Magic, Stage Illusions and Scientific Diversions, Including Trick Photography. Albert A. Hopkins
turn the knots can be shown as secure as when first tied.
EXPLANATION OF THE ROPE TEST.
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 SPIRITUALISTIC POST TEST.
Enlarged illustration (300 kB)
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 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