Magic, Stage Illusions and Scientific Diversions, Including Trick Photography. Albert A. Hopkins
the occupant of the table is ignited, and smoke and flame bursting from the screen indicate that the work of destruction is going on within. When the fire is burned out the screen is lifted, and nothing remains upon the table but a few smouldering embers and a pile of bones surmounted by a skull. Close observation does not reveal any way of escape for the young woman. It is, however, obvious that the magician cannot afford to sacrifice such a subject every evening, and the spectators are forced to conclude that the whole affair is a very clever trick. In fact, it is simply a modification of the beheaded lady and numerous other tricks based upon the use of plane mirrors. The table has but two legs, the other two which appear being simply reflections. The central standard supports but two candles, the other two being reflections. Underneath the table, and converging at the central standard, are arranged two plane mirrors at an angle of 90° with each other and 45° with the side panels of the screen. By means of this arrangement the side panels, which are of the same color as the central or back panel, are reflected in the mirror and appear as a continuation of the back panel. The triangular box, of which the mirrors form two sides, has a top composed in part of the table top and in part of mirror sections for reflecting the back panel, or with a covering of the same color as the back panel.
THE FINISH.
The operation of the apparatus is now obvious. When the victim is inclosed by the cylindrical screen, she immediately escapes through a trap door in the table top, places the bones and the fireworks upon the table, and at the firing of the pistol ignites the latter and retires, closing the trap door after her.
“THE QUEEN OF FLOWERS.”
MR. KELLAR’S ILLUSION, “QUEEN OF THE FLOWERS.”
One of Mr. Kellar’s recent illusions is what he is pleased to call “The Queen of Flowers.” Our first engraving represents the stage as the audience sees it, and the last cut will help to explain it to the reader. The background, set against curtains, is about ten feet long and eight feet high, and represents a mass of flowers and bushes indiscriminately thrown together, with blue sky above. There is a little flat roof which projects out about three feet from the bottom of the screen and is supported by four red poles. The bottom is a floor raised about a foot from the stage, and in front of each of the three divisions made by the poles between the stage proper and the floor of this improvised summer house is placed an electric light. The audience usually wonders what these lights are for in this strange place; but as audiences always accept anything shown them by the prestidigitateur, these lights do not disturb them very much except by dazzling them, as they are meant to do. So much for the setting. There being no doors or screens or curtains of any kind, the spectators have the satisfied feeling that there is no deception there, for they can see all there is to see. They can, that is true, only they don’t realize how much they are seeing.
ENTRANCE TO THE CABINET.
Mr. Kellar next brings a semicircular stand which he places in front of the middle panel at the height of the floor. At the roof is fixed a brass rod in the form of a semicircle, from which hangs a curtain inclosing the little stand. This, however, cannot do much good, for, as Mr. Kellar says, those on the extreme right and left of the audience can still see quite behind the curtain, through the summer house, and they believe him, not only because he told them so, but because they can see with their own eyes. What could be more convincing! In a moment the curtain is withdrawn and a beautiful lady surrounded by flowers is seen standing on the little platform.
The last engraving will explain matters. The lines extending from the two center poles to the background represent double mirrors; that is, each mirror consists of two mirrors back to back, running from the floor to the roof of the summer house. On account of the indefinite arrangement of the flowers painted on the back scene in monotonous design, the spectators do not notice the mirrors. These, of course, form a passageway through which anyone can walk from behind the scenes to the stand behind the curtain, while the audience is still keeping guard with its ever watchful eye.
“THE DECAPITATED PRINCESS.”
ILLUSION OF THE DECAPITATED PRINCESS.
In this illusion the exhibitor states that it is the head of an Egyptian Princess who was accused of treason and beheaded. The head is exhibited in a curtained recess and it reposes upon two swords lying across the arms of the chair. The chair is upholstered in red plush and is placed close to the curtain at the back of the recess. At the back of the chair is an opening just below the level of the tops of the chair arms. This opening is not seen from the front, as it is concealed by a mirror that is placed between the arms of the chair at an angle of 45°. The ends of the mirror rest in folds of the fan-shape upholstering on the inside of the chair arms. The lower edge of the mirror is resting on the bottom of the chair and the upper edge is concealed by laying one of the swords on it, as may be seen in the other illustration. At the proper angle the bottom of the chair is reflected in the mirror, leaving the impression that one is looking at the back. The folds in the upholstering of the inside of the arms effectually conceal the ends of the mirror. There is a hole in the rear curtain directly opposite the hole in the chair back, through which there passes a board supported at one end by resting on the seat of the chair and at the other end by a small box or any convenient article.
THE DECAPITATED PRINCESS—EXPLANATION OF ILLUSION.
The lady who is to impersonate the princess takes her position on this board with her chin just above the edge of the mirror, the second sword is placed at the back of her head and a wide lace collar that she wears around her neck is adjusted so as to rest nicely on the two swords. The second illustration shows the board in position, passed through the curtain, with the lady lying on it, her head on the swords and the lace collar in position. The curtain in the rear must be close to the chair, but the side curtains are removed about five feet. The board is padded so as to make the lady as comfortable as possible.
“STELLA.”
AN ISOLATED HEAD IN THE CENTER OF A STAGE.
The following illusion is similar to the “Decapitated Princess.” A small stage is partitioned off by curtains. In the center of the stage, suspended in space, is a young girl’s head, the neck of which starts from a satin collar. This head is isolated on every side. One sees the rear of the stage, the sides, the top and the bottom, and the brilliant illumination leaves no portion in shadow. The head speaks and smiles and finally blows out a lighted candle. The exhibitor then disappears behind the side scenes with the candle. He now, as it seems, draws out a panel in the back of the stage, and through the aperture thus formed the spectator very distinctly sees the top of a table and upon it a candle which the head has just extinguished. Now this aperture is directly under the head, but much farther off, and is in the direction the body would occupy if the head possessed one. The absence of the body is therefore apparently demonstrated to the visitors.
The illusion was obtained by means of a simple mirror which starting from the upper part of the back of the stage descended obliquely to the front. In the center of this there was an opening which was concealed by the satin collar and through this the young girl passed her head. The inclination