Magic, Stage Illusions and Scientific Diversions, Including Trick Photography

CHAPTER V.

446 words | Chapter 96

THE NAUTICAL ARENA. The nautical arena, or aquatic theater, was a few years ago one of the sensations of London and Paris. Spectacular entertainments in which water played a prominent part go back to the time of the Romans, when portions of the arena of the amphitheater, or sometimes the entire arena, were flooded, and mimic sea fights took place in galleys carrying gladiators who fought to the death. The Paris aquatic theater is a very handsome building. It is situated in the Rue St. Honoré, and is called the “_Arène Nautique_.” It is intended to fill two distinct _rôles_; first, it is a circus for equestrian, gymnastic, and aquatic performances, while during the summer it becomes a huge swimming bath. The building was originally used for a cyclorama, but was entirely remodeled when put to its new use. The circular hall is one hundred and ten feet in diameter. In the lower part of this hall is a circular tank seventy-nine feet in diameter, with a gallery running around it. Over this gallery and the water are constructed tiers of seats, as shown in our engraving. In the center is placed a powerful hydraulic cylinder. To the top of the piston rod is affixed a large iron plate forty-four feet in diameter. This plate can be sunk below the level of the water, the tank then being available for aquatic performances. It is the work of a moment to raise the plate. A firm floor is then provided for horses and men. This arrangement permits of the water being maintained at such a height as to provide a shallow tank for those who cannot swim. The rise of the piston is caused by a compound pump, and the plate is guided in its movement by guide bars fixed vertically around the outer rail. A catch is provided to secure the plate in position. When it has attained a little more than its proper height, it is caused to rotate slightly on its vertical axis by an endless screw. By this means the ends of the radial girders are brought over twenty shoes fixed to the twenty columns; by letting a little of the water escape, the radial girders settle themselves firmly down upon the shoes. The weight of the whole mass is about twenty-five tons. When the arena is to be used for performances in the ring the plate is covered with a mat of esparto weighing about one thousand pounds. It is brought in on two iron trucks. Our engraving represents the removal of the mat before sinking the stage. [Illustration: THE AQUATIC THEATER--PREPARING TO SINK THE STAGE.] [Illustration: THE NEW AQUATIC THEATER, PARIS.]

Chapters

1. Chapter 1 2. INTRODUCTION. 3. BOOK I. 4. CHAPTER I. 5. CHAPTER II. 6. CHAPTER III. 7. CHAPTER IV. 8. CHAPTER V. 9. CHAPTER VI. 10. CHAPTER VII. 11. CHAPTER VIII. 12. CHAPTER IX. 13. BOOK II. 14. CHAPTER I. 15. CHAPTER II. 16. CHAPTER III. 17. CHAPTER IV. 18. BOOK III. 19. CHAPTER I. 20. CHAPTER II. 21. CHAPTER III. 22. CHAPTER IV. 23. CHAPTER V. 24. CHAPTER VI. 25. CHAPTER VII. 26. CHAPTER VIII. 27. BOOK IV. 28. CHAPTER I. 29. CHAPTER II. 30. CHAPTER III. 31. BOOK V. 32. CHAPTER I. 33. CHAPTER II. 34. CHAPTER III. 35. INTRODUCTION. 36. 1. FEATS OF DEXTERITY. The hands and tongue being the only means used 37. 2. EXPERIMENTS IN NATURAL MAGIC. Expedients derived from the sciences, 38. 3. MENTAL CONJURING. A control acquired over the will of the 39. 4. PRETENDED MESMERISM. Imitation of mesmeric phenomena, second-sight, 40. 5. MEDIUMSHIP. Spiritualism or pretended evocation of spirits, 41. 1871. His son-in-law, M. Hamilton, continued to carry on the Temple of 42. BOOK I. 43. CHAPTER I. 44. 1. It will be noticed by the observant spectator that the back lid is 45. 3. The opening in the end of the post is now carefully closed and all 46. CHAPTER II. 47. CHAPTER III. 48. CHAPTER IV. 49. 1. Your assistant’s two hands being thus occupied, you will have no sort 50. 1. There is no need of explanation in regard to the apple that comes out 51. CHAPTER V. 52. CHAPTER VI. 53. introduction of the end of the tube into the pharynx is extremely 54. introduction of flat-bladed sabers, among other things, and of the 55. CHAPTER VII. 56. CHAPTER VIII. 57. CHAPTER IX. 58. 1849. Robert Heller saw Houdin give an exhibition of “second sight” in 59. 9. Steel. 60. 10. Topaz. 61. 9. Sketch. 62. 10. Mexico. 63. 10. China. 64. 8. Lace. 65. 7. Swiss. 66. 10. Fan. 67. 10. Charm. 68. 10. Mucilage. 69. 10. Cigar-lighter. 70. 10. Corkscrew. 71. 10. Looking-glass. 72. 10. Envelope. 73. 10. Postage stamp. 74. 10. Stud. 75. 10. Check. 76. 10. Wax. 77. 10. Key. 78. 10. Tuning fork. 79. 10. Doll. 80. 10. Cup. 81. 10. Cork. 82. 10. Strap. 83. 4. Spades. 84. 5. Musical. 85. 1820. The question is: 86. BOOK II. 87. CHAPTER I. 88. CHAPTER II. 89. CHAPTER III. 90. CHAPTER IV. 91. BOOK III. 92. CHAPTER I. 93. CHAPTER II. 94. CHAPTER III. 95. CHAPTER IV. 96. CHAPTER V. 97. CHAPTER VI. 98. CHAPTER VII. 99. CHAPTER VIII. 100. BOOK IV. 101. CHAPTER I. 102. 5. The box L having been put back in place, as well as the curtain R, 103. CHAPTER II. 104. CHAPTER III. 105. BOOK V. 106. CHAPTER I. 107. 1896. The Scovill & Adams Co., publishers. 108. CHAPTER II. 109. CHAPTER III. 110. 2. Arrangement for stopping the strip of film.]

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