Second sight secrets and mechanical magic

Preface

p^pTlHE author in presenting this little volume does so 1 1 with the intention of assisting his readers to sohe l|||iylj some of the mysteries and illusions that are performed on the public stage to-day by conjurors and so-called spiritualists, and also with the hope of dispelling the idea that these mysteries are accomplished by occult or supernatural methods, which belief is growing to quite an extent in this country.

The author has made a very careful study of the many illusions both in magic and in spiritualism, and of the transmission of thought, which is known by a great many different names, and in this little volume he intends to show how these illusions may be performed by purely mechanical meTms. It should be borne in mind, however, that it is not so much the apparatus employed as it is the shrewd, ever-observing methods employed by the performers, who are very sharp, keen men. The devices employed by the performers are so numerous that it is impossible to say just what methods they will use next. As soon as one method is exposed they immediately begin to plan, and evolve an entirely different method of performing the same illusion. The great success of the magician is in disarming the suspicions of the skeptic, and this is accomplished by leading him to think a certain method is employed when he is really using another.

The author merely offers some solutions and points out certain fundamental principles which are usually employed, and which he thinks will assist his readers in solving these mysteries for themselves. No literary merit or perfection of style is attempted in this little volume for it is written in every-day language, but I hope it may prove of interest and value to my readers.

DR. HERMAN PINETTI.

Chapter I. Cabinet Tricks

lBINET tricks have always been a great stand-by for performers in spiritualism, A committee from the audience is usually chosen, and after tying the performer securely to a chair or board or in some other way binding him very securely, he is then placed in a cabinet, the curtains drawn, and immediately manifestations take place, such as the ringing of bells, the banging of tambourines and playing of guitars.

I will now explain three of the latest and best cabinet tricks which I know. The first is known as the "Mahatma Miracles/' and the effect of same is as follows: —

A cabinet with a translucent gauze opening in the front curtain stands on the stage and is freely inspected by a committee to see that there are no double backs, sides or tops. The medium then takes a seat in the cabinet and passes his or her hands through two apertures in the sides of the cabinet, where they are tied with ribbons and the ribbons held on the outside of the cabinet by the committee. The curtains are now closed, but due to the translucent gauze opening in the front of the curtain the medium's head and shoulders are seen by all. In spite of this, however, bells are rung, tambourines played, a glass of water is raised to the medium's mouth, a newspaper which is placed on the floor of the cabinet is cut into beautiful designs, and many other manifestations take place.

The secret of this trick lies in the cabinet. It is an ordinary cloth one, with a raised platform about four feet square. The front curtain, as above mentioned, has a gauze opening about eighteen inches in diameter, and the two side curtains have openings large enough to allow the medium to pass his hands through. The legs of the cabinet are about six inches high and five inches in diameter. The secret of this cabinet lies in one of the front legs, which is hollow. The floor of the cabinet is laid off in squares so that one of the squares comes over the hollow leg and acts as a trap. A strong screw-eye is screwed in the under side of the trap and a rope attached to same. This rope passes down through a hole in the floor to an assistant underneath the stage, who holds the trap down while the committee inspects the cabinet

The medium takes his seat on a chair in the cabinet, and passes one hand through each aperture in the sides, where they are securely fastened with ribbons or ropes, the ends of w 7 hich are held by the committee. The curtains are now closed and the tests occur. The assistant under the stage works everything by pushing his hand and arm up through the hollow leg. He is thus able to ring the bells and play the musical instruments which are placed on the floor. In the glass-of-water test the assistant has a stuffed glove, with wires running up each finger, which is painted flesh color, and is fastened to a stick. He bends the wire fingers of this glove around the glass of water and pushes same up to the medium's mouth. In regard to the paper test. An ordinary newspaper is placed on the floor of the cabinet with a pair of scissors. The assistant promptly draws this paper down through the hole in the floor and places another paper, cut into beautiful designs, on the floor of the cabinet, where it is found when the curtain is drawn aside. Many other tests can be performed, all of which I think will now be clear. It is needless to say that the assistant must always pull the trap down and hold it tightly by the rope after each test so the committee can discover nothing upon examining the cabinet. The medium gives the assistant a signal when to open the trap by tapping his foot on the trap. The cloth of the cabinet should be of some dark material.

The spiritualistic post test is the next which I will describe. In the most common form it consists of a post of pine wood two and a half feet long. This is given to the committee, one of whose members bores a hole through it, near its upper edge, and then passes an ordinary rope through the hole. A knot is then tied in the rope on each side of the post. The knots are pressed against the sides of the post to prevent the rope from being pulled through the hole. The ends of the rope are now unravelled, and the post is fastened to the floor with spikes. The medium takes a seat behind the post and his hands are securely tied to the post with the unravelled ends of the rope. Small pieces of court plaster are pasted over the knots so as to prevent him from slipping his hands from the fastenings. A hail is driven into the top of the post and a rope is secured to it. This second rope is held by the committee. A screen is now placed around the: medium. Bells are rung, etc., showing that the medium has the use of his hands.

The secret of this trick consists in boring a hole in the io SECOND SIGHT SECRETS

center of the end of the post. A chisel is then inserted in the hole and the opening closed with glue and sawdust colored with paint. In boring the hole through the post the medium starts the bit so that there is no danger of the committee boring the hole too low or so high that it will strike the chisel. When the nail is driven in the top of the post it forces the chisel down and cuts the rope. The medium may now ring bells, etc. After the medium is through he puts the rope ends back in the hole in the post and holds his hands very tightly against the post while the knots are inspected by the committee.

I will now explain what is known as the cotton bandage test, which is usually used by female mediums. A male performer, as a rule, uses rope or wire. In this experiment the committee is chosen from the audience and furnished by the performer with pieces of cotton cloth about an inch and a half wide and three feet long. One of these cotton strips is tied securely around each wrist of the medium, the performer instructing them to tie a number of good hard knots. As an extra precaution, a needle and thread is now furnished and a number of stitches are made above the knots to prevent them from getting untied. Strips of court plaster are also fastened over the bandages on wrists to prevent them from being slipped off the hands. The medium now places her hands behind her, and the ends of the strips from each wrist are now tied together by a number of good hard knots by the committee. What ends are left are evenly cut off near the knots. Another strip of cloth is now produced and one of the committee ties this strip around the knots between her wrists, leaving the ends of about equal length. The medium now takes her seat on a small stool with her back toward a ring in a board which has been fastened to the floor. One end of the last strip is passed through the ring and several knots are tied. Another strip is produced and tied around the medium's neck and then tacked against the upright board, Two more strips are now used, tying one around each arm above the elbow, and the ends of same are also tacked to the board. The committee having done all this work themselves are thoroughly satisfied as to its genuineness. As an extra precaution, to show that the medium does not use her limbs in any way, a cord is tied around both feet, an end of which is held by a member of the committee.

A cabinet is now placed over the medium, and no sooner is the curtain closed than the usual manifestations take place, such as the ringing of bells, tooting of horns, banging of tambourines, driving of nails, etc., etc. Each time the curtain is opened the medium is seen with her hands apparently securely tied as before. Finally a pocket knife is placed in her lap, the curtain is closed for a few seconds, and soon the medium comes forth with her bonds cut, but only the wrists separated. This is supposed to be done by the spirits. Now. I will explain this mystery.

In a convenient pocket in the back of the medium's dress or in her belt she has slipped a small sharp open knife, with which she cuts through the bands between her wrists. She is able to do this as her hands are not tied absolutely tight together, because in tying the bandages around the wrists the perform 2r instructs the committee to tie a number of good hard knots, and furthermore to sew the bandages together about two inches above these knots. These knots are also tied on the inside of wrists or above the palms of the hands.

It will be readily seen that when the loose ends are tied totogether there is a three or four inch space between her hands, so it is not at all difficult for her to cut herself free. She cuts the bandage which connects her wrists clos* to the band which fastens her to the ring and slips this bandage off. leaving it whole and still tied to the ring, and now has the free use of both hands, and as the strips tied around her arms were tied above her elbows she has full use of her forearms, and is thus able to raise a glass of water to her .mouth, tie knots in a handkerchief around her neck and drive nails into a chair, She makes what manifestations she chooses, and by placing her wrists one on each side of the ring and clasping her hands together, pressing all tightly together, she is ready for examination. The ring being wound with cotton cloth the same as used in the bandages the committee cannot see that anything has been changed, and, being a little ill at ease upon a public stage, they are ready to say that she is bound without making the most thorough examination possible. Another thing to notice is that she is finally cut free. The reason of this is that if the investigators were to release her they would discover the secret.

This cotton bandage test is also performed in a little different manner, in which the medium is not cut free at all. In this case, when she places her hands behind her, she rests one hand on each hip so that her hands are about nine inches apart, and then has the committee tie the four ends together and then fasten her as in former case. She is now able by reaching with her left hand in back of her as far as possible to slip her right hand into her lap and get hold of what musical instruments are placed there. At first thought this mav seem impossible, but with a little practice and some contortion on the part of the performer it is quite easy to perform the trick in this manner.

Chapter II. Table Lifting

M— "K)ST spiritualistic performers usually perform a test of table lifting or of floating tables. Small, light lj3gg}^ tables are lifted by the mere "laying on of hands." The arms are raised in the air and the table is seen to cling to the hands and follow every motion. This is accomplished by a pin driven well into the table, projecting above the table about a quarter of an inch. There is a goodsized head to this pin. The performer wears a ring with a slot in it. The body of the pin easily enters the slot in the ring, but the head of the pin being of good size prevents the table from falling away from the hand. After the table has been floated successfully an extra strong upward pressure of the hand pulls the pin out and the table can be examined. This trick may be performed when the table is covered with a borrowed silk handkerchief, as the handkerchief, being of fine, soft texture, does not prevent the pin slipping into the slot cut into the ring. This addition makes the trick a little more effective.

There is also another method employed of raising a table which has been examined beforehand by a committee, who also examine the performer's hands to see that there is no sticky substance on them. In this method, instead of having a slot cut into the ring, a strong needle point is soldered to the outside of the ring and at a slight angle to it. This ring is placed upon the performer's hand so that the point is sticking toward the tips of his fingers. The ring may be turned upon his finger so that the point can be concealed between the fingers when his hands are being examined. When he performs this trick he merely turns the point around to the inside of his hand, and the top of the table being of some soft texture, such as cardboard or wood covered with felt, he is able to push this needle point well into the top of the table, and is thus able to raise it without trouble.

Small, light tables are sometimes floated in the air with the performer holding his hand well above the table and not touching it at all. This is easily accomplished by having two strings running from one side of the stage to the other worked by assistants. They merely raise these strings from the floor so they come underneath the table, when by a little effort they are able to raise the table completely off the floor.

THE OBEDIENT HANDKERCHIEF.

This little trick is usually performed in connection with some other handkerchief trick or with some act in hypnotism.

The performer having borrowed a handkerchief from some one in the audience for some trick, before returning same to the owner states that he is going to try and make the handkerchief stand alone. He ties a knot in one corner of the handkerchief, rubs it between his hands, "to endow it with magnetism/' and then places same on the floor. At his command the handkerchief rises or falls, it dances to music, and altogether acts in a very strange manner. He now picks the handkerchief up and carries it forward to its owner.

There are several methods of performing this little experiment, and, while not much of a trick in itself, if well presented it is very interesting. The old method used to be of having a string extending from the floor to the ceiling and thence passing over a small pulley to the back or side of the stage. On the end of the string on the stage was a small bent pin or a pellet of wax. The performer when tying the knot in the handkerchief stuck the pin in the corner of same or stuck the wax to the handkerchief, whichever method was used. His assistant from the side of the stage w r as now able to operate the handkerchief. This was somewhat of a clumsy method, as it took a little dexterity to release the handkerchief from the string after the performance. The method now usually employed, and on which the details are worked out with care, is to have a fine black string passing from one side of the stage to the other. The performer has an assistant at both sides. When he is to perform this trick they raise the string to the height of his hands, and in tying; the knot in the handkerchief he ties it loosely around the string. He now drops it to the floor, and at his command the assistants are able to raise the handkerchief and make it move forward and backward in a very mystifying manner. To heighten the effect the performer passes a chair or a tambourine over the handkerchief, thus showing that there is no connection made from above, which is the method usually supposed to be employed. Now, when he returns the handkerchief one assistant drops his end of the string and the other holds his firmly, and the performer walking down to the front of the stage with the handkerchief, the string is drawn through the knot.

Another method of fastening the string to the handkerchief may be employed where the performer is able to carry the handkerchief to the side of the stage before performing the experiment. In this case he passes a needle to which is attached a thread through a corner of the handkerchief, and then walks to the other side of the stage, where he gives one assistant an end of the string, the other end being held by the assistant on the first side.

There is also another method of performing this, in which the performer passes a solid hoop completely over am! around the handkerchief while it is suspended in the air This little contrivance, being one of my own, consists of a fine piece of wire made on the same plan as the apparatus used in suspending a woman in mid-air, which I will explain in the next chapter.

Chapter III. The Floating Girl

[E following illusion is usually performed in connection with an act of hypnotism, and is very sensational and mystifying. The effect is as follows :— On the stage is a long, narrow couch with back and ends, usually upholstered in some dark material. The legs of the couch are about twelve inches high, and the audience are able to see plainly underneath the couch. The performer introduces a young lady, and apparently hypnotizes her. She then lies down upon this couch and the performer continues to make more passes over her, arranges the draperies of her dress, and sometimes covers her with a small shawl. He then takes a position in back of the couch directly over her and continues his hypnotic passes. To the wonderment of all, she is seen to rise slowly from the couch to a considerable height. The couch is now removed by two assistants, and she is apparently suspended in mid-air. To disprove the agency of any mechanical appliance the performer now has brought to him a solid wooden hoop, which he passes completely over, in back, and again over the suspended girl. His two assistants then bring back the couch^ and she slowly sinks back upon the seat of same. The performer now rouses her from her hypnotic sleep, she ri9es f

AND MECHANICAL MAGIC.

bows to the audience and retires.

I will now explain how this illusion is usually performed. It can only be performed on a theatre stage or where there is plenty of room underneath, as this is where the working of the trick takes place. There is a false seat to the couch, which consists of a board from four and a half to five feet long and from six to eight inches wide. This board is upholstered in the same material as the couch, and when laying on the seat of the couch cannot be noticed. There is a small slot cut in the back of the couch in the very center, from the top down to the seat. This slot is hidden by the upholstery so it cannot be noticed by the audience.

I will now call attention to the accompanying cut, by the aid of which I can better explain this illusion. "A-B" is the board or false seat which I have described. In this diagram we are supposed to be looking directly down upon it. At "G" there is firmly connected to this board a heavy metal coil, as illustrated in the cut. This coil consists of three metal bars, numbered, respectively, "i, 2 and 3." This entire apparatus is in the same horizontal plane as the board "A-B/ f The connection "G" is made through the slot in the back of the couch of which I spoke, and the back of the couch extends between rod "No. 1" and the board "A-B," running out considerably beyond the ends of this board. It will now be seen if this metal coil is raised upward it will carry with it the board "A-B." At "F" there is a small stud, connected to met al coil either by welding or having the bar bent over. This little stud is of triangular shape and several inches long, and is at right angles to the metal coil and perpendicular to the floor. The smaller cut "F" at the right will make this plain to the reader.

This stud"F"fits firmly into abar having a triangular opening at its end. This bar is pushed up through a small trap in the stage from underneath same. This bar is free to move up and down, but otherwise is firmly secured underneath stage. Underneath it is a strong screw-jack, which is capable of raising the complete apparatus above, even with the additional weight of the young lady reclining on the board "A-B." The performer, after the young lady lies down on the seat of the couch, in reality on the board ''A-B," walks around in back of the couch and stands close up to bar "No. 3" with his right leg in the space "H." The stud "F" is thus in back of his right leg. The small trap in the floor is now opened and the bar is pushed up in back of the performer's leg and connected with the stud "F." The bar being painted black would not be noticeable against the performer's black trous-r ers and shoes should it come into view. It is, in fact, hidden from view by the performer's right leg. All the performer has now to do is to remain in this position, and heighten the effect by his spectacular plav, such as hypnotic passes directed toward the young lady. His assistants underneath the stage merely raise the young lady by screwing up the jack, or raising her by whatever appliance may be used. When she comes to a position above the top of the couch the couch may be removed by two assistants of the performer. Of course, it will be understood that the dress and draperies of the girl will completely hide the board and the apparatus in back of same.

Now, for passing the solid wooden hoop over the suspended girl. To do this the performer takes the hoop in his left hand, passes it over the end marked "A" of the board and down between rods "No. 1" and "No. 2," the hoop assuming the position of that in the diagram marked "D." It is now carried forward by the performer's right hand and off at the end of board "B." The hoop is now turned around and assumes the position "C." The whole hoop is now passed in back of the girl, running between rods "No. 2" and "No. 3." When it reaches the end of the board "A" it is again passed over the girl and board and assumes the position marked "E." It may now be completely withdrawn from off of the end marked "B." The performer may now reverse the motion of the hoop by starting it at "B" if he chooses.

The foregoing is somewhat difficult to explain, but if the reader will bend a piece of wire into the shape as above and take a small ring and follow these directions he will see how this is accomplished.

The position which the legs of the couch occupy are marked off on the floor, so that when the couch is returned it will be in the same position as at first, and thus the little bar "G" slips through the slot in back of couch when the girl is again lowered. This slot may be cut diagonally through back and then cannot be seen. When the board "A-B" comes to rest on the seat of couch the bar which passes up through the hole in the floor is now withdrawn through the floor and the trap closed. The performer then walks around to the front of the couch and apparently awakens his subject.

Some performers have a different connection with the rod from under the floor, having a thread cut on the end which screws into the coil at "F." This may be a more secure fastening, but it takes longer to insert and remove.

I wish to call attention to the fact that this little diagram, which is made very 7 roughly, is not drawn to scale, being more to illustrate the course of the hoop than for any other purpose. The small semi-circular space "H" has a diameter oi about a foot, and the performer stands in this, the semi circular hoop encircling his leg. The apparatus may be raised up as high as performer's waist or even higher, and the hoop will then be encircling his body, while the rod connected to "F" running through the floor will be hidden by the performer.

This illusion was first performed by having the girl lie on a couch or upon a board supported by two wooden horses, quite close to the rear curtain of the stage, and instead of having the connection made underneath the floor a rod was passed through a slot in the back curtain which connected to the metal coil, The end of the rod in back of the curtain was firmly fitted into a heavy block which slid up and down in a perpendicular frame. This block, by means of ropes and pulleys, could be raised or lowered by the assistants in back of stage. Without a doubt, however, the method of performing this illusion now, where the performer stands over the girl in the center or even in the front part of stage, is very much better and more mystifying in every way.

Chapter IV. Second Sight And Kindred Phenomena

a IS far back in history as one cares to go he will find x\ mention of magicians and the works of magic which they performed. Even before the building of the Pyramids in Egypt magic was a reputed art.

We read in the Bible of Aaron casting down his rod before Pharaoh and his servants and its becoming a serpent. The magicians of Egypt then being summoned by Pharaoh did likewise with their enchantments, turning their rods into serpents. (Exodus, Chapter seven, Verses ten and eleven.)

Magic was greatly in vogue in the middle ages, and we read weird tales of ghosts and gnomes in literature of that time.

One of the earliest of the necromancers of whom we read was Joseph Balsamo, known as Count Cagliostro. He married a very beautiful girl at Rome, who proved of great assistance to him in his impostures, and with her and a retinue of servants traveled all over Europe and scattered money right and left. He, however, reaped an abundant harvest by his impostures. He was very cordially received wherever he went, and was believed in by serious-minded and educated men. In Paris he became involved in some affair and was thrown into Bastille. Though eventually liberated, he was compelled to leave Paris. Cagliostro was the last to win any great fame as a pretender to occultism, although there was a feeble attempt to revive thaumaturgy in the nineteenth century by Madame Blavatsky. Science, however, has laughed away sorcery and witchcraft.

In London, 1784, we read of Chevalier and Madame Pinetti, and his wonderful experiments of new discovery . We read of Madame Pinetti being seated in one of the front boxes of the theatre, blind-folded, and guessing at everything imagined and proposed to her by any person in the company. Here we have the first mention of the second sight trick which, in the hands of latter-day artists, has become so popular. Houdin rediscovered it, passed it on to Robert Heller, who improved it, and at the present day Keller and Others make it a feature of their performances.