Various illusions of height, of ceiling, composedness, etc., may be obtained by the color of the ceiling. A dark cornice in an interior may appear to be unsupported if the walls below are light in color, without any apparent vertical supports for the cornice. We are then subjected to the illusion of instability or incongruity. Dark beams of ceilings are not so obtrusive because our intellect tells us that they are supports passing over the top of the walls and are therefore able to support themselves. Color and brightness in such cases are very important.
The architectural details on exteriors evolved under daylighting outdoors so that their form has been determined by the shadows desired. The architect leads his lights and shadows around the building modeling it as he desires. An offset here and a depression there models the exterior in light and shade. The forms must be powerful enough to resist the obliterating effect of overcast skies but notwithstanding all precautions the expression of an exterior varies considerably with nature’s lighting. Indoors the architect has a powerful controllable medium in artificial light which he may draw upon for producing various expressions or moods in rooms. The effect of shadows is interesting when viewing some structures flood-lighted at night. In those cases where the light is directed upward there is a reversal of shadows which is sometimes very unsatisfactory.
It is interesting to experiment with various ornamental objects lighted from various directions. For example, a Corinthian capital lighted from below may produce an unpleasant impression upon the observer. We do not like to have the dominant light from below, perhaps because it is annoying to the eyes. Possibly this is an instinct acquired by experience in snow-fields or on the desert, or it may be a heritage of ancestral experience gained under these glaring conditions. This dislike manifests itself when we appraise shadow-effects and therefore our final impression is tempered by it.
All sculptured objects depend for their appearance upon the lighting, and they are greatly influenced by it. In sculpture, in a strict sense, illusions play a lesser part than in other arts. Perhaps in those of very large proportions various corrections have been applied. A minor detail of interest is the small cavity in the eye, corresponding to a reversed cornea. This depression catches a shadow which gives considerable expression to the eye.
XIV
MIRROR MAGIC
Strictly speaking there are fewer illusions found in the practice of the magician than is generally supposed; that is, the eye usually delivers correctly to the intellect, but the judgment errs for various reasons. The “illusion” is due to false assumptions, to the distracting words, to unduly accented superfluous movements of the magician; or in general to downright trickery. Much of the magician’s success is due to glibness of tongue and deftness of fingers, but many of the more notable “tricks” were those involving the use of mirrors and the control of light. Black curtains, blackened assistants, and controlled light have played prominent parts in the older magic, but the principles of these are easily understood. However, the mirror perhaps has done more to astound the audience than any other device employed by the magician. For this reason, and because its effects are commonly termed illusions, some representative examples will be presented.
In a previous chapter attention was called to the simple but usually overlooked fact that, for example, the image of a face in a mirror is reversed as to right and left. When this fact is overlooked we may be astonished at the changed expression of an intimate friend as we view the face (reversed) in the mirror. Similarly our own features are reversed as to right and left and we are acquainted with this reversed image rather than the appearance of our face as it is. Inasmuch as faces are not accurately symmetrical and many are quite unsymmetrical the effects of the mirror are sometimes startling. It might be of interest for the reader to study his face in the mirror and note that the right ear is the left ear of the image which he sees. He will also find it of interest to compare the face of a friend as viewed directly with the appearance of its image in the mirror. If he desires to see himself as others see him, he can arrange two mirrors vertically almost at a right-angle. By a little research he will find an image of his own face, which is not reversed; that is, an image whose right ear is really his right ear.
A famous “illusion” which astounded audiences was the sphinx illustrated in [Fig. 90]. The box was placed upon a table and when opened there was revealed a Sphinxian head, but why it was called a Sphinx is clothed in mystery because upon some occasions it talked. As a matter of fact it belonged to a body which extended downward from the table-top and this kneeling human being was concealed from the audience by two very clean plate-glass mirrors M shown in the accompanying diagram. The table actually appeared to have three legs but the audience if it noticed this at all assumed the fourth leg was obscured by the foremost leg. The walls, floor, and ceiling of the box-like recess in which the table was placed were covered with the same material. It is seen by the diagram that the mirrors M reflected images of the side walls W and these images were taken by the audience to be portions of the rear wall W. Thus the table appeared to be open underneath and the possibilities of the apparatus are evident.