, the performer takes care to start the bit, in order that there will be no mistake about getting the hole directly beneath the chisel concealed in the post. When the rope is passed through the hole and knotted it is directly under the sharp edge of the chisel, with a thin layer of wood between. When the nail is driven in the top of the post it strikes the chisel, forcing it through the thin shell of wood above the rope and through the rope, thus releasing the performer, who can withdraw his hands from the post and do any trick he chooses, and when finished, by merely replacing the ends of the rope in the holes from which he removed them, and holding the hands tight against the post, can allow a most rigid examination of the seals to show that it was not possible for him to have released his hands, and the persons holding the cords that are fastened to the nail testify that they did not feel any movement of the performer or the post.

The Handcuff Test is a great favorite of the “medium.” In this test the performer uses any pair of handcuffs furnished by the audience, and by them put on him. Yet, in a very few moments after he takes his place in the cabinet, his coat is thrown out, but on examination the handcuffs are found to be on his wrists just as they were placed by the audience. As a final test, the performer comes out of the cabinet holding the handcuffs in his hand, removed from the wrist but locked.

The explanation of this trick is very simple, but, like many simple tricks, very mysterious. There are only a few styles of handcuffs made in this country, and all that a “medium” has to do is to secure the proper key for each style, which keys are concealed about the person, and by the aid of fingers and teeth the proper key can be fitted to the handcuffs. In some types of handcuffs it is impossible to get the fingers to the key-hole. If such a pair is placed on the performer and he cannot use his teeth to hold the key, he slips the key in a crack in the chair or cabinet, which crack he makes sure is there before undertaking the test, thus holding the key and unlocking the handcuffs.

As the space allotted for this article is limited, the writer will explain but one other piece of apparatus used to secure the “medium,” which is known as the Spirit Collar.

The collar is made of brass, and fits closely about the performer’s neck. Through the openings in the ends of the collar is passed a chain, after the collar is on the performer’s neck, and this chain is passed around a post, carried back and through the padlock which is used to lock the collar. By this arrangement the performer is fastened securely to a post, at least it appears so to the audience. This collar is shown in our fourth engraving. As seen by the cut, the collar is decorated with a number of small bolts, which impart to it an additional appearance of strength.

These bolts are all false with one exception. This genuine bolt can be removed by the performer when the collar is on his neck, thus allowing the collar to come apart at the hinge, as shown in the cut, thus releasing the performer, allowing him full liberty to perform any trick he wishes, and permitting him to again apparently fasten himself securely. This loose bolt fits so securely that there is no danger of any of the committee removing it with their fingers. The performer uses a small wrench to remove the bolt.

CHAPTER II.
OPTICAL TRICKS.

The prestidigitateur has always been indebted more or less to the use of reflection from mirrors and plate glass as an important adjunct in conjuring. Many of the illusions in the succeeding pages have often been used as an entertainment in themselves so that it might really be termed “side show science.” Without doubt the most famous of all the illusions in which effects of lighting are used is “Pepper’s Ghost” which was devised by that eminent experimentor on physical and chemical science, John Henry Pepper. There are a number of variations of the Pepper Ghost of which the “Cabaret du Neant” is an excellent example.

THE “CABARET DU NEANT.”

The name “Cabaret du Neant,” or “Tavern of the Dead” (“non-existing”), has been given by the proprietors to a recent Parisian sensation; it was also exhibited in New York. The interest of course centers in the ghost illusion.

The spectators on entering the Cabaret pass through a long hall hung with black and find themselves in a spectral restaurant. Along the walls coffins are placed for tables, and on the end of each coffin is a burning candle. From the center of the ceiling hangs what is termed “Robert Macaire’s chandelier,” made to all appearances of bones and skulls. The spectators are here at liberty to seat themselves at the tables and are served with what they desire by a mournful waiter dressed like a French mourner with a long crape streamer hanging from his silk hat. Around the walls of the room are placed pictures to which the spectator’s attention is called by the lecturer. Seen by the light of the room these pictures are ordinary scenes, but a new aspect is given to each when lights directly behind it are turned on; the figures in it appear as skeletons, each picture being in fact a transparency giving a different effect as it is lighted from the rear or as seen simply by reflected light. The second chamber is now entered; it is hung with black throughout. On the walls tears are painted, and in close juxtaposition are two somewhat incongruous inscriptions, “Requiescat in pace,” and “No smoking.” The reason for the latter admonition, which is also given by the lecturer, is that for the success of the illusion an absolutely clear atmosphere is essential. At the end of this second chamber, at the back of a stage, is seen a coffin standing upright, in which one of the audience is requested to place himself. Entering the stage by the side door, he is conducted by an attendant to the coffin and placed in it. Blocks of wood are placed for him to stand on in quantity sufficient to bring his head to the right height so that the top of it just presses against the top of the coffin, and the attendant with great care adjusts his height according to the predetermined position. Two rows of Argand burners illuminate his figure, which is then wrapped in a white sheet. Now, as the spectators watch him, he gradually dissolves or fades away and in his place appears a skeleton in the coffin. Again, at the word of command the skeleton in its turn slowly disappears, and the draped figure of the spectator appears again. The illusion is perfect to the outer audience; the one in the coffin sees absolutely nothing out of the common. His interest, if he knows what is going on, is centered in watching the changing expression of the spectators, being increased by the fact that at their period of greatest astonishment he is absolutely invisible, although directly before them and seeing them more plainly than ever. After the restoration to life one or more auditors are put through the same performance, so that the recent occupant of the coffin can see what he has gone through.

The third chamber is now entered, somewhat similar to the second, but on its stage is a table and seat, all the walls being lined with black. One of the auditors is invited to seat himself at the table on the stage. He does it, and, as before, sees nothing. While the description of the lecturer and the appearance and comments of the audience tell him that something very interesting is going on, the remarks will probably disclose to him the fact that this time at least he is never out of their sight. He leaves the stage and his place is taken by another, and then he understands the nature of the drama in which he has been an unconscious participator. He sees the other spectator seated alone at the table. Suddenly a spirit, perhaps of an old man, appears at the other side of the table, while a bottle and glass are seen upon the table. When exhorted to help himself to the liquid, the performing spectator’s idle gestures show that he certainly does not see the glass, through which his hand passes unobstructed. Or perhaps it is a woman who appears and makes the most alluring gestures toward him who never sees her. This concludes the exhibition, which as accessory has the strains of a funeral march, the ringing of deep-sounding bells as room after room is entered, and the appearance of a brown-robed monk who acts as Charon to introduce the spectator to his place in the coffin. In one of our illustrations we show, side by side, the coffin with its living occupant draped in a sheet and in the other the skeleton which appears in his place. Two other cuts show the scenes between the spectator at the table and the specters, illustrating how active a part the specters take, they being no mere painted appearances, but evidently living, moving things. Our large illustration shows precisely how it is done and so clearly that an explanation is hardly needed. The floor of the stage is represented. To the left are seen the spectators and the performer at the piano discoursing his lugubrious melodies. To the right is seen Charon, and directly in front of him the coffin with its living occupant. When lighted up by the burners shown near him, the other burners being turned down, the coffin with its occupant is all that is seen by the spectator. Directly in front of the coffin, crossing the stage obliquely, is a large sheet of the clearest plate glass, which offers no impediment to the view of the coffin with its occupant, when the latter is fully illuminated. At one side of the stage, in the back of the picture, is a painting of a skeleton in a coffin with its own set of Argand burners. It is screened from view. When strongly illuminated, and when the lights of the real coffin are turned down, the spectators see reflected from the glass a brilliant image of the pictured coffin and skeleton. By turning up one set of burners as the others are turned down a perfect dissolving effect is obtained, skeleton replacing spectator and vice versa at the will of the exhibitor.

Still referring to the large cut, it will be seen that it serves to explain the exhibition in the other chamber. Instead of the coffin there is the table and chair, and in place of the pictured skeleton a live performer is placed. In this act there is no dissolving effect; by turning up the lights at the side of the stage any object desired and performers dressed as spirits are made to appear upon the stage, being reflected from the glass plate. The spectators simultaneously see their companion sitting at the table and the reflections of the ghosts apparently executing their movements about him.

From the scientific as well as scenic aspect, the exhibition is most interesting, and to one who knows how it is performed, the interest is vastly enhanced. To properly enjoy it, the stage position should be taken during one or both performances.

THE THREE-HEADED WOMAN.

In this illusion the spectators are separated from the stage by a balustrade—behind which is seen the curtain. In a few moments the latter is drawn back 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. The heads move their eyes, answer questions and sing, and finally salute the audience, and the curtains are drawn together and the performance is over. As in many tricks of this kind the showman usually announces that for an additional admission the secret of the illusion will be divulged. The visitor then enters the side scene and perceives that on the little stage where the phenomenal woman just appeared, nothing is visible but a large plate of glass slightly inclined towards the audience and its edges hidden by drapery. Behind the mirror there is a recess whose sides are covered with a jet black fabric. In front of the mirror on the stage sits the basket of flowers from which issued the woman’s body. On an inclined board which rests against the screen or balustrade lie three young girls; one of these, the middle one, is clothed in a brilliant costume of light-colored silk, and it is she who in the exhibition makes trunk, arms, and the middle head. The lower part of her body is covered over with a black fabric and she is supported by a cushion which permits the two other girls to place their necks closely against hers. The bodies of these two girls at the sides are completely covered with fabric of a dead black color. In front of these three young women are placed powerful lights. The heads, hair, and arms of the “body” are covered with powder so as to present completely white surfaces. All the white or light-colored surfaces being strongly lighted by the lamps reflect the light; the image is thus made upon the spectator.

“AMPHITRITE.”

This illusion, which is presented under the name of “Amphitrite,” is as follows: When the representation is about to begin, the curtain of a small stage rises. There is observed a circular aperture, cut in a screen, over which is stretched transparent muslin.

“Amphitrite, come forth!” exclaims the person in charge of the show. All at once, a woman in the costume of an opera nymph rises from the sea without anything being visible to support her in space, in which she turns round and round, gracefully moving her legs and arms, now in one direction, and then in another. When the exhibition is at an end, she straightens out in the position of a swimmer about to make a dive, and plunges behind the curtain representing the ocean.

The illusion that we have just described may be performed as follows: Amphitrite is an image—a specter analogous to those of Robin. If we imagine that a transparent glass, M M, in our diagram, is inclined 45° with respect to the stage, a person clad in light clothing, lying horizontally upon a black background beneath the stage, and well illuminated, will exhibit an upright image behind the glass. This image will appear to be formed in front of the back canvas, T T. Now, as Amphitrite is lying upon a table, P P, she will be able to go through her evolutions and bend herself in a circle; and if, during this time, the table, movable upon its axis, A, is revolved, her image will turn in all directions. Finally, to cause Amphitrite to appear or disappear, it will suffice to slide the table upon rails, thus bringing it in front of or behind the glass. Amphitrite should be placed upon an absolutely black background. Her costume should be of a light color with metallic spangles, and she should be illuminated by a powerful electric light.

The muslin stretched in front of the screen is designed to arrest anything that jesters might throw against the glass, and which, sticking thereto might explain a part of the mystery.

“THE MYSTERY OF DR. LYNN.”

In this illusion which was presented at the “Folies Bergères,” at Paris, the stage is rather larger than in most of the talking heads and other analogous tricks. At a short distance from the spectator is observed a woman cut off at the thighs and resting on a small swinging shelf. The showman moves the shelf laterally, and at a signal the exhibitor removes the shelf, and the half-length body appears suspended in the air. The question which every visitor asks is, where is the rest of the body? In many of the tricks of talking heads, isolated busts, etc., the illusion is obtained by the aid of mirrors, but the mystery of Dr. Lynn is obtained in a much simpler manner. All painters know that in a very strongly lighted picture the bright colors stand out at the expense of the half-tones and dark colors, and this effect is greater as the light becomes brighter. It is upon this principle that the Dr. Lynn trick is based. The lower part of the bust seen is a dummy upon which the upper part of the woman’s body lies, the remainder of her body being extended nearly horizontally upon a board which is capable of swinging and following the motion of the shelf. All this portion is hidden by opaque black drapery so arranged as not to reflect the light at any point. The bust and shelf receive a very intense light; then immediately behind there is seen intense darkness, forming an absolutely dark background. The latter is rendered still darker by the brilliant cords of the shelf, a metallic chain and a dagger suspended beneath it, as well as a white handkerchief which seems to have been dropped upon the stage by accident. At least six powerful gas burners or electric lights with reflectors are turned towards the spectators, so that it will be seen that the latter are in a manner dazzled by everything that strikes the eye in the foreground, and that beyond this they see absolutely nothing but a black background.