Eisenheim the Illusionist
Steven Millhauser
Eisenheim the Illusionist
In the last years of the nineteenth century, when the Empire of the Hapsburgs was nearing the end of its long dissolution, the art of magic flourished as never before. In obscure villages of Moravia and Galicia, from the Istrian Peninsula to the mists of Bukovina, bearded and black-caped magicians in market squares astonished townspeople by drawing streams of dazzling silk handkerchiefs from empty paper cones, removing billiard balls from children's ears, and throwing into the air decks of cards that assumed the shapes of fountains, snakes, and angels before returning to the hand. In cities and larger towns, from Zagreb to Lvov, from Budapest to Vienna, on the stages of opera houses, town halls, and magic theaters, traveling conjurers equipped with the latest apparatus enchanted sophisticated audiences with elaborate stage illusions. It was the age of levitations and decapitations, of ghostly apparitions and sudden vanishings, as if the tottering Empire were revealing through the medium of its magicians its secret desire for annihilation. Among the remarkable conjurers of that time, none achieved the heights of illusion attained by Eisenheim, whose enigmatic final performance was viewed by some as a triumph of the magician's art, by others as a fateful sign.
Eisenheim, né Eduard Abramowitz, was born in Bratislava in 1859 or 1860. Little is known of his early years, or indeed of his entire life outside the realm of illusion. For the scant facts we are obliged to rely on the dubious memoirs of magicians, on comments in contemporary newspaper stories and trade periodicals, on promotional material and brochures for magic acts; here and there the diary entry of a countess or ambassador records attendance at a performance in Paris, Cracow, Vienna. Eisenheim's father was a highly respected cabinetmaker, whose ornamental gilt cupboards and skillfully carved lowboys with lion-paw feet and brass handles shaped like snarling lions graced the halls of the gentry of Bratislava. The boy was the eldest of four children; like many Brarislavan Jews, the family spoke German and called their city Pressburg, although they understood as much Slovak and Magyar as was necessary for the proper conduct of business. Eduard went to work early in his father's shop. For the rest of his life he would retain a fondness for smooth pieces of wood joined seamlessly by mortise and tenon. By the age of seventeen he was himself a skilled cabinetmaker, a fact noted more than once by fellow magicians who admired Eisenheim's skill in constructing trick cabinets of breathtaking ingenuity. The young craftsman was already a passionate amateur magician, who is said to have entertained family and friends with card sleights and a disappearing-ring trick that required a small beechwood box of his own construction. He would place a borrowed ring inside, fasten the box tightly with twine, and quietly remove the ring as he handed the box to a spectator. The beechwood box, with its secret panel, was able to withstand the most minute examination.
A chance encounter with a traveling magician is said to have been the cause of Eisenheim's lifelong passion for magic. The story goes that one day, returning from school, the boy saw a man in black sitting under a plane tree. The man called him over and lazily, indifferently, removed from the boy's ear first one coin and then another, and then a third, coin after coin, a whole handful of coins, which suddenly turned into a bunch of red roses. From the roses the man in black drew out a white billiard ball, which turned into a wooden flute that suddenly vanished. One version of the story adds that the man himself then vanished, along with the plane tree. Stories, like conjuring tricks, are invented because history is inadequate to our dreams, but in this case it is reasonable to suppose that the future master had been profoundly affected by some early experience of conjuring. Eduard had once seen a magic shop, without much interest; he now returned with passion. On dark winter mornings on the way to school he would remove his gloves to practice manipulating balls and coins with chilled fingers in the pockets of his coat. He enchanted his three sisters with intricate shadowgraphs representing Rumpelstiltskin and Rapunzel, American buffaloes and Indians, the golem of Prague. Later a local conjurer called Ignazc Molnar taught him juggling for the sake of coordinating movements of the eye and hand. Once, on a dare, the thirteen-year-old boy carried an egg on a soda straw all the way to Bratislava Castle and back. Much later, when all this was far behind him, the Master would be sitting gloomily in the corner of a Viennese apartment where a party was being held in his honor, and reaching up wearily he would startle his hostess by producing from the air five billiard balls that he proceeded to juggle flawlessly.
But who can unravel the mystery of the passion that infects an entire life, bending it away from its former course in one irrevocable swerve? Abramowitz seems to have accepted his fate slowly. It was as if he kept trying to evade the disturbing knowledge of his difference. At the age of twenty-four he was still an expert cabinetmaker who did occasional parlor tricks.
As if suddenly, Eisenheim appeared at a theater in Vienna and began his exhilarating and fatal career. The brilliant newcomer was twenty-eight years old. In fact, contemporary records show that the cabinetmaker from Bratislava had appeared in private performances for at least a year before moving to the Austrian capital. Although the years preceding the first private performances remain mysterious, it is clear that Abramowitz gradually shifted his attention more and more fully to magic, by way of the trick chests and cabinets that he had begun to supply to local magicians. Eisenheim's nature was like that: he proceeded slowly and cautiously, step by step, and then, as if he had earned the right to be daring, he would take a sudden leap.
The first public performances were noted less for their daring than for their subtle mastery of the stage illusions of the day, although even then there were artful twists and variations. One of Eisenheim's early successes was The Mysterious Orange Tree, a feat made famous by Robert-Houdin. A borrowed handkerchief was placed in a small box and handed to a member of the audience. An assistant strode onto the stage, bearing in his arms a small green orange tree in a box. He placed the box on the magician's table and stepped away. At a word from Eisenheim, accompanied by a pass of his wand, blossoms began to appear on the tree. A moment later, oranges began to emerge; Eisenheim plucked several and handed them to members of the audience. Suddenly two butterflies rose from the leaves, carrying a handkerchief. The spectator, opening his box, discovered that his handkerchief had disappeared; somehow the butterflies had found it in the tree. The illusion depended on two separate deceptions: the mechanical tree itself, which produced real flowers, real fruit, and mechanical butterflies by means of concealed mechanisms; and the removal of the handkerchief from the trick box as it was handed to the spectator. Eisenheim quickly developed a variation that proved popular: the tree grew larger each time he covered it with a red silk cloth, the branches produced oranges, apples, pears, and plums, at the end a whole flock of colorful, real butterflies rose up and fluttered over the audience, where children screamed with delight as they reached up to snatch the delicate silken shapes, and at last, under a black velvet cloth that was suddenly lifted, the tree was transformed into a bird-cage containing the missing handkerchief.
At this period, Eisenheim wore the traditional silk hat, frock coat, and cape and performed with an ebony wand tipped with ivory. The one distinctive note was his pair of black gloves. He began each performance by stepping swiftly through the closed curtains onto the stage apron, removing the gloves, and tossing them into the air, where they turned into a pair of sleek ravens.
Early critics were quick to note the young magician's interest in uncanny effects, as in his popular Phantom Portrait. On a darkened stage, a large blank canvas was illuminated by limelight. As Eisenheim made passes with his right hand, the white canvas gradually and mysteriously gav
e birth to a brighter and brighter painting. Now, it is well known among magicians and mediums that a canvas of unbleached muslin may be painted with chemical solutions that appear invisible when dry; if sulphate of iron is used for blue, nitrate of bismuth for yellow, and copper sulphate for brown, the picture will appear if sprayed with a weak solution of prussiate of potash. An atomizer, concealed in the conjurer's sleeve, gradually brings out the invisible portrait. Eisenheim increased the mysterious effect by producing full-length portraits that began to exhibit lifelike movements of the eyes and lips. The fiendish portrait of an archduke, or a devil, or Eisenheim himself would then read the contents of sealed envelopes, before vanishing at a pass of the magician's wand.
However skillful, a conjurer cannot earn and sustain a major reputation without producing original feats of his own devising. It was clear that the restless young magician would not be content with producing clever variations of familiar tricks, and by 1890 his performances regularly concluded with an illusion of striking originality. A large mirror in a carved frame stood on the stage, facing the audience. A spectator was invited onto the stage, where he was asked to walk around the mirror and examine it to his satisfaction. Eisenheim then asked the spectator to don a hooded red robe and positioned him some ten feet from the mirror, where the vivid red reflection was clearly visible to the audience; the theater was darkened, except for a brightening light that came from within the mirror itself. As the spectator waved his robed arms about, and bowed to his bowing reflection, and leaned from side to side, his reflection began to show signs of disobedience — it crossed its arms over its chest instead of waving them about, it refused to bow. Suddenly the reflection grimaced, removed a knife, and stabbed itself in the chest. The reflection collapsed onto the reflected floor. Now a ghostlike white form rose from the dead reflection and hovered in the mirror; all at once the ghost emerged from the glass, floated toward the startled and sometimes terrified spectator, and at the bidding of Eisenheim rose into the dark and vanished. This masterful illusion mystified even professional magicians, who agreed only that the mirror was a trick cabinet with black-lined doors at the rear and a hidden assistant. The lights were probably concealed in the frame between the glass and the lightly silvered back; as the lights grew brighter the mirror became transparent and a red-robed assistant showed himself in the glass. The ghost was more difficult to explain, despite a long tradition of stage ghosts; it was said that concealed magic lanterns produced the phantom, but no other magician was able to imitate the effect. Even in these early years, before Eisenheim achieved disturbing effects unheard of in the history of stage magic, there was a touch of the uncanny about his illusions; and some said even then that Eisenheim was not a showman at all, but a wizard who had sold his soul to the devil in return for unholy powers.
Eisenheim was a man of medium height, with broad shoulders and large, long-fingered hands. His most striking feature was his powerful head: the black intense eyes in the austerely pale face, the broad black beard, the thrusting forehead with its receding hairline, all lent an appearance of unusual mental force. The newspaper accounts mention a minor trait that must have been highly effective: when he leaned his head forward, in intense concentration, there appeared over his right eyebrow a large vein shaped like an inverted Y.
As the last decade of the old century wore on, Eisenheim gradually came to be acknowledged as the foremost magician of his day. These were the years of the great European tours, which brought him to Egyptian Hall in London and the Théâtre Robert-Houdin in Paris, to royal courts and ducal palaces, to halls in Berlin and Milan, Zurich and Salamanca. Although his repertoire continued to include perfected variations of popular illusions like The Vanishing Lady, The Blue Room, The Flying Watch, The Spirit Cabinet (or Specters of the Inner Sanctum), The Enchanted House, The Magic Kettle, and The Arabian Sack Mystery, he appeared to grow increasingly impatient with known effects and began rapidly replacing them with striking inventions of his own. Among the most notable illusions of those years were The Tower of Babel, in which a small black cone mysteriously grew until it filled the entire stage; The Satanic Crystal Ball, in which a ghostly form summoned from hell smashed through the glass globe and rushed out onto the stage with unearthly cries; and The Book of Demons, in which black smoke rose from an ancient book, which suddenly burst into flames that released hideous dwarfs in hairy jerkins who ran howling across the stage. In 1898 he opened his own theater in Vienna, called simply Eisenheimhaus, or The House of Eisenheim, as if that were his real home and all other dwellings illusory. It was here that he presented The Pied Piper of Hamelin. Holding his wand like a flute, Eisenheim led children from the audience into a misty hill with a cavelike opening and then, with a pass of his wand, caused the entire hill to vanish into thin air. Moments later a black chest materialized, from which the children emerged and looked around in bewilderment before running back to their parents. The children told their parents they had been in a wondrous mountain, with golden tables and chairs and white angels flying in the air; they had no idea how they had gotten into the box, or what had happened to them. A few complaints were made; and when, in another performance, a frightened child told his mother that he had been in hell and seen the devil, who was green and breathed fire, the chief of the Viennese police, one Walther Uhl, paid Eisenheim a visit. The Pied Piper of Hamelin never appeared again, but two results had emerged: a certain disturbing quality in Eisenheim's art was now officially acknowledged, and it was rumored that the stern master was being closely watched by Franz Josef's secret police. This last was unlikely, for the Emperor, unlike his notorious grandfather, took little interest in police espionage; but the rumor surrounded Eisenheim like a mist, blurring his sharp outline, darkening his features, and enhancing his formidable reputation.
Eisenheim was not without rivals, whose challenges he invariably met with a decisiveness, some would say ferocity, that left no doubt of his self-esteem. Two incidents of the last years of the century left a deep impression among contemporaries. In Vienna in 1898 a magician called Benedetti had appeared, Benedetti, whose real name was Paul Henri Cortot, of Lyon, was a master illusionist of extraordinary smoothness and skill; his mistake was to challenge Eisenheim by presenting imitations of original Eisenheim illusions, with clever variations, much as Eisenheim had once alluded to his predecessors in order to outdo them. Eisenheim learned of his rival's presumption and let it be known through the speaking portrait of a devil that ruin awaits the proud. The very next night, on Benedetti's stage, a speaking portrait of Eisenheim intoned in comic accents that ruin awaits the proud. Eisenheim, a proud and brooding man, did not allude to the insult during his Sunday night performance. On Monday night, Benedetti's act went awry: the wand leaped from his fingers and rolled across the stage; two fishbowls with watertight lids came crashing to the floor from beneath Benedetti's cloak; the speaking portrait remained mute; the levitating lady was seen to be resting on black wires. The excitable Benedetti, vowing revenge, accused Eisenheim of criminal tampering; two nights later, before a packed house, Benedetti stepped into a black cabinet, drew a curtain, and was never seen again. The investigation by Herr Uhl failed to produce a trace of foul play. Some said the unfortunate Benedetti had simply chosen the most convenient way of escaping to another city, under a new name, far from the scene of his notorious debacle; others were convinced that Eisenheim had somehow spirited him off, perhaps to hell. Viennese society was enchanted by the scandal, which made the round of the cafes; and Herr Uhl was seen more than once in a stall of the theater, nodding his head appreciatively at some particularly striking effect.
If Benedetti proved too easy a rival, a far more formidable challenge was posed by the mysterious Passauer. Ernst Passauer was said to be Bavarian; his first Viennese performance was watched closely by the Austrians, who were forced to admit that the German was a master of striking originality. Passauer took the city by storm; and for the first time there was talk that Eisenheim had met his match, perhaps eve
n — was it possible? — his master. Unlike the impetuous and foolhardy Benedetti, Passauer made no allusion to the Viennese wizard; some saw in this less a sign of professional decorum than an assertion of arrogant indifference, as if the German refused to acknowledge the possibility of a rival. But the pattern of their performances, that autumn, was the very rhythm of rivalry: Eisenheim played on Sunday, Wednesday, and Friday nights, and Passauer on Tuesday, Thursday, and Saturday nights. It was noted that as his rival presented illusions of bold originality, Eisenheim's own illusions became more daring and dangerous; it was as if the two of them had outsoared the confines of the magician's art and existed in some new realm of dextrous wonder, of sinister beauty. In this high but by no means innocent realm, the two masters vied for supremacy before audiences that were increasingly the same. Some said that Eisenheim appeared to be struggling or straining against the relentless pressure of his brilliant rival; others argued that Eisenheim had never displayed such mastery; and as the heavy century lumbered to its close, all awaited the decisive event that would release them from the tension of an unresolved battle.
And it came: One night in mid-December, after a particularly daring illusion, in which Passauer caused first his right arm to vanish, then his left arm, then his feet, until nothing was left of him but his disembodied head floating before a black velvet curtain, the head permitted itself to wonder whether Herr “Eisenzeit,” or Iron Age, had ever seen a trick of that kind. The mocking allusion caused the audience to gasp. The limelight went out; when it came on, the stage contained nothing but a heap of black cloth, which began to flutter and billow until it gradually assumed the shape of Passauer, who bowed coolly to tumultuous applause; but the ring of a quiet challenge was not lost in the general uproar. The following night Eisenheim played to a packed, expectant house. He ignored the challenge while performing a series of new illusions that in no way resembled Passauer's act. As he took his final bow, he remarked casually that Passauer's hour had passed. The fate of the unfortunate Benedetti had not been forgotten, and it was said that if the demand for Passauer's next performance had been met, the entire city of Vienna would have become a magic theater.
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