When the spectator is allowed to look into the trunk of the figure by lifting up the dress, as in Fig. 75, it will be observed that a great part of the space is occupied by an inner trunk N, Figs. 75, 76, which passes off to the back in the form of an arch, and conceals from the spectators a portion of the interior. This inner trunk N opens and communicates with the chest by an aperture T, Fig. 77, about twelve inches broad and fifteen high. When the false back is raised, the two cupboards, the trunk N, and the space O behind the drawer, are all connected together.
No. 68.
No. 69.
The construction of the interior being thus understood, the chess-player may be introduced into the chest through the sliding panel U, Fig. 74. He will then raise the false back of the large cupboard, and assume the position represented by the shaded figure in Figs. 68 and 69. Things being in this state, the exhibitor is ready to begin his process of deception. He first opens the door A of the small cupboard, and from the crowded and very ingenious disposition of the machinery within it, the eye is unable to penetrate far beyond the opening, and the spectator concludes, without any hesitation, that the whole of the cupboard is filled, as it appears to be, with similar machinery. This false conclusion is greatly corroborated by observing the glimmering light which plays among the wheel-work when the door B is opened, and a candle held at the opening. This mode of exhibiting the interior of the cupboard satisfies the spectator also, that no opaque body, capable of holding or concealing any of the parts of a hidden agent, is interposed between the light and the observer. The door B is now locked and the screen I closed, and as this is done at the time that the light is withdrawn, it will wholly escape observation.
The door B is so constructed as to close by its own weight, but as the head of the chess-player will soon be placed very near it, the secret would be disclosed if, in turning round, the chest door should by any accident fly open. This accident is prevented by turning the key, and, lest this little circumstance should excite notice, it would probably be regarded as accidental, as the keys were immediately wanted for the other locks.
As soon as the door B is locked, and the screen I closed, the secret is no longer exposed to hazard, and the exhibitor proceeds to lead the minds of the spectators still farther from the real state of things. The door A is left open to confirm the opinion that no person is concealed within, and that nothing can take place in the interior without being observed.
Fig. 70.
