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diff --git a/36659.txt b/36659.txt new file mode 100644 index 0000000..fbe6bdd --- /dev/null +++ b/36659.txt @@ -0,0 +1,5444 @@ +The Project Gutenberg EBook of Magic, by Ellis Stanyon + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Magic + In which are given clear and concise explanations of all + the well-known illusions as well as many new ones. + +Author: Ellis Stanyon + +Release Date: July 16, 2011 [EBook #36659] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK MAGIC *** + + + + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + + + + + +Magic + +In which are given clear and concise explanations of all +the well-known illusions, as well as many new ones + + +_by_ ELLIS STANYON + + +Philadelphia +The Penn Publishing Company +1910 + + +COPYRIGHT 1901 BY THE PENN PUBLISHING COMPANY + + + + +Contents + + +CHAP. PAGE + + I. INTRODUCTION 11 + + II. PRINCIPLES OF SLEIGHT OF HAND APPLICABLE TO SMALL OBJECTS 26 + + III. TRICKS WITH COINS 33 + + IV. TRICKS WITH HANDKERCHIEFS 57 + + V. TRICKS WITH BALLS 93 + + VI. HAT TRICKS 114 + + VII. ANTI-SPIRITUALISTIC TRICKS 127 + +VIII. AFTER DINNER TRICKS 142 + + IX. MISCELLANEOUS TRICKS 159 + + X. STAGE TRICKS 209 + + XI. SHADOWGRAPHY 228 + + + + +Preface + + +The art of pretended magic dates back to the remotest antiquity. It has +been known under various names, such as White Magic, Conjuring, Natural +Magic, and Prestidigitation. Jannes and Jambres, the magicians of +Pharaoh, contended against Moses and Aaron. In the British Museum there +is an Egyptian papyrus, which contains an account of a magical seance +given by a thaumaturgist named Tchatcha-em-ankh before King Khufu, +B.C., 3766. In this manuscript it is stated of the magician: "He +knoweth how to bind on a head which hath been cut off, and he knoweth +how to make a lion follow him as if led by a rope." The decapitation +trick is thus no new thing, while the experiment with the lion, +unquestionably a hypnotic feat, shows hypnotism to be old. + +The temples of Egypt, Greece and Rome were veritable storehouses +of magic and mystery. The pagan priesthood attained a wonderful +proficiency in optical illusions. In the Middle Ages magic was greatly +in vogue. Later on Nostradamus conjured up the vision of the future +king of France for the benefit of the lovely Marie de Medicis. This +illusion was accomplished by the aid of mirrors adroitly secreted +amid hanging draperies. Reginald Scott, in 1584, in Discoverie of +Witchcraft, enumerates the stock feats of the conjurers of his day. The +list includes "swallowing a knife; burning a card and reproducing it +from the pocket of a spectator; passing a coin from one pocket to +another; converting money into counters, or counters into money; +conveying money into the hand of another person; making a coin pass +through a table, or vanish from a handkerchief; tying a knot, and +undoing it 'by the power of words'; taking beads from a string, the +ends of which are held fast by another person; making corn to pass from +one box to another; turning wheat into flour 'by the power of words'; +burning a thread and making it whole again; pulling ribbons from the +mouth; thrusting a knife into the head or arm; putting a ring through +the cheek; and cutting off a person's head and restoring it to its +former position." + +A number of these feats, in an improved form, survive to this day. In +the early part of the eighteenth century conjuring made considerable +progress. Men of education and address entered the profession, thereby +elevating it from the charlatanry of the strolling mountebank to the +dignity of a theatrical performance. The nobility of Paris flocked to +the opera house to see the great Pinetti perform. Following him came +Torrini, Comte, Bosco, Philippe, and finally the king of conjurers, +Robert-Houdin. In the year 1844, Houdin inaugurated his Fantastic +Evenings at the Palais Royal, Paris, and a new era dawned for magic. He +reformed the art by suppressing the suspiciously-draped tables of his +predecessors, substituting for these "clumsy confederate boxes" light +and elegant tables and little gueridons, undraped. He went still +further in his innovations by adopting the evening dress of everyday +life, instead of the flowing robes of many of the magicians of the old +regime. His tricks were of a different order, sounding the death knell +of double-bottomed boxes, and apparatus which was too evidently +designed for the magical disappearance and reappearance of objects. + +Houdin has well earned the title of "The Father of Modern Conjuring," +and his autobiography makes fascinating reading. + +Since Houdin's time, conjuring has made rapid strides. The wide +dissemination of literature on the subject and the consequent exposes +have stimulated magicians to invent new tricks, or improve old ones. +The study of magic in addition to being a fascinating amusement has a +pedagogical value, admitted by all professors of psychology; it +sharpens the mental faculties, especially those of observation and +attention. + +A comprehensive but concise manual on the subject of up-to-date tricks +will be welcomed by the student. + +I take pleasure in introducing to American readers, Professor Ellis +Stanyon's capital manual on sleight-of-hand. Professor Stanyon is one +of the most prolific as well as one of the cleverest living writers, on +the subject of legerdemain. He has done much to popularize the +fascinating art of white magic. His excellent chapter on "After-Dinner +Tricks" is particularly recommended as being within the province of +almost any amateur who possesses a modicum of personal address and a +fair amount of digital dexterity. I have supplemented the work with +chapters on "Shadowgraphy," and "Stage Illusions," also a number of +tricks which have proved "drawing cards" in the hands of American +conjurers, like the late Alexander Herrmann, and living artists like +Kellar, Elliott, Plate, Robinson, Fox, Powell, etc. In the preparation +of the additional matter, I am indebted for many valuable hints to +those dexterous and clever performers, Doctor Elliott, Adrian Plate and +William E. Robinson, who are especially noted as inventive minds in the +realm of pure sleight-of-hand. + +HENRY RIDGELY EVANS, + +Washington, D.C. + + + + +Magic + + + + +CHAPTER I + +INTRODUCTION + + +There are one or two leading principles to be borne in mind by any one +taking up the study of magic. The first and foremost is, Never tell the +audience what you are going to do before you do it. If you do, the +chances of detection are increased tenfold, as the spectators, knowing +what to expect, will the more readily arrive at the true method of +bringing about the result. + +It follows as a natural consequence that you must never perform the +same trick twice in the same evening. It is very unpleasant to have to +refuse an encore; and should you be called upon to repeat a trick study +to vary it as much as possible, and to bring it to a different +conclusion. There will generally be found more ways than one of working +a particular trick. It is an axiom in conjuring that the best trick +loses half its effect on repetition. + +Should a hitch occur in the carrying-out of the programme by the +accidental dropping of an article, or from any other cause, above all +things do not get confused, but treat the matter as a good joke, and +meet the difficulty with a smile, making use of some such expression as +the following: "Well, you see I put it down there to show that it would +go. It is perfectly solid and does not stick." By this means, instead +of spoiling the entertainment, you add greatly to the amusement of the +spectators. + +Do not cultivate quick movements, at the same time it will never do to +be painfully slow; but endeavor to present your tricks in an +easy-going, quiet, graceful manner. It is generally understood that +"the quickness of the hand deceives the eye," but this is entirely +erroneous. It is impossible for the hand to move quicker than the eye +can follow, as can be proved by experiment. The deception really lies +in the method of working the trick, and in the ability of the performer +in misdirection, as will be seen from a perusal of the following pages. + +A little well-arranged talk as an introductory to an entertainment will +be found to put you on good terms with your audience. A few words, +something like the following, will suffice: "Ladies and Gentlemen, with +your kind attention I shall endeavor to amuse you with a series of +experiments in legerdemain. In doing so I wish it to be distinctly +understood that I shall do my best to deceive you, and upon the extent +to which I am able to do so will depend my success." + +At the close of an entertainment a little speech, of which the +following is an example, will be found to prove a good finish: "Ladies +and Gentlemen, in concluding my entertainment I have only to say that, +apart from deceiving you, which was but a secondary consideration, if I +have been able to afford you some slight amusement I feel amply +rewarded." + +In concluding these remarks I must enforce upon the novice the +necessity for constant practice, without which the clearest instruction +would be useless. This applies, not only to conjuring, but equally well +to any form of amusement, so the would-be magician may congratulate +himself on the fact that the difficulties to surmount are not in excess +of those of any other form of entertainment. + +Before proceeding to describe the various tricks it will be well to +notice one or two appliances of general utility. + + +THE DRESS.--The usual attire of the modern magician is the conventional +evening dress, but I have known performers of the present day to adopt +various fancy costumes. + +Where the ordinary dress coat is used, each tail is provided with a +large pocket, known as a profonde, the mouth of which is on a level +with the knuckles, and slopes slightly to the side. These pockets, +which are usually seven inches square, are lined with buckram, and sewn +on rather full, to keep them constantly open. They are used to contain +"loads" for hat tricks, etc., also to vanish articles, such as watches, +eggs, or balls. + +In addition to these pockets, two others, known as pochettes, are used +on the trousers. These are sewn on rather full at the back of the +thigh, on a level with the knuckles, and covered by the tails of the +coat; they are useful to contain rings, coins, or other small articles +required in the course of the performance. + +There are also two pockets known as breast pockets, one in each side of +the coat. These should be of a size large enough to contain a dinner +plate, and should be made with the bottom sloping a little toward the +back, to prevent articles placed in them from falling out. The opening +should be in a perpendicular position one and a half inches from the +edge of the coat. These are loaded with rabbits, doves, etc., or any +large or cumbersome article required for magical production. + +In the case of fancy costumes the pockets, if required, must be +arranged as the attire permits. If you perform in a dinner jacket, the +ordinary side pockets can be used for producing or vanishing the +articles. The breast pockets, as already described, can be retained. + + +THE TABLE.--There are a great many tricks which can be performed +without the aid of a special table; in fact, tables of any description +are very secondary articles in the stage settings of conjurers of the +present day. Where they are employed they are usually of the small +round tripod pattern, fancifully made for show, and are used only for +the purpose of an ordinary table. + +Tables with traps and other mechanical appliances are almost, if not +entirely, out of date, no performer with any pretensions to originality +making use of them. + +A neat little table can be made from a piece of board eighteen inches +in diameter, covered with red baize, and hung with fancy fringe to +taste; the legs taking the form of an ordinary music stand. The +under-side of the table is fitted with a brass plate holding a pin, +about two inches long, to fit the socket of the stand. This forms one +of the most compact tables possible, and is greatly in vogue, as the +stand can be folded up into a small compass, and placed, together with +the top, in a black canvas case for traveling. Two of these tables will +occupy very little more room than one, and they look well in pairs. +They will generally be found to afford sufficient convenience for an +evening's entertainment. + + +THE SERVANTE.--This is a secret shelf behind the performer's table, on +which are placed articles to be magically produced in various ways. It +is also used to vanish articles as occasion may require. + +In the absence of a specially prepared table a servante can be readily +devised by pulling out the drawer at the back of any ordinary table +about six inches, and throwing a cloth over the whole, the cloth being +pushed well into the drawer so as to form a pad to deaden the sound of +any article dropped into it. + +If a table with a drawer cannot be obtained, a servante, which will +answer every purpose, can be arranged by throwing a cloth over the +table and pinning it up behind in the form of a bag. + +In the case of the small round tripod tables, a small drawer, made from +a cigar box, can be attached to the under side of them, and pulled out +as required. The fringe decorating the edge of the table will conceal +the presence of the drawer; but if the whole of the under side of the +table, drawer included, be painted black, it cannot be detected at a +few paces. + +There are various forms of portable servantes for fixing to the back of +a table or chair. A description of one for use on a chair will be +sufficient to give a clear idea of the construction of others, which +can be arranged as required by the ingenuity of the performer. A piece +of one-half inch board, seven inches by five inches, is covered with +green baize, and slightly padded on one side with cotton wool, to +prevent injury to any fragile article that may come in contact with it +in the course of the performance. To this is screwed an iron frame +(Fig. 1) of the same dimensions as the board. The frame, which carries +a network as shown, is screwed to the board in such a way that it will +fold up flush with the same, the whole being, when closed, under one +inch in thickness. The frame carrying the network is prevented from +opening too far by an iron bar screwed to the back of the woodwork, the +sides of the frame being extended under this as shown. The board is +fitted with two brass eyelets for attaching it to the top rail of an +ordinary chair by means of two screw eyes or stout pins. To conceal the +servante throw a fancy cloth over the back of the chair. + +[Illustration: Fig. 1.--The Servante] + + +THE WAND.--This is a light rod about fifteen inches long and one-half +inch in diameter, usually of ebony, with ivory tips; a plain rod, +however, will answer the purpose equally well. + +The use of the wand is regarded by the uninitiated as a mere +affectation on the part of the performer, but such is far from being +the case. Its uses are legion. In addition to the prestige derived from +the traditional properties of the wand, which has been the mystic +emblem of the magician's power from time immemorial, it is absolutely +necessary for the successful carrying-out of many experiments, as will +be seen in the course of the present work. For instance, having palmed +a coin, say in the right hand, you lower that hand and take up the +wand, which effectually conceals, in a perfectly natural manner, the +presence of the coin. The wand is now passed once or twice over the +left hand, which is supposed to contain the coin, and on opening the +hand the coin will be found to have vanished. It will thus be seen that +the wand is of the utmost importance. + +[Illustration: Fig. 2.--Placing of Tables] + + +CONCLUDING OBSERVATIONS.--The arrangement of the stage is now to be +considered by the amateur. If the performance is to be given in a +parlor, a space must be curtained off at one end large enough to +accommodate the magic tables, and allow sufficient room between them +and the audience to enable the conjurer to execute the various +exchanges, etc., necessary to the successful accomplishment of +particular tricks. When called upon to give an entertainment in a +house, where there are two adjoining parlors, separated by +folding-doors, the magician can seat his audience in the front parlor, +and use the back one for the stage, the folding-doors making an +admirable substitute for a curtain. Now as to the placing of the tables +(Fig. 2). It is customary for the large table to occupy the centre of +the room, beneath or just back of the chandeliers, flanked by two small +tripod tables or gueridons. A couple of wax tapers in silver or brass +holders, placed on the centre table, gives a fine effect to the whole. +The amateur must take care that there are no bright lights behind his +tables, or worse still a mirror. Behind the scenes provide a table to +hold the apparatus to be used in the various experiments. In arranging +tricks for the programme very little information should be afforded the +inquisitive spectator as to the real nature of the illusion to be +performed; this caution being in accordance with the conjurer's axiom: +Never tell your audience beforehand what you are about to do. For +example, if you are to exhibit the "rising-cards" call it on your +programme the "Cabalistic Cards," or the "Cards of Cagliostro." This +will give no clue to the trick. And so with other illusions. Robert +Heller, a clever entertainer, described his experiments somewhat as +follows: + + 1. With a watch. + 2. With thirty pieces of silver. + 3. With a candle. + 4. Mocha. + +The late Alexander Herrmann--"Alexander the Great"--was equally +non-communicative. "Thirty minutes with Herrmann," "A bouquet of +mystical novelties," etc., sufficed to describe a dozen or more +brilliant feats of legerdemain. Arrange your magical novelties in +groups, _e.g._: two or three coin tricks, three or four handkerchief +tricks, etc., and not a coin trick, then an illusion with a +handkerchief, followed by another feat with a coin. Lead up to the best +trick in each group with several smaller feats of a more or less +similar nature. This is well illustrated in the "Magical production of +flowers," explained in Chapter IX. + +In addition to the programmes intended for distribution among the +spectators, the performer must have a private programme of his own, +stuck up in a conspicuous place behind the scenes. Upon this +stage-programme is a list of the tricks to be performed during the +evening, with the articles used in each trick. This is to prevent +confusion. It is impossible for the performer or his assistant to +always keep in mind the multifarious articles that go with each magical +feat. When you retire behind the scenes after each group of tricks, you +consult the "prompt-programme" to see that you have everything in +readiness for the next series of illusions--for example an egg secreted +under your vest, or a coin in your pocket. On one occasion, I saw the +celebrated Herrmann completely bewildered and nonplussed because he did +not have such a little thing as a pin stuck in the lapel of his coat, +intended for use in the cornucopia and flower trick. This occasioned an +awkward hesitation injurious to the effective performance of the feat. +Herrmann had failed to examine his prompt-programme behind the scenes, +hence his embarrassing situation. + +Each trick should have an appropriate verbal accompaniment, technically +known as the "patter," or boniment, written underneath it, which should +in every case be learned off by heart. This, especially to the +beginner, is a necessity, and very few, if any, of the best performers +work otherwise. + +Having once become accustomed to a programme, it should never be +changed, in its entirety, for a new one. If it be desired to vary the +mode of procedure, this is best done by the introduction of a new trick +and the removal of an old one. By such means the performer saves +himself a lot of trouble and anxiety, and is just as likely to give +satisfaction from the point of view of an audience. This is the custom +of professional performers, who very rarely alter their programmes; it +also accounts in a large measure for their skill. + +It is a weakness with young performers to endeavor to crowd too many +tricks into the time allotted to their part. This is a mistake, and is +bound to lead to disastrous results. Each trick requires its proper +time, which is best found by experiment, and the entertainment should +be arranged accordingly. "A little and good" is better than "a lot and +bad." + +A word or two as to nervousness may not be out of place. If the +performer can bring himself to imagine, for the time being, at any +rate, that he is the most wonderful individual in creation, his success +is assured; that is, if everything has been rehearsed in private, and +he knows his part thoroughly. A dull, nervous, or morose performer, +however clever he may be, is sure to make the spectators feel +uncomfortable, and thus spoil their enjoyment; therefore always +endeavor to cultivate a cheerful manner, even under difficulties, and +you will find your audience similarly affected. Apart from taking every +advantage for repartee, always avoid being personal, and every possible +opportunity for increasing the effect of a trick, the performer should +be totally oblivious of all his surroundings and think only of himself +and what he is doing. Once this is acquired, nervousness will be +forever dispelled. + +Not a little benefit may be derived from attending entertainments given +by other conjurers, and every opportunity of so doing should be taken. +In this way, by listening attentively to the remarks of other auditors, +you will gain many points, not only as to how a trick may be improved, +but also as to what movements in the execution of the same are +unnecessary or awkward, and consequently to be avoided. Under these +circumstances you will be able to realize the full force of Burns's +well-known words, "to see ourselves as others see us." + + + + +CHAPTER II + +PRINCIPLES OF SLEIGHT OF HAND APPLICABLE TO SMALL OBJECTS + + +PALMING.--The first thing the neophyte will have to do will be to learn +palming, _i.e._, the art of holding small objects, such as coins, +balls, nuts, corks, etc., concealed in the hand by a slight contraction +of the palm. + +[Illustration: Fig. 3.--Palming Coin] + +Practise first with a coin. A half dollar is the most convenient size, +and is the coin generally preferred by conjurers, as its milled edge +affords a ready grip to the palm. Lay the coin on the right hand as +shown in Fig. 3. Then slightly contract the palm by pressing the ball +of the thumb inward, moving the coin about with the forefinger of the +left hand until you find it is in a favorable position to be gripped by +the fleshy portions of the hand. Continue to practise this until you +can safely turn the hand over without any fear of letting the coin +fall. + +When you can accomplish this with ease, lay the coin on the tips of the +second and third fingers, steadying it with the thumb as in Fig. 4. +Then moving the thumb aside, to the right, bend the fingers, and pass +the coin up along the side of the thumb into the palm, which should +open to receive it, and where, if you have followed the previous +instructions, you will find no difficulty in retaining it. + +[Illustration: Fig. 4.--Palming Coin] + +As soon as you can do this with the hand at rest, practise the same +movement with the right hand in motion toward the left, as if you +really intended to place the coin in that hand. To get this movement +perfect, it is advisable to work in front of a mirror. Take the coin in +the right hand and actually place it in the left several times; then +study to execute the same movement exactly, with the exception that you +retain the coin in the right hand by palming. + +When appearing to transfer a coin, or any small object, from the right +hand into the left, the left hand should rise in a natural manner to +receive it. The right hand, in which is the palmed coin, should fall to +the side; and the left hand should be closed as if it actually +contained the coin, and should be followed by the eyes of the +performer. This will have the effect of drawing all eyes in that +direction, and in the meantime the right hand can drop the coin into +the profonde, or otherwise dispose of it as may be necessary for the +purpose of the trick. + +Let it be distinctly understood once for all that when you desire to +draw the attention of the audience in a certain direction you must look +fixedly in that direction yourself. + +The student who desires to become a finished performer should palm the +various objects, with equal facility, either in the right or in the +left hand. + +When you can hold a coin properly, as described, practise with a small +lemon, a watch, or any other objects of similar size. In this case, +however, owing to the greater extent of surface, it will not be found +necessary to press the object into the palm, but simply to close the +fingers round it, in the act of apparently placing it in the left hand. + + +LE TOURNIQUET.--This pass is generally known by this name, so I will +not depart from its time-honored title. Hold the coin between the +fingers and thumb of the left hand (Fig. 5), and then appear to take it +in the right by passing the thumb under and the fingers over the coin. + +Under cover of the right hand the coin is allowed to fall into the +fingers of the left, where by a slight contraction it may be held +between the first and second joints, or it may be allowed to fall into +the palm proper. The right hand must be closed and raised as if it +really contained the coin, and be followed by the eyes of the +performer; the left falling to the side, and if necessary dropping the +coin into the profonde. This pass should be performed equally well from +either hand. + +[Illustration: Fig. 5 Le Tourniquet] + + +THE FINGER PALM.--Lay a coin on the fingers as shown in Fig. 6. Then in +the act of apparently placing it in the left hand, raise the forefinger +slightly, and clip the coin between it and the second finger. The left +hand must now close as if it contained the coin, and be followed by the +eyes of the performer, while the right hand disposes of the coin as may +be necessary. + +[Illustration: Fig. 6.--The Finger Palm] + +[Illustration: Fig. 7.--Application of the Finger Palm] + +Following is an illustration of the way in which this sleight can be +employed with good effect. Place a candle on the table to your left, +and then execute the pass as above described. The thumb of the right +hand should now close on the edge of the coin nearest to itself and +draw it back a little; and at the same time the candle should be taken +from the candle-stick between the thumb and fingers of the same hand, +(Fig. 7). The left hand, which is supposed to contain the coin, should +now be held over the candle and opened slowly, the effect to the +spectators being that the coin is dissolved into the flame. Both hands +should at this point be shown, back and front, as the coin, owing to +its peculiar position, cannot be seen at a short distance. You now take +the upper part of the candle in the left hand; then lower the right +hand to the opposite end and produce the coin from thence, the effect +being that the money is passed through the candle, from one end to the +other. + + +TO CHANGE A COIN.--Sometimes, in order to bring about a desired result, +it is necessary to change, or in conjurers' parlance to "ring," a +borrowed and marked coin for a substitute of your own. There are many +ways of effecting this, but having once mastered the various "palms" +the student will readily invent means for himself. The following, +however, is the one generally adopted by conjurers: + +Borrow a coin and have it marked. Then take it between the fingers and +thumb of the left hand, as in "Le Tourniquet" (Fig. 5), having +previously secreted the substitute in the palm of the right. Now take +the coin in the right hand, and in doing so drop the substitute into +the palm of the left, which you immediately close, and remark, "You +have all seen me take the coin visibly from the left hand. I will now +make it return invisibly." Saying this, you appear to throw the coin +into the left hand, really palming it, and showing your own, which +every one takes to be the original borrowed one. You now proceed with +the trick in question, disposing of the marked coin as may be +necessary. + + + + +CHAPTER III + +TRICKS WITH COINS + + +MAGICAL PRODUCTION OF A COIN.--Come forward with a coin palmed in the +right hand. Draw attention to the left hand, showing it back and front +as empty, and, as if in illustration of what you say, give the palm a +smart slap with the right hand, leaving the coin behind, and slightly +contracting the fingers so as to retain it; now show the right hand +empty, pulling up the sleeve with the left hand which masks the +presence of the coin, then close the left, and after one or two passes +over it with the right hand, produce the coin. + + +A NEW COIN FOLD.--Take a piece of paper four inches by five inches, +place a coin on it and fold the top of the paper down over the coin to +within one inch of the bottom. Then fold the right hand side of the +paper under the coin, treating the left hand side in a similar way. You +must now fold the bottom one inch of paper under the coin and you will, +apparently, have wrapped it securely in the paper; but really it is in +a kind of pocket, and will readily slip out into either hand at +pleasure. + +Allow several persons in the audience to feel the coin through the +paper, then take it from the left hand to the right, letting the coin +slip out into the left hand, which picks up a plate from the table. You +now burn the paper in the flame of a candle, and, dropping the ashes on +the plate, the coin is found to have disappeared. + +A pretty effect can be obtained if, instead of using a piece of +ordinary paper for the above, you make use of a piece of "flash" paper, +which when placed in the flame of a candle vanishes entirely, leaving +no trace behind. + + +COIN AND CANDLE.--Repeat the last trick, using "flash" paper for the +same and dispensing with the plate. When about to burn the paper in the +flame of the candle, stand with the left hand, which contains the coin, +holding the right lappet of your coat. After the flash show the hand +empty, then take hold of the right lappet of the coat with the right +hand, and in doing so let the coin drop from the left hand into it. The +left hand immediately takes hold of the left lapel, and both hands pull +the coat open as if to show that the coin is not concealed there. It is +now a simple matter, but very effective, to lower the right hand over +the candle and produce the coin apparently from the flame. + + +THE INVISIBLE FLIGHT.--Hold the coin between the fingers and thumb of +the left hand, looking at it yourself. From this position appear to +take it in the right hand by passing the thumb under and the fingers +over the coin. The coin is really allowed to drop into the fingers of +the left hand, which contract slightly so as to retain it; the right +hand is closed as if it really contained the coin and is followed by +the eyes of the performer. The palm of the left hand can now be shown +casually, when it will appear empty, the coin being held between the +first and second joints of the fingers, which are slightly curled. The +left hand is now closed and the piece apparently passed from the right +hand into it; the left hand is then slowly opened, disclosing the coin +lying on the palm. + +The reader will have noticed that up to this point no duplicate coins +have been used, nor has it been necessary to exchange one coin for +another. This forms what may be termed legitimate sleight of hand, and +is to be recommended; but sometimes for the sake of effect it is really +necessary to use a duplicate coin, and I will now mention one or two +instances. + +For the following tricks a duplicate coin is prepared with a very small +hook attached to one side about one-quarter inch from its edge. This +coin is placed in the performer's right vest pocket, and is obtained by +means of the following trick. + + +VANISH FOR DUPLICATE.--Holding the coin you have been using in your +right hand, you appear to place it in the left; instead of doing so, +however, you palm it. Close the left hand as if it contained the coin, +and then say that you will pass it from that hand into your waistcoat +pocket; show the hand empty and then with the same hand take the +duplicate coin from the pocket. The other coin, you will remember, +remains palmed in the right hand. + + +TO PASS A COIN THROUGH THE BODY.--In continuation of the preceding +trick you place the left hand (holding the hooked coin) behind the body +and attach the coin to the back between the shoulders, remarking:--"I +shall next undertake a very difficult experiment, which consists in +passing the coin right through my body, commencing from behind, up into +my left hand" (as you say this you extend the hand closed). Some one is +almost sure to remark that the coin may be in the hand already, to +which you reply:--"Pardon me, no, I would not deceive you by so mean an +expedient. See, the left hand is perfectly empty. If you prefer it I +will use the other hand, which is also quite empty." You should have +been holding the right hand, in which is the palmed coin, well extended +and open, with the back toward the audience. The right hand will in +nine cases out of ten be chosen, but should you be called upon to use +the left you will have recourse to the method employed in the "Magical +Production of Coin" at the head of this chapter, to get the coin into +the left hand. Should the right hand be chosen, you may, with some +caution, remark:--"Well, it's just as well to have the right one, but +still I left it to you." + +All that remains for you to do now is to make believe, in the most +dramatic manner possible, that the coin is travelling up the body, +along the arm, and into the chosen hand, whence you let it fall on to a +table or chair. Should the coin fall on the ground, you will be careful +not to expose the one on your back when picking it up. + + +SWALLOWING ILLUSIONS.--Having secured the coin again, appear to place +it in the mouth, palming it, and producing it from the bottom of the +vest. Repeat this pass, and remark:--"This time, by way of variation, +we will stop the coin when it gets half way down and give it a sharp +push" (strike your chest rather violently with both hands), "which will +have the effect of sending it right through the body again." You now +turn round and show the coin sticking on your back. + + +COIN AND LEMONS.--Still keeping the coin palmed from the last trick, +remove the one from your back and hold it between the forefinger and +thumb of the left hand, from which you take it as in the "Invisible +Flight." This time, however, you do actually take it with the right +hand, and at the same time let fall from the right hand the coin +concealed therein. The left hand now contains a coin, but will be +thought to be empty. This movement is employed here to satisfy the +spectators that you are working with one coin only, you having, without +apparent design, shown both hands empty, with the exception of the +piece you are using. + +You now lay the hooked coin down on the table and go behind the scenes +for three lemons and a knife, which have been placed there in readiness +on a plate. One of the lemons has a slit cut in it, into which you +insert the coin you have carried off. Coming forward with the lemons on +the plate, you force the choice of the one with the coin in the +following manner:--"Ladies and Gentlemen, I have here three lemons. I +only require one for the purpose of my trick and I will ask you to +decide which it shall be. Which of the three do you prefer, the right +or the left, or the one behind?" (The one behind is the prepared one.) +If the one behind is chosen take it and proceed. If the right or the +left is chosen throw it to the person making the selection, with the +remark, "Thank you, I hope you will find it sweet." You will now have +two left and you continue:--"I have now only two lemons. Which one +shall I take, the right or the left?" If the prepared one is chosen +take it and proceed with the trick. If the other one is chosen take it +with the remark:--"Very good, then I will use the one that remains for +the purpose of the trick." + +You now force the knife into the lemon, inserting it in the slit +already made, and give it to some one to hold high in the air. Now pick +up the coin from the table and vanish it by one or other of the means +already described (a good method is given in the next trick), and then +have the fruit cut open and the coin disclosed. + +The above form of ambiguous questioning can be used in any trick where +it is essential that a particular article be chosen. + +You can avoid going behind the scenes by adopting the following ruse: +Go to the wing, and extending your hand, in which is the coin, behind +it, call out loudly to your assistant--"Bring me those lemons, please." +In drawing attention to the fruit it is perfectly natural for you to +extend your hand behind the wing and thus dispose of the coin. + + +THE POCKET VANISH.--Take a coin in the right hand and make believe to +place it in the left, really palming it. The left hand is closed as if +it contained the coin and held away from the body. The right hand pulls +back the sleeve slightly as if to show that the coin has not been +vanished in that direction. This movement brings the right hand over +the outside breast pocket of the coat, into which the coin is allowed +to fall unperceived. The coin is now vanished from the left hand in the +orthodox manner and both hands are shown empty. + +Should you desire to regain possession of the coin, have the outside +pocket made communicating with an inside one on the same side of the +coat; when, having shown the right hand unmistakably empty, you produce +the coin thence, in a magical manner. + +The preceding list of coin tricks has been arranged in combination, the +one to follow the other in a natural manner, for an entertainment, as +actually presented to an audience. I cannot, however, leave the subject +of coin tricks without making mention of several other very deceptive +experiments, which will doubtless be new to the majority of my readers. + + +TO PASS A COIN INTO AN ORDINARY MATCHBOX HELD BY ONE OF THE +SPECTATORS.--Prepare a matchbox as follows:--Push open the sliding +portion about one inch. Then fix between the top of the slide and the +back end of the box a coin, the greater part of which is overhanging +the box, the whole being out of sight of the casual observer. Arranged +thus, give the box to some one to hold with instructions that when you +count three the box is to be closed smartly. This will have the effect +of jerking the coin into the box. + +You now take a duplicate coin and vanish it by means of the "Pocket +Vanish," or any other convenient method, counting "One! two! three!" +when, acting according to your instructions, the person will close the +box, and the coin will be heard to fall inside. + + +COIN, WINE-GLASS, AND PAPER CONE.--This very pretty and amusing table +trick consists in causing a coin placed under a wine-glass, the whole +being covered with a paper cone, to disappear and return as often as +desired. + +The following arrangements are necessary:--Take a wine-glass, and, +having placed a little gum all round its edge, turn it over on a sheet +of white paper, and when dry cut away the paper close to the glass. +Obtain a Japanese tray and on it lay a large sheet of paper similar to +that covering the mouth of the glass, and stand the glass, mouth +downward, on it. Make a paper cone to fit over the glass and you are +ready to present the illusion. + +Borrow a penny and lay it on the large sheet of paper by the side of +the wine-glass; cover the glass with the paper cone, and place the +whole over the coin. Command the penny to disappear, and on removing +the cone it will seem to have done so, as the paper over the mouth of +the glass, being the same color as that on the tray, effectually +conceals the coin. To cause it to reappear you replace the cone and +carry away the glass under it. This can be repeated as often as +desired. + +To make the experiment more effective, use colored paper, which shows +up against the coin more than white. + + +COINS, HAT, AND PLATE.--In this experiment a number of borrowed and +marked coins are passed invisibly into a hat covered with a plate. + +Obtain a small metal box large enough to contain half a dozen coins of +the kind you intend to use. This box should be enamelled white and have +an opening in one side large enough for the coins to pass through. A +common pill-box would answer the purpose, but a metal one is +preferable. Place a little wax on the top of the box and leave it, with +the plate, on a table at the rear of the stage. Borrow a silk hat, +which leave on your table. Then obtain the loan of six marked coins, +which you change for six of your own, as you go back to the stage. Drop +the latter coins into a tumbler, or lay them in some other conspicuous +position on the table, and go to the rear of the stage for the plate. +Introduce the marked coins into the box, and attach it by means of the +wax to the under side of the plate. Come forward, and having shown the +hat to be quite empty, place the plate over it, being careful to note +the position of the hole in the side of the box. + +You now take the coins from the glass and appear to place them in the +left hand, really palming them in the right, which forthwith drops them +into a little box containing sawdust placed on the servante. The coins +are retained in the right hand by a slight contraction of the fingers, +as in "The Invisible Flight." They should be held in the hand at the +base of the thumb and jerked into position in the act of apparently +passing them from one hand to the other. The pass called "Le +Tourniquet" is a better one for a number of coins. The noise of the +coins as they fall into the hand is quite natural, as it would be +almost impossible to actually take them in silence. Now pick up the hat +with the right hand, holding it at arm's length; vanish the money from +the left hand in the usual way, at the same time tilting the hat +slightly in the right direction, when the coins will be heard to fall +inside. + + +TO VANISH A MARKED COIN FROM A TUMBLER AND CAUSE IT TO APPEAR IN A +SMALL BOX, WRAPPED IN PAPER, IN THE CENTRE OF A LARGE BALL OF +WOOL.--For this very surprising trick you will require to make the +following preparations:--Procure a tumbler having a slit cut flush +with, and parallel to, the bottom, which should be flat. The opening +should be just large enough to allow a half dollar dropped into the +tumbler to slip through into your hand. (See Fig. 8.) + +[Illustration: Fig. 8.--Prepared Tumbler] + +Obtain a small metal box large enough to take the coin easily, also a +flat tin tube about three inches long and just wide enough for the half +dollar to slide through it. Place one end of this tube inside the box +and close the lid on it, keeping it in position by passing an elastic +band over the box. You now wrap the box in paper and wind a quantity of +wool round it until you get a large ball with the end of the tube +projecting about one inch. Place the ball thus prepared on a table at +the rear of the stage and you are ready to perform. + +Show the tumbler, and draw attention to the fact that it is an ordinary +one by filling it with water from a jug, which can be done by placing +the forefinger round the slit. Return the water to the jug and borrow a +half dollar, which has been marked by the owner, allowing him to +actually drop it into the glass. Cover the tumbler with a handkerchief, +shaking it continually to prove that the coin is still there, and then +place it down on your table, securing the coin through the slit as you +do so. Going to the back of the stage for the ball of wool, you insert +the coin into the tube and withdraw the latter, when the action of the +elastic band closes the box. Bring the ball forward in a large glass +basin and have the wool unwound, disclosing the box; on this being +opened the marked coin will be found within. + + +TO VANISH A NUMBER OF COINS FROM A PLATE IN A SHEET OF FLAME.--Place a +tea-plate near the rear edge of your table, and a sheet of "flash" +paper, large enough to cover the plate, in front of it. You must also +have another plate on the servante and you are then ready to commence. + +After performing any trick in which a number of coins have been used, +throw them on the plate, carelessly dropping several on the table. Take +up the plate in one hand and the piece of paper in the other, and +holding the plate just behind the table, and over that on the servante, +apparently sweep the loose coins on to the plate you are holding, +really letting all fall on the hidden one, under cover of the paper, +which you immediately place over the plate in your hand. + +Every one will now suppose the money to be on the plate which, with +studied carelessness, you bring forward just over the flame of a candle +burning on the table. The paper ignites and disappears in a sheet of +flame, and the plate is found empty. + + +PROGRAMME AND COIN.--The effect of this experiment, which is an +improvement on the old "programme and ring" trick, as no stage +assistant is required, is as follows:--The performer borrows a marked +half dollar from a stranger in the audience, immediately handing it to +a gentleman to examine the mark, date, and other items. While this is +being done the performer obtains the loan of a programme, which he +tears in half, laying one half on his table. The gentleman is now +requested to place the coin in the half of the programme held by the +performer, who wraps it up and gives it to him to hold. He now goes to +his table for a piece of sealing-wax, which he passes several times +over the packet held by the gentleman, when immediately it is found +transformed into a packet of three envelopes, made from the programme, +all gummed and sealed one inside the other, with the marked half dollar +in the smallest one. As the gentleman cannot see how it is done the +performer repeats the trick for his benefit with the other half of the +programme, but the result is the same. This time, however, the +gentleman is requested to take the last envelope to the owner of the +money, that he may open it and satisfy himself that it actually +contains his own coin. + +The six envelopes are now rolled up and given to the gentleman to hand +to the lady, to keep as a souvenir of the entertainment, but before he +has proceeded far the performer tells him he has dropped one of them +(he has not really done so), and, failing to find it, he very naturally +begins to count those in his hand, when he discovers to his +astonishment that he holds the programme restored. + +_Explanation._--After the performer has borrowed the half dollar, in +the act of handing it to the gentleman for examination, he adroitly +changes it for one of his own bearing the mark of a cross, which mark +is of course taken for that of the owner of the coin. The performer now +asks for the loan of a programme, and while one is being procured he +drops the actual borrowed coin into the smallest of the three envelopes +which are placed one inside the other in the right profonde. To +facilitate the introduction of the coin a tin tube, with a rather wide +mouth, just large enough for the coin to pass through, is placed in the +smallest envelope. After the coin has been introduced this tube is +withdrawn, left in the pocket, and the envelopes closed. + +[Illustration: Fig. 9.--Packet of Three Envelopes] + +The flaps of the envelopes are sealed with wax beforehand and prepared +with the best gum arabic, which is allowed to dry hard. They are +moistened with the tongue just as you are about to commence the trick, +and if cut as in Fig. 9, can be closed all together while in the +pocket. This packet is laid on the table under cover of the half of the +programme used in the second stage of the trick. + +To commence the trick the performer palms a similar packet of envelopes +containing another half dollar marked in exactly the same way as the +one he handed to the gentleman, and, it is hardly necessary to remark, +being of the same appearance, and bearing the same date. When rolling +up the programme the performer retains it and hands the gentleman the +packet of envelopes; and when going to his table for the wax leaves the +half of the programme and the half dollar thereon. By the time the +first coin is taken from the envelopes the packet containing the actual +borrowed coin will be dry and ready for use. + +The remaining portion of the trick will now be understood. When the +performer goes for the other half of the programme he takes the packet +of envelopes with it and substitutes it as before, and the trick +proceeds as described. When collecting the six envelopes for the final +effect the performer palms a duplicate programme which has been lying +on his table behind some object, and substitutes this as before when +handing the gentleman the envelopes to take to the lady. + + +FILTRATED COIN.--Borrow a half dollar from one of the company, wrap it +up in a handkerchief, and request some one to hold it over a glass of +water on the table. Hey, presto! The coin is dropped into the glass and +heard to jingle. When the handkerchief is removed the half dollar has +disappeared, having been apparently dissolved in the water. Placing +your hand under the table you produce the coin, which you declare has +passed through the glass and table-top. This exceedingly effective +trick is accomplished by means of a glass disk of the same diameter as +a half dollar. The modus operandi is as follows: Borrow a half dollar +and while holding it in your hand throw a handkerchief over it. Under +cover of the handkerchief exchange the coin for the glass disk which +you have concealed in your palm. Now get some one to hold the disk by +its edges through the handkerchief, directly over the glass of water. +Pronounce your magical phrase, and command your volunteer assistant to +drop the half dollar (disk) into the glass. The disk will be +precipitated into the glass with a jingle that exactly simulates the +falling of a genuine coin, and will adhere to the bottom of the glass, +where it will not be seen. You may even pour out the water, but the +disk, thanks to the power of suction, will remain in the same position, +firmly attached to the drinking glass, which of course must have a flat +bottom. A ginger-ale or beer glass of small diameter comes in handy for +this capital trick. After sufficient palaver, the genuine half-dollar +may be reproduced from under the table or from the pocket of the +volunteer assistant. + + +THE PENETRATING COIN.--This coin trick may be performed anywhere, and +requires no special preparation. A borrowed Derby hat is placed upon +the mouth of a tumbler, (Fig. 10). Three half dollars are now borrowed +and tossed into the hat, whereupon one of the coins is seen to +penetrate the crown of the hat, and drop visibly and audibly into the +tumbler beneath. It is thus explained. In the act of placing the hat on +the glass, secretly and without jingling, slip a coin of your own +between the rim of the glass and the hat. The weight of the latter will +retain the coin in position, which of course is on the side of the hat +farthest from the spectators. The dropping of the borrowed coins in the +hat will disturb the balance of the secret half-dollar, causing it to +fall into the tumbler. It is hardly necessary to remind the student +that the fourth coin must be gotten rid of unbeknown to the audience, +otherwise the effect of the experiment will be destroyed. In putting +the hat in position two hands may be used. This will greatly facilitate +the placing of the coin on the rim of the tumbler. You should lay +stress on the fact that it is necessary to get the hat evenly on the +glass. As simple as this trick seems in explanation, it is nevertheless +wonderfully illusive, and can be recommended to the amateur as worthy +of his repertoire, especially for the parlor, or club room. + +[Illustration: Fig. 10.--Penetrating Coin] + +An excellent coin trick, to be used in conjunction with the preceding +illusion, is the following: The performer shows a coin and forthwith +proceeds to pass it into the hat by way of the crown. That there may be +no doubt as to the actual passing of the coin it is left sticking half +way through the hat; a final push and it is heard to fall inside. The +coin used is a trick one constructed as follows: A groove is first +turned round its extreme edge deep enough to conceal a small +india-rubber band. It is next cut in half across its diameter. A hole +is drilled in the centre of one half in which is inserted a needle +point. In the other half a slot is cut to admit the needle. The two +halves are now placed together and kept in position by passing the band +round the groove afore mentioned. (See Fig. 11.) This coin has a +distinct advantage over the older form in which the one half only was +used, in so far that it may at the outset be shown as an ordinary coin. +When giving the final push it is, of course, withdrawn and palmed. + +[Illustration: Fig. 11.--Trick Coin] + + +COIN IN THE BOTTLE.--With a coin grooved and prepared as above and cut +into three pieces, but minus the needle point, the amateur can perform +the deceptive trick of the half-dollar in the bottle. You first borrow +a half dollar from a spectator, and secretly exchange it for your +"folding-coin." Exhibit the bottle, which should be of clear glass, +preferably, and demonstrate the impossibility of passing a coin into +its neck. Then grasp the mouth of the bottle in the manner depicted in +Fig. 12, the coin being concealed from the spectators by your fingers. +Bend the coin and insert it in the neck of the bottle, after which give +the mouth of the bottle a violent blow with the palm of the hand. The +coin will enter the bottle, and expand as soon as it passes the neck. +You may now pass the bottle for inspection, without any one being able +to discover the secret of the trick. A clever amateur with the aid of a +very fine metal saw and a file can manufacture the folding coin for +himself. + +[Illustration: Fig. 12.--Coin in Bottle] + + + + +CHAPTER IV + +TRICKS WITH HANDKERCHIEFS + + +PEREGRINATIONS OF A HANDKERCHIEF.--For the following series of +experiments you will require three fifteen inch silk handkerchiefs (the +best material for making these is fine quality sarcenet), an ordinary +small sliding match-box, a candle in a candlestick, and a conjuring +wand; also a false finger and a conjuring pistol, hereafter described. + +You prepare for the series of tricks by rolling up one of the +handkerchiefs very small and pushing it into the back of the match-box, +which you open about one inch for the purpose; another is rolled up and +placed behind the collar on the left hand side of the neck; and the +last is loaded into the false finger and placed in the right hand +trousers pocket. You are now ready to commence. + + +HANDKERCHIEF AND CANDLE.--"Ladies and Gentlemen, the following +experiment was suggested to me at the age of twelve while studying +chemistry. I then learned that all matter was indestructible. Proof of +this, as you are well aware, is afforded with an ordinary candle. You +may light the candle at one end and let it burn to the other, but you +do not destroy the matter of which it is composed. What really takes +place is the formation of new substances, as hydrogen, carbon, water, +etc., which any of the text-books on chemistry will explain. I will, +however, give you one striking illustration:"-- + +Pick up the match-box and light the candle; then close the box, pushing +the handkerchief into the right hand, and throw the box down on the +table. Take the candle from the candle-stick and place it in the right +hand, which masks the presence of the handkerchief. You now appear to +take something from the flame of the candle with the left hand, which +you close as if it really contained an article. Open the hand slowly, +looking surprised to find you have failed, and remark:--"Well--really I +cannot understand this. I am generally successful with this trick. Oh! +I know what is the matter. You see, I am using the left hand; if you do +things left-handed they cannot possibly be right. I will try the right +hand." Saying this, you place the candle in the left hand and +immediately produce the handkerchief from the flame with the right, +closing the hand as before. It now only remains for you to open the +hand and develop the silk slowly. + + +TO VANISH A HANDKERCHIEF AND PRODUCE IT FROM YOUR COLLAR.--Place your +wand under your left arm. Take the handkerchief and roll it up small, +using both hands. Affect to place the handkerchief in the left hand, +really palming it in the right, and take your wand from under the arm +in the same hand. Vanish the handkerchief from the left hand, and take +the one from your collar, immediately placing it in the right hand to +mask the presence of the one already there, and lay the wand down on +the table. + + +TO PASS A HANDKERCHIEF INTO THE POCKET OF A SPECTATOR.--Obtain the +assistance of a young gentleman from the audience, and ask him to let +you have the loan of the outside breast pocket of his coat. Much fun is +generally caused by his removing his own pocket handkerchief and sundry +other curious articles. Place both handkerchiefs, which have all the +time remained in the right hand, in his pocket (you, of course, are +supposed to be using one only), and stand as far away as the limits of +the stage will allow, and say:--"Now, sir, do you think it possible for +me to remove the handkerchief from your pocket without coming a step +nearer to you than I am at present." He will probably look confused, +and hardly know whether to say Yes or No. Whatever he may say is all +the same to you, and you remark:--"My dear sir, do not look like that; +your face is calculated to upset me altogether. I scarcely know what I +am doing. What I really intended to do was to pass the handkerchief +from my hands into your pocket." You now take the handkerchief from his +pocket, where, unknown to the spectators and probably the gentleman +himself, one still remains. You will now vanish the handkerchief as in +the last trick, and let the gentleman take the one from his pocket, +which will seem to be the same. Take the handkerchief from him, place +it in the right hand, which again conceals the one in the palm, and lay +the wand down on the table. + + +TO FIRE A HANDKERCHIEF INTO A GENTLEMAN'S HAIR.--For the purpose of +this trick you will have to make use of what is known as a conjuring +pistol, which, being in constant use in magical surprises, I will +describe. It consists of an ordinary pistol fitted with a conical tin +tube eight inches long. The mouth of this tube is about two inches in +diameter and is supplied with a tin cup one and one-half inches deep, +having its outer edge turned over all round so as to afford a ready +grip to the palm. The conical tube is fitted with an inner tube to keep +it firm on the barrel of the pistol. (See Fig. 13.) + +[Illustration: Fig. 13.--Conjuring Pistol] + +Taking up the pistol, you place the two handkerchiefs, which look like +one, in the cup; push them well down and remark:--"I shall now fire +direct at the gentleman's head, and after the shot the handkerchief +will be found firmly embedded in his hair, and will, not unlikely, be +seen protruding from each of his ears. It just depends on the force of +the shot, you know, and I need hardly say I loaded the pistol myself, +and am totally ignorant of fire-arms. Are you ready, sir? then +good-bye!" Place the "muzzle" of the pistol in the left hand while you +shake hands with the gentleman. In taking the pistol back into the +right hand to fire it, you leave the cup behind in the left hand, and +at the instant you pull the trigger, you drop it into your pocket on +the left side. When discharging the pistol you will, of course, stand +with your right side to the audience. + +You now ask the gentleman to take the handkerchief from his hair, +telling him it is just behind his left ear (of course it is not really +there); and while he is trying to find it you stand with your hands in +your trousers pockets, telling him to make haste, you cannot wait all +the evening, etc. When he has tried some time and failed to find it you +take your hands from your pockets, having got the false finger into +position between the second and third fingers. Showing the hands back +and front (the addition of an extra finger will not be noticed), you +pass them several times over the head of the gentleman, then lowering +the hands on to his head you detach the finger and draw out the +handkerchief. The false finger is laid down on the table under cover of +the handkerchief. + +The finger is made of thin spun brass painted flesh color; it is quite +hollow from tip to root, and is shaped for fitting between the second +and third fingers, (Fig. 14). It can be used in many tricks with +handkerchiefs, and is really an indispensable accessory. + +This concludes the series alluded to in the beginning of this chapter. +I will now describe a number of handkerchief tricks complete in +themselves. + +[Illustration: Fig. 14.--False Finger] + + +THE HANDKERCHIEF CABINET.--This very useful piece of apparatus should +be in the repertoire of every amateur magician, as it is available for +producing, changing, or vanishing a handkerchief. Its secret lies in +the fact that it contains two drawers, bottom to bottom, the lower one +being hidden by a sliding panel. When standing on the table the top +drawer only is visible, and the cabinet looks the picture of innocence, +but if turned over and stood on its opposite end, the sliding panel +falls, exposing the hidden drawer, and hiding that which for the time +being is at the bottom, (Fig. 15). The cabinet is about two inches +square by four inches high. + +If required for production you proceed as follows:--Having placed a +silk handkerchief in the concealed drawer, introduce the cabinet, take +out the empty drawer, and give it for examination. Replace the drawer, +secretly turn over the cabinet, and place it on your table. You now go +through any form of incantation you please, open the drawer and take +out the handkerchief. + +If you desire to vanish a handkerchief you will have it placed in the +drawer by one of the spectators, and while going to the table turn over +the box. When the drawer is opened the handkerchief will have +disappeared. + +[Illustration: Fig. 15.--Handkerchief Cabinet] + +Should you wish to change one handkerchief for another you will +beforehand conceal say a red handkerchief in the cabinet; then taking a +white one, have it deposited in the upper drawer, turn over the cabinet +as before, pull out the now uppermost drawer, and produce the red +handkerchief. + +From the foregoing description it will be obvious that the cabinet is +capable of being used in conjunction with many tricks. + + +THE HANDKERCHIEF VANISHER.--One of the best appliances for causing the +disappearance of a handkerchief may be made from a small celluloid ball +as follows:--Obtain a ball one and three-fourth inches in diameter, +which will take three small silk handkerchiefs if desired, and cut a +one inch hole in any part of its surface. On the side of the ball +opposite the opening fix a loop of flesh-colored thread, long enough to +pass easily over the thumb, and to suspend the ball on the back of the +hand so that it does not hang too low. + +When required for use the ball is taken up secretly under cover of the +handkerchief, and the thumb of the left hand is passed through the +loop. Then, while appearing to roll up the handkerchief, it is worked +through the opening into the ball, which is instantly pushed over to +the back of the left hand under cover of the right. The palms of the +hands are now shown empty, when the handkerchief will seem to have +vanished entirely. When using the vanisher you will, of course, stand +with your right side to the audience. + +It is well to be provided with two or three of these accessories, in +different sizes. + + +MAGICAL PRODUCTION OF HANDKERCHIEFS.--The performer comes on the stage +showing both hands empty, back and front. He then pulls up both sleeves +and immediately produces a white silk handkerchief, about eighteen +inches square, which he passes for examination. Then by simply shaking +the handkerchief he obtains from it about half a dozen other colored +ones about fifteen inches square. The colored handkerchiefs are then +caused to vanish by simply rolling them up in the hands, being +immediately afterwards reproduced, all tied together by the corners, +from the white one. + +The necessary preparations for the trick are as follows:--A slit one +half inch long is made in the seam of the trousers at the right knee, +and two of the colored handkerchiefs, each having a minute piece of +blackened cork tied to one corner, are pushed into this slit, the corks +being left protruding to enable the performer to instantly draw them +out. Two handkerchiefs of different colors are placed in the pochette +on the left side. A fifth handkerchief, also prepared with a piece of +cork, is placed in the front of the vest, the cork protruding through +the watch-chain hole. It may seem impossible, but the silk may be drawn +through this hole very rapidly, and quite easily, as will be found by +experiment. A sixth handkerchief is contained in the false finger +(previously described), which should be placed in the right hand +trousers pocket. + +As the handkerchiefs are produced they are thrown over the back of a +chair fitted with a network servante (Fig. 1, page 18), behind the top +rail of which are suspended two vanishers of the kind already +described; also the ball of six duplicate handkerchiefs all tied +together by the corners. + +The trick is worked as follows:--The white handkerchief is rolled up +into a small compass and tied with a piece of silk just strong enough +to hold it. It is then placed in the hollow of the arm at the elbow, +the arm being bent slightly so as to retain it in that position. When +pulling back the sleeves the performer secretly obtains possession of +the handkerchief, breaks the thread, and develops it slowly. + +Having had the handkerchief examined, and while holding it by two +corners, spread it over the knee as if drawing attention to the fact +that it is empty. Then, in the act of raising it, shaking it the whole +of the time, pull the two colored ones through the seams, and while +developing these take the two from the pochette on the left side. Place +the white handkerchief in the left hand to conceal the colored ones, +and throw the other two over the back of the chair. Now produce the two +in the left hand in a similar manner, and throw them over the chair +with the two already there. Then take the white handkerchief by two +corners, and while turning it round to show both sides, seize the piece +of cork at the buttonhole of the vest, and produce the fifth +handkerchief, throwing both over the back of the chair. + +For the production of the last handkerchief a little patter is +desirable. "Ladies and Gentlemen, I dare say you will wonder where I +get these handkerchiefs. The other evening I overheard two gentlemen +conversing in the boxes. One said to the other, 'Don't you see where he +gets those handkerchiefs? They came down his sleeve.' The other said, +'Oh! no, they don't. He takes them from his pockets, for I saw him.'" +Saying this you thrust the hands into the pockets by way of +illustration, and fix the finger in position. Then withdraw the hands, +placing the palms together, and continue:--"Now, I wish to prove to you +that both of these gentlemen were wrong. If the handkerchief comes down +the sleeve you will be sure to see it. If it comes from the pocket you +will also see it. My hands are perfectly empty" (show hands). "Now +watch closely and see if you can detect me." You now bring the hands +together, reverse the finger, and shake out the handkerchief; and when +laying it with the others on the chair, drop the finger into the +servante. + +To cause the disappearance of the handkerchiefs proceed as +follows:--Take up three of the colored ones, at the same time secretly +obtaining one of the vanishers, and, with an up and down motion of the +hands work them into the ball. Then pass the ball to the back of the +hand, and show the palms empty. + +When taking up the other three handkerchiefs drop the vanisher into the +servante, secure the other one, and proceed as before. Then take up the +white handkerchief, again disposing of the vanisher into the servante, +and securing the ball of six tied together. Finally wave the white +handkerchief up and down, and gradually work out the colored ones, one +after another. + + +COLOR-CHANGING HANDKERCHIEFS.--The effect of this trick, which is one +of the best in the whole category of sleight of hand feats, is as +follows:--Three white handkerchiefs are pushed into a paper tube, and +as they come out at the opposite end they are seen to be dyed +respectively red, yellow, and green. The paper is then unrolled and +torn in half, when the white handkerchiefs are found to have vanished +entirely. + +[Illustration: Fig. 16.--Handkerchief Fitted with Brass Tube] + +To perform the trick you must be provided with a piece of drawing-paper +ten inches by eight inches (a leaf from a plain drawing-book will +answer the purpose admirably), three very fine white silk handkerchiefs +fifteen inches square, and three colored ones of the same size and +texture. The last of the colored handkerchiefs to appear at the end of +the tube is prepared as follows:--Take a piece of one and one quarter +inches brass tubing, three inches long, and insert it in the middle of +one side of the handkerchief (Fig. 16), by covering it with a piece of +silk of the same color. This piece of silk is extended beyond the tube, +as shown, to form a kind of pocket. + +To prepare for the trick push the body of the handkerchief into the +brass tube at the end A, and the other two colored ones on the top of +it. The piece of paper is laid on the table with the tube of +handkerchiefs under its rear edge. The three white handkerchiefs are +then laid across the paper. + +To perform the trick stand on the left of your table and take up the +paper with the right hand, the left hand keeping the white +handkerchiefs in front of the tube of colored ones. Draw attention to +the fact that the paper is unprepared, then lay it on the table in such +a manner that it again conceals the tube, and take up the white +handkerchiefs. Show the handkerchiefs, remarking that they are of the +ordinary description, and then lay them on the table. Pick up the +paper, and with it the colored handkerchiefs, which are held behind it +with the thumb of the right hand. + +You now form the paper into a tube round the colored handkerchiefs and +hold it in the left hand. Pick up the white handkerchiefs one at a +time, place them in the left hand with the tube, and remark:--"I will +now pass the white handkerchiefs through the cylinder, first, however, +showing you that it is perfectly empty." As you say this you take the +handkerchiefs in the right hand, and as if to illustrate what you say, +place them near the mouth of the tube. This gives you the opportunity +of dropping the colored handkerchiefs into the white ones. The cylinder +is now shown empty, and the white handkerchiefs are pushed into one end +of it; care being taken to introduce the colored ones first, and to +keep them out of sight of the audience. You now grasp the brass tube +tightly through the paper and press the white handkerchiefs into it. +This, of course, pushes out the colored handkerchiefs, which appear at +the other end of the cylinder, the white ones being concealed in the +body of the last colored one. + +When performing the trick it is necessary to be careful to insert the +right end of the brass tube into the paper cylinder, otherwise the +experiment would not be successful. + +The following is the method of presenting the above trick, with +appropriate "patter": + +"For the purpose of my next experiment I shall make use of this +square-looking piece of paper, in which you can see there is nothing +concealed, not even a trap-door. Well, if there was anything concealed +from your view, you would be sure to see it." Laying the paper down and +taking up the handkerchiefs, you continue, "In addition to the paper, I +propose to make use of these three pieces of silk, or silk in pieces, +commonly known as art white squares. I am afraid, however, some people +would prefer to call them subdued white; possibly dirty white, if it +were not for the liberty of the thing, but I know they call them art +white in the stores, because I suppose they find they sell better." + +Laying the handkerchiefs down, you take up the paper with the tube +behind it, and, prior to forming the cylinder, remark:--"This +experiment was suggested to me while in England traveling on the +underground railway. I always travel by that line when possible, being +fond of scenery. One day I had occasion to take a return single from +Portland Road to King's Cross; and while passing through those tunnels +I noticed that my linen changed color considerably, which suggested to +me this illustration. With the piece of paper I will form a kind of +tube or tunnel to represent for the time being one of those cavities on +the underground railway." + +Make the tube and continue:--"There it is, as free from deception as I +am. I will now take the handkerchiefs" (take up the handkerchiefs from +the table) "and pass them through the cylinder" (drop the colored +handkerchiefs into the white ones and show the tube empty), "first, +however, showing you that it is perfectly empty. Then, having satisfied +you that there are no trains on the line, I will pass the handkerchiefs +through the tunnel." + +As the colored handkerchiefs appear at the opposite end of the tube, +remark:--"I may say that I have been getting my living for some +considerable time by conjuring. You will now notice that I am beginning +to dye by it." + + +MECHANICAL "PULL" FOR VANISHING A HANDKERCHIEF.--The construction of +this contrivance is very simple, and it is absolutely instantaneous in +its action, the quickest eye being unable, even at close quarters, to +detect the flight of the handkerchief. + +It consists of two straps, one for each arm, which are buckled on just +above the elbows. One of the straps carries what is known to mechanics +as a "lazy" pulley, working freely in all directions, and provided with +a shield, so that the cord cannot possibly leave the wheel; and the +other carries a metal "D" loop. A cord is tied to the "D" loop, passed +over the back, round the pulley on the left arm, back again and down +the right sleeve; the end of the cord being furnished with a loop to +receive a handkerchief. The apparatus must be attached to the arms +underneath the shirt, and when in such a position that the arms may be +moved about freely, the loop should be in the centre of the back, as +shown in Fig. 17. + +[Illustration: Fig. 17.--Mechanical "Pull" for Vanishing +Handkerchief--(a) Leather Strap; (b) Brass Plate; (c) Pivot; (d) Brass +Hinge; (e) Pulley in Shield; (L) Left Arm; (R) Right Arm] + +To enable the artist to obtain possession of this loop, a black thread +is passed through it, doubled and carried down the right sleeve, the +two ends hanging out of the cuff so as to be readily found by the +fingers. Having found the thread, the performer pulls it down until the +loop appears, which is forthwith passed round the thumb, the thread +being broken and allowed to fall on the floor. The act of pulling the +cord to secure the loop will pull the elbows close to the sides, where +they must be kept until the handkerchief is to disappear. + +Having placed the handkerchief through the loop, which should be of +catgut, being semi-transparent, push it into the glass tube as +described in the next trick, and place the hands one over each end. To +cause the handkerchief to disappear all that is necessary is to move +the elbows away from the sides while making a quick up and down motion +with the glass cylinder, slightly lifting the base of the right hand +from the edge of the glass to allow the silk to pass up the sleeve. In +moving the elbows away from the sides a pull of from three feet to four +feet is put on the cord, the handkerchief flying up the sleeve and +finally occupying a position in the centre of the performer's back. + + +THE FLYING HANDKERCHIEF.--This is a very surprising trick, and a +favorite with the most noted prestidigitateurs. It depends chiefly for +its effect on the "Mechanical Pull." (Fig. 17.) For its execution you +must be provided with six small silk handkerchiefs (two red, two +yellow, and two green), also two glass cylinders of the kind used for +gas. + +The idea of the trick is to cause a red silk handkerchief placed in the +centre of one of the glass tubes, the ends being covered with the +hands, to disappear, and be found between a yellow and a green +handkerchief previously tied together, rolled up into the shape of a +ball, and placed in the other cylinder. It is accomplished thus: + +Three of the handkerchiefs, one of each color, are tied together by the +corners, the red being in the centre. They are then rolled up into the +shape of a ball so that the red one cannot be seen, and thus prepared, +are laid on the table behind the other red handkerchief. + +The performer now takes the two remaining handkerchiefs, one yellow and +one green, and ties them together, rolling them up to look as near like +the duplicate ball as possible. Holding this ball in the right hand, he +takes up the red handkerchief, and with it the ball of three. He then +takes the red handkerchief in his right hand, passing the ball into the +left, and forthwith pushing it into the glass cylinder on the table. +Under cover of the red handkerchief, however, the balls are exchanged +and that of three is actually placed in the tube. + +While going for the other cylinder, which should be on a table at the +rear of the stage, the performer has ample time to dispose of the ball +of two, and to get down the "pull." When introducing the cylinder +remark:--"You see, Ladies and Gentlemen, that the tubes are of the most +ordinary description and perfectly free from preparation; in fact, you +can see right through them. I hope you will not be able to see through +me quite so easily." The red handkerchief is then inserted in the +cylinder, being previously passed through the loop, whence it is caused +to vanish as described. The handkerchiefs are then taken from the tube +on the table, unrolled and shaken out; when, by some unaccountable +means, the red one will appear to have tied itself between the other +two. + + +BRASS TUBE TO PRODUCE, VANISH, OR CHANGE A HANDKERCHIEF.--This is +really an indispensable piece of apparatus and should be in the +repertoire of every wizard. It consists of a piece of one and one-half +inches of brass tubing four inches long, with two caps of the same +metal to close the ends. A handkerchief is inserted in the tube and the +caps are immediately placed on; but notwithstanding this, the +handkerchief disappears, or can be changed to another of a different +color. + +[Illustration: Fig. 18.--Brass Tube for Handkerchief Tricks] + +The apparatus really consists of four pieces, the tube and the two +caps, with the addition of a cup, one and one-half inches deep, made to +fit easily into either end of the tube, and provided with a flange as +in the magic pistol already described, to enable the performer to palm +it off, (See Fig. 18). This cup is not provided with a bottom, but is +fitted with a piece of three-quarter inch tape fixed at each side, in +the centre of the tube, in such a manner that a loop hangs down flush +with, and forming a bottom common to, either end of the cup (as at A). + +The method employed in changing say a white handkerchief for a red one +being explained, the other uses of the tube will be apparent. Load a +red handkerchief into the cup at the end A, and place it under your +vest, or in the right-hand trousers pocket. Give the tube and caps for +examination, and while they are out of your hands, get possession of +the cup and palm it in your right hand. Take back the tube with the +left hand, pass it into the right, and over the cup; and fit the cap to +the opposite end. Turn over the tube, and with the right hand +apparently place the white handkerchief into it (the handkerchief +really goes into the cup and pushes the red one into the tube, +reversing the tape). Now place the right hand over the cup, reverse the +tube, and remark:--"As the cap has been on this end the whole of the +time, it has not been possible for the handkerchief to escape in that +direction. We will now place a cap on the opposite end of the tube and +we have the handkerchief secure." Saying this, reverse the tube, +palming off the cup while doing so; and while holding the tube in the +same hand, to hide the palm, fit on the cap. Give the tube to some one +to hold and drop the cup into the profonde, or otherwise dispose of it +at the earliest opportunity. On removing the caps the handkerchief will +be found to have changed color. + +At this point a good combination trick can be worked by the use of two +duplicate handkerchiefs as follows:--Have a duplicate red handkerchief +hanging over a chair, on the back of which is suspended a network +servante. Another duplicate white handkerchief should be in readiness +in the back of a match-box for producing from the flame of a candle as +previously described. + +When handing the gentleman the tube which is supposed to contain the +white handkerchief, you take up the red one from the back of the chair, +and at the same time dispose of the palmed cup by dropping it into the +servante. The red handkerchief is now vanished by sleight of hand, or +can be fired from the magic pistol, and eventually found in the brass +tube. + +To account for the disappearance of the white handkerchief you may +remark:--"Oh, I dare say the white handkerchief has jumped out of the +tube to make room for the red one. It has probably found its way into +the candle on the table." To conclude the trick you light the candle +and produce the handkerchief from the flame. + +The tube can be used in many ways in combination with other tricks, but +I must leave these to the ingenuity of the performer. + +To my friend, Adrian Plate, a wonderfully clever manipulator of cards +and handkerchiefs, I am indebted for the following new handkerchief +tricks, invented and performed by him, and for the first time +explained. + + +DISAPPEARING HANDKERCHIEF.--Obtain a small red silk handkerchief, also +a loose piece of silk of the same color about one and one-half inches +square. Keep this piece at the corner of the handkerchief with thumb +and first finger. Rub the handkerchief between both hands until you +have succeeded in getting it into small compass, taking care that the +small piece is at the top. Retain the handkerchief in the right hand +and with left hand pull up the right sleeve. Now with right hand pull +up the left sleeve, but leave the handkerchief in the bend of the left +arm, where it will be hidden by the folds of the sleeve, taking care, +however, that the small piece of red silk protrudes from closed right +hand, deluding the spectators into the belief that the handkerchief is +still in your hand,--for do they not see the corner of it? Now rub the +hands together and roll the piece into a small pellet, and palm it +between the bend of the thumb and first finger. Slap your hands +together, and show both sides. This is a most effective illusion, and +will deceive even the conjurers. + +[Illustration: Fig. 19.--For Vanishing Handkerchief] + +Another clever disappearing trick with a handkerchief is the +following:--Take a piece of flesh-colored thread, and place it about +the right hand, in the manner depicted in the illustration, (Fig. 19). +The dotted lines represent the thread on the outside of the hand. With +this simple device, a silk handkerchief can be apparently placed in the +left hand, when in reality it is stuck between the loop in the right +hand. The right hand can be freely moved. Vanish a handkerchief in +above manner from the left hand, and by grabbing in the air with your +right hand you reproduce the handkerchief. + +[Illustration: Fig. 20.--Handkerchief Clamp] + +[Illustration: Fig. 21.--Handkerchief Trick] + + +HANDKERCHIEF FROM TISSUE PAPER.--Take a small bit of soft copper wire, +covered with cotton (_e.g._, a piece of insulated telegraph wire), and +construct a clamp about the size shown in the diagram, (Fig. 20). A +small red silk handkerchief about ten inches square is folded as +compactly as possible and placed between the clamps. By pressing the +wire the handkerchief is kept securely fastened. Place the fake on your +table, the handkerchief pointing toward yourself, (Fig. 21). Now take a +piece of white tissue paper, four and one-half by seven inches, and lay +it over the handkerchief. This arrangement of course is effected before +the performance begins. With your left hand pick up the tissue paper, +and with the latter the fake containing the handkerchief. Now take the +paper in your right hand, which under cover of paper secures the clasp +(part A of fake) between the first and second fingers. The handkerchief +is now on the inside of the right hand, while the hand is perfectly +free in its movements. Exhibit both sides of the paper and smooth it +out. All you have to do now is to crumble the sheet of paper, work out +the handkerchief from the fake and insert the ball of paper into wire +clamp. Then show the handkerchief to the audience, and drop the fake +into your pochette. + +[Illustration: Fig. 22.--Handkerchief Trick] + +[Illustration: Fig. 23.--Handkerchief Trick] + + +THE NEW CYLINDERS AND HANDKERCHIEF TRICK.--For this capital trick you +must provide yourself with two glass cylinders closed at one end. They +may be procured from conjuring depots, or constructed out of lamp +chimneys, by cementing glass disks at the ends of the chimneys. +However, the student will find it more satisfactory to purchase these +cylinders from some reliable dealer in magical apparatus. Preferably +they should have rounded bottoms, as depicted in the illustration. The +effect of the trick is as follows:--On your table are two cylinders. In +front of each lies a handkerchief, one yellow, the other red. Now pick +up the left-hand handkerchief (yellow) and place it in the right-hand +cylinder, and the right-hand handkerchief (red) in the left-hand +cylinder, (Fig. 22). Lay the cylinders once more on the table, and make +a little speech about the rapidity with which articles sometimes change +places, under the influence of atmospheric electricity. Pick up the +cylinders, one in each hand, and move the hands quickly apart. In the +same moment the handkerchiefs change places like a flash of lightning. +The secret of this very clever illusion will become apparent on +consulting the diagram, (Fig. 23). The cylinders have little holes in +the bottoms. A strong silk thread is run through them and looped about +the handkerchiefs. A few trials will have to decide the proper length +of this thread. The explanation of this feat is simplicity itself, but +the effect is very bewildering upon an audience. It is one of Plate's +cleverest tricks and is performed by him with artistic finish. + + +THE HANDKERCHIEF BURNED AND RESTORED.--A clever trick is the +"Handkerchief burned and restored." It was a favorite with the late +Alexander Herrmann, who performed it in the most artistic and graceful +manner. It is a trick of pure sleight of hand, and requires no +apparatus or elaborate preparation, for which reason it is to be highly +commended to those who delight in digital experiments. Says Edwin +Sachs, the eminent English authority on legerdemain:--"If I wanted to +test a conjurer's ability, I should give him this trick to perform." +And yet it is made up of the simplest elements. By attention to the +rudiments of palming, etc., it becomes easy of execution. + +You commence operations by requesting the loan of a lady's +handkerchief. Take care to borrow one that is devoid of lace, or +special ornamentation--in other words a plain, white one. You come down +among the audience and extract a lemon from the hair or whiskers of +some gentleman, or better still from a lady's muff. Casually exhibit +the lemon, holding it beneath the nose of one of the spectators, +remarking:--"It is a genuine lemon, as you perceive." Borrow the +handkerchief, then wheeling about toss the lemon to your assistant on +the platform. Now request some gentleman to stand up and rub the +handkerchief between his hands. Advance toward the stage, but suddenly +wheeling about, look at your volunteer assistant, with well simulated +alarm on your face. + +"My dear sir," you remark, "what are you doing to that handkerchief? +You are rubbing it the wrong way. Kindly examine it." Much to his +surprise, he finds it in small pieces. You then take the pieces, +expostulating vehemently all the while with the gentleman, for having +spoiled your trick, likewise the lady's handkerchief. The more comedy +you inject into this little scene, the better. Finally you remark, "I +will show you, sir, how to restore the handkerchief." Pass the pieces +back to him, with the request that he rub them gently from "North to +South"; whichever way he performs the absurd movement, you cry: "Here, +here! Stop that! I said from North to South, and you are rubbing from +East to West. Let us see what you have done now." He shows the results +of his handiwork, but instead of the pieces there is now one long strip +of linen. Take this from him, and observe, with a melancholy air: "It +is no use trying. I see that you will never make a magician. Kindly +take your seat, sir, and study the points of the compass, before you +again presume to enter the magic circle." + +Offer the strip to the owner of the handkerchief, saying that it is no +fault of yours that it has been ruined. She will naturally refuse to +accept it. Then remark: "Very well, the only thing I can do is to buy +you a new one, next bargain-counter day, but in the meantime let us see +what we can do with this mutilated mouchoir." Return to the stage, pick +up the lemon, which has been placed on the table by your assistant, and +announce that you will shoot the strip of linen into the lemon. Load it +into your funnel-pistol and fire at the lemon. Then cut open the fruit +and take out the dummy handkerchief. Start towards the lady as if to +return it, but stop suddenly and remark, "This handkerchief smells +rather strong of lemon. Shall I perfume it for you, madam?" + +Without waiting for an answer place the handkerchief on a plate and +pour perfume over it, but accidentally put on too much. Pick it up, and +show it wet. Say you will dry it a little before returning it. Light a +candle, and while holding the handkerchief over the flame it ignites. +Drop it on the plate and offer it to the owner. Of course she will +refuse to accept it. Smother the fire and again offer the burned +remnants to the lady, making all sorts of excuses for the accident. As +she again rejects your offer, say that you will put the ashes in a +paper for her. Lay the plate on the stage, and go to your table for a +piece of newspaper. In the meantime your assistant creates a small +diversion by endeavoring to pick up the hot plate and place it on the +table. Several times he burns (or pretends to burn) his fingers, +dropping the plate, but finally succeeds. By this time you have come +forward with the piece of newspaper. Roll up the ashes in the paper, +and remark, "Here, madam, is what is left of your handkerchief. I +present it to you as a small souvenir of the entertainment. What, you +won't receive it?" Tear open the paper and take out the handkerchief +fully restored. Present it to the lady with your best compliments, and +you will be greeted with applause. + +The following is the secret of this ingenious trick: + +Take a lemon and prepare it by cutting a plug-shaped piece out of one +end. Now dig out all the pulp. Stuff an old handkerchief or piece of +square linen into the lemon, after which replace the plug and secure it +with pins. Palm the lemon in your right hand, holding the lapel of your +coat the better to conceal the fruit as you come down among the +audience. Under the waistband of your vest, on the left side, you have +secreted a bundle of about a dozen pieces of white muslin--say, three +inches square--and on the right side a strip of about three inches wide +and a yard long. On your table have a double piece of newspaper, about +a foot square, pasted together on three sides, so that it forms a sort +of bag, but appears like a single thickness. Also have on the table two +plates, a magic pistol, a perfume bottle filled with alcohol, a candle +and a candle-stick. After producing the lemon from the gentleman's +whiskers, take the lady's handkerchief in the left hand. As you turn +toward the stage to throw the lemon tuck the handkerchief under your +vest in the middle and pull out the pieces and long strip from under +the vest. Give the pieces to the gentleman who is to assist you, but +retain the slip. A judicious use of the wand will enable you to better +conceal the palmed linen, and to effect the several changes in an +indetectible manner. While explaining to the gentleman how to restore +the handkerchief, substitute the pieces for the long strip and give him +that to hold. Get rid of the pieces in your profonde. All is now plain +sailing until you arrive at the incident of the newspaper. While your +assistant is working with the supposedly hot plate, you will have ample +opportunity for stuffing the original handkerchief into the paper bag, +smoothing it out as flat as you can. Wrap up the ashes, and finally +tear open the paper through the outer thickness. The ashes will be +concealed by the inner cover. Crumple up the paper and throw it +carelessly on the stage. + +Some performers go behind the scenes to obtain the paper, and effect +the concealment of the original handkerchief, but this is unnecessary, +besides it detracts from the effect of the experiment. The diversion +created by your assistant with the hot plate will afford you ample +opportunity to get the handkerchief into the paper. + + + + +CHAPTER V + +TRICKS WITH BALLS + + +CREATION, MANIPULATION, MULTIPLICATION, AND ANNIHILATION OF BILLIARD +BALLS.--For the series of tricks hereafter described, you will require +two solid billiard balls, and a case to contain one of the balls, +consisting of two hemispheres of thin spun brass hinged together. When +closed this case will represent a solid ball, but when open and held in +the hand with the thumb over the hinge, will appear as two balls. The +balls, together with the case, should be enameled red. When about to +present the trick, come forward with the case containing a solid ball +in the left breast pocket, and the other solid ball under the left +armpit. + + +CREATION.--Pull up the right sleeve and then the left one, which gives +you the opportunity of taking the ball in the right hand unperceived. +You now execute what is known as the "Change-over Palm" to show both +hands empty, and then produce the ball from the back of the right hand. +This palm is made as follows: Having gotten the ball into the right +hand draw attention to the left with the fingers of the right, showing +it back and front. When doing this you will be standing with your right +side toward the audience. Now make a sharp half turn to the right and +show the right hand in the same manner. This you will be able to do, as +when making the turn the palms of the hands very naturally pass over +each other, and the ball is transferred from the palm of the right hand +to that of the left. + +The ball is now found on the back of the right hand. + +[Illustration: Fig. 24.--Revolving Ball] + + +MANIPULATION.--The amount of manipulation possible with a single ball +is considerable, and limited only by the dexterity of the performer. +The principles of sleight of hand as described in Chapter II. will, +with few exceptions, be found equally adaptable to this branch of the +mystic art. For the benefit, however, of those of my readers who have +not hitherto made sleight of hand a study, I append a few examples. + +1. Having obtained the ball from the back of the right hand, place it +between the two forefingers, (Fig. 24). Then twist the fingers round +and round, which will cause the ball to revolve with them. This +produces a very pleasing and puzzling effect, and is to all appearance +a feat of dexterity. It requires, however, very little practice. + +[Illustration: Fig. 25.--Ball in Position on Right Hand] + +2. Close the right hand and place the ball on the top, (Fig. 25). From +this position appear to take it in the left hand, really allowing it to +sink down into the palm of the right, where it is retained. Vanish the +ball from the left hand in the usual manner, and produce it from the +left elbow. + +3. Roll the ball between the palms of the hands as if you were trying +to make it smaller. When the left hand is underneath, seem to close it +over the ball, really palming it in the right hand. The left hand is +now brought down rather smartly on the back of the head, and the ball +produced from the mouth. + +4. Place the ball between the teeth and, apparently, give it a smart +rap with the right hand as if to force it into the mouth. The ball, +however, is palmed in the right hand, and immediately taken from the +back of the head. When producing the ball, pass it up the back and over +the top of the head, and let it fall into the left hand. + +5. Appear to take the ball from the left hand, as in "Le Tourniquet" +with a coin. Then apparently pass it through the left knee, producing +it from underneath. + +6. Throw the ball several times from one hand to the other, and +finally, when appearing to throw it into the right hand, palm it in the +left. Vanish the ball; place the left hand to the nose; and let the +ball fall into the right hand. To all appearances it actually comes +from the nose. + +7. Stand with the left side to the audience, and throw the ball into +the air several times. At the third time palm it in the left hand; the +effect being that the ball is vanished into thin air. Now perform the +"Change-over Palm," described above, and find the ball at the back of +the right knee. + +8. Apparently transfer the ball from the right hand to the left, really +palming it. Place the palm of the right hand (containing the ball) on +the right breast, and thence extend it over in the direction of the +left sleeve. In the act of doing this, the ball leaves the palm and is +held between the forearm and the body; the hand, turned palm toward the +audience, then pulls up the sleeve. You then blow on the left hand to +vanish the ball, and show the hand empty. + +To regain possession of the ball, all that is necessary is to reverse +the motion of the arm, when the ball will find its way into the palm of +the hand, and can be produced as fancy suggests. + +If the ball is not produced, the above forms an excellent final vanish +to any billiard-ball trick. + +If used as a vanish, after having regained possession of the ball, you +stand with the hands one on each lappet of the coat, bow, and retire. + +This pass, which I have found practical in every way, was given to me +by Mr. George Newman, a very clever amateur conjurer. + +The following explanations will to some extent be given in the +"vernacular," it being assumed that the student has become familiar +with the various passes. + + +MULTIPLICATION.--You must now obtain possession of the trick ball, +which can be done by means of the following ruse. Appear to place the +ball in the left hand, vanish, and take it from the left breast pocket. +In doing so you take out the trick ball, leaving the solid one behind. + +For two balls.--Take the trick ball in the left hand, and, waving the +hand up and down, open the shell, placing the thumb over the joint, +when you will appear to have two balls in the left hand. To show these +as two solid balls, one in each hand, take the ball out of the case, +which forthwith close. This can easily be done under cover of the right +hand. Draw attention to the ball in the left hand, and remark, "One, +and this one" (ball in right hand) "make two." As you say this you +appear to place the ball in the left hand, really opening the case to +represent two balls, and palming the solid one in the right hand. + +For three balls.--Produce the ball you have palmed from behind the left +knee, and really place it with the two others (case open) in the left +hand. Wave the left hand up and down, and under cover of the movement +allow the solid ball to slip into the case. Then produce the ball +previously left in the breast pocket, and you will seem to have passed +a ball up your sleeve. + +For four balls.--Draw attention to the two balls now in the left hand +(case open, with a solid ball in one half) and remark, "Two, and this +one" (ball in right hand) "make three." Saying which, you apparently +place the ball in the left hand, really palming it as before, and +dropping the ball out of the case under the cover of the right hand. +You now find the palmed ball at the left elbow, and really place it +with the other three in the left hand. You will now appear to hold four +solid balls. + + +ANNIHILATION.--Appear to take a ball in the right hand, really allowing +one to fall into the case. Vanish this ball in the act of throwing it +to the audience. You now actually take another solid ball in the right +hand and exclaim, "I will vanish this one into thin air. Watch me." +Actually throw the ball into the air several times, and while doing +this lower the left hand, and drop the solid ball out of the case into +the profonde, making a movement that the audience cannot fail to +notice. Thinking they have caught you, some one is sure to remark, "I +saw him put one in his pocket that time." To which you will reply, "Oh, +no, I did not put any in my pocket. I would not deceive you in such a +manner. Two and one" (the one in the right hand) "make three." You now +really place the ball in the left hand. + +Again appear to take a ball in the right hand, letting it fall into the +case as before. Then vanish it in the act of apparently throwing it +into the air. Wave the left hand up and down, and under cover of the +movement close the case, which will dispose of the third ball. + +Finally, make believe to take this last ball in the right hand, +standing with your right side to the spectators. Instead of doing this, +however, the case is opened, under cover of the right hand, and the +solid ball extracted. The right hand is then closed over the ball so +that it cannot be seen, and the left hand quietly places the case in +the profonde. It is well to again let this movement be suspected. Then, +looking at the right hand, remark: "I have now only to dispose of this +last ball." At this point some one is almost sure to say, "Oh! but I +saw you put it in your pocket." You will then cause considerable +amusement to the spectators, and bring derision on the party with the +voice, by showing the ball in the right hand. + +To cause the disappearance of the last ball make use of the pass +described under Example 8 (p. 97). + + +BILLIARD BALLS AND BASINS.--For the purpose of this trick you will +require two small basins and two tea plates. The plates are to act as +covers for the basins. In addition to these paraphernalia you will +require two india-rubber balls to match in size and color the ordinary +billiard balls. + +The effect of the illusion is as follows:--The two basins are shown +empty, and each is covered with a plate. In the course of the preceding +billiard-ball trick, or a portion of the same, two balls are vanished, +afterward appearing in the basins. + +To prepare for the trick, place one of the basins, containing one of +the balls, on the table, and cover it with one of the plates. On the +top of this plate place the other basin, containing the second ball, +covering the same with the remaining plate. + +When about to present the illusion, you take the top plate in the left +hand, and the basin in the right, fingers inside and thumb out. This +enables you to grasp the ball, and conceal it in the fingers, while +holding the basin so that the inside can be inspected. Place the basin +on the floor, retaining the ball in the fingers, and immediately take +the plate in the right hand, which again conceals the ball. Show the +left hand empty, also both sides of the plate. Then pass the plate back +into the left hand, taking the ball with it, and show both sides of the +right hand. Cover the basin with the plate and in doing so secretly +introduce the ball. + +You must now go through the same movements with the other plate, ball, +and basin, and the trick is practically finished. All that remains for +you to do now is to vanish two balls and find them in the basins. + +The india-rubber balls are essential for silence when dropped into the +basin. Ordinary wooden balls would rattle and thus betray their +presence. + + +COLOR-CHANGING BILLIARD BALLS.--There is a very old trick similar to +what I am about to describe, known as the "Chameleon Balls." In this +form of the trick the ball is caused to change by palming on, or off, +as occasion may require, half shells of different colors. I will now +explain a method of producing a result analogous to the old trick, but +brought about by entirely different means. + +The necessary accessories are a red, a black, and a white billiard +ball, all solid. Place the white ball in the profonde, and the black +one in the pochette, on the left side. Having arrived at the point in +Annihilation (p. 100) where all the balls have been disposed of with +the exception of the last solid one, you throw this in the air as if to +vanish it in that direction. While all eyes follow the ball in its +upward flight you lower the left hand and take the white ball from the +profonde, palming it. In doing this you would of course stand with the +right side to the audience. + + +THE CHANGE TO WHITE.--Make a half turn to the right and take the red +ball in the fingers of the left hand, in which you have the white ball +palmed. Then show the right hand back and front. Now take the visible +red ball in the fingers of the right hand, and, at the same instant, +make the "Change-over Palm." This brings your right side again to the +auditorium and enables you to show the left hand empty. + +To execute the change you place the red ball in the fingers of the left +hand, and then stroke it with the palm of the right; palming the red +ball and leaving in place of it the white one. Again make the +"Change-over Palm" showing the hands empty, with the exception of the +white ball. + + +THE CHANGE TO BLACK.--You take the ball in the right hand, and turning +to the left bring it down rather smartly on the table, to prove its +solidity. This gives you the opportunity of dropping the red ball into +the profonde and taking the black one from the pochette. + +To change the white ball to black you will proceed as in the previous +change, disposing of the palmed white ball at the earliest opportunity, +or it can be produced with good effect from the bottom of the trousers. +Then lay both balls down on the table. + +To appreciate and thoroughly understand the effect of the above, it is +necessary to actually practice the various movements with the balls in +front of a mirror. + + +THE DIMINISHING BILLIARD BALLS.--The trick under notice has for its +effect the apparent diminution of an ordinary billiard ball, first to +half its original size, secondly to one-quarter its original size, and +finally to a very small ball, with which several amusing passes are +made, and which afterward disappears entirely. + +[Illustration: Fig. 26.--Trick Balls] + +In this case a trick ball is used of a size equal to half that of the +ordinary one, and hollowed out so as to contain a solid ball of a +diameter equal to half that of itself, (Fig. 26). The hollow ball must +be so constructed that the small one pinches slightly into it, but can +be instantly released by simply passing the ball of the thumb over it. +A duplicate of this small ball should be placed in the right hand +waistcoat pocket for use in the latter part of the trick. + +The trick ball is placed in the left pochette, whence it is obtained +and used according to the instructions given in the "Color-changing +Balls." To produce the smallest size, hold the trick ball in the left +hand, having previously loosened the small one, and in the act of +stroking it with the right hand, palm off the hollow ball, and dispose +of it as soon as possible. + +With the small ball you now execute the pass as described under Example +4 on p. 96. Then actually place the ball in the mouth, pretend to +swallow it, and produce the one from the vest pocket, which will appear +to be the same. + +You now seem to place the ball in the left hand, really palming it; +then bring the left hand down with apparent force on the top of the +head, showing the ball between the teeth. Here raise the right hand as +if to take the ball from the mouth, but really push it back and show +the palmed one. Then repeat the same pass, but this time actually let +the ball fall from the mouth into the left hand, the right disposing of +the palmed ball into the profonde. + +I have seen a series of passes, including the above, performed with two +eggs in place of the small balls, but unless the performer be endowed +with a colossal cavity between the upper and lower jaws, I should not +advise him to attempt this. + + +THE HANDKERCHIEF BALL.--This forms a very good introduction to a +billiard ball trick, all that is required being a ball of the usual +size, hollowed out so as to take a handkerchief, with an opening one +inch in diameter on the surface. This ball is suspended behind the top +rail of a chair by means of a pin. + +After performing any trick in which a handkerchief has been employed, +carelessly throw it over the back of the chair while you roll up your +sleeves. If you do not care to roll up the sleeves, perform any small +trick before proceeding with the present one, otherwise it might be too +palpable that the handkerchief was thrown over the chair for a purpose. +Then take up the handkerchief (secretly securing the ball) and +gradually work it into the ball, being careful to keep the ball out of +sight as much as possible until the handkerchief has totally +disappeared. Finally throw the ball into the air, which can safely be +done providing it and the handkerchief are both of the same color, +which would not admit of the hole being observed. + +At this point, should you desire to proceed with a billiard ball trick, +you can do so by changing the hollow ball for a solid one in the same +manner that you changed the solid ball for the trick one in the +"Multiplying Billiard Balls." + + +THE DISSOLVING BILLIARD BALL.--This forms an excellent conclusion to a +billiard ball trick. A glass tumbler three parts filled with water is +given to a gentleman to hold. A ball is then covered with a +handkerchief and given to the gentleman with a request that he will +hold it over the glass and at the word "three" will allow it to fall +into the water. This is done, and upon the handkerchief being removed +from the tumbler, nothing remains but the fluid, which is perfectly +transparent, the ball having apparently been dissolved therein. + +The secret of this lies in the fact that the performer is provided with +a half shell of clear glass. This shell is secretly slipped over the +ball in the act of covering it with the handkerchief, and when handing +it to the gentleman the solid ball is palmed away by the performer. The +gentleman is not at all likely to discover that he holds only a half +ball, as, being hampered with the glass of water, he is effectually +prevented from making an examination. + +It is well to be provided with a tumbler the bottom of which is shaped +somewhat to fit the form of the shell, and ornamented slightly, but +this latter feature is not absolutely necessary. + + +FANCY SLEIGHT WITH A SMALL BALL.--A small ball is generally used for +this pass, but it is applicable to any object that can be conveniently +placed in the mouth. In effect it is as follows: A ball, for instance, +is rubbed into the left elbow and passed thence up into the hand. The +hand is then brought down rather smartly on the back of the head, the +ball being immediately afterward taken from the mouth. + +The sleight is thus executed: The performer takes the ball in his right +hand and commences to rub it into his left elbow. At this point he +apparently meets with an accident, dropping the ball on the floor. The +dropping of the ball, however, apart from being an accident, is +absolutely essential to the success of the illusion. After having +picked up the ball and while still in a stooping position with his back +toward the spectators, the performer quickly throws it into his mouth, +immediately facing round and drawing attention to the right hand the +fingers of which must seem to close round the object. The rubbing at +the elbow is again commenced and the right hand eventually shown empty. +The performer then makes a sign indicative that the ball has passed up +into the left hand, which is then brought down with apparent force on +the back of the head. The ball in the mouth is then revealed, when it +will appear to have actually traveled to that position. + +This sleight can very well be introduced at the close of the +Diminishing Billiard Balls. + +I am indebted to Mr. Ross Conyears, an exceedingly dexterous magician, +for the above. + + +ROUGE ET NOIR.--This pretty trick consists of causing two balls, one +red and one black, wrapped in pieces of paper and placed in borrowed +hats, to change places at command. The diameter of the balls should be +four and one-half inches. + +The solution of the problem lies in the construction of the papers with +which the balls are covered. They are arranged thus: Take two pieces of +newspaper and paste them together all round the edges, having +previously inserted between them a layer of red glazed paper of the +same shade as the ball. The other one is prepared in exactly the same +way, but contains a layer of black glazed paper to represent the black +ball. + +The two balls are now wrapped in the papers, care being taken to cover +the red ball with the paper containing the black layer, and vice versa. +After this has been done the performer feigns a slip, mixing up the +packages, and thereby confusing the audience as to the relative +positions of the balls. As if to satisfy them on this point he tears a +small hole in the outer covering of one of the parcels, exposing say +the layer of black paper. The parcel is then placed in the hat on the +supposition that it contains the black ball. + +The other package is now treated in the same manner, after which the +supposed transposition of the balls will be easily understood. + + +BALL, HANDKERCHIEF, AND TUMBLER.--This is a very good combination +trick, and as such will serve as an example for the arrangement of +others. A billiard ball is placed in a small tumbler, which is in turn +wrapped in a piece of newspaper and deposited in a borrowed hat. The +performer then takes a small silk handkerchief and rolls it up in his +hands, when it is seen to have become transformed into a billiard ball. +The glass is then taken from the hat, and, on the paper being removed, +is found to contain the handkerchief. The ball, handkerchief, and +tumbler, together with the piece of paper, are then caused to vanish, +one at a time, from the hands of the performer, who immediately +afterward produces them from the hat. + +The modus operandi is as follows:--A duplicate tumbler containing a +handkerchief, and wrapped in paper, must be secretly introduced into +the hat prior to the commencement of the trick. (See Hat Tricks.) The +tumbler containing the ball and wrapped in paper is then placed in the +hat. The performer now takes up a duplicate handkerchief, and under +cover of the same the hollow ball already described. The handkerchief +is worked into the ball, which is shown in due course, and laid on the +table, opening downward. The duplicate tumbler is then removed from the +hat, and found to contain the handkerchief. These articles, including +the piece of paper, are then laid on the table by the side of the ball. + +The performer now goes to the hat, and, under pretense of moving it +further away, turns it over, thus proving, in conjurer's logic, that it +is empty. This can easily be done by taking the hat fingers inside and +thumb out, the fingers being inserted in the top of the tumbler. The +performer then returns to the table and proceeds to dispose of the +articles thereon. + +The piece of paper rolled up, and the ball, are caused to vanish by any +of the means already explained. To cause the disappearance of the glass +you must be provided with a handkerchief, silk by preference, +consisting of two handkerchiefs sewn together round the edges, in the +centre of which is fixed a disk of cardboard of the same size as the +top of the tumbler. The tumbler being covered with this handkerchief, +the performer, as if to satisfy the spectators that it is still there, +strikes it several times on the back of a chair, and under cover of the +movement allows the glass to fall into the network servante. The +handkerchief, however, owing to the presence of the disk, still appears +to contain the glass, the ultimate disposal of which will now be +readily understood. + +In conclusion, the performer takes the handkerchief lying on the table +and vanishes it by palming in the ordinary way; the right hand being +immediately dived into the hat and the handkerchief produced. The other +articles should be removed one at a time, not forgetting to crumple the +paper into a ball before taking it out. + + + + +CHAPTER VI + +HAT TRICKS + + +The uses to which that piece of headgear, the much abused silk hat, +lends itself in "l'art magique" are almost innumerable. The chief, +however, and the one immediately under consideration, is the production +therefrom of a host of heterogeneous articles, of which the following +list will give an idea: + +_Fifty yards of sash ribbon, eight inches wide._--The ribbon should be +folded over and over, in large pleats, so that it can be readily taken +from the hat. + +_Two dozen fancy cardboard boxes, three and three-fourth inches by two +and one-half inches by two and one-half inches._--These are made to +fold flat, the size of the parcel when ready for introduction being +five inches by three and three-fourth inches by one and one-half +inches. + +_Two hundred flowers, known as spring flowers._--Each flower when +closed is very little thicker than brown paper, but immediately on +being released expands to the size of a full-brown tulip. One hundred +of these flowers, when closed, can easily be hidden in the hand. + +_A string of sausages._--These, it is hardly necessary to remark, are +imitation, being made in silk of the required color. + +_A bundle of wood._--This is made hollow, consisting of a cardboard +case with pieces of wood glued on the outside and on one end, the other +being left open. It is usually filled with baby linen, together with a +feeding-bottle containing milk. + +_One hundred yards of narrow, colored ribbon._--This is made in coils, +machine rolled, similar to that used for telegraph purposes. A coil of +this ribbon can very well be placed in the bottom of the sham bundle of +wood. When producing the coil it should be unrolled from the centre. + +_Four pound weight of playing cards._--These make a tremendous show +when strewn about the stage. A good plan, also, is to have a number +joined together in a long string by means of cotton. + +_A cannon ball._--This is usually made in zinc, five inches in +diameter, hollow, and provided with a sliding lid. It can be filled +with various soft goods, such as handkerchiefs, ribbons, etc., also +sweets and bonbons for distribution. + +_A solid wooden cannon ball._--This should have a three-quarter inch +hole, two inches deep, bored in it toward the centre, for facility in +introducing it into the hat. + +_A barber's pole, about thirty feet long and four inches to five inches +thick at the base._--This is made with stout colored paper, and pulls +out from the centre. If the pole be constructed of red, white, and blue +paper the performer, when introducing the trick, may announce that he +is about to erect the American Colors at the North Pole. + +[Illustration: Fig. 27.--Bowl of Gold Fish] + +_A bowl of gold fish._--This really consists of two bowls, one within +the other. The space between the two contains the water and fish, which +are inserted through a hole in the bottom of the outer bowl, the latter +being afterward corked. The inside bowl is filled with bonbons, etc. +(Fig. 27). The fish used are imitation, being made from pieces of +carrot cut to shape. + +_A large cage containing a live canary._--The cage, which is telescopic +in action, the upper part sliding down into the lower, is nearly twice +the height of the hat, and when once taken out cannot be put back. This +is owing to the fact that the seed boxes, which in their normal +position are on the inside, revolve on spring pivots, as the cage is +withdrawn, thus making it impossible to return it to the hat until they +are replaced. + +_Twenty pint tumblers, ruby and green._--These are made in celluloid +and fit one in the other. They are all of the same size, but being very +thin occupy very little more space than a single one. + +_Six champagne bottles._--These are not quite so substantial as they +look, being merely half-bottles in thin metal, japanned black, and +decorated with labels taken from the genuine article. A bottle with a +horizontal division in the centre, the upper part containing wine, and +the lower part a tumbler, is generally introduced with the shells. + +_A small rabbit._ + +_A Chinese doll._--Obtain a doll's head, five inches in diameter, from +any Oriental store, and drape it with a silk skirt. If a hole be cut in +the top of the head it can be utilized in the same manner as the cannon +ball. + +_A skull which rises spontaneously from the hat._--This is a model in +papier-mache, and being hollow, is very serviceable. It is caused to +rise from the hat by means of a black thread, which is carried through +a staple in the flies immediately over the performer's table, thence +through another staple behind the wings, and down to the assistant. + +It is not my intention to give directions for making these goods, as +they can be bought at a very small cost from any of the dealers in +magical apparatus. I have found by experience that this is the best +course to pursue. Amateur work is, as a rule, very commendable, but +scarcely so as regards conjuring, clumsy and ill-made apparatus being +absolutely useless, and consequently dear at any price. Apart from this +I have another, and what I believe to be a more important object in +view, viz., that of giving instruction in the actual working of the +trick. + +It will be at once obvious to the reader that the chief element in the +magical production of articles from a borrowed hat, is the manner in +which they are secretly introduced, as, should this be detected, the +trick would fail ignominiously. The main secret lies in the combination +of the looks and gestures of the performer to misdirect the audience. +The articles for the most part are introduced under cover of natural +movements, quickness being of little or no avail. + +I will now describe one or two methods employed to effect this +desideratum. + + +LOADING.--Under this heading I shall endeavor to give the working of a +hat trick as actually presented to an audience, using for the purpose +articles selected from the preceding list. The following preparations +must be made:-- + +A small rabbit is placed in the right hand profonde, and a billiard +ball and a small dinner plate are laid on the table. + +[Illustration: Fig. 28.--Double Wire Loop] + +A packet of one hundred spring flowers, secured by a band of tissue +paper, must be in the hands of the assistant at the right wing; and +another similar packet must be placed in the profonde on the left side. + +The sash ribbon, folded as instructed, is tied round the fancy boxes +together with the string of sausages, with black tape. The parcel is +suspended behind the back of a chair by means of a pin and a double +loop of florist's wire (Fig. 28), the tape being passed through the +small loop, which is then hung on the pin. This leaves the large loop, +the use of which will be noted in due course, sticking up over the back +of the chair, where, however, it is quite invisible at a few paces. + +The twenty pint tumblers are wrapped up in a piece of colored +sash-ribbon and tied round with tape to which is attached a loop of +wire. Thus prepared they are placed in the capacious breast pocket on +the left side, the loop projecting so that the thumb of the right hand +can be passed through it and the package withdrawn. + +The bundle of wood, containing the coil of ribbon, baby linen, and +feeding bottle, must be in readiness on the servante at the back of a +second chair. + +The skull, cannon ball, or globe of gold fish, whichever the performer +intends to use, is located on the servante at the back of the table. + +The next thing to do is to obtain the loan of a hat, and having done +so, it is well to perform a preliminary experiment with the same. A +very good one is that known as + + +THE MAGNETIZED HAT.--The performer places his hand, perfectly empty, on +the crown of the hat, which forthwith adheres to the palm, and in this +position it can be moved about and turned over in any direction. The +finger tips are then used in place of the palm with the same result. +Finally, a silk handkerchief is thrown over the hat, and the palm of +the hand placed thereon, but the effect is still the same. + +[Illustration: Fig. 29.--Apparatus for Magnetized Hat] + +This seeming impossibility is accomplished with the aid of the little +piece of apparatus illustrated in Fig. 29. It consists of a brass plate +fitted with two bent pins as shown, the whole being painted black. The +pins should be situated so that by placing the two middle fingers +between them the hat can be raised. The working of the trick will now +be readily understood. The clip must be pressed into the crown of the +hat while returning with it to the stage, the pin on the left of the +figure being inserted first. The clip is removed, with the +handkerchief, in the final stage of the trick. + +The ball and plate are now given for examination, and while all +attention is riveted on these two articles, ample opportunity will be +found to introduce the rabbit unobserved, which should be done while +amongst the audience. The hat is then covered with the plate, in which +condition it is carried back to the stage, and placed on the table. + +The performer now takes the ball, and vanishes it by palming; appearing +to pass it through the plate into the hat. The plate is then removed, +and the ball taken from the hat with the right hand, followed +immediately by the rabbit. + +The hat is now taken in the left hand, and the rabbit handed to the +assistant at the wings with the right. The assistant takes the rabbit, +and at the same time, under cover of the wing, gives the performer the +packet of flowers; the hat being immediately placed in the right hand +to conceal their presence. + +While drawing attention to the outside of the hat, the tissue paper is +broken with the fingers, and the flowers are released. They are then +shaken out slowly on to a large sheet of black alpaca, which should be +spread over the stage to receive them. While this is being done, the +package is obtained from the profonde, the hat being changed over into +the left hand, and the second load thus introduced. + +When the flowers have all been shaken from the hat, take it in the +right hand, fingers inside and thumb out, and approach the chair (this +should be on your right) on which is the bundle of ribbons, etc. Take +the top of the chair in the hand holding the hat, and in doing so, push +the forefinger through the loop of wire. Now move the chair away a few +paces, and when removing the hand from the back bring away the load, +which will fall into the hat unobserved. Leave the hat on the chair, +and take up the alpaca containing the flowers, putting it on one side. + +Up to this point, no one will suspect that the hat contains anything, +as what you have done has been but natural in the preparation of the +stage for the next trick. + +The boxes are now taken from the hat and placed on the table, followed +by the sausages. When removing the latter, some amusement may be caused +by referring to them as "an indefinable, condimental amalgamation of +membranaceous disintegrations." + +The ribbon is next pulled from the hat in long lengths with the right +hand, and when the hand contains a large quantity, the thumb is slipped +through the wire loop attached to the tumblers in the breast pocket. +These are introduced when inserting the hand to take out the next +length of ribbon. The introduction of the tumblers cannot be detected, +owing to the presence of the ribbon in which they are wrapped. When the +whole of the ribbon has been extracted, it is thrown over the back of +the chair, behind which is the bundle of wood. + +The tumblers are now taken from the hat, and placed on the table. + +The performer then takes up the ribbon from the chair, and makes an +effort to return it to the hat, thereby drawing attention to its great +bulk, and remarking, "Now, how do you suppose I am going to get home +with this? Why, I shall require at least two cabs." + +It is needless to say that under cover of the ribbon the bundle of wood +is introduced into the hat. The baby linen, feeding bottle, and coil, +are now produced, and finally the wood itself. It is usual when taking +the ribbon from the hat to spin it out on the wand. + +Holding the hat by the brim, fingers inside and thumb out, the +performer lowers it for an instant to the rear edge of the table, and +by inserting the middle finger of the hand into the hole in the cannon +ball scoops it up into the hat, which is forthwith raised and placed +crown downward on the table. + +This movement should be executed with the left hand while the right +lays the bundle of wood down on the table, and, if necessary, makes +room for the next production. + +The fish bowl, or skull, would of course be worked in a similar manner. + + * * * * * + +From the foregoing it will be seen that with a little expenditure of +ingenuity and trouble a hat trick can be carried on to an almost +indefinite period. It should not, however, in any case exceed fifteen +minutes. I have taken the preceding list simply as an illustration of +the way in which the various movements are combined to appear natural +and thus avoid detection, also as a basis on which the student may +arrange a hat trick of his own. Any articles can, of course, be +substituted for those given, or the list may be supplemented by others, +or cut down as occasion may require. An amount of sang froid and +boldness, only acquired from years of actual practice, is necessary to +execute a good hat trick faultlessly; but this should not disconcert +the reader, as it is only in accordance with what must be expected in +the acquisition of an art. + + +TO PRODUCE A NUMBER OF EGGS FROM A HAT HELD CROWN UPWARD.--For this +purpose you must be provided with a black linen bag, oval in shape, and +large enough to contain the required number of eggs. To one end of this +bag is sewn an ordinary tie clip, the other end being cut off and +provided with a piece of elastic so that eggs placed therein cannot +come out unless pressure be applied with the hand. The bag is loaded +into the hat by one or other of the methods described, and attached to +the lining of the same by means of the clip. Under these circumstances +the production of the eggs from the inverted hat will be an easy +matter. The eggs used should be blown ones. + +The bag should be allowed to remain in the hat after the last egg has +been taken from it, and removed later under cover of some other +article. + + + + +CHAPTER VII + +ANTI-SPIRITUALISTIC TRICKS + + +THE CLIMBING RING.--The performer having obtained the loan of a lady's +ring, passes it over the end of his wand, which he then holds in a +perpendicular position. The ring now commences to climb up the wand +very slowly, stopping or descending at command; finally it jumps right +off the wand and is caught by the performer, who immediately hands it +back to the lady. + +This pretty experiment depends entirely upon a black silk thread, about +twice the length of the wand, to which it is fixed at the uppermost +end. The means by which the thread is attached may vary, but a good +plan is to make a very small knot in the end of the thread, which is +then passed through a fine slit cut in the end of the wand, the knot +making all secure. The thread is then passed down the side of the wand, +in which position it will not be noticed. The ring is now dropped over +the wand, and consequently over the thread, by the manipulation of +which it may be caused to rise or fall, or, in response to a sharp tug, +to jump right off the wand. The wand is usually held in the left hand, +while the right, in which is the end of the thread, holds the lapel of +the coat, when all that is necessary to obtain the desired result is to +move the left hand to or from the body as required. + + +THE MYSTERIOUS NAME.--This is a capital trick, and one that can be +introduced at any time. The performer borrows a visiting card from any +stranger in the company, and, holding it between the thumb and the +second finger of the hand, he waves it about very slowly, at the same +time asking some one to call out the name of any celebrity. This having +been done the card is almost immediately handed back to the owner, who +finds the selected name written thereon. + +This ingenious trick is accomplished with the aid of a small accessory +in the shape of a thimble, to the end of which is attached a small +piece of pencil about a quarter of an inch in length. This thimble +having been placed on the forefinger of the hand, it will be found, by +experiment, that the name may very easily be written on the back of a +card held as instructed. + +Prior to, and immediately after the trick, the thimble may be palmed as +instructed elsewhere. + + +A NEW POSTAL TRICK.--This is very useful, as it can be employed in +conjunction with any trick where a word, message, total of sum, etc., +is to be produced in a magical manner. An ordinary postcard is handed +to a spectator with a request that he will tear a small piece from one +corner, and having done so, hand both portions back to the performer. +The corner is laid on the table and the card torn up into small pieces +which are then placed in the magic pistol (see p. 61), and fired at a +borrowed hat. The card is afterward produced from the hat covered with +writing, and fully restored with the exception of the corner, which on +being fitted to the card is found to correspond in every way. + +The trick is accomplished with the aid of a second card prepared with +the necessary writing, and from which a corner has been removed. This +card is secretly introduced into the hat when returning with it to the +stage. The performer, having palmed the portion missing from the card +in the hat, makes an exchange when laying the corner on the table. The +plain card is then torn into fragments, and together with its corner is +placed in the pistol, which is then fired at the hat. It is well to +place a piece of paper in the mouth of the cone to receive the torn +pieces of card, as by this means the danger of dropping any on the +floor is obviated. + +An additional effect may be obtained by having previously placed in the +body of the pistol a piece of paper containing a powder for producing +colored fire, when, after having disposed of the cup containing the +torn card, you appear to overhear a remark to the effect that you have +put something in your pocket, to which you reply, "No, I certainly did +not put anything in my pocket. See, here is the paper containing the +card" (really the package of colored fire). The package of powder is +then laid on a plate and fired, after which the card is removed from +the hat. + + +NEW SLATE TRICKS.--Under this heading will be noticed several methods, +all of recent invention, for performing the well-known slate trick. + + +FIRST METHOD.--Two ordinary school slates are given into the hands of a +spectator, who, after making a careful examination, ties them together +with stout cord, in which condition they are placed in the cabinet. +Writing is immediately heard, and when it ceases the slates are at once +handed out to the performer, who on separating them finds the required +message. + +The secret lies in the fact that the medium is provided with two small +wooden wedges; also an umbrella rib, to which at one end is fitted a +minute piece of pencil. All he has to do, therefore, is to force the +wedges between the slates on one side until sufficient space is +provided for the insertion of the rib, when the writing of the message +will be found an easy matter. + + +SECOND METHOD.--In this case the two slates, after examination, may be +actually screwed together with iron bolts, but in spite of this +precaution writing is obtained as before. + +Under these circumstances the performer is provided with a piece of +prepared chalk--not the conventional commodity as sold by every +chemist, but prepared by coating a piece of steel, about the size of a +pea, with chalk paste, which is then allowed to dry. The piece of chalk +is placed between the two slates, which are then bolted together and +put into the cabinet; when, under the influence of a powerful horseshoe +magnet passed over the outside of one slate as required, the prepared +chalk will produce the spirit writing. + + +THIRD METHOD (ONE SLATE ONLY).--After examination the slate is held by +the performer above his head, when almost immediately writing is heard; +and on the slate being turned round it is found to contain the desired +message. + +The slate, a small one for preference, is provided with a loose +vulcanite flap covering one side, and concealing the writing which is +already there. The performer hands the slate round for examination +(keeping the flap in position by means of the fingers), and asks a +spectator to initial it in one corner to satisfy himself that it is not +exchanged. This having been done, and while returning to the stage, the +performer removes the flap under cover of his body and places it in the +vest, or in the large pocket in the breast of the coat. He then holds +the slate above his head, fingers in front and thumbs behind. The sound +of writing is produced by scratching with one thumb on the back of the +slate, and when this has been continued long enough the message is +revealed. + + +FOURTH METHOD (ONE SLATE ONLY).--In this instance the slate, which is +an ordinary one, is shown to be clean on both sides, in which condition +it is given to a spectator to hold. The performer then takes a pistol +and, at a few paces, fires direct at the slate, on which, immediately +after the report, the message is discovered. + +To produce this startling effect all that is necessary is to write the +message on the slate with glycerine just before commencing the trick, +and to load the pistol with a small charge of powder, on the top of +which is placed a quantity of powdered chalk. + + +THE SPIRIT HANDKERCHIEF.--The effect of this trick, which is +exceptionally good, is as follows:--Several knots having been tied in a +large silk handkerchief borrowed from a member of the audience, it is +thrown on the floor of the stage when it immediately begins to act as +if it were a live snake, twisting and twirling about in every +conceivable form. The performer passes his wand over, under, and all +round the handkerchief, thus proving to the satisfaction of the most +astute that there are no connections. + +It is hardly necessary to say, however, that in spite of such +convincing proof to the contrary, connection is actually made with the +handkerchief, and it is done in the following manner:--A fine black +silk thread is stretched across the stage from one wing to the other, +the ends being in the hands of two assistants. Having obtained the loan +of the handkerchief, the performer, standing behind the thread, takes +it diagonally by two corners and twists it up rope fashion. He then +ties three knots in it, one a little below the centre, one a little +above the centre, and the third at one end. While this is being done +the assistants raise the thread round which the last knot, forming the +head of the snake, is actually tied; but owing to the thread being +invisible this will pass unobserved. + +Having made the last knot the performer drops the handkerchief on the +floor, when its emulation of a live snake will depend entirely on the +adroit manner in which the assistants manipulate the thread. Finally, +it should be made to jump into the hand of the performer, who should at +once hand it, with the knots still tied, to the owner. This is managed +by the assistant at one end dropping the thread and the other one +pulling it clear of the handkerchief. + + +THE MYSTERIOUS COMMUNICATION.--This trick, which is a very good one, is +performed by a method very little known. The effect is as follows:--Any +person writes on a piece of paper any word or series of words to form a +short sentence, and having done so, folds the paper and puts it in his +pocket. At this stage the performer introduces a reel of telephonic +wire, the end of which, containing a loop, is handed to the writer, +with a request that he will place the loop over the ball of the left +thumb. This having been done, the performer places the reel against his +forehead, and, after a few seconds' thought, writes the message, or an +answer thereto, on the blackboard. + +To obtain this result, all that is necessary is to be provided with a +piece of paper smeared over on one side with white wax, or common +washing soap; also a slab of plate glass by way of writing board. The +paper is placed on the glass, waxed side downward, in which condition +the assistant takes it to a gentleman in the audience. When writing on +the paper a very faint impression, invisible to any one who does not +actually look for it, is obtained on the glass. In the act of taking +the glass back from his assistant the performer obtains the desired +cue. The use of the wire is optional, but, of course, it adds much to +the effect of the trick. + + +THE GREAT DICTIONARY TRICK (NEW METHOD).--This is an improvement on the +old trick under this name, as any dictionary may be used, whereas +formerly the trick depended entirely upon a dictionary composed of one +page repeated throughout. The effect is as follows: + +The performer hands a sealed envelope to a spectator, asking him to +take care of it, and not break the seal until requested. A dictionary +is then given for examination, after which a lady inserts in it, at any +page, a playing card. A counter bearing a number, say twenty-seven, is +taken from a bag containing fifty, all numbered differently; the +dictionary is opened at the page containing the card, and due note is +taken of the twenty-seventh word indicated by the counter, and which +is, we will suppose, "Magic." The gentleman is next requested to open +the envelope, and on doing so finds to his astonishment that it +contains a card on which is written "Magic, n, sorcery; enchantment," +in exact accordance with the word chosen, apparently by chance, from +the dictionary. + +The seeming mystery is easily explained. Obtain a new twenty-five cent +pocket dictionary, and, having opened it somewhere about the middle, +bend the covers right back until they touch each other. Any new book +used thus will ever afterward, unless otherwise maltreated, open +readily at the same page. After the dictionary has been examined the +performer allows it to fall open at this page, into which he secretly +introduces a playing card previously palmed in his right hand. The book +is then closed. + +The performer, still holding the book, gives a card, identical in every +respect with the other one, to a lady, with a request that she will +insert it between the leaves in any position and push it right into the +book. The performer, of course, takes care that the two cards do not +clash. In this condition the dictionary is laid on the table. + +A small bag, preferably of silk, is next introduced, from which the +performer takes a handful of counters numbered from one to fifty and +gives them for examination, after which they are returned to the bag. +Any person is now allowed to place his hand in the bag and remove one +counter, but it is needless to say, however careful he may be, the +number chosen will be twenty-seven, which is accounted for by the fact +that the bag is provided with a division through its entire length, +forming two pockets, one of which contains the counters numbered one to +fifty, and the other, fifty counters all bearing the same number, _i. +e._, twenty-seven. + +The dictionary is now opened by the performer at his own page, which +every one will take to be the one chosen by the lady; some one is asked +to note the twenty-seventh word on that page as indicated by the +counter, the trick being brought to a conclusion as already described. + +The performer can always ensure the left-hand page of the opening being +read, by holding the book, with the card, in such a position that the +twenty-seventh word on the right-hand page cannot be seen. Care must +also be taken not to expose the duplicate card. + +By way of variation the chosen word may be produced with the +sympathetic ink, or it may be revealed by the method employed in "A New +Postal Trick." + +For the above trick, in the form described, I am indebted to Mr. +Maurice Victor, a most skilful exponent of sleight of hand. + + +LONG-DISTANCE SECOND SIGHT.--Two performers, usually a lady and a +gentleman, are required for this seance. The gentleman introduces the +lady, who is then escorted by a committee, chosen from the audience, to +a room in a different part of the house, in which she is secured under +lock and key. Several of the committee then guard the room, while the +others return to the concert-hall and give the performer the following +particulars:--Time shown by any watch (not necessarily the proper +time); initials of any person in the room; any number of four figures; +any word of four or five letters; number of cigarettes in any case, and +kind of case; amount of money in any purse, and kind of purse. After +this has been done a member of the committee takes pen, ink, and paper +to the lady, who immediately writes down the time, initials, number, +etc.; these, on examination, are found to be correct, although she has +never left the room, neither has the performer left the stage, and no +connection of any description exists between them. + +This inexplicable performance is thus accomplished: The performer is +provided with a small writing pad, three and one-half inches by two +inches, consisting of a piece of cardboard, on which are held, by means +of two elastic bands, several cigarette papers. This pad, together with +a small piece of soft lead pencil, is placed in the right-hand trousers +pocket. As the various items are called out, the performer stands with +his right hand in the pocket, a perfectly natural attitude, and appears +to be thinking deeply; but he is really writing down the particulars, +one under the other, on the cigarette paper, which, with a little +practice, can be done quite legibly. He then tears off the paper and +rolls it into a small ball between the fingers. + +A piece of plain paper is now obtained from any member of the audience, +in order to prove that a prepared piece is not used, and together with +a fountain pen, supplied by the performer, is taken, by one of the +committee, to the lady. While the paper is being obtained the performer +has ample time to remove the cap from the pen, and, before placing it +on the opposite end of the pen in the place provided for it, he inserts +in it the small ball of paper, which is thus secretly carried to the +lady. On receipt of the pen and paper the lady requests to be left +alone for a few seconds, as otherwise she will not be able to obtain +the aid of "the spirits," and in the absence of the committeeman she +takes a hairpin, and with it extracts the ball of paper from the pen, +reads, and writes out the required information. + +It is necessary that the order in which the various items are called +out should be known alike to the performer and medium, as otherwise the +"time" might be mistaken for the "number," and other errors might +occur. A number of letters to indicate the various kinds of purses and +cigarette cases, as "L" for leather, "S" for silver, etc., should also +be agreed on between the two parties. + +It will be obvious that the above trick is subject to much variation +according to the taste of the performer, and may be elaborated if +desired. A throw of dice; a person's age; or the name of a selected +card (write "8 D" for eight of diamonds, etc.) may be substituted for +any of the items given above. + + + + +CHAPTER VIII + +AFTER DINNER TRICKS + + +In introducing to my readers a series of simple, but effective, tricks +in magic, I would state that it has been my life study to popularize +the art of sleight of hand, simply because, at the outset, I was +impressed with the idea that, while having no desire to emulate the +skilled professional magician, certain very novel and entertaining +tricks were within the reach of all persons possessed with the least +desire to amuse their friends. + +Every one is not musical; every one cannot sing or recite; but every +one can, with but little practice, learn to perform the following +tricks, and thus put themselves in a position to brighten what might +otherwise prove to be a dull evening. + + +THE CHINESE CROSS.--The only properties required for this excellent +little trick are six stout straws of the kind used for lemonade, and +the small metal accessory shown at A in Fig. 30. The straws are +fashioned into the form of a cross as shown in the figure, which is +about half the actual size. It will be observed that pins are passed +longitudinally, through the three straws at each extremity of the +structure; this is done with a view to keeping it perfectly flat, +otherwise the binding where the two pieces intersect would not be +effectual. The piece of metal is next pushed into the centre straw at +the foot of the cross in such a manner that it will not readily fall +out, and so as to be entirely covered with the exception of the sharp +needle point. The cross is laid on the palm of the left hand; the right +hand makes a few passes over it, when it is suddenly seen to stand +erect, and to rise or fall at command. + +[Illustration: Fig. 30.--Chinese Cross] + +The method of working is as follows:--The cross is laid on the hand in +such a manner that its foot, carrying the metal fake, point upward, +comes in contact with the base of the middle finger; the point is now +inserted in the hard flesh at the base of the said finger, when it will +be found that to cause the cross to lie flat on the hand the fingers +must be bent at an angle of about sixty degrees to the palm. If the +hand be now straightened out very slowly the cross will rise gradually +until it assumes a perpendicular position--or ninety degrees. By a +slight movement of the fingers, practically imperceptible, and if +noticed at all raising no suspicion, the cross is caused to rise and +fall as often as desired. + +In view of the possibility of the cross being "snatched" by a person +overanxious to discover the secret, care should be taken to see that +the metal fake is attached to the hand more firmly than to the centre +straw. Perhaps the better way would be to work the trick with the fake +attached to the hand from the commencement, then the cross may be given +for examination at any time. + + +THE FLOATING METAL DISC.--Here a metal disc about the size of a quarter +is caused to sink or swim at command in water contained, for +convenience, in a shallow glass tray. + +The secret in this case depends upon duplicity; in reality there are +two discs, the one an exact duplicate of the other in appearance, but +considerably lighter in weight. Aluminium and zinc are alike in +appearance and afford the necessary disparity in weight. + +The zinc disc is given for examination, and a member of the audience is +requested to float it on the water; he, of course, fails. On receiving +back the zinc disc the performer "rings" it for that in aluminium and +proceeds to surprise the company. I have arranged a special sleight of +hand change for the trick as follows:--You carry a handkerchief in the +left breast pocket and the aluminium disc palmed in the left hand. On +receiving back the zinc disc in the right hand, you forthwith seem to +place it in the left hand, really palming it and showing its prototype. +The right hand now takes the handkerchief from the pocket and proceeds +to dry what seems to be the wet zinc disc. This latter action gives an +excuse for the transfer of the disc from one hand to the other, while +the handkerchief effectually conceals the "palm." + +The disc is now floated. The handkerchief and the zinc disc are now +transferred in a careless manner to the left hand, which forthwith +returns the handkerchief (handkerchief only) to the pocket. + +The performer is now in a position, at the conclusion of the floating, +to repeat the exchange above, dry the disc, and once more hand it for +examination. + +It is not absolutely necessary to give the metal for examination a +second time, in which case the duplicate may, after the first "change," +be disposed of entirely under cover of returning the handkerchief to +the pocket. + +When apparently wiping the disc dry be careful that it is never once +completely hidden from view, or an exchange may be suspected. + + +THE BALANCED COINS.--No particular dexterity is necessary to perform +the trick I am about to describe, although considerable care must be +exercised for its successful execution. The performer, having obtained +the loan of three pennies, lays them in a row on the palm of the left +hand, in which position they may be inspected by all present. He then, +with the thumb and second finger of right hand, grasps the edges of the +outermost coins and raises all into a perpendicular position. + +The trick is performed with the actual borrowed coins; the secret +depends upon the introduction of a little accessory in the shape of a +thin strip of wood one-quarter of an inch wide, and in length about +one-sixteenth of an inch longer than the combined diameter of the three +coins. At the commencement this strip of wood is held concealed in the +left hand, being held between the base of the thumb and the first joint +of the middle finger. The performer receives the coins in the right +hand, then transfers them to the left hand, secretly placing them in +the required position: the coins effectually hide the strip of wood and +all may be examined. Now by grasping the coins, together with the strip +of wood, (as explained above) no difficulty will be found in securing +the desired effect. In conclusion the coins are again laid carefully in +the left hand, then tossed with apparent carelessness into the right +hand and forthwith handed to the owner. + +The strip of wood is of course "palmed" in the left hand (as described +above) in the act of tossing the coins into the right hand. + + +MUTILATED CIGARETTE PAPER.--A pretty little trick of an impromptu +nature, in which a cigarette paper having been torn into a number of +pieces, the pieces being rolled up into a little ball, is afterwards +found completely restored. + + +FIRST METHOD.--The performer is smoking a cigarette; this is an +indispensable condition of the trick. By the side of the cigarette, on +the right, concealed between the lips, is a little paper ball made from +a duplicate whole paper. When presenting the trick, as when smoking in +the ordinary way, the cigarette is occasionally taken between the +forefinger and thumb of the right hand; experiment will also show that +the little paper ball may be removed and replaced, quite secretly, by +holding it between the finger and thumb of same hand. (See Fig. 31.) + +Thus prepared, the performer hands packet of papers to a gentleman, +with a request that he will take one, mutilate it, and roll up the +fragments into the form of a little ball. While this is being done the +performer casually shows both hands empty, occasionally removing the +cigarette from his mouth, and finally securing duplicate ball. Now, +under the pretense of showing the gentleman the proper way to roll the +paper, he takes it between the finger and thumb of the left hand, and +having rolled it about a little, passes it over to right hand, where, +under cover of the manipulations, it is passed to the rear, the +duplicate whole paper taking its place. (See Fig. 32.) The performer +now returns the paper (the whole one) to the gentleman with the right +hand, and forthwith, with the same hand, takes cigarette from mouth, +thus concealing duplicate ball between fingers (see Fig. 31) without +exciting suspicion. Finally the torn pieces are placed in the mouth +when returning cigarette, and kept there until an opportunity arrives +for removing them in secret. + +[Illustration: Fig. 31.--Cigarette Trick] + + +SECOND METHOD.--This is no less interesting than the method described +above. In this case the packet of cigarette papers is prepared +beforehand by rolling up one into a little ball, and fixing it on the +underside, near the edge at one end, of the second in order from the +top. + +Thus prepared, the performer removes the packet from his pocket, and +tearing off top paper, hands same to a gentleman with a request that he +will tear it into small pieces. Says the performer, "I will take one +and show you what I mean; tear it as I do." Saying this, he removes +second paper, and with it the duplicate ball. While tearing the paper +the little ball is kept concealed between the forefinger and thumb, by +no means a difficult matter, and occasionally passed from one hand to +the other that the hands may be shown empty alternately. When the +tearing is complete, the performer screws up paper with the remark, +"Now roll the pieces into a little ball like this--thank you, that will +do nicely." While giving these instructions he passes his torn paper to +the rear, where it is completely concealed by being pressed tightly +between first joint of finger and thumb; the duplicate ball being +presented at the extreme tips of same fingers. (See Fig. 32.) + +[Illustration: Fig. 32.--Cigarette Trick] + +Continuing, the performer remarks, "Now please take this little ball +and give me yours." This is done, care being taken not to expose +secreted ball. Performer now accuses gentleman of retaining one of his +pieces; this of course leads to an examination, whereupon the gentleman +and all present are surprised to find the paper completely restored. +Finally the performer unfolds the pieces of gentleman's paper, with +which he also mingles his own, with the remark, "You evidently don't +quite understand the trick, sir." + + +TO READ THE WHOLE OF THE CARDS IN A PACK JUST SHUFFLED (NEW +METHOD).--The performer gives pack of cards to be shuffled, and when +returned places them behind his back and calls out the name of a card. +He brings the card forward and throws it on the table, and continues in +this manner to name every card in the pack. + +The secret is exceedingly simple. A second pack of cards, prearranged +in a given order, is substituted, as hereafter explained, for the pack +shuffled by the audience. All the performer has to do then to make the +trick a success is to acquire a thorough knowledge of the order of the +cards in the prepared pack. The order of the fifty-two cards can be +learned in five minutes by the aid of the following mnemonic: + +_Five Kings wanted (one ten), six Knaves. For (four) twenty-three (two +three) ladies (queen) or eighty-nine (eight nine) slaves (seven)._ + +The above gives the order of the values of the cards only; the suits +must, of course, follow in regular sequence, say: Diamonds, clubs, +hearts, spades. Example: On the table, face upward, place the five of +diamonds, on this the king of clubs, on this the ace of hearts, on this +the ten of spades, on this again the six of diamonds; and so on +throughout the pack. Thus arranged, the pack may be cut to any extent +without disturbing the order of the cards. + +The exchange of packs is carried out under cover of a natural movement, +as follows:--Performer receives the shuffled pack in the left hand and +forthwith places it behind his back, resting the hand on the hip. The +right hand is now placed to the rear, ostensibly for the sole purpose +of removing the handkerchief from the left tail pocket, with which the +performer is subsequently blindfolded; the right hand, however, first +relieves the left hand of the shuffled pack and carefully lowers it +into the pocket containing the handkerchief and prepared pack; these +two latter are then removed together, the cards being placed in the +left hand and the handkerchief brought to the front. Performer now +requests some member of the audience to blindfold him in order to +preclude the possibility of his obtaining assistance from mirrors or +other reflecting surfaces. As he makes the request he turns round, +thereby casually drawing attention to the cards still in the left hand, +and which all present will readily believe to be those shuffled. + +The solution will now be clear, but various little additions will, +doubtless, suggest themselves in the working of the trick. For +instance, the performer may undertake to pick out any card called +for, which, with a little practice, will be seen to be easy of +accomplishment. If the card asked for is out he will state the fact. + +In making this reference I would state that the above doggerel rhyme +has been arranged, quite recently, by myself. It will be seen that it +gives a totally different order of the cards, a much-needed variation, +from the now hackneyed rhyme which for ages has appeared in all works +on card conjuring. + +[Illustration: Fig. 33.--Balancing Knives] + + +BALANCING FEATS.--Take three dessert knives and arrange them in +triangular fashion upon three tumblers. Upon the triangular space +formed by the intersection of the knife blades, deposit a water bottle, +and upon the mouth of the bottle an apple, (Fig. 33). It seems quite an +impossible feat, but it is readily accomplished. + +[Illustration: Fig. 34.--Balancing Forks] + +Another curious experiment in equilibrium is the following: Take a +couple of forks and arrange them with their prongs one set over the +other, and stick a silver dollar between the middle prongs, thus +uniting the two forks. This accomplished, place the coin flat on the +rim of a tumbler, pushing it outward until the two circumferences touch +externally. The coin with appendent forks will remain balanced much to +the surprise of the company, (Fig. 34). You may follow this up by +pouring the water steadily from the glass into a second glass, without +disturbing the money or the forks, which remain in equilibrio. The +above clever feats may properly be performed at the dinner-table after +dessert has been brought on. + + +WALNUT SHELLS AND PEA.--This is an excellent table trick, and can be +performed at close quarters without much fear of detection. The only +articles required for the execution of the trick are three half walnut +shells and a pea. The three shells are laid in a row on the table, the +pea being placed under the centre one, from which position it +disappears and is ultimately found under either of the end ones at the +will of the performer. The table used must be covered with a cloth of +some kind. + +The secret lies in the pea, which is fashioned from a piece of +india-rubber, but unless closely inspected cannot be distinguished from +the ordinary everyday article. When presenting the trick the pea is +actually placed under the middle shell. The shells are then, each in +turn, commencing from the one on the left, pushed up the table about +three inches. When moving the middle one the pea, owing to its nature +and the concavity of the shell, will be found to work its way out, when +it is instantly seized with the thumb and middle finger. This, however, +cannot be suspected, as the hand retains a perfectly natural position. +The third shell is then moved into a line with the other two. + +The pea can now be caused to appear under either of the shells at +pleasure, all that is necessary being to leave it on the table +immediately behind the shell in the act of raising the same. + +In effect this trick is identical with that known as "Thimble Rigging," +which it is therefore needless to describe, but the secret is much +prettier and calculated to deceive more thoroughly. + + +THE RESTORED CUT.--This is a very interesting little trick, and is +especially suitable for an after-dinner surprise. The performer takes a +needle containing about a yard of thread, and passes it through an +apple. The cord is then pulled backward and forward, after which the +apple is cut in half with a table knife; both portions are shown, the +cord having to all intents and purposes been severed. The two portions +are then united and the cord is pulled backward and forward as before. + +The performer prepares for the trick by passing the needle in at the +side of the apple and bringing it out at the end opposite the stalk, in +which condition it is laid on the table. + +When about to present the trick the performer takes up both articles, +which if held properly will appear to be separate, and announces that +he is about to pass the thread through the apple. He apparently does +so, but really inserts the needle at the point where it came out, +passing it to the opposite side. The thread is now pulled backward and +forward, when it will appear to actually traverse the centre of the +fruit. + +The apple is then cut in half, at right angles to the cord, which under +the circumstances will remain uninjured. The parts are now handed round +for inspection, care being taken to keep them together at the bottom, +after which they are replaced and the cord shown to be intact. At the +conclusion of the trick the thread should be withdrawn from the fruit +and given for examination; this also prevents the discovery of the +secret by any inquisitive spectator. + + +THE GARTER TRICK.--This is a very old trick, and from its title will be +recognized at once as common to the sharps who frequent race-courses. +It is not, however, generally known, and as it forms a good table trick +a description of it may not be out of place. It is usually performed +with a piece of stiff half-inch tape; an ordinary inch tape measure +will answer the purpose admirably. The tape is folded in half and +coiled round and round on the table until it is almost impossible to +tell for certain which is the loop proper, _i.e._, the point at which +the tape was doubled. (See Fig. 35.) The bystander is then requested to +place the point of his penknife in the loop, but however careful he may +be in his selection he will fail, as the performer is able to pull the +tape clear of the knife in all cases. The secret lies in the fact that +the tape is not folded exactly in half, one end being left shorter than +the other by about three inches. When uncoiling the tape, if the knife +be actually placed in the loop, and both ends are pulled from the point +A, it will not come away; but if the short end be passed round to the +left and both ends pulled from the point B, it will be found to come +clear of the knife. All the performer has to do, therefore, is to watch +and see if the knife is really placed in the loop or otherwise, and to +act accordingly. The short end is carried round under cover of the +fingers while twisting the tape. + +[Illustration: Fig. 35.--Garter Trick] + +Fig. 35 is arranged for clearness, but in actual practice the tape +would receive many more twists, which would also be of a more intricate +nature. + + + + +CHAPTER IX + +MISCELLANEOUS TRICKS + + +FLASH PAPER.--Having had occasion several times during the course of +the present work to make use of "flash paper," I will now describe the +manner in which it is prepared. It is not, however, practical to +manufacture it at home, as it can be obtained in large quantities at a +very small cost. + +A mixture of nitric and sulphuric acids, one part of the former to two +of the latter, is made, and allowed to stand for twelve hours before +using. The experiment should be made in the open air. Ordinary tissue +paper is then immersed in the fluid for a few seconds, after which it +is taken out and washed well in clear water, until all trace of the +acid has been removed. This can be ascertained by the use of blue +litmus paper, which when dipped into the water will betray the presence +of the acid by turning red. The paper should then be dried in a warm +atmosphere, but not near a fire, and it is ready for use. + +Flash handkerchiefs are prepared in a similar manner. For this purpose +take a piece of fine cambric, wash it well in hot water to remove all +grease and other impurities, and then treat it in the same way as the +paper. + + +A NEW FIRE FLASH.--This forms a very good opening trick. The performer +steps on the stage and, in what appears to be a careless manner, picks +up a piece of paper from the floor, rolls it up in his hands, and +throws it in the air, where it disappears in a flame, leaving no trace +behind. + +To produce this effect you must obtain some very fine glass tubing +about the thickness of a darning needle, and having broken off several +pieces about an inch long, fill them with sulphuric acid. This can be +done with the aid of a long piece of india-rubber tubing, the acid +being drawn into the glass by suction. The ends of the tube are then +sealed hermetically in the flame of a spirit lamp. You must next +prepare a powder composed of equal parts of chlorate of potass and +powdered lump sugar. Wrap a very small quantity of this powder--about +as much as will lie on a penny--together with one of the acid tubes in +a piece of flash paper, and all is ready. + +When rolling up the paper in the hands the tube is broken; the acid +escapes and fires the powder, which in turn sets fire to the paper and +produces the desired result. + +CAUTION.--To prevent accidents never prepare the papers or even mix the +powder, until actually required for use. + + +CONJURER'S AMMUNITION.--The magic pistol described on p. 61 is usually +loaded with a small charge of powder. This is excellent for stage +purposes, but hardly suitable for the drawing-room, where some +objection might be taken to the employment of powder, even in a small +quantity. The pistol, however, need not be discarded, as it can still +be used in a manner that will in no way detract from the charm of the +trick. Load the pistol with a piece of flash paper, place a percussion +cap on the nipple, and pull the trigger. The paper will take fire and +be thrown from the pistol, vanishing in a sheet of flame at the +opposite end of the room. + +Again, the pistol need not be loaded at all, but just as you are about +to fire you appear to understand that the ladies object, and +remark--"Oh! I see the ladies object to the report--well in that case I +will use the pistol as an air-gun." Saying this, you remove the conical +tube and blow through it to cause the supposed transmission. + + +SMOKE FROM TWO EMPTY PIPES.--Two empty and clean clay pipes are passed +round for examination and proved ostensibly to be unprepared. The bowls +are then placed one over the other, when the performer, by simply +inserting one of the stems in his mouth, commences to blow clouds of +smoke from the pipes. + +The solution of the mystery is as follows:--A few drops of hydrochloric +acid (spirits of salts) are placed in one of the pipes, while the other +is similarly treated with ammonia. The union of the two chemicals +produces a thick vapor, which has all the appearance of smoke produced +from tobacco. + +A good combination trick may be formed by preparing a glass tumbler and +the bottom of a tea plate, as above described; the plate is then placed +over the tumbler, the whole being covered with a handkerchief. The +smoke so mysteriously produced from the pipes may now be caused, +apparently by some occult means, to find its way into the closed +tumbler. + + +FIRE-EATING TRICK.--This, although a very startling trick, is quite +harmless, and can be performed by any one. Small balls of fire are +placed in the mouth and, apparently, swallowed, being immediately +afterward produced from the ears, or any part of the body that fancy +may suggest. + +The balls are small pieces of camphor cut to shape, and are lighted in +the flame of a candle. They should be tossed from one hand to the +other, and finally into the mouth, which should forthwith be closed. +This, of course, extinguishes the balls, which should be secretly +removed at the earliest opportunity. + +The reproduction of the balls of fire is managed with the aid of the +acid tubes mentioned on p. 160, which, together with a small quantity +of the powder, should be wrapped up in flash paper, and deposited about +the person as required. The best effect, however, is obtained by +producing them from behind the ears; it is also a very convenient +method, as the tubes are not so likely to be prematurely fractured. + + +EXPLODING SOAP-BUBBLES.--This is a novelty, and will be found to +produce a very good effect. The bubbles are blown in the usual way with +an ordinary clay pipe, the only preparation necessary being that the +bowl of the pipe must be filled with cotton-wool soaked in gasolene. +Bubbles blown with a pipe thus prepared will be found to explode in a +flame when approached with a light. + + +THE TUBE AND BALL.--This is a very ingenious trick, and well worth the +attention of the most fastidious performer. It can be used in several +ways. + +The apparatus consists of a piece of one and one-half inch brass tubing +about seven inches long, with a cap of the same metal fitting loosely +over one end; also two billiard balls about the size of the diameter of +the tube. The audience, however, are not supposed to know of the +existence of more than one ball. (See Fig. 35.) The tube and cap, +together with the ball, are given for examination, attention being +drawn to the fact that the ball will readily pass through the tube. +After examination the tube is stood on one end on the table and covered +with the cap. The operator then takes the ball and vanishes it by means +of sleight of hand, when, on the tube being raised, it has to all +appearance been passed underneath. + +[Illustration: Fig. 36.-Tube and Ball] + +The secret lies in the fact that there is a very small dent in the side +of the tube at the centre; also that one of the balls--that given for +examination--is slightly smaller than the other. The small ball runs +freely through the tube, but the large one will not pass the centre on +account of the indentation. + +On receiving back the tube the performer secretly drops the large ball +into it, which, owing to the force of the fall, is pinched in the +centre and will not fall out. In this condition the tube can be turned +about in all directions and will still appear empty. When placing it on +the table the performer is careful to bring it down rather smartly on +the end at which the ball was introduced, when, owing to the +concussion, the ball is released and falls on the table. + +The tube can be used to cause the disappearance of a ball in the +following manner:--Place the ball on a tea plate and cover it with the +tube, which in turn cover with a second plate. By reversing the +position of the structure the ball falls into the tube, where it is +retained in the manner described, and after a little more twisting and +turning, to add to the general confusion, the plates are removed and +the ball is proved to have disappeared. + +The ball can of course be reproduced if desired; or if two tubes are +used it may be, apparently, passed from one to the other. In this case, +however, it is suggested that round discs of wood be used in place of +the plates, as the latter would be likely to get fractured in the act +of bringing the tube down with sufficient force to dislodge the ball. + + +THE UBIQUITOUS THIMBLE.--This is one of the prettiest sleight of hand +tricks in existence, and requires very little practice. For the purpose +of the trick, in its entirety, the performer must be provided with two +thimbles exactly alike; but very many surprising passes can be made +with one thimble only. The idea of the trick proper is to cause a +thimble placed on the forefinger of the right hand to disappear and be +found on the corresponding finger of the left hand, without the hands +approaching each other. It is usual, however, in the first place, to +execute a number of passes with one thimble only, as by this means the +audience will be the less likely to suspect the introduction of the +second one. The main thing necessary is to acquire the knack of holding +a thimble in the fleshy portion of the hand at the root of the thumb, +in which position it can be placed, or removed at pleasure, by simply +bending the forefinger. (See Figs. 37 and 38.) This sleight must be +executed with equal facility with both hands. + +[Illustration: Fig. 37.--Thimble Trick] + +When about to present the trick the performer comes forward with a +thimble on the forefinger of the right hand, the second one being in +the left-hand trousers pocket. He now appears to place the thimble in +the left hand, but really, when the right hand is in motion toward the +left, it is palmed as described. The left hand is then brought down +with some force on the head and the thimble produced from the mouth on +the forefinger of the right hand. This can be done with perfect ease, +as, so long as the hand is kept in motion during the recovery of the +thimble, there is no fear of the movement being detected. + +[Illustration: Fig. 38.--Thimble at Root of Thumb] + +The thimble is then apparently placed in the mouth, really being palmed +as before, and afterward produced from the bottom of the vest. While +doing this the performer stands with the left hand in the trousers +pocket and palms the second thimble. Both hands are now held palms away +from the spectators, and kept in continual motion. Under cover of this +the right-hand thimble is palmed, and that in the left hand produced, +when it will appear to have been passed from one hand to the other. +This can be repeated as often as desired. + +Finally the second thimble should be secretly disposed of, and the +trick brought to a conclusion with a pass performed with the one only. + +An additional effect may be obtained by the use of two thimbles, one +fitting over the other. These should be made in thin metal so as to be, +in point of size, as near alike as possible. The two thimbles, which +appear as one only, are placed on the forefinger of the right hand, and +covered with a small paper cone, with the remark, "You see the cone +just fits the thimble; I will now show you a rather extraordinary +experiment with the same." The cone is then removed, with slight +pressure at the base, and placed on the table on the supposition that +it is empty, but it really contains the uppermost thimble. The one left +on the finger is then vanished, under cover of a throwing movement +toward the cone, which is then removed by the apex and the thimble +discovered. + +While all attention is drawn to the table the duplicate thimble is +dropped into the profonde. + + +THE MYSTERIOUS TAMBOURINE.--It is generally understood that, should the +silk hat go out of fashion, conjurers would be at a loss for a suitable +article wherewith to work the numerous "production" tricks. Should such +a calamity ever befall the profession the mysterious tambourine will, +to some extent, come to the rescue. + +The apparatus consists of two nickel-plated brass rings, eight inches +in diameter and one inch deep; the one fitting easily over the other. +(See Fig. 39.) The tambourine is constructed by placing a sheet of +paper between the two rings, and pressing the upper one down over the +lower, the edges of the paper being afterward trimmed round with +scissors. Thus prepared it is shown back and front. + +[Illustration: Fig. 39.--Tambourine Trick] + +The prestidigitateur then makes a small hole in the centre of the paper +with his wand, and immediately commences to twist out yard after yard +of colored paper ribbon, sufficient being obtained to fill a large +clothes basket. If the performer desires to add to the effect of the +trick the production of the ribbon may be preceded by that of a number +of handkerchiefs, also a quantity of spring flowers and other articles +of a like nature. Finally a rabbit or a large bird cage containing a +live bird may be produced from the pile of ribbon. + +The explanation is very simple. The tambourine is put together at the +rear edge of the table, and when taking it up prior to trimming the +edges, the coil, which was on the servante or suspended at the back of +the table, is brought away under cover of the paper and pressed into +the ring. The back of the colored coil should be rubbed over with chalk +to match the white paper used in the construction of the tambourine, +which can then be shown back and front, but will still appear empty. + +The flowers should be done up in three packets of twenty each and laid +on the coil, being covered with the handkerchiefs, which should be +folded up neatly. The packet is then tied together with thin cotton, +which can easily be broken when required. + +The rabbit is in readiness in the profonde on the right side, and is +introduced into the ribbon when picking it up from the floor. + +The cage, which should be a folding one, is suspended behind the back +of a chair, over which the ribbon would be thrown while performing a +simple trick with one of the handkerchiefs. In the act of taking the +ribbon from the chair opportunity would be found for introducing the +cage unobserved. + + +THE BRAN AND DOVE PLATES.--The trick about to be described, in its +primary form, consists of changing a quantity of bran or flour into a +live dove. It can, however, like the tambourine, be made available for +the production of various articles, and is especially suitable for the +magical distribution of bonbons, sweets, etc. + +The performer comes forward with an ordinary soup plate filled to +overflowing with bran, a portion of which is scattered over the stage +to prove its genuineness. The bran is then covered with a second plate, +which on being removed reveals a live dove, the bran having entirely +disappeared. + +The explanation is as follows:--One of the plates is fitted with a tin +lining, enamelled white on the inside to represent the china. (See Fig. +40.) The supposed bran is really this tin lining turned upside down +with bran gummed all over it; a handful of loose bran being thrown on +the top. It is hardly necessary to say that the dove is already in the +plate concealed by the bran shape. + +The false heap of bran is now covered with the second plate, and while +talking the performer, in a careless way, turns the plates over several +times, finally placing them on the table in such a manner that the one +that was formerly uppermost shall now be at the bottom. All he has to +do now is to remove the uppermost plate and take out the dove. The +inside of the bottom plate should now be shown, when it will appear +perfectly empty. + +[Illustration: Fig. 40.--Trick Plate] + +In place of the dove the plate may be loaded with sweets and small +toys, for distribution; or with a list of articles similar to those +produced from the tambourine. If a coil of ribbon be used it should be +a colored one, with one side rubbed over with chalk so that the inside +of the plate may be shown prior to its production. + +By using two pairs of these plates, and being provided with two doves +exactly alike, the bran in one may be made to, apparently, change +places with the dove in the other. + + +THE WANDERING STOUT.--The feat bearing this title consists of causing a +glass of stout to pass through the crown of a borrowed hat. Having +obtained the loan of two hats, the performer places them on the table +mouth to mouth, and stands the glass of stout on the crown of the +uppermost one, covering it with a paper cylinder of the same height as +itself. On removing the cylinder it is shown to be perfectly empty, the +glass being immediately taken from the lower hat. + +For the performance of the trick the operator must be provided with a +glass three and one-fourth inches high by two and one-half inches in +diameter at the mouth, tapering very slightly toward the bottom. The +kind known as picnic glasses will be found the most suitable. In +addition to the glass and the paper cylinder a piece of glass tubing of +the same height as the tumbler, and large enough to pass easily over +the same, will also be required. This piece of tubing must be blackened +on the inside to within one inch of the top, and finished with a little +white paint to represent froth, when, thus prepared, it will readily +pass for a glass containing stout. + +The paper cylinder, containing the sham glass, being on the table, the +performer comes forward with a bottle of stout and fills the tumbler. +He then takes up the cylinder and passes his wand right through it, as +if to prove that it has not undergone any preparation, after which he +places it over the glass of stout. He then puts the glass, still +covered with the cylinder, into one of the hats, with the remark "I +will now cause the tumbler to pass from one hat to the other," then, as +if struck with a sudden thought, changes his mind, saying, "No, perhaps +it would be more effective if I place the hats one over the other, and +pass the glass through the crown of the uppermost one." Saying this he, +apparently, takes the tumbler, still under cover of the cylinder, from +the hat, and places it in the required position. Really, however, the +stout was left behind, the cylinder and counterfeit glass alone being +removed. + +Now, in order to satisfy the spectators that the stout is actually on +the crown of the hat, the performer lifts the cylinder and exposes the +sham glass, which every one believes to be the genuine article. The +cover is then replaced and the tumbler commanded to pass into the lower +hat, after which it is again raised, together with the counterfeit, and +the wand passed through it as before. The hats are then separated and +the glass is produced from the lower one. + + +A CRYSTAL WATER MYSTERY.--Chemical tricks, as a rule, do not meet with +much favor at the hands of professional conjurers. The reason is pretty +clear, as, in the majority of cases, the modus operandi is too +palpable. The one here described, however, owing to the number of +changes produced, is an exceptionally good one, and is to be found in +the repertoire of the leading performers of the day. + +[Illustration: Fig. 41.--Water Trick] + +Four empty glass tumblers, together with a glass jug full of water, are +arranged on a tray as shown in Fig. 41. + +Water poured from the jug into-- + + No. 1, is seen to be clear. + + No. 2, changes to stout. + + No. 3, is seen to be clear. + + No. 4, again changes to stout. + + Nos. 1 and 2 mixed equal stout. + + Nos. 3 and 4 mixed equal water. + + Nos. 1 and 2 put back into the jug give all stout. + + Nos. 3 and 4 put back into the jug give all water, as at first. + +The explanation, although by no means obvious, is very simple. Glass +No. 1 is perfectly clean. No. 2 contains a small portion of pyrogallic +acid, about the size of a pea. No. 3 is prepared with half a +teaspoonful of sulphuric acid. No. 4 contains the same quantity of +pyrogallic acid as No. 2. The jug contains clear water, into which a +teaspoonful of sulphate of iron is dropped just before the trick is +commenced. The iron should not be placed in the water until actually +required for use, as the solution changes rapidly to a yellow color, in +which condition it would not very well pass for water. For the same +reason the jug should be removed immediately after the trick. + +Some performers prefer to use the following chemicals in place of those +enumerated above. I will give them in the same order, and then the +magician may choose for himself. Glass No. 1, as before, is quite +clean; No. 2 contains a few drops of muriated tincture of iron; No. 3, +a teaspoonful of a saturated solution of oxalic acid; and No. 4 is +prepared in the same manner as No. 2. A teaspoonful of tannic acid +should be added to the water in the jug prior to the commencement of +the experiment. + +I myself always use the sulphuric acid, as I believe it produces the +best result, but in the case of a spill it is very dangerous, and on +this account the latter method is to be preferred. The changes, in +either case, are quite instantaneous, hence the trick produces a most +extraordinary effect. + + +THE WIZARD'S BREAKFAST.--The magical production of steaming hot coffee +has always been a favorite trick with the juveniles, especially when +the beverage is handed round for their consumption, and various pieces +of apparatus have been designed for effecting this purpose. The most +up-to-date method, however, is the one hereafter described: + +Two boxes, without lids, sizes about twelve inches by eight inches by +eight inches, usually fitting one within the other for convenience in +traveling, and containing respectively cuttings of blue and white +paper, are introduced to the audience. Two pint goblets, in metal, are +then filled, one with blue and the other with white paper from the +boxes, after which they are covered with small silk handkerchiefs. On +removing the handkerchiefs the blue and the white papers are found to +have been transformed respectively into hot coffee and hot milk. The +performer then pours a portion of each fluid into a breakfast cup, and +makes a motion as if throwing the whole over the audience, when nothing +falls but a shower of blue and white paper cuttings, every vestige of +the coffee and milk having disappeared. + +[Illustration: Fig. 42.--Trick Tumbler] + +There are in reality four goblets employed in the trick, two of which, +containing the fluids, are concealed in the boxes unknown to the +spectators. These two are provided with shallow trays fitting loosely +within them at the top, each tray being filled with paper of the +required color. (See Fig. 42.) + +When presenting the trick the performer comes forward with the box +containing the white paper, and throwing a handful in the air, calls +out, "Out in the cold," which remark is perfectly justifiable, as the +paper gives a faithful representation of falling snow. Placing this box +on the table, and taking up that containing the blue paper, he scatters +a handful over the stage with the remark, "This is the same as the +white, only the wind blue it." He now takes one of the goblets from the +table and appears to fill it with white paper, but really, while in the +box, an exchange is made for the one containing the milk, which, owing +to the presence of the shallow tray, will appear to be full of paper. +This is then covered with a handkerchief, after which the second goblet +is treated in like manner. + +The shallow trays have each a piece of wire projecting from their upper +edge to enable the performer to remove them under cover of the +handkerchiefs. The handkerchiefs are thrown in a careless manner over +the sides of the boxes, into which, if sufficient paper has been +provided, the trays may be allowed to fall. + +[Illustration: Fig. 43.--Cup and Saucer] + +The cup and saucer will next require our attention. These are of metal +in imitation of the genuine article, the saucer being made double, with +a small hole in the centre of its upper side, for a purpose that will +presently appear. The cup is provided with a perpendicular division +nearly in the centre, a small hole being drilled in the bottom of that +side next to the handle. (See Fig. 43.) + +The front and larger side is filled with a mixture of blue and white +paper cuttings, and thus prepared, together with the saucer, it is +placed on the table. When pouring the coffee and milk into the cup the +performer takes care that it goes into the space provided with the +small hole, through which it immediately runs into the body of the +saucer. + +It is usual to bring the trick to a conclusion by apparently throwing +the fluid over the audience as already described, but should the +performer be provided with a number of small cups and a tray, that +portion of the beverage not used may be handed round as refreshments. + + +THE HYDROSTATIC TUBE.--This is a trick of comparatively recent +invention. It requires very careful handling, and the performer must be +possessed of almost superhuman nerve to present it successfully to a +critical audience. It produces, however, a most extraordinary effect, +and on this account is to be recommended. + +A piece of paper is placed at the bottom of a glass tube or chimney +used for gas, which is then filled with water, while the top of the +tube is covered with a second piece of paper. The right hand is then +placed on the top paper and the position of the tube reversed. The +papers are then, each in turn, removed, but the water does not fall +from the cylinder; on the contrary, it remains suspended without +visible means of support. The papers are now replaced, and the top one +is pierced with a hatpin, when, on the pin being withdrawn, the water +at once falls into a basin placed ready to receive it under the tube. + +This surprising result is due entirely to a well-known natural law, +viz., the pressure of the atmosphere, and is nothing more nor less than +a modification of the old schoolboy trick of keeping a glass of water +inverted by means of a sheet of paper. The new arrangement will, +however, require special explanation. + +Each end of the cylinder is fitted with a glass cap, grooved to fit +into and over it at the same time; this is necessary to avoid slipping. +The ends of the tube, also the edges of the caps, must be ground, so +that the point of juncture shall be air-tight. One of the caps has a +small hole drilled through the centre. (See Fig. 44.) + +When about to present the trick the two glass caps are laid on the +bottoms of two upturned tumblers, where they are quite invisible. The +performer then draws attention to two square pieces of paper, which he +dips into the water contained in the bowl, afterward laying them down +on the glass tumblers, and over the glass discs. He next shows the +tube, passing his wand through it to prove that it has not undergone +any preparation. Then taking one of the papers, and at the same time +secretly securing one of the discs (not the one with the hole in it), +he places it at the bottom of the tube, which is forthwith stood on the +palm of the left hand. The tube is then filled with water and covered +with the remaining piece of paper and glass cap. + +[Illustration: Fig. 44.--Hydrostatic Tube] + +The position of the tube is then reversed, after which it is taken by +the centre and both papers are removed. The water will not run out from +the small hole in the bottom cap owing to the fact that no air can get +in at the top. The glass caps being absolutely invisible, the water +will now appear to be suspended in the tube without any natural means +of support. + +The papers are again placed on the ends of the tube, where, being wet, +they readily adhere. The hands are now placed one on each end and the +tube is reversed; this is necessary to bring the cap with the hole in +it to the top. The top paper is then pierced with the hatpin, which, +passing through the hole in the cap, gives the impression that there +cannot be anything but the paper covering the ends of the tube. When +the pin is withdrawn the air rushes into the tube, and, as a natural +consequence, the paper and disc fall from the bottom, liberating the +water. The bowl should be half full of water when the cap falls, to +avoid fracture of the glass. The cap is then brought away from the top +of the tube under cover of the piece of paper, and both are dropped +into the bowl, when the tube can be once more given for examination. + + +THE HYDROSTATIC TUMBLER.--This trick, which is similar in principle to +that immediately preceding it, is preferred by some as being less +cumbersome; it is also easier to work and consequently entails less +anxiety on the part of the performer. The effect, however, although +pretty, is not quite so startling. + +The necessary apparatus consists of a glass tumbler with a small hole +drilled in the side one inch from the bottom, the mouth of which must +be fitted with a glass cap in the same manner as the tube in the +preceding trick. (See Fig. 45.) + +[Illustration: Fig. 45.--Hydrostatic Tumbler] + +The performer having drawn attention to the tumbler, also a small piece +of paper, dips the latter into a bowl of water, and lays it down over +the glass cap. The tumbler, held with the thumb covering the small +hole, is then filled with water from the bowl, and covered with the +piece of paper under which, unknown to the audience, is the glass disc. +The glass is then inverted and the paper withdrawn, the water remaining +suspended without visible means of support. The tumbler can now be +turned about in any direction, without the least fear of the water +escaping, so long as the thumb is kept over the small hole in its side. +It can also be stood on the table, the hand being removed entirely; the +water cannot escape through the small hole owing to the presence of the +cap. + +The tumbler is once more raised and inverted, when the performer +undertakes to cause the water to fall at any given number counted by +the audience. This last effect, which adds considerably to the trick, +is brought about by very simple means; all the performer has to do is +to remove the thumb covering the small hole, when the air rushes in and +causes the disc to fall. The bowl, as before, should be half full of +water, to provide a cushion for the falling disc, which under these +circumstances will not be injured, nor its presence detected. + + +PAPER CONE, WATCH, RABBIT, AND BOXES.--The effect of this excellent +stage trick is as follows: A watch is borrowed and dropped into a +conical paper bag held by one of the spectators. The performer then +loads the magic pistol with a small silk handkerchief; this he fires in +the direction of the bag, after which the bag is opened and found to +contain the handkerchief, the watch having disappeared. Attention is +next drawn to a box, which has been hanging over the head of the +performer from the commencement of the entertainment, and which on +being opened is found to consist of a nest of six boxes, the smallest +of which contains a rabbit with the borrowed watch tied round its neck. + +The main secret of the trick lies in the paper bag, which is really +double, consisting of two pieces of paper gummed together round the +edges, the corner of one piece being removed, as in Fig. 46. + +[Illustration: Fig. 46--Paper Cone] + +At the commencement of the trick a small silk handkerchief is hidden +between the two pieces of paper. When making the bag it must be so +arranged that the corner at which is the opening is at the top. Under +cover of the point of the bag the handkerchief is removed from its +place of concealment and dropped into the bag proper, the double side +being immediately pulled over to the opposite side of the bag to again +conceal the handkerchief. If the bag is well made, and this side well +creased over, a casual glance into its interior will reveal nothing +suspicious. In this condition the bag is given to a spectator to hold, +and he is then requested to drop the watch into it, which he does, as +he thinks, into the bag proper, but really the watch falls into the +position previously occupied by the handkerchief. The top of the bag is +then folded over. + +The performer now loads a duplicate handkerchief into the pistol, and, +having disposed of it in the usual way, fires in the direction of the +bag. He then unfolds the bag and shakes out the handkerchief, being +careful to hold the watch so that it does not fall at the same time. He +then crumples up the paper in his hands, and in the act of doing so +tears out the watch, which is forthwith palmed, the paper being thrown +away. + +The box, which should be suspended with two cords over pulleys, is then +lowered; and when taking it in his hands to place it on the table the +performer is able to secretly attach the watch to a swivel hook which +is hanging on the side most remote from the audience. This swivel hook +is attached to the ribbon round the rabbit's neck, the arrangement +being as follows:--The ribbon is tied round the rabbit, which is then +placed in the smallest box, the ribbon being allowed to hang outside +the box when the lid is closed. The box is then placed in the next +larger one, the ribbon still being allowed to hang outside. This is +continued until the ribbon is left hanging on the outside of the last +box. + +The solution will now be clear. As the boxes are removed one after the +other the watch is suspended behind that last exposed; and when the +rabbit is taken out it will be impossible to tell that the watch was +not actually removed from the same box. + + +THE MAGICAL PRODUCTION OF FLOWERS.--Whenever possible, it is always +best to lead up to an elaborate trick with a succession of smaller +illusions of the same nature. This is well illustrated in the +"Marvelous production of Flowers," which in good hands is a most +pleasing and mysterious experiment. Flower tricks always take well, +especially with the feminine part of the audience, and ambitious +amateurs should strive to have at least one good illusion of this +character on their programmes. The magician comes forward, with the +announcement, "Ladies and gentlemen, I notice that in my hurry I have +neglected to provide myself with the customary buttonhole bouquet, but, +fortunately, I have here a quantity of magic seed capable of producing +a rose garden if required." Show a small box, which is supposed to +contain the seed, while in reality it is empty. "You see I have only to +place a single seed here in my buttonhole and after breathing on it a +moment, to supply the necessary heat, I touch it with my wand and +instantly we have a beautiful rose. Now, if some gentleman will kindly +loan me a silk hat for a moment, I will show you a method by which +bouquets may be produced while you wait. I only have to place the hat +over this glass goblet, which, you see, is quite free from deception, +and here we have a handsome bouquet." Remove the hat and find the +goblet still empty. "How is this? Ah, I remember now, I neglected to +put any of the magic seed in the goblet. I will just put in a pinch of +various kinds and try again." Place hat over the glass again and +instantly raise it, and discover a large bouquet. "You perceive the +seed acts instantaneously." + +While saying this brush the hat carefully and walk down as if to return +it, still holding the box of seed. Once among your audience you +exclaim, "What is that? You don't believe me? Why, see here; by just +putting a pinch of the seed into this hat and breathing on it, thus, I +will produce bouquets for all present." Show hat nearly full of small +bouquets and distribute them. Then return hat saying: "I thank you, +sir, for the use of your hat, which seems particularly fitted for +raising flowers." + +Now for the explanation:--To prepare for producing a flower in the +buttonhole, take a piece of black elastic cord about a foot in length +and put one end of it through the centre of an artificial rose, from +which the stem has been removed, knotting the end to keep it from +slipping through. Pass the other end through the buttonhole, also +through a small hole made in the coat just behind the buttonhole, and +then down and fasten to the suspender button on the back of your +trousers. Draw the flower away from the buttonhole and conceal it under +the left armpit, and as you touch the spot with the wand raise the left +arm slightly, freeing the flower, which will instantly fly to the +buttonhole. + +[Illustration: Fig. 47.-Production of Flowers] + +After borrowing the hat place it over the glass, as above, and after +removing let the brim rest on the table a second while looking at the +glass. During this brief time slip your finger into the little +cardboard tube which serves as a handle to the bouquet, which lies on +the shelf at the back of your table and just beneath the hat. By +closing the fingers the bouquet is brought into the hat. (See fig. 47). +This takes only a fraction of a second, and as all are looking for the +bouquet in the glass the movement is entirely invisible. As soon as the +hat is "loaded" raise it quite a distance above the table and hold it +there while you pretend to put the seed in the glass. As soon as the +bouquet is shown in the glass, let the hat rest on the table as before, +and introduce the small bouquets, which are tied together with a weak +thread and are provided with a tube like the large bouquet. When you +appear to put the seed in the hat, break the thread and shake up the +bouquets loosely, and they will nearly fill the hat. Of course you must +keep your eyes fixed on the goblet while loading the hat, and never +allow yourself to glance toward the left hand which holds the hat, as +that would give your audience a hint that something was going on in +that quarter. + +[Illustration: Fig. 48.--Production of Rose-Bushes] + +We now come to the production of rose-bushes from flower-pots which +contain nothing but a small quantity of white sand. It is Kellar's most +famous illusion. Two small tables, draped within a foot or more above +the floor, are seen on the conjurer's stage. On each table is a +miniature stand on which are flower-pots, (Fig. 48). After the pots +have been examined by the spectators, the performer places them on the +stands, and plants seeds in them. A pasteboard cone, open at both ends, +is exhibited, and placed for a second over flower-pot No. 1. When it is +removed a green sprig is seen, which the magician declares has just +sprouted. He then places the cone over flower-pot No. 2. Removing it a +full grown rose-bush appears, covered with buds and roses in full +bloom. A second rose-bush is then produced from flower-pot No. 1. The +roses are culled and presented to the ladies in the audience. The +following is an explanation of the trick: + +[Illustration: Fig. 49.-Table for Flower Trick] + +The tables are open at the back, the drapery not extending completely +around them. Attached to the leg of each table is a small shelf, which +is of course concealed by the drapery, (Fig. 49). The bushes are +stumps, to the branches of which are tied the roses. Each bush has as a +base a circular piece of lead, which fits into the flower-pot. The +bushes are suspended inside of the cones, (Fig. 49 A) which are placed +on the secret shelves above described. The performer covers the first +pot with the cone in his hand, and drops from his palm the green sprig +which sticks into the sand. As attention is being called to the sprout, +the magician drops the empty cone, just shown, down behind the table +over the prepared cone and rose-bush and brings them up under cover. +The loaded cone fits closely into the empty one, but as an additional +security is held in place by the fingers of the performer. He goes to +the second table and places the cone over the flower-pot. The rose-bush +is allowed to drop into the pot, the thread which fastens it having +been detached. The bush is now shown. As soon as the cone is removed +the hand naturally and carelessly drops behind with it over the next +prepared cone on the shelf, and the performer produces a rose-bush from +the first flower-pot. He now has three cones, one inside of the other. +To facilitate the picking up of the cones in succession the back part +of each table top is cut out in crescent shape. + + +[Illustration: Fig. 50.--Magic Incubation] + +MAGIC INCUBATION.--To produce a quantity of eggs from an empty +handkerchief is a favorite experiment with magicians. It is a +modification of the old egg-bag trick, but far more effective and but +little known. The materials used are easily procured:--a blown egg, to +which is attached a piece of thread, and a silk handkerchief. Fasten +the egg to the handkerchief by means of the thread, as shown in Fig. +50. Spread out the handkerchief, when exhibiting the trick, and show +that both sides are free from preparation. To do this you must keep the +egg concealed in your right hand, and at the moment let it fall in the +position depicted in the illustration, (Fig. 50). The thread will hold +it in the centre of the handkerchief. But remember to keep the +handkerchief waving slightly, otherwise the impact of the falling egg +against it might betray the secret of the trick. It is hardly necessary +to say that the "egg-side" of the handkerchief is turned toward +yourself. Explain to the audience that you are going to magically +produce an egg. Take the right hand corner of the handkerchief in your +mouth and hold the left corner with your left hand. Now place the +forefinger of the right hand against the upper part of the +handkerchief, the side facing yourself, and fold the handkerchief over, +grasping the two upper corners with your left hand. Next hold the lower +corners with your right hand and bring the handkerchief to a horizontal +position. Tilt one end of it over a hat and an egg will be seen to +fall, (Fig. 51). Shake out the handkerchief and repeat the above +described operation of producing eggs until the hat is apparently full, +after which you may turn it over and show it empty. This trick neatly +executed never fails to elicit well deserved applause from the +audience. Perhaps a better way to conclude the trick would be to show +that the hat really contained a number of eggs, which of course must be +loaded into it prior to commencing the trick. The best way to do this +is to have the eggs in a black silk bag which you conceal inside your +vest. After having borrowed the hat and while your back is turned to +the spectators during your journey to the stage, slip the bag full of +eggs into the hat. Then begin your handkerchief feat. It is a weak +point, in my opinion, to show the hat empty, after having apparently +placed so many eggs into it. Some acute spectator is apt to jump to the +conclusion that there was but one egg used during the experiment. + +[Illustration: Fig. 51.--Incubation Trick] + + +THE WIZARD'S OMELET.--The recipes for making a magical omelet are +numerous and varied. Some magicians produce the eggs from the mouth of +a negro assistant following the example of Alexander Herrmann, and make +the omelet in a borrowed hat. I once saw a clown in a French circus +produce an omelet in a small frying-pan, without using eggs at all--or +more properly speaking, without the apparent use of eggs. He stirred +his wand about in the pan, holding the latter over a spirit lamp, and +presently turned out into a dish an excellent omelet, smoking hot and +very palatable. He cut up the omelet and passed it around among the +audience. Those who partook of it pronounced it to be delicious and +worthy of the chef of the Hotel Grand. This is the way the trick is +accomplished: There is no preparation about the frying-pan; that is all +fair and square, as well as round. It may be examined by the spectators +ad libitum. Not so the magic wand, which is hollow and filled with the +contents of several eggs. One end of the wand has an opening which is +stopped up with a piece of butter. When the pan is heated the butter +melts and the beaten-up eggs run out of the wand and are speedily +metamorphosed into an omelet. The stirring of the pan with the wand, +supposed to be a part of the conjurer's performance, is really +necessary to the trick. The wand is usually made of tin. It must be an +exact imitation of the wooden wand used during the course of the +entertainment. + + +THE WONDERFUL PRODUCTION OF RIBBONS AT THE FINGER-TIPS.--This is an +excellent little trick and one very suitable as an introduction to a +complete "production" trick, where objects of ever-increasing size, in +a compressed condition, are produced under cover of similar objects, of +a smaller size, but displayed to the best advantage. The performer +having shown both hands unmistakably empty, commences to pull yard +after yard of real colored silk ribbon from the extreme tips of the +fingers. + +The secret depends upon the little accessory illustrated in Fig. 52. +This is a shield made to fit the second finger of the right hand, +provided with a lid to keep the four coils in position, also with a +corresponding number of slots on the front through which the ribbon may +be withdrawn. Each piece of ribbon should be about two yards long and +of a width to readily pass the slot. Ribbon drawn from the apparatus +when in position, see Fig. 53, will seem to come from the finger-tips. + +[Illustration: Fig. 52.--The Accessory] + +After a quantity of ribbon has been produced in this manner, the +magician may very well bring out a larger supply from his vest under +cover of gathering up the mass of material. An excellent winding up of +the trick would be the production of a dove from breast pocket. + +[Illustration: Fig. 53.--Production of Ribbon] + + +JAPANESE BIRD VANISH.--The old Mouchoir du Diable, or Devil's +Handkerchief, for vanishing small objects will be known to the majority +of my readers: at the best it was but a clumsy expedient for producing +a magical disappearance, and on that account was very little, if ever +used. + +The New Devil's Handkerchief, as used by Japanese conjurers to cause +the disappearance of a bird, will, on the contrary, I feel sure, be +found of practical utility to the magical fraternity. In practice it is +merely held by the four corners, ostensibly in the most careless manner +possible, and any object as an egg, ball, orange, bird, etc., dropped +into the bag thus formed instantly disappears, the handkerchief being +immediately shaken out and both sides shown. + +[Illustration: Fig. 54.--Bag for Vanishing] + +This seeming prodigy is thus explained.--Two handkerchiefs, preferably +of soft silk and rather large (neck handkerchiefs for instance), are +sewn together all round their edges, with the exception of a portion at +one corner as shown by the dotted lines in Fig. 54. The handkerchiefs +are also sewn together from the said corner to the centre as further +indicated by the dotted lines in the figure. A bag is thus formed into +which the object is actually dropped. The introduction of the object +into the bag is facilitated by the insertion of a couple of whalebone +strips in the silk at the mouth of the bag. These strips keep the mouth +of the bag closed until pressure be applied at their ends, when the bag +will open, receive the object, and, on the pressure being removed, will +close again, keeping all secure. + + +NEW FIRE TRICK.--The writer is indebted to Mr. Martinka for this novel +experiment. A thin glass tube, in the end of which is secured a small +piece of metallic potassium, is pasted between two pieces of tissue +paper. So prepared the paper is shown from both sides, being apparently +a plain piece of white paper. This is rolled into a cylinder, not +unlike an exaggerated cigarette. The performer opens his mouth to show +that nothing is concealed there, and then proceeds to blow through the +paper tube, when the far end bursts into a flame of more or less +intensity. + +_Explanation._--While pretending to blow through the paper cylinder, +the performer brings some saliva into the glass tube. When blown +through the tube, the saliva comes in contact with the potassium, which +ignites and sets fire to the paper. To produce a larger flame and +sparks, a small piece of gun cotton, sprinkled with powdered aluminum +can be placed near the end of the tube. The potassium metal has to be +kept in a bottle and covered with kerosene. Whenever required for the +trick a piece is cut off with a knife. Care must be taken not to make +the mistake of putting the wrong end of the tube in the mouth. When the +paper bursts into flame it is crumpled into a ball and dropped on a +plate. The thin glass tube is crushed into small bits by the above +operation, and is not seen by the audience. + + +THE RING ON THE WAND.--A very pretty and graceful parlor trick is the +ring on the wand. Suspend a plain gold ring to the centre of a +handkerchief by means of a short piece of silk thread. Come forward +with the handkerchief in your pocket, and borrow a ring as much like +your own as possible. Pretend to wrap up this ring in your +handkerchief, but substitute for it the fake ring. Give the +handkerchief with ring in it to some one to hold and ask him if he +still feels the ring contained therein. He will reply in the +affirmative. You now get your wand from a table. While doing this take +the opportunity to slip the borrowed ring which you have in your hand +over one end of the wand, keeping it concealed. Approaching the +individual who holds the handkerchief request him to place it over the +middle of your wand which you hold horizontally by its centre, having +slid your hand (with the concealed ring) along its smooth surface. Now +request two spectators to hold either end of the wand tightly. Explain +that you will cause the ring in the handkerchief to appear upon the +wand, despite the fact that the latter is firmly held by two persons. +Remove your hand from the wand and take hold of the handkerchief. With +a hey presto, give the handkerchief a quick jerk and shake it out. The +borrowed ring on the wand will spin around in lively fashion, as if it +had really left the handkerchief and by some magical means appeared +upon the wand. Your handkerchief with the fake ring attached must be +pocketed as speedily as possible. It might be well to borrow a plain +white handkerchief from some one in the audience and exchange it for +your prepared handkerchief. + +[Illustration: Fig. 55.--Silk Handkerchief] + +[Illustration: Fig. 56.--Fake on Finger] + + +DISAPPEARING GLASS OF WATER.--This clever illusion is a favorite with +many performers, and is particularly adapted to drawing-room +entertainments. It was invented by Colonel Stodare, originator of the +famous "Sphinx" trick. Since Stodare's time many improvements have been +made in it, one idea, emanating from the fertile brain of Dr. Elliott. +Stitch two silk handkerchiefs, preferably of a dark color, together in +the manner shown in the diagram (Fig. 55), having first inserted in the +triangular space between them a disc of thin tin, of the same diameter +as the mouth of the glass used. Now to the middle of the under surface +of the tin fake solder a little band of tin just large enough to snugly +fit over the tip of the second or index finger of your left hand, (Fig. +56). This constitutes Elliott's improvement. Exhibit the handkerchief +to the spectators, calling attention to the fact that it contains +nothing. Twist it rope fashion, and pull it through your left hand, +thereby demonstrating that nothing could possibly be concealed in it. +This you are enabled to accomplish by grasping the tin fake and +retaining it in the right hand. Finally shake out the handkerchief, +releasing the disc, which will now fall to the centre of the +handkerchief and be kept in position by the triangular stitching. At +the rear end of your table you have a glass filled with water. Spread +the handkerchief over the glass, bringing the tin shape over the mouth +of the same. Lift up the fake, and under cover of the handkerchief +lower the glass upon the shelf behind the table. The handkerchief, +distended by the tin disc, will present the appearance of having the +glass of water under it. Now step forward as though holding the glass +of water. Place the left hand beneath the handkerchief, and quickly +insert the index finger into the little band soldered beneath the disc, +the right hand bearing down at the time to facilitate matters. To an +audience it will seem that you hold the glass of water on the palm of +your left hand, presenting a very illusory appearance indeed, (Fig. +57). To vanish the glass completely all you have to do is to catch one +corner of the handkerchief with your right hand, give it a sudden flick +in the air, which releases the hold of the finger of the left hand, +when lo and behold! the glass of water has melted away. To reproduce +it, take a duplicate glass of water from your coat-tail pocket. "But!" +says the dubious reader. Ah, we are coming to that! There is no danger +of spilling the water, for the mouth of your glass is tightly closed +with a rubber cover. All you have to do is to remove the cover before +exhibiting the glass. + +[Illustration: Fig. 57.--Handkerchief in Position] + + +ANTI-GRAVITY WAND.--The use of the wand has been sufficiently explained +to the student. In calling attention to the fact of its being endowed +with peculiar properties, similar to the magic wand of Bulwer's "Coming +Race," the conjurer might execute a few tricks with it as a prologue to +his programme. The "Anti-gravity wand," invented by that clever +magician, Dr. Elliott, would prove useful in the above instance, (Fig. +58). It consists of a piece of brass tubing made to correspond with the +performer's ordinary wand but with square ends. In one end of this +tubing is inserted a cylindrical lead weight made to fit nicely. At +each end of the weight is glued a piece of felt, so as to prevent noise +while the fake is working. With this trick wand you can apparently defy +the law of gravity. It is divided internally into three compartments, +two small ones at either end, and a larger one in the centre, by means +of the partitions, which do not, however, extend completely across the +wand. A quantity of quicksilver is inserted in the wand and the ends +sealed up. In the normal condition, this will remain in the central +space, but if the wand is tilted either way, the mercury will flow into +the little pocket at the lower end. Should this end be laid upon the +table, the weight of the fluid metal would more than counterbalance the +remaining portion of the wand, and it would therefore be suspended +apparently in space. By reversing the wand, the other end would perform +a like phenomenon. + +[Illustration: Fig. 58.--Anti-Gravity Wand] + + + + +CHAPTER X + +STAGE TRICKS + + +This is a chapter devoted to stage illusions, dependent mainly for +their effects upon ingenious mechanical appliances, and not to skilful +manipulation of the performer. Most conjuring exhibitions conclude with +some large illusion. They add zest to the entertainment. One of our +leading conjurers, Kellar, makes a specialty of them. He presents them +with fine scenic effects. + + +AERIAL SUSPENSION.--The trick of the aerial suspension, presented by +Herrmann under the name of the "Slave Girl's Dream," has been, and +still remains a great favorite with many conjurers. In this experiment +a lady floats in the air with no apparent support but that afforded by +a pole upon which her right arm rests. While suspended in this fashion +she is draped in various pleasing costumes, finally awakening from her +pretended mesmeric trance under the passes of the magician, and bowing +herself off the stage. The explanation is as follows:--The lady's body +is encased in a strong framework of finely tempered steel, into a +socket of which the pole enters and is rigidly fixed. + +[Illustration: Fig. 59.--The Harness] + +Figure 59 very correctly represents the harness worn by the lady in +performing this trick and the manner in which it is attached to the +rigid pole. This frame is composed of the finest steel, and when belted +and strapped on the body makes it perfectly rigid, so far as any side +motion is concerned. At A is a hinge, which is operated by ratchet and +pawl, and this bears nearly the whole strain of the lady's weight, +which, in a horizontal position, is about 1,500 pounds, or about ten +times the actual weight. At the centre of the curved steel bar is a +plain hinge. This is intended to allow the lady to use her right thigh +and knee in walking on and off the stage. + +[Illustration: Fig. 60.--Harness Adjusted] + +Figure 60 shows the position of harness and poles after being adjusted, +the drapery being dispensed with in order to show the working of the +trick. The upright pole on which rests the lady's right hand is a +substantial affair, and is securely fitted into a hole in the platform. +On the top there is a hole, into which fits a stout slot in the short +bar, as shown in Fig. 59. This short bar is concealed by a sort of +flap, which appears to be a portion of the lady's costume, tacked on at +the shoulder. The pole at her left has nothing to do with the trick, +and is only introduced to distract the attention of the audience. The +left-hand pole and stool are removed, and the beautiful slave girl is +suspended, as shown in Fig. 61, the whole strain coming on the pole and +the steel work of the harness. + +[Illustration: Fig. 61.--Girl Suspended] + +The performer now lifts the lady into a horizontal position (Fig. 61), +where she is maintained by a check which drops into one of the teeth of +the ratchet at A. While in this aerial sleep she is adorned in various +costumes. Finally she is placed in the first position, and awakes from +her supposed mesmeric slumber. Herrmann improved this apparatus by +causing the lady to assume the horizontal position without his +intervention. This was accomplished by machinery beneath the stage, a +sort of windlass affair worked by a stage assistant. The well-known +Fakir of Ooloo still further improved this trick by knocking both poles +away. Says Arprey Vere on this subject: "What, then, will you ask, +becomes of all the machinery? The two poles were seemingly taken away. +The poles used consisted of brass bars. The calcium light beamed upon +the figure of the sleeping lady, while the rest of the stage was +comparatively dark. Thus, when the conjurer apparently took away the +only support the figure had, the audience did not and could not +perceive that he really took away the brass case of the secured pole, +leaving another, the actual pole on which the framework was fixed, and +which was of the same color as the drapery of the stage. It was for the +purpose of deceiving the eyes of the audience that the pole was encased +in a brass shell in the first instance. He refixed the case before the +stage was relit, and the lady woke up from her sham mesmeric trance." + +[Illustration: Fig. 62.--Girl in Horizontal Position] + + +NEW VANISHING PERFORMER ILLUSION.--The writer is indebted to Mr. +William E. Robinson, for many years assistant to the late Alexander +Herrmann, for this simple but remarkably effective illusion called by +him the "Vanishing Performer." The effect of the trick is as follows: +The performer standing upon a stool, placed in front of a screen, holds +up a shawl in front of himself. Hey presto! a pistol is fired, the +shawl is dropped, and the magician is seen to have melted away into +thin air, as it were. Presently he comes running down the centre aisle +of the theatre. + +The principal requisite in the arrangement of this trick is a large +screen, which should be decorated in panels on each fold, and be a +threefold one. In the centre fold the panel must be hinged, so as to +open, and made to fit nicely the better to conceal its existence from +the audience. This panel must be about twelve inches above the base of +the screen, and if possible have spring hinges. This screen should be +preferably of a dark color. + +When the magician steps on the stool he out-stretches his arms and +hooks the shawl on a fine thread, which is placed across the stage at +the right height. He leaves the shawl suspended so that the ends hang +over, giving the appearance of the performer's fingers being under +them. Under this cover he quickly steps off the stool and goes through +the panel in the screen at the back. As the shawl does not reach to the +ground, the performer's legs and shoes would be seen by the audience. +To obviate this a piece of stuff the same color as the screen is used +as a kind of carpet on which the affair takes place, and when this +reaches to about twelve inches from the screen, the edge is turned up +about twelve inches. The conjurer in getting off the stool steps down +behind this carpet. A pistol is fired, and the performer, or his +assistant, pulls the end of the thread, which thus breaks and causes +the shawl to drop, as if first let go from the hands. The shawl should +be about six feet square. It should rest about nine inches from the +stage when hung up. Practice to let as few seconds as possible elapse +between the moment of suspending the shawl and dropping it. The +reappearance of the performer is easily accounted for. + + +THE BLUE ROOM.--One of the cleverest illusions performed with the aid +of mirrors is that known as the "Blue Room," which has been exhibited +in this country by Kellar. It is the joint invention of Prof. John +Henry Pepper, of Ghost illusion fame, and James J. Walker, both of +England. It was patented in the United States by the inventors. The +object of the apparatus is to render an actor, or some inanimate thing, +such as a chair, table, suit of armor, etc., visible or invisible at +will. "It is also designed," says the specification in the patent +office, "to substitute for an object in sight of the audience the image +of another similar object hidden from direct vision without the +audience being aware that any such substitution has been made. For this +purpose employ a large mirror--either an ordinary mirror or for some +purposes, by preference, a large plate of plate-glass--which is +transparent at one end, and more and more densely silvered in passing +from this toward the other end. Mount this mirror or plate so that it +can, at pleasure, be placed diagonally across the stage or platform. As +it advances the glass obscures the view of the actor or object in front +of which it passes, and substitutes the reflection of an object in +front of the glass, but suitably concealed from the direct view of the +audience. + +[Illustration: Fig. 63.--Graduated Mirror] + +[Illustration: Fig. 64.--Diagram for Blue Room] + +"When the two objects or sets of objects thus successively presented to +the view are properly placed and sufficiently alike, the audience will +be unaware that any change has been made. In some cases, in place of a +single sheet of glass, two or more sheets may be employed. + +"In the drawings, Fig. 63 represents a plan view, and Fig. 64 an +elevation, of a portion of the mirror, designed to show its graduated +opacity. + +"_a_ is a stage. It may be in a lecture-room or theater. _b b_ are the +seats for the audience in front of the stage. _c c_ is a small +room--eight or ten feet square and eight high will often be +sufficiently large; but it may be of any size. It may advantageously be +raised and approached by two or three steps from the stage _a_. + +"_d_ is a vertical mirror, passing diagonally across the chamber _c_ +and dividing it into two parts, which are exact counterparts the one of +the other. The mirror _d_ is so mounted that it can be rapidly and +noiselessly moved diagonally across the chamber in the path represented +by the dotted line _d1_, and be withdrawn whenever desired. This can +conveniently be done by running it in guides and upon rollers to and +from a position where it is hidden by a screen, _e_, which limits the +view of the audience in this direction. + +"In consequence of the exact correspondence of the two parts of the +chamber _c_, that in front and that behind the mirror, the audience +will observe no change in appearance when the mirror is passed across. + +"The front of the chamber is partially closed at _cx_ by a shield or +short partition-wall, either permanently or whenever required. This is +done in order to hide from direct view any object which may be at or +about the position _c1_. + +"The illusions may be performed in various ways--as, for example, an +object may, in the sight of the audience, be passed from the stage to +the position _c2_, near the rear short wall or counterpart shield +_f_, diagonally opposite to and corresponding with the front corner +shield _cx_, and there be changed for some other. This is done by +providing beforehand a dummy at _c'_, closely resembling the object at +_c2_. Then when the object is in its place, the mirror is passed +across without causing any apparent change. The object, when hidden, is +changed for another object externally resembling the first, the mirror +is withdrawn, and the audience may then be shown in any convenient way +that the object now before them differs from that which their eyesight +would lead them to suppose it to be. + +"We prefer, in many cases, not to use an ordinary mirror, _d_, but one +of graduated opacity. This may be produced by removing the silvering +from the glass in lines; or, if the glass be silvered by chemical +deposition, causing the silver to be deposited upon it in lines, +somewhat as represented by Fig. 63. Near one side of the glass the +lines are made fine and open, and progressively in passing toward the +other side they become bolder and closer until a completely-silvered +surface is reached. Other means for obtaining a graduated opacity and +reflecting power may be resorted to. + +"By passing such a graduated mirror between the object at _c2_ and +the audience, the object may be made to fade from the sight, or +gradually to resolve itself into another form." + +Hopkins in his fine work on "Magic, stage illusions, etc.," thus +describes one of the many effects which can be produced by the Blue +Room apparatus. The curtain rises, showing "the stage set as an +artist's studio. Through the centre of the rear drop scene is seen a +small chamber in which is a suit of armor standing upright. The floor +of this apartment is raised above the level of the stage and is +approached by a short flight of steps. When the curtain is raised a +servant makes his appearance and begins to dust and clean the +apartments. He finally comes to the suit of armor, taking it apart, +cleans and dusts it, and finally reunites it. No sooner is the suit of +armor perfectly articulated than the soulless mailed figure deals the +servant a blow. The domestic, with a cry of fear, drops his duster, +flies down the steps into the large room, the suit of armor pursuing +him, wrestling with him, and kicking him all over the stage. When the +suit of armor considers that it has punished the servant sufficiently, +it returns to its original position in the small chamber, just as the +master of the house enters, brought there by the noise and cries of the +servant, from whom he demands an explanation of the commotion. Upon +being told, he derides the servant's fear, and, to prove that he was +mistaken, takes the suit of armor apart, throwing it piece by piece +upon the floor." + +[Illustration: Fig. 65.--Diagram of Blue Room] + +It is needless, perhaps, to explain that the suit of armor which +becomes endowed with life has a man inside of it. When the curtain +rises a suit of armor is seen in the Blue Room, at H, (Fig. 65). At I +is a second suit of armor, concealed behind the proscenium. It is the +duplicate of the visible one. When the mirror G is shoved diagonally +across the room, the armor at H becomes invisible, but the mirror +reflects the armor concealed at I, making it appear to the spectators +that the suit at H is still in position. An actor dressed in armor now +enters behind the mirror, removes the suit of armor at H, and assumes +its place. When the mirror is again withdrawn, the armor at H becomes +endowed with life. Again the mirror is shoved across the apartment, and +the actor replaces the original suit of armor at H. It is this latter +suit which the master of the house takes to pieces and casts upon the +floor, in order to quiet the fears of the servant. This most ingenious +apparatus is capable of many novel effects. Those who have witnessed +Prof. Kellar's performances will bear witness to the statement. When +the illusion was first produced in England, a sketch was written for it +by the famous Burnand, editor of "Punch." It was entitled "Curried +Prawns." A plethoric old gentleman who had been indulging in a midnight +dish of curried prawns goes to bed, and is visited by a soul-terrifying +nightmare. Mephistopheles suddenly appears to him, and introduces him +to the mysteries of the nether world. + + +[Illustration: Fig. 66.--Levitation Act] + +[Illustration: Fig. 67.--Top View of Apparatus] + +[Illustration: Fig. 68.--Side View of Apparatus] + +LEVITATION.--The performer places a board on the tops of two chairs. A +lady is laid on the board, and pretended mesmeric passes made over her +by the magician. The chairs are now removed one after the other, and +the lady is seen floating in the air (Fig. 66). The performer then +walks completely around her. In order to show still more conclusively +that she is not supported by any arrangement of wires, etc., he passes +a large solid iron hoop, previously given for inspection to the +spectators, over her; beginning at her head. This seeming miracle, +vaunted as a Hindoo mystery, is accomplished in the following manner: +The board, A, A (Fig. 67), upon which the lady reclines, is about three +feet distant from the back scene. This background is provided with a +slit through which an assistant pushes three iron rods (_c_, _d_, _e_), +beneath the board. Another important part of the apparatus is a small +car, to which the rods are attached, the construction of which is +explained in Fig. 67 and Fig. 68, which gives a side view of the car. +Nos. 1 and 2 are the wheels on which the car is propelled. The iron +bars, of which only one is shown in the diagram, run in front over a +roller, 3, and at the back between two rollers, 4 and 5, so that the +assistant can easily push the bars under the board, c, which holds the +lady. The extreme ends of the bars, at the back, are counterbalanced in +order to equalize the weight. To enable the performer to go behind the +floating lady, also to pass the hoop about her, the assistant pulls +away the iron bar at one end. As soon as the performer and the hoop +have cleared the first bar, it is pushed back into place again, and the +next bar withdrawn, allowing free passage to the third bar, which is +also withdrawn, after the centre bar has been pushed back. The arms of +the lady overhanging the board and her dress conceal effectually the +iron bars from view of the audience. + + +THE SARATOGA TRUNK MYSTERY.--A lady is put into a bag and locked in a +trunk, on top of which a gentleman takes a seat. Two assistants hold a +cloth in front of the trunk for a few seconds. On taking away the cloth +the lady is seen sitting on the trunk while inside of it, after +unlocking the same, is found the gentleman tied in the bag. + +The actors in this illusion have to work with extreme quickness. + +The bag in which the lady is tied has at the bottom a false seam, made +of wide stitches, so that when one end of the thread is pulled the +whole comes out easily leaving the bottom of bag open. + +[Illustration: Fig. 69.--Section of Trunk] + +[Illustration: Fig. 70.--Frame of Trunk] + +In this way the lady escapes from the bag without injuring the ties in +any way. The lid of the trunk is prepared so that one section of it +opens inward (Fig. 69 h). The frame (Fig. 70) is solid, whereas the +strip F which runs across the top can be pushed sideways. To open the +trunk the strip F is pushed aside, which releases a concealed mechanism +that keeps the false panel shut. The gentleman opens the panel, in the +manner above described, whereupon the lady gets out of the trunk. She +assists the gentleman to get into the bag, and closing the panel, takes +her seat on the top of the trunk. + + + + +CHAPTER XI + +SHADOWGRAPHY + + +The idea of projecting silhouettes with the hands on a wall or +illuminated screen is an old one, but it has been brought to great +perfection by the celebrated French conjurer and juggler, M. Felician +Trewey, and his English confreres, David Devant, Ellis Stanyon, and +Hilliar. Notable among the American exhibitors of shadowgraphy is +Clivette, the "Man in Black," whose clever fingers have added many new +and amusing figures to the already long list. The above named artists +enact little pantomimic scenes, such as a fisherman in a boat, going +through the usual evolutions of a disciple of Izaak Walton; a policeman +making love to a servant girl; a concierge quarreling with a belated +lodger; a lover serenading his sweetheart, etc. + +These shadows are best made on a screen, which is illuminated by "a +single lamp inclosed in a projecting apparatus throwing very divergent +rays. The lens must consequently be of very short focus. The electric +light or oxyhydrogen lamp necessary in a theatre may be replaced at the +amateur's house by a lamp, or better, by a wax candle." Various little +accessories such as pieces of cardboard, fashioned to represent +head-gear and the like, are used in the formation of many of the more +elaborate figures. The use of such material is depicted in the +illustrations. Makers of magical apparatus manufacture these +accessories, but the clever amateur can cut them out from sheets of +cardboard without going to the expense of purchasing them. + +A cheap and easy way of manufacturing a silhouette of a friend is to +have him pose in front of a sheet of paper hung against a wall which is +illuminated by a candle. All you have to do is to outline with a pencil +the shadow cast by his face, and afterward fill in the white space with +black paint or crayon. The famous Levater constructed an ingenious +device for making silhouettes. It is thus described in his work on +physiognomy: "The shadow is projected upon a fine paper, well oiled and +dried, and placed behind a piece of plate-glass supported in a frame +secured to the back of the chair. Behind this glass the artist stands, +and holding the frame with one hand, draws with the other." A candle +furnished the necessary light. + +During the French Revolution, it was a dangerous thing to possess a +likeness of the martyred King Louis XVI. The scions of the nobility, +resident in Paris in disguise, living, as it were, in the shadow of the +guillotine, carefully hid all souvenirs of the king and royal family, +until better days should dawn. To be found in possession of a portrait +of the ill-fated Louis meant denunciation and death. Finally a clever +wood carver of royalist persuasion succeeded in fashioning a cane which +would throw a silhouette upon a wall--a likeness of Louis XVI. He drove +a great trade among the aristocrats, who carried these walking sticks +about with impunity, flourishing them under the very noses of the +revolutionists. Nobody could possibly suspect a cane. Chessmen were +also made on similar principles. When the tables were turned and Louis +XVIII came to his own again, it was a dangerous thing to indulge in +Napoleonic relics. A carver in wood, possibly an old soldier of the +Imperial Guard, constructed a silhouette cane for the suppressed +Bonapartists. + +The illustrating of books and magazines with silhouette pictures has +recently come into vogue. It is especially popular in Paris, where the +famous caricaturist Caran d'Ache, has done much to elevate the art. +After working at silhouettes for some time, he conceived the clever +idea of cutting figures out in zinc and casting them upon an +illuminated screen; fashioning them in sections so that they could be +made to work by means of cords operated by assistants. His first +exhibition was given at the Chat Noir, a cafe much frequented by +artists and literary men. Finally a special representation was gotten +up at the Theatre d'Application, and crowds flocked to see the +silhouettes. M. d'Ache is very successful in representing military +scenes. He projects upon the screen the battles and triumphal marches +of the Emperor Napoleon. + +[Illustration: PARROT] + +[Illustration: TWO FOXES FIGHTING] + +[Illustration: VULTURE] + +[Illustration: COUNTRYMAN] + +[Illustration: PIGEON] + +[Illustration: RHINOCEROS] + +[Illustration: BULL] + +[Illustration: FOX EATING RABBIT] + +[Illustration: SQUIRREL] + +[Illustration: BUTCHER] + +[Illustration: JOCKEY] + +[Illustration: MEPHISTOPHELES] + +[Illustration: GRIMACER] + +[Illustration: CLOWN] + +[Illustration: GOAT] + +[Illustration: SHEEP] + +[Illustration: TIGER] + +[Illustration: BEAR] + +[Illustration: ELEPHANT] + +[Illustration: RABBITS] + +[Illustration: PREACHER] + +[Illustration: FISHERMAN] + +[Illustration: SNUFF TAKER] + +[Illustration: BULL DOG] + +[Illustration: SPIDER] + +[Illustration: DANCING GIRL] + +[Illustration: RABBIT (2 METHODS)] + +[Illustration: GRIMACER] + +[Illustration: THE SWAN] + + + + +_POPULAR HAND-BOOKS_ + + +Some books are designed for entertainment, others for information. ¶ +This series combines both features. The information is not only +complete and reliable, it is compact and readable. In this busy, +bustling age it is required that the information which books contain +shall be ready to hand and be presented in the clearest and briefest +manner possible. ¶ These volumes are replete with valuable information, +compact in form and unequalled in point of merit and cheapness. They +are the latest as well as the best books on the subjects of which they +treat. No one who wishes to have a fund of general information or who +has the desire for self-improvement can afford to be without them. ¶ +They are 6 x 4-1/2 inches in size, well printed on good paper, +handsomely bound in green cloth, with a heavy paper wrapper to match. + +Cloth, each 50 cents + +THE PENN PUBLISHING COMPANY + +923 Arch Street, Philadelphia + + +ETIQUETTE + +By Agnes H. Morton + +There is no passport to good society like good manners. ¶ Even though +one possess wealth and intelligence, his success in life may be marred +by ignorance of social customs. ¶ A perusal of this book will prevent +such blunders. It is a book for everybody, for the social leaders as +well as for those less ambitious. ¶ The subject is presented in a +bright and interesting manner, and represents the latest vogue. + + +LETTER WRITING + +By Agnes H. Morton + +Why do most persons dislike to write letters? Is it not because they +cannot say the right thing in the right place? This admirable book not +only shows by numerous examples just what kind of letters to write, but +by directions and suggestions enables the reader to become an +accomplished original letter writer. ¶ There are forms for all kinds of +business and social letters, including invitations, acceptances, +letters of sympathy, congratulations, and love letters. + + +QUOTATIONS + +By Agnes H. Morton + +A clever compilation of pithy quotations, selected from a great variety +of sources, and alphabetically arranged according to the sentiment. ¶ +In addition to all the popular quotations in current use, it contains +many rare bits of prose and verse not generally found in similar +collections. ¶ One important feature of the book is found in the +characteristic lines from well known authors, in which the familiar +sayings are credited to their original sources. + + +EPITAPHS + +By Frederic W. Unger + +Even death has its humorous side. ¶ There are said to be "sermons in +stones," but when they are tombstones mere is many a smile mixed with +the moral. ¶ Usually churchyard humor is all the more delightful +because it is unconscious, but there are times when it is intentional +and none the less amusing. ¶ Of epitaphs, old and new, this book +contains the best. It is full of quaint bits of obituary fancy, with a +touch of the gruesome here and there for a relish. + + +PROVERBS + +By John H. Bechtel + +The genius, wit, and spirit of a nation are discovered in its proverbs, +and the condensed wisdom of all ages and all nations is embodied in +them. ¶ A good proverb that fits the case is often a convincing +argument. ¶ This volume contains a representative collection of +proverbs, old and new, and the indexes, topical and alphabetical, +enable one to End readily just what he requires. + + +THINGS WORTH KNOWING + +By John H. Bechtel + +Can you name the coldest place in the United States or tell what year +had 445 days? Do you know how soon the coal fields of the world are +likely to be exhausted, or how the speed of a moving train may be told? +What should you do first if you got a cinder in your eye, or your +neighbor's baby swallowed a pin? This unique, up-to-date book answers +thousands of just such interesting and useful questions. + + +A DICTIONARY OF MYTHOLOGY + +By John H. Bechtel + +Most of us dislike to look up a mythological subject because of the +time required. ¶ This book remedies that difficulty because in it can +be found at a glance just what is wanted. ¶ It is comprehensive, +convenient, condensed, and the information is presented in such an +interesting manner that when once read it will always be remembered. ¶ +A distinctive feature of the book is the pronunciation of the proper +names, something found in few other works. + + +SLIPS OF SPEECH + +By John H. Bechtel + +Who does not make them? The best of us do. ¶ Why not avoid them? Any +one inspired with the spirit of self-improvement may readily do so. ¶ +No necessity for studying rules of grammar or rhetoric when this book +may be had. It teaches both without the study of either. ¶ It is a +counsellor, a critic, a companion, and a guide, and is written in a +most entertaining and chatty style. + + +HANDBOOK OF PRONUNCIATION + +By John H. Bechtel + +What is more disagreeable than a faulty pronunciation? No other defect +so clearly shows a lack of culture. ¶ This book contains over 5,000 +words on which most of us are apt to trip. ¶ They are here pronounced +in the clearest and simplest manner, and according to the best +authority. ¶ It is more readily consulted than a dictionary, and is +just as reliable. + + +PRACTICAL SYNONYMS + +By John H. Bechtel + +A new word is a new tool. ¶ This book will not only enlarge your +vocabulary, but will show you how to express the exact shade of meaning +you have in mind, and will cultivate a more precise habit of thought +and speech. ¶ It will be found invaluable to busy journalists, +merchants, lawyers, or clergymen, and as an aid to teachers no less +than to the boys and girls under their care. + + +READY MADE SPEECHES + +By George Hapgood, Esq. + +Pretty much everybody in these latter days, is now and again called +upon "to say a few words in public." ¶ Unfortunately, however, but few +of us are gifted with the power of ready and graceful speech. ¶ This is +a book of carefully planned model speeches to aid those who, without +some slight help, must remain silent. ¶ There is a preliminary chapter +of general advice to speakers. + + +AFTER-DINNER STORIES + +By John Harrison + +The dinner itself may be ever so good, and yet prove a failure if there +is no mirth to enliven the company. ¶ Nothing adds so much zest to an +occasion of this kind as a good story well told. ¶ Here are hundreds of +the latest, best, brightest, and most catchy stories, all of them short +and pithy, and so easy to remember that anyone can tell them +successfully. ¶ There are also a number of selected toasts suitable to +all occasions. + + +TOASTS + +By William Pittenger + +Most men dread being called upon to respond to a toast or to make an +address. ¶ What would you not give for the ability to be rid of this +embarrassment? No need to give much when you can learn the art from +this little book. ¶ It will tell you how to do it; not only that, but +by example it will show the way. ¶ It is valuable not alone to the +novice, but to the experienced speaker, who will gather from it many +suggestions. + + +THE DEBATER'S TREASURY + +By William Pittenger + +There is no greater ability than the power of skillful and forcible +debate, and no accomplishment more readily acquired if the person is +properly directed. ¶ In this little volume are directions for +organizing and conducting debating societies and practical suggestions +for all who desire to discuss questions in public. ¶ There is also a +list of over 200 questions for debate, with arguments both affirmative +and negative. + + +PUNCTUATION + +By Paul Allardyce + +Few persons can punctuate properly; to avoid mistakes many do not +punctuate at all. ¶ A perusal of this book will remove all difficulties +and make all points clear. ¶ The rules are plainly stated and freely +illustrated, thus furnishing a most useful volume. ¶ The author is +everywhere recognized as the leading authority upon the subject, and +what he has to say is practical, concise, and comprehensive. + + +ORATORY + +By Henry Ward Beecher + +Few men ever enjoyed a wider experience or achieved a higher reputation +in public speaking than Mr. Beecher. ¶ What he had to say on this +subject was born of experience, and his own inimitable style was at +once both statement and illustration of his theme. ¶ This volume is a +unique and masterly treatise on the fundamental principles of true +oratory. + + +CONVERSATION + +By J. P. Mahaffy + +Some people are accused of talking too much. But no one is ever taken +to task for talking too well. ¶ Of all the accomplishments of modern +society, that of being an agreeable conversationalist holds first +place. Nothing is more delightful or valuable. To suggest what to say, +just how and when to say it, is the general aim of this work, and it +succeeds most admirably in its purpose. + + +READING AS A FINE ART + +By Ernest Legouve + +The ability to read aloud well, whether at the fireside or on the +public platform, is a fine art. ¶ The directions and suggestions +contained in this work of standard authority will go far toward the +attainment of this charming accomplishment. ¶ The work is especially +recommended to teachers and others interested in the instruction of +public school pupils. + + +SOCIALISM + +By Charles H. Olin + +Socialism is "in the air." ¶ References to the subject are constantly +appearing in newspapers, magazines, and other publications. ¶ But few +persons except the socialists themselves have more than a dim +comprehension of what it really means. ¶ This book gives in a clear and +interesting manner a complete idea of the economic doctrines taught by +the best socialists. + + +JOURNALISM + +By Charles H. Olin + +What is news, how is it obtained, how handled, and how can one become a +Journalist? ¶ These questions are all answered in this book, and +detailed instructions are given for obtaining a position and writing up +all kinds of "assignments." ¶ It shows what to avoid and what to +cultivate, and contains chapters on book reviewing, dramatic criticism +and proofreading. + + +VENTRILOQUISM + +By Charles H. Olin + +Although always a delightful form of entertainment, Ventriloquism is to +most of us more or less of a mystery. ¶ It need be so no longer. ¶ This +book exposes the secrets of the art completely, and shows how almost +anyone may learn to "throw the voice" both near and far. ¶ Directions +for the construction of automatons are given as well as good dialogue +for their successful operation. ¶ Fully illustrated. + + +CONUNDRUMS + +By Dean Rivers + +Conundrums sharpen our wits and lead us to think quickly. ¶ They are +also a source of infinite amusement and pleasure, whiling away tedious +hours and putting everyone in good humor. ¶ This book contains an +excellent collection of over a thousand of the latest, brightest, and +most up-to-date conundrums, to which are added many Biblical, poetical, +and French conundrums. + + +MAGIC + +By Ellis Stanyon + +There is no more delightful form of entertainment than that afforded by +the performances of a magician. ¶ Mysterious as these performances +appear, they may be very readily learned if carefully explained. ¶ This +book embraces full and detailed descriptions of all the well known +tricks with coins, handkerchiefs, hats, flowers, and cards, together +with a number of novelties not previously produced or explained. ¶ +Fully illustrated. + + +HYPNOTISM + +By Edward H. Eldridge, A.M. + +There is no more popular or interesting form of entertainment than +hypnotic exhibitions, and everyone would like to know how to hypnotize. +¶ By following the simple and concise instructions contained in this +complete manual anyone may, with a little practice, readily learn how +to exercise this unique and strange power. + + +WHIST + +By Cavendish + +Twenty-third Edition + +"According to Cavendish" is now almost as familiar an expression as +"according to Hoyle." ¶ No whist player, whether a novice or an expert, +can afford to be without the aid and support of Cavendish. No household +in which the game is played is complete without a copy of this book. ¶ +This edition contains all of the matter found in the English +publication and at one-fourth the cost. + + +PARLOR GAMES + +By Helen E. Hollister + +"What shall we do to amuse ourselves and our friends?" is a question +frequently propounded on rainy days and long winter evenings. ¶ This +volume most happily answers this question, as it contains a splendid +collection of all kinds of games for amusement, entertainment, and +instruction. ¶ The games are adapted to both old and young, and all +classes will find them both profitable and interesting. + + +ASTRONOMY: The Sun and His Family + +By Julia MacNair Wright + +Can you tell what causes day and night, seasons and years, tides and +eclipses? Why is the sky blue and Mars red? What are meteors and +shooting stars? ¶ These and a thousand other questions are answered in +a most fascinating way in this highly interesting volume. Few books +contain as much valuable material so pleasantly packed in so small a +space. ¶ Illustrated. + + +BOTANY: The Story of Plant Life + +By Julia MacNair Wright + +The scientific study of Botany made as interesting as a fairy tale. ¶ +It is better reading than such tales, because of the profit. ¶ Each +chapter is devoted to the month of the year in which plants of that +month are in evidence. Not only is the subject treated with accuracy, +but there is given much practical information as to the care and +treatment of plants and flowers. ¶ Illustrated. + + +FLOWERS: How to Grow Them + +By Eben E. Rexford + +Every woman loves flowers, but few succeed in growing them. With the +help so clearly given in this book no one need fail. ¶ It treats mainly +of indoor flowers and plants--those for window gardening; all about +their selection, care, soil, air, light, warmth, etc. ¶ The chapter on +table decoration alone is worth the price of the book. ¶ While the +subject of flowers is quite thoroughly covered, the style used is +plain, simple, and free from all technicalities. + + +DANCING + +By Marguerite Wilson + +A complete instructor, beginning with the first positions and steps and +leading up to the square and round dances. ¶ It contains a full list of +calls for all of the square dances, and the appropriate music for each +figure, the etiquette of the dances, and 100 figures for the german. ¶ +It is unusually well illustrated by a large number of original +drawings. ¶ Without doubt the best book on the subject. + + +ASTROLOGY + +By M. M. Macgregor + +If you wish to obtain a horoscope of your entire life, or if you would +like to know in what business or profession you will best succeed, what +friends you should make, whom you should marry, the kind of a person to +choose for a business partner, or the time of the month in which to +begin an enterprise, you will find these and hundreds of other vital +questions solved in this book by the science of Astrology. + + +PHYSIOGNOMY + +By Leila Lomax + +How can we judge whether a man may be trusted to handle money for us? ¶ +How can a woman analyze a man who would marry her? ¶ Partly by words, +partly by voice, partly by reputation, but more than all by looks--the +shape of the head, the set of the jaw, the line of the mouth, the +glance of the eye. ¶ Physiognomy as explained in this book shows +clearly how to read character with every point explained by +illustrations and photographs. + + +GRAPHOLOGY: How to Read Character from Handwriting + +By Clifford Howard + +Do you know that every time you write five or six lines you furnish a +complete record of your character? Anyone who understands Graphology +can tell by simply examining your handwriting just what sort of a +person you are. ¶ There is no method of character reading that is +more interesting, more trustworthy, and more valuable than that of +Graphology, and it is the aim of this volume to enable anyone to become +a master of this most fascinating art. + + + + + + +End of the Project Gutenberg EBook of Magic, by Ellis Stanyon + +*** END OF THIS PROJECT GUTENBERG EBOOK MAGIC *** + +***** This file should be named 36659.txt or 36659.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/6/5/36659/ + +Produced by Chris Curnow and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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