Henry Ridgely Evans.

The Old and the New Magic online

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songs, farces and dramatic articles. In the year 1903 he was made
an _Officier d’Académie_ by the French Government. He married Miss
Ixa, of Trocadero fame. Among his pupils may be mentioned the lady
conjurer, Mlle. Patrice.

[Illustration: FROM “THE ENTR’ACTE,” LONDON, MAY 7, 1887.]

Trewey relates many interesting anecdotes of contemporary French
magicians whom he has met on his travels. He is literally a man
without envy. His admiration for Buatier de Kolta was unbounded. They
were close friends.

He once toured the Continent with the Hungarian conjurer, Velle, who
was the first to give exhibitions within a marked circle, where the
audience could gather on all sides. Velle impersonated Mephisto to
perfection. Trewey and August Lassaigne were once partners. Lassaigne
was born in Toulouse, in 1819. Besides being a magician he was an
æronaut, having made 347 ascensions. He died in Montpellier in the
year 1887.

When Trewey first toured the United States, under the management
of Alexander Herrmann, he was very much annoyed by impostors, who
advertised themselves as _Drewey_, but their performances were only
weak imitations of the original—the merest shadows of a shade. In
the wake of the whale follow little fishes—“pikers”—who grab at
the crumbs dropped by the monarch of the sea, being too lazy or
indifferent to find hunting seas of their own.

“Many amateurs are more skillful than professionals,” said Trewey to
me. “I have in mind my friend Alexandre Asso, who was born in Paris
in the year 1828. While a student, he once happened to be present
at a soirée where M. Comte was giving an exhibition. He was so
fascinated that he afterwards took lessons in legerdemain from the
professor. When he finished his schooling, he entered the service of
the Count de Nigra, then Ambassador to Italy, and remained with him
for forty years, visiting London, St. Petersburg, Vienna, and other
great capitals. Asso often entertained the Count and his friends with
conjuring séances. In this way he amused society at nearly all the
Courts of Europe, besides giving many entertainments for the benefit
of the poor. In spite of his advanced age, he still keeps in practice
as a conjurer at his villa at Asnières. He {347} retired from an
active life in 1903. We see a great deal of each other.


“Then we have M. Pitau, a wine merchant, who studied legerdemain to
amuse his friends and increase his custom. He was a capital guest at
the hotel table. People loved to be seated near him, for he was not
only skilful at hanky panky with glasses, plates, napkins, knives,
corks, coins, etc., but he was a brilliant raconteur and a mimic. His
most amusing trick was the following: He would place his hat over
his plate, which held perhaps a chop and potatoes. Passing his hand
under the hat he would bring forth several five-franc pieces. Then he
would pass it a second time beneath the chapeau and bring out five or
six gold one-hundred-franc pieces. Now he would exclaim: ‘Ladies and
gentlemen, I will give what is left on the plate for ten centimes.’
Lifting the hat, a child’s sock or an old shoe {348} would be seen,
the chop and potatoes having vanished. This feat was always greeted
with shouts of laughter. Pitau often gave entire performances for
charitable purposes.”

Behind the scenes in an Egyptian temple would doubtless have revealed
many curious secrets of natural magic to the uninitiated. Like all
so-called sorcerers, the priests evidently compiled works on the
subject of their art for the benefit of their successors. But not
one of these has come down to us. Hermes Trismegistus is said to
have written two myriads of books on the occult sciences. He was the
Alexander Dumas of the Egyptian pantheon.

Trewey, an apt descendant of the ancient magi of the land of Mizraim,
has compiled a ponderous folio of illusions and feats of juggling
and legerdemain; a great manuscript volume of mysteries, the text of
which is illustrated by pen-and-ink sketches by himself. Over two
thousand magical experiments are described and explained in this
tome of thaumaturgy, gathered from all sources, many of them being
his own inventions, perhaps the majority of them. I know that this
volume exists, for I have seen it and glanced over it. I have urged
Trewey to publish the work. Perhaps he will some day, now that he
has the leisure for literary labors. He is at present at work on his
invention, the _Treweyorama_, which will be exhibited soon in Paris.



Aerial suspension, Houdin’s, 141, 142.

Alchemy, pretended, of Cagliostro, 55.

Altars, magic, 6–9.

Amateur conjuring, 205–209, 346–348.

Anderson, bullet-catching trick, 173; second sight, 173.

Automata, 26, 107–119.

Balsamo, mask of, 42, 43.

Basket trick, Hindoo, 246, 247.

Bel, priests of, and Daniel, 4.

Bible account of Daniel and priests of Bel, 4.

Bird, Pinetti’s mechanical, 29.

Black art, Buatier de Kolta’s, 293–299.

Blind man’s game of piquet, 22.

Blitz, _Signor_, ventriloquial experience with Paginini,

Blue room. _See_ Metempsychosis.

Bosco, cup-and-ball trick, 169–171; pocket-picking experiment,
167, 168.

Bottle, inexhaustible, 165, 166.

Boumski and the duck, 230, 231.

Box, magic, 22.

Bullet-catching trick, Anderson’s, 173; Herrmann’s, 231,
231–233; Houdin’s, 152.

Burglar-proof desk, Houdin’s, 128–131.

Bust of Socrates, Houdin’s, 140, 141.

_Cabaret du Néant_, 104–106.

Cagliostro, casket, 143–149; crystal vision, 51–53; pretended
alchemy, 55; spirit séance, 55, 59; spirit writing, 54, 55.

Camera, use of, in magic, 16.

Card box, magic, 22.

Card trick, Comte’s, 161.

Cellini, Benvenuto, experience with a sorcerer, 13–16.

Ceres, temple of, machinery for deception, 3.

Chambers, secret, in ancient temples, 2, 3.

Chapeaugraphy. _See_ Tabarin.

Chess player, Kempelen’s automaton, 107–116; Maelzel’s
experiences with, 107–111.

Clock, Houdin’s magic, 126.

Clever swan, Pinetti’s, 26.

Comte, card trick, 161; ventriloquism, 160, 161.

Concave mirrors, and art of phantasmagoria, 2, 13, 15, 16, 91.

Confederates, use of, 29, 30.

Conradi, inventor of lamp trick, 237.

Crystal vision, Cagliostro, 51–53; psychology of, 51, 52.

Cup-and-ball trick, Bosco’s, 169–171.

Cybele, miraculous statue of, 9–11.

Daniel, and priests of Bel, 4.

Davenport Brothers, rope trick, 250.

Decapitated princess, 329, 330.

_Decapitè parlant_, 325, 326.

De Grisy’s watch trick, 19–21.

De Kolta, Buatier, black art, 293–299; magic die, 292.

Dessoir, Max, on psychology of crystal gazing, 51, 52.

Die, magic, 292.

Doors, temple, opened when fire is lighted on altar, 6–8;
trumpet blown on opening, 5, 6.

Double vision of Dr. Sarak, 257, 267–269.

Duck, Boumski and the, 230, 231.

Fakir of Ava, watch trick, 241–243.

Fish eggs, magic hatching, 256, 257.

Fox sisters, spirit rapping, xxx.

Frikell, lessons in magic, 184, 185.

Ghost illusion, Pepper’s, 92–94; Robertson’s, 87–92;
Robert-Houdin’s adaptation of, 95–97; Robin’s, 95, 97–100.

Ghosts. _See under_ Cagliostro.

_Gibécière_, use of, 17, 18.

Golden head and rings, Pinetti’s, 26.

Goldfish trick, Robinson’s, 286.

Goldin, invisible flight, 275–277.

“Gone,” Robinson’s illusion, 287–289.

Handcuff trick, Houdini’s, 306–314.

Heller, Robert, second sight, 188–191.

Heron, temple tricks revealed, 5–9.

Herrmann, Alexander, bullet catching trick, 231–233; impromptu
trick, 217; spirit-writing, 219; Thibetan mail, 219, 220;
Vanity Fair illusion, 233, 234; watch trick, 229, 230.

Hindoo basket, 246, 247.

Hoffmann, _Prof._, explanation of Sphinx illusion, 322–324.

Horse, alleged stopping of, by power of will, 266, 267.

Houdin. _See_ Robert-Houdin.

Houdini, Harry, handcuff trick, 306–314.

Hypnotic feat of Egyptian sorcerer, 1.

Indian basket. _See_ Hindoo basket.

Invisible flight, Goldin’s, 276, 277.

Kellar and Fakir of Ava, 241–243; levitation mystery, 243–245;
rope tricks, 248–250; Yoge’s lamp, 237, 238.

Kempelen, chess-playing automaton, 107–116.

Kircher, _Father_, temple trick described, 9–11.

Lamp, mysterious, Pinetti, 26; Yoge’s, Kellar, 237, 238.

Levitation mystery, Kellar’s, 243–245.

Light and heavy chest, Houdin’s, 138–140, 150–152.

Lustral water vase, magic, 11.

Maelzel, and the chess-player, 107–111.

Magic clock, Houdin’s, 126.

Magic mirror, Cagliostro’s, 51–53; concave, 2, 13, 15, 16, 91.

Magic villa, Houdin’s, 153, 154.

Magical bouquet, Pinetti’s, 27.

Mango tree, xxviii–xxx.

Maskelyne’s “Psycho,” 116–119; spirit music-box, 119–121.

Matthews, Brander, explanation of Houdin’s casket trick,

Metempsychosis, 100–104.

Music-box, spirit, Maskelyne’s, 119–121.

Mysteries of “Yud,” 266, 267.

Mysterious lamp, Pinetti’s, 26.

_Ombromanie._ _See_ Shadowgraphy.

Orange tree, Houdin’s, 142, 143.

Paganini, demon of, 98, 99; experience with Signor Blitz,

Parsell, Henry V. A., exposé of spirit music-box, 119–121;
Robinson’s “Gone,” 287–289.

Pepper, ghost illusion, 92, 93; metempsychosis, 100–104.

Phantasmagoria, art of, 2, 13, 15, 16, 91.

Pinetti, beheaded dove, 26, 27; clever swan, 26; golden head
and rings, 26; fettering and binding experiments, 27;
magical bouquet, 27; mechanical bird, 29; mysterious lamp,
26; recovered ring, 28, 29, 38; ring and ribbons, 27;
second sight, 35; stage, 36; Wise little Turk, 26.

Piquet, blind man’s game of, 22.

Pistol trick, fatal, of De Grisy, 22.

Polyoscope, Seguin’s, 94.

“Psycho,” Maskelyne’s, 116–119.

Recovered ring, Pinetti’s, 28, 29, 38.

Ring and ribbons, Pinetti’s, 27.

Robert-Houdin, aeriel suspension, 141, 142; bullet-catching,
152; burglar-proof desk, 128–131; bust of Socrates, 140,
141; Cagliostro’s casket, 143–149; ghost illusion, 97–100;
history of Kempelen’s chess-player, 112–116; light and
heavy chest, 138–140, 150–152; magic clock, 126; magic
villa, 153, 154; orange tree, 142, 143; stage, 138; trick
table, 137.

Robertson, ghost illusion, 87–92.

Robin, ghost illusion, 95, 97–100; stage, 164, 165.

Robinson, goldfish trick, 286; illusion “Gone,” 287–289.

Rods turning into serpents, x.

Rope tricks, Davenport Brothers, 250; Kellar’s, 248–250;
Pinetti’s, 27.

Salverte, description of temple tricks, 2.

Sarak, Dr., double vision, 257, 267–269; hatching fish eggs by
magic, 256, 257; stopping horse by power of will, 266, 267.

Second sight, Anderson’s, 173; Heller’s, 188–191; invented by
Pinetti, 35; silent, 194–198; Wyman’s, 203; Zancigs’, 199,

Séguin’s polyoscope, 94.

Sepulchre, marvellous, 5.

Serpents, rods turning into, x.

_Servante_, 18.

Shadowgraphy, Trewey’s, 333–338.

“She,” illusion, 327–328.

Shirt trick, Pinetti’s, 29–31.

Silent second sight, Svengalis’, 194–198.

Slade, Dr., and spirit slates, xxvi.

Slot machine, antiquity of, 11.

Spectres. _See_ Ghost illusion.

Sphinx illusion, 318–326.

Spirit music-box, Maskelyne’s, 119–121.

Spirit rapping, xxx.

Spirit séance, Cagliostro’s, 59.

Spirit writing, Cagliostro’s, 54; Herrmann’s, 219.

Stage, Houdin’s, 138.

Stodare, Colonel, and Sphinx illusion, 320, 324, 325.

Svengalis, silent second sight, 194–198.

Swing, magic, xx–xxiii.

Sword trick, xxiii, xxiv.

Tabarin, Trewey’s, 341, 342.

Tables, conjuring, 18, 138.

Talrich’s _decapitè parlant_, 325, 326.

Tarsus, temple of, illusions, 2.

Tavern of the dead. _See_ _Cabaret du Néant_.

Temple doors. _See_ Doors, temple.

Ten-Ichi, thumb-tying trick, 27.

Theurgists, deceptions of, 2.

Thibetan mail, 219, 220.

Thompson, Alfred, and Sphinx illusion, 320–322.

Thumb-tying trick, Pinetti’s, 27; Ten Ichi’s, 27.

Thurston, Howard, tricks and illusions of, 278.

Tobin, Thomas, inventor of Sphinx illusion, 318.

Trewey, shadowgraphy, 333–338; Tabarin, 341, 342.

Trick table, Houdin’s, 137, 138.

Trunk trick, 249.

“Vanity Fair” illusion, 233, 234.

Ventriloquism, Blitz, 178–180; Comte, 160, 161.

Watch trick, De Grisy’s, 19–21; Fakir of Ava’s, 241–243;
Herrmann’s, 229, 230.

Whist playing automaton. _See_ “Psycho.”

Wine and milk trick, 12.

Wise little Turk, Pinetti’s, 26.

Wyman, second sight, 203.

Yoge’s lamp, Kellar’s, 237, 238.

“Yud,” mystery of, 266–267.

Zancigs, second sight, 199, 200.

Zöllner’s illusion, xix.



Original spelling and grammar have been generally retained, with some
exceptions noted below. Original printed page numbers are shown like
this: {52}. Original small caps are now uppercase. Italics look _like
this_. Illustrations have been moved from within paragraphs of text
to nearby locations between paragraphs. Footnotes have been relabeled
1–29, and moved from within paragraphs to nearby locations between
paragraphs. Several missing full stops were inserted, commonly at
the end of a line of text. The transcriber produced the cover image
and hereby assigns it to the public domain. Original page images are
available from archive.org—search for “cu31924029935743”.

Page 26. Changed “in unison with the head, head,” to “in unison with
the head,”.

Page 140. Right double quotation mark removed after “six spectators.”.

Page 141. “inedequate” to “inadequate”.

Page 146. Right single quotation mark inserted after “impression of
Cagliostro’s seal.”.

Page 162. “(London, March, 1846):” to “(London, March, 1846).”.

Page 219. “Hermann” to “Herrmann”.

Page 226. “secene” to “scene”.

Page 229. Right single quotation mark inserted after “order of the

Page 257. “Apparenty” to “Apparently”.

Page 263. “Fortuntely” to “Fortunately”.

Page 316. Removed right double quotation mark from ‘magic are
over.” ’.

Page 327. “wierd” to “weird”.

Page 348. “unintiated” to “uninitiated”.

Page 350. Changed “Shadowgraphy, Trewey’s, 33–338” to “Shadowgraphy,
Trewey’s, 333–338”.

Page 351. Added page reference “2” for entry “Tarsus”.

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Online LibraryHenry Ridgely EvansThe Old and the New Magic → online text (page 28 of 28)