Year: 1865

performance as to be unable to give any ex-


PLANTATION oft; it is precisely the same with


the spectators of the Davenpofts' exploits


But when the tricks of the Davenports of any
Ijuggler are watched time after time, and the


pechliarities and shortcomings noted, it is


then only that a tolerable explanation can be


arrived at, if the tricks are not positively


seen. The following brief account gives a


narrative Of the information gained by repeat


ed visits TO the Davenports' seanres, q rigid


examination of the cabinet, and one or two


things really seen.


The performance is divided into two parts


totally different in themselves, although the


lecturer attached to the Brothers strives his


utmost to make them appear alike. The


first part is where the Brothers are tied in


the cabinet, by some interested party from
among the audience; and the second part
where the Brothers are tied in the cabinet,
by themselves, or by spirits, OF by ''preter-
natural philosophy" The performance under
the last condition is quite unlike the first men
toned. The next point is, that the construc-
ton and arrangement of the cabinet should
be well understood If the manifestations
were really straightforward and no duplicity
necessary, two doors would be sufficient for
this thing, but the peculiar nature Of the man
ifestations require three; if there were no
tricks to be found out, these three doors might
all lasten from the outside, but the tricks make
! it convenient to fasten the two outer ones from
the inside, and the middle door only on the
outside 1t will be seen from this that should
any hitch unfortunately occur, the middle
door being opened irst from the outside, the
party opening the case generally the lectur-
err will then thrust his hand in to open the
two side doors from the tttside=a convenient
design for giving a minute or two for the
performers to settle themselves, or for the
lecturer to rectify any short comings.


Keeping to the cabinet, a mysterious bar
runs across the middle, on the le5zl Of the
Davenports knees. To q person examining
the case before the exhibition began, it would
not be at all clear what this bar was for; but
in the second part OF the performance the
Brothers are invariably tied by the legs to it.
One might think this was what the bar was
inserted for, but it really answers a more
useful purpose, viz, to take the part OF the
bow when the guitar is played, for, be it
noted, the guitar is never fingered, but al
ways performed upon as violin. This will
be fully explained directly.


The cabinet is so made without glue or
screws, that it takes to pieces very readily,
so that it may be packed up in a box. This
is extremely uselul to the Brothers, mas
mitch as the seals are fastened to the back
and front by small lemons, slipping into NOR
tice holes. These holes are shallow ofneces-
sity, as the cabinet is so very slight, (made
only to exclude the light) We now come
to various holes drilled into the seat, to run
the ropes through; by this cunning trick the
Brothers can only be bound to the seats and
not to the cabinet, for, on a slight pressure
being applied from the inside to the back of
the cabinet. the seats are Immediately disen= |
gagged (this thrust is generally applied by the
lecturer when he puts his arms in, as he al
ways does Just before he shuts the middle |
door.) The Brothers can then stand up with |
the seats bound to them, and move about
the case, and then, bodnd as they are, they
pick the instruments up in their mouths, and
one shakes the bell or tamborine, while the
other scrapes the guitar on the bar, general
ly with one hand) This accounts for the
imperfection of the music; on the signal be-
ing given, the Brothers sit down again, and
shuttle the lemons into the mortice holes; of
course, the instant the doors are opened the
Brothers are found bound hand and foot to
the seats, apparently just as they were left;
and at the moment the middle door is open
ed, and the light turned on out flies the tam
borlpB and bell, propelled by a dexterous
Jerk from the Brothers mouths. 1t will be
seen that sealing the knots, filling the Broth
ers' hands with -four, &c, makes no differ
ence, as the knots are never united at all dur
ing the concert.


The above description principally applies to
the first part of the performance. When the
Brothers are tied by strangers, railways hap
pens that a considerable TIME elapses before
they are united, sometimes six or eight min
utes; but when they tie themselves, as soon
as the doors are shit the music begins for
the simple reason that knowing the trick CT
the tying they can readily disengage a hand
to ring the bell or shake the tamborihe, or to
slip a hand through the opening in the mid
die door. The lecturer is always very en-
phatic III saying that, In the position the
Brothers are bound, they cannot reach the
opening; but when the seats can be disen-
gagged and as readily slipped into the mortice
holes again, this truism falls to the gtOund,@l
In the first part, again, six or eight minutes
frequently elapse before the hand appears out
Of the opening; but when they tie them
selves, no sooner is the middle door shit (af-
ter some hasgling with the side doors) than
the hand is thrust out; this hand is always
the one that is nearest to the back of the
case when the Brothers are sitting, and with
out doubt that is where the artfui knot is
that can be so readily united after they have
bound themselves. When a troublesome
spectator is present. and he insists on open
ing the door as suddenly as the case will per-
NIT the guitar does not play-:hat is too