The Ghost Illusion.
This illusion, which created so much sensation in London and first known here as “Pepper’s Ghost,” I will endeavor to explain, and make the working of it as clear as I possibly can to the reader. It is caused by the figure of a man or woman being reflected upon a sheet of glass, and the audience looking through this glass, apparently see the figure upon the stage, but in reality it is not so, being only upon the glass. In the first place a sheet of plate glass perfectly clear and without a blemish must be procured, and of such a size that it will show the image or reflection of the performer who impersonates the ghost. This glass is fixed at the front of the stage and inclined slightly toward the audience. In front and below the stage a chamber is made, completely concealed from the eyes of the audience, but having an opening at the upper part, through which the reflection of the person below is thrown upward upon the sheet of glass. The reader can understand the position better by referring to the accompanying cut. The body of the person to be reflected is against an inclined plane, which is covered with black cloth. This inclined plane is fixed upon castors, and the person leaning against it, moving this slightly with his feet, either to the right or left, will cause it to appear as if the ghost was either walking forward or backward. Below the stage a person is placed with a powerful lantern, and the light from it is thrown upon the figure representing the ghost, thus causing it to be reflected strongly and brightly against the glass fixed above. The stage must be darkened and dimly lighted, otherwise the ghost will hardly be visible. In making various motions of the body the ghost actor must reverse his movements; for example, if he raises his left arm the figure reflected above will appear to raise its right arm. The glass, as I stated before, must be without a blemish, and fixed at an angle of 20 deg., inclining forward toward the audience, and the nearer the audience are seated to it the larger the glass must be. The size of the glass depends upon the height of the figure to be reflected and the size of the stage and the theater or hall in which it is exhibited. This again will be understood by referring to the figure, in which A represents the eyes of that part of the audience seated in the lower portion or body of the hall, while B represents the eyes of those who are seated in the boxes or gallery, thus showing the angle by which the height of the glass is determined, as the angles of incidence are always equal to the angles of reflection; and the same angles of incidence are likewise equal to the corresponding angles of the reflected figure.
This illusion was invented in 1863 by Prof. Pepper, by whom it was patented, and for a long period it was exhibited at the Polytechnic in London, in various forms and guises, and drew thousands from all parts to see this wonderful exhibition. Although it cannot now be classed as a “novelty,” yet it still creates a great sensation whenever and wherever it is exhibited.
[If the reader desires to pursue this subject further he is referred to “The Art of Modern Conjuring,” by Prof. Henri Garenne, to whom we are indebted for much that we present here. Ward, Lock & Co., publishers, New York and London.]