Part Ii.--Stage Illusions.

The Three-Headed Woman.

In the booths of the market fairs at Paris and its suburbs (for example, at the “Gingerbread” Fair, at the Féte of St. Cloud, etc.), and in the tricks of jugglers, etc., who operate in the street, café concerts, or circuses, we find phenomena that have a true scientific interest, ingenious applications of different sciences, or simply tricks that puzzle the spectator. Since, in general, people like to know the secret of what has surprised them, it may not prove uninteresting to devote a few articles to what may be called “side-show science.” We will first speak of the process employed to produce the “three-headed woman.”

The exterior of the little booth in which this phenomenon is exhibited is covered by a large painted canvas representing a three-headed woman in evening costume in a richly decorated drawing-room along with a few persons. For better convincing the curious a photograph taken from nature exhibits the phenomenal woman as she appears in the show; and every now and then the showman stops his drum to cry, “She is living, ladies and gentlemen, she is living!” If we allow ourselves to be persuaded to enter the booth we shall find ourselves separated from the stage by a balustrade--a sort of screen, behind which is the curtain. In a few moments the latter separates 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. These three heads move their eyes, answer together a few questions put by the showman, stick out their tongues, sing a few snatches of a popular song, and finally salute the audience, when the curtain closes and the show is over.

On almost every occasion some ingenious person is heard to express pity for this unfortunate person, who has no legs and three heads. This is the best praise that could be bestowed on the trick--for naturally it is only a trick. Moreover the showman is ready, for money, to explain how it is done. If we allow ourselves to be tempted, and enter the side-scene, we perceive on the little stage where the phenomenal woman just appeared nothing but a large plate of glass, slightly inclined toward the audience, and its edges hidden by drapery. Behind the mirror there is a recess whose sides are covered with a dead-black fabric. In front of the mirror, on the stage, sits the basket of flowers from which issued the woman’s body. Then on an inclined board a little above the ground lie three young girls. One of these, the middle one, is clothed in a brilliant costume of silk of a light color, and it is she who, in the exhibition, makes the trunk, arms, and the middle head. Her legs are covered over with a black fabric, and she is supported by a cushion so as to permit the two other girls to place their necks closely against hers. The bodies of these two girls at the sides are completely covered with a fabric of a dead-black color. In front of these three young women are placed a dozen strong kerosene lamps provided with reflectors.

The heads, hair, and arms of the “body” are covered with powder, so as to present completely white surfaces. Such is the secret as revealed from the side-scene, and it will now be understood how the phenomenon is produced. All the white or light-colored surfaces being strongly lighted by the lamps that reflect the light, their image is sent by the glass toward the spectators, who perceive then the body of the female, her two arms, and her three heads. All the portions covered with black are, on the contrary, absolutely invisible in the glass, and the spectators cannot see that they exist. The phenomenon is, on the whole, a curious application of the effects of reflection which were in fashion some twenty years ago under the name of “living ghosts,” and by means of which it was possible in theaters to cause the apparition, alongside of living persons, either of undecided forms or of bodies not resting on the ground.

The “Gingerbread” Fair this year showed a two-headed woman produced by a slightly different process, the body and head of the woman being seen directly, and the second head alone being seen by reflection from a glass. This phenomenon may be varied to infinity, so to speak. To cite only a few examples, there may be produced by the same process a decapitated person who talks; a decapitated person who holds his head in his hand, and a Judith and Holofernes, the head of the latter being held by the hair by the former.--La Nature.

The Mysterious Voice.

“Some time ago,” says a correspondent of La Nature, “I was walking around in a side show in which were exhibited mechanical portraits, when I was surprised to hear myself called: ‘Monsieur! Monsieur!’ * * * I discovered that the voice came from a tin trumpet, which was held in the mouth of a negro’s head made of wood, and suspended by a small brass chain from semicircles of iron supported by a wooden frame” (Fig. 1). The effect produced on the spectators by this speaking head was one of universal astonishment, and no one was capable of solving the mystery. The arrangement for producing the illusion is very simple, however, and is thus explained by the writer above referred to:

A person hidden behind the scenes speaks into a tube two or three centimeters in diameter which runs from that point to the wooden frame, and in the interior of the horizontal and upright pieces of which it passes till it reaches the suspended head at A, as shown by the dotted lines, E, D, C, B, A. The voice thus transmitted is reflected from the sides of the trumpet, H, to the person holding a conversation with the head.

This experiment, which is analogous to the one that precedes, was explained by Nicholson, in 1832, in his Journal de Physique. Although at first offered as a physical experiment, under the title of an “experiment in acoustics,” it has since changed name and master, and is now dignified by the imposing name of “invisible girl.”

Fig. 2 shows the arrangement of the original apparatus, which consisted of a glass case, X, about four feet long by about one in height, suspended from the ceiling by four chains at a distance of a foot from the window frame. From the extremity of the case projected a speaking trumpet, and the entire apparatus was surrounded by a latticework of iron wire to prevent its being touched by the hands of the curious. The phenomenon, although a puzzling novelty at the time, did not attract much of a crowd, as it was not managed with sufficient address, and the surroundings were not of a nature to please fashionable people. This apparatus was improved upon and rendered more elegant in appearance by Prof. Robertson. Fig. 3, copied from an old engraving, shows this latter arrangement. A globe, A, made of glass or enameled sheet iron, and to which are attached four trumpets, is suspended from the middle of the room. This globe is not necessary for the experiment, but is only an accessory to impose upon the imagination. Around it is placed a framework, B, which is very necessary, for it is hollow, and it is through it that the voice of the invisible person is heard. A tin tube passes through the upright C and then runs to D, where there is a small slit or aperture opposite the trumpet. This tin tube passes under the floor of the room, and runs into the neighboring room, whence the pretended invisible person speaks, and sees everything through the keyhole or through an aperture in the wall. This is all there is of the mystery.

An Improved Psycho.

Let me explain to those who have not seen “Psycho” that it consists of a small figure dressed as a Turk, sitting cross-legged (as shown by dotted lines) on a chest; this chest is in turn supported on a glass tube, about 12 in. in diameter and 3 ft. long, which rests on a four-legged stool. The bottom of chest and top of stool are covered with green cloth, so as to make a tolerably air-tight joint. The right arm is extended as per drawing, and a semicircular rack, in which are placed the 13 cards dealt to “Psycho,” is fixed by means of a bracket (not shown) in such a position that the edges come between the finger and thumb, as shown at *. The arm turning horizontally on the pivot A, the hand can be brought over any card, and by closing the finger and thumb and raising the arm the card will be withdrawn from the rack and held in the air.

In Figs. 1a and 1b (elevation and plan) the wheels E and M have each a train of clockwork (left out for the sake of clearness), which would cause them to spin round if unchecked. M, however, has two pins, p p′, which catch on a projection on the lever, N. E is a crown-wheel escapement--like that in a bottle roasting-jack--which turns A alternately to the left and right, thus causing the hand to traverse the 13 cards. A little higher on A will be seen a quadrant B (see plan) near the edge of which are set 13 little pins. The end of the lever N drops between any two of them, thus causing the hand to stop at any desired card. The lever being pivoted at c it is obvious that by pressing the end, N, B will be set at liberty, and the hand will move along the cards; by slightly raising it this motion will be arrested; by raising it still more the pin p is released and M commences to revolve, and by again depressing N this wheel will in its turn be stopped. Near the bottom of the apparatus is a bellows O, which contains a spring tending to keep the lever N, with which it is connected by a rod X, in the position shown. This is connected with the tubular support, which may be connected by a tube through the leg of the stool, and another tube beneath the stage, with an assistant behind the scenes. By compressing or exhausting air through this tube it is obvious that the lever, N, will be raised or depressed, and the clockwork set going accordingly. a is a crankpin set in M, and connected with the head by catgut, T, and with the thumb by S.

At R and R′ are two pulleys connected by gut. Thus if the hand moves round the head appears to follow its motions, and when raised by pulling S the head rises also by means of T. Further explanation seems almost unnecessary; l is a stop to prevent the elbow moving too far, and b b′ spiral springs to keep thumb open and head forward respectively. When N is raised M pulls T and S, the latter closing thumb, and then raising arm by pulley H. If the lever is allowed to drop p′ will catch and keep arm up. On again raising N the arm will descend.

Figs. 2a and 2b show another and simpler arrangement, in which only one train of clockwork is used. On the same axle as H is fixed a lever and weight, W, to balance the arm. A vertical rod, X, having a projection, Z, slides up and down in guides, Y Y, and carries the catgut S and T. The quadrant, B, has cogs cut, between which Z slides and stops the motion of A, which is moved, as before, by clockwork. The lower part of X is connected direct with O. When X is slightly raised, as shown, A is free to move, but on exhausting air and drawing X down Z enters the cogs and stops the hand over a card; continuing to exhaust the thumb closes and the card is lifted up. The details of the clockwork I leave to the ingenuity of your readers. There should be a fan on each train to regulate the speed. The figure should be so placed that your assistant can see the cards in the semicircular rack.--English Mechanic.

Magic Cabinets, Boxes, Etc.

Magic cabinets are much employed by magicians. The following is an example of one of the scenes that may occur with them:

When the curtain rises there is seen in the center of the stage a large dark colored cabinet, ornamented with mouldings, and mounted upon legs that are a little longer than those of ordinary cabinets, the object being to remove all possibility of a communication with the stage beneath. These legs are provided with casters. The showman turns this cabinet around and shows that there is nothing abnormal about it externally. He then asks some of the spectators to come up close to it, and lets them examine its interior, which is entirely empty. There is no double bottom, nor any hiding place. When the witnesses have made themselves certain of this fact they station themselves around the stage, and a certain number of them even consent to remain behind the cabinet and see nothing of the experiment. The cabinet being thus surrounded on all sides, and even one being able to look under it, fraud would seem to be an impossibility.

A young woman dressed as a danseuse then comes onto the stage and enters the cabinet (Fig. 1), and the doors are closed upon her. In a few moments the doors are opened again, when, lo and behold! the closet is empty, the young woman having disappeared. Then the doors are closed again, and then opened, and the danseuse makes her appearance; and so on. At the end of the experiment the witnesses examine the cabinet again, and, finding nothing changed therein, are justly stupefied.

In another style of cabinet there is no bar in the center, as shown in Fig. 1, but there is observed on one of the sides in the interior a bracket a few centimeters in length, and back and above this a shelf. This arrangement permits of performing a few experiments more than does the one just described. Thus, when the woman has disappeared the showman allows a young man to enter, and he also disappears, while the young woman is found in his place. This is a very surprising substitution.

The box into which the harlequin takes refuge, and which appears to be empty when Pierrot or Cassandra lifts the curtain that shields its entrance, is also a sort of magic cabinet.

In a series of lectures delivered a few years ago at the London Polytechnic Institution, a professor of physics unmasked the secret of some of the tricks employed on the stage for producing illusions, and notably that of the magic cabinet. The lecturer, after showing the cabinet and causing the disappearance therein of an individual while the doors were closed, repeated the same experiment with the latter open. But in the latter case so quick was the disappearance that the spectators could not even then see how it was done.

The illusion produced by these apparatus is the result of a play of mirrors.

In the first cabinet described (Fig. 1), when the exhibitor has closed the doors upon the young woman, the latter pulls toward her two mirrors that are represented in Fig. 2 by the lines G G. These mirrors are hinged at O O, and when swung outward rest by their external edges against the bar P, and then occupy the position shown by the dotted lines G′ G′. When the cabinet is again opened the woman, placed at A, is hidden by the two mirrors; but the appearance of the interior of the cabinet is not changed, since the spectators see the image of each side reflected from the corresponding mirror, and this looks to them like the back of the cabinet.

The illusion is perfect. When the experiment is ended and the mirrors are again swung against the sides, at G G, the spectators see nothing but the backs of them, which are covered with wood; the cabinet is really empty, and no one can discover what modification has taken place in its interior during the disappearance of the woman.

In the second arrangement, which is shown in vertical section in Fig. 3, the young man gets up onto the shelf c n, at the upper part of the cabinet, by the aid of the bracket T, and then pulls down over him the mirror b c, which was fastened to the top of the cabinet. This mirror being inclined at an angle of 45 deg. reflects the top, and the spectators imagine that they see the back of the cabinet over the shelf just as they did before.

The box which the harlequin enters is based upon precisely the same principle. Its interior is hung with paper banded alternately blue and white. When the harlequin enters it he places himself in one of the angles and pulls toward him two mirrors which hide him completely, and which reflect the opposite side of the box, so that the spectator is led to believe that he sees the back of it. In this case one of the angles at the back of the box is not apparent, but the colored stripes prevent the spectator from noticing the fact.

=The Magic Portfolio.=

This is an apparatus which an itinerant physicist might have been seen a few years ago exhibiting in the squares and at street corners. His method was to have a spectator draw a card, which he then placed between the four sheets of paper which, folded crosswise, formed the flaps of his portfolio. When he opened the latter again a few instants afterward the card had disappeared, or rather had become transformed. Profiting then by the surprise of his spectators the showman began to offer them his magic portfolio at the price of five sous for the small size and ten for the large.

The portfolio was made of two square pieces of cardboard connected by four strings, these latter being fixed in such a way that when the two pieces of cardboard were open and juxtaposed the external edge of each of them was connected with the inner edge of the other.

This constituted, after a manner, a double hinge that permitted of the portfolio being opened from both sides. To one pair of strings there were glued, back to back, two sheets of paper, which, when folded over, formed the flaps of the portfolio. It was only necessary, then, to open the latter in one direction or the other to render it impossible to open more than one of the two sets of flaps.

This device is one that permits of a large number of tricks being performed, since every object put under one of the sets of flaps will apparently disappear or be converted into something else, at the will of the prestidigitator (Fig. 4).

=Magic Envelopes.=

This trick is a simplification of the foregoing. The affair consists of several sheets of paper of different colors folded over, one upon the other. A card inclosed within the middle envelope, over which have been folded all the others, is found to have disappeared when the flaps are opened again. The secret of the trick is very simple. One of the inner sheets of paper--the second one, usually--is double, and, when folded, forms two envelopes that are back to back. It is only necessary then to open one or the other of these latter to cause the appearance or disappearance or transformation of such objects as have been inclosed within it. (Fig. 4.)

=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.