My new repertory contained the Crystal Box, the Fantastic Portfolio, the Trepèze Tumbler, the Garde Française, the Origin of Flowers, the Crystal Balls, the Inexhaustible Bottle, the Ethereal Suspension, &c.
I had devoted especial care to the last experiment, on which I built great hopes. Surgery had supplied me with the first idea of it.
It will be remembered that in 1847 the insensibility produced by inhaling ether began to be applied in surgical operations; all the world talked about the marvellous effect of this anæsthetic, and its extraordinary results. In the eyes of many people it seemed much akin to magic.
Seeing that the surgeons had invaded my domain, I asked myself if this did not allow me to make reprisals. I did so by inventing my ethereal suspension, which, I believe, was far more surprising than any result obtained by my surgical brethren.
The subject I intended to operate on was my younger son, and I could not have selected one better suited for the experiment. He was a stout lad of about six years of age, and his plump and rosy face was the picture of health. In spite of his youth, he displayed the greatest intelligence in learning his part, and played it with such perfection, that the most incredulous were duped.
This trick was very much applauded, and I am bound to say that my arrangements were excellently made: this was the first time I tried to direct the surprise of my spectators by gradually heightening it up to the moment when, so to speak, it exploded.
I divided my experiment into three parts, each more surprising than the former.
Thus, when I removed the stool from beneath the child’s feet, the public, who had smiled during the preparations for the suspension, became thoughtful.
When I next removed one of the canes, exclamations of surprise and fear were heard.
Lastly, at the moment when I raised my son to an horizontal position, the spectators, at this unexpected result, crowned the experiment with hearty applause.