Evans, Henry Ridgely

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THE SECRETS OF SECOND SIGHT.BY HENRY RIDGELY EVANS."Then a second-sighted Sand\' said,'We'll do nae good at a' Willie.' "—Child's Ballads, VII. 265.I.IWENT on one occasion to dine with Mr. Francis J. Martinka, andwhile waiting for the repast to be dished up, seated myself uponan old-fashioned sofa in his dining room.wwwmjii ii i|pwi«aawitt<p|iiiii^wiiiiii i AkihwhiwumiiwROBERT HELLER S MAGIC SOF.\."Pardon me," said my host, gaily, "while I put a bottle of wineon ice. I will be back in a little while. In the meantime, youmay amuse yourself looking over these photos of eminent conjurers.TTIR SI-:CRETS OF SKCOND SIGHT. 399And by the way, you are seated upon the very sofa which RobertHeller used in his second-sight trick. Examine it carefully and youwill see where the wires and electric battery were located. I cameinto possession of the relic after the death of Heller."So saying he went out to look after the wine.And so the piece of furniture I was seated on was the veritableup-to-date tripod of that High Priestess of Delphi. Miss HaidieHeller, who assisted Robert Heller, acting the part of clairvoyant.It called up a flood of memories to me.The magician of the Arabian Nights transported himself fromBagdad to Damascus u]wn a piece of carpet. In imagination that oldsofa carried me l)ack tliirt} \ears into the i)ast. 1 was seaterl in thegallery of the old National Theatre, Washington. D. C. at a soireeinagique of the famous Heller. I shall never forget his second-sighttrick. It was the most wonder-provoking, the most mysterious ex-periment I have ever seen. In his hands, it was perfect. RobertHeller saw Houdin give an exhibition of this feat of mental magicin London. His acute mind divined the secret, and he set aboutdevising a code for working the experiment. He added many new-effects. Nothing seemed to puzzle him and his assistant.At an entertainment given in Boston, and described by HenryHermon in his work on Hellerism, a coin was handed to Heller.He glanced at it and requested Miss Heller to name the object."A coin," she quickly answered."Here, see if you can tell the name of the country, and all aboutit?" he next asked.Without a moment's hesitation she replied : "It is a large cop-per coin—a coin of Africa, I think. Yes, it is of Tri]X)li. The in-scriptions on it are Arabic; one side reads 'Coined at Tripoli;' theother side, 'Sultan of two lands, Sultan by inheritance, and the sonof a Sultan.'""Verv well," said Heller, "that is correct. But look, what isthe date, now ?'"The date is 1-2-2-0, one thousand two hundred and twenty ofthe Hegira, or Mohammedan year, which corresponds to 1805 ofthe Christian year."Tremendous applause greeted this feat.Mr. Fred Hunt, who was for a number of years Robert Hel-ler's assistant, revealed the secret of second sight soon after Hel-ler's death. The performer has first to be initiated into a new al-phabetical arrangement, which is as follows:A is H ; B is T ; C is S ; D is G ; E is F ; F is E ; G is A ; H is400 THE OPEN COURT.I ; I is B; J is L ; K is Pray ; L is C ; M is O ; N is D ; O is V ; P isJ ; Q is W ; R is M ; S is N ; T is P ; U is Look ; V is Y ; W is R;X is See this ; Y is Q ; Z is Hurry. "Hurry up" means to repeat thelast letter. For example, the initials or name in a ring is wanted.Say it is "Anna." By the alphabetical arrangement H stands forA, D for N. The exclamation "Hurry up" always means a repeti-tion of the last letter, and again H will give the answer when putas follows:After the alphabet we have the numbers, which are arrangedas follows : I is Say or Speak ; 2 is Be, Look or Let ; 3 is Can orCan't; 4 is Do or Don't ; 5 is Will or Won't ; 6 is What ; 7 is Pleaseor Pray ; 8 is Are or Ain't; 9 is Now ; 10 is Tell ; o is Hurry orCome. "Well" is to repeat the last figure. Now for an example:The number 1,234 is needed; attention must only be paid to the firstword of a sentence, thus—Say the nvunber. Look at it. Can you seeit? Do you know?Suppose the number called for is 100:"Tell me the number. Hurry!"So much, dear reader, for the spelling of proper names andconveying numbers to the clairvoyant on the stage. In regard tocolors, metals, precious stones, countries, materials, fabrics, makersof watches, playing cards, society emblems, coins, bills, jewelry,wearing apparel, surgical instruments, etc., etc.. Heller had themarranged in sets of ten. The first question he asked gave the clue tothe set ; the second question to the number of the article in the set.Thus but two short questions were necessary to elicit the properreply from the assistant. Miscellaneous articles were divided intonineteen sets. I will give examples of two:FIRST SET.JJ^hat article is Ihis?1. Handkerchief. 6. Basket.2. Neckerchief. 7- Beet.3. Bag. 8. Comforter.4. Glove. 9- Headdress.5. Purse. 10. Fan.SECOND SET.What is this?1. Watch. 6. Necklace.2. Bracelet. 7- Ring.3. Guard. <S. Rosary.4. Chain. 9. Cross.5. Breastpin. 10. Charm.THE SECRETS OF SECOND SIGHT. 4OISupposing a spectator handed a Rosary to the conjurer. Hewould call out to his assistant. Wliat is this? (Clue to second set.)Then he would exclaim: Are you ready? The word are wouldgive the clue to number 8. And so on.The clues to the sets were worded very nearly alike, so as toROBERT HELLER.make the spectators believe that the same questions were beingconstantly asked.Evoking the aid of electricity, Robert Heller was enabled toconvey the cue words and numbers of the sets to Miss Hellerwithout speaking a word. It was this wonderful effect that so puz-zled everybody. A confederate sat among the spectators, near thecenter aisle of the theatre, and the wires of an electric battery were402 THE OPEN COURT.connected with his chair, the electric push button being under thefront part of his seat. Heller gave the cue to the set in which thearticle was, its number, etc., by some natural movement of his body orarms ; and the confederate, rapidly interpreting the secret signals,telegraphed them to the clairvoyant on the stage. The receivinginstrument was attached to the sofa upon which Miss Heller sat.The interchangeable use of the two methods of conveying informa-tion—spoken and unspoken—during an evening, completely bewil-dered the spectators. It was indeed a sphinx problem.Robert Heller, or Palmer, was born in London in 1833. At theage of fourteen he won a scholarship at the Royal Academy of Mu-sic. In the year 1852 he made his debut in New York City at theChinese Assembly Rooms. On this occasion he wore a black wigand spoke with a Gallic accent, believing that a French conjurerwould be better received in this country than an English magician.He failed to make a success, and eventually drifted to Washington,where he taught music for a number of years. All this time he wasperfecting himself in legerdemain. Finally he reappeared in NewYork and won unbounded success. He visited Europe and India,returning to the United States in 1875. He died in PhiladelphiaNovember 28, 1878. Soon after his death an absurd story wentthe rounds of the press that he had directed his executors to destroyhis automata and magical paraphernalia. Such is not the case. Mr.Francis J. Martinka, of New York, possesses a number of his tricks.Heller was a magnificent pianist and always gave a short recitalof his own compositions and those of the masters during his enter-tainment. He used to append the following effusion to his posters:"Shakespeare wrote well;Dickens wrote IW'Ucr;Anderson was—But the trreatest is Heller."II.A curious exhibition of silent second-sight was that of theSvengali trio. The eff'ect as described by the Nciv York Herald,August II, 1904, is as follows:"Two persons (lady and gentleman) are on the stage, bothwith their backs toward the audience. A third one goes into theauditorium, with his back towards the stage, to receive the wishesof the audience. If the name of any international celebrity is whis-pered to him, with lightning rapidity the thought is transmitted.THE SECRETS OF SECOND SIGHT. 403The gentleman on the stage turns round immediately and appearsin features, bearing and dress as the desired personage—with won-derfully startling resemblance."One can likewise whisper to the gentleman in the auditoriumthe name of an international opera, operetta or international song.The thought flies like lightning and the lady sings what is wanted,instantly accompanying herself on the piano."The secret of this trick is as follows : When the curtainrises, the master of ceremonies walks to the front of the stage andin a pleasing voice begins : 'Ladies and gentlemen—I have the pleas-ure of introducing to you. etc., etc. I will call your attention to thefact that the spectators must confine their whispered wishes to in-ternational celebrities, names of well-known personages, songs andoperas of international fame.' etc."This limitation of choice is the key to the performance. The\"have lists of these 'international celebrities," rulers, stitesmen. diplo-mats, great writers and musical composers ; songs of world-widereputation, popular selections from the operas, etc. And the secretof the evening is that all of these carefully selected names, titles,etc., are numbered, as in the following examples:STATESMEN AND RULERS.1. Bismarck.2. King Humbert of Italy.3. Napoleon Bonaparte.4. King Edward VII.5. Paul Kruger.120. Lincoln.POPULAR SONGS.'Home. Sweet Home.""Last Rose of Summer.""Marseillaise.""The Jewel Song in Faust."Walter's Prize Song.""Comin' Thro' the Rye."404 THE OPEN COURT.eyes with his fingers for an instant as if going into a momentarytrance—only a second or two, just enough to impress the audience—then thrusts a hand into the air, wipes the moisture from his facewith his handkerchief or leans toward a spectator, seeking his at-tention, when a voice from the stage says, 'Bismarck.'"'Right,' responds the man who whispered that illustriousname. Then there is a craning of necks and crushing of program-mes, all eyes fixed on the stage, \^'here the impersonator, standingbefore a cabinet of costume pigeonholes, with the aid of an assist-ant has donned wig and uniform in his lightning change and whirlsaround disguised as Bismarck, while the girl at the piano plays 'TheWatch on the Rhine.' It is all the work of a few seconds andmakes a great impression upon the spectator."The next man calls for an opera air, 'Bohemian Girl,' and thepiano plays 'I Dreamt That I Dwelt in Marble Halls,' etc. Anotherman suggests the magic name 'Sheridan.' It is echoed aloud fromthe stage, while the audience applauds and the girl plays 'The StarSpangled Banner.'"The few experts present pay little attention to the stage. Theireyes are fixed on the man Svengali in the aisle, noting every movehe makes. It is observed that his numerous gestures, his frequeni:use of his handkerchief, the pressure of his fingers on his eyes, asif to hypnotize his assistant on the stage, are natural movements,attracting no attention, yet necessary to hide the vital signals inthe cipher code of the show."In the programme and show bills it is emphasized that the ladyand gentleman on the stage have their backs to the audience, whileSvengali, down in the aisle, has his back to the stage, making collu-sion apparently impossible. This makes a profound impression onthe public."a confederate behind a screen."But not a word is said of that curious screen panel, bearinga double headed eagle—the Austrian coat of arms—surmounting alarge cabinet of costumes occupying so much space on the stage.The programme does not explain that this screen panel is transpar-ent from behind and that an accomplice with a strong magnifyinglens reads every move made by Svengali and repeats his signals tothe pretty girl at the piano and the impersonator at the cabinet."the systems explained."Here is an illustration of how the figure system can be worked.As explained above, the famous personages, popular songs andTHE SECRETS OF SECOND SIGHT. 405operas are on numbered lists. Svengali in the aisle, with his codeof signals, has all these numbers committed to memory."When a spectator whispers 'Dickens' Svengali knows it is No.4, and he signals accordingly."But how?"By touching his head, chin, or breast, or that particular partof his body designated in the signal code of the Svengali Company.The diagram given herewith illustrates the svstem of communica-\-T/tion by numbers, nine figures and a cipher (o), by which all thewealth of the world may be measured, and any number of wordsmay be communicated without a word of speech. One has but tomap out a square on his face, breast or body, and number it withthese nine figures, with an extra space for the cipher, to be readyfor the Svengali business. That is, when he has memorized thenames and the numbers representing them."Say the human head is used for this purpose. Imagine thetop of the head, right hand side, as No. i. the right ear as No. 2.the jaw as No. 3, and the neck as the cipher ; the forehead No. 4, thenose No. 5, the chin No. 6, the top of the head on the left side asNo. 7, the left ear No. 8, and the left side of the jaw No. 9."Thus you have the code system by which operators can com-municate volumes by using a codified list of numbered words or sen-tences."If you label the Lord's Prayer No. 4, and the Declaration ofIndependence No. 5, you may instantly telegraph the mighty litera-4o6 THE OPEN COURT.ture through wireless space—enough hterature to save all Europefrom anarchy—by two natural movements of the hand."You can label your eyes, your movements or even yourglances, making them take the places of the nine omnipotent num-bers. Again: Glance upward to the right for No. i, straight upwardfor No. 2 and upward to the left for No. 3. Repeating, glancinghorizontally for Nos. 4, 5 and 6. Repeating the same again, byglancing downward for Nos. 7, 8 and 9, and stroking your chin forthe cipher (o).SECOND SIGHT TRICK SIGNALLING."With your back to the audience, you can telegraph in a sim-ilar way, using your arm and elbow to make the necessary signals.Let the right arm, hanging down, represent No. i ; the elbow, pro-jecting from the side, No. 2 ; elbow raised. No. 3. Repeat with theleft arm for Nos. 4, 5 and 6 ; with either hand placed naturally be-hind you, on the small of the back, above the belt and over yourshoulder for Nos. 7, 8 and 9, and on the back of your head or neckfor the cipher (o).III.It is an interesting fact to note that the Chevalier Pinetti wasthe first exhibitor of the second-sight trick. Houdin revived (orre-invented) it.On the I2th of December, 1846, he announced in his bill: "Inthis programme, M. Robert-Houdin's son, who is gifted with a mar-velous second-sight, after his eyes have been covered with a thickbandage, will designate every object presented to him by the audi-THE SKCRIiTS OF SI'X'OXI) SICIIT. 407ence." In his memoirs he thus describes how he came to inventthe trick :"My two children were playino,' one day in the drawing-roomat a game they had invented for their own amusement. Theyounger had bandaged his elder brother's eyes, and made him guessat the objects he touched, and when the latter happened to guessright, they changed places. This simple game suggested to me themost complicated idea that ever crossed my mind."Pursued by the notion, I ran and shut myself up in my work-room, and was fortunately in that happy state when the mind fol-lows easily the combinations traced by fancy. I rested my head in myhands, and, in my excitement, laid down the first principles of sec-ond sight.Houdin never revealed his method of working the trick.Robert Heller's successors in mental magic are Max Berol andwife, and the Zancigs. Among other feats Rerol is able to memorizeover two hundred words called out by the spectators and writtendown on a slip of paper by some gentleman. Berol will then writethese words backwards and forwards without hesitation and nameany one of them by its number in the list. The Zancigs are marvelsin the art of second-sight. They were born in Denmark, but arenaturalized citizens of the United States. Clever advertisers, theylay claim to occult powers, as the following notice in the WashingtonPost. April 30, 1905, will testify:"Although Prof. Zancig and Afme. Zancig, who will be atChase's this week, are naturalized Americans, thev come from Den-mark. They first developed their transmission of thought from onemind to another—or what is known as telepathv—while journevingthrough the Orient. They found that quite a number of the Ori-entals had found it possible to control 'thought waves' and transmitthem to the minds of others, just as jMarconi, with his wireless tel-egraphy, controls electric waves and transmits them to anobjective point. Prof. Zancig discovered that Mme. Zancig wasinceptive, and he could readily transmit to her mind the thoughtsof his own. The tests were continued, and became so positive andconclusive that it was decided to give public exhibitions."While in India. Prof, and Mme. Zancig saw some astonishingtelepathic exhibitions, which encouraged them to still greater efiforts.They gave exhibitions before the Maharajah, near Delhi ; before theChinese minister at Hongkong, and before the Japanese officials ofhighest grades, who took great interest in the mental tests. Oneremarkable incident occurred at Potchefstroom, South Africa, where408 THE OPEN COURT.the natives are extremely superstitious. The exhibition had beenextensively advertised, and the house was full. The entertainmentcreated a sensation. As long as Prof. Zancig remained on the stageeverything was all right, but when he went among the audience andread dates of coins, inscriptions on letters, and performed otherremarkable feats, the audience suddenly became panic-stricken, andthere was a mad rush for windows, doors, or any other means of exit.In five minutes the hall was empty, and nothing could induce thepeople to return. After concluding his tour abroad. Prof. Zancigand his wife returned to xAmerica, and began an American tour whichhas been uninterruptedly successful and will extend to every sectionof the United States."

The Secrets of Second Sight.

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The Secrets of Second Sight.

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