CHAPTER VII

MECHANICAL PRINCIPLES

WE NOW come to magic of the physical order, and processes of the mechanical type. The principle first on the list is that of Outer Casing. This consists in the covering of an object with a superficial casing, removable at will. The casing may form a double or extra thickness, in exact replica of the real object, or may have a shape entirely different from the object it encloses. The first of these forms is illustrated by the "half-shell" used in billiard ball manipulation, and by the metal cover fitting closely over and painted to resemble a large wooden die. The second form of casing is represented by the "Passe-Passe" experiment, in which a bottle covers the glass with which it apparently changes place. Numerous examples of both forms will readily occur to the reader.

The next mechanical principle is that of Concealed Access. This may not be, perhaps, the best title available for the principle to which it relates, but we can think of none better. It implies a secret device by means of which any person or thing is enabled to pass through something that appears impenetrable, or to get at something that seems isolated beyond all human possibility of approach. Traps, sliding panels, removable parts et hoc genus omne, are devices in which this principle is involved.

Secret Cavity or Receptacle is the principle upon which all devices for the concealment of an object within an apparently solid structure may be said to depend. False bottoms, secret drawers, bellows tables, hollow stems, double lids, and so on, are examples of tricks upon this principle.

Diverse Formation is a principle of very common use in magic. It relates to appliances which, though apparently similar in every respect, are either wholly or in part unlike in structure. It is a principle common to many kinds of "prepared" apparatus. Thus, bevelled coins, for example, are of diverse formation. In external appearance they resemble genuine coins, with the ordinary square edges. The bevelling is so slight that it can be detected only by careful examination. It is, however, sufficient to insure that, when spun, the coin shall fall with its larger diameter upward. Cards with dissimilar halves, with convex or concave sides, with ends of different widths, and so forth, are devices upon this principle.

A good example of Diverse Formation is to be found in "The Chinese Rings." Here we have a number of rings, apparently identical in structure and condition. But, in reality, the case is far otherwise. Some few of the rings, it is true, are what they appear to be-genuinely solid and single. Of the others, one has a gap in it, and the rest are linked up in pairs and threes. It depends upon the adroitness of the performer to convey to his audience the impression that each and every ring is given out singly for examination, apparently proving the whole number to be identical in every respect. Any contrivance in which an unobtrusive alteration in shape is the essential feature will come under this heading.

Closely allied to the foregoing is the principle of Double Facing. It is sufficiently familiar, in connection with playing cards, to render comment superfluous.

Concealed Mechanism or Motive Power, also, is a principle that is well known, even to those who know little else of magic. There are innumerable devices and places for the concealment of mechanical trickeries. So vast, indeed, is the range covered by this section that, without unduly occupying space, it is impossible to give even a list of the chief forms of apparatus in which the principle is commonly embodied. Broadly, we may say that most appliances in which a trick is concealed are included in this group. Thus, the trick by means of which the performer is enabled to escape from a locked and corded box is an example of such mechanism; since concealed access alone cannot meet the case. A mere trap or sliding panel is out of the question-assuming, of course, the relative dimensions of box and performer entail a close fit, and that the rope is sufficient and properly applied. There must, necessarily, be some form of concealed mechanism comprised in the trick, whereby the performer releases himself and restores the box to its former state. In this, as in other instances where the trick by which a magical result is produced consists in mechanism, the existence or nature of which is unknown to the audience, that trick comes under the present heading. Incidentally, we may remind the reader that a "box trick" is the trick embodied in a box-not the feat of escaping from a box.

Concealed Connection is another mechanical principle, of the utmost familiarity to magicians and public alike. It is one of the three principles usually quoted, by that section of the public whose only delight at a magical performance is to explain (?) how everything is "done." The explanation given by such people, when fully engaged in showing their cleverness at a magician's expense, as a rule consists in either "wires," "machinery," or "mirrors." It may be that the effect could not possibly be produced by either wires, machinery, or mirrors, but that is of no consequence. The fact that, if the effect were actually produced by such means, it would be an absolute miracle, does not matter in the least. "Make it wires!" says the busybody, and "wires" it is, unless it may happen to be machinery or mirrors. This sort of chatter, if loud enough, will always enhance the enjoyment of surrounding spectators. In some cases of the kind, we have seen printed on the faces of those around a chatterer, enjoyment so unspeakably sincere that it would be unspeakable-in public, at any rate. But, if they only had that nuisance alone-my word! However, these common occurrences serve to show that the principle of concealed connection is one of the most familiar in the whole range of magic. From the slender thread that lifts the "rising cards" to the heavy "pull" that snatches away the cloth thrown over a vanishing lady, the purposes to which this principle is applied in the service of magic are infinite in number and variety.

Last on the list of mechanical principles, we have Invisible Suspension. This, of course, is closely allied to concealed connection. The precise difference between the two is this: In the case of connection, invisibility is by no means essential and some form of apparent action at a distance is implied. On the other hand, invisibility is the first essential in the present case, and no action other than that of sustaining a certain weight in mid-air is implied. Partial suspensions, such as that associated with "The Fakir of Oolu," more correctly belong to the group of concealed mechanism; since the upright rod provides obvious possibilities for the intervention of mechanical support. A truly invisible suspension is one in which the weight supported is apparently isolated from all possible contact with material objects by which mechanical connection may be concealed. For this reason, the method of suspension in which the support is derived from a rod passing through the stage, behind the performer who "assists," is a concealed mechanical device, rather than an invisible suspension.

The application of this present principle is not entirely confined to the professed purpose of mysteriously causing a person or object to float in space. It is also of great utility in giving to heavy objects the appearance of lightness. This method was first introduced in connection with the illusion called "Cleopatra's Needle," in which a light framework, containing one or even two performers, could be handled with ease-the weight contained within being invisibly counterbalanced. De Kolta afterward adopted the method in his well-known illusion "Le Cocon."

Previous | Next | Contents