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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
701
A
is
the
iron
bar,
and
B
the
hip
plate.
D
is
a
spring
stop
fitting
into
the
teeth
of
the
joint
F.
F
is
the
arm
bar,
and
G
is
the
pin
fitting
into
the
hollow
tube
H,
which
is
fixed
into
a
socket
in
the
platform.
The
frame
is
fastened
to
the
body
by
means
of
the
leather
straps
K.
When
the
body
is
raised
to
the
position
of
L,
the
spring
stop
D
slips
into
the
middle
indentation,
and
thus
keeps
the
frame
and
the
lady
borne
upon
the
frame
in
that
position.
When
the
body
is
raised
to
a
horizontal
position,
M,
the
spring
stop
catches
in
the
first
indentation,
and
keeps
the
body
perfectly
straight.
In
commencing
the
trick
the
performer
rests
the
figure
upon
two
poles
and
then
knocks
one
away.
This
is
done
to
make
the
audience
believe
that
the
two
poles
are
similar.
I
need
scarcely
say
that
the
putting
of
the
lady
into
a
mesmeric
trance
is
only
a
piece
of
acting;
it,
however,
adds
very
much
to
the
effect
of
the
trick,
as
the
reader
no
doubt
has
thought
up
till
now.
It
will
be
remembered,
notably
in
the
case
of
the
Fakir
of
Oolu,
that
sometimes
when
the
trick
was
performed
both
poles
were
taken
away.
What,
then,
you
will
ask,
becomes
of
all
my
machinery?
The
two
poles
were
seemingly
taken
away.
The
poles
used
consisted
of
brass
bars.
The
limelight
beamed
upon
the
figure
of
the
sleeping
lady,
while
the
rest
of
the
stage
was
comparatively
dark.
Thus,
when
the
conjuror
apparently
took
away
the
only
support
the
figure
had,
the
audience
did
not
and
could
not
perceive
that
he
really
took
away
the
brass
case
of
the
second
pole,
leaving
another,
the
actual
pole
on
which
the
framework
was
fixed,
and
which
was
of
the
same
color
as
the
drapery
of
the
stage.
It
was
for
the
purpose
of
deceiving
the
eyes
of
the
audience
that
the
pole
was
encased
in
a
brass
shell
in
the
first
instance.
He
refixed
the
case
before
the
stage
was
relit,
and
the
lady
woke
up
from
her
sham
mesmeric
trance.
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