Manchester Democrat. [volume] (Manchester, Iowa) 1875-1930, 1906-12-05


ARI
EXPOSED q
9,,.
ton. He was a good BIT of d comedian,
and consequently was able to. distract
the attention of his audience from
something he did not wish them to OBJ
serve. He was not the first to make use
of the bullet-catching trick, which real
ly was invented by Robert Houdin, and
also used by Anderson. However, Herr
mann made 1t tile great feature of his
entertainment, and by performing 1t
but seldom added to its interest, for it
was believed by his audience that he
placed his life FIJI jeopardy every time
he performed the feat.
Excepting the card and coin mdnipu-
lators and the parlor magicians, the
stage professor Of the black art carries
with him many tons Of pdraphernalia
The lightest, ARREST effects are tile re-
suits of elaborate and heavy apparatus,
and the modern thaumaturgist must be
accompanied by many mechanics and
unseen assistants, as well as by tile
chief assistants whom the spectators
notice. The confederate, ns he was
once known, is unnecessary nowadays
The gentlemen who go upon the stage
from the audience to tie knots are all
Of them very innocent, indeed. There
is no need of confederacy, for the trick
is really genuine, carefully planned
feat, and does not depend upon any COL
fusion on the part of some one placed
in the audience.
some Fsats OF KelIaf.
Kellar as voting man was assistant
to the famous Davenport Brothers, and
lie reproduces some of their cabinet
mysteries" with considerable and more
effective Improvements. 1t is explained
that the Davenport Brothers accom-
plished their feats by Secretly taking
up slack in the rope while 1t was being
tied, thereby getting loophole in the
bonds through which to work one hand
loose. Frequently they cut the cords
with knives secreted in their sleeves
Those who have seen Kellar's dexterous
performance may form their own ideas
as to whether or not he achieves his
results in this way.
A master magician like Kellar Usual.
ly improves upon the tricks he adopts.
Thus Kellar's automaton Psyche" is
not Identical with Maskelyne's, which
has been explained, although not be.
You'd dispute. Kempelen's automaton
chess player, which caused d sensation
in Europe in the eighteenth century,
was Of very difficult construction. An
expose Of Kempelen's masterpiece show
ed that 1t was operated by man who
was skillfully concealed IN the machine
The present-day Psyche" is Under no
such suspicion, being merely product
of mechanical Ingenuity and thorough
knowledge Of psychics.
In adopting the celebrated "leyita-
tion" mystery Kellar has also introduced
Improvements. 1t Is a very surprising
feat, and us flrst used by Kellar may
be explained by the diagram shown.
An assistant is introduced, laid ON an
ottoman and then sent Off into hyp-
motto trance2 This part of the feat, 1t
may be explained, is the dramatic
leading up" a necessary feature in
every sensational conjuring trick. The
performer takes an ordinary fan and
fans, the body while 1t rises slowly
about four feet in the air, where 1t
mysteriously remains for any length of
time desired. A large solid steel hoop
is given for examination, and after the
audience is satisfied as to Its genuine
ness 1t is passed over the body from
head to feet, behind the body and over
1t again, at once dlspelling the idea of
wires or any other tangible support
used, the body, as it were, journeying
through the hoop each time. 1t will be
noticed that the cranked bar is the
soul Of the illusion.
( Houdini, the "Handcuff King" who,
by the way. Is an American. has aston