CHAPTER III.

THE PROJECTION OF MOVING PICTURES.

THE EDISON KINETOGRAPH.

The “kinetograph,” which is the precursor of the apparatus for showing moving photographs, is of great interest. The kinetograph as first proposed consisted of a clever combination of a photographic camera and the phonograph, by which the words of a speech or play were to be recorded simultaneously with photographic impressions of all the movements of the speakers or actors. The photographic impression is taken at the rate of forty-six per second. The celluloid film upon which the photographic impressions are taken is perforated along one edge with a series of holes, arranged at regular intervals with as much precision as can be secured by means of the finest perforating mechanism, to secure perfect registry. This was found necessary because the phonographic cylinder must be in exact synchronism with the shutter-operating and film-moving devices of the camera. The phonograph and camera mechanisms are driven by the same motor and controlled by the same regulating mechanism. The greatest difficulty was experienced in devising mechanism for the stopping and starting of the film. It was found that the stopping and starting of the film forty-six times a second required about two-thirds of the time, the remainder being utilized for the exposure of the plate. To take these pictures special camera lenses of large aperture had to be constructed. The reproducing apparatus is practically a reversal of the camera; that is, a superior form of projecting lantern is employed which is provided with a strong light, and mechanism for moving forward the strip with an intermittent motion, corresponding exactly to the motion of the negative strip in the camera. The lantern is furnished with a light interrupter which eclipses the light during the brief period required for shifting the film forward to a new position to show the succeeding picture. The apparatus was largely manufactured on a small scale, without the phonograph, for use in railway stations, cigar stores, etc. It was found to be almost impossible to combine the two instruments. In this case the pictures were not projected upon the screen, but were upon a ground-glass plate which the observer looks at.

REYNAUD’S OPTICAL THEATER.

Up to the time of the invention of this theater, the apparatus that produced the synthesis of the successive phases of an action were limited to reproduction upon a very small scale, which can only be enjoyed by a limited group. The object of the optical theater was to provide an apparatus for the reproduction of a series of actions upon a considerable scale. The continuity of the image obtained by the praxinoscope, invented in 1877 by M. Reynaud, had not up to this time been realized by any projecting apparatus. The effect is produced by using a crystalloid band upon which the images are painted as represented at A in our engraving. The operator can revolve it in one direction or the other by means of two reels. The images pass before the lantern, B, and are projected by the aid of the objective, C, upon an inclined mirror, M, which projects them upon the transparent screen, E. Another projection lantern, B, causes the appearance on the screen of the scene, amid which appear the characters, which change their posture according as the painted band, A, is revolved by the operator.

ELECTRIC TACHYSCOPE.

The apparatus which we are about to describe is an important link in the history of the synthesis of animated motion. The apparatus is the invention of Ottamar Anschuetz, of Lissa, Prussia. A special camera was used, adapted to take a number of photographs in quick succession. The instrument for displaying the pictures is called the “electrical tachyscope.” It consists of an iron wheel of sufficient diameter to hold an entire series of positive prints on the periphery. The wheel is arranged upon a rigid standard, and provided with a series of pins which register exactly with the picture. Upon the standard behind the wheel is located a box containing a spiral Geissler tube which is connected with the terminals of a Ruhmkorff coil. The primary coil is provided with a contact maker and breaker adapted to be operated by the pins projecting from the wheel, so that every time a picture comes before the Geissler tube it is illuminated by an electrical discharge through the tube. This discharge, being instantaneous, shows each picture in an apparently fixed position. These pictures succeed each other so rapidly that the retinal image of one picture is retained until the next is superimposed upon it, thereby giving to the observer the sense of a continuous image in constant motion.

THE DEMENY CHRONOPHOTOGRAPHIC APPARATUS.

The chronophotographic apparatus which we illustrate was invented by M. G. Demeny, who is the assistant of Dr. Marey, whose work in chronophotography we have already described. As long ago as 1891, M. Demeny was able to project upon a screen figures which simulated the motion of animal life.

Strips of sensitized films from sixty to ninety feet in length were not available at this time, and it was necessary to employ some makeshift. Images were taken from the chronophotographic apparatus upon a strip four or five yards in length, and were printed as positives upon a glass disk sensitized by chloride of silver, and it was by means of this disk that the projection was made. The number of images was limited to forty or fifty, according to the subject, but the advent of the long strips of sensitized film induced the inventor to so modify the apparatus as to be able to take images in long series and for projecting them. The apparatus of M. Demeny, which we show in our engraving, employs strips of any length, but at present the longest that have been used are one hundred and fifteen feet. This gives about one thousand images of the dimensions adopted by the inventor, one and one half by one and three quarter inches. This wide surface of the image has an immense advantage, since, with the electric light, it permits of throwing the moving pictures on a screen sixteen feet high.

For a small screen the oxyhydrogen light will be sufficient. The lantern is provided with an ordinary condenser, in front of which is placed a water tank to absorb a portion of the heat. At the opposite end of the table stands the chronophotographic projector which carries the film wound around its bobbins. The lantern is so regulated that the luminous rays will fall exactly upon the aperture as the image passes behind the objective, O.

After the focusing has been effected, all that has to be done is to turn the crank, M. At P and R are seen guide bobbins that serve to put in their normal direction the films that have been used. As is well known, the principle of all projecting apparatus of this kind consists of arresting the film for an instant at the moment it is uncovered by the shutter. The process employed in the Demeny apparatus is very simple. It is shown in Fig. 3 of our engraving. Upon coming from the bobbin the film passes over a guide roller, S, and then over a rod, D, mounted eccentrically; thence it goes to the toothed roller, C, designed for causing the images to register accurately. The film then reaches the magazine roller, B. The mechanism is entirely enclosed in a box, and the shutter disk, which is not shown in the engraving, is situated at the other side of the aperture, F. Beneath the bobbin, A, is a rubber roller, E, mounted upon a spring in such a way that it will bear against the film, whatever be the thickness of the ribbon on the bobbin. It is this roller which is moved by gearing that causes the film to unwind in a continuous manner, and thug prepares it for the eccentric rod, D, which pulls upon a portion of the film already unwound, but does not screen it. The film passing under the guide, S, passes between two velvet-lined frames, H and T, that are provided with an aperture F. It is upon making its exit thence, and passing over the guide, S, that the film is taken up by the rod, D, then runs over the toothed roller, C, and finally over the bobbin, B. All these parts, exclusive of the shutter, are interdependent, and are connected by gear wheels set in motion by the crank, M. None of them have a jerky motion. All of the parts of the mechanism have uniform rotary motion, and the stoppage of the films is prepared for by a graduated diminution of the velocity. One advantage of this apparatus is that it is very tender with the films. Our last engraving represents a few images on a strip made for a spectacular drama at the Châtelet Theater, Paris. This strip is one hundred and fifteen feet long, and embraces a thousand images, each of which was colored by hand. The effect is very pleasing.

THE KINETOSCOPE STEREOPTICON.

Since the time the “kinetoscope” brought the art of moving photography prominently into notice, many inventors have been striving to perfect apparatus for successfully projecting these miniature pictures upon the screen by means of a stereopticon, producing the same effect of motion as in the kinetoscope. In the kinetoscope the successive images are illuminated by reflected light, and are seen through a lens enlarging them considerably, say from half an inch in diameter to about four inches. The problem of the kinetoscope stereopticon was to successfully project these little images several thousand times, and secure sufficient illumination upon the screen to make them appear distinct and clear. The two factors which aided in solving the problem were the use of the electric lamp as an illuminant and of continuous flexible transparent celluloid films. Our first engraving shows some kinetoscopic pictures taken directly from the negative film, by the “phantoscope” invented by Mr. C. F. Jenkins. The successive motions of practicing “putting the shot,” shown in these fifteen pictures, may be traced by beginning at the lower left-hand corner and reading upward for each column of pictures. The device for taking the phantoscope pictures is shown in Figures 5 and 6.

On a shaft is fixed a disk supporting four lenses, and geared to the shaft is a vertical shaft engaging a bevel gear on the axis of the film-winding reel. As the shaft is revolved by the handle on the outside, the lenses are brought respectively behind the opening in the front of the box and transmit the momentary images as they pass the opening to the moving sensitized film which goes in the same direction as the moving lens, and at the same speed. The exposed film is at the same time wound up on the top reel. With the same apparatus the positive pictures may be reeled off of one spool to the other, being projected by the electric light in the rear, illuminated by rotating condensers, one for each lamp. The pictures may be looked at in the box, through a small screen; they are made at the rate of twenty-five to the second, and are about three-quarters of an inch in diameter, and one-quarter of an inch apart, on a continuous sensitized celluloid strip about one and a half inches wide, having perforations in its edges, in which the sprocket wheels of the projecting device engage. The projecting apparatus is shown in Fig. 1, and consists of an electric arc lamp in front of which is a condenser. In advance of that is the motor for operating the feed mechanism, and in front of all is the film traveling device and the objective. Our second engraving is a view of the stand complete, showing the rheostat, switches, etc., for regulating the current. The film, after passing behind the lens, is wound up on the reel below. Our third engraving shows the use of the apparatus in the theater. It is placed in a cabinet surrounded by curtains, in an upper gallery, the images being thrown forward upon a screen upon the stage.

In projecting pictures of this kind it has been usual to employ shutters operating in unison with the movements of the picture ribbon. After a series of experiments it was found that the same effect of motion could be produced by causing the ribbon itself to have an intermittent movement without the use of shutters at all, which greatly simplifies the apparatus. A film-working apparatus based on this idea is shown in detail at Fig. 4. The electric motor operates a main shaft to which it is geared, a worm engaging a gear on the shaft with the main sprocket pulley, and draws the picture ribbon downward at a uniform speed. Back of this shaft may be seen the main shaft, intended to rotate rapidly, on the end of which is a disk having a roller eccentrically fixed thereto. Behind this is a standard supporting spring-tension fingers behind the lens. As the film is drawn forward by the main sprocket pulley, it is quickly pulled downward by each rotation of the rapidly moving eccentric roller on the disk. The sprocket pulley meanwhile takes up the slack of the ribbon, so that at the next rotation the eccentric roller quickly pulls the film down and makes the change; from the sprocket pulley the film is carried to the winding wheel operated automatically from the main shaft by means of pulleys; or, when it is desired to repeat the subject over and over again, the endless film is allowed to drop into folds in a box located under the sprocket pulley, passing out at the rear, upward over pulleys arranged above the spring-tension fingers, then downward between them again to the main pulley.

Fig. 7 is a diagram of a film-moving mechanism of an English inventor, Mr. Birt Acres, which has been successfully operated in London.

The picture film is drawn from an upper reel, passed over a sprocket pulley, downward through a retaining clamp, and over a second pulley to the bottom or winding reel. The film passes over both sprocket pulleys at a uniform speed, between a stationary and swinging clamp operated automatically from the shaft of the shutter and which holds the film stationary when the opening of the shutter is behind the lens, during the interval the picture is projected on the screen. The clamp is released; then the pivoted lever below, with a roller on the upper end, is pulled inward at the other end by a spring and immediately takes up the slack (as shown by the dotted lines), and causes, by such sudden movement, the bringing of the next picture into position.

THE “MUTOGRAPH” AND “MUTOSCOPE.”

The “mutograph” and “mutoscope” are names of very interesting machines for presenting moving photographs. The camera frame is mounted, by means of three adjustable legs, upon a triangular turntable, which may be placed upon any suitable support. Upon the top of the frame is bolted a two horse-power electric motor which is driven by a set of storage batteries; the combination of the turntable with a vertical adjustable enables the camera to be shifted so as to take in the required field. In the front of the camera is fixed a lens of great light-gathering quality which produces an image of exceedingly clear detail. Inside the camera is a strip of gelatine film two and three-quarter inches wide, and usually about one hundred and sixty feet in length, which is wound upon a small pulley and drum. The length of the film varies for different subjects. In case of a prolonged scene it may extend several thousand feet. The film is led through a series of rollers, and is caused to pass directly behind the lens of the camera, and is finally wound upon a drum. The object of the rollers is to cause the film to pass behind the lens with an intermittent instead of a continuous motion. At ordinary speeds this could be easily accomplished, but the difficulties are increased when it is remembered that the impressions are taken at the rate of forty per second, and that the film, which is running at the rate of seven or eight feet a second, has to be stopped and started with equal frequency. The film comes to a rest just as the shutter opens, and starts again as the shutter closes. The impressions vary in actual exposure between one one-hundredth and one four-hundredth of a second. While the ordinary speed is forty a second, the mutoscope can take equally good pictures at the rate of one hundred per second, if it is necessary. The highest speed would be used in photographing the flight of a projectile or other object which was in extremely rapid motion. After the mutograph has done its work, the films are carefully packed and sent to the New York establishment of the American Mutoscope Company. Here they are taken to the dark room, the interior of which is shown in our engraving. Arranged along each side of this room is a series of troughs, above which are suspended large skeleton reels three feet in diameter and seven feet long, the axes of the reels being journaled in brackets attached to the end of the trough. The films are wound upon the reels and subjected to the action of the various solutions for developing, fixing, etc., the reels being transferred from bath to bath until the films are ready to go to the drying-room. In this room are also prepared positive transparent strips for use in the biograph and the bromide prints for the mutoscope.

The films are unwound on to large wooden drums about the same size as the reels, where they are carefully dried. At the far end of the room are seen the machines for cutting up the bromide prints. Here also is carried on the work of retouching the films and preparing them for use in the biograph and mutoscope pictures. The biograph is somewhat similar to machines which we have already described.

The annexed engravings show pictures of clay-pigeon shooting and of the firing of a ten-inch disappearing gun at Sandy Hook.

Upon the roof of the New York establishment of the company there has been erected a large movable stage for taking photographs of celebrated scenes from plays or of individual performances in which it is desired to reproduce the motions as well as the features of the subject. It consists of a floor of steel I-beams which carries a series of three concentric steel traps. Upon this rotates the massive frame at one end of which is a stage supplied with the necessary scenery, and at the other end a corrugated iron house, in which is located the mutograph. The stage is bolted to the frame, but the house travels upon a track, so that it may be moved to or from the stage as required. The frame carrying the stage and house rotates about the smaller circular track located beneath the house, and may be swung around so as to throw the light full upon the scene at any hour of the day.

The “mutoscope” is compact, and the pictures are large. It is not any larger than the cover of a sewing machine. The enlarged bromide prints, measuring four by six inches, are mounted in close consecutive order around the cylinder and extend out like the leaves of a book, as shown in the illustration. In the operation of the mutoscope the spectator has the performance entirely under his own control by turning a crank which is placed conveniently at hand, and may make the operation as quick or as slow as he desires, and can stop the machine at any particular picture at will. Each picture is momentarily held in front of the lens by the action of a slot attached to the roof of the box, which allows the pictures to slip by in much the same way as the thumb is used upon the leaves of a book.

“CINEMATOGRAPH” CAMERA.

The “cinematograph” camera, invented by the Messrs. Lumière & Sons, works on a somewhat different principle from those we have already described. In this camera the film is carried forward intermittently, no sprocket wheel being used. The film-moving mechanism is fully illustrated in Figs. 1 and 3.

The film-moving device consists of two prongs which somewhat resemble a fork. It is shown at D in Fig. 3. The prongs are alternately pushed through or withdrawn from the perforated ribbon by the aid of a rotating bar, C. The film-moving device, D, has really a shuttle movement, having a rapid reciprocating motion. The rotating bar, C, which is secured to the main shaft, is so arranged that its ends, which are bent in opposite directions, strike on alternate sides of the wedge-shaped piece which is secured to the fork, D, and thus impart to the latter a reciprocating motion. The up-and-down motion of the film is accomplished by the aid of a cam which is secured to the main shaft. The reciprocating yoke piece, A, is given a vertical motion when the crank shaft is rotated. The arm, B, is attached to the yoke piece, A, and this carries down the film through the medium of the fork, D. When the film has been lowered the distance of one exposure, the rotating bar, C, strikes the fork and removes the prongs from the film. The yoke piece then raises the prongs, and the other arm of the rotating bar strikes the wedge-shaped piece, and forces the fork, D, through the apertures in the film. On the main shaft is also arranged the shutter, E, which rotates with the film-moving mechanism. Fig. 2 shows the simplicity of the camera. On the upper end of the box is the sensitized ribbon, which passes downward between guides before the lens opening. The bent ends of the cam operating bar, which give the fork, D, its reciprocating motion, are shown in Fig. 3. Fig. 4 is a general view of the instrument, showing the driving gear and film support. Fig. 5 shows the cinematograph camera in operation. It will be seen that the camera is very portable. The same camera can be converted into a projecting apparatus for throwing moving pictures upon the screen. The images are about an inch square.

CAMERA FOR RIBBON PHOTOGRAPHY.

The camera for ribbon photography which we illustrate is the invention of Mr. C. F. Jenkins, the inventor of the “vitascope,” which we have already described. Instead of using a rotary disk shutter, the radial apertures, and a fixed lens, this camera has a single opening in the front, the size of the aperture being regulated at its rear end by a diaphragm disk having radial slots of varying widths cut therein. The operator is thereby enabled to govern the amount of light admitted to the lenses according to the subject to be photographed and the length of the exposure desired. This disk is rotated by hand, like an ordinary stop in a wide-angle lens. Back of the diaphragm disk is the battery of lenses, each of the same focus, arranged in a circle, joining each other, upon a rotating disk which is secured to a shaft which extends rearward and terminates in a bevel gear wheel which meshes with a side bevel gear wheel fixed upon the main shaft, suitably geared to the main driving shaft.

The main shaft may be operated by a crank on the outside of the box, by hand or by any suitable motor. The sensitized celluloid perforated ribbon film maybe noticed passing downwards near the front end of the camera, in front of the exposure tension plate, the square aperture in which is exactly in line with the front aperture in the box. From this point the film, after exposure, passes downward between the sprocket wheel and pressure roller to the winding reel in the rear end of the camera, which is rotated by belt-connection to a pulley on the upper shaft and takes up the film ribbon as rapidly as it is exposed. A feed roll for the supply of unexposed film is not shown, but may be located at the rear of the camera, over the winding reel. The operation will be readily understood. The camera is placed upon the tripod or stand; the crank on the outside is rotated, which causes the film to travel downwards continuously, at exactly the same speed at which the lenses rotate, so that at every fraction of a second that it takes for each lens to pass behind the camera aperture an impression of light is made on the downwardly moving film; and as the lenses and film both move in unison, it follows that a sharp picture will be the result while the brilliancy of the illumination is at its maximum. The camera can be carried about as readily as any other camera. In practice it is found that the motion of the hand-operated crank is sufficiently uniform to permit of the proper reproduction of motion by the positive pictures projected upon the screen.

Our next engraving shows how the positive ribbon pictures for the vitascope and other forms of apparatus are printed; this is also the invention of Mr. Jenkins. It consists of reels supported on suitable upright standards holding respectively the sensitized ribbon film and the negative film. The film from the negative supply wheel is carried along over the sensitized film wheel, and both pass in contact, in continuous motion, under an exposing chamber illuminated by any source of white light, as an incandescent lamp or a Welsbach incandescent gaslight, thence over the toothed sprocket driving wheel to the winding wheels, the exposed film being wound first. This will be better understood by reference to our detailed diagram of the mechanism. It will be noticed that the reels are interchangeable, and hence, to make duplicate copies it is only necessary to remove the negative spool from the winding-up end to the supply-spool standard of the apparatus, and begin over again. The perforations in the edges of the film are of a special square shape, and give the square sprocket wheel of the propelling pulley a better tension on the film. The teeth pass through the perforations of both films, causing both to move at exactly the same time, and at all times to keep in perfect registry. The speed of the film passing under the exposing chamber must be absolutely uniform; this is obtained by propelling the sprocket wheel by an electric motor or by a spring motor. The electric motor is seen in the large wood cut. The axle of the motor has worm gear operating a cog wheel on the main shaft. The V-shaped elastic band holds the frame in which is a ground glass in contact with the film, producing a kind of tension on the film. To the left of the light chamber is a supplementary tension adjusted by screw nuts, as shown. Referring to the diagram, two slotted diaphragm cards will be seen. These are placed over the ground glass just mentioned, at the bottom of the light chamber, and are for the purpose of regulating the amount of light that acts on the negative. If the negative film, as a whole, should be thin, then a card with a narrow slot is used, which allows a short exposure to be made if the negative and film are passed under it. If the negative is full of density, then the narrow card is removed, and the wider slotted card substituted, which allows a larger volume of light to act upon the negative film. The exposed film is wound around large open reels from a spool and is developed by passing through cloths of developer solution. The novelty in the device which we illustrate consists in the fact that the film moves continuously under a uniform source of light, under any intermittent motion or the use of shutters. The operation of exposing the film is carried out in a room illuminated by the usual ruby light.

THE MICROMOTOSCOPE.[17]

[17] By D. F. St. Clair.

The principles of the kinetoscope or mutoscope have been applied to the microscope, with some interesting results, by Dr. Robert L. Watkins, of New York City. The instrument, though simple, was made a success only after many experiments and failures in adjusting the objective of the microscope in a line with the right sort of light and a rapidly moving film.

The principal difficulties in making a mutoscope out of so delicate an instrument as the microscope are the light and the lens. Every electric lamp in the market, when its light has been concentrated sufficiently for photography, will, after a short time, with its heat, kill, dry up, or impair almost any kind of life in the microscopic field. The greater the magnification, the more intense the light must be and the nearer the microscope. This difficulty was often enhanced by the length of time it took to get a focus on the sensitive film, but most of the pictures taken were good, and show well the various characteristics of the action taking place in cell life, so far as it can be observed with the microscope.

Whatever is to be photographed, once it is put in the field of the lens, is adjusted to a horizontal plane. Near one end of the microscope is placed an electric lantern containing a small arc light concentrated on the object. Near the other end is the box that covers the apparatus for moving the long, sensitive gelatine film. The film runs like a belt, on wheels, and passes in front of a tiny window in the box and on a direct line with the lens and light. This machinery is turned by a crank, and its ordinary capacity is about 1,600 pictures per minute. It is possible to increase it to 2,000 or 2,500, but for most purposes 1,000 or even less per minute will record every motion taking place in most cell life. Dr. Watkins found, however, after a number of trials, that he could not turn the machine fast enough to photograph the motion of the blood circulating in the web of a frog’s foot. He simply needed a larger wheel.

The advantages of mutoscopic photography to microscopy are quite evident, especially as regards the action of bacteria and blood cells. Nearly all the numerous families of bacteria have motion, many having motion that the eye cannot always follow clearly. It has already been discovered that the same kind of bacteria will act very differently under different circumstances. For instance, a flash of bright light will suddenly drive some kinds to cover. Some kinds will readily seek the negative pole of the battery. They will also seek food with avidity and reject poison with true instinct. All such phenomena can, of course, be followed with the eye, but not with the same detail in the microscopic field as in a series of clear photographs. The fact is that on account of the motion of some bacteria it has been well nigh impossible to photograph them. The books have had to depend upon the eye and hand of the draughtsman and upon vague description. This may not be of much importance either way, but as yet comparatively little is known about bacteria. It is not yet known whether they are the cause of disease, or its results, or neither. Photography, under the proper circumstances, is most needed for the investigator, and it can be only moving photography.

The capillary or circulatory motion of the blood cells, after the blood has been drawn, is comparatively slow at best; but the amœboid movement of the white cells and the changes taking place in the nuclei are complicated, and often hard to intelligently watch in the field. Many of these changes occurring in the white cells are certain to escape attention, but all of them will be clearly recorded on the rapidly moving sensitive film. These motions in the white cells, though they are as yet imperfectly understood, are full of meaning to the physiologist and pathologist. The offices that the blood performs in the body are believed to be due mainly to the action of the white cells. Certainly, the character of their amœboid action is one of the surest indications of health or disease.

But with the micromotoscope it need no longer be impossible to photograph the blood in actual circulation. With a better light the cells may be seen in the thin tissue of the ear or the web of the fingers. They have often been examined in the peritoneum during an operation, and Dr. Watkins himself has made a close study of them in the web feet of some birds and the tails of fishes.

Unfortunately, the illustration of blood here reproduced does not show the white cells. They stuck to the glass, while the red cells, it will be perceived, retain something of their motion, continuing to flow across the field for half an hour after the blood was drawn.

APPENDIX.

APPENDIX.

_ADDITIONAL TRICKS._

THE MAGIC TABLE.

This was a trick of the late Alexander Herrmann. In the center of the stage is placed a light table with three legs and a plush top. The prestidigitateur moves his hand over the table; suddenly it rises in the air and follows his hands wherever he moves them. The secret of the trick will be easily understood by reference to our engraving. A small nail is driven in the center of the table. This nail is not noticed by the audience, and the plush top tends to hide it. The magician wears a ring which is flattened on the inner surface and a small notch is filed in it. The ring is placed on the middle finger of the right hand; the hand is spread over the table until the notch fits under the head of the nail. The table can then be lifted with great ease, and it appears to follow the hand of the conjurer in obedience to the magic wand.

“GONE.”

This very clever illusion was designed by Mr. W. E. Robinson, the assistant of the late Herrmann the Great. It has been exhibited in several of the large cities, and is always a great success. When the curtain is raised the square frame is seen; this frame is braced laterally by side pieces. At the lower part of the frame, within easy reach of the prestidigitateur, is a windlass. Ropes pass from this windlass, over pulleys, to a crossbar in the upper part of the frame. A lady is now brought upon the stage and for some terrible crime is sentenced to be electrocuted. She is seated in a chair, which she grasps tightly. She is then tied tightly to the chair with ropes, and her hands are chained together. The prestidigitateur now secures the chair, with its fair occupant, to the ropes which are connected with the windlass, by means of hooks which fasten to the top frame of the chair. Wires are now secured to the unfortunate lady so that it really seems as though she was to receive the death-dealing current. The professor of magic now winds away at the windlass and raises the chair until the head of the victim is on a level with the crossbar. He then discharges a pistol, and at the same instant the lady disappears and the chair drops to the floor. Such is, in brief, the mode of operation of the trick called “Gone.”

In reality the illusion is a clever adaptation of the “Pepper Ghost” of which we have already described several variations. A reference to our first engraving will show that at the sides of the frame is a row of incandescent lights. While the lady is being secured to the chair, and while she is being hoisted up to the crossbar, these lamps are kept lighted; but the instant the pistol is fired, these lights are extinguished by a stage hand in the side scene. Up over the proscenium arch is arranged a background which corresponds to the background of the stage. Two wooden bars cross it. Directly below this screen, and carefully shielded from the observation of the spectators, is a row of incandescent lights. As the pistol is fired these lights are turned on, while those in the frame are extinguished. Now, according to the principles of the “Pepper Ghost” which we have already described, the person or thing which is brilliantly lighted has its image projected on a sheet of glass and appears to be real. The front of the frame, from the windlass to the horizontal cross piece, is covered with a sheet of glass which is not apparent to the audience. The image of the background is projected upon this glass, which hides the lady from view, although she is immediately behind it, and the pieces of wood and this artificial background take the place of the back posts of the frame, thus deceiving the audience. The chair is made in two sections, the lady being tied to the upper, or skeleton chair. She holds a heavy chair with her hand tightly, and at the instant when the pistol is fired she releases the chair, which falls to the floor with a loud noise.

There is another illusion, called “Out of Sight,” invented also by Mr. W. E. Robinson, which is somewhat similar, but is not as interesting from a scientific point of view. It is, however, better adapted for a traveling company, as there is no glass to break, the large sheet of plate glass in the front of the frame being entirely dispensed with. When the pistol is fired, a curtain of the same color as the background is released by the prestidigitateur, and it is drawn down quickly by means of rubber bands. It takes only an instant for the curtain to descend, its lower edge being hidden from view by the windlass. The audience is usually deceived as easily by this illusion as by the more complicated one.

THE SPIDER AND THE FLY.

This is one of the most interesting of the series of tricks which depend upon mirrors, and of which the “Decapitated Princess” is a type. When the curtain rises, the scene shows a gentleman’s country house set upon the embankment and surrounded by grass plots and shrubbery. This is painted scenery such as is usually used in theaters. The house is approached by a set of stone steps which are built out from the scene proper, or, in other words, the drop. These are what is known in theatrical parlance as “practical” steps; that is, they may be ascended. The steps are encased by side walls, and these walls are surmounted by vases of flowers and handsome lamp posts. The steps lead to the doorway of the house; the door is also “practical,” and can be opened and shut. The story runs that the house was deserted for such a long time that the steps were covered by a gigantic spider’s web, and the spectator is surprised to see this web, which extends from post to post and to the side walls of the steps.

In the center of this gigantic web is seen a spider’s body with a woman’s head. The steps leading to the doorway of the house are open, and a person starts to descend, but stops on seeing the spider, and retreats after taking three or four steps down the stairs. This adds greatly to the illusion, as it looks as if it could not be produced by a mirror. You can see both above and below the head, and the steps may be seen at any angle you choose. The puzzling part of the trick is the question of the whereabouts of the lady’s body.

Reference to our second and third engravings will give the secret of the trick. The mirror lies at an angle of 45° and runs from the base of the posts to the rear of one of the treads of the lower steps. The mirror extends the full width of the steps. A semicircular hole is cut out of the center of the mirror, at the top edge; this is to receive the lady’s head.

The spider’s body is fastened to the network of rope; the lady has simply to affix this body to her head, and the illusion is complete, as the body of the lady is concealed behind the glass. The mirror reflects the lower steps, so that this reflection really appears to be a continuation of the steps, and the entire flight seems unbroken. When the person appears at the door and descends the steps, he must be careful not to come below the line of reflection, as his legs will not be visible. The top edge of the glass is concealed by a rope of the web, as it is directly in front of it, and for safety is usually cemented to the glass.

In our diagram, No. 1 represents the steps; 2, the mirror; 3, the web; and 4, the lady. This trick requires the most careful preparation and adjustment, but when this is accomplished, the results are extremely satisfactory.

THE TRUNK TRICK.

This trick, which attracted the attention of the world for months, is of English origin, and was presented in England long before it was introduced into Paris. The experiment consists of having a trunk examined, tying it, securing a cover over it, tying it a second time, sealing it with wax, and then showing that in a few seconds a young East Indian has succeeded in getting inside of it without unfastening the cords, breaking the seals, or opening the trunk.

Half the bottom of the trunk constitutes a trap door which is opened by inserting a round key in one of the ventilating apertures. As soon as the trunk has been tied, sealed, and placed under a canopy, the curtains of which are let down so as to hide the trunk from the spectators, the East Indian, who is also invisible to the spectators, lays the trunk down as shown in our second engraving, unbuckles the cover and slides it down, takes his key, opens the trap door, gets into the trunk, puts the cover in place, buckles it, and then closes the trap door. To raise the trunk to its proper position, he takes a long screw, something like a gimlet, from his pocket, inserts it in one of the holes under him, and turns it; the trunk rises slowly, and when it has reached its point of equilibrium, it falls back suddenly on its bottom. The noise thus made is the signal for the operator, who immediately draws back the curtains, finds by the weight that something is in the trunk, and then unties it slowly and presents the mysterious traveler to the audience.

It will be seen by one of our engravings that the Indian appears tied in a bag in the trunk. This is a variation of the trick. The bag is made of some light or soft material, and is provided with a hem at the mouth. In this hem runs a cord or tape; the performer draws the string tight, and seals the knots at the same time. The bag is then placed in the trunk, and the trunk is secured as above. The assistant who enters the trunk has concealed under his blouse a similar bag, the string of which is long enough to correspond in appearance to that of the other bag when it is tied and sealed. There are a couple of stitches missing on each side of the hem, leaving space enough for the assistant to insert his fingers. When he enters the trunk he removes this bag from his blouse, placing the original bag in the place of the duplicate. He now goes into the duplicate bag and places it up over his head, and, inserting his four fingers into the opening in the hem, draws in all the slack of the string, thus closing the bag, which is, of course, to all appearances, tied and sealed as the original.

“LA STROBEIKA PERSANE.”

This illusion, made popular a few years ago by the late A. Herrmann, under the name of “Strobeika” was originally produced at Houdin’s Little Hall, in Paris, by the inventors of it, two Germans, Herren Lutz and Markgraf.

The trick is supposed to take place in a prison or dungeon. In the center of the stage, quite near the back scene, stand four upright posts about eight feet high, and set about eight feet apart on the long side, and four on the short. These posts are made fast to a rectangular iron frame at the top, from the four corners of which are chains supporting a plank about an inch and a quarter thick, all in full view of the audience. Curtains hang from the framework to about a foot below the level of the board; these curtains can be opened or closed by sliding them back and forth on the frame, rings being sewed on them to allow of this being done easily. A man supposed to be a prisoner is stretched upon the plank; his wrists and ankles are manacled and locked by a committee from the audience, who can furnish, if they desire, locks of their own. His neck is also enclosed in a steel collar and locked to the plank. At a signal the curtains are closed, and, as they reach only a little way below the plank, permit of a full view underneath, to the rear wall of the stage. In less than a minute the curtains are withdrawn again, and a young lady is seen to have taken the place of the man, who, at the instant of the girl’s discovery, is seen running down the aisle of the theater. Now, let us see how this strange trick is accomplished.

The first thing is the explanation of how the man becomes released from the shackles. It principally lies in the construction of the board. There is no deception about the keys, locks, or manacles, since it is not at all necessary to the deception that there should be. The board is hollow and contains cunningly concealed levers, four in number, which move simultaneously. The eyes that the manacles slip over, and to which the locks are fastened, go into the board and are held fast by the ends of these levers, which enter a hole or notch, as the case may be, in the eye. The shackles and neck piece and their respective eyes are all made fast to an iron plate or bed which is bolted to the board; a bolt at each corner of the plates goes through the board and secures another plate at the bottom of it, making all firm. There is one bolt, however, that does not go through; it is riveted to one of the short levers, and by its means the system of levers is pushed backward or forward. There is a nut on the bottom plate to make it appear as if this identical bolt went completely through, the same as the others. The levers run in grooves made in any suitable part of the board and covered by a strip of wood or other material, thus rendering the mechanism invisible, and appearing as if the board was solid.

At each corner of the board is a ring or screw eye, into which the chain provided with a hook is secured, by which to suspend the board. The four levers are pivoted to a rocking lever in the center of the board, which is likewise pivoted. By this means all the levers are moved simultaneously. When the lever is moved it releases all the shackles, and the prisoner is then, of course, free, and it is but the work of a moment to climb out through an opening in the scene at the back, where the lady who is to take his place is now waiting on the end of a long board pushed out through the opening in the scene. The lady gets on the trick board, the man slams the shackles into place, moves the bolt back, thus shoving the levers back into their notches in the eyes, again making everything fast, makes his escape through the scene, and appears a minute later from the front of the theater.

The trick is varied sometimes by using double curtains at the back; concealed between them is the lady. After the exchange the man hides in the same place, and another man, his exact counterpart, is the one who makes his appearance in the audience.

“METEMPSYCHOSIS.”

“Metempsychosis” is the name of an illusion which was the joint invention of Messrs. Walker and Pepper, of London. It was devised by the former gentleman, and the latter assisted in perfecting it. It is probably the most mystifying of any of the optical tricks. It has of late years been shown in America, by Kellar, under the title of the “Blue Room.” The first effect produced upon the spectator after witnessing the illusion is that he has been dreaming, or seeing ghosts or spirits, for it seems utterly impossible for man to accomplish the wonders produced by it.

Our first engraving shows the stage set as an artist’s studio. Through the center of the rear drop scene is seen a small chamber in which is a suit of armor standing upright. The floor of this apartment is raised above the level of the stage and is approached by a short flight of steps. When the curtain is raised a servant makes his appearance and begins to dust and clean the apartments. He finally comes to the suit of armor, taking it apart, cleans and dusts it, and finally reassembles it. No sooner is the suit of armor perfectly articulated than the soulless mailed figure deals the servant a blow. The domestic, with a cry of fear, drops his duster, flies down the steps into the large room, the suit of armor pursuing him, wrestling with him, and kicking him all over the stage. When the suit of armor considers that it has punished the servant sufficiently, it returns to its original position in the small chamber, just as the master of the house enters, brought there by the noise and cries of the servant, from whom he demands an explanation of the commotion. Upon being told, he derides the servant’s fear, and, to prove that he was mistaken, takes the suit of armor apart, throwing it piece by piece upon the floor. This is only one of the countless effects which can be produced by this interesting illusion.

The working of the illusion will be understood by reference to the diagram, Fig. 2. At A we have the proscenium opening; B B are two flats of scenery which close in the scene from the front wings to the steps, C, which in their turn lead up to the small chamber, D, at the back, in which all the changes occur. The walls of the chamber are lettered E¹, E², E³, E⁴. F is a large mirror extending from floor to ceiling, and capable of being wheeled back and forth on a truck or carriage. When this mirror is withdrawn, as seen at the dotted lines, G, the spectators see through the opening of the chamber to the rear wall. The suit of armor is marked H. Now, if the mirror be pushed across the chamber, both the armor, H, and the rear wall disappear, and the walls of the chamber at E¹ and E² are reflected so that they appear to be the walls E³ and E⁴. There is another suit of armor at I. It is placed so that, when it is reflected in the mirror, it will occupy the exact position of the other suit of armor, H. When the mirror is shoved forward and hides the suit of armor, H, an actor dressed in a similar suit enters behind the glass by a secret door, removes the dummy armor, and assumes the same place himself. All this time the suit of armor at I is reflected in the mirror, so that a suit of armor is always visible. The mirror is now drawn back, and the suit of armor which the actor wears is seen. When the servant now dusts the armor, it suddenly seems to become endowed with life and chases him around the room; and when it again mounts the steps in the smaller room, the mirror is shoved forward, the actor making his escape in time to place the first suit of armor where it formerly stood. Now the mirror is again drawn out, revealing the sides of the room, E³ and E⁴, and of course exposing the suit of armor, H. If the walls, E¹ and E², and the armor, I, are correctly placed as regards reflection, he can pass the mirror to and fro at will, without any change being detected, as the reflection takes the place of the reality, and we suppose we are looking at the real object.

As the edge of the mirror passes the suit of armor a hard line is to be seen, a distinct vertical line, which would seem to wipe out the object as it passes. To avoid this, the inventors hit upon a novel and purely ingenious expedient. They etched vertical lines in the silver back of the glass at the end which first passes across the field of view, beginning with thick silvered spaces close together, and tapering, with the lines farther apart as shown in our diagram, Fig. 3. It can thus be seen that the reflected article gradually appears instead of coming suddenly into view, and when the mirror is moved away the real article gradually appears.

In order that the edges of the glass may be better disguised as it moves forward or backward, the edge is cut or ground into steps, as shown in Fig. 4.

By the apparatus described above, many changes can be made, as a living man appearing in a previously empty chair, flowers growing on an empty bush, a change of a man into a woman, a painted picture into a living one, etc. In some effects a table is employed, to all appearances the common square kitchen table. A person is seen sitting at the table, which is empty; suddenly there appears before him a large dish of oranges or a meal. This is arranged by providing the table with a slot which runs diagonally from corner to corner. This allows the glass to travel through it, and thus shuts off one-half of the table. Articles are placed on the table, behind the glass, which is now withdrawn, leaving them to be seen upon the table. The slot in the top of the table is covered with sheet rubber or other material.

BIBLIOGRAPHY OF NATURAL MAGIC AND PRESTIDIGITATION.

BIBLIOGRAPHY OF NATURAL MAGIC AND PRESTIDIGITATION.

_COMPILED, WITH NOTES, BY_ HENRY RIDGELY EVANS.

I.

ENGLISH.

ARNOLD, GEORGE, _and_ CAHILL, FRANK. The Magician’s Own Book; or, the Whole Art of Conjuring. New York, 1857. 8vo. 362 pp.

ASTLEY, PHILIP. Natural Magic. London, 1785.

BACON, ROGER. Discovery of the Miracles of Art, Nature, and Magic. (About 1260.)

BAILEY, F. H. Hindu Jugglery. Journal of Education (Boston), vol. xliv. p. 378.

BALL, W. W. ROUSE. Card Tricks. _In his_ Mathematical Recreations.

BANCROFT, FREDERICK. Yogi Magic in India. Scientific American Supplement, vol. xliii p. 17845.

BARTLETT, J. Second Sight. Scientific American Supplement, vol. xlii. pp. 17477, 17478.

BECKMANN. History of Inventions. (About 1770.)

BENJAMIN, M. Modern Magic and its Explanation. Chautauquan, vol. xi. p. 731.

BERKELEY. Card Tricks and Puzzles. London, 1892. 8vo.

BERTRAM, CHARLES. “Isn’t it Wonderful!” A History of Magic and Mystery. London, 1896. 4to. 300 pp.

BISHOP, WASHINGTON IRVING. Houdin and Heller’s Second Sight. Edinburgh, 1880.

BLITZ, ANTONIO. Fifty Years in the Magic Circle. An Account of the Author’s Professional Life, his Wonderful Tricks and Feats, with Laughable Incidents and Adventures as a Magician, Necromancer, and Ventriloquist. Hartford, 1871. 8vo.

BRESLAW. Last Legacy; or, The Magical Companion. London, 1784.

BREWSTER, _Sir_ DAVID. Letters on Natural Magic. London, 1832. 16mo.

BURLINGAME H. J. Around the World with a Magician and a Juggler. Chicago, 1896. 8vo. 172 pp.

BURLINGAME, H. J. Herrmann, the Magician. His Life; His Secrets. Chicago, 1897. 12mo. 250 pp.

---- History of Magic and Magicians. Chicago, 1895. 8vo. 41 pp. (Pamphlet.)

---- Leaves from Conjurers’ Scrap-Books; or, Modern Magicians and their Works. Chicago, --. 8vo. 274 pp.

---- Modern Magical Marvels: A Practical Treatise on Magic and Conjuring for Professionals and Amateurs. (In preparation.)

---- Tricks in Magic: Illusions and Mental Phenomena. Chicago, --. 8vo.

A series of entertaining works on modern magic and its professors.

BURSILL, H. Hand-shadows to be thrown upon the Wall; Consisting of Novel and Amusing Figures formed by the Hand, from Original Designs. Second series, in one volume. New York, --.

CARLYLE, THOMAS. Count Cagliostro. _In his_ Miscellaneous Essays.

This is a fascinating sketch of the most famous of charlatans and pretenders to magic. It is written in Carlyle’s characteristic style, and is, perhaps, more of a philosophical study of the _genus_ quack than an impartial biography of the celebrated necromancer of the old _régime_. A more detailed account of Cagliostro’s romantic career is to be found in the series of articles by William E. A. Axon, published in the Dublin University Magazine, vols. lxxviii. and lxxix. (1871, 1872). All biographies of Cagliostro are founded on the work published in Rome, 1790, under the auspices of the Holy Apostolic Chamber. The Italian life contains an elaborate _exposé_ of the great magician’s system of Egyptian masonry, also the full Inquisition sentence pronounced against him. This highly interesting product of papal jurisprudence makes strange reading for the nineteenth century. In the year 1791 the Inquisition biography was translated into French, under the title of _Le Vie de Joseph Balsamo, connu sous le nom de Comte Cagliostro_. It has for a frontispiece a steel-engraved portrait of Cagliostro. Original editions of this rare and curious old work may be seen in the Peabody Library, of Baltimore, Md.; the Scottish Rite Library, of Washington, D. C.; and the Masonic Library of Grand Rapids, Iowa.

Cagliostro made adroit use of hypnotism, optical illusions, and chemical tricks. He was past master of the art of deception. Modern professors of conjuring are fond of using the name of Cagliostro for all sorts of magical feats, such as the “Mask of Balsamo,” “Cagliostro’s Casket and Cards,” “Cagliostro’s Cabinet,” etc.

CARPENTER, WILLIAM H. At an Algerian Aissaoua. Current Literature, vol. xix. pp. 409-411.

The Aissaoua are the miracle-mongers of Algeria. For explanation of their tricks, see the concluding chapter of Robert-Houdin’s memoirs.

CONJURER UNMASKED, THE: With the Tricks of the Divining Rod, Magical Table, etc. 1790.

CONJURER’S GUIDE. Glasgow, 1850.

CREMER, W. H. Hanky-panky: A Collection of Conjuring Tricks. London, --. 8vo.

---- The Magician’s Own Book. London, --. 8vo.

CUMBERLAND, STUART. A Thought-Reader’s Thoughts: Impressions and Confessions of a Thought-Reader. London, 1888. 8vo.

DAVENPORT, REUBEN BRIGGS. The Death-Blow to Spiritualism. Being the true story of the Fox sisters as revealed by authority of Margaret Fox Kane and Catherine Fox Jencken. New York, 1888. 8vo. 247 pp.

A rare and interesting work, with portraits of Margaret Fox Kane and Katie Fox Jencken, the pioneer mediums of American spiritualism.

DESSOIR, MAX. The Magic Mirror. Monist, vol. i. p. 87.

---- The Psychology of Legerdemain. Open Court, vol. vii.

Series of articles translated from the German. Of great interest to psychologists.

DE VERE, M. S. Modern Magic. 1869.

EVANS, HENRY RIDGELY. Hours with the Ghosts; or, XIX. Century Witchcraft. Investigations into the Phenomena of Spiritualism and Theosophy. Chicago, 1897. 8vo.

This work, in the main, is a critical study of the phenomena of modern spiritualism. It is divided into two parts--psychical phenomena and physical phenomena. Concerning the first, the author ascribes the manifestations witnessed by him in test séances, with professional and non-professional subjects, to telepathy, etc., not to spirit intervention. As regards the second phase, he takes a decidedly negative view. _Exposés_ are given of psychography, or slate-writing tests, had with such famous mediums as Pierre Keeler, Dr. Henry Slade, etc. The alleged miracles of modern theosophy are also treated at length. Interesting features of the book are the biographies of Madame Blavatsky, D. D. Home, Dr. Slade, etc., and the history of the Theosophical Society from its inception to the present time (1897). A Bibliography of the leading critical treatises on psychic phenomena is appended to the book.

EWBANK, T. A Descriptive and Historical Account of Hydraulic and Other Machines for Raising Water, Ancient and Modern, with Observations on Various Subjects connected with the Mechanic Arts. New York, 1851. 8vo.

Contains many descriptions of magical automata of ancient Greece and Rome.

FITZGERALD, H. A Chat with Mr. Maskelyne and Mr. Charles Bertram. Ludgate Illustrated Magazine, vol. vi. p. 198.

FORBES, JOHN. Card-Sharpers; their Tricks Exposed. (Translated from Robert-Houdin’s _Les Tricheries des Grecs_.) London, 1891. 8vo.

FRIKELL, G. Hanky-panky: A Book of Conjuring Tricks. London, 1875.

---- Magic no Mystery: Conjuring Tricks with Cards, Balls, and Dice; Magic Writing, Performing Animals, etc. _Edited_ by W. H. Cremer. London, 1876.

FROST, THOMAS. The Lives of the Conjurers. London, 1881. 8vo.

---- The Old Showmen and the Old London Fairs. London, 1881. 8vo.

GALE. Cabinet of Knowledge: With Mechanical, Magnetical and Magical Experiments, Card Deceptions, etc. London, 1803.

GANTHONY, R. Practical Ventriloquism and its Sister Arts. London, 1893. 8vo.

GARENNE, _Prof._ HENRI. The Art of Modern Conjuring, Magic, and Illusions. A Practical Treatise on the Art of Parlor and Stage Magic, Illusions, Spiritualism, Ventriloquism, Thought-reading, Mesmerism, Mnemotechny, etc. London, --. 8vo.

GATCHELL, CHARLES. The Methods of Mind-Readers. Forum, vol. xi. pp. 192-204.

Scientific account of the so-called mind-reading feats of Stuart Cumberland, Washington Irving Bishop, and others, showing them to be muscle-reading. Worked in conjunction with certain conjuring tricks, muscle-reading has an all but supernatural effect. Mr. Gatchell explains many of the devices used by charlatans to imitate clairvoyance, etc. See also chapters on similar subjects in Burlingame’s “Leaves from Conjurers’ Scrap-Books,” Carl Willmann’s “Moderne Wunder,” and Sid. Macaire’s “Mind-Reading, or Muscle-Reading?”

GOOD, ARTHUR. Magic at Home: Book of Amusing Science. Translated by Prof. Hoffmann [Angelo Lewis]. London, 1890. 8vo.

HALLE, J. S. Magic. Berlin, 1783.

HART, ERNEST. Hypnotism, Mesmerism, and the New Witchcraft. New York, 1893. 12mo. 212 pp.

A new and enlarged edition, with chapters on “The Eternal Gullible,” “The Confessions of a Professional Hypnotist,” and notes on the hypnotism of Trilby.

HATTON, HENRY. Secrets of Conjuring. Scribners, vol. xxi. pp. 304-306.

---- The Art of Second Sight. Scribners, vol. xxi. pp. 65-69.

HEATHER, H. E. Cards and Card Tricks. London, 1879. 8vo.

HENRY, T. SHEKLETON. “Spookland.” A record of research and experiment in a much-talked-of realm of mystery, with a review and criticism of the so-called spiritualistic phenomena of spirit materialization, and hints and illustrations as to the possibility of artificially producing the same.

HERCAT. Card Tricks and Conjuring up to Date. London, 1896. 8vo. 123 pp.

HERMON, HARRY. Hellerism: Second-sight Mystery; Supernatural Vision, or Second-sight. What is it? A Mystery; A Complete Manual for Teaching this Peculiar Art. Boston, 1884. 16mo.

A fine _exposé_ of Robert Heller’s second-sight trick.

HERRMANN, ADDIE. Confessions of an Assistant Magician. Lippincott, vol. viii. p. 482.

HERRMANN, ALEXANDER. Light on the Black Art. Cosmopolitan, vol. xiv. p. 208.

---- Necromancy Unveiled. Lippincott, vol. viii. p. 475.

---- Some Adventures of a Necromancer. North American Review, vol. clv. p. 418.

---- The Art of Magic. North American Review, vol. cliii. p. 92.

Interesting magazine articles by the great Herrmann, giving his personal experiences as a magician.

HOCUS-POCUS, JR. The Anatomy of Legerdemain. Fourth edition. London, 1654.

HODGSON, RICHARD. Indian Magic, and the Testimony of Conjurers. Proceedings: Society for Psychical Research, Part 25, p. 354.

HOFFMAN, _Prof._ [ANGELO LEWIS]. Drawing-Room Conjuring. London and New York, 1887. 12mo. 179 pp.

---- Modern Magic. A Practical Treatise on the Art of Conjuring. With an appendix containing explanations of some of the best known specialties of Messrs. Maskelyne and Cooke. London and New York, --. 12mo. 578 pp.

An elaborate treatise on prestidigitation. Very useful to students. Palmistry in all its branches explained, as well as stage illusions.

---- More Magic. London and New York, 1890. 12mo. 457 pp.

_See also under_ Robert-Houdin.

HOFFMANN, WALTER J. Juggling Tricks among the Menominee Indians. United States Bureau of Ethnology; fourteenth annual report, 1892-93. Part I, pp. 97-100.

HOLDEN. A Wizard’s Wanderings. London, 1886.

[HURST, LULU]. The Revelations of Lulu Hurst, the Georgia Wonder. --. 267 pp.

JASTROW, JOSEPH. Psychological Notes upon Sleight-of-Hand Experts. Science, vol. iii. pp. 685-689. Reprinted in “Scientific American Supplement,” vol. xlii. p. 17488.

Professor Jastrow, at his psychological laboratory, subjected the conjurers Herrmann and Kellar to a series of careful tests to ascertain their tactile sensibility, sensitiveness to textures, accuracy of visual perception, quickness of movement, mental processes, etc. In “Science” he details the results obtained by him in his experiments, the first of the kind ever made with magicians as subjects. Read in conjunction with the highly interesting series of articles on the “Psychology of Deception,” Robert-Houdin’s memoirs and magical revelations, and Max Dessoir’s fine papers, these studies of Herrmann and Kellar are of great interest to all students of experimental psychology. There are no finer illustrations of mental and visual deception than the tricks of prestidigitateurs.

---- Psychology of Deception. Popular Science Monthly, vol. xxxiv. pp. 145-157; 721-732.

KELLAR, HARRY. High Caste Indian Magic. North American Review, vol. clvi. pp. 75-86.

In this entertaining paper, Kellar the conjurer describes some of the magical performances of the Hindu fakirs and Zulu wizards. They not only out-Herod Herod, but out-Haggard Rider Haggard, the prince of romancers, for weirdness and improbability. The article reads as if it had been “written up” for effect, being the product of an elastic and brilliant imagination, though Kellar claims to have been an eye-witness of all the marvels he describes. Some few of them, hypnotic in character, such as the feat of “imitation death,” are unquestionably true, as witness the evidence of Sir Claude M. Wade and other eminent Anglo-Indian investigators. The magician Herrmann, who traveled over India, had but a contemptuous opinion of Hindu fakir tricks. Modern theosophists have done much to exploit the so-called miracles of Tibetan and Indian necromancers. Madame Blavatsky’s works are full of absurd stories of Oriental magic. See her “Caves and Jungles of Hindustan,” “Isis Unveiled,” etc., for example. But also see Arthur Lillie’s work, “Madame Blavatsky and her Theosophy,” London, 1897, for amusing revelations of theosophical marvels.

---- Magic among the Red Men. North American Review, vol. clviii. pp. 591-600.

KUNARD, _Prof._ R. Book of Card Tricks for Drawing-Room and Stage. London, 1888. 8vo.

---- Modern Magic; a Book of Conjuring for Amateurs. London, 1888. 8vo.

LE ROUX, HUGUES, _and_ GARNIER, JULES. Acrobats and Mountebanks. Translated by A. P. Morton. London and New York, 1890. 4to.

A very entertaining work, tracing the history of the mountebank from his inception in the nomadic caravan to his apotheosis in the splendid modern circus and vaudeville theatre.

LEWIS, T. HANSON. The Great Wizard of the West [J. N. Maskelyne]. English Illustrated Magazine, vol. xii. p. 75.

LOCKHART, W. Advanced Prestidigitation. London, 1894.

LOGAN, OLIVE. The King of Conjurers [Robert-Houdin]. Harper’s Magazine, vol. lv. pp. 817-831.

MACAIRE, SID. Mind-Reading, or Muscle-Reading? London, 1889.

A capital little work on muscle-reading and pretended second-sight.

MACCABE, FREDERIC. The Art of Ventriloquism. London, --. 12mo. 110 pp.

MAGIC AND PRETENDED MIRACLES. London, 1848.

MARION, F. Wonders of Optics. New York, 1869. 8vo.

Contains interesting translations from the memoirs of Robertson, the eighteenth-century ghost illusionist.

MASKELYNE, JOHN NEVIL. Modern Spiritualism. London, 1875. (Pamphlet.)

---- Natural Magic. Leisure Hours, vol. xxvii. pp. 5-204.

---- Sharps and Flats. London, 1894. 8vo.

An _exposé_ of the multifarious devices used in cheating at games of chance and skill. One of the best works on the subject.

---- The Magnetic Lady; or, A Human Magnet Demagnetized. Being an appendix to “The Supernatural.” London, --. 8vo. 16 pp.

NATURAL MAGIC. Chambers’ Miscellany, No. 82.

NAUDÉ, G. History of Magick, by way of Apology for all the Wise Men who have been Unjustly Reputed Magicians, from the Earliest Times to the Present Age. London, 1657.

PEPPER, JOHN HENRY. The Play-Book of Science. London, --. 8vo. 506 pp.

---- The True History of the Ghost, and all about Metempsychosis. London, 1890. 8vo. 46 pp.

Professor Pepper, inventor of the famous “Ghost,” gives full details in this little book of the apparatus used in performing the startling optical illusion, together with many amusing personal experiences connected with its stage production. There were spiritualists in London who asserted that Professor Pepper was a powerful medium, and produced his weird phantasms by some occult influence. They deluged him with letters on the subject. The illusion known as “Metempsychosis” is the basis of Kellar’s ingenious “Blue-Room” trick, which has puzzled thousands of spectators.

PIESSE, G. W. S. Chymical, Natural, and Physical Magic. Third edition. London, 1865. 16mo.

QUINN, JOHN PHILIP. Nineteenth Century Black Art; or, Gambling Exposed. With illustrations of all crooked gambling appliances. Chicago, 1896. 12mo. 104 pp.

REVELATIONS OF A SPIRIT-MEDIUM; or, Spiritualistic Mysteries Exposed. A detailed explanation of the methods used by fraudulent mediums. By A Medium. St. Paul, Minn., 1891. 8vo. 324 pp.

ROBERT-HOUDIN (JEAN-EUGÈNE). Card-Sharping Exposed. Translated and edited, with notes, by Professor Hoffmann. London and New York, 1882. 12mo. 316 pp.

---- Memoirs of Robert-Houdin, Ambassador, Author, and Conjurer, written by himself. Translated from the French by R. Shelton Mackenzie. Philadelphia, 1859. 12mo. 445 pp.

---- The Secrets of Conjuring and Magic; or, How to Become a Wizard. Translated and edited, with notes, by Professor Hoffmann. London and New York, 1878. 12mo. 373 pp.

---- The Secrets of Stage Conjuring. Translated and edited, with notes, by Professor Hoffmann. London and New York, 1881. 12mo. 252 pp.

Robert-Houdin’s works on magic are genuine classics, and are so regarded by all conjurers. No more fascinating biography was ever written than Houdin’s Memoirs. It contains interesting sketches of old-time magicians, such as Philippe, Bosco, Comte, Torrini, and Pinetti, also a great deal of scientific and historical information relating to early inventions, etc. “The Secrets of Conjuring and Magic” (_Les secrets de la prestidigitation et de la magie_), published in 1868, is an admirable treatise on sleight of hand. The French edition is out of print. “The possession of a copy of this book,” says Angelo Lewis, “was regarded among professors of magic as a boon of the highest possible value. It is unquestionably the most scientific work ever written on the art of conjuring.” The English translation has been received with the greatest favor by amateur and professional sleight-of-hand performers. Students of psychology will find much to interest them in this clever book.

ROCHAS, ALBERT DE. Trials by Fire, and Fire Jugglers. Popular Science Monthly, vol. xxi. pp. 645-650.

ROTERBERG, A. The Modern Wizard. Containing an essay on “The Art of Magic,” by W. E. Robinson. Chicago, --. 8vo. 120 pp.

---- Latter Day Tricks. A sequel to The Modern Wizard. Chicago, 1896. 8vo. 104 pp.

Capital little manuals of the latest marvels in the magical line.

SACHS, EDWIN O. Modern Theater Stages. Engineering, January 17, 1896, to June 11, 1897.

---- Sleight of hand; a Practical Manual of Legerdemain for Amateurs and Others. London, 1885. 12mo. 408 pp.

An excellent work for students. Palmistry carefully explained.

SALVERTE, E. The Occult Sciences; Philosophy of Magic, Prodigies, and Apparent Miracles. From the French, with notes by A. T. Thomson. 2 vols. London, 1846. 12mo.

SHAW, W. H. J. Magic and its Mysteries. Chicago, 1893. 8vo. 61 pp.

SKINNER, W. E. (_Compiler_).--Wehmann’s Wizard’s Manual. New York, 1892. 8vo. 122 pp.

SOCIETY FOR PSYCHICAL RESEARCH: Proceedings, vols. i. to xi. London, 1882-83 to 1895.

Contain many _exposés_ of pretended mediumship, etc.

STANYON, ELLIS. Conjuring for Amateurs. A Practical Treatise on How to Perform Modern Tricks. London, 1897. 8vo. 122 pp.

TAYLOR, _Rev_. E. S. History of Playing Cards. 48 plates and woodcuts. London, 1865. 8vo.

Contains anecdotes of the uses of cards in conjuring, fortune-telling, and card-sharping.

THAUMATURGIA; or, Elucidations of the Marvelous. By an Oxonian. London, 1835. 12mo.

TIMAYENNIS, T. T. History of the Art of Magic. With a Sketch of Alexander Herrmann. New York, 1887. 8vo.

TINDAL, MARCUS. Tricks with Pennies. New Illustrated Magazine, August, 1897, pp. 373-376.

TISSANDIER, GASTON. Popular Scientific Recreations, a Storehouse of Instruction and Amusement; in which the Marvels of Natural Philosophy, Chemistry, Geology, Astronomy, etc., are Explained and Illustrated, Mainly by Means of Pleasing Experiments and Attractive Pastimes. London and New York, --. 4to. 884 pp.

This monumental work is a translation of Tissandier’s _Les récréations scientifiques_, with many additions. It contains a few conjuring feats of a very simple nature, and an _exposé_ of the ghost illusion and decapitated-head trick. In the chapter on clocks, the reader will find an interesting description of Robert-Houdin’s famous magical timepiece, which ran apparently without works. It will be remembered that one of these wizard clocks was the means of introducing Houdin to the French public as a prestidigitateur, as explained in the introduction--“The Mysteries of Modern Magic.”

TREWEY, FÉLICIAN. Shadowgraphy: How it is Done. London, 1893. 8vo. (Pamphlet.)

TRUESDELL, JOHN W. The Bottom Facts Concerning the Science of Spiritualism: derived from careful investigations covering a period of twenty-five years. New York, 1883. 8vo. 331 pp.

_Exposés_ of slate-writing feats and cabinet arts. A valuable work.

WEATHERBY, L. A. The Supernatural? With chapter on Oriental Magic, Spiritualism, and Theosophy, by J. N. Maskelyne. London, --. 12mo. 273 pp.

WELTON, THOMAS. Mental Magic; a Rationale of Thought-Reading and its Phenomena. London, 1884. 4to.

WHITE MAGIC. Encyclopædia Britannica, vol. xv. pp. 207-211.

WHOLE ART OF LEGERDEMAIN; or, Hocus-pocus Laid Open and Explained. [Anon.] Philadelphia, 1852. 18mo.

II.

FRENCH.

ANTONIO, CARLO. Dictionnaire encyclopédique. Avec atlas. Paris, 1792-1799. 4to. 900 pp.

Scientific recreations, illusions, and conjuring tricks, ingenious applications of science to industry, etc. The works of Decremps, Ozanam, Guyot, Pinetti, and Montucla, etc., are largely drawn upon.

---- Trésor des jeux. The Hague, 1769.

Cup and ball conjuring, tricks with cards, etc., illustrated.

CÉPAK, ABEL. Ce qu’on peut faire avec les œufs. Collection complète et variée des expériences faciles et amusantes pouvant être exécutées par tout le monde avec des œufs. Paris, 1889. 12mo. 163 pp.

A work devoted solely to conjuring tricks performed with eggs.

COMBINAISON EGYPTIENNE DU CÉLÈBRE CAGLIOSTRO. Véritable explication des six cents principaux songes. Figures noires et coloriées. Paris, --. 12mo.

COMTE, _and_ FONTENELLE, JULIE DE. Sorciers, ou la magie blanche dévoilée par les découvertes de la chimie, de la physique, et de la mécanique. Paris, --.

COMUS. Physique amusante. Paris, 1801.

DECREMPS, N. La magie blanche dévoilée, ou explication de tours surprenants qui font depuis peu l’admiration de la capitale et de la province, avec des réflexions sur la baguette divinatoire, les automates joueurs d’échecs. Figures explicatives. Paris, 1784, 1788, 1792. 8vo.

---- Supplément à la Magie blanche dévoilée, contenant l’explication de plusieurs tours nouveaux joués depuis peu à Londres, avec des éclaircissements sur les artifices des joueurs de profession, les cadrans sympathiques, le mouvement perpétuel, les chevaux savans, les poupées parlantes, les automates dansants, les ventriloques, les sabots élastiques. Figures. Paris, 1785, 1788, 1792. 8vo.

---- Eclaircissements à la Magie blanche dévoilée. Paris, 1785. 8vo.

---- Testament de Jérome Sharp, professeur de physique amusante, où l’on trouve parmi plusieurs tours de subtilité qu’on peut exécuter sans aucune dépense, des préceptes, des exemples sur l’art de faire des chansons impromptu, pour servir de suite et de complément à la Magie blanche dévoilée. Figures. Paris, 1786, 1788, 1789, 1793. 8vo.

---- Codicile de Jérome Sharp, professeur de physique amusante, où l’on trouve parmi plusieurs tours, diverses récréations relatives aux sciences et beaux-arts, pour servir de suite à la Magie blanche. Figures. Paris, 1788, 1791, 1793. 8vo.

---- Les petites aventures de Jérome Sharp, professeur de physique amusante, ouvrage contenant autant de tours ingénieux que de leçons utiles avec quelques petits portraits à la manière noire. Avec 18 figures grav. en bois. Bruxelles et Paris, 1789, 1790, 1793. 8vo.

Original editions of the works of this ingenious writer are exceedingly rare. They are genuine curiosities in the domain of magical literature, being the first scientific treatises on the art of sleight of hand written in the French language. Decremps was a pioneer in this line, and hundreds of authors, English, French, and German, are indebted to him for material for their books. He exposed the tricks and illusions of the eighteenth-century wizards, and, according to Larousse, did much to dispel by his revelations the pretended sorcery of Cagliostro. The _Codicile de Jérome Sharp_ was published during the “Reign of Terror” of the French Revolution. Its author did not fall a victim to the guillotine, but lived to a good old age, dying in the year 1826. This work contains a portrait of Decremps.

DE MUSON. La Magie blanche dévoilée. Paris, 1855.

---- Manuel des sorciers. Paris, 1802.

---- Récréations de physique. Paris, 1828.

DICKSONN. Mes trucs. Paris, 1893.

DICTIONNAIRE DE TRUCS; illusions de physique amusante. 1 vol. (with one volume of steel plates). Paris, 1792. 878 pp.

DICTIONNAIRE DES ANA. Paris, 1794. 4to.

DIDOT. Nouvelle biographie générale. Paris, 1859. _See article_ Robert-Houdin.

DUCRET, ÉTIENNE. Tours d’escamatoge, anciens et nouveaux. Paris, --.

FAIDEAU, F. Les amusements scientifiques, récréations sur les illusions, ou erreurs des sens. Paris, --.

GANDON, F. A. La seconde vue dévoilée. Paris, 1849.

GRANDPRÉ. Magicien moderne. Paris, --. 570 pp.

GRAND TRAITÉ DES SONGES, ou explication complète des visions et inspirations nocturnes. Paris, 1831. 18mo.

GUYOT. Nouvelles récréations physiques et mathématiques. Paris, 1769, 1775, 1786, 1790, 1799, 1800.

HATIN. Robert-Houdin, sa vie, ses œuvres, son théâtre. Paris, 1857.

HELION. Physique amusante. 1660.

L’ALBERT MODERNE. Paris, 1782. 2 vols. 12mo

LA MAGIE NATURELLE. Lyons, 1787. Figures.

LANDAU. Petit magicien. Paris, 1810.

LA NOUVELLE MAGIE BLANCHE DÉVOILÉE. Amusante grande initiation à la vraie pratique des célèbres physiciens et prestidigitateurs. Par un amateur. Paris, 1855. 8vo. 324 pp.

L’ESCAMOTEUR HABILE, ou l’art d’amuser agréablement une Société, contenant les tours de cartes, etc. Pesth, 1816.

MAGUS. Magie blanche en famille. Paris, 1895. 352 pp.

MANUEL DES SORCIERS, ou cours de récréations physiques, mathématiques, tours de cartes et gibecière; suivi des petits jeux de société et le leurs pénitences. Cinquieme édition, avec figures. Paris, 1820. 16mo. 293 pp.

MARION, F. Magie naturelle, ou optique amusante. _In his_ Optique. 1869.

MARLY. Physique amusante. 1626.

MATHIOT, GERMAIN. Nouvelles récréations physiques et mathématiques. Paris, 1799.

MOYNET, GEORGES. Trucs et décors. Paris, 1895. 8vo.

----, M. J. L’Envers du théâtre. Paris, 1875. 16mo.

NAUDÉ, G. Apologie pour tous les grands hommes qui ont esté accusez de magie. Paris, 1669. 24mo.

OZANAM, JACQUES. Récréations mathématiques et physiques. Paris, 1694. 2 vols. 8vo. _Other editions published in_ 1720, 1723, 1725, 1735, 1741, 1749, 1750, 1778, 1790.

Contains many curious scientific diversions, besides tricks with cups and balls, pyrotechny, etc.

PINETTI, DE WILDALLE, JEAN-JOSEPH. Amusements physiques. Paris, 1784. 8vo. 95 pp.

---- _The Same._ Nouvelle édition augmentée par l’auteur de six nouvelles grav. Paris, 1785. 8vo.

---- _The Same._ Troisième édition augmentée de quelque nouvelles expériences physiques et de gravures. Paris, 1791. 8vo.

This work by the famous Pinetti, king of conjurers of the eighteenth century, is a little handbook of very simple experiments in natural magic, evidently designed to be sold in the theatre. It contains no sleight-of-hand experiments, or anything of value to a professional. Pinetti carefully preserved the secrets of his tricks, and died without making any revelations. Decremps, however, has sufficiently acquainted us with them in his _Magie blanche dévoilée_. An edition in English of Pinetti’s book was published in London. On the title-page the conjurer expresses himself as follows: “Physical amusements and diverting experiments composed and performed in different capitals of Europe, and in London. By Signor Giuseppe Pinetti, de Wilidalle, Knight of the German Order of Merit of St. Philip, professor of mathematics and natural philosophy, pensioned by the court of Prussia, patronized by all the royal family of France, aggregate of the Royal Academy of Sciences and Belles-lettres of Bordeaux, etc. London, 1784.” 65 pp.

The most interesting thing about this insignificant booklet is a steel-plate frontispiece containing a portrait of the great magician. Two winged cherubs are depicted, placing the bust of Pinetti in the temple of arts. The motto reads: “Des genies placent le buste de M. le Professeur Pinetti dans le temple des arts, au milieu des instruments de physique et de mathématiques.”

PONSIN, J. N. Nouvelle magie blanche dévoilée, physique occulte, et cours complet de prestidigitation, contenant tous les tours nouveaux qui ont été exécutés jusqu’à ce jour sur les théâtres ou ailleurs, et qui n’ont pas encore été publiés, et un grand nombre de tours d’un effet surprenant, d’une exécution facile, et tout à fait inconnus du public et des professeurs. Paris, 1853. 8vo. 312 pp.

Sleight of hand with cards, coins, cups and balls.

PRESTIDIGITATION MODERNE. Figures. Paris, --.

Scientific recreations, tricks with cards, etc. Spiritism exposed.

RAYNALLY. Les propos d’un escamoteur. Paris, 1894.

ROBERT-HOUDIN (JEAN-EUGÈNE). Les confidences d’un prestidigitateur. 2 vols. Paris, 1858. 8vo.

---- Les secrets de la prestidigitation et de la magie. Paris, 1868.

---- Les tricheries des Grecs. Paris, 1861.

---- Magie et physiques amusante. Paris, 1877.

ROBERTSON, ÉTIENNE-GASPARD. Mémoires récréatifs et anecdotiques. 2 vols. Paris, 1830-34. 8vo. (With a volume of plates.)

---- Mémoires physiques et phantasmagorie. 2 vols. Paris, 1840.

Very interesting _exposés_ of ghost illusions, phantasmagoria, optical tricks, etc.

ROBIN, D. Histoire des spectres vivants et impalpables; secrets de la physique amusante. Paris, 1864. 4to.

Ghost illusions explained. Illusions similar to those described by Pepper in “The True Story of the Ghost.”

ROCHAS, ALBERT DE. Les origines de la science et ses premières applications. Paris, 8vo. 288 pp.

A very elaborate treatise on the natural magic of ancient times, primitive science, etc.

III.

GERMAN.

ANDERS, FRITZ. Der junge Tausendkuenstler. Leipzig, 1884.

COMTE. Das Gedankenspiel oder die Kunst der Menschen Gedanken zu erforschen; Beitrag zur natuerlichen Magie. Mit 12 Tafeln. Halle, 1782. 8vo.

---- Handbuch der Taschenspielerkunst oder die Geheimnisse der natuerlichen Magie. 2 Bände mit 3 Tafeln. 1834. 8vo.

CONRADI. Zauber Spiegel, monthly magazine.

---- Karten Künstler.

CUMBERLAND, ARTHUR W. Der Experimental-Spiritist als Orakel, Hellseher, blinder Rechner und Gedaechtnisskuenstler. Stuttgart, 1895. 8vo. 125 pp.

DIE KUNST ZAUBERER ZU WERDEN, VON PHILADELPHIA. Leipzig, 1870.

ECKARTSHAUSEN, V. Aufschluesse der Magie. 8vo. About 1790. 4 Bde. Mystische Maechte oder der Schluessel zu den Geheimnissen des Wunderbaren; Nachtrag zu den Aufschluessen der Magie. Mit Kpfr. Muenchen, 1791. 8vo.

---- Verschiedenes zum Unterricht und zur Unterhaltung, fuer Liebhaber der Gaukeltasche, des Magnetismus und anderer Seltenheiten. 2 Bde. mit Kpfr. Muenchen, 1798. 8vo.

GUETLE, J. Zaubermechanik oder Beschreibung mechanischer Zauberbelustigungen, mit darzu gehoerigen Maschinen fuer Liebhaber belustigender Kuenste. 2 Bde. mit 58 Tafeln. Nuernberg, 1794. 8vo.

GUYOT. Neue physikal. und mathemat. Belustigungen oder Sammlung, von neuen Kunststuecken zum Vergnuegen, mit dem Magnete, mit den Zahlen, aus der Optik und Chemie. 7 Thle., 4 Bde. mit vielen Kpfrn. Augsburg, 1772-77. 8vo.

HILDEBRAND. Das Buch der alten natuerl. Magie oder Kunst und Wunderbuch, darin enthalten viele wunderbare Geheimnisse, Kunststuecke, etc. Baltimore. 8vo.

JACOBY-HARMS. Illustrierte Zauber-Soirée. Leipzig. 117 pp.

KERNDORFFER, _Prof._ Carl Bosco. Zauber-Cabinet. Leipzig, 1874.

MARIAN, RUDOLPH. Das Buch der Kartenkuenste: in 126 Piècen und 75 Illustrationen. Wien, 1890. 8vo. 158 pp.

---- Das Ganze der Salon-Magie; in 169 Vortraegen und 220 Illustrationen. Wien, 1889. 12mo. 240 pp.

MOLWITZ, F. Magische Unterhaltungen oder Taschenbuch fuer magische Unterhaltungen. Jahrg. 1809-10.

ROCKSTROH, HEINRICH. Mechanemata, oder der Tausendkuenstler. Berlin, 1831. 8vo. 344 pp.

SUHR, H. F. C. Der Kartenkuenstler. Eine Sammlung neuer leicht ausfuehrbarer Karten-Kunststuecke, mit und ohne Apparate. Stuttgart, 1895. 8vo. 125 pp.

---- Die Magie im Salon. Eine Auswahl neuer, leicht ausfuehrbarer Zauber-Kunststuecke ohne Apparate. Stuttgart, 1895. 8vo. 104 pp.

---- Zauber-Soirée. Ausfuehrliche und genaue Anleitung zur Vorfuehrung von Zauber-Kunststuecken in privaten Kreisen. Stuttgart, 1895. 8vo. 94 pp.

TROMBOLDT, J. Streichholzspiele. Leipzig, 1890.

WAGNER, J. Neuestes Zauberkabinet; Auswahl von magischen, Karten, Rechnungs- u. anderen Kunststuecken. Wien, 1799. 8vo.

WALLBERGENS. Sammlung natuerl. Zauberkuenste oder aufrichtige Entdeckungen bewaehrter Geheimnisse nebst vielen Kunststuecken, so zu Haushaltung, Gaertnerey, Wein- u. Feldbau gehoeren. Stuttgart, 1768. 8vo.

WILLMANN, CARL. Die moderne Salon-Magie. Leipzig, 1891. 460 pp.

---- Moderne Wunder. Leipzig, 1892. Third Edition, 1897. 8vo. 320 pp.

“Moderne Wunder” contains interesting _exposés_ of pretended mediumship, clairvoyance, second sight automata, and stage illusions.

---- Zauber-Welt.

A monthly magazine of natural magic and prestidigitation, edited by Willmann.

ZAUBER-BUCH. Natürlicher, oder neu eröffneter Spielplatz rarer Künste, in welchem alle Taschenspieler-, mathemat. und physikal. Künste, Karten-, Würfel- etc. Spiele beschrieben u. mit vielen Figuren erläutert werden. Sehr selten u. interessant. Nürnberg, 1762. 8vo. 752 pp.

IV.

SPANISH.

GOMEZ, S. R. Los divertidos, curiosos, juegos de escamoteo.

KRESPEL, KARL. Nuevo manual de magia blanca. Paris, 1888.

MINGUET E YROL, P. Juegos de manos. Madrid, 1733. 16mo.

PALONCA, D. R. El moderno prestidigitador. Valencia, 1887.

V.

ITALIAN.

GIOCHI NUMERICI FATTI ARCANI PALESATI, da Giuseppe Antonio Alberti Bolognese; seconda edizione adornata di figure. In Venezia, 1780. 8vo.

---- _The Same_ Napoli, 1814. 8vo.

VI.

LATIN.

HILDEBRANDT, W. Magiæ Naturalis, 1610.

HIPPOLYTUS. Ref. Om. Haer, iv. 34, 35.

PORTA, GIOVANNI BATTISTA DELLA. Magiæ Naturalis, sive de miraculis rerum naturalium, Libri iv. 283 ff., 3~1. Lugduni, apud G. Rovillium, 1561.

SCHOT, K. Physica Curiosa. 2 vols. 1667.

---- Thaumaturgus Physicus sive magiæ universalis naturæ. 1659.

INDEX.

INDEX.

Acres’ projecting device, 500. Acrobat, weighted, 396. Altar, Heron’s marvelous, 236. Altars, marvelous, 210, 211. Amphitrite, 61. Ancient magic, 203-250. Anvil, Siegfried’s, 330. Apple and ninepin, disappearance of, 130. Aquarium, ink converted into an, 131. Aquatic locomotion, 480. Arena, nautical, 345-347. Artist, toy, 376. Automata, 367-379. Automata and curious toys, 367-406. Automaton, an ancient, 241. Automaton, curious, 374. Automaton, the oldest, 206-208.

Bacchus, shrine of, 204-208. Baldwins and second sight, the, 196. Ball, Houdin’s magic, 137. Ball, the mysterious, 146. Balsamo, see Cagliostro. Basket trick, the Indian, 46. Battle scenes, 308. Beugnot cited, 5. Bird that flies, toy, 413. Birds, photography of, 478. Black art, 64. Black ground, photography upon, 425. Blitz, Signor, 19. Blue-room trick, 532. Boiler, Heron’s tubular, 237. Borders, 259. Bottle and glass, the traveling, 129. Bottle magic, 229. Bridges, 255. Burlingame, H. J., cited, 6, 19. Bust, photographic, 448.

Cabaret du Neant, 55. Cabinet, Houdin’s magic, 81. Cabinets, Thorn’s, 38. Cagliostro, 3-6. Cake baked in a hat, 117. Camera for ribbon photography, 509. Camera, pinhole, 454. Carlotti, 6. Cart, toy, 401. Cassadaga propaganda, 35. Catastrophe, photographing a, 447. Catcher, photo thief, 457. Caulk, William B., 50. Cellini, Benvenuto, invokes sorcery, 3. Centrifugal force, experiments in, 383. Chariot and pole, 256. Chess players, automaton, 367. Chest, Houdin’s magic, 17. Chronophotographic apparatus, amateur, 485. Chronophotographic camera, 465. Chronophotography, 462-487. Cinematograph camera, 508. Coin, the dissolving, 122. Coins, magic, 121. Coins, the multiplication of, 120. Collar, the spirit, 53. Columbus’s egg, 397. Comatula, 484. Composite photography, 459. Comus, 7. Conjurer’s tricks, 106-138. Crash effect, 304. Crystallized ornaments, 409. Curious toys, 380. Curtain, electric, 268. Curtain, fan drop, 268. Cybele, the statue of, 209. Cycloramas, 354-361.

D’Ache, M. Caran, 181-183. D’Affre, Monseigneur, 12. Dance, the skirt, 342. Dancers, the, 392. Dark chamber, 467. Day to night effect, 297. Death’s head, enchanted, 100. Decapitation, 48. Demeny chronophotographic apparatus, 491. Detective thief catcher, 457. Doll, phonographic, 402. Dragon in “Siegfried,” 332. Drawing, magical, 410. Drinking horn, Heron’s, 225. Drops, 259. Duel, electrical, 342. Duplex photography, 438.

Egg, Columbus’s, 397. Egg tricks, 105, 115, 119. Egypt, magic in ancient, 1. Elasticity, tricks in, 406. Electric cyclorama, 358. Electrical stage effects, 328-344. Electrical toys, 385-387. Electro-photo thief catcher, 457. Engine, origin of the steam, 234-238. Eolipile, Heron’s, 235. Escalopier, 12-15.

Fafner, 332. Fire and smoke effects, 305. Fire, tricks with, 149, 152. Firearms, theatrical, 309. Fire eaters, 149, 152. Fire eaters and sword tricks, 149-163. Firefly, electric, 335. Fireworks, 362-366. Flies, 254. Flood, after the, 31. Flowers, the birth of, 112. Flowers, the cone of, 106. Flowers, magic, 109. Flowers, the queen of, 74. Forge, Siegfried’s, 328.

Ghost, Pepper’s, 55. Glass, platinized, 86. Glass of wine, invisible journey of a, 132. “Gone,” 520. Gravity, experiments in, 384. Greek lamps, toys, etc., 239-250. Gridirons, 253. Grisi, Comte de, 8-10. Gull, photograph of, 479. Gun, photographic, 476.

Hagen’s theatrical system, 275. Half-woman, the living, 69. Handkerchief tricks, 105, 123, 131, 133. Harps, magic, 103. Hat tricks, 114-119. Head, photographing a, 444. Head, the talking, 69. Heller and second sight, 185. Heller, Robert, 19. Heller, Robert, in the East, 1. Heron cited, 203-250. Herrmann, Alexander, 21-23. Herrmann, Carl, 19, 21-22. Herrmann, Leon, 23. Horse, photograph of, 464. Horse race on the stage. 324. Horse, the decapitated drinking, 244. Horse’s gallop, photograph of, 475. Houdin’s magic ball, 137. Houdin’s magic cabinet, 81.

Illusion, optical, 380. Illusive photography, 441. Ink, goblet of, 131. Introduction, 1-26. Invention A.D. _vs._ B.C., 217-219. Isola brothers, 100.

Jacob’s ladder, 399. Japanese mirrors, 416. Jewels, electric, 337. Jugglers, 139, 141. Jugglers and acrobatic performances, 139-148. Jumping, photograph of, 470.

Kellar, H., 24. Kellar’s “Queen of Flowers,” 74. Kinetograph, 488. Kinetoscope, stereopticon, 495. Kircher cited, 212, 239. Kolta, B. de, 24. Kolta’s appearing lady, 39-42.

Ladder, Jacob’s, 399. Lady, the appearing, 39-42. Lady, the disappearing, 42, 43. Lamps, perpetual, 239. Lamps, toys, etc., 239-250. Lavater, 423. Lightning effect, 302. Lohengrin’s swan, 312. Louis XVIII. and Comte de Grisi, 10. Lustral water vessel, 219, 220. Lynn, the mystery of Dr., 63.

Mackaye’s theatrical inventions, 273, 274 Magic, beginning of natural, 2. Magic boxes, 128. Magic cabinets, 127. Magic envelopes, 128. Magic, mysteries of modern, 1-26. Magic photographs, 456. Magic portfolios, 127. Magic table, the, 519. Magnetic oracle, 391. Man, a steam, 377. Marvelous vessels of the Greeks, 221-233. Mask of Balsamo, 100. Maskelyne, J. M., 24. Match trick, 408. Maze, mystic, 84. Medusa, photography of, 482. Mental magic, 184-202. Metempsychosis, 532. Micromotoscope, 514. Mikado, the, 401. Mirage, artificial, 438. Mirrors, Japanese, 416. Mirrors, magic, 418. Money maker, 381. Moon, a trip to the, 348-353. Moon effects, 298. Mouse, the animated, 135. Moving pictures, projection of, 488-516. Multiphotography, 451. Multiple portrait, 450. Mutograph, 501. Mutoscope, 501. Muybridge’s experiments, 467. Mysterious disappearances, 27-54.

Nautical arena, 345-347. Necktie, photographic, 455. Neoöcultism, 96. Nostradamus, 3.

Odometers, 247-250. Odors, imitation of, 310. Opera glass, trick, 412. Opera house, behind the scenes of an, 251-267. Optical tricks, 55-88. Oracle, magnetic, 391. Organ, electrical, 263. Organs, ancient, 230-233. Ornaments, crystallized, 409.

Paint bridge, 264. Palanquin, the magic, 34. Palladio’s theater, 289. Pepper, professor, 8. Phonographic doll, 402. Photographic diversions, 423-516. Photographic gun, 476. Photographic necktie, 455. Photographic portrait, 448. Photographing a catastrophe, 447. Photographing a head, 444. Photographs, magic, 456. Photography, composite, 459. Photography, duplex, 438. Photography, illusive, 441. Photography, spirit, 432. Photography upon black ground, 425. Photo thief catcher, 456. Physiological station, 466. Pictures, moving, projection of, 488-516. Pigeon, photograph of, 479. Pinetti, 184. Pinhole camera, 454. Planchette table, 414. Platinized glass, 86. Portrait, multiple, 450. Portraits, magic, 411. Post test, spiritualistic, 52. Princess, the decapitated, 77. Property room, 265. Psycho, 368. Puppets, animated, 170-172. Puzzle, novel, 407.

Race course, electrical, 388. Race on the stage, 324. Rainbow effect, 300. Rain effect, 299. “Rheingold,” floating women in, 314. Ribbon photography, 509. Robert-Houdin, 11-19. Robert-Houdin, second sight, 184. Robertson, E. G., 7. Robinson, W. E., 21. Rochas, A. de, cited, 2. Rollin, 6. Rosebush, the magic, 108. Running, photograph of, 472.

Saint-Amand cited, 4, 5. Sand frame trick, 136. Scene painting, 293. Scenes, changing, 265. Science in the theater, 251-366. Scurimobile, 94. Sea horse, photographs of, 481. Second sight, 125. Shadowgraphy, 173-181. Shadows, French, 181-183. “She,” 72. Ship on the stage, 316. “Siegfried,” effects in, 328-355. Silhouettes, apparatus for taking, 423. Skirt dance, 342. Slates, the spirit, 123. Sliders, 255. Snow effect, 304. Spear, Wotan’s, 334. Spider and the fly, the, 523. Spirit photography, 432. Stage, “Asphaleia,” 280. Stage effects, 293-310. Stage, elevator, 271. Stage inventions, American, 273-276. Stage, revolving, 276. Stage tricks, miscellaneous, 89-104. Stages, ancient and modern, 268-292. Stages, opera, 252. Stars, 298. Statue giving a double image, 88. Steam engine, origin of the, 234-238. Stella, 79. Strobeika Persane, La, 529. Sun effect, 297. Sunrise effects, 295. Sun robe, 315. Suspended head, 63. Swan, Lohengrin, 312. Swing, the haunted, 91. Switchboard, theater, 261. Sword swallowers, 156-161. Sword trick, 152. Sword walker, 161, 163.

Table rapping, 101. Tachyscope, electric, 489. Target, the human, 153. Temple of Dagon, construction of, 323. Temple tricks of the Greeks, 203-220. Temples, the machinery of, 213-217. Theater, curious pivoted, 287. Theater, optical, 489. Theater, Palladio’s, 289. Theater secrets, 311-344. Theater with two auditoriums, 283. The dicaiometer, 221. Thief catcher, photographic, 457. Thorn, E., 38, 39. Thought transference, 197-202. Thunder effect, 301. Ties, spiritualistic, 50. Torch, electric, 337. Torpedo, 484. Torrini, see Grisi. Toy, a Greek, 243. Toys, ancient, 393. Toys electrical, 385-393. Transformation, gradual, 307. Trapeze, revolving, 142. Traps, 255, 311. Trewey the shadowgraphist, 25, 173-181. Trick photography, 423-516. Tricks, miscellaneous, 407-421. Tricks, optical, 55-88. Trilby, the illusion of, 89. Trunk, the mysterious, 44. Trunk trick, the, 526. Tulips, electric, 335. Tumbler, 397.

Vanity Fair, 27. Ventriloquism and animated puppets, 164-172. Vessels, magical, 227. Vicenza, theater at, 289. Vitascope, 497.

Walking on the ceiling, 144. Walking, photograph of, 471. Wave effect, 304. Wine changed to water, 134. Woman, the invisible, 102. Woman, the three-headed, 60.

X-ray illusion, 96.

EXPERIMENTAL SCIENCE

BY

GEORGE M. HOPKINS

Seventeenth Edition Revised and Enlarged. 840 Pages, 800 Illustrations. Price by mail, cloth, $4.00; half morocco, $5.00.

This book treats of various topics of physics in a popular and practical way, describing the apparatus in detail and explaining the experiments in full so that those interested in physics can make the apparatus at small expense and perform the experiments without difficulty. The subject is not treated from the mathematical side, and thereby its field of usefulness to a very large number is increased. This book should not be confounded with books which give hackneyed experiments and illustrations. Nearly all of the experiments are new or are performed in a new way. The illustrations cost $10,000. It is impossible to give even an outline of the book in the present advertisement, but the publishers will send a four-page circular giving samples of the illustrations and a full table of contents on request.

MUNN & CO., Publishers Scientific American Office 361 BROADWAY, - - NEW YORK CITY

THE SCIENTIFIC AMERICAN CYCLOPEDIA OF RECEIPTS, NOTES AND QUERIES

12,500 Receipts. 708 Pages. Price, in cloth, $5.00; in sheep, $6.00; in half morocco, $6.50; postpaid.

This work was edited by Mr. Albert A. Hopkins, the editor of “Magic, Stage Illusions and Scientific Diversions.” It presents a careful compilation of the most useful receipts given in the Notes and Queries column of correspondence of the _Scientific American_ during the last fifty years, together with important additions. This is by far the latest and most comprehensive volume of the kind ever placed before the public. Those who are engaged in any branch of industry will find much of practical value to their respective callings in this work, while those who are in search of independent business or employment will find in it hundreds of most excellent suggestions. Many of the principal substances and raw materials used in the arts are defined and described. A full-page prospectus will be mailed free on request.

MUNN & CO., Publishers Scientific American Office 361 BROADWAY, - - NEW YORK CITY

Transcriber’s Notes

Inconsistent spelling, hyphenation and capitalisation have been retained (including in names), except as mentioned below.

Néant was consistently spelled neant, this was not changed; French accents have not been corrected, except as mentioned below.

All reference letters in the text have been spaced for consistency.

Inconsistent use of (Greek) letters for parts described have not been changed when the letters were not included in the accompanying drawings.

The Table of Contents does not fully conform to the text; this has not been changed.

Page 51, paragraph "In placing his hands ...": this paragraph was copied verbatim from the original work. Apparently something went wrong during the book production process: some lines seem to be misplaced or otherwise garbled. A very similar (if not the same) trick is better explained in Harry Houdini: Magical Rope Ties and Escapes. London: Will Goldstone, 1921.

Page 186, spelling of Anna: the code actually spells Anaa.

Page 540, Le Vie de Joseph Balsamo: the actual title is Vie de ....

Page 542, Hoffman: illegible in original, verified with a later edition of the same book.

Page 550, della Porta: there is probably a figure missing in the number of pages; the number of pages has been transcribed as 3~1.

Changes made to the text:

Some missing and wrong punctuation has been added and corrected silently, some obvious typographical errors were corrected silently.

Page 7: Etienne changed to Étienne for consistency

Page 10: surreptiously changed to surreptitiously

Page 23: Russias changed to Russians

Page 87: In the illusion changed to In the illustration

Page 93: but this it not at all changed to but this it is not at all

Page 104: When Robert-Houdin introduces the illusion changed to When Robert-Houdin introduced the illusion

Page 136: after is returned to you changed to after it is returned to you

Page 211: analagous changed to analogous

Page 220: Ν Ξ Ο R changed to Ν Ξ Ο Ρ

Page 234: Sais changed to Saïs for consistency

Page 283: Weisbaden changed to Wiesbaden as elsewhere

Page 290: Olympicorun changed to Olympicorum

Page 487: Demeney changed to Demeny for consistency

Page 541: Ewbanks changed to Ewbank

Page 547: mathematiques changed to mathématiques for consistency; et le leurs changed to et de leurs; Amusantes changed to Amusante; pénitenas changed to pénitences

Page 549: Wein u. Feldbau changed to Wein- u. Feldbau; Piecen changed to Piècen.