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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
715
It
must
have
been
this
principle
which
first
suggested
to
the
minds
of
Messrs.
Maskelyne
and
Cooke
the
construction
of
an
automaton
cornet
player.
The
extra
long
tube
of
which
I
have
made
mention
passes
through
the
body
of
the
figure
into
its
mouth,
where
it
meets
the
mouth
of
the
cornet
when
it
is
placed
against
the
lips.
This
tube
is
passed
through
one
of
the
legs
of
the
chair
on
which
the
cornet
player
is
seated,
and
thence
beneath
the
stage,
where
a
living
cornet
player
manipulates
the
instrument
in
the
hands
of
the
figure
by
means
of
three
strings
or
wires
attached
to
the
fingers
of
the
figure.
Thus
while
he
is
blowing
through
the
tube
he
has
the
string
of
the
first
piston
on
his
forefinger,
that
of
the
middle
piston
on
the
middle
finger,
and
that
of
the
third
piston
on
the
third
finger.
As
he
mouths
his
instrument
he
moves
his
fingers
in
precisely
the
same
manner
as
he
would
had
he
an
instrument
instead
of
only
a
tube
to
play
upon;
and
as
he
moves
his
fingers
so
he
pulls
the
wires
joined
to
the
three
fingers
of
the
figure,
and
thus
produces
the
change
of
notes
which
the
exigencies
of
the
tune
require.
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