One of Herrmann’s best illusions, though not invented by him, was his vanishing lady, known as “Vanity Fair” and “After {234} the Ball.” A large pier glass, which was elevated some two feet above the stage, was brought forward by the magician, and the glass shown to be solid, back and front. Mme. Herrmann, dressed in a handsome ball costume, was now introduced to the audience. By the aid of a small ladder, she climbed up and stood upon a glass shelf immediately in front of the mirror. A narrow screen was then placed about her, so as not to hide from the spectators the sides of the mirror. “Ladies and gentlemen,” said Herrmann, “Madame Vanity Fair, who is now gazing at her pretty features in the mirror, has only to pronounce a certain mystic formula known to the Cabalists, and she will be instantly transported to the grand ball at the Opera House. This is a decided improvement on horses and carriages.” He fired a pistol, and the screen was pulled away. The lady was found to have completely vanished. But how? Not into the mirror, into that land of adumbration, celebrated in _Alice’s Adventures in a Looking Glass_. No, the glass was apparently of solid crystal, and too thin to conceal anyone. This is the _modus operandi_ of the trick: The mirror in reality was composed of two sections. The glass shelf, upon which the lady stood, concealed the top of the lower section. The upper section was placed to the rear of the lower mirror, so that its lower end slid down behind it. This upper glass worked like a window sash. When it was pushed up, its upper end was hidden in the wide panel of the frame. The lower part of this large glass had a piece cut out. Through this opening the lady was drawn by an assistant across an improvised bridge—a plank shoved through the back scene, as shown in the illustration. When she had escaped, the counterpoised mirror was again pushed down into its proper place, and the plank withdrawn. The fact that some of the mirror was in view during the exhibition allayed suspicion on the part of the audience. The effect was further enhanced by turning the back of the mirror to the spectators to show them that the lady was not there. It was one of the most novel and effective illusions of Herrmann’s repertoire, particularly because of the fact that he was assisted by his pretty and graceful wife, who looked charming in her elegant ball dress, and acted her part to perfection. {235} [Illustration: HERRMANN I, II, III.] {236} The following is one of Alexander Herrmann’s programmes: The Necromantic Comedian HERRMANN, the Great Aided by MME. HERRMANN, in his incomparable entertainment of MAGIC, MIRTH AND MYSTERY PART I. THIRTY MINUTES WITH HERRMANN, All Nature’s laws set aside. Laughter born of bewilderment and wonder. Concluding with Herrmann’s latest and most startling illusion, entitled: AFTER THE BALL. By MME. HERRMANN. INTERMISSION. PART II.