The Optical Magic Lantern Journal (October 1900)

The Optical Magic Lantern Journal and Photographic Enlarger. 125 The conjuror’s head is cut out of celluloid and connected with a long wire rod 16 which passes through the staple 17. This rod is pivoted to the lever 12, which is in turn pivoted to the framework at 22. The lever is furnished with a spiral spring which is secured at one end. The rest R will have to be slightly altered in shape when the two tricks are included in one slide. It must be made so that it will bend over at right angles and form a: rest not only for the levers 7, N and D (Fig I.), but also for the levers 11 and 12 (Fig. VIJ.). 15 is a screw serving as a stop to the lever 12. The celluloid strip 19 that we have spoken of has painted at its extreme end the face of a man-—the features being those of the conjuror himself. This strip passes through two guide plates 20 and 21, pinned respectively to the table and base, and is then pivoted to the lever 11. This lever is pivoted at 23, and is furnished with a spiral spring. 13 is a stop screw. 14 is a screw limiting the play of the lever 11. All the parts necessary for the addition of another trick have been described. Before we show how to manipulate the levers for the exhibition of this second trick, we must remark that when the two tricks are combined in one slide as we have described, the conjuror’s head s and the link connecting it with the arm x (Fig. I.) are dispensed with, the head being now, of course, upon the opposite side of the glass. When all is ready, then the lever vn, Fig. I., is raised. The cover of the dish is thereby removed, and the dish shown to be empty. The lever is then released, and the cover is replaced. The lever 12 (Fig. VII.) is now pressed up to the rest R. The rod 16 is pulled down bringing the conjuror’s head with it, which thus mysteriously detaches itself from his shoulders and disappears from view. The lever 7 (Fig I.) is now raised and released a few times, the conjuror, whilst in a headless condition, being, by this means, made to strike the dish cover several blows with his wand. The lever marked 11 (Fig. VII.) is now pulled down to the stop 14 and held there. The head painted on the strip 19 is thus raised above the level of the vessel on the table, but as the cover is on the vessel it is not yet visible to the audience. The lever n, Fig. I., is now pressed up and the cover thus removed. The head that had detached itself from the conjuror and disappeared, is then shown reposing within the dish. After a few seconds n is released and the cover consequently replaced. 11, Fig. VII., is also released, and the head at the end of the strip 19 pulled down below the level of the vessel on the table. At the same time the lever 12 (which has been kept pressed up to the rest R during all these operations) is released and the conjuror’s head slowly takes up its proper position on his body. n, Fig. I., is now actuated again, and when the cover is removed, the dish is once more shown to be empiy. The reader will find that the trouble entailed in the construction of this slide will be amply repaid, for its effect when exhibited by means of the lantern on the screen is very considerable— absolutely no working parts being visible to the audience. The Lantern in Business. By EDGAR CLIFTON. (Q aK HE applications of the lantern as an We, -2 aid in every-day commercial routine AX 3) have been few and almost entirely (a limited to general advertising, and that usually out of doors. The t results have as arule not been encouraging ae to the promoters, and nearly all schemes a of this character have died a natural death. There is, however, an unlimited field for the employment of the lantern in replacing the pattern book and portfolio of photographs of the manufacturer, the builder, the decorator, and, in fact, almost every trade or profession. It is on record that the celebrated photographer Sarony had a lantern permanently installed in a screened recess, and that when a sitter called to inspect his proofs he was unexpectedly introduced to a life-sized and let us hope life-like presentment of himself, which in many cases he was anxious to secure in a ’ more lasting form for the benefit of posterity ; whereby the photographer prospered exceedingly, and his flocks and herds (or their modern