RAISING THE LADY BY MEANS OF THE WINDLASS.
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.
THE ILLUSION OF “GONE” EXPLAINED.
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.