FIG. 4.—THE PREACHER IN THE PULPIT.
“‘Other engagements offered themselves in quick succession after that, and I became a favorite performer in all the principal towns in the south of France, where I remained for three or four years. After a while I returned to the strolling branch of the profession, and started anew as the proprietor of a traveling pantomime and vaudeville company.
“‘I traveled from one little town to another, playing various rôles including Pierrot and Cassandre, the clown and pantaloon of French pantomime; danced in the Clodoche, a grotesque quadrille; and took part in a comedy, in addition to giving my own entertainment. It was a bare living only that was gained in this manner for two years, after which an offer of an engagement came to me from Bordeaux. Here I was most successful, and made a hit with a number of new feats of balancing with bottles, etc., with which I had been busy for a long time perfecting myself. It was at this period I invented the ombromanie. An offer quickly came for an engagement at the Concert des Ambassadeurs, in Paris, and my success was complete. I stayed in Paris nine years, and since then traveled all over Europe—in Spain, Germany, Belgium, Austria, Russia, Great Britain, and, as you know, introduced shadowgraphy to the American public in 1893.’
“Trewey’s home in the Rue Rochechouart, Paris, is an interesting place to visit; it is crowded with apparatus and all sorts of new inventions intended for use in his conjuring entertainments. His scrap and memorandum books are unique in themselves and contain hundreds of sketches in water colors of juggling feats either performed by himself or by other artists. Under each drawing is a carefully written description of the particular act.
“‘What are you going to do with all this material?’ I once asked him. ‘I may publish a book one of these days,’ he replied, with a merry twinkle of the eye; ‘who knows? I’ve done worse things.’”
FRENCH SHADOWS.
M. Caran d’Ache, the cartoonist and illustrator, got up a few years ago, at the Theater d’Application, at Paris, a special representation of Chinese shadows which were devised by him, and are so superior to anything that has previously been done in this line that he has been able to call them “French shadows,” in order to distinguish them from similar productions.
M. d’Ache takes pleasure in representing the military scenes of the first republic and first empire. He projects upon the screen an entire army, wherein we see the emperor with his staff at different distances amid the ranks. The defiling of the troops is astonishing, and one would think that he was present at a genuine review. A “Vision in the Steppes” is another series of pictures that represent the advent of the Russian army. The shadows entitled the “Return from the Woods” form a masterpiece as a whole, and the figures are so skillfully cut that the celebrities of the day who are passing in the Avenue des Acacias can be recognized. Two amusing specimens of this part of the representation are given in [Figs. 2 and 3]. These reproductions are much reduced, the real height of the figures being about eighteen inches.