Magic, Stage Illusions and Scientific Diversions, Including Trick Photography. Albert A. Hopkins
the black, blue, and white art in all its ramifications. In one of his recent advertisements he says: “Success crowns the season of Kellar, the Great American Magician. His Oriental magic, the result of years of original research in India, enables him to present new illusions that are triumphs of art, and attract enormous houses—dazing, delighting, dumbfounding, and dazzling theater-goers.”
BOOK I.
CONJURERS’ TRICKS AND STAGE ILLUSIONS.
CHAPTER I.
MYSTERIOUS DISAPPEARANCES.
The fascination which the general public finds in clever tricks and illusions is little to be wondered at, but it is a mistake to suppose that all the outfit which the modern magician needs is a few paper roses, a pack of cards, some coins, and a wand. The fact of the matter is, that usually the most entertaining tricks are those which are produced at considerable expense in the way of apparatus and stage fittings. It is for this very reason that the secret of the illusion is always so closely guarded by the prestidigitateur. After a series of sleight-of-hand tricks the magician usually leads up to what might be called “set pieces” in contradistinction to the sleight-of-hand tricks. Chief among the more important illusions are the wonderful cabinets and other articles of furniture which enable the wizard to make away with his assistants. We will describe a number of these arrangements for “mysterious disappearances” before proceeding with the mirror and other optical tricks to which the fin de siècle magician is so largely indebted. All of these illusions, as they depend upon pre-arranged machinery, afford an introduction to the tricks which, though much simpler, require a certain amount of aptness in manipulation.
“VANITY FAIR.”
The first illusion presents the disappearance of a lady, apparently through a solid looking glass. The method used is remarkably ingenious.
A large pier glass in an ornamental frame is wheeled upon the stage. The glass reaches down within about two feet of the floor, so that every one can see under it. The only peculiarities which a skilled observer would be apt to notice are a wide panel extending across the top of the frame and a bar crossing the glass some four feet from the floor. The first is ostensibly for artistic effect—it really is essential to the illusion. The horizontal piece purports to be used in connection with a pair of brackets to support a glass shelf on which the lady stands—it also is essential to the illusion.
SCREENING THE LADY.
Brackets are attached to the frame, one on each side, at the level of the transverse piece, and a couple of curtains are carried by curtain poles or rods extending outward from the sides of the frame. Across the ends of the brackets a rod or bar is placed and a plate of glass rests as a shelf with one end on the rod and the other on the horizontal piece, thus impressing upon the audience the utility of the crosspiece. Its real function is not revealed.
A lady steps upon the shelf, using a step-ladder to reach it. She at once turns to the glass and begins inspecting her reflection. The exhibitor turns her with her face to the audience and she again turns back. This gives some byplay, and it also leaves her with her back to the audience, which is desirable for the performance of the deception. A screen is now placed around her. The screen is so narrow that a considerable portion of the mirror shows on each side of it. All is quiet for a moment, and then the screen is taken down and the lady has disappeared. The mystification is completed by the removal of the portable mirror, it being thus made evident that the performer is not hidden behind it.
THE DISAPPEARANCE EXPLAINED.
Two of our cuts illustrate the performance as seen by the audience, the second explains the illusion. The mirror is really in two sections, the apparently innocent crossbar concealing the top of the lower one. The large upper section is placed just back of the lower piece, so that its lower end slides down behind it. This upper section moves up and down in the frame like a window sash, and to make this possible without the audience discerning it the wide panel across the top of the frame is provided. When the glass is pushed up, its upper portion goes back of the panel, so that its upper edge is concealed.
Out of the lower portion of the same mirror a piece is cut, leaving an opening large enough to admit of the passage of the person of the lady. The second cut, with this description, explains everything. The mirror as brought out on the stage has its large upper section in its lowest position. The notched portion lies behind the lower section, so that the notch is completely hidden from the audience. When the glass shelf is put in place, the performer steps upon it and is screened from view. The counterpoised glass is raised like a window sash, exposing the notch. The screen is just wide enough to conceal the notch, the fact that a margin of the mirror shows on each side of the screen still further masking the deception. From the scene piece back of the mirror an inclined platform is projected to the opening in the mirror. Through the opening the lady creeps and by the assistant is drawn away behind the scene; then the platform is removed, the glass is pushed down again, and, the screen being removed, there is no lady to be seen. The fact that some of the mirror was visible during the entire operation greatly increases the mystery. The lady passes through the notch feet foremost, and her position, facing the mirror, makes this the easier.
THE LADY HAS VANISHED.
“AFTER THE FLOOD.”
In this illusion the curtain rises and shows upon the stage what is to be interpreted as a representation of Noah’s ark, a rectangular box with ends added to it, which, curving upward, give it a boat-like aspect. It stands upon two horses or trestles. The cut, Fig. 3, shows the ark in its entirety. The exhibitor opens it on all sides, swinging down the ends and the front and back lids, and raising the top as shown in Fig. 1. It will be noticed by the observant spectator that the back lid is first dropped and that the assistant helps throughout, the reason of which will be seen later. The skeleton or frame of the structure is now disclosed and it is seen to be completely empty. It is now closed, this time the back lid being swung into place last, and all is ready for the flood. This is represented by the water poured in ad libitum through a funnel inserted in an aperture in the upper corner. To the audience it seems as if the ark were being filled with water. In reality, the water simply runs through a pipe, carried through one of the legs of the trestle, and so down beneath the stage. The management of the flood is illustrated in our cut, Fig. 2.
THE ARK OPENED FOR INSPECTION.
THE FLOOD.
TAKING OUT THE BIRDS AND ANIMALS.
After