The Palace of Mirages

New Zealand Graphic, Volume XLIII, Issue 7, 18 August 1909, Page 49

The Palace of Mirages

THE apparent multiplication of objects placed between two parallel mirrors is a ■well - known optical phenomenon. The spectator's image Is reflected from one polished surface to the other and back again. Inasmuch as at each reflection another image is added to the preceding image, and the perspective is increased, the spectator sees himself infinitely multiplied, at least theoretically. During the international exposition of 1900 at Paris, Eugene Henard built a Palace of Illusions, in which structure reflecting minors were made to produce endless duplicates of architectural effects, electrical illumination being employed to increase the mystifying illusion. Somewhat similar, but even more bewildering is the Musee Grevin (which has recently been erected in Paris). The “Palace of Mirages” is a development of the idea, which was carried out in the “Palaeo of Illusions.” Whereas the latter could boast of only a single scheme of decora-

tion, there are no less than three such schemes in the “ Palace of Mirages”; that is, independently of lighting effects, the spectator is presented with three absolutely distinct effects. In order to obtain sharp contrasts in effects, M. Henard has interpolated a forest scene between two architectural illusions. The three schemes of decoration selected are as follows: A Hindu temple, a forest, an Arabian palaee. Although these three schemes of decoration themselves render it possible to obtain ■wonderful effects, the inventor saw fit to heighten their possibilities by wonderful electric illuminations. The forty-five different luminous effects are obtained by means of a special switchboard, which is nothing more nor less than a keyboard, having forty-five keys. Whenever a key is depressed a new luminous effect is obtained- In other words, the electrician plays on a kind of switch-board piano, and changes his illuminations at will. Let us now enter the “ Palace of Mirages,” and obtain some idea, if we can, of the wonderful sights there to be seen. We pass into a hall of apparently im-‘ mouse size, surrounded by mysterious

galleries, which lose themselves in infinite depths. The roofs of these galleries are supported by massive columns in the Hindu style of architecture. The columns are surmounted by elephants’ heads richly carved and studded with gems. Around the heads of the elephants great serpents are coiled. At one of the angles of the hall looms the Hindu Trinity: Vishnu, the conserving god; Brahma, the creating god; and Siva, the destroying god. The silence of the hall is broken by a few musical chords. Suddenly the eyes of the elephants open. The stones which serve as their eyes and decorations glow in varied coloured lights, and the great serpents shimmer like emeralds. Vari-eoloured lights flash from the ceiling, and pass through all the shades of the spectrum. An immense lotus flower bursts into light in the centre of the dome. The music becomes wilder, and the colours merge into purple and delicate red. The serpents assume a scarlet tinge. The scene is like a brief glimpse of Inf.xuo.

A bell sounds. The entire hall is plunged into darkness. In the gloom columns can vaguely be seen as they shift. Forms appear and disappear. Suddenly the. light flares out again, and the spectator finds himself transported into a forest- As far as the eye can see are avenues of oaks, birches, elms, and hawthorns in full bloom. A canopy of leaves spread out above the trunks of the trees. Bushes grotv around the trees. A soft light filters through the branches. The leaves are touched with the gold of autumn. It is a veritable enchanted forest. Soft music accompanies this delightful vision. Presently a blue butterfly drops from above, beating its wings. He is followed by a superb peacock, and then a flying cloud of luminous exotic moths. A bluish light suffuses the scene. Stars begin to appear. One, two, then, ten finally a million apparently drop from the branches only to be extinguished as they reach ths ground. It is like a shower of light, a Tain of meteors- When the last star has fallen, and has been extinguished, night descends, and complete obscurity reigns once more.

Another peal of the bell is heard- The light gradually increases. In the faint illumination the spectator sees long avenues flanked by columns of luminous onyx. Ha wonders if he is at the court of a Khalif or in the Palace of Aladdin. The dome shines like a sun. The music of a triumphant march rings through the halls. Everything grows brighter and brighter, increasing in brilliancy. Every

column scintillates, every arch, everjj capital, every curve, seems outlined, its sapphires, diamonds and rubies. Colunam seem crowned by diadems of pre* cions stones. Mad arabesques seertg reproduced infinitely. Everywhere stars shine as though in endless firmament- Finally the fenbri dome blazes forth a brilliant glare af light.