Eugen Sandow’s Show in 1897
MY PERFORMANCE AT THE PRESENT TIME
It may be useful, as a record, to indicate briefly the nature of the salient features of my recent performance at the London Pavilion, and since in the provinces.
To begin with there is a tableau, arranged for the purpose of showing muscular repose, with all the muscles relaxed; muscular tension, with all the muscles as firm as steel; the abdominal muscles; the biceps, muscles of the inside of the upper arm; the triceps, muscles of the back of the upper arm; the deltoid, muscles of the shoulders; the trapezius muscle, which raises the shoulders; the muscles of the back; the action and uses of different muscles; and the chest expansion, from 48ins. normal to 62ins.
The tableau curtains are drawn, and the scene changes to the arena. Resting with my neck on one trestle and my heels on another, I hold a 56lb. weight in each hand at arms’ length and support four men simultaneously on my body. For the performance of this feat it may be mentioned that exceptionally strong neck and abdominal muscles are necessary.
Taking a pack of ordinary playing cards I tear them first in half, then in four parts, and finally into eighths. Next I tear two packs, and finally three packs, each pack containing the ordinary number of fifty-two cards. The feat of tearing in half one pack of cards was originally shown to me by the late Emperor of Russia. My reputation as an amateur had reached his Imperial Majesty, who paid me the honour of commanding my presence. During that interview his Majesty, as a test of his own manual strength, took a pack of cards and tore it, as I have said, in halves. He had never tried more than the one pack, but as is apparent I have succeeded with three, the torn cards being distributed each evening amongst the audience.
Another feat is performed lying prone on the ground. From this position I lift with one hand a Roman chariot, rising upright with it and afterwards lying down again. This feat brings the whole of the muscles into play.
I also introduce my Roman horse exercise. Sitting on a horse and so bending my back as to throw my head over the animal’s tail I raise at arms’ length heavy weights from the ground. Next I pick up two men, one after the other, raising them over my head and seating them in the saddle.
Another interesting feat consists of lifting a man from a prone position on the ground to the horse’s back, using one hand only.
As a concluding feat, I support on my chest a bridge weighing 800 lbs. Over this bridge two persons drive a horse and chariot, making a total weight of about 3,200 lbs.
Sometimes, however, I conclude my performance by lifting with one hand at arm’s length a platform upon which rests an ordinary piano, with a man seated playing upon it. Having lifted it, I march off the stage with the lot, the musician playing a lively tune as we go.
I have not attempted to enumerate all my feats here; of course my performance has been varied from time to time. But a number of other feats have been referred to in the body of the book.
It may be interesting, perhaps, to add that I have recently composed a musical march, entitled “Marche des Athlètes,” as well as a waltz, “Sandowia” and other pieces, which musicians have been kind enough to commend for their brightness and originality.
DISCOVER
