Fig. 3 shows cabinet with front door open revealing a picture of a mummy case painted on a black background. The more gorgeous this case can be painted, the better, even using gold leaf. The background need not necessarily be black -blue or green will do almost as well. You will note that the case is painted on two inner doors and that there is a handle on each door so that each can be easily opened. The two inner doors are set back far enough so that the handles do not interfere with the front door when it is closed.


The two inner doors are opened, revealing a mummy inside. It is suspended by a hook on rear door. Fig. 4.

The mummy is made by cutting out a wooden figure and covering it with cloth or covering a wire frame with cloth. The nearer the mummy looks like a real one, the better. The mummy need not be over 43/4 or 5 ft. tall. There is an eyelet at the top and rear to enable you to fasten it on a hook on rear door.

The rear door really contains a revolving panel and the mummy is fastened to the revolving panel. By pushing panel the mummy is easily revolved to the rear of the cabinet.

Fig. 5 shows the cabinet from the rear and the position of the panel. A line of decoration hides the fact that there is a magic panel. The panel is held in place by two catches so that it will revolve only so far and can be kept in place. It must be controlled by assistant inside cabinet.

Fig. 6 shows the cabinet with back door open, which enables spectators to look through the cabinet and see that nothing is concealed.

Fig. 7 shows the side view of cabinet. Note position of handle and the panel beneath. This panel is a trick one — it is really a door that opens inward.

Fig. 8 gives a cross section drawing of the position of the doors and hinges.

Fig. 8 gives a cross section drawing of the position of the doors and hinges.

For temporary use the cabinet could be built quite solid, but for traveling use the cabinet must be made so it can be dissected. This will necessitate the sides being held together by hinges with removable pins, or by the use of wing nuts, screws and bolts. The upper cabinet must fasten securely to the platform. There are castors on bottom of legs of platform so that platform can be easily revolved.

To simplify construction, the revolving panel in rear door could be omitted by using the picture of a mummy painted on a flat piece of wallboard. This wallboard is hung on rear door — to make it easy to get rid of, it is fastened to side of cabinet. The inside of cabinet is black and the rear of mummy is also black.

The idea of illusion is that the picture of the mummy changes to a live Princess.

For size you should allow about 6 feet for inner height of cabinet and width should be about 26 inches and depth about 22 to 24 inches.

The sizes I give you of illusions are only approximate in many cases. These may be varied in actual illusion building if they can be improved upon. I am to take into consideration the new operators who have not the experience of a Servais LeRoy in concealing an assistant in a seemingly impossible space. It is always best to give the new illusionist in the field a margin of safety.


The mummy is hanging on the rear door. The girl is inside the cabinet and the doors are closed. Fig. 9.

The cabinet is brought to the front of stage and revolved bringing the front door to the front.


"As you know, the mystery of the great Egyptian Mummy has long been the mystery of mysteries. This is a mystery nearly 7000 years old, brought from far-away Egypt, the land of the Pharaohs. This now represents the burial case of a famous Egyptian Princess."

Open the front door, Fig. 3.

As you start to talk again, girl inside quickly opens up panel door in side of cabinet, goes through the opening and stands on the platform aiding in keeping balance by holding onto handle above. She immediately closes panel door after her. Fig. 10.

The performer stalls for enough time by saying:

"The Egyptians spared neither time nor expense to protect the dead that their bodies would last down through the ages. In the outer case was an inner case and here on the mummy case one could read the history of a life. The finest artists of Egypt were brought into play. We open the inner doors and behold — "

Open the two inner doors, Fig. 4.

" — the mummy of a great princess. Thousands upon thousands of years have passed since the princess lived."

Remove the mummy and give to an assistant to hold. Open the rear door and show the cabinet empty, Figs. 10 and 11.

"So the mummy rests alone through the years."

Close rear door again and fasten.

Place the mummy back in cabinet and fasten to the panel in rear door.

Close the two inner doors.

The moment doors are closed, girl assistant pushes panel door in and goes into cabinet quickly closing it again.

Close the front door.

Girl revolves panel in rear door so that mummy comes to the rear of the cabinet. She then stands facing front of cabinet. Fig. 12. If using a picture of mummy, simply hang it at side of cabinet, Fig. 13.

"And now. — I shall soon prove to you the truth of an old legend that sometime a magician would come and by his great magic art restore the Princess back to life again. Watch now, watch closely - "

If at this moment you could have an assistant off stage clash two cymbals together or strike a gong several times, the effect would be heightened.

A few odd magic words injected here will help.

Open the outer door.

Open the inner doors, revealing girl assistant. Fig. 14.

Effect a momentary surprised look - smile -bow and say:

"And - Behold the Princess!"

Assist her from the cabinet.

Special Note: Time and time again, throughout my course I give to my Tarbell Students - new and exclusive Magic Feats and Illusions that no one else has or can secure except through the Tarbell System, Inc. Thus you KNOW, when you give your performances, that you are giving your audience new magic. I hardly believe that it is at all necessary for me to tell you what this means to you — it only again proves what a VALUABLE course the Tarbell Course is! This course not alone gives you effects of the days gone by that have stood the acid test of time - but, in addition to all this -it arms you with an array of new material that will make you stand head and shoulders above the ordinary performer of magic.

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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