,magic ,in which are given clear and concise explanations of all the well-known illusions1 as well as many new ones by ,,ellis ,,stanyon ,philadelphia ,the ,penn ,publishing ,company #aiaj ,,copyright #aija ,,by ,,the ,,penn ,,publishing ,,company ,contents ,,chap4 ,,page ,i4 ,,introduction #aa ,,ii4 ,,principles ,,of ,,sleight ,,of ,,hand ,,applicable ,,to ,,small ,,objects #bf ,,iii4 ,,tricks ,,with ,,coins #cc ,,iv4 ,,tricks ,,with ,,handkerchiefs #eg ,v4 ,,tricks ,,with ,,balls #ic ,,vi4 ,,hat ,,tricks #aad ,,vii4 ,,anti-,,spiritualistic ,,tricks #abg ,,viii4 ,,after ,,dinner ,,tricks #adb ,,ix4 ,,miscellaneous ,,tricks #aei ,x4 ,,stage ,,tricks #bji ,,xi4 ,,shadowgraphy #bbh ,preface ,the art of pretended magic dates back to the remotest antiquity4 ,it has been known under various names1 such as ,white ,magic1 ,conjuring1 ,natural ,magic1 and ,prestidigitation4 ,jannes and ,jambres1 the magicians of ,pharaoh1 contended against ,moses and ,aaron4 ,in the ,british ,museum there is an ,egyptian papyrus1 which contains an account of a magical seance given by a thaumaturgist named ,tchatcha-em-ankh before ,king ,khufu1 ,b4,c41 #cgff4 ,in this manuscript it is stated of the magician3 ,he knoweth how to bind on a head which hath been cut off1 and he knoweth how to make a lion follow him as if led by a rope4 ,the decapitation trick is thus no new thing1 while the experiment with the lion1 unquestionably a hypnotic feat1 shows hypnotism to be old4 ,the temples of ,egypt1 ,greece and ,rome were veritable storehouses of magic and mystery4 ,the pagan priesthood attained a wonderful proficiency in optical illusions4 ,in the ,middle ,ages magic was greatly in vogue4 ,later on ,nostradamus conjured up the vision of the future king of ,france for the benefit of the lovely ,marie de ,medicis4 ,this illusion was accomplished by the aid of mirrors adroitly secreted amid hanging draperies4 ,reginald ,scott1 in #aehd1 in ,discoverie of ,witchcraft1 enumerates the stock feats of the conjurers of his day4 ,the list includes swallowing a knife2 burning a card and reproducing it from the pocket of a spectator2 passing a coin from one pocket to another2 converting money into counters1 or counters into money2 conveying money into the hand of another person2 making a coin pass through a table1 or vanish from a handkerchief2 tying a knot1 and undoing it 'by the power of words'2 taking beads from a string1 the ends of which are held fast by another person2 making corn to pass from one box to another2 turning wheat into flour 'by the power of words'2 burning a thread and making it whole again2 pulling ribbons from the mouth2 thrusting a knife into the head or arm2 putting a ring through the cheek2 and cutting off a person's head and restoring it to its former position4 ,a number of these feats1 in an improved form1 survive to this day4 ,in the early part of the eighteenth century conjuring made considerable progress4 ,men of education and address entered the profession1 thereby elevating it from the charlatanry of the strolling mountebank to the dignity of a theatrical performance4 ,the nobility of ,paris flocked to the opera house to see the great ,pinetti perform4 ,following him came ,torrini1 ,comte1 ,bosco1 ,philippe1 and finally the king of conjurers1 ,robert-,houdin4 ,in the year #ahdd1 ,houdin inaugurated his ,fantastic ,evenings at the ,palais ,royal1 ,paris1 and a new era dawned for magic4 ,he reformed the art by suppressing the suspiciously-draped tables of his predecessors1 substituting for these clumsy confederate boxes light and elegant tables and little gueridons1 undraped4 ,he went still further in his innovations by adopting the evening dress of everyday life1 instead of the flowing robes of many of the magicians of the old regime4 ,his tricks were of a different order1 sounding the death knell of double-bottomed boxes1 and apparatus which was too evidently designed for the magical disappearance and reappearance of objects4 ,houdin has well earned the title of ,the ,father of ,modern ,conjuring1 and his autobiography makes fascinating reading4 ,since ,houdin's time1 conjuring has made rapid strides4 ,the wide dissemination of literature on the subject and the consequent exposes have stimulated magicians to invent new tricks1 or improve old ones4 ,the study of magic in addition to being a fascinating amusement has a pedagogical value1 admitted by all professors of psychology2 it sharpens the mental faculties1 especially those of observation and attention4 ,a comprehensive but concise manual on the subject of up-to-date tricks will be welcomed by the student4 ,i take pleasure in introducing to ,american readers1 ,professor ,ellis ,stanyon's capital manual on sleight-of-hand4 ,professor ,stanyon is one of the most prolific as well as one of the cleverest living writers1 on the subject of legerdemain4 ,he has done much to popularize the fascinating art of white magic4 ,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 dexterity4 ,i have supplemented the work with chapters on ,shadowgraphy1 and ,stage ,illusions1 also a number of tricks which have proved drawing cards in the hands of ,american conjurers1 like the late ,alexander ,herrmann1 and living artists like ,kellar1 ,elliott1 ,plate1 ,robinson1 ,fox1 ,powell1 etc4 ,in the preparation of the additional matter1 ,i am indebted for many valuable hints to those dexterous and clever performers1 ,doctor ,elliott1 ,adrian ,plate and ,william ,e4 ,robinson1 who are especially noted as inventive minds in the realm of pure sleight-of-hand4 ,,henry ,,ridgely ,,evans1 ,washington1 ,d4,c4 ,magic ,,chapter ,i ,,introduction ,there are one or two leading principles to be borne in mind by any one taking up the study of magic4 ,the first and foremost is1 ,never tell the audience what you are going to do before you do it4 ,if you do1 the chances of detection are increased tenfold1 as the spectators1 knowing what to expect1 will the more readily arrive at the true method of bringing about the result4 ,it follows as a natural consequence that you must never perform the same trick twice in the same evening4 ,it is very unpleasant to have to refuse an encore2 and should you be called upon to repeat a trick study to vary it as much as possible1 and to bring it to a different conclusion4 ,there will generally be found more ways than one of working a particular trick4 ,it is an axiom in conjuring that the best trick loses half its effect on repetition4 ,should a hitch occur in the carrying-out of the programme by the accidental dropping of an article1 or from any other cause1 above all things do not get confused1 but treat the matter as a good joke1 and meet the difficulty with a smile1 making use of some such expression as the following3 ,well1 you see ,i put it down there to show that it would go4 ,it is perfectly solid and does not stick4 ,by this means1 instead of spoiling the entertainment1 you add greatly to the amusement of the spectators4 ,do not cultivate quick movements1 at the same time it will never do to be painfully slow2 but endeavor to present your tricks in an easy-going1 quiet1 graceful manner4 ,it is generally understood that the quickness of the hand deceives the eye1 but this is entirely erroneous4 ,it is impossible for the hand to move quicker than the eye can follow1 as can be proved by experiment4 ,the deception really lies in the method of working the trick1 and in the ability of the performer in misdirection1 as will be seen from a perusal of the following pages4 ,a little well-arranged talk as an introductory to an entertainment will be found to put you on good terms with your audience4 ,a few words1 something like the following1 will suffice3 ,ladies and ,gentlemen1 with your kind attention ,i shall endeavor to amuse you with a series of experiments in legerdemain4 ,in doing so ,i wish it to be distinctly understood that ,i shall do my best to deceive you1 and upon the extent to which ,i am able to do so will depend my success4 ,at the close of an entertainment a little speech1 of which the following is an example1 will be found to prove a good finish3 ,ladies and ,gentlemen1 in concluding my entertainment ,i have only to say that1 apart from deceiving you1 which was but a secondary consideration1 if ,i have been able to afford you some slight amusement ,i feel amply rewarded4 ,in concluding these remarks ,i must enforce upon the novice the necessity for constant practice1 without which the clearest instruction would be useless4 ,this applies1 not only to conjuring1 but equally well to any form of amusement1 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 entertainment4 ,before proceeding to describe the various tricks it will be well to notice one or two appliances of general utility4 ,,the ,,dress4--,the usual attire of the modern magician is the conventional evening dress1 but ,i have known performers of the present day to adopt various fancy costumes4 ,where the ordinary dress coat is used1 each tail is provided with a large pocket1 known as a profonde1 the mouth of which is on a level with the knuckles1 and slopes slightly to the side4 ,these pockets1 which are usually seven inches square1 are lined with buckram1 and sewn on rather full1 to keep them constantly open4 ,they are used to contain loads for hat tricks1 etc41 also to vanish articles1 such as watches1 eggs1 or balls4 ,in addition to these pockets1 two others1 known as pochettes1 are used on the trousers4 ,these are sewn on rather full at the back of the thigh1 on a level with the knuckles1 and covered by the tails of the coat2 they are useful to contain rings1 coins1 or other small articles required in the course of the performance4 ,there are also two pockets known as breast pockets1 one in each side of the coat4 ,these should be of a size large enough to contain a dinner plate1 and should be made with the bottom sloping a little toward the back1 to prevent articles placed in them from falling out4 ,the opening should be in a perpendicular position one and a half inches from the edge of the coat4 ,these are loaded with rabbits1 doves1 etc41 or any large or cumbersome article required for magical production4 ,in the case of fancy costumes the pockets1 if required1 must be arranged as the attire permits4 ,if you perform in a dinner jacket1 the ordinary side pockets can be used for producing or vanishing the articles4 ,the breast pockets1 as already described1 can be retained4 ,,the ,,table4--,there are a great many tricks which can be performed without the aid of a special table2 in fact1 tables of any description are very secondary articles in the stage settings of conjurers of the present day4 ,where they are employed they are usually of the small round tripod pattern1 fancifully made for show1 and are used only for the purpose of an ordinary table4 ,tables with traps and other mechanical appliances are almost1 if not entirely1 out of date1 no performer with any pretensions to originality making use of them4 ,a neat little table can be made from a piece of board eighteen inches in diameter1 covered with red baize1 and hung with fancy fringe to taste2 the legs taking the form of an ordinary music stand4 ,the under-side of the table is fitted with a brass plate holding a pin1 about two inches long1 to fit the socket of the stand4 ,this forms one of the most compact tables possible1 and is greatly in vogue1 as the stand can be folded up into a small compass1 and placed1 together with the top1 in a black canvas case for traveling4 ,two of these tables will occupy very little more room than one1 and they look well in pairs4 ,they will generally be found to afford sufficient convenience for an evening's entertainment4 ,,the ,,servante4--,this is a secret shelf behind the performer's table1 on which are placed articles to be magically produced in various ways4 ,it is also used to vanish articles as occasion may require4 ,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 inches1 and throwing a cloth over the whole1 the cloth being pushed well into the drawer so as to form a pad to deaden the sound of any article dropped into it4 ,if a table with a drawer cannot be obtained1 a servante1 which will answer every purpose1 can be arranged by throwing a cloth over the table and pinning it up behind in the form of a bag4 ,in the case of the small round tripod tables1 a small drawer1 made from a cigar box1 can be attached to the under side of them1 and pulled out as required4 ,the fringe decorating the edge of the table will conceal the presence of the drawer2 but if the whole of the under side of the table1 drawer included1 be painted black1 it cannot be detected at a few paces4 ,there are various forms of portable servantes for fixing to the back of a table or chair4 ,a description of one for use on a chair will be sufficient to give a clear idea of the construction of others1 which can be arranged as required by the ingenuity of the performer4 ,a piece of one-half inch board1 seven inches by five inches1 is covered with green baize1 and slightly padded on one side with cotton wool1 to prevent injury to any fragile article that may come in contact with it in the course of the performance4 ,to this is screwed an iron frame 7,fig4 #a7 of the same dimensions as the board4 ,the frame1 which carries a network as shown1 is screwed to the board in such a way that it will fold up flush with the same1 the whole being1 when closed1 under one inch in thickness4 ,the frame carrying the network is prevented from opening too far by an iron bar screwed to the back of the woodwork1 the sides of the frame being extended under this as shown4 ,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 pins4 ,to conceal the servante throw a fancy cloth over the back of the chair4 ,illustration3 ,fig4 #a4--,the ,servante ,,the ,,wand4--,this is a light rod about fifteen inches long and one-half inch in diameter1 usually of ebony1 with ivory tips2 a plain rod1 however1 will answer the purpose equally well4 ,the use of the wand is regarded by the uninitiated as a mere affectation on the part of the performer1 but such is far from being the case4 ,its uses are legion4 ,in addition to the prestige derived from the traditional properties of the wand1 which has been the mystic emblem of the magician's power from time immemorial1 it is absolutely necessary for the successful carrying-out of many experiments1 as will be seen in the course of the present work4 ,for instance1 having palmed a coin1 say in the right hand1 you lower that hand and take up the wand1 which effectually conceals1 in a perfectly natural manner1 the presence of the coin4 ,the wand is now passed once or twice over the left hand1 which is supposed to contain the coin1 and on opening the hand the coin will be found to have vanished4 ,it will thus be seen that the wand is of the utmost importance4 ,illustration3 ,fig4 #b4--,placing of ,tables ,,concluding ,,observations4--,the arrangement of the stage is now to be considered by the amateur4 ,if the performance is to be given in a parlor1 a space must be curtained off at one end large enough to accommodate the magic tables1 and allow sufficient room between them and the audience to enable the conjurer to execute the various exchanges1 etc41 necessary to the successful accomplishment of particular tricks4 ,when called upon to give an entertainment in a house1 where there are two adjoining parlors1 separated by folding-doors1 the magician can seat his audience in the front parlor1 and use the back one for the stage1 the folding-doors making an admirable substitute for a curtain4 ,now as to the placing of the tables 7,fig4 #b74 ,it is customary for the large table to occupy the centre of the room1 beneath or just back of the chandeliers1 flanked by two small tripod tables or gueridons4 ,a couple of wax tapers in silver or brass holders1 placed on the centre table1 gives a fine effect to the whole4 ,the amateur must take care that there are no bright lights behind his tables1 or worse still a mirror4 ,behind the scenes provide a table to hold the apparatus to be used in the various experiments4 ,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 performed2 this caution being in accordance with the conjurer's axiom3 ,never tell your audience beforehand what you are about to do4 ,for example1 if you are to exhibit the rising-cards call it on your programme the ,cabalistic ,cards1 or the ,cards of ,cagliostro4 ,this will give no clue to the trick4 ,and so with other illusions4 ,robert ,heller1 a clever entertainer1 described his experiments somewhat as follows3 #a4 ,with a watch4 #b4 ,with thirty pieces of silver4 #c4 ,with a candle4 #d4 ,mocha4 ,the late ,alexander ,herrmann--,alexander the ,great--was equally non-communicative4 ,thirty minutes with ,herrmann1 ,a bouquet of mystical novelties1 etc41 sufficed to describe a dozen or more brilliant feats of legerdemain4 ,arrange your magical novelties in groups1 e4g43 two or three coin tricks1 three or four handkerchief tricks1 etc41 and not a coin trick1 then an illusion with a handkerchief1 followed by another feat with a coin4 ,lead up to the best trick in each group with several smaller feats of a more or less similar nature4 ,this is well illustrated in the ,magical production of flowers1 explained in ,chapter ,,ix4 ,in addition to the programmes intended for distribution among the spectators1 the performer must have a private programme of his own1 stuck up in a conspicuous place behind the scenes4 ,upon this stage-programme is a list of the tricks to be performed during the evening1 with the articles used in each trick4 ,this is to prevent confusion4 ,it is impossible for the performer or his assistant to always keep in mind the multifarious articles that go with each magical feat4 ,when you retire behind the scenes after each group of tricks1 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 vest1 or a coin in your pocket4 ,on one occasion1 ,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 coat1 intended for use in the cornucopia and flower trick4 ,this occasioned an awkward hesitation injurious to the effective performance of the feat4 ,herrmann had failed to examine his prompt-programme behind the scenes1 hence his embarrassing situation4 ,each trick should have an appropriate verbal accompaniment1 technically known as the patter1 or boniment1 written underneath it1 which should in every case be learned off by heart4 ,this1 especially to the beginner1 is a necessity1 and very few1 if any1 of the best performers work otherwise4 ,having once become accustomed to a programme1 it should never be changed1 in its entirety1 for a new one4 ,if it be desired to vary the mode of procedure1 this is best done by the introduction of a new trick and the removal of an old one4 ,by such means the performer saves himself a lot of trouble and anxiety1 and is just as likely to give satisfaction from the point of view of an audience4 ,this is the custom of professional performers1 who very rarely alter their programmes2 it also accounts in a large measure for their skill4 ,it is a weakness with young performers to endeavor to crowd too many tricks into the time allotted to their part4 ,this is a mistake1 and is bound to lead to disastrous results4 ,each trick requires its proper time1 which is best found by experiment1 and the entertainment should be arranged accordingly4 ,a little and good is better than a lot and bad4 ,a word or two as to nervousness may not be out of place4 ,if the performer can bring himself to imagine1 for the time being1 at any rate1 that he is the most wonderful individual in creation1 his success is assured2 that is1 if everything has been rehearsed in private1 and he knows his part thoroughly4 ,a dull1 nervous1 or morose performer1 however clever he may be1 is sure to make the spectators feel uncomfortable1 and thus spoil their enjoyment2 therefore always endeavor to cultivate a cheerful manner1 even under difficulties1 and you will find your audience similarly affected4 ,apart from taking every advantage for repartee1 always avoid being personal1 and every possible opportunity for increasing the effect of a trick1 the performer should be totally oblivious of all his surroundings and think only of himself and what he is doing4 ,once this is acquired1 nervousness will be forever dispelled4 ,not a little benefit may be derived from attending entertainments given by other conjurers1 and every opportunity of so doing should be taken4 ,in this way1 by listening attentively to the remarks of other auditors1 you will gain many points1 not only as to how a trick may be improved1 but also as to what movements in the execution of the same are unnecessary or awkward1 and consequently to be avoided4 ,under these circumstances you will be able to realize the full force of ,burns's well-known words1 to see ourselves as others see us4 ,,chapter ,,ii ,,principles ,,of ,,sleight ,,of ,,hand ,,applicable ,,to ,,small ,,objects ,,palming4--,the first thing the neophyte will have to do will be to learn palming1 i4e41 the art of holding small objects1 such as coins1 balls1 nuts1 corks1 etc41 concealed in the hand by a slight contraction of the palm4 ,illustration3 ,fig4 #c4--,palming ,coin ,practise first with a coin4 ,a half dollar is the most convenient size1 and is the coin generally preferred by conjurers1 as its milled edge affords a ready grip to the palm4 ,lay the coin on the right hand as shown in ,fig4 #c4 ,then slightly contract the palm by pressing the ball of the thumb inward1 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 hand4 ,continue to practise this until you can safely turn the hand over without any fear of letting the coin fall4 ,when you can accomplish this with ease1 lay the coin on the tips of the second and third fingers1 steadying it with the thumb as in ,fig4 #d4 ,then moving the thumb aside1 to the right1 bend the fingers1 and pass the coin up along the side of the thumb into the palm1 which should open to receive it1 and where1 if you have followed the previous instructions1 you will find no difficulty in retaining it4 ,illustration3 ,fig4 #d4--,palming ,coin ,as soon as you can do this with the hand at rest1 practise the same movement with the right hand in motion toward the left1 as if you really intended to place the coin in that hand4 ,to get this movement perfect1 it is advisable to work in front of a mirror4 ,take the coin in the right hand and actually place it in the left several times2 then study to execute the same movement exactly1 with the exception that you retain the coin in the right hand by palming4 ,when appearing to transfer a coin1 or any small object1 from the right hand into the left1 the left hand should rise in a natural manner to receive it4 ,the right hand1 in which is the palmed coin1 should fall to the side2 and the left hand should be closed as if it actually contained the coin1 and should be followed by the eyes of the performer4 ,this will have the effect of drawing all eyes in that direction1 and in the meantime the right hand can drop the coin into the profonde1 or otherwise dispose of it as may be necessary for the purpose of the trick4 ,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 yourself4 ,the student who desires to become a finished performer should palm the various objects1 with equal facility1 either in the right or in the left hand4 ,when you can hold a coin properly1 as described1 practise with a small lemon1 a watch1 or any other objects of similar size4 ,in this case1 however1 owing to the greater extent of surface1 it will not be found necessary to press the object into the palm1 but simply to close the fingers round it1 in the act of apparently placing it in the left hand4 ,,le ,,tourniquet4--,this pass is generally known by this name1 so ,i will not depart from its time-honored title4 ,hold the coin between the fingers and thumb of the left hand 7,fig4 #e71 and then appear to take it in the right by passing the thumb under and the fingers over the coin4 ,under cover of the right hand the coin is allowed to fall into the fingers of the left1 where by a slight contraction it may be held between the first and second joints1 or it may be allowed to fall into the palm proper4 ,the right hand must be closed and raised as if it really contained the coin1 and be followed by the eyes of the performer2 the left falling to the side1 and if necessary dropping the coin into the profonde4 ,this pass should be performed equally well from either hand4 ,illustration3 ,fig4 #e ,le ,tourniquet ,,the ,,finger ,,palm4--,lay a coin on the fingers as shown in ,fig4 #f4 ,then in the act of apparently placing it in the left hand1 raise the forefinger slightly1 and clip the coin between it and the second finger4 ,the left hand must now close as if it contained the coin1 and be followed by the eyes of the performer1 while the right hand disposes of the coin as may be necessary4 ,illustration3 ,fig4 #f4--,the ,finger ,palm ,illustration3 ,fig4 #g4--;,application of the ,finger ,palm ,following is an illustration of the way in which this sleight can be employed with good effect4 ,place a candle on the table to your left1 and then execute the pass as above described4 ,the thumb of the right hand should now close on the edge of the coin nearest to itself and draw it back a little2 and at the same time the candle should be taken from the candle-stick between the thumb and fingers of the same hand1 7,fig4 #g74 ,the left hand1 which is supposed to contain the coin1 should now be held over the candle and opened slowly1 the effect to the spectators being that the coin is dissolved into the flame4 ,both hands should at this point be shown1 back and front1 as the coin1 owing to its peculiar position1 cannot be seen at a short distance4 ,you now take the upper part of the candle in the left hand2 then lower the right hand to the opposite end and produce the coin from thence1 the effect being that the money is passed through the candle1 from one end to the other4 ,,to ,,change ,a ,,coin4--,sometimes1 in order to bring about a desired result1 it is necessary to change1 or in conjurers' parlance to ring1 a borrowed and marked coin for a substitute of your own4 ,there are many ways of effecting this1 but having once mastered the various palms the student will readily invent means for himself4 ,the following1 however1 is the one generally adopted by conjurers3 ,borrow a coin and have it marked4 ,then take it between the fingers and thumb of the left hand1 as in ,le ,tourniquet 7,fig4 #e71 having previously secreted the substitute in the palm of the right4 ,now take the coin in the right hand1 and in doing so drop the substitute into the palm of the left1 which you immediately close1 and remark1 ,you have all seen me take the coin visibly from the left hand4 ,i will now make it return invisibly4 ,saying this1 you appear to throw the coin into the left hand1 really palming it1 and showing your own1 which every one takes to be the original borrowed one4 ,you now proceed with the trick in question1 disposing of the marked coin as may be necessary4 ,,chapter ,,iii ,,tricks ,,with ,,coins ,,magical ,,production ,,of ,a ,,coin4--,come forward with a coin palmed in the right hand4 ,draw attention to the left hand1 showing it back and front as empty1 and1 as if in illustration of what you say1 give the palm a smart slap with the right hand1 leaving the coin behind1 and slightly contracting the fingers so as to retain it2 now show the right hand empty1 pulling up the sleeve with the left hand which masks the presence of the coin1 then close the left1 and after one or two passes over it with the right hand1 produce the coin4 ,a ,,new ,,coin ,,fold4--,take a piece of paper four inches by five inches1 place a coin on it and fold the top of the paper down over the coin to within one inch of the bottom4 ,then fold the right hand side of the paper under the coin1 treating the left hand side in a similar way4 ,you must now fold the bottom one inch of paper under the coin and you will1 apparently1 have wrapped it securely in the paper2 but really it is in a kind of pocket1 and will readily slip out into either hand at pleasure4 ,allow several persons in the audience to feel the coin through the paper1 then take it from the left hand to the right1 letting the coin slip out into the left hand1 which picks up a plate from the table4 ,you now burn the paper in the flame of a candle1 and1 dropping the ashes on the plate1 the coin is found to have disappeared4 ,a pretty effect can be obtained if1 instead of using a piece of ordinary paper for the above1 you make use of a piece of flash paper1 which when placed in the flame of a candle vanishes entirely1 leaving no trace behind4 ,,coin ,,and ,,candle4--,repeat the last trick1 using flash paper for the same and dispensing with the plate4 ,when about to burn the paper in the flame of the candle1 stand with the left hand1 which contains the coin1 holding the right lappet of your coat4 ,after the flash show the hand empty1 then take hold of the right lappet of the coat with the right hand1 and in doing so let the coin drop from the left hand into it4 ,the left hand immediately takes hold of the left lapel1 and both hands pull the coat open as if to show that the coin is not concealed there4 ,it is now a simple matter1 but very effective1 to lower the right hand over the candle and produce the coin apparently from the flame4 ,,the ,,invisible ,,flight4--,hold the coin between the fingers and thumb of the left hand1 looking at it yourself4 ,from this position appear to take it in the right hand by passing the thumb under and the fingers over the coin4 ,the coin is really allowed to drop into the fingers of the left hand1 which contract slightly so as to retain it2 the right hand is closed as if it really contained the coin and is followed by the eyes of the performer4 ,the palm of the left hand can now be shown casually1 when it will appear empty1 the coin being held between the first and second joints of the fingers1 which are slightly curled4 ,the left hand is now closed and the piece apparently passed from the right hand into it2 the left hand is then slowly opened1 disclosing the coin lying on the palm4 ,the reader will have noticed that up to this point no duplicate coins have been used1 nor has it been necessary to exchange one coin for another4 ,this forms what may be termed legitimate sleight of hand1 and is to be recommended2 but sometimes for the sake of effect it is really necessary to use a duplicate coin1 and ,i will now mention one or two instances4 ,for the following tricks a duplicate coin is prepared with a very small hook attached to one side about one-quarter inch from its edge4 ,this coin is placed in the performer's right vest pocket1 and is obtained by means of the following trick4 ,,vanish ,,for ,,duplicate4--,holding the coin you have been using in your right hand1 you appear to place it in the left2 instead of doing so1 however1 you palm it4 ,close the left hand as if it contained the coin1 and then say that you will pass it from that hand into your waistcoat pocket2 show the hand empty and then with the same hand take the duplicate coin from the pocket4 ,the other coin1 you will remember1 remains palmed in the right hand4 ,,to ,,pass ,a ,,coin ,,through ,,the ,,body4--,in continuation of the preceding trick you place the left hand 7holding the hooked coin7 behind the body and attach the coin to the back between the shoulders1 remarking3--,i shall next undertake a very difficult experiment1 which consists in passing the coin right through my body1 commencing from behind1 up into my left hand 7as you say this you extend the hand closed74 ,some one is almost sure to remark that the coin may be in the hand already1 to which you reply3--,pardon me1 no1 ,i would not deceive you by so mean an expedient4 ,see1 the left hand is perfectly empty4 ,if you prefer it ,i will use the other hand1 which is also quite empty4 ,you should have been holding the right hand1 in which is the palmed coin1 well extended and open1 with the back toward the audience4 ,the right hand will in nine cases out of ten be chosen1 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 chapter1 to get the coin into the left hand4 ,should the right hand be chosen1 you may1 with some caution1 remark3--,well1 it's just as well to have the right one1 but still ,i left it to you4 ,all that remains for you to do now is to make believe1 in the most dramatic manner possible1 that the coin is travelling up the body1 along the arm1 and into the chosen hand1 whence you let it fall on to a table or chair4 ,should the coin fall on the ground1 you will be careful not to expose the one on your back when picking it up4 ,,swallowing ,,illusions4--,having secured the coin again1 appear to place it in the mouth1 palming it1 and producing it from the bottom of the vest4 ,repeat this pass1 and remark3--,this time1 by way of variation1 we will stop the coin when it gets half way down and give it a sharp push 7strike your chest rather violently with both hands71 which will have the effect of sending it right through the body again4 ,you now turn round and show the coin sticking on your back4 ,,coin ,,and ,,lemons4--,still keeping the coin palmed from the last trick1 remove the one from your back and hold it between the forefinger and thumb of the left hand1 from which you take it as in the ,invisible ,flight4 ,this time1 however1 you do actually take it with the right hand1 and at the same time let fall from the right hand the coin concealed therein4 ,the left hand now contains a coin1 but will be thought to be empty4 ,this movement is employed here to satisfy the spectators that you are working with one coin only1 you having1 without apparent design1 shown both hands empty1 with the exception of the piece you are using4 ,you now lay the hooked coin down on the table and go behind the scenes for three lemons and a knife1 which have been placed there in readiness on a plate4 ,one of the lemons has a slit cut in it1 into which you insert the coin you have carried off4 ,coming forward with the lemons on the plate1 you force the choice of the one with the coin in the following manner3--,ladies and ,gentlemen1 ,i have here three lemons4 ,i only require one for the purpose of my trick and ,i will ask you to decide which it shall be4 ,which of the three do you prefer1 the right or the left1 or the one behind8 7,the one behind is the prepared one47 ,if the one behind is chosen take it and proceed4 ,if the right or the left is chosen throw it to the person making the selection1 with the remark1 ,thank you1 ,i hope you will find it sweet4 ,you will now have two left and you continue3--,i have now only two lemons4 ,which one shall ,i take1 the right or the left8 ,if the prepared one is chosen take it and proceed with the trick4 ,if the other one is chosen take it with the remark3--,very good1 then ,i will use the one that remains for the purpose of the trick4 ,you now force the knife into the lemon1 inserting it in the slit already made1 and give it to some one to hold high in the air4 ,now pick up the coin from the table and vanish it by one or other of the means already described 7a good method is given in the next trick71 and then have the fruit cut open and the coin disclosed4 ,the above form of ambiguous questioning can be used in any trick where it is essential that a particular article be chosen4 ,you can avoid going behind the scenes by adopting the following ruse3 ,go to the wing1 and extending your hand1 in which is the coin1 behind it1 call out loudly to your assistant--,bring me those lemons1 please4 ,in drawing attention to the fruit it is perfectly natural for you to extend your hand behind the wing and thus dispose of the coin4 ,,the ,,pocket ,,vanish4--,take a coin in the right hand and make believe to place it in the left1 really palming it4 ,the left hand is closed as if it contained the coin and held away from the body4 ,the right hand pulls back the sleeve slightly as if to show that the coin has not been vanished in that direction4 ,this movement brings the right hand over the outside breast pocket of the coat1 into which the coin is allowed to fall unperceived4 ,the coin is now vanished from the left hand in the orthodox manner and both hands are shown empty4 ,should you desire to regain possession of the coin1 have the outside pocket made communicating with an inside one on the same side of the coat2 when1 having shown the right hand unmistakably empty1 you produce the coin thence1 in a magical manner4 ,the preceding list of coin tricks has been arranged in combination1 the one to follow the other in a natural manner1 for an entertainment1 as actually presented to an audience4 ,i cannot1 however1 leave the subject of coin tricks without making mention of several other very deceptive experiments1 which will doubtless be new to the majority of my readers4 ,,to ,,pass ,a ,,coin ,,into ,,an ,,ordinary ,,matchbox ,,held ,,by ,,one ,,of ,,the ,,spectators4--,prepare a matchbox as follows3--,push open the sliding portion about one inch4 ,then fix between the top of the slide and the back end of the box a coin1 the greater part of which is overhanging the box1 the whole being out of sight of the casual observer4 ,arranged thus1 give the box to some one to hold with instructions that when you count three the box is to be closed smartly4 ,this will have the effect of jerking the coin into the box4 ,you now take a duplicate coin and vanish it by means of the ,pocket ,vanish1 or any other convenient method1 counting ,one6 two6 three6 when1 acting according to your instructions1 the person will close the box1 and the coin will be heard to fall inside4 ,,coin1 ,,wine-,,glass1 ,,and ,,paper ,,cone4--,this very pretty and amusing table trick consists in causing a coin placed under a wine-glass1 the whole being covered with a paper cone1 to disappear and return as often as desired4 ,the following arrangements are necessary3--,take a wine-glass1 and1 having placed a little gum all round its edge1 turn it over on a sheet of white paper1 and when dry cut away the paper close to the glass4 ,obtain a ,japanese tray and on it lay a large sheet of paper similar to that covering the mouth of the glass1 and stand the glass1 mouth downward1 on it4 ,make a paper cone to fit over the glass and you are ready to present the illusion4 ,borrow a penny and lay it on the large sheet of paper by the side of the wine-glass2 cover the glass with the paper cone1 and place the whole over the coin4 ,command the penny to disappear1 and on removing the cone it will seem to have done so1 as the paper over the mouth of the glass1 being the same color as that on the tray1 effectually conceals the coin4 ,to cause it to reappear you replace the cone and carry away the glass under it4 ,this can be repeated as often as desired4 ,to make the experiment more effective1 use colored paper1 which shows up against the coin more than white4 ,,coins1 ,,hat1 ,,and ,,plate4--,in this experiment a number of borrowed and marked coins are passed invisibly into a hat covered with a plate4 ,obtain a small metal box large enough to contain half a dozen coins of the kind you intend to use4 ,this box should be enamelled white and have an opening in one side large enough for the coins to pass through4 ,a common pill-box would answer the purpose1 but a metal one is preferable4 ,place a little wax on the top of the box and leave it1 with the plate1 on a table at the rear of the stage4 ,borrow a silk hat1 which leave on your table4 ,then obtain the loan of six marked coins1 which you change for six of your own1 as you go back to the stage4 ,drop the latter coins into a tumbler1 or lay them in some other conspicuous position on the table1 and go to the rear of the stage for the plate4 ,introduce the marked coins into the box1 and attach it by means of the wax to the under side of the plate4 ,come forward1 and having shown the hat to be quite empty1 place the plate over it1 being careful to note the position of the hole in the side of the box4 ,you now take the coins from the glass and appear to place them in the left hand1 really palming them in the right1 which forthwith drops them into a little box containing sawdust placed on the servante4 ,the coins are retained in the right hand by a slight contraction of the fingers1 as in ,the ,invisible ,flight4 ,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 other4 ,the pass called ,le ,tourniquet is a better one for a number of coins4 ,the noise of the coins as they fall into the hand is quite natural1 as it would be almost impossible to actually take them in silence4 ,now pick up the hat with the right hand1 holding it at arm's length2 vanish the money from the left hand in the usual way1 at the same time tilting the hat slightly in the right direction1 when the coins will be heard to fall inside4 ,,to ,,vanish ,a ,,marked ,,coin ,,from ,a ,,tumbler ,,and ,,cause ,,it ,,to ,,appear ,,in ,a ,,small ,,box1 ,,wrapped ,,in ,,paper1 ,,in ,,the ,,centre ,,of ,a ,,large ,,ball ,,of ,,wool4--,for this very surprising trick you will require to make the following preparations3--,procure a tumbler having a slit cut flush with1 and parallel to1 the bottom1 which should be flat4 ,the opening should be just large enough to allow a half dollar dropped into the tumbler to slip through into your hand4 7,see ,fig4 #h47 ,illustration3 ,fig4 #h4--,prepared ,tumbler ,obtain a small metal box large enough to take the coin easily1 also a flat tin tube about three inches long and just wide enough for the half dollar to slide through it4 ,place one end of this tube inside the box and close the lid on it1 keeping it in position by passing an elastic band over the box4 ,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 inch4 ,place the ball thus prepared on a table at the rear of the stage and you are ready to perform4 ,show the tumbler1 and draw attention to the fact that it is an ordinary one by filling it with water from a jug1 which can be done by placing the forefinger round the slit4 ,return the water to the jug and borrow a half dollar1 which has been marked by the owner1 allowing him to actually drop it into the glass4 ,cover the tumbler with a handkerchief1 shaking it continually to prove that the coin is still there1 and then place it down on your table1 securing the coin through the slit as you do so4 ,going to the back of the stage for the ball of wool1 you insert the coin into the tube and withdraw the latter1 when the action of the elastic band closes the box4 ,bring the ball forward in a large glass basin and have the wool unwound1 disclosing the box2 on this being opened the marked coin will be found within4 ,,to ,,vanish ,a ,,number ,,of ,,coins ,,from ,a ,,plate ,,in ,a ,,sheet ,,of ,,flame4--,place a tea-plate near the rear edge of your table1 and a sheet of flash paper1 large enough to cover the plate1 in front of it4 ,you must also have another plate on the servante and you are then ready to commence4 ,after performing any trick in which a number of coins have been used1 throw them on the plate1 carelessly dropping several on the table4 ,take up the plate in one hand and the piece of paper in the other1 and holding the plate just behind the table1 and over that on the servante1 apparently sweep the loose coins on to the plate you are holding1 really letting all fall on the hidden one1 under cover of the paper1 which you immediately place over the plate in your hand4 ,every one will now suppose the money to be on the plate which1 with studied carelessness1 you bring forward just over the flame of a candle burning on the table4 ,the paper ignites and disappears in a sheet of flame1 and the plate is found empty4 ,,programme ,,and ,,coin4--,the effect of this experiment1 which is an improvement on the old programme and ring trick1 as no stage assistant is required1 is as follows3--,the performer borrows a marked half dollar from a stranger in the audience1 immediately handing it to a gentleman to examine the mark1 date1 and other items4 ,while this is being done the performer obtains the loan of a programme1 which he tears in half1 laying one half on his table4 ,the gentleman is now requested to place the coin in the half of the programme held by the performer1 who wraps it up and gives it to him to hold4 ,he now goes to his table for a piece of sealing-wax1 which he passes several times over the packet held by the gentleman1 when immediately it is found transformed into a packet of three envelopes1 made from the programme1 all gummed and sealed one inside the other1 with the marked half dollar in the smallest one4 ,as the gentleman cannot see how it is done the performer repeats the trick for his benefit with the other half of the programme1 but the result is the same4 ,this time1 however1 the gentleman is requested to take the last envelope to the owner of the money1 that he may open it and satisfy himself that it actually contains his own coin4 ,the six envelopes are now rolled up and given to the gentleman to hand to the lady1 to keep as a souvenir of the entertainment1 but before he has proceeded far the performer tells him he has dropped one of them 7he has not really done so71 and1 failing to find it1 he very naturally begins to count those in his hand1 when he discovers to his astonishment that he holds the programme restored4 ,explanation4--,after the performer has borrowed the half dollar1 in the act of handing it to the gentleman for examination1 he adroitly changes it for one of his own bearing the mark of a cross1 which mark is of course taken for that of the owner of the coin4 ,the performer now asks for the loan of a programme1 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 profonde4 ,to facilitate the introduction of the coin a tin tube1 with a rather wide mouth1 just large enough for the coin to pass through1 is placed in the smallest envelope4 ,after the coin has been introduced this tube is withdrawn1 left in the pocket1 and the envelopes closed4 ,illustration3 ,fig4 #i4--,packet of ,three ,envelopes ,the flaps of the envelopes are sealed with wax beforehand and prepared with the best gum arabic1 which is allowed to dry hard4 ,they are moistened with the tongue just as you are about to commence the trick1 and if cut as in ,fig4 #i1 can be closed all together while in the pocket4 ,this packet is laid on the table under cover of the half of the programme used in the second stage of the trick4 ,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 gentleman1 and1 it is hardly necessary to remark1 being of the same appearance1 and bearing the same date4 ,when rolling up the programme the performer retains it and hands the gentleman the packet of envelopes2 and when going to his table for the wax leaves the half of the programme and the half dollar thereon4 ,by the time the first coin is taken from the envelopes the packet containing the actual borrowed coin will be dry and ready for use4 ,the remaining portion of the trick will now be understood4 ,when the performer goes for the other half of the programme he takes the packet of envelopes with it and substitutes it as before1 and the trick proceeds as described4 ,when collecting the six envelopes for the final effect the performer palms a duplicate programme which has been lying on his table behind some object1 and substitutes this as before when handing the gentleman the envelopes to take to the lady4 ,,filtrated ,,coin4--,borrow a half dollar from one of the company1 wrap it up in a handkerchief1 and request some one to hold it over a glass of water on the table4 ,hey1 presto6 ,the coin is dropped into the glass and heard to jingle4 ,when the handkerchief is removed the half dollar has disappeared1 having been apparently dissolved in the water4 ,placing your hand under the table you produce the coin1 which you declare has passed through the glass and table-top4 ,this exceedingly effective trick is accomplished by means of a glass disk of the same diameter as a half dollar4 ,the modus operandi is as follows3 ,borrow a half dollar and while holding it in your hand throw a handkerchief over it4 ,under cover of the handkerchief exchange the coin for the glass disk which you have concealed in your palm4 ,now get some one to hold the disk by its edges through the handkerchief1 directly over the glass of water4 ,pronounce your magical phrase1 and command your volunteer assistant to drop the half dollar 7disk7 into the glass4 ,the disk will be precipitated into the glass with a jingle that exactly simulates the falling of a genuine coin1 and will adhere to the bottom of the glass1 where it will not be seen4 ,you may even pour out the water1 but the disk1 thanks to the power of suction1 will remain in the same position1 firmly attached to the drinking glass1 which of course must have a flat bottom4 ,a ginger-ale or beer glass of small diameter comes in handy for this capital trick4 ,after sufficient palaver1 the genuine half-dollar may be reproduced from under the table or from the pocket of the volunteer assistant4 ,,the ,,penetrating ,,coin4--,this coin trick may be performed anywhere1 and requires no special preparation4 ,a borrowed ,derby hat is placed upon the mouth of a tumbler1 7,fig4 #aj74 ,three half dollars are now borrowed and tossed into the hat1 whereupon one of the coins is seen to penetrate the crown of the hat1 and drop visibly and audibly into the tumbler beneath4 ,it is thus explained4 ,in the act of placing the hat on the glass1 secretly and without jingling1 slip a coin of your own between the rim of the glass and the hat4 ,the weight of the latter will retain the coin in position1 which of course is on the side of the hat farthest from the spectators4 ,the dropping of the borrowed coins in the hat will disturb the balance of the secret half-dollar1 causing it to fall into the tumbler4 ,it is hardly necessary to remind the student that the fourth coin must be gotten rid of unbeknown to the audience1 otherwise the effect of the experiment will be destroyed4 ,in putting the hat in position two hands may be used4 ,this will greatly facilitate the placing of the coin on the rim of the tumbler4 ,you should lay stress on the fact that it is necessary to get the hat evenly on the glass4 ,as simple as this trick seems in explanation1 it is nevertheless wonderfully illusive1 and can be recommended to the amateur as worthy of his repertoire1 especially for the parlor1 or club room4 ,illustration3 ,fig4 #aj4--,penetrating ,coin ,an excellent coin trick1 to be used in conjunction with the preceding illusion1 is the following3 ,the performer shows a coin and forthwith proceeds to pass it into the hat by way of the crown4 ,that there may be no doubt as to the actual passing of the coin it is left sticking half way through the hat2 a final push and it is heard to fall inside4 ,the coin used is a trick one constructed as follows3 ,a groove is first turned round its extreme edge deep enough to conceal a small india-rubber band4 ,it is next cut in half across its diameter4 ,a hole is drilled in the centre of one half in which is inserted a needle point4 ,in the other half a slot is cut to admit the needle4 ,the two halves are now placed together and kept in position by passing the band round the groove afore mentioned4 7,see ,fig4 #aa47 ,this coin has a distinct advantage over the older form in which the one half only was used1 in so far that it may at the outset be shown as an ordinary coin4 ,when giving the final push it is1 of course1 withdrawn and palmed4 ,illustration3 ,fig4 #aa4--,trick ,coin ,,coin ,,in ,,the ,,bottle4--,with a coin grooved and prepared as above and cut into three pieces1 but minus the needle point1 the amateur can perform the deceptive trick of the half-dollar in the bottle4 ,you first borrow a half dollar from a spectator1 and secretly exchange it for your folding-coin4 ,exhibit the bottle1 which should be of clear glass1 preferably1 and demonstrate the impossibility of passing a coin into its neck4 ,then grasp the mouth of the bottle in the manner depicted in ,fig4 #ab1 the coin being concealed from the spectators by your fingers4 ,bend the coin and insert it in the neck of the bottle1 after which give the mouth of the bottle a violent blow with the palm of the hand4 ,the coin will enter the bottle1 and expand as soon as it passes the neck4 ,you may now pass the bottle for inspection1 without any one being able to discover the secret of the trick4 ,a clever amateur with the aid of a very fine metal saw and a file can manufacture the folding coin for himself4 ,illustration3 ,fig4 #ab4--;,coin in ,bottle ,,chapter ,,iv ,,tricks ,,with ,,handkerchiefs ,,peregrinations ,,of ,a ,,handkerchief4--,for the following series of experiments you will require three fifteen inch silk handkerchiefs 7the best material for making these is fine quality sarcenet71 an ordinary small sliding match-box1 a candle in a candlestick1 and a conjuring wand2 also a false finger and a conjuring pistol1 hereafter described4 ,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-box1 which you open about one inch for the purpose2 another is rolled up and placed behind the collar on the left hand side of the neck2 and the last is loaded into the false finger and placed in the right hand trousers pocket4 ,you are now ready to commence4 ,,handkerchief ,,and ,,candle4--,ladies and ,gentlemen1 the following experiment was suggested to me at the age of twelve while studying chemistry4 ,i then learned that all matter was indestructible4 ,proof of this1 as you are well aware1 is afforded with an ordinary candle4 ,you may light the candle at one end and let it burn to the other1 but you do not destroy the matter of which it is composed4 ,what really takes place is the formation of new substances1 as hydrogen1 carbon1 water1 etc41 which any of the text-books on chemistry will explain4 ,i will1 however1 give you one striking illustration3-- ,pick up the match-box and light the candle2 then close the box1 pushing the handkerchief into the right hand1 and throw the box down on the table4 ,take the candle from the candle-stick and place it in the right hand1 which masks the presence of the handkerchief4 ,you now appear to take something from the flame of the candle with the left hand1 which you close as if it really contained an article4 ,open the hand slowly1 looking surprised to find you have failed1 and remark3--,well--really ,i cannot understand this4 ,i am generally successful with this trick4 ,oh6 ,i know what is the matter4 ,you see1 ,i am using the left hand2 if you do things left-handed they cannot possibly be right4 ,i will try the right hand4 ,saying this1 you place the candle in the left hand and immediately produce the handkerchief from the flame with the right1 closing the hand as before4 ,it now only remains for you to open the hand and develop the silk slowly4 ,,to ,,vanish ,a ,,handkerchief ,,and ,,produce ,,it ,,from ,,your ,,collar4--,place your wand under your left arm4 ,take the handkerchief and roll it up small1 using both hands4 ,affect to place the handkerchief in the left hand1 really palming it in the right1 and take your wand from under the arm in the same hand4 ,vanish the handkerchief from the left hand1 and take the one from your collar1 immediately placing it in the right hand to mask the presence of the one already there1 and lay the wand down on the table4 ,,to ,,pass ,a ,,handkerchief ,,into ,,the ,,pocket ,,of ,a ,,spectator4--,obtain the assistance of a young gentleman from the audience1 and ask him to let you have the loan of the outside breast pocket of his coat4 ,much fun is generally caused by his removing his own pocket handkerchief and sundry other curious articles4 ,place both handkerchiefs1 which have all the time remained in the right hand1 in his pocket 7you1 of course1 are supposed to be using one only71 and stand as far away as the limits of the stage will allow1 and say3--,now1 sir1 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 present4 ,he will probably look confused1 and hardly know whether to say ,yes or ,no4 ,whatever he may say is all the same to you1 and you remark3--,my dear sir1 do not look like that2 your face is calculated to upset me altogether4 ,i scarcely know what ,i am doing4 ,what ,i really intended to do was to pass the handkerchief from my hands into your pocket4 ,you now take the handkerchief from his pocket1 where1 unknown to the spectators and probably the gentleman himself1 one still remains4 ,you will now vanish the handkerchief as in the last trick1 and let the gentleman take the one from his pocket1 which will seem to be the same4 ,take the handkerchief from him1 place it in the right hand1 which again conceals the one in the palm1 and lay the wand down on the table4 ,,to ,,fire ,a ,,handkerchief ,,into ,a ,,gentleman',s ,,hair4--,for the purpose of this trick you will have to make use of what is known as a conjuring pistol1 which1 being in constant use in magical surprises1 ,i will describe4 ,it consists of an ordinary pistol fitted with a conical tin tube eight inches long4 ,the mouth of this tube is about two inches in diameter and is supplied with a tin cup one and one-half inches deep1 having its outer edge turned over all round so as to afford a ready grip to the palm4 ,the conical tube is fitted with an inner tube to keep it firm on the barrel of the pistol4 7,see ,fig4 #ac47 ,illustration3 ,fig4 #ac4--;,conjuring ,pistol ,taking up the pistol1 you place the two handkerchiefs1 which look like one1 in the cup2 push them well down and remark3--,i shall now fire direct at the gentleman's head1 and after the shot the handkerchief will be found firmly embedded in his hair1 and will1 not unlikely1 be seen protruding from each of his ears4 ,it just depends on the force of the shot1 you know1 and ,i need hardly say ,i loaded the pistol myself1 and am totally ignorant of fire-arms4 ,are you ready1 sir8 then good-bye6 ,place the muzzle of the pistol in the left hand while you shake hands with the gentleman4 ,in taking the pistol back into the right hand to fire it1 you leave the cup behind in the left hand1 and at the instant you pull the trigger1 you drop it into your pocket on the left side4 ,when discharging the pistol you will1 of course1 stand with your right side to the audience4 ,you now ask the gentleman to take the handkerchief from his hair1 telling him it is just behind his left ear 7of course it is not really there72 and while he is trying to find it you stand with your hands in your trousers pockets1 telling him to make haste1 you cannot wait all the evening1 etc4 ,when he has tried some time and failed to find it you take your hands from your pockets1 having got the false finger into position between the second and third fingers4 ,showing the hands back and front 7the addition of an extra finger will not be noticed71 you pass them several times over the head of the gentleman1 then lowering the hands on to his head you detach the finger and draw out the handkerchief4 ,the false finger is laid down on the table under cover of the handkerchief4 ,the finger is made of thin spun brass painted flesh color2 it is quite hollow from tip to root1 and is shaped for fitting between the second and third fingers1 7,fig4 #ad74 ,it can be used in many tricks with handkerchiefs1 and is really an indispensable accessory4 ,this concludes the series alluded to in the beginning of this chapter4 ,i will now describe a number of handkerchief tricks complete in themselves4 ,illustration3 ,fig4 #ad4--;,false ,finger ,,the ,,handkerchief ,,cabinet4--,this very useful piece of apparatus should be in the repertoire of every amateur magician1 as it is available for producing1 changing1 or vanishing a handkerchief4 ,its secret lies in the fact that it contains two drawers1 bottom to bottom1 the lower one being hidden by a sliding panel4 ,when standing on the table the top drawer only is visible1 and the cabinet looks the picture of innocence1 but if turned over and stood on its opposite end1 the sliding panel falls1 exposing the hidden drawer1 and hiding that which for the time being is at the bottom1 7,fig4 #ae74 ,the cabinet is about two inches square by four inches high4 ,if required for production you proceed as follows3--,having placed a silk handkerchief in the concealed drawer1 introduce the cabinet1 take out the empty drawer1 and give it for examination4 ,replace the drawer1 secretly turn over the cabinet1 and place it on your table4 ,you now go through any form of incantation you please1 open the drawer and take out the handkerchief4 ,if you desire to vanish a handkerchief you will have it placed in the drawer by one of the spectators1 and while going to the table turn over the box4 ,when the drawer is opened the handkerchief will have disappeared4 ,illustration3 ,fig4 #ae4--;,handkerchief ,cabinet ,should you wish to change one handkerchief for another you will beforehand conceal say a red handkerchief in the cabinet2 then taking a white one1 have it deposited in the upper drawer1 turn over the cabinet as before1 pull out the now uppermost drawer1 and produce the red handkerchief4 ,from the foregoing description it will be obvious that the cabinet is capable of being used in conjunction with many tricks4 ,,the ,,handkerchief ,,vanisher4--,one of the best appliances for causing the disappearance of a handkerchief may be made from a small celluloid ball as follows3--,obtain a ball one and three-fourth inches in diameter1 which will take three small silk handkerchiefs if desired1 and cut a one inch hole in any part of its surface4 ,on the side of the ball opposite the opening fix a loop of flesh-colored thread1 long enough to pass easily over the thumb1 and to suspend the ball on the back of the hand so that it does not hang too low4 ,when required for use the ball is taken up secretly under cover of the handkerchief1 and the thumb of the left hand is passed through the loop4 ,then1 while appearing to roll up the handkerchief1 it is worked through the opening into the ball1 which is instantly pushed over to the back of the left hand under cover of the right4 ,the palms of the hands are now shown empty1 when the handkerchief will seem to have vanished entirely4 ,when using the vanisher you will1 of course1 stand with your right side to the audience4 ,it is well to be provided with two or three of these accessories1 in different sizes4 ,,magical ,,production ,,of ,,handkerchiefs4--,the performer comes on the stage showing both hands empty1 back and front4 ,he then pulls up both sleeves and immediately produces a white silk handkerchief1 about eighteen inches square1 which he passes for examination4 ,then by simply shaking the handkerchief he obtains from it about half a dozen other colored ones about fifteen inches square4 ,the colored handkerchiefs are then caused to vanish by simply rolling them up in the hands1 being immediately afterwards reproduced1 all tied together by the corners1 from the white one4 ,the necessary preparations for the trick are as follows3--,a slit one half inch long is made in the seam of the trousers at the right knee1 and two of the colored handkerchiefs1 each having a minute piece of blackened cork tied to one corner1 are pushed into this slit1 the corks being left protruding to enable the performer to instantly draw them out4 ,two handkerchiefs of different colors are placed in the pochette on the left side4 ,a fifth handkerchief1 also prepared with a piece of cork1 is placed in the front of the vest1 the cork protruding through the watch-chain hole4 ,it may seem impossible1 but the silk may be drawn through this hole very rapidly1 and quite easily1 as will be found by experiment4 ,a sixth handkerchief is contained in the false finger 7previously described71 which should be placed in the right hand trousers pocket4 ,as the handkerchiefs are produced they are thrown over the back of a chair fitted with a network servante 7,fig4 #a1 page #ah71 behind the top rail of which are suspended two vanishers of the kind already described2 also the ball of six duplicate handkerchiefs all tied together by the corners4 ,the trick is worked as follows3--,the white handkerchief is rolled up into a small compass and tied with a piece of silk just strong enough to hold it4 ,it is then placed in the hollow of the arm at the elbow1 the arm being bent slightly so as to retain it in that position4 ,when pulling back the sleeves the performer secretly obtains possession of the handkerchief1 breaks the thread1 and develops it slowly4 ,having had the handkerchief examined1 and while holding it by two corners1 spread it over the knee as if drawing attention to the fact that it is empty4 ,then1 in the act of raising it1 shaking it the whole of the time1 pull the two colored ones through the seams1 and while developing these take the two from the pochette on the left side4 ,place the white handkerchief in the left hand to conceal the colored ones1 and throw the other two over the back of the chair4 ,now produce the two in the left hand in a similar manner1 and throw them over the chair with the two already there4 ,then take the white handkerchief by two corners1 and while turning it round to show both sides1 seize the piece of cork at the buttonhole of the vest1 and produce the fifth handkerchief1 throwing both over the back of the chair4 ,for the production of the last handkerchief a little patter is desirable4 ,ladies and ,gentlemen1 ,i dare say you will wonder where ,i get these handkerchiefs4 ,the other evening ,i overheard two gentlemen conversing in the boxes4 ,one said to the other1 ',don't you see where he gets those handkerchiefs8 ,they came down his sleeve4' ,the other said1 ',oh6 no1 they don't4 ,he takes them from his pockets1 for ,i saw him4' ,saying this you thrust the hands into the pockets by way of illustration1 and fix the finger in position4 ,then withdraw the hands1 placing the palms together1 and continue3--,now1 ,i wish to prove to you that both of these gentlemen were wrong4 ,if the handkerchief comes down the sleeve you will be sure to see it4 ,if it comes from the pocket you will also see it4 ,my hands are perfectly empty 7show hands74 ,now watch closely and see if you can detect me4 ,you now bring the hands together1 reverse the finger1 and shake out the handkerchief2 and when laying it with the others on the chair1 drop the finger into the servante4 ,to cause the disappearance of the handkerchiefs proceed as follows3--,take up three of the colored ones1 at the same time secretly obtaining one of the vanishers1 and1 with an up and down motion of the hands work them into the ball4 ,then pass the ball to the back of the hand1 and show the palms empty4 ,when taking up the other three handkerchiefs drop the vanisher into the servante1 secure the other one1 and proceed as before4 ,then take up the white handkerchief1 again disposing of the vanisher into the servante1 and securing the ball of six tied together4 ,finally wave the white handkerchief up and down1 and gradually work out the colored ones1 one after another4 ,,color-,,changing ,,handkerchiefs4--,the effect of this trick1 which is one of the best in the whole category of sleight of hand feats1 is as follows3--,three white handkerchiefs are pushed into a paper tube1 and as they come out at the opposite end they are seen to be dyed respectively red1 yellow1 and green4 ,the paper is then unrolled and torn in half1 when the white handkerchiefs are found to have vanished entirely4 ,illustration3 ,fig4 #af4--;,handkerchief ,fitted with ,brass ,tube ,to perform the trick you must be provided with a piece of drawing-paper ten inches by eight inches 7a leaf from a plain drawing-book will answer the purpose admirably71 three very fine white silk handkerchiefs fifteen inches square1 and three colored ones of the same size and texture4 ,the last of the colored handkerchiefs to appear at the end of the tube is prepared as follows3--,take a piece of one and one quarter inches brass tubing1 three inches long1 and insert it in the middle of one side of the handkerchief 7,fig4 #af71 by covering it with a piece of silk of the same color4 ,this piece of silk is extended beyond the tube1 as shown1 to form a kind of pocket4 ,to prepare for the trick push the body of the handkerchief into the brass tube at the end ,a1 and the other two colored ones on the top of it4 ,the piece of paper is laid on the table with the tube of handkerchiefs under its rear edge4 ,the three white handkerchiefs are then laid across the paper4 ,to perform the trick stand on the left of your table and take up the paper with the right hand1 the left hand keeping the white handkerchiefs in front of the tube of colored ones4 ,draw attention to the fact that the paper is unprepared1 then lay it on the table in such a manner that it again conceals the tube1 and take up the white handkerchiefs4 ,show the handkerchiefs1 remarking that they are of the ordinary description1 and then lay them on the table4 ,pick up the paper1 and with it the colored handkerchiefs1 which are held behind it with the thumb of the right hand4 ,you now form the paper into a tube round the colored handkerchiefs and hold it in the left hand4 ,pick up the white handkerchiefs one at a time1 place them in the left hand with the tube1 and remark3--,i will now pass the white handkerchiefs through the cylinder1 first1 however1 showing you that it is perfectly empty4 ,as you say this you take the handkerchiefs in the right hand1 and as if to illustrate what you say1 place them near the mouth of the tube4 ,this gives you the opportunity of dropping the colored handkerchiefs into the white ones4 ,the cylinder is now shown empty1 and the white handkerchiefs are pushed into one end of it2 care being taken to introduce the colored ones first1 and to keep them out of sight of the audience4 ,you now grasp the brass tube tightly through the paper and press the white handkerchiefs into it4 ,this1 of course1 pushes out the colored handkerchiefs1 which appear at the other end of the cylinder1 the white ones being concealed in the body of the last colored one4 ,when performing the trick it is necessary to be careful to insert the right end of the brass tube into the paper cylinder1 otherwise the experiment would not be successful4 ,the following is the method of presenting the above trick1 with appropriate patter3 ,for the purpose of my next experiment ,i shall make use of this square-looking piece of paper1 in which you can see there is nothing concealed1 not even a trap-door4 ,well1 if there was anything concealed from your view1 you would be sure to see it4 ,laying the paper down and taking up the handkerchiefs1 you continue1 ,in addition to the paper1 ,i propose to make use of these three pieces of silk1 or silk in pieces1 commonly known as art white squares4 ,i am afraid1 however1 some people would prefer to call them subdued white2 possibly dirty white1 if it were not for the liberty of the thing1 but ,i know they call them art white in the stores1 because ,i suppose they find they sell better4 ,laying the handkerchiefs down1 you take up the paper with the tube behind it1 and1 prior to forming the cylinder1 remark3--,this experiment was suggested to me while in ,england traveling on the underground railway4 ,i always travel by that line when possible1 being fond of scenery4 ,one day ,i had occasion to take a return single from ,portland ,road to ,king's ,cross2 and while passing through those tunnels ,i noticed that my linen changed color considerably1 which suggested to me this illustration4 ,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 railway4 ,make the tube and continue3--,there it is1 as free from deception as ,i am4 ,i will now take the handkerchiefs 7take up the handkerchiefs from the table7 and pass them through the cylinder 7drop the colored handkerchiefs into the white ones and show the tube empty71 first1 however1 showing you that it is perfectly empty4 ,then1 having satisfied you that there are no trains on the line1 ,i will pass the handkerchiefs through the tunnel4 ,as the colored handkerchiefs appear at the opposite end of the tube1 remark3--,i may say that ,i have been getting my living for some considerable time by conjuring4 ,you will now notice that ,i am beginning to dye by it4 ,,mechanical ,,pull ,,for ,,vanishing ,a ,,handkerchief4--,the construction of this contrivance is very simple1 and it is absolutely instantaneous in its action1 the quickest eye being unable1 even at close quarters1 to detect the flight of the handkerchief4 ,it consists of two straps1 one for each arm1 which are buckled on just above the elbows4 ,one of the straps carries what is known to mechanics as a lazy pulley1 working freely in all directions1 and provided with a shield1 so that the cord cannot possibly leave the wheel2 and the other carries a metal ,d loop4 ,a cord is tied to the ,d loop1 passed over the back1 round the pulley on the left arm1 back again and down the right sleeve2 the end of the cord being furnished with a loop to receive a handkerchief4 ,the apparatus must be attached to the arms underneath the shirt1 and when in such a position that the arms may be moved about freely1 the loop should be in the centre of the back1 as shown in ,fig4 #ag4 ,illustration3 ,fig4 #ag4--,mechanical ,pull for ,vanishing ,handkerchief--7a7 ,leather ,strap2 7b7 ,brass ,plate2 7c7 ,pivot2 7d7 ,brass ,hinge2 7e7 ,pulley in ,shield2 7,l7 ,left ,arm2 7,r7 ,right ,arm ,to enable the artist to obtain possession of this loop1 a black thread is passed through it1 doubled and carried down the right sleeve1 the two ends hanging out of the cuff so as to be readily found by the fingers4 ,having found the thread1 the performer pulls it down until the loop appears1 which is forthwith passed round the thumb1 the thread being broken and allowed to fall on the floor4 ,the act of pulling the cord to secure the loop will pull the elbows close to the sides1 where they must be kept until the handkerchief is to disappear4 ,having placed the handkerchief through the loop1 which should be of catgut1 being semi-transparent1 push it into the glass tube as described in the next trick1 and place the hands one over each end4 ,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 cylinder1 slightly lifting the base of the right hand from the edge of the glass to allow the silk to pass up the sleeve4 ,in moving the elbows away from the sides a pull of from three feet to four feet is put on the cord1 the handkerchief flying up the sleeve and finally occupying a position in the centre of the performer's back4 ,,the ,,flying ,,handkerchief4--,this is a very surprising trick1 and a favorite with the most noted prestidigitateurs4 ,it depends chiefly for its effect on the ,mechanical ,pull4 7,fig4 #ag47 ,for its execution you must be provided with six small silk handkerchiefs 7two red1 two yellow1 and two green71 also two glass cylinders of the kind used for gas4 ,the idea of the trick is to cause a red silk handkerchief placed in the centre of one of the glass tubes1 the ends being covered with the hands1 to disappear1 and be found between a yellow and a green handkerchief previously tied together1 rolled up into the shape of a ball1 and placed in the other cylinder4 ,it is accomplished thus3 ,three of the handkerchiefs1 one of each color1 are tied together by the corners1 the red being in the centre4 ,they are then rolled up into the shape of a ball so that the red one cannot be seen1 and thus prepared1 are laid on the table behind the other red handkerchief4 ,the performer now takes the two remaining handkerchiefs1 one yellow and one green1 and ties them together1 rolling them up to look as near like the duplicate ball as possible4 ,holding this ball in the right hand1 he takes up the red handkerchief1 and with it the ball of three4 ,he then takes the red handkerchief in his right hand1 passing the ball into the left1 and forthwith pushing it into the glass cylinder on the table4 ,under cover of the red handkerchief1 however1 the balls are exchanged and that of three is actually placed in the tube4 ,while going for the other cylinder1 which should be on a table at the rear of the stage1 the performer has ample time to dispose of the ball of two1 and to get down the pull4 ,when introducing the cylinder remark3--,you see1 ,ladies and ,gentlemen1 that the tubes are of the most ordinary description and perfectly free from preparation2 in fact1 you can see right through them4 ,i hope you will not be able to see through me quite so easily4 ,the red handkerchief is then inserted in the cylinder1 being previously passed through the loop1 whence it is caused to vanish as described4 ,the handkerchiefs are then taken from the tube on the table1 unrolled and shaken out2 when1 by some unaccountable means1 the red one will appear to have tied itself between the other two4 ,,brass ,,tube ,,to ,,produce1 ,,vanish1 ,,or ,,change ,a ,,handkerchief4--,this is really an indispensable piece of apparatus and should be in the repertoire of every wizard4 ,it consists of a piece of one and one-half inches of brass tubing four inches long1 with two caps of the same metal to close the ends4 ,a handkerchief is inserted in the tube and the caps are immediately placed on2 but notwithstanding this1 the handkerchief disappears1 or can be changed to another of a different color4 ,illustration3 ,fig4 #ah4--;,brass ,tube for ,handkerchief ,tricks ,the apparatus really consists of four pieces1 the tube and the two caps1 with the addition of a cup1 one and one-half inches deep1 made to fit easily into either end of the tube1 and provided with a flange as in the magic pistol already described1 to enable the performer to palm it off1 7,see ,fig4 #ah74 ,this cup is not provided with a bottom1 but is fitted with a piece of three-quarter inch tape fixed at each side1 in the centre of the tube1 in such a manner that a loop hangs down flush with1 and forming a bottom common to1 either end of the cup 7as at ,a74 ,the method employed in changing say a white handkerchief for a red one being explained1 the other uses of the tube will be apparent4 ,load a red handkerchief into the cup at the end ,a1 and place it under your vest1 or in the right-hand trousers pocket4 ,give the tube and caps for examination1 and while they are out of your hands1 get possession of the cup and palm it in your right hand4 ,take back the tube with the left hand1 pass it into the right1 and over the cup2 and fit the cap to the opposite end4 ,turn over the tube1 and with the right hand apparently place the white handkerchief into it 7the handkerchief really goes into the cup and pushes the red one into the tube1 reversing the tape74 ,now place the right hand over the cup1 reverse the tube1 and remark3--,as the cap has been on this end the whole of the time1 it has not been possible for the handkerchief to escape in that direction4 ,we will now place a cap on the opposite end of the tube and we have the handkerchief secure4 ,saying this1 reverse the tube1 palming off the cup while doing so2 and while holding the tube in the same hand1 to hide the palm1 fit on the cap4 ,give the tube to some one to hold and drop the cup into the profonde1 or otherwise dispose of it at the earliest opportunity4 ,on removing the caps the handkerchief will be found to have changed color4 ,at this point a good combination trick can be worked by the use of two duplicate handkerchiefs as follows3--,have a duplicate red handkerchief hanging over a chair1 on the back of which is suspended a network servante4 ,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 described4 ,when handing the gentleman the tube which is supposed to contain the white handkerchief1 you take up the red one from the back of the chair1 and at the same time dispose of the palmed cup by dropping it into the servante4 ,the red handkerchief is now vanished by sleight of hand1 or can be fired from the magic pistol1 and eventually found in the brass tube4 ,to account for the disappearance of the white handkerchief you may remark3--,oh1 ,i dare say the white handkerchief has jumped out of the tube to make room for the red one4 ,it has probably found its way into the candle on the table4 ,to conclude the trick you light the candle and produce the handkerchief from the flame4 ,the tube can be used in many ways in combination with other tricks1 but ,i must leave these to the ingenuity of the performer4 ,to my friend1 ,adrian ,plate1 a wonderfully clever manipulator of cards and handkerchiefs1 ,i am indebted for the following new handkerchief tricks1 invented and performed by him1 and for the first time explained4 ,,disappearing ,,handkerchief4--,obtain a small red silk handkerchief1 also a loose piece of silk of the same color about one and one-half inches square4 ,keep this piece at the corner of the handkerchief with thumb and first finger4 ,rub the handkerchief between both hands until you have succeeded in getting it into small compass1 taking care that the small piece is at the top4 ,retain the handkerchief in the right hand and with left hand pull up the right sleeve4 ,now with right hand pull up the left sleeve1 but leave the handkerchief in the bend of the left arm1 where it will be hidden by the folds of the sleeve1 taking care1 however1 that the small piece of red silk protrudes from closed right hand1 deluding the spectators into the belief that the handkerchief is still in your hand1--for do they not see the corner of it8 ,now rub the hands together and roll the piece into a small pellet1 and palm it between the bend of the thumb and first finger4 ,slap your hands together1 and show both sides4 ,this is a most effective illusion1 and will deceive even the conjurers4 ,illustration3 ,fig4 #ai4--;,for ,vanishing ,handkerchief ,another clever disappearing trick with a handkerchief is the following3--,take a piece of flesh-colored thread1 and place it about the right hand1 in the manner depicted in the illustration1 7,fig4 #ai74 ,the dotted lines represent the thread on the outside of the hand4 ,with this simple device1 a silk handkerchief can be apparently placed in the left hand1 when in reality it is stuck between the loop in the right hand4 ,the right hand can be freely moved4 ,vanish a handkerchief in above manner from the left hand1 and by grabbing in the air with your right hand you reproduce the handkerchief4 ,illustration3 ,fig4 #bj4--;,handkerchief ,clamp ,illustration3 ,fig4 #ba4--;,handkerchief ,trick ,,handkerchief ,,from ,,tissue ,,paper4--,take a small bit of soft copper wire1 covered with cotton 7e4g41 a piece of insulated telegraph wire71 and construct a clamp about the size shown in the diagram1 7,fig4 #bj74 ,a small red silk handkerchief about ten inches square is folded as compactly as possible and placed between the clamps4 ,by pressing the wire the handkerchief is kept securely fastened4 ,place the fake on your table1 the handkerchief pointing toward yourself1 7,fig4 #ba74 ,now take a piece of white tissue paper1 four and one-half by seven inches1 and lay it over the handkerchief4 ,this arrangement of course is effected before the performance begins4 ,with your left hand pick up the tissue paper1 and with the latter the fake containing the handkerchief4 ,now take the paper in your right hand1 which under cover of paper secures the clasp 7part ,a of fake7 between the first and second fingers4 ,the handkerchief is now on the inside of the right hand1 while the hand is perfectly free in its movements4 ,exhibit both sides of the paper and smooth it out4 ,all you have to do now is to crumble the sheet of paper1 work out the handkerchief from the fake and insert the ball of paper into wire clamp4 ,then show the handkerchief to the audience1 and drop the fake into your pochette4 ,illustration3 ,fig4 #bb4--;,handkerchief ,trick ,illustration3 ,fig4 #bc4--;,handkerchief ,trick ,,the ,,new ,,cylinders ,,and ,,handkerchief ,,trick4--,for this capital trick you must provide yourself with two glass cylinders closed at one end4 ,they may be procured from conjuring depots1 or constructed out of lamp chimneys1 by cementing glass disks at the ends of the chimneys4 ,however1 the student will find it more satisfactory to purchase these cylinders from some reliable dealer in magical apparatus4 ,preferably they should have rounded bottoms1 as depicted in the illustration4 ,the effect of the trick is as follows3--,on your table are two cylinders4 ,in front of each lies a handkerchief1 one yellow1 the other red4 ,now pick up the left-hand handkerchief 7yellow7 and place it in the right-hand cylinder1 and the right-hand handkerchief 7red7 in the left-hand cylinder1 7,fig4 #bb74 ,lay the cylinders once more on the table1 and make a little speech about the rapidity with which articles sometimes change places1 under the influence of atmospheric electricity4 ,pick up the cylinders1 one in each hand1 and move the hands quickly apart4 ,in the same moment the handkerchiefs change places like a flash of lightning4 ,the secret of this very clever illusion will become apparent on consulting the diagram1 7,fig4 #bc74 ,the cylinders have little holes in the bottoms4 ,a strong silk thread is run through them and looped about the handkerchiefs4 ,a few trials will have to decide the proper length of this thread4 ,the explanation of this feat is simplicity itself1 but the effect is very bewildering upon an audience4 ,it is one of ,plate's cleverest tricks and is performed by him with artistic finish4 ,,the ,,handkerchief ,,burned ,,and ,,restored4--,a clever trick is the ,handkerchief burned and restored4 ,it was a favorite with the late ,alexander ,herrmann1 who performed it in the most artistic and graceful manner4 ,it is a trick of pure sleight of hand1 and requires no apparatus or elaborate preparation1 for which reason it is to be highly commended to those who delight in digital experiments4 ,says ,edwin ,sachs1 the eminent ,english authority on legerdemain3--,if ,i wanted to test a conjurer's ability1 ,i should give him this trick to perform4 ,and yet it is made up of the simplest elements4 ,by attention to the rudiments of palming1 etc41 it becomes easy of execution4 ,you commence operations by requesting the loan of a lady's handkerchief4 ,take care to borrow one that is devoid of lace1 or special ornamentation--in other words a plain1 white one4 ,you come down among the audience and extract a lemon from the hair or whiskers of some gentleman1 or better still from a lady's muff4 ,casually exhibit the lemon1 holding it beneath the nose of one of the spectators1 remarking3--,it is a genuine lemon1 as you perceive4 ,borrow the handkerchief1 then wheeling about toss the lemon to your assistant on the platform4 ,now request some gentleman to stand up and rub the handkerchief between his hands4 ,advance toward the stage1 but suddenly wheeling about1 look at your volunteer assistant1 with well simulated alarm on your face4 ,my dear sir1 you remark1 what are you doing to that handkerchief8 ,you are rubbing it the wrong way4 ,kindly examine it4 ,much to his surprise1 he finds it in small pieces4 ,you then take the pieces1 expostulating vehemently all the while with the gentleman1 for having spoiled your trick1 likewise the lady's handkerchief4 ,the more comedy you inject into this little scene1 the better4 ,finally you remark1 ,i will show you1 sir1 how to restore the handkerchief4 ,pass the pieces back to him1 with the request that he rub them gently from ,north to ,south2 whichever way he performs the absurd movement1 you cry3 ,here1 here6 ,stop that6 ,i said from ,north to ,south1 and you are rubbing from ,east to ,west4 ,let us see what you have done now4 ,he shows the results of his handiwork1 but instead of the pieces there is now one long strip of linen4 ,take this from him1 and observe1 with a melancholy air3 ,it is no use trying4 ,i see that you will never make a magician4 ,kindly take your seat1 sir1 and study the points of the compass1 before you again presume to enter the magic circle4 ,offer the strip to the owner of the handkerchief1 saying that it is no fault of yours that it has been ruined4 ,she will naturally refuse to accept it4 ,then remark3 ,very well1 the only thing ,i can do is to buy you a new one1 next bargain-counter day1 but in the meantime let us see what we can do with this mutilated mouchoir4 ,return to the stage1 pick up the lemon1 which has been placed on the table by your assistant1 and announce that you will shoot the strip of linen into the lemon4 ,load it into your funnel-pistol and fire at the lemon4 ,then cut open the fruit and take out the dummy handkerchief4 ,start towards the lady as if to return it1 but stop suddenly and remark1 ,this handkerchief smells rather strong of lemon4 ,shall ,i perfume it for you1 madam8 ,without waiting for an answer place the handkerchief on a plate and pour perfume over it1 but accidentally put on too much4 ,pick it up1 and show it wet4 ,say you will dry it a little before returning it4 ,light a candle1 and while holding the handkerchief over the flame it ignites4 ,drop it on the plate and offer it to the owner4 ,of course she will refuse to accept it4 ,smother the fire and again offer the burned remnants to the lady1 making all sorts of excuses for the accident4 ,as she again rejects your offer1 say that you will put the ashes in a paper for her4 ,lay the plate on the stage1 and go to your table for a piece of newspaper4 ,in the meantime your assistant creates a small diversion by endeavoring to pick up the hot plate and place it on the table4 ,several times he burns 7or pretends to burn7 his fingers1 dropping the plate1 but finally succeeds4 ,by this time you have come forward with the piece of newspaper4 ,roll up the ashes in the paper1 and remark1 ,here1 madam1 is what is left of your handkerchief4 ,i present it to you as a small souvenir of the entertainment4 ,what1 you won't receive it8 ,tear open the paper and take out the handkerchief fully restored4 ,present it to the lady with your best compliments1 and you will be greeted with applause4 ,the following is the secret of this ingenious trick3 ,take a lemon and prepare it by cutting a plug-shaped piece out of one end4 ,now dig out all the pulp4 ,stuff an old handkerchief or piece of square linen into the lemon1 after which replace the plug and secure it with pins4 ,palm the lemon in your right hand1 holding the lapel of your coat the better to conceal the fruit as you come down among the audience4 ,under the waistband of your vest1 on the left side1 you have secreted a bundle of about a dozen pieces of white muslin--say1 three inches square--and on the right side a strip of about three inches wide and a yard long4 ,on your table have a double piece of newspaper1 about a foot square1 pasted together on three sides1 so that it forms a sort of bag1 but appears like a single thickness4 ,also have on the table two plates1 a magic pistol1 a perfume bottle filled with alcohol1 a candle and a candle-stick4 ,after producing the lemon from the gentleman's whiskers1 take the lady's handkerchief in the left hand4 ,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 vest4 ,give the pieces to the gentleman who is to assist you1 but retain the slip4 ,a judicious use of the wand will enable you to better conceal the palmed linen1 and to effect the several changes in an indetectible manner4 ,while explaining to the gentleman how to restore the handkerchief1 substitute the pieces for the long strip and give him that to hold4 ,get rid of the pieces in your profonde4 ,all is now plain sailing until you arrive at the incident of the newspaper4 ,while your assistant is working with the supposedly hot plate1 you will have ample opportunity for stuffing the original handkerchief into the paper bag1 smoothing it out as flat as you can4 ,wrap up the ashes1 and finally tear open the paper through the outer thickness4 ,the ashes will be concealed by the inner cover4 ,crumple up the paper and throw it carelessly on the stage4 ,some performers go behind the scenes to obtain the paper1 and effect the concealment of the original handkerchief1 but this is unnecessary1 besides it detracts from the effect of the experiment4 ,the diversion created by your assistant with the hot plate will afford you ample opportunity to get the handkerchief into the paper4 ,,chapter ,v ,,tricks ,,with ,,balls ,,creation1 ,,manipulation1 ,,multiplication1 ,,and ,,annihilation ,,of ,,billiard ,,balls4--,for the series of tricks hereafter described1 you will require two solid billiard balls1 and a case to contain one of the balls1 consisting of two hemispheres of thin spun brass hinged together4 ,when closed this case will represent a solid ball1 but when open and held in the hand with the thumb over the hinge1 will appear as two balls4 ,the balls1 together with the case1 should be enameled red4 ,when about to present the trick1 come forward with the case containing a solid ball in the left breast pocket1 and the other solid ball under the left armpit4 ,,creation4--,pull up the right sleeve and then the left one1 which gives you the opportunity of taking the ball in the right hand unperceived4 ,you now execute what is known as the ,change-over ,palm to show both hands empty1 and then produce the ball from the back of the right hand4 ,this palm is made as follows3 ,having gotten the ball into the right hand draw attention to the left with the fingers of the right1 showing it back and front4 ,when doing this you will be standing with your right side toward the audience4 ,now make a sharp half turn to the right and show the right hand in the same manner4 ,this you will be able to do1 as when making the turn the palms of the hands very naturally pass over each other1 and the ball is transferred from the palm of the right hand to that of the left4 ,the ball is now found on the back of the right hand4 ,illustration3 ,fig4 #bd4--,revolving ,ball ,,manipulation4--,the amount of manipulation possible with a single ball is considerable1 and limited only by the dexterity of the performer4 ,the principles of sleight of hand as described in ,chapter ,,ii4 will1 with few exceptions1 be found equally adaptable to this branch of the mystic art4 ,for the benefit1 however1 of those of my readers who have not hitherto made sleight of hand a study1 ,i append a few examples4 #a4 ,having obtained the ball from the back of the right hand1 place it between the two forefingers1 7,fig4 #bd74 ,then twist the fingers round and round1 which will cause the ball to revolve with them4 ,this produces a very pleasing and puzzling effect1 and is to all appearance a feat of dexterity4 ,it requires1 however1 very little practice4 ,illustration3 ,fig4 #be4--;,ball in ,position on ,right ,hand #b4 ,close the right hand and place the ball on the top1 7,fig4 #be74 ,from this position appear to take it in the left hand1 really allowing it to sink down into the palm of the right1 where it is retained4 ,vanish the ball from the left hand in the usual manner1 and produce it from the left elbow4 #c4 ,roll the ball between the palms of the hands as if you were trying to make it smaller4 ,when the left hand is underneath1 seem to close it over the ball1 really palming it in the right hand4 ,the left hand is now brought down rather smartly on the back of the head1 and the ball produced from the mouth4 #d4 ,place the ball between the teeth and1 apparently1 give it a smart rap with the right hand as if to force it into the mouth4 ,the ball1 however1 is palmed in the right hand1 and immediately taken from the back of the head4 ,when producing the ball1 pass it up the back and over the top of the head1 and let it fall into the left hand4 #e4 ,appear to take the ball from the left hand1 as in ,le ,tourniquet with a coin4 ,then apparently pass it through the left knee1 producing it from underneath4 #f4 ,throw the ball several times from one hand to the other1 and finally1 when appearing to throw it into the right hand1 palm it in the left4 ,vanish the ball2 place the left hand to the nose2 and let the ball fall into the right hand4 ,to all appearances it actually comes from the nose4 #g4 ,stand with the left side to the audience1 and throw the ball into the air several times4 ,at the third time palm it in the left hand2 the effect being that the ball is vanished into thin air4 ,now perform the ,change-over ,palm1 described above1 and find the ball at the back of the right knee4 #h4 ,apparently transfer the ball from the right hand to the left1 really palming it4 ,place the palm of the right hand 7containing the ball7 on the right breast1 and thence extend it over in the direction of the left sleeve4 ,in the act of doing this1 the ball leaves the palm and is held between the forearm and the body2 the hand1 turned palm toward the audience1 then pulls up the sleeve4 ,you then blow on the left hand to vanish the ball1 and show the hand empty4 ,to regain possession of the ball1 all that is necessary is to reverse the motion of the arm1 when the ball will find its way into the palm of the hand1 and can be produced as fancy suggests4 ,if the ball is not produced1 the above forms an excellent final vanish to any billiard-ball trick4 ,if used as a vanish1 after having regained possession of the ball1 you stand with the hands one on each lappet of the coat1 bow1 and retire4 ,this pass1 which ,i have found practical in every way1 was given to me by ,mr4 ,george ,newman1 a very clever amateur conjurer4 ,the following explanations will to some extent be given in the vernacular1 it being assumed that the student has become familiar with the various passes4 ,,multiplication4--,you must now obtain possession of the trick ball1 which can be done by means of the following ruse4 ,appear to place the ball in the left hand1 vanish1 and take it from the left breast pocket4 ,in doing so you take out the trick ball1 leaving the solid one behind4 ,for two balls4--,take the trick ball in the left hand1 and1 waving the hand up and down1 open the shell1 placing the thumb over the joint1 when you will appear to have two balls in the left hand4 ,to show these as two solid balls1 one in each hand1 take the ball out of the case1 which forthwith close4 ,this can easily be done under cover of the right hand4 ,draw attention to the ball in the left hand1 and remark1 ,one1 and this one 7ball in right hand7 make two4 ,as you say this you appear to place the ball in the left hand1 really opening the case to represent two balls1 and palming the solid one in the right hand4 ,for three balls4--,produce the ball you have palmed from behind the left knee1 and really place it with the two others 7case open7 in the left hand4 ,wave the left hand up and down1 and under cover of the movement allow the solid ball to slip into the case4 ,then produce the ball previously left in the breast pocket1 and you will seem to have passed a ball up your sleeve4 ,for four balls4--,draw attention to the two balls now in the left hand 7case open1 with a solid ball in one half7 and remark1 ,two1 and this one 7ball in right hand7 make three4 ,saying which1 you apparently place the ball in the left hand1 really palming it as before1 and dropping the ball out of the case under the cover of the right hand4 ,you now find the palmed ball at the left elbow1 and really place it with the other three in the left hand4 ,you will now appear to hold four solid balls4 ,,annihilation4--,appear to take a ball in the right hand1 really allowing one to fall into the case4 ,vanish this ball in the act of throwing it to the audience4 ,you now actually take another solid ball in the right hand and exclaim1 ,i will vanish this one into thin air4 ,watch me4 ,actually throw the ball into the air several times1 and while doing this lower the left hand1 and drop the solid ball out of the case into the profonde1 making a movement that the audience cannot fail to notice4 ,thinking they have caught you1 some one is sure to remark1 ,i saw him put one in his pocket that time4 ,to which you will reply1 ,oh1 no1 ,i did not put any in my pocket4 ,i would not deceive you in such a manner4 ,two and one 7the one in the right hand7 make three4 ,you now really place the ball in the left hand4 ,again appear to take a ball in the right hand1 letting it fall into the case as before4 ,then vanish it in the act of apparently throwing it into the air4 ,wave the left hand up and down1 and under cover of the movement close the case1 which will dispose of the third ball4 ,finally1 make believe to take this last ball in the right hand1 standing with your right side to the spectators4 ,instead of doing this1 however1 the case is opened1 under cover of the right hand1 and the solid ball extracted4 ,the right hand is then closed over the ball so that it cannot be seen1 and the left hand quietly places the case in the profonde4 ,it is well to again let this movement be suspected4 ,then1 looking at the right hand1 remark3 ,i have now only to dispose of this last ball4 ,at this point some one is almost sure to say1 ,oh6 but ,i saw you put it in your pocket4 ,you will then cause considerable amusement to the spectators1 and bring derision on the party with the voice1 by showing the ball in the right hand4 ,to cause the disappearance of the last ball make use of the pass described under ,example #h 7p4 #ig74 ,,billiard ,,balls ,,and ,,basins4--,for the purpose of this trick you will require two small basins and two tea plates4 ,the plates are to act as covers for the basins4 ,in addition to these paraphernalia you will require two india-rubber balls to match in size and color the ordinary billiard balls4 ,the effect of the illusion is as follows3--,the two basins are shown empty1 and each is covered with a plate4 ,in the course of the preceding billiard-ball trick1 or a portion of the same1 two balls are vanished1 afterward appearing in the basins4 ,to prepare for the trick1 place one of the basins1 containing one of the balls1 on the table1 and cover it with one of the plates4 ,on the top of this plate place the other basin1 containing the second ball1 covering the same with the remaining plate4 ,when about to present the illusion1 you take the top plate in the left hand1 and the basin in the right1 fingers inside and thumb out4 ,this enables you to grasp the ball1 and conceal it in the fingers1 while holding the basin so that the inside can be inspected4 ,place the basin on the floor1 retaining the ball in the fingers1 and immediately take the plate in the right hand1 which again conceals the ball4 ,show the left hand empty1 also both sides of the plate4 ,then pass the plate back into the left hand1 taking the ball with it1 and show both sides of the right hand4 ,cover the basin with the plate and in doing so secretly introduce the ball4 ,you must now go through the same movements with the other plate1 ball1 and basin1 and the trick is practically finished4 ,all that remains for you to do now is to vanish two balls and find them in the basins4 ,the india-rubber balls are essential for silence when dropped into the basin4 ,ordinary wooden balls would rattle and thus betray their presence4 ,,color-,,changing ,,billiard ,,balls4--,there is a very old trick similar to what ,i am about to describe1 known as the ,chameleon ,balls4 ,in this form of the trick the ball is caused to change by palming on1 or off1 as occasion may require1 half shells of different colors4 ,i will now explain a method of producing a result analogous to the old trick1 but brought about by entirely different means4 ,the necessary accessories are a red1 a black1 and a white billiard ball1 all solid4 ,place the white ball in the profonde1 and the black one in the pochette1 on the left side4 ,having arrived at the point in ,annihilation 7p4 #ajj7 where all the balls have been disposed of with the exception of the last solid one1 you throw this in the air as if to vanish it in that direction4 ,while all eyes follow the ball in its upward flight you lower the left hand and take the white ball from the profonde1 palming it4 ,in doing this you would of course stand with the right side to the audience4 ,,the ,,change ,,to ,,white4--,make a half turn to the right and take the red ball in the fingers of the left hand1 in which you have the white ball palmed4 ,then show the right hand back and front4 ,now take the visible red ball in the fingers of the right hand1 and1 at the same instant1 make the ,change-over ,palm4 ,this brings your right side again to the auditorium and enables you to show the left hand empty4 ,to execute the change you place the red ball in the fingers of the left hand1 and then stroke it with the palm of the right2 palming the red ball and leaving in place of it the white one4 ,again make the ,change-over ,palm showing the hands empty1 with the exception of the white ball4 ,,the ,,change ,,to ,,black4--,you take the ball in the right hand1 and turning to the left bring it down rather smartly on the table1 to prove its solidity4 ,this gives you the opportunity of dropping the red ball into the profonde and taking the black one from the pochette4 ,to change the white ball to black you will proceed as in the previous change1 disposing of the palmed white ball at the earliest opportunity1 or it can be produced with good effect from the bottom of the trousers4 ,then lay both balls down on the table4 ,to appreciate and thoroughly understand the effect of the above1 it is necessary to actually practice the various movements with the balls in front of a mirror4 ,,the ,,diminishing ,,billiard ,,balls4--,the trick under notice has for its effect the apparent diminution of an ordinary billiard ball1 first to half its original size1 secondly to one-quarter its original size1 and finally to a very small ball1 with which several amusing passes are made1 and which afterward disappears entirely4 ,illustration3 ,fig4 #bf4--,trick ,balls ,in this case a trick ball is used of a size equal to half that of the ordinary one1 and hollowed out so as to contain a solid ball of a diameter equal to half that of itself1 7,fig4 #bf74 ,the hollow ball must be so constructed that the small one pinches slightly into it1 but can be instantly released by simply passing the ball of the thumb over it4 ,a duplicate of this small ball should be placed in the right hand waistcoat pocket for use in the latter part of the trick4 ,the trick ball is placed in the left pochette1 whence it is obtained and used according to the instructions given in the ,color-changing ,balls4 ,to produce the smallest size1 hold the trick ball in the left hand1 having previously loosened the small one1 and in the act of stroking it with the right hand1 palm off the hollow ball1 and dispose of it as soon as possible4 ,with the small ball you now execute the pass as described under ,example #d on p4 #if4 ,then actually place the ball in the mouth1 pretend to swallow it1 and produce the one from the vest pocket1 which will appear to be the same4 ,you now seem to place the ball in the left hand1 really palming it2 then bring the left hand down with apparent force on the top of the head1 showing the ball between the teeth4 ,here raise the right hand as if to take the ball from the mouth1 but really push it back and show the palmed one4 ,then repeat the same pass1 but this time actually let the ball fall from the mouth into the left hand1 the right disposing of the palmed ball into the profonde4 ,i have seen a series of passes1 including the above1 performed with two eggs in place of the small balls1 but unless the performer be endowed with a colossal cavity between the upper and lower jaws1 ,i should not advise him to attempt this4 ,,the ,,handkerchief ,,ball4--,this forms a very good introduction to a billiard ball trick1 all that is required being a ball of the usual size1 hollowed out so as to take a handkerchief1 with an opening one inch in diameter on the surface4 ,this ball is suspended behind the top rail of a chair by means of a pin4 ,after performing any trick in which a handkerchief has been employed1 carelessly throw it over the back of the chair while you roll up your sleeves4 ,if you do not care to roll up the sleeves1 perform any small trick before proceeding with the present one1 otherwise it might be too palpable that the handkerchief was thrown over the chair for a purpose4 ,then take up the handkerchief 7secretly securing the ball7 and gradually work it into the ball1 being careful to keep the ball out of sight as much as possible until the handkerchief has totally disappeared4 ,finally throw the ball into the air1 which can safely be done providing it and the handkerchief are both of the same color1 which would not admit of the hole being observed4 ,at this point1 should you desire to proceed with a billiard ball trick1 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 ,balls4 ,,the ,,dissolving ,,billiard ,,ball4--,this forms an excellent conclusion to a billiard ball trick4 ,a glass tumbler three parts filled with water is given to a gentleman to hold4 ,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 water4 ,this is done1 and upon the handkerchief being removed from the tumbler1 nothing remains but the fluid1 which is perfectly transparent1 the ball having apparently been dissolved therein4 ,the secret of this lies in the fact that the performer is provided with a half shell of clear glass4 ,this shell is secretly slipped over the ball in the act of covering it with the handkerchief1 and when handing it to the gentleman the solid ball is palmed away by the performer4 ,the gentleman is not at all likely to discover that he holds only a half ball1 as1 being hampered with the glass of water1 he is effectually prevented from making an examination4 ,it is well to be provided with a tumbler the bottom of which is shaped somewhat to fit the form of the shell1 and ornamented slightly1 but this latter feature is not absolutely necessary4 ,,fancy ,,sleight ,,with ,a ,,small ,,ball4--,a small ball is generally used for this pass1 but it is applicable to any object that can be conveniently placed in the mouth4 ,in effect it is as follows3 ,a ball1 for instance1 is rubbed into the left elbow and passed thence up into the hand4 ,the hand is then brought down rather smartly on the back of the head1 the ball being immediately afterward taken from the mouth4 ,the sleight is thus executed3 ,the performer takes the ball in his right hand and commences to rub it into his left elbow4 ,at this point he apparently meets with an accident1 dropping the ball on the floor4 ,the dropping of the ball1 however1 apart from being an accident1 is absolutely essential to the success of the illusion4 ,after having picked up the ball and while still in a stooping position with his back toward the spectators1 the performer quickly throws it into his mouth1 immediately facing round and drawing attention to the right hand the fingers of which must seem to close round the object4 ,the rubbing at the elbow is again commenced and the right hand eventually shown empty4 ,the performer then makes a sign indicative that the ball has passed up into the left hand1 which is then brought down with apparent force on the back of the head4 ,the ball in the mouth is then revealed1 when it will appear to have actually traveled to that position4 ,this sleight can very well be introduced at the close of the ,diminishing ,billiard ,balls4 ,i am indebted to ,mr4 ,ross ,conyears1 an exceedingly dexterous magician1 for the above4 ,,rouge ,,et ,,noir4--,this pretty trick consists of causing two balls1 one red and one black1 wrapped in pieces of paper and placed in borrowed hats1 to change places at command4 ,the diameter of the balls should be four and one-half inches4 ,the solution of the problem lies in the construction of the papers with which the balls are covered4 ,they are arranged thus3 ,take two pieces of newspaper and paste them together all round the edges1 having previously inserted between them a layer of red glazed paper of the same shade as the ball4 ,the other one is prepared in exactly the same way1 but contains a layer of black glazed paper to represent the black ball4 ,the two balls are now wrapped in the papers1 care being taken to cover the red ball with the paper containing the black layer1 and vice versa4 ,after this has been done the performer feigns a slip1 mixing up the packages1 and thereby confusing the audience as to the relative positions of the balls4 ,as if to satisfy them on this point he tears a small hole in the outer covering of one of the parcels1 exposing say the layer of black paper4 ,the parcel is then placed in the hat on the supposition that it contains the black ball4 ,the other package is now treated in the same manner1 after which the supposed transposition of the balls will be easily understood4 ,,ball1 ,,handkerchief1 ,,and ,,tumbler4--,this is a very good combination trick1 and as such will serve as an example for the arrangement of others4 ,a billiard ball is placed in a small tumbler1 which is in turn wrapped in a piece of newspaper and deposited in a borrowed hat4 ,the performer then takes a small silk handkerchief and rolls it up in his hands1 when it is seen to have become transformed into a billiard ball4 ,the glass is then taken from the hat1 and1 on the paper being removed1 is found to contain the handkerchief4 ,the ball1 handkerchief1 and tumbler1 together with the piece of paper1 are then caused to vanish1 one at a time1 from the hands of the performer1 who immediately afterward produces them from the hat4 ,the modus operandi is as follows3--,a duplicate tumbler containing a handkerchief1 and wrapped in paper1 must be secretly introduced into the hat prior to the commencement of the trick4 7,see ,hat ,tricks47 ,the tumbler containing the ball and wrapped in paper is then placed in the hat4 ,the performer now takes up a duplicate handkerchief1 and under cover of the same the hollow ball already described4 ,the handkerchief is worked into the ball1 which is shown in due course1 and laid on the table1 opening downward4 ,the duplicate tumbler is then removed from the hat1 and found to contain the handkerchief4 ,these articles1 including the piece of paper1 are then laid on the table by the side of the ball4 ,the performer now goes to the hat1 and1 under pretense of moving it further away1 turns it over1 thus proving1 in conjurer's logic1 that it is empty4 ,this can easily be done by taking the hat fingers inside and thumb out1 the fingers being inserted in the top of the tumbler4 ,the performer then returns to the table and proceeds to dispose of the articles thereon4 ,the piece of paper rolled up1 and the ball1 are caused to vanish by any of the means already explained4 ,to cause the disappearance of the glass you must be provided with a handkerchief1 silk by preference1 consisting of two handkerchiefs sewn together round the edges1 in the centre of which is fixed a disk of cardboard of the same size as the top of the tumbler4 ,the tumbler being covered with this handkerchief1 the performer1 as if to satisfy the spectators that it is still there1 strikes it several times on the back of a chair1 and under cover of the movement allows the glass to fall into the network servante4 ,the handkerchief1 however1 owing to the presence of the disk1 still appears to contain the glass1 the ultimate disposal of which will now be readily understood4 ,in conclusion1 the performer takes the handkerchief lying on the table and vanishes it by palming in the ordinary way2 the right hand being immediately dived into the hat and the handkerchief produced4 ,the other articles should be removed one at a time1 not forgetting to crumple the paper into a ball before taking it out4 ,,chapter ,,vi ,,hat ,,tricks ,the uses to which that piece of headgear1 the much abused silk hat1 lends itself in l'art magique are almost innumerable4 ,the chief1 however1 and the one immediately under consideration1 is the production therefrom of a host of heterogeneous articles1 of which the following list will give an idea3 ,fifty yards of sash ribbon1 eight inches wide4--,the ribbon should be folded over and over1 in large pleats1 so that it can be readily taken from the hat4 ,two dozen fancy cardboard boxes1 three and three-fourth inches by two and one-half inches by two and one-half inches4--,these are made to fold flat1 the size of the parcel when ready for introduction being five inches by three and three-fourth inches by one and one-half inches4 ,two hundred flowers1 known as spring flowers4--,each flower when closed is very little thicker than brown paper1 but immediately on being released expands to the size of a full-brown tulip4 ,one hundred of these flowers1 when closed1 can easily be hidden in the hand4 ,a string of sausages4--,these1 it is hardly necessary to remark1 are imitation1 being made in silk of the required color4 ,a bundle of wood4--,this is made hollow1 consisting of a cardboard case with pieces of wood glued on the outside and on one end1 the other being left open4 ,it is usually filled with baby linen1 together with a feeding-bottle containing milk4 ,one hundred yards of narrow1 colored ribbon4--,this is made in coils1 machine rolled1 similar to that used for telegraph purposes4 ,a coil of this ribbon can very well be placed in the bottom of the sham bundle of wood4 ,when producing the coil it should be unrolled from the centre4 ,four pound weight of playing cards4--,these make a tremendous show when strewn about the stage4 ,a good plan1 also1 is to have a number joined together in a long string by means of cotton4 ,a cannon ball4--,this is usually made in zinc1 five inches in diameter1 hollow1 and provided with a sliding lid4 ,it can be filled with various soft goods1 such as handkerchiefs1 ribbons1 etc41 also sweets and bonbons for distribution4 ,a solid wooden cannon ball4--,this should have a three-quarter inch hole1 two inches deep1 bored in it toward the centre1 for facility in introducing it into the hat4 ,a barber's pole1 about thirty feet long and four inches to five inches thick at the base4--,this is made with stout colored paper1 and pulls out from the centre4 ,if the pole be constructed of red1 white1 and blue paper the performer1 when introducing the trick1 may announce that he is about to erect the ,american ,colors at the ,north ,pole4 ,illustration3 ,fig4 #bg4--;,bowl of ,gold ,fish ,a bowl of gold fish4--,this really consists of two bowls1 one within the other4 ,the space between the two contains the water and fish1 which are inserted through a hole in the bottom of the outer bowl1 the latter being afterward corked4 ,the inside bowl is filled with bonbons1 etc4 7,fig4 #bg74 ,the fish used are imitation1 being made from pieces of carrot cut to shape4 ,a large cage containing a live canary4--,the cage1 which is telescopic in action1 the upper part sliding down into the lower1 is nearly twice the height of the hat1 and when once taken out cannot be put back4 ,this is owing to the fact that the seed boxes1 which in their normal position are on the inside1 revolve on spring pivots1 as the cage is withdrawn1 thus making it impossible to return it to the hat until they are replaced4 ,twenty pint tumblers1 ruby and green4--,these are made in celluloid and fit one in the other4 ,they are all of the same size1 but being very thin occupy very little more space than a single one4 ,six champagne bottles4--,these are not quite so substantial as they look1 being merely half-bottles in thin metal1 japanned black1 and decorated with labels taken from the genuine article4 ,a bottle with a horizontal division in the centre1 the upper part containing wine1 and the lower part a tumbler1 is generally introduced with the shells4 ,a small rabbit4 ,a ,chinese doll4--,obtain a doll's head1 five inches in diameter1 from any ,oriental store1 and drape it with a silk skirt4 ,if a hole be cut in the top of the head it can be utilized in the same manner as the cannon ball4 ,a skull which rises spontaneously from the hat4--,this is a model in papier-mache1 and being hollow1 is very serviceable4 ,it is caused to rise from the hat by means of a black thread1 which is carried through a staple in the flies immediately over the performer's table1 thence through another staple behind the wings1 and down to the assistant4 ,it is not my intention to give directions for making these goods1 as they can be bought at a very small cost from any of the dealers in magical apparatus4 ,i have found by experience that this is the best course to pursue4 ,amateur work is1 as a rule1 very commendable1 but scarcely so as regards conjuring1 clumsy and ill-made apparatus being absolutely useless1 and consequently dear at any price4 ,apart from this ,i have another1 and what ,i believe to be a more important object in view1 viz41 that of giving instruction in the actual working of the trick4 ,it will be at once obvious to the reader that the chief element in the magical production of articles from a borrowed hat1 is the manner in which they are secretly introduced1 as1 should this be detected1 the trick would fail ignominiously4 ,the main secret lies in the combination of the looks and gestures of the performer to misdirect the audience4 ,the articles for the most part are introduced under cover of natural movements1 quickness being of little or no avail4 ,i will now describe one or two methods employed to effect this desideratum4 ,,loading4--,under this heading ,i shall endeavor to give the working of a hat trick as actually presented to an audience1 using for the purpose articles selected from the preceding list4 ,the following preparations must be made3-- ,a small rabbit is placed in the right hand profonde1 and a billiard ball and a small dinner plate are laid on the table4 ,illustration3 ,fig4 #bh4--;,double ,wire ,loop ,a packet of one hundred spring flowers1 secured by a band of tissue paper1 must be in the hands of the assistant at the right wing2 and another similar packet must be placed in the profonde on the left side4 ,the sash ribbon1 folded as instructed1 is tied round the fancy boxes together with the string of sausages1 with black tape4 ,the parcel is suspended behind the back of a chair by means of a pin and a double loop of florist's wire 7,fig4 #bh71 the tape being passed through the small loop1 which is then hung on the pin4 ,this leaves the large loop1 the use of which will be noted in due course1 sticking up over the back of the chair1 where1 however1 it is quite invisible at a few paces4 ,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 wire4 ,thus prepared they are placed in the capacious breast pocket on the left side1 the loop projecting so that the thumb of the right hand can be passed through it and the package withdrawn4 ,the bundle of wood1 containing the coil of ribbon1 baby linen1 and feeding bottle1 must be in readiness on the servante at the back of a second chair4 ,the skull1 cannon ball1 or globe of gold fish1 whichever the performer intends to use1 is located on the servante at the back of the table4 ,the next thing to do is to obtain the loan of a hat1 and having done so1 it is well to perform a preliminary experiment with the same4 ,a very good one is that known as ,,the ,,magnetized ,,hat4--,the performer places his hand1 perfectly empty1 on the crown of the hat1 which forthwith adheres to the palm1 and in this position it can be moved about and turned over in any direction4 ,the finger tips are then used in place of the palm with the same result4 ,finally1 a silk handkerchief is thrown over the hat1 and the palm of the hand placed thereon1 but the effect is still the same4 ,illustration3 ,fig4 #bi4--;,apparatus for ,magnetized ,hat ,this seeming impossibility is accomplished with the aid of the little piece of apparatus illustrated in ,fig4 #bi4 ,it consists of a brass plate fitted with two bent pins as shown1 the whole being painted black4 ,the pins should be situated so that by placing the two middle fingers between them the hat can be raised4 ,the working of the trick will now be readily understood4 ,the clip must be pressed into the crown of the hat while returning with it to the stage1 the pin on the left of the figure being inserted first4 ,the clip is removed1 with the handkerchief1 in the final stage of the trick4 ,the ball and plate are now given for examination1 and while all attention is riveted on these two articles1 ample opportunity will be found to introduce the rabbit unobserved1 which should be done while amongst the audience4 ,the hat is then covered with the plate1 in which condition it is carried back to the stage1 and placed on the table4 ,the performer now takes the ball1 and vanishes it by palming2 appearing to pass it through the plate into the hat4 ,the plate is then removed1 and the ball taken from the hat with the right hand1 followed immediately by the rabbit4 ,the hat is now taken in the left hand1 and the rabbit handed to the assistant at the wings with the right4 ,the assistant takes the rabbit1 and at the same time1 under cover of the wing1 gives the performer the packet of flowers2 the hat being immediately placed in the right hand to conceal their presence4 ,while drawing attention to the outside of the hat1 the tissue paper is broken with the fingers1 and the flowers are released4 ,they are then shaken out slowly on to a large sheet of black alpaca1 which should be spread over the stage to receive them4 ,while this is being done1 the package is obtained from the profonde1 the hat being changed over into the left hand1 and the second load thus introduced4 ,when the flowers have all been shaken from the hat1 take it in the right hand1 fingers inside and thumb out1 and approach the chair 7this should be on your right7 on which is the bundle of ribbons1 etc4 ,take the top of the chair in the hand holding the hat1 and in doing so1 push the forefinger through the loop of wire4 ,now move the chair away a few paces1 and when removing the hand from the back bring away the load1 which will fall into the hat unobserved4 ,leave the hat on the chair1 and take up the alpaca containing the flowers1 putting it on one side4 ,up to this point1 no one will suspect that the hat contains anything1 as what you have done has been but natural in the preparation of the stage for the next trick4 ,the boxes are now taken from the hat and placed on the table1 followed by the sausages4 ,when removing the latter1 some amusement may be caused by referring to them as an indefinable1 condimental amalgamation of membranaceous disintegrations4 ,the ribbon is next pulled from the hat in long lengths with the right hand1 and when the hand contains a large quantity1 the thumb is slipped through the wire loop attached to the tumblers in the breast pocket4 ,these are introduced when inserting the hand to take out the next length of ribbon4 ,the introduction of the tumblers cannot be detected1 owing to the presence of the ribbon in which they are wrapped4 ,when the whole of the ribbon has been extracted1 it is thrown over the back of the chair1 behind which is the bundle of wood4 ,the tumblers are now taken from the hat1 and placed on the table4 ,the performer then takes up the ribbon from the chair1 and makes an effort to return it to the hat1 thereby drawing attention to its great bulk1 and remarking1 ,now1 how do you suppose ,i am going to get home with this8 ,why1 ,i shall require at least two cabs4 ,it is needless to say that under cover of the ribbon the bundle of wood is introduced into the hat4 ,the baby linen1 feeding bottle1 and coil1 are now produced1 and finally the wood itself4 ,it is usual when taking the ribbon from the hat to spin it out on the wand4 ,holding the hat by the brim1 fingers inside and thumb out1 the performer lowers it for an instant to the rear edge of the table1 and by inserting the middle finger of the hand into the hole in the cannon ball scoops it up into the hat1 which is forthwith raised and placed crown downward on the table4 ,this movement should be executed with the left hand while the right lays the bundle of wood down on the table1 and1 if necessary1 makes room for the next production4 ,the fish bowl1 or skull1 would of course be worked in a similar manner4 99 99 99 99 99 ,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 period4 ,it should not1 however1 in any case exceed fifteen minutes4 ,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 detection1 also as a basis on which the student may arrange a hat trick of his own4 ,any articles can1 of course1 be substituted for those given1 or the list may be supplemented by others1 or cut down as occasion may require4 ,an amount of sang froid and boldness1 only acquired from years of actual practice1 is necessary to execute a good hat trick faultlessly2 but this should not disconcert the reader1 as it is only in accordance with what must be expected in the acquisition of an art4 ,,to ,,produce ,a ,,number ,,of ,,eggs ,,from ,a ,,hat ,,held ,,crown ,,upward4--,for this purpose you must be provided with a black linen bag1 oval in shape1 and large enough to contain the required number of eggs4 ,to one end of this bag is sewn an ordinary tie clip1 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 hand4 ,the bag is loaded into the hat by one or other of the methods described1 and attached to the lining of the same by means of the clip4 ,under these circumstances the production of the eggs from the inverted hat will be an easy matter4 ,the eggs used should be blown ones4 ,the bag should be allowed to remain in the hat after the last egg has been taken from it1 and removed later under cover of some other article4 ,,chapter ,,vii ,,anti-,,spiritualistic ,,tricks ,,the ,,climbing ,,ring4--,the performer having obtained the loan of a lady's ring1 passes it over the end of his wand1 which he then holds in a perpendicular position4 ,the ring now commences to climb up the wand very slowly1 stopping or descending at command2 finally it jumps right off the wand and is caught by the performer1 who immediately hands it back to the lady4 ,this pretty experiment depends entirely upon a black silk thread1 about twice the length of the wand1 to which it is fixed at the uppermost end4 ,the means by which the thread is attached may vary1 but a good plan is to make a very small knot in the end of the thread1 which is then passed through a fine slit cut in the end of the wand1 the knot making all secure4 ,the thread is then passed down the side of the wand1 in which position it will not be noticed4 ,the ring is now dropped over the wand1 and consequently over the thread1 by the manipulation of which it may be caused to rise or fall1 or1 in response to a sharp tug1 to jump right off the wand4 ,the wand is usually held in the left hand1 while the right1 in which is the end of the thread1 holds the lapel of the coat1 when all that is necessary to obtain the desired result is to move the left hand to or from the body as required4 ,,the ,,mysterious ,,name4--,this is a capital trick1 and one that can be introduced at any time4 ,the performer borrows a visiting card from any stranger in the company1 and1 holding it between the thumb and the second finger of the hand1 he waves it about very slowly1 at the same time asking some one to call out the name of any celebrity4 ,this having been done the card is almost immediately handed back to the owner1 who finds the selected name written thereon4 ,this ingenious trick is accomplished with the aid of a small accessory in the shape of a thimble1 to the end of which is attached a small piece of pencil about a quarter of an inch in length4 ,this thimble having been placed on the forefinger of the hand1 it will be found1 by experiment1 that the name may very easily be written on the back of a card held as instructed4 ,prior to1 and immediately after the trick1 the thimble may be palmed as instructed elsewhere4 ,a ,,new ,,postal ,,trick4--,this is very useful1 as it can be employed in conjunction with any trick where a word1 message1 total of sum1 etc41 is to be produced in a magical manner4 ,an ordinary postcard is handed to a spectator with a request that he will tear a small piece from one corner1 and having done so1 hand both portions back to the performer4 ,the corner is laid on the table and the card torn up into small pieces which are then placed in the magic pistol 7see p4 #fa71 and fired at a borrowed hat4 ,the card is afterward produced from the hat covered with writing1 and fully restored with the exception of the corner1 which on being fitted to the card is found to correspond in every way4 ,the trick is accomplished with the aid of a second card prepared with the necessary writing1 and from which a corner has been removed4 ,this card is secretly introduced into the hat when returning with it to the stage4 ,the performer1 having palmed the portion missing from the card in the hat1 makes an exchange when laying the corner on the table4 ,the plain card is then torn into fragments1 and together with its corner is placed in the pistol1 which is then fired at the hat4 ,it is well to place a piece of paper in the mouth of the cone to receive the torn pieces of card1 as by this means the danger of dropping any on the floor is obviated4 ,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 fire1 when1 after having disposed of the cup containing the torn card1 you appear to overhear a remark to the effect that you have put something in your pocket1 to which you reply1 ,no1 ,i certainly did not put anything in my pocket4 ,see1 here is the paper containing the card 7really the package of colored fire74 ,the package of powder is then laid on a plate and fired1 after which the card is removed from the hat4 ,,new ,,slate ,,tricks4--,under this heading will be noticed several methods1 all of recent invention1 for performing the well-known slate trick4 ,,first ,,method4--,two ordinary school slates are given into the hands of a spectator1 who1 after making a careful examination1 ties them together with stout cord1 in which condition they are placed in the cabinet4 ,writing is immediately heard1 and when it ceases the slates are at once handed out to the performer1 who on separating them finds the required message4 ,the secret lies in the fact that the medium is provided with two small wooden wedges2 also an umbrella rib1 to which at one end is fitted a minute piece of pencil4 ,all he has to do1 therefore1 is to force the wedges between the slates on one side until sufficient space is provided for the insertion of the rib1 when the writing of the message will be found an easy matter4 ,,second ,,method4--,in this case the two slates1 after examination1 may be actually screwed together with iron bolts1 but in spite of this precaution writing is obtained as before4 ,under these circumstances the performer is provided with a piece of prepared chalk--not the conventional commodity as sold by every chemist1 but prepared by coating a piece of steel1 about the size of a pea1 with chalk paste1 which is then allowed to dry4 ,the piece of chalk is placed between the two slates1 which are then bolted together and put into the cabinet2 when1 under the influence of a powerful horseshoe magnet passed over the outside of one slate as required1 the prepared chalk will produce the spirit writing4 ,,third ,,method 7,,one ,,slate ,,only74--,after examination the slate is held by the performer above his head1 when almost immediately writing is heard2 and on the slate being turned round it is found to contain the desired message4 ,the slate1 a small one for preference1 is provided with a loose vulcanite flap covering one side1 and concealing the writing which is already there4 ,the performer hands the slate round for examination 7keeping the flap in position by means of the fingers71 and asks a spectator to initial it in one corner to satisfy himself that it is not exchanged4 ,this having been done1 and while returning to the stage1 the performer removes the flap under cover of his body and places it in the vest1 or in the large pocket in the breast of the coat4 ,he then holds the slate above his head1 fingers in front and thumbs behind4 ,the sound of writing is produced by scratching with one thumb on the back of the slate1 and when this has been continued long enough the message is revealed4 ,,fourth ,,method 7,,one ,,slate ,,only74--,in this instance the slate1 which is an ordinary one1 is shown to be clean on both sides1 in which condition it is given to a spectator to hold4 ,the performer then takes a pistol and1 at a few paces1 fires direct at the slate1 on which1 immediately after the report1 the message is discovered4 ,to produce this startling effect all that is necessary is to write the message on the slate with glycerine just before commencing the trick1 and to load the pistol with a small charge of powder1 on the top of which is placed a quantity of powdered chalk4 ,,the ,,spirit ,,handkerchief4--,the effect of this trick1 which is exceptionally good1 is as follows3--,several knots having been tied in a large silk handkerchief borrowed from a member of the audience1 it is thrown on the floor of the stage when it immediately begins to act as if it were a live snake1 twisting and twirling about in every conceivable form4 ,the performer passes his wand over1 under1 and all round the handkerchief1 thus proving to the satisfaction of the most astute that there are no connections4 ,it is hardly necessary to say1 however1 that in spite of such convincing proof to the contrary1 connection is actually made with the handkerchief1 and it is done in the following manner3--,a fine black silk thread is stretched across the stage from one wing to the other1 the ends being in the hands of two assistants4 ,having obtained the loan of the handkerchief1 the performer1 standing behind the thread1 takes it diagonally by two corners and twists it up rope fashion4 ,he then ties three knots in it1 one a little below the centre1 one a little above the centre1 and the third at one end4 ,while this is being done the assistants raise the thread round which the last knot1 forming the head of the snake1 is actually tied2 but owing to the thread being invisible this will pass unobserved4 ,having made the last knot the performer drops the handkerchief on the floor1 when its emulation of a live snake will depend entirely on the adroit manner in which the assistants manipulate the thread4 ,finally1 it should be made to jump into the hand of the performer1 who should at once hand it1 with the knots still tied1 to the owner4 ,this is managed by the assistant at one end dropping the thread and the other one pulling it clear of the handkerchief4 ,,the ,,mysterious ,,communication4--,this trick1 which is a very good one1 is performed by a method very little known4 ,the effect is as follows3--,any person writes on a piece of paper any word or series of words to form a short sentence1 and having done so1 folds the paper and puts it in his pocket4 ,at this stage the performer introduces a reel of telephonic wire1 the end of which1 containing a loop1 is handed to the writer1 with a request that he will place the loop over the ball of the left thumb4 ,this having been done1 the performer places the reel against his forehead1 and1 after a few seconds' thought1 writes the message1 or an answer thereto1 on the blackboard4 ,to obtain this result1 all that is necessary is to be provided with a piece of paper smeared over on one side with white wax1 or common washing soap2 also a slab of plate glass by way of writing board4 ,the paper is placed on the glass1 waxed side downward1 in which condition the assistant takes it to a gentleman in the audience4 ,when writing on the paper a very faint impression1 invisible to any one who does not actually look for it1 is obtained on the glass4 ,in the act of taking the glass back from his assistant the performer obtains the desired cue4 ,the use of the wire is optional1 but1 of course1 it adds much to the effect of the trick4 ,,the ,,great ,,dictionary ,,trick 7,,new ,,method74--,this is an improvement on the old trick under this name1 as any dictionary may be used1 whereas formerly the trick depended entirely upon a dictionary composed of one page repeated throughout4 ,the effect is as follows3 ,the performer hands a sealed envelope to a spectator1 asking him to take care of it1 and not break the seal until requested4 ,a dictionary is then given for examination1 after which a lady inserts in it1 at any page1 a playing card4 ,a counter bearing a number1 say twenty-seven1 is taken from a bag containing fifty1 all numbered differently2 the dictionary is opened at the page containing the card1 and due note is taken of the twenty-seventh word indicated by the counter1 and which is1 we will suppose1 ,magic4 ,the gentleman is next requested to open the envelope1 and on doing so finds to his astonishment that it contains a card on which is written ,magic1 n1 sorcery2 enchantment1 in exact accordance with the word chosen1 apparently by chance1 from the dictionary4 ,the seeming mystery is easily explained4 ,obtain a new twenty-five cent pocket dictionary1 and1 having opened it somewhere about the middle1 bend the covers right back until they touch each other4 ,any new book used thus will ever afterward1 unless otherwise maltreated1 open readily at the same page4 ,after the dictionary has been examined the performer allows it to fall open at this page1 into which he secretly introduces a playing card previously palmed in his right hand4 ,the book is then closed4 ,the performer1 still holding the book1 gives a card1 identical in every respect with the other one1 to a lady1 with a request that she will insert it between the leaves in any position and push it right into the book4 ,the performer1 of course1 takes care that the two cards do not clash4 ,in this condition the dictionary is laid on the table4 ,a small bag1 preferably of silk1 is next introduced1 from which the performer takes a handful of counters numbered from one to fifty and gives them for examination1 after which they are returned to the bag4 ,any person is now allowed to place his hand in the bag and remove one counter1 but it is needless to say1 however careful he may be1 the number chosen will be twenty-seven1 which is accounted for by the fact that the bag is provided with a division through its entire length1 forming two pockets1 one of which contains the counters numbered one to fifty1 and the other1 fifty counters all bearing the same number1 i4 e41 twenty-seven4 ,the dictionary is now opened by the performer at his own page1 which every one will take to be the one chosen by the lady2 some one is asked to note the twenty-seventh word on that page as indicated by the counter1 the trick being brought to a conclusion as already described4 ,the performer can always ensure the left-hand page of the opening being read1 by holding the book1 with the card1 in such a position that the twenty-seventh word on the right-hand page cannot be seen4 ,care must also be taken not to expose the duplicate card4 ,by way of variation the chosen word may be produced with the sympathetic ink1 or it may be revealed by the method employed in ,a ,new ,postal ,trick4 ,for the above trick1 in the form described1 ,i am indebted to ,mr4 ,maurice ,victor1 a most skilful exponent of sleight of hand4 ,,long-,,distance ,,second ,,sight4--,two performers1 usually a lady and a gentleman1 are required for this seance4 ,the gentleman introduces the lady1 who is then escorted by a committee1 chosen from the audience1 to a room in a different part of the house1 in which she is secured under lock and key4 ,several of the committee then guard the room1 while the others return to the concert-hall and give the performer the following particulars3--,time shown by any watch 7not necessarily the proper time72 initials of any person in the room2 any number of four figures2 any word of four or five letters2 number of cigarettes in any case1 and kind of case2 amount of money in any purse1 and kind of purse4 ,after this has been done a member of the committee takes pen1 ink1 and paper to the lady1 who immediately writes down the time1 initials1 number1 etc42 these1 on examination1 are found to be correct1 although she has never left the room1 neither has the performer left the stage1 and no connection of any description exists between them4 ,this inexplicable performance is thus accomplished3 ,the performer is provided with a small writing pad1 three and one-half inches by two inches1 consisting of a piece of cardboard1 on which are held1 by means of two elastic bands1 several cigarette papers4 ,this pad1 together with a small piece of soft lead pencil1 is placed in the right-hand trousers pocket4 ,as the various items are called out1 the performer stands with his right hand in the pocket1 a perfectly natural attitude1 and appears to be thinking deeply2 but he is really writing down the particulars1 one under the other1 on the cigarette paper1 which1 with a little practice1 can be done quite legibly4 ,he then tears off the paper and rolls it into a small ball between the fingers4 ,a piece of plain paper is now obtained from any member of the audience1 in order to prove that a prepared piece is not used1 and together with a fountain pen1 supplied by the performer1 is taken1 by one of the committee1 to the lady4 ,while the paper is being obtained the performer has ample time to remove the cap from the pen1 and1 before placing it on the opposite end of the pen in the place provided for it1 he inserts in it the small ball of paper1 which is thus secretly carried to the lady4 ,on receipt of the pen and paper the lady requests to be left alone for a few seconds1 as otherwise she will not be able to obtain the aid of the spirits1 and in the absence of the committeeman she takes a hairpin1 and with it extracts the ball of paper from the pen1 reads1 and writes out the required information4 ,it is necessary that the order in which the various items are called out should be known alike to the performer and medium1 as otherwise the time might be mistaken for the number1 and other errors might occur4 ,a number of letters to indicate the various kinds of purses and cigarette cases1 as ,l for leather1 ,s for silver1 etc41 should also be agreed on between the two parties4 ,it will be obvious that the above trick is subject to much variation according to the taste of the performer1 and may be elaborated if desired4 ,a throw of dice2 a person's age2 or the name of a selected card 7write #h ,d for eight of diamonds1 etc47 may be substituted for any of the items given above4 ,,chapter ,,viii ,,after ,,dinner ,,tricks ,in introducing to my readers a series of simple1 but effective1 tricks in magic1 ,i would state that it has been my life study to popularize the art of sleight of hand1 simply because1 at the outset1 ,i was impressed with the idea that1 while having no desire to emulate the skilled professional magician1 certain very novel and entertaining tricks were within the reach of all persons possessed with the least desire to amuse their friends4 ,every one is not musical2 every one cannot sing or recite2 but every one can1 with but little practice1 learn to perform the following tricks1 and thus put themselves in a position to brighten what might otherwise prove to be a dull evening4 ,,the ,,chinese ,,cross4--,the only properties required for this excellent little trick are six stout straws of the kind used for lemonade1 and the small metal accessory shown at ,a in ,fig4 #cj4 ,the straws are fashioned into the form of a cross as shown in the figure1 which is about half the actual size4 ,it will be observed that pins are passed longitudinally1 through the three straws at each extremity of the structure2 this is done with a view to keeping it perfectly flat1 otherwise the binding where the two pieces intersect would not be effectual4 ,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 out1 and so as to be entirely covered with the exception of the sharp needle point4 ,the cross is laid on the palm of the left hand2 the right hand makes a few passes over it1 when it is suddenly seen to stand erect1 and to rise or fall at command4 ,illustration3 ,fig4 #cj4--;,chinese ,cross ,the method of working is as follows3--,the cross is laid on the hand in such a manner that its foot1 carrying the metal fake1 point upward1 comes in contact with the base of the middle finger2 the point is now inserted in the hard flesh at the base of the said finger1 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 palm4 ,if the hand be now straightened out very slowly the cross will rise gradually until it assumes a perpendicular position--or ninety degrees4 ,by a slight movement of the fingers1 practically imperceptible1 and if noticed at all raising no suspicion1 the cross is caused to rise and fall as often as desired4 ,in view of the possibility of the cross being snatched by a person overanxious to discover the secret1 care should be taken to see that the metal fake is attached to the hand more firmly than to the centre straw4 ,perhaps the better way would be to work the trick with the fake attached to the hand from the commencement1 then the cross may be given for examination at any time4 ,,the ,,floating ,,metal ,,disc4--,here a metal disc about the size of a quarter is caused to sink or swim at command in water contained1 for convenience1 in a shallow glass tray4 ,the secret in this case depends upon duplicity2 in reality there are two discs1 the one an exact duplicate of the other in appearance1 but considerably lighter in weight4 ,aluminium and zinc are alike in appearance and afford the necessary disparity in weight4 ,the zinc disc is given for examination1 and a member of the audience is requested to float it on the water2 he1 of course1 fails4 ,on receiving back the zinc disc the performer rings it for that in aluminium and proceeds to surprise the company4 ,i have arranged a special sleight of hand change for the trick as follows3--,you carry a handkerchief in the left breast pocket and the aluminium disc palmed in the left hand4 ,on receiving back the zinc disc in the right hand1 you forthwith seem to place it in the left hand1 really palming it and showing its prototype4 ,the right hand now takes the handkerchief from the pocket and proceeds to dry what seems to be the wet zinc disc4 ,this latter action gives an excuse for the transfer of the disc from one hand to the other1 while the handkerchief effectually conceals the palm4 ,the disc is now floated4 ,the handkerchief and the zinc disc are now transferred in a careless manner to the left hand1 which forthwith returns the handkerchief 7handkerchief only7 to the pocket4 ,the performer is now in a position1 at the conclusion of the floating1 to repeat the exchange above1 dry the disc1 and once more hand it for examination4 ,it is not absolutely necessary to give the metal for examination a second time1 in which case the duplicate may1 after the first change1 be disposed of entirely under cover of returning the handkerchief to the pocket4 ,when apparently wiping the disc dry be careful that it is never once completely hidden from view1 or an exchange may be suspected4 ,,the ,,balanced ,,coins4--,no particular dexterity is necessary to perform the trick ,i am about to describe1 although considerable care must be exercised for its successful execution4 ,the performer1 having obtained the loan of three pennies1 lays them in a row on the palm of the left hand1 in which position they may be inspected by all present4 ,he then1 with the thumb and second finger of right hand1 grasps the edges of the outermost coins and raises all into a perpendicular position4 ,the trick is performed with the actual borrowed coins2 the secret depends upon the introduction of a little accessory in the shape of a thin strip of wood one-quarter of an inch wide1 and in length about one-sixteenth of an inch longer than the combined diameter of the three coins4 ,at the commencement this strip of wood is held concealed in the left hand1 being held between the base of the thumb and the first joint of the middle finger4 ,the performer receives the coins in the right hand1 then transfers them to the left hand1 secretly placing them in the required position3 the coins effectually hide the strip of wood and all may be examined4 ,now by grasping the coins1 together with the strip of wood1 7as explained above7 no difficulty will be found in securing the desired effect4 ,in conclusion the coins are again laid carefully in the left hand1 then tossed with apparent carelessness into the right hand and forthwith handed to the owner4 ,the strip of wood is of course palmed in the left hand 7as described above7 in the act of tossing the coins into the right hand4 ,,mutilated ,,cigarette ,,paper4--,a pretty little trick of an impromptu nature1 in which a cigarette paper having been torn into a number of pieces1 the pieces being rolled up into a little ball1 is afterwards found completely restored4 ,,first ,,method4--,the performer is smoking a cigarette2 this is an indispensable condition of the trick4 ,by the side of the cigarette1 on the right1 concealed between the lips1 is a little paper ball made from a duplicate whole paper4 ,when presenting the trick1 as when smoking in the ordinary way1 the cigarette is occasionally taken between the forefinger and thumb of the right hand2 experiment will also show that the little paper ball may be removed and replaced1 quite secretly1 by holding it between the finger and thumb of same hand4 7,see ,fig4 #ca47 ,thus prepared1 the performer hands packet of papers to a gentleman1 with a request that he will take one1 mutilate it1 and roll up the fragments into the form of a little ball4 ,while this is being done the performer casually shows both hands empty1 occasionally removing the cigarette from his mouth1 and finally securing duplicate ball4 ,now1 under the pretense of showing the gentleman the proper way to roll the paper1 he takes it between the finger and thumb of the left hand1 and having rolled it about a little1 passes it over to right hand1 where1 under cover of the manipulations1 it is passed to the rear1 the duplicate whole paper taking its place4 7,see ,fig4 #cb47 ,the performer now returns the paper 7the whole one7 to the gentleman with the right hand1 and forthwith1 with the same hand1 takes cigarette from mouth1 thus concealing duplicate ball between fingers 7see ,fig4 #ca7 without exciting suspicion4 ,finally the torn pieces are placed in the mouth when returning cigarette1 and kept there until an opportunity arrives for removing them in secret4 ,illustration3 ,fig4 #ca4--;,cigarette ,trick ,,second ,,method4--,this is no less interesting than the method described above4 ,in this case the packet of cigarette papers is prepared beforehand by rolling up one into a little ball1 and fixing it on the underside1 near the edge at one end1 of the second in order from the top4 ,thus prepared1 the performer removes the packet from his pocket1 and tearing off top paper1 hands same to a gentleman with a request that he will tear it into small pieces4 ,says the performer1 ,i will take one and show you what ,i mean2 tear it as ,i do4 ,saying this1 he removes second paper1 and with it the duplicate ball4 ,while tearing the paper the little ball is kept concealed between the forefinger and thumb1 by no means a difficult matter1 and occasionally passed from one hand to the other that the hands may be shown empty alternately4 ,when the tearing is complete1 the performer screws up paper with the remark1 ,now roll the pieces into a little ball like this--thank you1 that will do nicely4 ,while giving these instructions he passes his torn paper to the rear1 where it is completely concealed by being pressed tightly between first joint of finger and thumb2 the duplicate ball being presented at the extreme tips of same fingers4 7,see ,fig4 #cb47 ,illustration3 ,fig4 #cb4--;,cigarette ,trick ,continuing1 the performer remarks1 ,now please take this little ball and give me yours4 ,this is done1 care being taken not to expose secreted ball4 ,performer now accuses gentleman of retaining one of his pieces2 this of course leads to an examination1 whereupon the gentleman and all present are surprised to find the paper completely restored4 ,finally the performer unfolds the pieces of gentleman's paper1 with which he also mingles his own1 with the remark1 ,you evidently don't quite understand the trick1 sir4 ,,to ,,read ,,the ,,whole ,,of ,,the ,,cards ,,in ,a ,,pack ,,just ,,shuffled 7,,new ,,method74--,the performer gives pack of cards to be shuffled1 and when returned places them behind his back and calls out the name of a card4 ,he brings the card forward and throws it on the table1 and continues in this manner to name every card in the pack4 ,the secret is exceedingly simple4 ,a second pack of cards1 prearranged in a given order1 is substituted1 as hereafter explained1 for the pack shuffled by the audience4 ,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 pack4 ,the order of the fifty-two cards can be learned in five minutes by the aid of the following mnemonic3 ,five ,kings wanted 7one ten71 six ,knaves4 ,for 7four7 twenty-three 7two three7 ladies 7queen7 or eighty-nine 7eight nine7 slaves 7seven74 ,the above gives the order of the values of the cards only2 the suits must1 of course1 follow in regular sequence1 say3 ,diamonds1 clubs1 hearts1 spades4 ,example3 ,on the table1 face upward1 place the five of diamonds1 on this the king of clubs1 on this the ace of hearts1 on this the ten of spades1 on this again the six of diamonds2 and so on throughout the pack4 ,thus arranged1 the pack may be cut to any extent without disturbing the order of the cards4 ,the exchange of packs is carried out under cover of a natural movement1 as follows3--,performer receives the shuffled pack in the left hand and forthwith places it behind his back1 resting the hand on the hip4 ,the right hand is now placed to the rear1 ostensibly for the sole purpose of removing the handkerchief from the left tail pocket1 with which the performer is subsequently blindfolded2 the right hand1 however1 first relieves the left hand of the shuffled pack and carefully lowers it into the pocket containing the handkerchief and prepared pack2 these two latter are then removed together1 the cards being placed in the left hand and the handkerchief brought to the front4 ,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 surfaces4 ,as he makes the request he turns round1 thereby casually drawing attention to the cards still in the left hand1 and which all present will readily believe to be those shuffled4 ,the solution will now be clear1 but various little additions will1 doubtless1 suggest themselves in the working of the trick4 ,for instance1 the performer may undertake to pick out any card called for1 which1 with a little practice1 will be seen to be easy of accomplishment4 ,if the card asked for is out he will state the fact4 ,in making this reference ,i would state that the above doggerel rhyme has been arranged1 quite recently1 by myself4 ,it will be seen that it gives a totally different order of the cards1 a much-needed variation1 from the now hackneyed rhyme which for ages has appeared in all works on card conjuring4 ,illustration3 ,fig4 #cc4--;,balancing ,knives ,,balancing ,,feats4--,take three dessert knives and arrange them in triangular fashion upon three tumblers4 ,upon the triangular space formed by the intersection of the knife blades1 deposit a water bottle1 and upon the mouth of the bottle an apple1 7,fig4 #cc74 ,it seems quite an impossible feat1 but it is readily accomplished4 ,illustration3 ,fig4 #cd4--;,balancing ,forks ,another curious experiment in equilibrium is the following3 ,take a couple of forks and arrange them with their prongs one set over the other1 and stick a silver dollar between the middle prongs1 thus uniting the two forks4 ,this accomplished1 place the coin flat on the rim of a tumbler1 pushing it outward until the two circumferences touch externally4 ,the coin with appendent forks will remain balanced much to the surprise of the company1 7,fig4 #cd74 ,you may follow this up by pouring the water steadily from the glass into a second glass1 without disturbing the money or the forks1 which remain in equilibrio4 ,the above clever feats may properly be performed at the dinner-table after dessert has been brought on4 ,,walnut ,,shells ,,and ,,pea4--,this is an excellent table trick1 and can be performed at close quarters without much fear of detection4 ,the only articles required for the execution of the trick are three half walnut shells and a pea4 ,the three shells are laid in a row on the table1 the pea being placed under the centre one1 from which position it disappears and is ultimately found under either of the end ones at the will of the performer4 ,the table used must be covered with a cloth of some kind4 ,the secret lies in the pea1 which is fashioned from a piece of india-rubber1 but unless closely inspected cannot be distinguished from the ordinary everyday article4 ,when presenting the trick the pea is actually placed under the middle shell4 ,the shells are then1 each in turn1 commencing from the one on the left1 pushed up the table about three inches4 ,when moving the middle one the pea1 owing to its nature and the concavity of the shell1 will be found to work its way out1 when it is instantly seized with the thumb and middle finger4 ,this1 however1 cannot be suspected1 as the hand retains a perfectly natural position4 ,the third shell is then moved into a line with the other two4 ,the pea can now be caused to appear under either of the shells at pleasure1 all that is necessary being to leave it on the table immediately behind the shell in the act of raising the same4 ,in effect this trick is identical with that known as ,thimble ,rigging1 which it is therefore needless to describe1 but the secret is much prettier and calculated to deceive more thoroughly4 ,,the ,,restored ,,cut4--,this is a very interesting little trick1 and is especially suitable for an after-dinner surprise4 ,the performer takes a needle containing about a yard of thread1 and passes it through an apple4 ,the cord is then pulled backward and forward1 after which the apple is cut in half with a table knife2 both portions are shown1 the cord having to all intents and purposes been severed4 ,the two portions are then united and the cord is pulled backward and forward as before4 ,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 stalk1 in which condition it is laid on the table4 ,when about to present the trick the performer takes up both articles1 which if held properly will appear to be separate1 and announces that he is about to pass the thread through the apple4 ,he apparently does so1 but really inserts the needle at the point where it came out1 passing it to the opposite side4 ,the thread is now pulled backward and forward1 when it will appear to actually traverse the centre of the fruit4 ,the apple is then cut in half1 at right angles to the cord1 which under the circumstances will remain uninjured4 ,the parts are now handed round for inspection1 care being taken to keep them together at the bottom1 after which they are replaced and the cord shown to be intact4 ,at the conclusion of the trick the thread should be withdrawn from the fruit and given for examination2 this also prevents the discovery of the secret by any inquisitive spectator4 ,,the ,,garter ,,trick4--,this is a very old trick1 and from its title will be recognized at once as common to the sharps who frequent race-courses4 ,it is not1 however1 generally known1 and as it forms a good table trick a description of it may not be out of place4 ,it is usually performed with a piece of stiff half-inch tape2 an ordinary inch tape measure will answer the purpose admirably4 ,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 proper1 i4e41 the point at which the tape was doubled4 7,see ,fig4 #ce47 ,the bystander is then requested to place the point of his penknife in the loop1 but however careful he may be in his selection he will fail1 as the performer is able to pull the tape clear of the knife in all cases4 ,the secret lies in the fact that the tape is not folded exactly in half1 one end being left shorter than the other by about three inches4 ,when uncoiling the tape1 if the knife be actually placed in the loop1 and both ends are pulled from the point ,a1 it will not come away2 but if the short end be passed round to the left and both ends pulled from the point ,b1 it will be found to come clear of the knife4 ,all the performer has to do1 therefore1 is to watch and see if the knife is really placed in the loop or otherwise1 and to act accordingly4 ,the short end is carried round under cover of the fingers while twisting the tape4 ,illustration3 ,fig4 #ce4--;,garter ,trick ,fig4 #ce is arranged for clearness1 but in actual practice the tape would receive many more twists1 which would also be of a more intricate nature4 ,,chapter ,,ix ,,miscellaneous ,,tricks ,,flash ,,paper4--,having had occasion several times during the course of the present work to make use of flash paper1 ,i will now describe the manner in which it is prepared4 ,it is not1 however1 practical to manufacture it at home1 as it can be obtained in large quantities at a very small cost4 ,a mixture of nitric and sulphuric acids1 one part of the former to two of the latter1 is made1 and allowed to stand for twelve hours before using4 ,the experiment should be made in the open air4 ,ordinary tissue paper is then immersed in the fluid for a few seconds1 after which it is taken out and washed well in clear water1 until all trace of the acid has been removed4 ,this can be ascertained by the use of blue litmus paper1 which when dipped into the water will betray the presence of the acid by turning red4 ,the paper should then be dried in a warm atmosphere1 but not near a fire1 and it is ready for use4 ,flash handkerchiefs are prepared in a similar manner4 ,for this purpose take a piece of fine cambric1 wash it well in hot water to remove all grease and other impurities1 and then treat it in the same way as the paper4 ,a ,,new ,,fire ,,flash4--,this forms a very good opening trick4 ,the performer steps on the stage and1 in what appears to be a careless manner1 picks up a piece of paper from the floor1 rolls it up in his hands1 and throws it in the air1 where it disappears in a flame1 leaving no trace behind4 ,to produce this effect you must obtain some very fine glass tubing about the thickness of a darning needle1 and having broken off several pieces about an inch long1 fill them with sulphuric acid4 ,this can be done with the aid of a long piece of india-rubber tubing1 the acid being drawn into the glass by suction4 ,the ends of the tube are then sealed hermetically in the flame of a spirit lamp4 ,you must next prepare a powder composed of equal parts of chlorate of potass and powdered lump sugar4 ,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 paper1 and all is ready4 ,when rolling up the paper in the hands the tube is broken2 the acid escapes and fires the powder1 which in turn sets fire to the paper and produces the desired result4 ,,caution4--,to prevent accidents never prepare the papers or even mix the powder1 until actually required for use4 ,,conjurer',s ,,ammunition4--,the magic pistol described on p4 #fa is usually loaded with a small charge of powder4 ,this is excellent for stage purposes1 but hardly suitable for the drawing-room1 where some objection might be taken to the employment of powder1 even in a small quantity4 ,the pistol1 however1 need not be discarded1 as it can still be used in a manner that will in no way detract from the charm of the trick4 ,load the pistol with a piece of flash paper1 place a percussion cap on the nipple1 and pull the trigger4 ,the paper will take fire and be thrown from the pistol1 vanishing in a sheet of flame at the opposite end of the room4 ,again1 the pistol need not be loaded at all1 but just as you are about to fire you appear to understand that the ladies object1 and remark--,oh6 ,i see the ladies object to the report--well in that case ,i will use the pistol as an air-gun4 ,saying this1 you remove the conical tube and blow through it to cause the supposed transmission4 ,,smoke ,,from ,,two ,,empty ,,pipes4--,two empty and clean clay pipes are passed round for examination and proved ostensibly to be unprepared4 ,the bowls are then placed one over the other1 when the performer1 by simply inserting one of the stems in his mouth1 commences to blow clouds of smoke from the pipes4 ,the solution of the mystery is as follows3--,a few drops of hydrochloric acid 7spirits of salts7 are placed in one of the pipes1 while the other is similarly treated with ammonia4 ,the union of the two chemicals produces a thick vapor1 which has all the appearance of smoke produced from tobacco4 ,a good combination trick may be formed by preparing a glass tumbler and the bottom of a tea plate1 as above described2 the plate is then placed over the tumbler1 the whole being covered with a handkerchief4 ,the smoke so mysteriously produced from the pipes may now be caused1 apparently by some occult means1 to find its way into the closed tumbler4 ,,fire-,,eating ,,trick4--,this1 although a very startling trick1 is quite harmless1 and can be performed by any one4 ,small balls of fire are placed in the mouth and1 apparently1 swallowed1 being immediately afterward produced from the ears1 or any part of the body that fancy may suggest4 ,the balls are small pieces of camphor cut to shape1 and are lighted in the flame of a candle4 ,they should be tossed from one hand to the other1 and finally into the mouth1 which should forthwith be closed4 ,this1 of course1 extinguishes the balls1 which should be secretly removed at the earliest opportunity4 ,the reproduction of the balls of fire is managed with the aid of the acid tubes mentioned on p4 #afj1 which1 together with a small quantity of the powder1 should be wrapped up in flash paper1 and deposited about the person as required4 ,the best effect1 however1 is obtained by producing them from behind the ears2 it is also a very convenient method1 as the tubes are not so likely to be prematurely fractured4 ,,exploding ,,soap-,,bubbles4--,this is a novelty1 and will be found to produce a very good effect4 ,the bubbles are blown in the usual way with an ordinary clay pipe1 the only preparation necessary being that the bowl of the pipe must be filled with cotton-wool soaked in gasolene4 ,bubbles blown with a pipe thus prepared will be found to explode in a flame when approached with a light4 ,,the ,,tube ,,and ,,ball4--,this is a very ingenious trick1 and well worth the attention of the most fastidious performer4 ,it can be used in several ways4 ,the apparatus consists of a piece of one and one-half inch brass tubing about seven inches long1 with a cap of the same metal fitting loosely over one end2 also two billiard balls about the size of the diameter of the tube4 ,the audience1 however1 are not supposed to know of the existence of more than one ball4 7,see ,fig4 #ce47 ,the tube and cap1 together with the ball1 are given for examination1 attention being drawn to the fact that the ball will readily pass through the tube4 ,after examination the tube is stood on one end on the table and covered with the cap4 ,the operator then takes the ball and vanishes it by means of sleight of hand1 when1 on the tube being raised1 it has to all appearance been passed underneath4 ,illustration3 ,fig4 #cf4-,tube and ,ball ,the secret lies in the fact that there is a very small dent in the side of the tube at the centre2 also that one of the balls--that given for examination--is slightly smaller than the other4 ,the small ball runs freely through the tube1 but the large one will not pass the centre on account of the indentation4 ,on receiving back the tube the performer secretly drops the large ball into it1 which1 owing to the force of the fall1 is pinched in the centre and will not fall out4 ,in this condition the tube can be turned about in all directions and will still appear empty4 ,when placing it on the table the performer is careful to bring it down rather smartly on the end at which the ball was introduced1 when1 owing to the concussion1 the ball is released and falls on the table4 ,the tube can be used to cause the disappearance of a ball in the following manner3--,place the ball on a tea plate and cover it with the tube1 which in turn cover with a second plate4 ,by reversing the position of the structure the ball falls into the tube1 where it is retained in the manner described1 and after a little more twisting and turning1 to add to the general confusion1 the plates are removed and the ball is proved to have disappeared4 ,the ball can of course be reproduced if desired2 or if two tubes are used it may be1 apparently1 passed from one to the other4 ,in this case1 however1 it is suggested that round discs of wood be used in place of the plates1 as the latter would be likely to get fractured in the act of bringing the tube down with sufficient force to dislodge the ball4 ,,the ,,ubiquitous ,,thimble4--,this is one of the prettiest sleight of hand tricks in existence1 and requires very little practice4 ,for the purpose of the trick1 in its entirety1 the performer must be provided with two thimbles exactly alike2 but very many surprising passes can be made with one thimble only4 ,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 hand1 without the hands approaching each other4 ,it is usual1 however1 in the first place1 to execute a number of passes with one thimble only1 as by this means the audience will be the less likely to suspect the introduction of the second one4 ,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 thumb1 in which position it can be placed1 or removed at pleasure1 by simply bending the forefinger4 7,see ,figs4 #cg and #ch47 ,this sleight must be executed with equal facility with both hands4 ,illustration3 ,fig4 #cg4--,thimble ,trick ,when about to present the trick the performer comes forward with a thimble on the forefinger of the right hand1 the second one being in the left-hand trousers pocket4 ,he now appears to place the thimble in the left hand1 but really1 when the right hand is in motion toward the left1 it is palmed as described4 ,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 hand4 ,this can be done with perfect ease1 as1 so long as the hand is kept in motion during the recovery of the thimble1 there is no fear of the movement being detected4 ,illustration3 ,fig4 #ch4--,thimble at ,root of ,thumb ,the thimble is then apparently placed in the mouth1 really being palmed as before1 and afterward produced from the bottom of the vest4 ,while doing this the performer stands with the left hand in the trousers pocket and palms the second thimble4 ,both hands are now held palms away from the spectators1 and kept in continual motion4 ,under cover of this the right-hand thimble is palmed1 and that in the left hand produced1 when it will appear to have been passed from one hand to the other4 ,this can be repeated as often as desired4 ,finally the second thimble should be secretly disposed of1 and the trick brought to a conclusion with a pass performed with the one only4 ,an additional effect may be obtained by the use of two thimbles1 one fitting over the other4 ,these should be made in thin metal so as to be1 in point of size1 as near alike as possible4 ,the two thimbles1 which appear as one only1 are placed on the forefinger of the right hand1 and covered with a small paper cone1 with the remark1 ,you see the cone just fits the thimble2 ,i will now show you a rather extraordinary experiment with the same4 ,the cone is then removed1 with slight pressure at the base1 and placed on the table on the supposition that it is empty1 but it really contains the uppermost thimble4 ,the one left on the finger is then vanished1 under cover of a throwing movement toward the cone1 which is then removed by the apex and the thimble discovered4 ,while all attention is drawn to the table the duplicate thimble is dropped into the profonde4 ,,the ,,mysterious ,,tambourine4--,it is generally understood that1 should the silk hat go out of fashion1 conjurers would be at a loss for a suitable article wherewith to work the numerous production tricks4 ,should such a calamity ever befall the profession the mysterious tambourine will1 to some extent1 come to the rescue4 ,the apparatus consists of two nickel-plated brass rings1 eight inches in diameter and one inch deep2 the one fitting easily over the other4 7,see ,fig4 #ci47 ,the tambourine is constructed by placing a sheet of paper between the two rings1 and pressing the upper one down over the lower1 the edges of the paper being afterward trimmed round with scissors4 ,thus prepared it is shown back and front4 ,illustration3 ,fig4 #ci4--,tambourine ,trick ,the prestidigitateur then makes a small hole in the centre of the paper with his wand1 and immediately commences to twist out yard after yard of colored paper ribbon1 sufficient being obtained to fill a large clothes basket4 ,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 handkerchiefs1 also a quantity of spring flowers and other articles of a like nature4 ,finally a rabbit or a large bird cage containing a live bird may be produced from the pile of ribbon4 ,the explanation is very simple4 ,the tambourine is put together at the rear edge of the table1 and when taking it up prior to trimming the edges1 the coil1 which was on the servante or suspended at the back of the table1 is brought away under cover of the paper and pressed into the ring4 ,the back of the colored coil should be rubbed over with chalk to match the white paper used in the construction of the tambourine1 which can then be shown back and front1 but will still appear empty4 ,the flowers should be done up in three packets of twenty each and laid on the coil1 being covered with the handkerchiefs1 which should be folded up neatly4 ,the packet is then tied together with thin cotton1 which can easily be broken when required4 ,the rabbit is in readiness in the profonde on the right side1 and is introduced into the ribbon when picking it up from the floor4 ,the cage1 which should be a folding one1 is suspended behind the back of a chair1 over which the ribbon would be thrown while performing a simple trick with one of the handkerchiefs4 ,in the act of taking the ribbon from the chair opportunity would be found for introducing the cage unobserved4 ,,the ,,bran ,,and ,,dove ,,plates4--,the trick about to be described1 in its primary form1 consists of changing a quantity of bran or flour into a live dove4 ,it can1 however1 like the tambourine1 be made available for the production of various articles1 and is especially suitable for the magical distribution of bonbons1 sweets1 etc4 ,the performer comes forward with an ordinary soup plate filled to overflowing with bran1 a portion of which is scattered over the stage to prove its genuineness4 ,the bran is then covered with a second plate1 which on being removed reveals a live dove1 the bran having entirely disappeared4 ,the explanation is as follows3--,one of the plates is fitted with a tin lining1 enamelled white on the inside to represent the china4 7,see ,fig4 #dj47 ,the supposed bran is really this tin lining turned upside down with bran gummed all over it2 a handful of loose bran being thrown on the top4 ,it is hardly necessary to say that the dove is already in the plate concealed by the bran shape4 ,the false heap of bran is now covered with the second plate1 and while talking the performer1 in a careless way1 turns the plates over several times1 finally placing them on the table in such a manner that the one that was formerly uppermost shall now be at the bottom4 ,all he has to do now is to remove the uppermost plate and take out the dove4 ,the inside of the bottom plate should now be shown1 when it will appear perfectly empty4 ,illustration3 ,fig4 #dj4--,trick ,plate ,in place of the dove the plate may be loaded with sweets and small toys1 for distribution2 or with a list of articles similar to those produced from the tambourine4 ,if a coil of ribbon be used it should be a colored one1 with one side rubbed over with chalk so that the inside of the plate may be shown prior to its production4 ,by using two pairs of these plates1 and being provided with two doves exactly alike1 the bran in one may be made to1 apparently1 change places with the dove in the other4 ,,the ,,wandering ,,stout4--,the feat bearing this title consists of causing a glass of stout to pass through the crown of a borrowed hat4 ,having obtained the loan of two hats1 the performer places them on the table mouth to mouth1 and stands the glass of stout on the crown of the uppermost one1 covering it with a paper cylinder of the same height as itself4 ,on removing the cylinder it is shown to be perfectly empty1 the glass being immediately taken from the lower hat4 ,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 mouth1 tapering very slightly toward the bottom4 ,the kind known as picnic glasses will be found the most suitable4 ,in addition to the glass and the paper cylinder a piece of glass tubing of the same height as the tumbler1 and large enough to pass easily over the same1 will also be required4 ,this piece of tubing must be blackened on the inside to within one inch of the top1 and finished with a little white paint to represent froth1 when1 thus prepared1 it will readily pass for a glass containing stout4 ,the paper cylinder1 containing the sham glass1 being on the table1 the performer comes forward with a bottle of stout and fills the tumbler4 ,he then takes up the cylinder and passes his wand right through it1 as if to prove that it has not undergone any preparation1 after which he places it over the glass of stout4 ,he then puts the glass1 still covered with the cylinder1 into one of the hats1 with the remark ,i will now cause the tumbler to pass from one hat to the other1 then1 as if struck with a sudden thought1 changes his mind1 saying1 ,no1 perhaps it would be more effective if ,i place the hats one over the other1 and pass the glass through the crown of the uppermost one4 ,saying this he1 apparently1 takes the tumbler1 still under cover of the cylinder1 from the hat1 and places it in the required position4 ,really1 however1 the stout was left behind1 the cylinder and counterfeit glass alone being removed4 ,now1 in order to satisfy the spectators that the stout is actually on the crown of the hat1 the performer lifts the cylinder and exposes the sham glass1 which every one believes to be the genuine article4 ,the cover is then replaced and the tumbler commanded to pass into the lower hat1 after which it is again raised1 together with the counterfeit1 and the wand passed through it as before4 ,the hats are then separated and the glass is produced from the lower one4 ,a ,,crystal ,,water ,,mystery4--,chemical tricks1 as a rule1 do not meet with much favor at the hands of professional conjurers4 ,the reason is pretty clear1 as1 in the majority of cases1 the modus operandi is too palpable4 ,the one here described1 however1 owing to the number of changes produced1 is an exceptionally good one1 and is to be found in the repertoire of the leading performers of the day4 ,illustration3 ,fig4 #da4--,water ,trick ,four empty glass tumblers1 together with a glass jug full of water1 are arranged on a tray as shown in ,fig4 #da4 ,water poured from the jug into-- ,no4 #a1 is seen to be clear4 ,no4 #b1 changes to stout4 ,no4 #c1 is seen to be clear4 ,no4 #d1 again changes to stout4 ,nos4 #a and #b mixed equal stout4 ,nos4 #c and #d mixed equal water4 ,nos4 #a and #b put back into the jug give all stout4 ,nos4 #c and #d put back into the jug give all water1 as at first4 ,the explanation1 although by no means obvious1 is very simple4 ,glass ,no4 #a is perfectly clean4 ,no4 #b contains a small portion of pyrogallic acid1 about the size of a pea4 ,no4 #c is prepared with half a teaspoonful of sulphuric acid4 ,no4 #d contains the same quantity of pyrogallic acid as ,no4 #b4 ,the jug contains clear water1 into which a teaspoonful of sulphate of iron is dropped just before the trick is commenced4 ,the iron should not be placed in the water until actually required for use1 as the solution changes rapidly to a yellow color1 in which condition it would not very well pass for water4 ,for the same reason the jug should be removed immediately after the trick4 ,some performers prefer to use the following chemicals in place of those enumerated above4 ,i will give them in the same order1 and then the magician may choose for himself4 ,glass ,no4 #a1 as before1 is quite clean2 ,no4 #b contains a few drops of muriated tincture of iron2 ,no4 #c1 a teaspoonful of a saturated solution of oxalic acid2 and ,no4 #d is prepared in the same manner as ,no4 #b4 ,a teaspoonful of tannic acid should be added to the water in the jug prior to the commencement of the experiment4 ,i myself always use the sulphuric acid1 as ,i believe it produces the best result1 but in the case of a spill it is very dangerous1 and on this account the latter method is to be preferred4 ,the changes1 in either case1 are quite instantaneous1 hence the trick produces a most extraordinary effect4 ,,the ,,wizard',s ,,breakfast4--,the magical production of steaming hot coffee has always been a favorite trick with the juveniles1 especially when the beverage is handed round for their consumption1 and various pieces of apparatus have been designed for effecting this purpose4 ,the most up-to-date method1 however1 is the one hereafter described3 ,two boxes1 without lids1 sizes about twelve inches by eight inches by eight inches1 usually fitting one within the other for convenience in traveling1 and containing respectively cuttings of blue and white paper1 are introduced to the audience4 ,two pint goblets1 in metal1 are then filled1 one with blue and the other with white paper from the boxes1 after which they are covered with small silk handkerchiefs4 ,on removing the handkerchiefs the blue and the white papers are found to have been transformed respectively into hot coffee and hot milk4 ,the performer then pours a portion of each fluid into a breakfast cup1 and makes a motion as if throwing the whole over the audience1 when nothing falls but a shower of blue and white paper cuttings1 every vestige of the coffee and milk having disappeared4 ,illustration3 ,fig4 #db4--,trick ,tumbler ,there are in reality four goblets employed in the trick1 two of which1 containing the fluids1 are concealed in the boxes unknown to the spectators4 ,these two are provided with shallow trays fitting loosely within them at the top1 each tray being filled with paper of the required color4 7,see ,fig4 #db47 ,when presenting the trick the performer comes forward with the box containing the white paper1 and throwing a handful in the air1 calls out1 ,out in the cold1 which remark is perfectly justifiable1 as the paper gives a faithful representation of falling snow4 ,placing this box on the table1 and taking up that containing the blue paper1 he scatters a handful over the stage with the remark1 ,this is the same as the white1 only the wind blue it4 ,he now takes one of the goblets from the table and appears to fill it with white paper1 but really1 while in the box1 an exchange is made for the one containing the milk1 which1 owing to the presence of the shallow tray1 will appear to be full of paper4 ,this is then covered with a handkerchief1 after which the second goblet is treated in like manner4 ,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 handkerchiefs4 ,the handkerchiefs are thrown in a careless manner over the sides of the boxes1 into which1 if sufficient paper has been provided1 the trays may be allowed to fall4 ,illustration3 ,fig4 #dc4--;,cup and ,saucer ,the cup and saucer will next require our attention4 ,these are of metal in imitation of the genuine article1 the saucer being made double1 with a small hole in the centre of its upper side1 for a purpose that will presently appear4 ,the cup is provided with a perpendicular division nearly in the centre1 a small hole being drilled in the bottom of that side next to the handle4 7,see ,fig4 #dc47 ,the front and larger side is filled with a mixture of blue and white paper cuttings1 and thus prepared1 together with the saucer1 it is placed on the table4 ,when pouring the coffee and milk into the cup the performer takes care that it goes into the space provided with the small hole1 through which it immediately runs into the body of the saucer4 ,it is usual to bring the trick to a conclusion by apparently throwing the fluid over the audience as already described1 but should the performer be provided with a number of small cups and a tray1 that portion of the beverage not used may be handed round as refreshments4 ,,the ,,hydrostatic ,,tube4--,this is a trick of comparatively recent invention4 ,it requires very careful handling1 and the performer must be possessed of almost superhuman nerve to present it successfully to a critical audience4 ,it produces1 however1 a most extraordinary effect1 and on this account is to be recommended4 ,a piece of paper is placed at the bottom of a glass tube or chimney used for gas1 which is then filled with water1 while the top of the tube is covered with a second piece of paper4 ,the right hand is then placed on the top paper and the position of the tube reversed4 ,the papers are then1 each in turn1 removed1 but the water does not fall from the cylinder2 on the contrary1 it remains suspended without visible means of support4 ,the papers are now replaced1 and the top one is pierced with a hatpin1 when1 on the pin being withdrawn1 the water at once falls into a basin placed ready to receive it under the tube4 ,this surprising result is due entirely to a well-known natural law1 viz41 the pressure of the atmosphere1 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 paper4 ,the new arrangement will1 however1 require special explanation4 ,each end of the cylinder is fitted with a glass cap1 grooved to fit into and over it at the same time2 this is necessary to avoid slipping4 ,the ends of the tube1 also the edges of the caps1 must be ground1 so that the point of juncture shall be air-tight4 ,one of the caps has a small hole drilled through the centre4 7,see ,fig4 #dd47 ,when about to present the trick the two glass caps are laid on the bottoms of two upturned tumblers1 where they are quite invisible4 ,the performer then draws attention to two square pieces of paper1 which he dips into the water contained in the bowl1 afterward laying them down on the glass tumblers1 and over the glass discs4 ,he next shows the tube1 passing his wand through it to prove that it has not undergone any preparation4 ,then taking one of the papers1 and at the same time secretly securing one of the discs 7not the one with the hole in it71 he places it at the bottom of the tube1 which is forthwith stood on the palm of the left hand4 ,the tube is then filled with water and covered with the remaining piece of paper and glass cap4 ,illustration3 ,fig4 #dd4--;,hydrostatic ,tube ,the position of the tube is then reversed1 after which it is taken by the centre and both papers are removed4 ,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 top4 ,the glass caps being absolutely invisible1 the water will now appear to be suspended in the tube without any natural means of support4 ,the papers are again placed on the ends of the tube1 where1 being wet1 they readily adhere4 ,the hands are now placed one on each end and the tube is reversed2 this is necessary to bring the cap with the hole in it to the top4 ,the top paper is then pierced with the hatpin1 which1 passing through the hole in the cap1 gives the impression that there cannot be anything but the paper covering the ends of the tube4 ,when the pin is withdrawn the air rushes into the tube1 and1 as a natural consequence1 the paper and disc fall from the bottom1 liberating the water4 ,the bowl should be half full of water when the cap falls1 to avoid fracture of the glass4 ,the cap is then brought away from the top of the tube under cover of the piece of paper1 and both are dropped into the bowl1 when the tube can be once more given for examination4 ,,the ,,hydrostatic ,,tumbler4--,this trick1 which is similar in principle to that immediately preceding it1 is preferred by some as being less cumbersome2 it is also easier to work and consequently entails less anxiety on the part of the performer4 ,the effect1 however1 although pretty1 is not quite so startling4 ,the necessary apparatus consists of a glass tumbler with a small hole drilled in the side one inch from the bottom1 the mouth of which must be fitted with a glass cap in the same manner as the tube in the preceding trick4 7,see ,fig4 #de47 ,illustration3 ,fig4 #de4--;,hydrostatic ,tumbler ,the performer having drawn attention to the tumbler1 also a small piece of paper1 dips the latter into a bowl of water1 and lays it down over the glass cap4 ,the tumbler1 held with the thumb covering the small hole1 is then filled with water from the bowl1 and covered with the piece of paper under which1 unknown to the audience1 is the glass disc4 ,the glass is then inverted and the paper withdrawn1 the water remaining suspended without visible means of support4 ,the tumbler can now be turned about in any direction1 without the least fear of the water escaping1 so long as the thumb is kept over the small hole in its side4 ,it can also be stood on the table1 the hand being removed entirely2 the water cannot escape through the small hole owing to the presence of the cap4 ,the tumbler is once more raised and inverted1 when the performer undertakes to cause the water to fall at any given number counted by the audience4 ,this last effect1 which adds considerably to the trick1 is brought about by very simple means2 all the performer has to do is to remove the thumb covering the small hole1 when the air rushes in and causes the disc to fall4 ,the bowl1 as before1 should be half full of water1 to provide a cushion for the falling disc1 which under these circumstances will not be injured1 nor its presence detected4 ,,paper ,,cone1 ,,watch1 ,,rabbit1 ,,and ,,boxes4--,the effect of this excellent stage trick is as follows3 ,a watch is borrowed and dropped into a conical paper bag held by one of the spectators4 ,the performer then loads the magic pistol with a small silk handkerchief2 this he fires in the direction of the bag1 after which the bag is opened and found to contain the handkerchief1 the watch having disappeared4 ,attention is next drawn to a box1 which has been hanging over the head of the performer from the commencement of the entertainment1 and which on being opened is found to consist of a nest of six boxes1 the smallest of which contains a rabbit with the borrowed watch tied round its neck4 ,the main secret of the trick lies in the paper bag1 which is really double1 consisting of two pieces of paper gummed together round the edges1 the corner of one piece being removed1 as in ,fig4 #df4 ,illustration3 ,fig4 #df--,paper ,cone ,at the commencement of the trick a small silk handkerchief is hidden between the two pieces of paper4 ,when making the bag it must be so arranged that the corner at which is the opening is at the top4 ,under cover of the point of the bag the handkerchief is removed from its place of concealment and dropped into the bag proper1 the double side being immediately pulled over to the opposite side of the bag to again conceal the handkerchief4 ,if the bag is well made1 and this side well creased over1 a casual glance into its interior will reveal nothing suspicious4 ,in this condition the bag is given to a spectator to hold1 and he is then requested to drop the watch into it1 which he does1 as he thinks1 into the bag proper1 but really the watch falls into the position previously occupied by the handkerchief4 ,the top of the bag is then folded over4 ,the performer now loads a duplicate handkerchief into the pistol1 and1 having disposed of it in the usual way1 fires in the direction of the bag4 ,he then unfolds the bag and shakes out the handkerchief1 being careful to hold the watch so that it does not fall at the same time4 ,he then crumples up the paper in his hands1 and in the act of doing so tears out the watch1 which is forthwith palmed1 the paper being thrown away4 ,the box1 which should be suspended with two cords over pulleys1 is then lowered2 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 audience4 ,this swivel hook is attached to the ribbon round the rabbit's neck1 the arrangement being as follows3--,the ribbon is tied round the rabbit1 which is then placed in the smallest box1 the ribbon being allowed to hang outside the box when the lid is closed4 ,the box is then placed in the next larger one1 the ribbon still being allowed to hang outside4 ,this is continued until the ribbon is left hanging on the outside of the last box4 ,the solution will now be clear4 ,as the boxes are removed one after the other the watch is suspended behind that last exposed2 and when the rabbit is taken out it will be impossible to tell that the watch was not actually removed from the same box4 ,,the ,,magical ,,production ,,of ,,flowers4--,whenever possible1 it is always best to lead up to an elaborate trick with a succession of smaller illusions of the same nature4 ,this is well illustrated in the ,marvelous production of ,flowers1 which in good hands is a most pleasing and mysterious experiment4 ,flower tricks always take well1 especially with the feminine part of the audience1 and ambitious amateurs should strive to have at least one good illusion of this character on their programmes4 ,the magician comes forward1 with the announcement1 ,ladies and gentlemen1 ,i notice that in my hurry ,i have neglected to provide myself with the customary buttonhole bouquet1 but1 fortunately1 ,i have here a quantity of magic seed capable of producing a rose garden if required4 ,show a small box1 which is supposed to contain the seed1 while in reality it is empty4 ,you see ,i have only to place a single seed here in my buttonhole and after breathing on it a moment1 to supply the necessary heat1 ,i touch it with my wand and instantly we have a beautiful rose4 ,now1 if some gentleman will kindly loan me a silk hat for a moment1 ,i will show you a method by which bouquets may be produced while you wait4 ,i only have to place the hat over this glass goblet1 which1 you see1 is quite free from deception1 and here we have a handsome bouquet4 ,remove the hat and find the goblet still empty4 ,how is this8 ,ah1 ,i remember now1 ,i neglected to put any of the magic seed in the goblet4 ,i will just put in a pinch of various kinds and try again4 ,place hat over the glass again and instantly raise it1 and discover a large bouquet4 ,you perceive the seed acts instantaneously4 ,while saying this brush the hat carefully and walk down as if to return it1 still holding the box of seed4 ,once among your audience you exclaim1 ,what is that8 ,you don't believe me8 ,why1 see here2 by just putting a pinch of the seed into this hat and breathing on it1 thus1 ,i will produce bouquets for all present4 ,show hat nearly full of small bouquets and distribute them4 ,then return hat saying3 ,i thank you1 sir1 for the use of your hat1 which seems particularly fitted for raising flowers4 ,now for the explanation3--,to prepare for producing a flower in the buttonhole1 take a piece of black elastic cord about a foot in length and put one end of it through the centre of an artificial rose1 from which the stem has been removed1 knotting the end to keep it from slipping through4 ,pass the other end through the buttonhole1 also through a small hole made in the coat just behind the buttonhole1 and then down and fasten to the suspender button on the back of your trousers4 ,draw the flower away from the buttonhole and conceal it under the left armpit1 and as you touch the spot with the wand raise the left arm slightly1 freeing the flower1 which will instantly fly to the buttonhole4 ,illustration3 ,fig4 #dg4-,production of ,flowers ,after borrowing the hat place it over the glass1 as above1 and after removing let the brim rest on the table a second while looking at the glass4 ,during this brief time slip your finger into the little cardboard tube which serves as a handle to the bouquet1 which lies on the shelf at the back of your table and just beneath the hat4 ,by closing the fingers the bouquet is brought into the hat4 7,see fig4 #dg74 ,this takes only a fraction of a second1 and as all are looking for the bouquet in the glass the movement is entirely invisible4 ,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 glass4 ,as soon as the bouquet is shown in the glass1 let the hat rest on the table as before1 and introduce the small bouquets1 which are tied together with a weak thread and are provided with a tube like the large bouquet4 ,when you appear to put the seed in the hat1 break the thread and shake up the bouquets loosely1 and they will nearly fill the hat4 ,of course you must keep your eyes fixed on the goblet while loading the hat1 and never allow yourself to glance toward the left hand which holds the hat1 as that would give your audience a hint that something was going on in that quarter4 ,illustration3 ,fig4 #dh4--,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 sand4 ,it is ,kellar's most famous illusion4 ,two small tables1 draped within a foot or more above the floor1 are seen on the conjurer's stage4 ,on each table is a miniature stand on which are flower-pots1 7,fig4 #dh74 ,after the pots have been examined by the spectators1 the performer places them on the stands1 and plants seeds in them4 ,a pasteboard cone1 open at both ends1 is exhibited1 and placed for a second over flower-pot ,no4 #a4 ,when it is removed a green sprig is seen1 which the magician declares has just sprouted4 ,he then places the cone over flower-pot ,no4 #b4 ,removing it a full grown rose-bush appears1 covered with buds and roses in full bloom4 ,a second rose-bush is then produced from flower-pot ,no4 #a4 ,the roses are culled and presented to the ladies in the audience4 ,the following is an explanation of the trick3 ,illustration3 ,fig4 #di4-,table for ,flower ,trick ,the tables are open at the back1 the drapery not extending completely around them4 ,attached to the leg of each table is a small shelf1 which is of course concealed by the drapery1 7,fig4 #di74 ,the bushes are stumps1 to the branches of which are tied the roses4 ,each bush has as a base a circular piece of lead1 which fits into the flower-pot4 ,the bushes are suspended inside of the cones1 7,fig4 #di ,a7 which are placed on the secret shelves above described4 ,the performer covers the first pot with the cone in his hand1 and drops from his palm the green sprig which sticks into the sand4 ,as attention is being called to the sprout1 the magician drops the empty cone1 just shown1 down behind the table over the prepared cone and rose-bush and brings them up under cover4 ,the loaded cone fits closely into the empty one1 but as an additional security is held in place by the fingers of the performer4 ,he goes to the second table and places the cone over the flower-pot4 ,the rose-bush is allowed to drop into the pot1 the thread which fastens it having been detached4 ,the bush is now shown4 ,as soon as the cone is removed the hand naturally and carelessly drops behind with it over the next prepared cone on the shelf1 and the performer produces a rose-bush from the first flower-pot4 ,he now has three cones1 one inside of the other4 ,to facilitate the picking up of the cones in succession the back part of each table top is cut out in crescent shape4 ,illustration3 ,fig4 #ej4--,magic ,incubation ,,magic ,,incubation4--,to produce a quantity of eggs from an empty handkerchief is a favorite experiment with magicians4 ,it is a modification of the old egg-bag trick1 but far more effective and but little known4 ,the materials used are easily procured3--a blown egg1 to which is attached a piece of thread1 and a silk handkerchief4 ,fasten the egg to the handkerchief by means of the thread1 as shown in ,fig4 #ej4 ,spread out the handkerchief1 when exhibiting the trick1 and show that both sides are free from preparation4 ,to do this you must keep the egg concealed in your right hand1 and at the moment let it fall in the position depicted in the illustration1 7,fig4 #ej74 ,the thread will hold it in the centre of the handkerchief4 ,but remember to keep the handkerchief waving slightly1 otherwise the impact of the falling egg against it might betray the secret of the trick4 ,it is hardly necessary to say that the egg-side of the handkerchief is turned toward yourself4 ,explain to the audience that you are going to magically produce an egg4 ,take the right hand corner of the handkerchief in your mouth and hold the left corner with your left hand4 ,now place the forefinger of the right hand against the upper part of the handkerchief1 the side facing yourself1 and fold the handkerchief over1 grasping the two upper corners with your left hand4 ,next hold the lower corners with your right hand and bring the handkerchief to a horizontal position4 ,tilt one end of it over a hat and an egg will be seen to fall1 7,fig4 #ea74 ,shake out the handkerchief and repeat the above described operation of producing eggs until the hat is apparently full1 after which you may turn it over and show it empty4 ,this trick neatly executed never fails to elicit well deserved applause from the audience4 ,perhaps a better way to conclude the trick would be to show that the hat really contained a number of eggs1 which of course must be loaded into it prior to commencing the trick4 ,the best way to do this is to have the eggs in a black silk bag which you conceal inside your vest4 ,after having borrowed the hat and while your back is turned to the spectators during your journey to the stage1 slip the bag full of eggs into the hat4 ,then begin your handkerchief feat4 ,it is a weak point1 in my opinion1 to show the hat empty1 after having apparently placed so many eggs into it4 ,some acute spectator is apt to jump to the conclusion that there was but one egg used during the experiment4 ,illustration3 ,fig4 #ea4--;,incubation ,trick ,,the ,,wizard',s ,,omelet4--,the recipes for making a magical omelet are numerous and varied4 ,some magicians produce the eggs from the mouth of a negro assistant following the example of ,alexander ,herrmann1 and make the omelet in a borrowed hat4 ,i once saw a clown in a ,french circus produce an omelet in a small frying-pan1 without using eggs at all--or more properly speaking1 without the apparent use of eggs4 ,he stirred his wand about in the pan1 holding the latter over a spirit lamp1 and presently turned out into a dish an excellent omelet1 smoking hot and very palatable4 ,he cut up the omelet and passed it around among the audience4 ,those who partook of it pronounced it to be delicious and worthy of the chef of the ,hotel ,grand4 ,this is the way the trick is accomplished3 ,there is no preparation about the frying-pan2 that is all fair and square1 as well as round4 ,it may be examined by the spectators ad libitum4 ,not so the magic wand1 which is hollow and filled with the contents of several eggs4 ,one end of the wand has an opening which is stopped up with a piece of butter4 ,when the pan is heated the butter melts and the beaten-up eggs run out of the wand and are speedily metamorphosed into an omelet4 ,the stirring of the pan with the wand1 supposed to be a part of the conjurer's performance1 is really necessary to the trick4 ,the wand is usually made of tin4 ,it must be an exact imitation of the wooden wand used during the course of the entertainment4 ,,the ,,wonderful ,,production ,,of ,,ribbons ,,at ,,the ,,finger-,,tips4--,this is an excellent little trick and one very suitable as an introduction to a complete production trick1 where objects of ever-increasing size1 in a compressed condition1 are produced under cover of similar objects1 of a smaller size1 but displayed to the best advantage4 ,the performer having shown both hands unmistakably empty1 commences to pull yard after yard of real colored silk ribbon from the extreme tips of the fingers4 ,the secret depends upon the little accessory illustrated in ,fig4 #eb4 ,this is a shield made to fit the second finger of the right hand1 provided with a lid to keep the four coils in position1 also with a corresponding number of slots on the front through which the ribbon may be withdrawn4 ,each piece of ribbon should be about two yards long and of a width to readily pass the slot4 ,ribbon drawn from the apparatus when in position1 see ,fig4 #ec1 will seem to come from the finger-tips4 ,illustration3 ,fig4 #eb4--,the ,accessory ,after a quantity of ribbon has been produced in this manner1 the magician may very well bring out a larger supply from his vest under cover of gathering up the mass of material4 ,an excellent winding up of the trick would be the production of a dove from breast pocket4 ,illustration3 ,fig4 #ec4--,production of ,ribbon ,,japanese ,,bird ,,vanish4--,the old ,mouchoir du ,diable1 or ,devil's ,handkerchief1 for vanishing small objects will be known to the majority of my readers3 at the best it was but a clumsy expedient for producing a magical disappearance1 and on that account was very little1 if ever used4 ,the ,new ,devil's ,handkerchief1 as used by ,japanese conjurers to cause the disappearance of a bird1 will1 on the contrary1 ,i feel sure1 be found of practical utility to the magical fraternity4 ,in practice it is merely held by the four corners1 ostensibly in the most careless manner possible1 and any object as an egg1 ball1 orange1 bird1 etc41 dropped into the bag thus formed instantly disappears1 the handkerchief being immediately shaken out and both sides shown4 ,illustration3 ,fig4 #ed4--;,bag for ,vanishing ,this seeming prodigy is thus explained4--,two handkerchiefs1 preferably of soft silk and rather large 7neck handkerchiefs for instance71 are sewn together all round their edges1 with the exception of a portion at one corner as shown by the dotted lines in ,fig4 #ed4 ,the handkerchiefs are also sewn together from the said corner to the centre as further indicated by the dotted lines in the figure4 ,a bag is thus formed into which the object is actually dropped4 ,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 bag4 ,these strips keep the mouth of the bag closed until pressure be applied at their ends1 when the bag will open1 receive the object1 and1 on the pressure being removed1 will close again1 keeping all secure4 ,,new ,,fire ,,trick4--,the writer is indebted to ,mr4 ,martinka for this novel experiment4 ,a thin glass tube1 in the end of which is secured a small piece of metallic potassium1 is pasted between two pieces of tissue paper4 ,so prepared the paper is shown from both sides1 being apparently a plain piece of white paper4 ,this is rolled into a cylinder1 not unlike an exaggerated cigarette4 ,the performer opens his mouth to show that nothing is concealed there1 and then proceeds to blow through the paper tube1 when the far end bursts into a flame of more or less intensity4 ,explanation4--,while pretending to blow through the paper cylinder1 the performer brings some saliva into the glass tube4 ,when blown through the tube1 the saliva comes in contact with the potassium1 which ignites and sets fire to the paper4 ,to produce a larger flame and sparks1 a small piece of gun cotton1 sprinkled with powdered aluminum can be placed near the end of the tube4 ,the potassium metal has to be kept in a bottle and covered with kerosene4 ,whenever required for the trick a piece is cut off with a knife4 ,care must be taken not to make the mistake of putting the wrong end of the tube in the mouth4 ,when the paper bursts into flame it is crumpled into a ball and dropped on a plate4 ,the thin glass tube is crushed into small bits by the above operation1 and is not seen by the audience4 ,,the ,,ring ,,on ,,the ,,wand4--,a very pretty and graceful parlor trick is the ring on the wand4 ,suspend a plain gold ring to the centre of a handkerchief by means of a short piece of silk thread4 ,come forward with the handkerchief in your pocket1 and borrow a ring as much like your own as possible4 ,pretend to wrap up this ring in your handkerchief1 but substitute for it the fake ring4 ,give the handkerchief with ring in it to some one to hold and ask him if he still feels the ring contained therein4 ,he will reply in the affirmative4 ,you now get your wand from a table4 ,while doing this take the opportunity to slip the borrowed ring which you have in your hand over one end of the wand1 keeping it concealed4 ,approaching the individual who holds the handkerchief request him to place it over the middle of your wand which you hold horizontally by its centre1 having slid your hand 7with the concealed ring7 along its smooth surface4 ,now request two spectators to hold either end of the wand tightly4 ,explain that you will cause the ring in the handkerchief to appear upon the wand1 despite the fact that the latter is firmly held by two persons4 ,remove your hand from the wand and take hold of the handkerchief4 ,with a hey presto1 give the handkerchief a quick jerk and shake it out4 ,the borrowed ring on the wand will spin around in lively fashion1 as if it had really left the handkerchief and by some magical means appeared upon the wand4 ,your handkerchief with the fake ring attached must be pocketed as speedily as possible4 ,it might be well to borrow a plain white handkerchief from some one in the audience and exchange it for your prepared handkerchief4 ,illustration3 ,fig4 #ee4--,silk ,handkerchief ,illustration3 ,fig4 #ef4--;,fake on ,finger ,,disappearing ,,glass ,,of ,,water4--,this clever illusion is a favorite with many performers1 and is particularly adapted to drawing-room entertainments4 ,it was invented by ,colonel ,stodare1 originator of the famous ,sphinx trick4 ,since ,stodare's time many improvements have been made in it1 one idea1 emanating from the fertile brain of ,dr4 ,elliott4 ,stitch two silk handkerchiefs1 preferably of a dark color1 together in the manner shown in the diagram 7,fig4 #ee71 having first inserted in the triangular space between them a disc of thin tin1 of the same diameter as the mouth of the glass used4 ,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 hand1 7,fig4 #ef74 ,this constitutes ,elliott's improvement4 ,exhibit the handkerchief to the spectators1 calling attention to the fact that it contains nothing4 ,twist it rope fashion1 and pull it through your left hand1 thereby demonstrating that nothing could possibly be concealed in it4 ,this you are enabled to accomplish by grasping the tin fake and retaining it in the right hand4 ,finally shake out the handkerchief1 releasing the disc1 which will now fall to the centre of the handkerchief and be kept in position by the triangular stitching4 ,at the rear end of your table you have a glass filled with water4 ,spread the handkerchief over the glass1 bringing the tin shape over the mouth of the same4 ,lift up the fake1 and under cover of the handkerchief lower the glass upon the shelf behind the table4 ,the handkerchief1 distended by the tin disc1 will present the appearance of having the glass of water under it4 ,now step forward as though holding the glass of water4 ,place the left hand beneath the handkerchief1 and quickly insert the index finger into the little band soldered beneath the disc1 the right hand bearing down at the time to facilitate matters4 ,to an audience it will seem that you hold the glass of water on the palm of your left hand1 presenting a very illusory appearance indeed1 7,fig4 #eg74 ,to vanish the glass completely all you have to do is to catch one corner of the handkerchief with your right hand1 give it a sudden flick in the air1 which releases the hold of the finger of the left hand1 when lo and behold6 the glass of water has melted away4 ,to reproduce it1 take a duplicate glass of water from your coat-tail pocket4 ,but6 says the dubious reader4 ,ah1 we are coming to that6 ,there is no danger of spilling the water1 for the mouth of your glass is tightly closed with a rubber cover4 ,all you have to do is to remove the cover before exhibiting the glass4 ,illustration3 ,fig4 #eg4--;,handkerchief in ,position ,,anti-,,gravity ,,wand4--,the use of the wand has been sufficiently explained to the student4 ,in calling attention to the fact of its being endowed with peculiar properties1 similar to the magic wand of ,bulwer's ,coming ,race1 the conjurer might execute a few tricks with it as a prologue to his programme4 ,the ,anti-gravity wand1 invented by that clever magician1 ,dr4 ,elliott1 would prove useful in the above instance1 7,fig4 #eh74 ,it consists of a piece of brass tubing made to correspond with the performer's ordinary wand but with square ends4 ,in one end of this tubing is inserted a cylindrical lead weight made to fit nicely4 ,at each end of the weight is glued a piece of felt1 so as to prevent noise while the fake is working4 ,with this trick wand you can apparently defy the law of gravity4 ,it is divided internally into three compartments1 two small ones at either end1 and a larger one in the centre1 by means of the partitions1 which do not1 however1 extend completely across the wand4 ,a quantity of quicksilver is inserted in the wand and the ends sealed up4 ,in the normal condition1 this will remain in the central space1 but if the wand is tilted either way1 the mercury will flow into the little pocket at the lower end4 ,should this end be laid upon the table1 the weight of the fluid metal would more than counterbalance the remaining portion of the wand1 and it would therefore be suspended apparently in space4 ,by reversing the wand1 the other end would perform a like phenomenon4 ,illustration3 ,fig4 #eh4--;,anti-,gravity ,wand ,,chapter ,x ,,stage ,,tricks ,this is a chapter devoted to stage illusions1 dependent mainly for their effects upon ingenious mechanical appliances1 and not to skilful manipulation of the performer4 ,most conjuring exhibitions conclude with some large illusion4 ,they add zest to the entertainment4 ,one of our leading conjurers1 ,kellar1 makes a specialty of them4 ,he presents them with fine scenic effects4 ,,aerial ,,suspension4--,the trick of the aerial suspension1 presented by ,herrmann under the name of the ,slave ,girl's ,dream1 has been1 and still remains a great favorite with many conjurers4 ,in this experiment a lady floats in the air with no apparent support but that afforded by a pole upon which her right arm rests4 ,while suspended in this fashion she is draped in various pleasing costumes1 finally awakening from her pretended mesmeric trance under the passes of the magician1 and bowing herself off the stage4 ,the explanation is as follows3--,the lady's body is encased in a strong framework of finely tempered steel1 into a socket of which the pole enters and is rigidly fixed4 ,illustration3 ,fig4 #ei4--,the ,harness ,figure #ei very correctly represents the harness worn by the lady in performing this trick and the manner in which it is attached to the rigid pole4 ,this frame is composed of the finest steel1 and when belted and strapped on the body makes it perfectly rigid1 so far as any side motion is concerned4 ,at ,a is a hinge1 which is operated by ratchet and pawl1 and this bears nearly the whole strain of the lady's weight1 which1 in a horizontal position1 is about #a1ejj pounds1 or about ten times the actual weight4 ,at the centre of the curved steel bar is a plain hinge4 ,this is intended to allow the lady to use her right thigh and knee in walking on and off the stage4 ,illustration3 ,fig4 #fj4--;,harness ,adjusted ,figure #fj shows the position of harness and poles after being adjusted1 the drapery being dispensed with in order to show the working of the trick4 ,the upright pole on which rests the lady's right hand is a substantial affair1 and is securely fitted into a hole in the platform4 ,on the top there is a hole1 into which fits a stout slot in the short bar1 as shown in ,fig4 #ei4 ,this short bar is concealed by a sort of flap1 which appears to be a portion of the lady's costume1 tacked on at the shoulder4 ,the pole at her left has nothing to do with the trick1 and is only introduced to distract the attention of the audience4 ,the left-hand pole and stool are removed1 and the beautiful slave girl is suspended1 as shown in ,fig4 #fa1 the whole strain coming on the pole and the steel work of the harness4 ,illustration3 ,fig4 #fa4--;,girl ,suspended ,the performer now lifts the lady into a horizontal position 7,fig4 #fa71 where she is maintained by a check which drops into one of the teeth of the ratchet at ,a4 ,while in this aerial sleep she is adorned in various costumes4 ,finally she is placed in the first position1 and awakes from her supposed mesmeric slumber4 ,herrmann improved this apparatus by causing the lady to assume the horizontal position without his intervention4 ,this was accomplished by machinery beneath the stage1 a sort of windlass affair worked by a stage assistant4 ,the well-known ,fakir of ,ooloo still further improved this trick by knocking both poles away4 ,says ,arprey ,vere on this subject3 ,what1 then1 will you ask1 becomes of all the machinery8 ,the two poles were seemingly taken away4 ,the poles used consisted of brass bars4 ,the calcium light beamed upon the figure of the sleeping lady1 while the rest of the stage was comparatively dark4 ,thus1 when the conjurer apparently took away the only support the figure had1 the audience did not and could not perceive that he really took away the brass case of the secured pole1 leaving another1 the actual pole on which the framework was fixed1 and which was of the same color as the drapery of the stage4 ,it was for the purpose of deceiving the eyes of the audience that the pole was encased in a brass shell in the first instance4 ,he refixed the case before the stage was relit1 and the lady woke up from her sham mesmeric trance4 ,illustration3 ,fig4 #fb4--;,girl in ,horizontal ,position ,,new ,,vanishing ,,performer ,,illusion4--,the writer is indebted to ,mr4 ,william ,e4 ,robinson1 for many years assistant to the late ,alexander ,herrmann1 for this simple but remarkably effective illusion called by him the ,vanishing ,performer4 ,the effect of the trick is as follows3 ,the performer standing upon a stool1 placed in front of a screen1 holds up a shawl in front of himself4 ,hey presto6 a pistol is fired1 the shawl is dropped1 and the magician is seen to have melted away into thin air1 as it were4 ,presently he comes running down the centre aisle of the theatre4 ,the principal requisite in the arrangement of this trick is a large screen1 which should be decorated in panels on each fold1 and be a threefold one4 ,in the centre fold the panel must be hinged1 so as to open1 and made to fit nicely the better to conceal its existence from the audience4 ,this panel must be about twelve inches above the base of the screen1 and if possible have spring hinges4 ,this screen should be preferably of a dark color4 ,when the magician steps on the stool he out-stretches his arms and hooks the shawl on a fine thread1 which is placed across the stage at the right height4 ,he leaves the shawl suspended so that the ends hang over1 giving the appearance of the performer's fingers being under them4 ,under this cover he quickly steps off the stool and goes through the panel in the screen at the back4 ,as the shawl does not reach to the ground1 the performer's legs and shoes would be seen by the audience4 ,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 place1 and when this reaches to about twelve inches from the screen1 the edge is turned up about twelve inches4 ,the conjurer in getting off the stool steps down behind this carpet4 ,a pistol is fired1 and the performer1 or his assistant1 pulls the end of the thread1 which thus breaks and causes the shawl to drop1 as if first let go from the hands4 ,the shawl should be about six feet square4 ,it should rest about nine inches from the stage when hung up4 ,practice to let as few seconds as possible elapse between the moment of suspending the shawl and dropping it4 ,the reappearance of the performer is easily accounted for4 ,,the ,,blue ,,room4--,one of the cleverest illusions performed with the aid of mirrors is that known as the ,blue ,room1 which has been exhibited in this country by ,kellar4 ,it is the joint invention of ,prof4 ,john ,henry ,pepper1 of ,ghost illusion fame1 and ,james ,j4 ,walker1 both of ,england4 ,it was patented in the ,united ,states by the inventors4 ,the object of the apparatus is to render an actor1 or some inanimate thing1 such as a chair1 table1 suit of armor1 etc41 visible or invisible at will4 ,it is also designed1 says the specification in the patent office1 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 made4 ,for this purpose employ a large mirror--either an ordinary mirror or for some purposes1 by preference1 a large plate of plate-glass--which is transparent at one end1 and more and more densely silvered in passing from this toward the other end4 ,mount this mirror or plate so that it can1 at pleasure1 be placed diagonally across the stage or platform4 ,as it advances the glass obscures the view of the actor or object in front of which it passes1 and substitutes the reflection of an object in front of the glass1 but suitably concealed from the direct view of the audience4 ,illustration3 ,fig4 #fc4--;,graduated ,mirror ,illustration3 ,fig4 #fd4--;,diagram for ,blue ,room ,when the two objects or sets of objects thus successively presented to the view are properly placed and sufficiently alike1 the audience will be unaware that any change has been made4 ,in some cases1 in place of a single sheet of glass1 two or more sheets may be employed4 ,in the drawings1 ,fig4 #fc represents a plan view1 and ,fig4 #fd an elevation1 of a portion of the mirror1 designed to show its graduated opacity4 a is a stage4 ,it may be in a lecture-room or theater4 b b are the seats for the audience in front of the stage4 c c is a small room--eight or ten feet square and eight high will often be sufficiently large2 but it may be of any size4 ,it may advantageously be raised and approached by two or three steps from the stage a4 d is a vertical mirror1 passing diagonally across the chamber c and dividing it into two parts1 which are exact counterparts the one of the other4 ,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 d#a1 and be withdrawn whenever desired4 ,this can conveniently be done by running it in guides and upon rollers to and from a position where it is hidden by a screen1 e1 which limits the view of the audience in this direction4 ,in consequence of the exact correspondence of the two parts of the chamber c1 that in front and that behind the mirror1 the audience will observe no change in appearance when the mirror is passed across4 ,the front of the chamber is partially closed at cx by a shield or short partition-wall1 either permanently or whenever required4 ,this is done in order to hide from direct view any object which may be at or about the position c#a4 ,the illusions may be performed in various ways--as1 for example1 an object may1 in the sight of the audience1 be passed from the stage to the position c#b1 near the rear short wall or counterpart shield f1 diagonally opposite to and corresponding with the front corner shield cx1 and there be changed for some other4 ,this is done by providing beforehand a dummy at c'1 closely resembling the object at c#b4 ,then when the object is in its place1 the mirror is passed across without causing any apparent change4 ,the object1 when hidden1 is changed for another object externally resembling the first1 the mirror is withdrawn1 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 be4 ,we prefer1 in many cases1 not to use an ordinary mirror1 d1 but one of graduated opacity4 ,this may be produced by removing the silvering from the glass in lines2 or1 if the glass be silvered by chemical deposition1 causing the silver to be deposited upon it in lines1 somewhat as represented by ,fig4 #fc4 ,near one side of the glass the lines are made fine and open1 and progressively in passing toward the other side they become bolder and closer until a completely-silvered surface is reached4 ,other means for obtaining a graduated opacity and reflecting power may be resorted to4 ,by passing such a graduated mirror between the object at c#b and the audience1 the object may be made to fade from the sight1 or gradually to resolve itself into another form4 ,hopkins in his fine work on ,magic1 stage illusions1 etc41 thus describes one of the many effects which can be produced by the ,blue ,room apparatus4 ,the curtain rises1 showing the stage set as an artist's studio4 ,through the centre of the rear drop scene is seen a small chamber in which is a suit of armor standing upright4 ,the floor of this apartment is raised above the level of the stage and is approached by a short flight of steps4 ,when the curtain is raised a servant makes his appearance and begins to dust and clean the apartments4 ,he finally comes to the suit of armor1 taking it apart1 cleans and dusts it1 and finally reunites it4 ,no sooner is the suit of armor perfectly articulated than the soulless mailed figure deals the servant a blow4 ,the domestic1 with a cry of fear1 drops his duster1 flies down the steps into the large room1 the suit of armor pursuing him1 wrestling with him1 and kicking him all over the stage4 ,when the suit of armor considers that it has punished the servant sufficiently1 it returns to its original position in the small chamber1 just as the master of the house enters1 brought there by the noise and cries of the servant1 from whom he demands an explanation of the commotion4 ,upon being told1 he derides the servant's fear1 and1 to prove that he was mistaken1 takes the suit of armor apart1 throwing it piece by piece upon the floor4 ,illustration3 ,fig4 #fe4--;,diagram of ,blue ,room ,it is needless1 perhaps1 to explain that the suit of armor which becomes endowed with life has a man inside of it4 ,when the curtain rises a suit of armor is seen in the ,blue ,room1 at ,h1 7,fig4 #fe74 ,at ,i is a second suit of armor1 concealed behind the proscenium4 ,it is the duplicate of the visible one4 ,when the mirror ,g is shoved diagonally across the room1 the armor at ,h becomes invisible1 but the mirror reflects the armor concealed at ,i1 making it appear to the spectators that the suit at ,h is still in position4 ,an actor dressed in armor now enters behind the mirror1 removes the suit of armor at ,h1 and assumes its place4 ,when the mirror is again withdrawn1 the armor at ,h becomes endowed with life4 ,again the mirror is shoved across the apartment1 and the actor replaces the original suit of armor at ,h4 ,it is this latter suit which the master of the house takes to pieces and casts upon the floor1 in order to quiet the fears of the servant4 ,this most ingenious apparatus is capable of many novel effects4 ,those who have witnessed ,prof4 ,kellar's performances will bear witness to the statement4 ,when the illusion was first produced in ,england1 a sketch was written for it by the famous ,burnand1 editor of ,punch4 ,it was entitled ,curried ,prawns4 ,a plethoric old gentleman who had been indulging in a midnight dish of curried prawns goes to bed1 and is visited by a soul-terrifying nightmare4 ,mephistopheles suddenly appears to him1 and introduces him to the mysteries of the nether world4 ,illustration3 ,fig4 #ff4--,levitation ,act ,illustration3 ,fig4 #fg4--,top ,view of ,apparatus ,illustration3 ,fig4 #fh4--,side ,view of ,apparatus ,,levitation4--,the performer places a board on the tops of two chairs4 ,a lady is laid on the board1 and pretended mesmeric passes made over her by the magician4 ,the chairs are now removed one after the other1 and the lady is seen floating in the air 7,fig4 #ff74 ,the performer then walks completely around her4 ,in order to show still more conclusively that she is not supported by any arrangement of wires1 etc41 he passes a large solid iron hoop1 previously given for inspection to the spectators1 over her2 beginning at her head4 ,this seeming miracle1 vaunted as a ,hindoo mystery1 is accomplished in the following manner3 ,the board1 ,a1 ,a 7,fig4 #fg71 upon which the lady reclines1 is about three feet distant from the back scene4 ,this background is provided with a slit through which an assistant pushes three iron rods 7c1 d1 e71 beneath the board4 ,another important part of the apparatus is a small car1 to which the rods are attached1 the construction of which is explained in ,fig4 #fg and ,fig4 #fh1 which gives a side view of the car4 ,nos4 #a and #b are the wheels on which the car is propelled4 ,the iron bars1 of which only one is shown in the diagram1 run in front over a roller1 #c1 and at the back between two rollers1 #d and #e1 so that the assistant can easily push the bars under the board1 c1 which holds the lady4 ,the extreme ends of the bars1 at the back1 are counterbalanced in order to equalize the weight4 ,to enable the performer to go behind the floating lady1 also to pass the hoop about her1 the assistant pulls away the iron bar at one end4 ,as soon as the performer and the hoop have cleared the first bar1 it is pushed back into place again1 and the next bar withdrawn1 allowing free passage to the third bar1 which is also withdrawn1 after the centre bar has been pushed back4 ,the arms of the lady overhanging the board and her dress conceal effectually the iron bars from view of the audience4 ,,the ,,saratoga ,,trunk ,,mystery4--,a lady is put into a bag and locked in a trunk1 on top of which a gentleman takes a seat4 ,two assistants hold a cloth in front of the trunk for a few seconds4 ,on taking away the cloth the lady is seen sitting on the trunk while inside of it1 after unlocking the same1 is found the gentleman tied in the bag4 ,the actors in this illusion have to work with extreme quickness4 ,the bag in which the lady is tied has at the bottom a false seam1 made of wide stitches1 so that when one end of the thread is pulled the whole comes out easily leaving the bottom of bag open4 ,illustration3 ,fig4 #fi4--,section of ,trunk ,illustration3 ,fig4 #gj4--;,frame of ,trunk ,in this way the lady escapes from the bag without injuring the ties in any way4 ,the lid of the trunk is prepared so that one section of it opens inward 7,fig4 #fi h74 ,the frame 7,fig4 #gj7 is solid1 whereas the strip ,f which runs across the top can be pushed sideways4 ,to open the trunk the strip ,f is pushed aside1 which releases a concealed mechanism that keeps the false panel shut4 ,the gentleman opens the panel1 in the manner above described1 whereupon the lady gets out of the trunk4 ,she assists the gentleman to get into the bag1 and closing the panel1 takes her seat on the top of the trunk4 ,,chapter ,,xi ,,shadowgraphy ,the idea of projecting silhouettes with the hands on a wall or illuminated screen is an old one1 but it has been brought to great perfection by the celebrated ,french conjurer and juggler1 ,m4 ,felician ,trewey1 and his ,english confreres1 ,david ,devant1 ,ellis ,stanyon1 and ,hilliar4 ,notable among the ,american exhibitors of shadowgraphy is ,clivette1 the ,man in ,black1 whose clever fingers have added many new and amusing figures to the already long list4 ,the above named artists enact little pantomimic scenes1 such as a fisherman in a boat1 going through the usual evolutions of a disciple of ,izaak ,walton2 a policeman making love to a servant girl2 a concierge quarreling with a belated lodger2 a lover serenading his sweetheart1 etc4 ,these shadows are best made on a screen1 which is illuminated by a single lamp inclosed in a projecting apparatus throwing very divergent rays4 ,the lens must consequently be of very short focus4 ,the electric light or oxyhydrogen lamp necessary in a theatre may be replaced at the amateur's house by a lamp1 or better1 by a wax candle4 ,various little accessories such as pieces of cardboard1 fashioned to represent head-gear and the like1 are used in the formation of many of the more elaborate figures4 ,the use of such material is depicted in the illustrations4 ,makers of magical apparatus manufacture these accessories1 but the clever amateur can cut them out from sheets of cardboard without going to the expense of purchasing them4 ,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 candle4 ,all you have to do is to outline with a pencil the shadow cast by his face1 and afterward fill in the white space with black paint or crayon4 ,the famous ,levater constructed an ingenious device for making silhouettes4 ,it is thus described in his work on physiognomy3 ,the shadow is projected upon a fine paper1 well oiled and dried1 and placed behind a piece of plate-glass supported in a frame secured to the back of the chair4 ,behind this glass the artist stands1 and holding the frame with one hand1 draws with the other4 ,a candle furnished the necessary light4 ,during the ,french ,revolution1 it was a dangerous thing to possess a likeness of the martyred ,king ,louis ,,xvi4 ,the scions of the nobility1 resident in ,paris in disguise1 living1 as it were1 in the shadow of the guillotine1 carefully hid all souvenirs of the king and royal family1 until better days should dawn4 ,to be found in possession of a portrait of the ill-fated ,louis meant denunciation and death4 ,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 ,,xvi4 ,he drove a great trade among the aristocrats1 who carried these walking sticks about with impunity1 flourishing them under the very noses of the revolutionists4 ,nobody could possibly suspect a cane4 ,chessmen were also made on similar principles4 ,when the tables were turned and ,louis ,,xviii came to his own again1 it was a dangerous thing to indulge in ,napoleonic relics4 ,a carver in wood1 possibly an old soldier of the ,imperial ,guard1 constructed a silhouette cane for the suppressed ,bonapartists4 ,the illustrating of books and magazines with silhouette pictures has recently come into vogue4 ,it is especially popular in ,paris1 where the famous caricaturist ,caran d',ache1 has done much to elevate the art4 ,after working at silhouettes for some time1 he conceived the clever idea of cutting figures out in zinc and casting them upon an illuminated screen2 fashioning them in sections so that they could be made to work by means of cords operated by assistants4 ,his first exhibition was given at the ,chat ,noir1 a cafe much frequented by artists and literary men4 ,finally a special representation was gotten up at the ,theatre d',application1 and crowds flocked to see the silhouettes4 ,m4 d',ache is very successful in representing military scenes4 ,he projects upon the screen the battles and triumphal marches of the ,emperor ,napoleon4 ,illustration3 ,,parrot ,illustration3 ,,two ,,foxes ,,fighting ,illustration3 ,,vulture ,illustration3 ,,countryman ,illustration3 ,,pigeon ,illustration3 ,,rhinoceros ,illustration3 ,,bull ,illustration3 ,,fox ,,eating ,,rabbit ,illustration3 ,,squirrel ,illustration3 ,,butcher ,illustration3 ,,jockey ,illustration3 ,,mephistopheles ,illustration3 ,,grimacer ,illustration3 ,,clown ,illustration3 ,,goat ,illustration3 ,,sheep ,illustration3 ,,tiger ,illustration3 ,,bear ,illustration3 ,,elephant ,illustration3 ,,rabbits ,illustration3 ,,preacher ,illustration3 ,,fisherman ,illustration3 ,,snuff ,,taker ,illustration3 ,,bull ,,dog ,illustration3 ,,spider ,illustration3 ,,dancing ,,girl ,illustration3 ,,rabbit 7#b ,,methods7 ,illustration3 ,,grimacer ,illustration3 ,,the ,,swan ,,popular ,,hand-,,books ,some books are designed for entertainment1 others for information4 ,this series combines both features4 ,the information is not only complete and reliable1 it is compact and readable4 ,in this busy1 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 possible4 ,these volumes are replete with valuable information1 compact in form and unequalled in point of merit and cheapness4 ,they are the latest as well as the best books on the subjects of which they treat4 ,no one who wishes to have a fund of general information or who has the desire for self-improvement can afford to be without them4 ,they are #f x #d-a_/b inches in size1 well printed on good paper1 handsomely bound in green cloth1 with a heavy paper wrapper to match4 ,cloth1 each #ej cents ,,the ,,penn ,,publishing ,,company #ibc ,arch ,street1 ,philadelphia ,,etiquette ,by ,agnes ,h4 ,morton ,there is no passport to good society like good manners4 ,even though one possess wealth and intelligence1 his success in life may be marred by ignorance of social customs4 ,a perusal of this book will prevent such blunders4 ,it is a book for everybody1 for the social leaders as well as for those less ambitious4 ,the subject is presented in a bright and interesting manner1 and represents the latest vogue4 ,,letter ,,writing ,by ,agnes ,h4 ,morton ,why do most persons dislike to write letters8 ,is it not because they cannot say the right thing in the right place8 ,this admirable book not only shows by numerous examples just what kind of letters to write1 but by directions and suggestions enables the reader to become an accomplished original letter writer4 ,there are forms for all kinds of business and social letters1 including invitations1 acceptances1 letters of sympathy1 congratulations1 and love letters4 ,,quotations ,by ,agnes ,h4 ,morton ,a clever compilation of pithy quotations1 selected from a great variety of sources1 and alphabetically arranged according to the sentiment4 ,in addition to all the popular quotations in current use1 it contains many rare bits of prose and verse not generally found in similar collections4 ,one important feature of the book is found in the characteristic lines from well known authors1 in which the familiar sayings are credited to their original sources4 ,,epitaphs ,by ,frederic ,w4 ,unger ,even death has its humorous side4 ,there are said to be sermons in stones1 but when they are tombstones mere is many a smile mixed with the moral4 ,usually churchyard humor is all the more delightful because it is unconscious1 but there are times when it is intentional and none the less amusing4 ,of epitaphs1 old and new1 this book contains the best4 ,it is full of quaint bits of obituary fancy1 with a touch of the gruesome here and there for a relish4 ,,proverbs ,by ,john ,h4 ,bechtel ,the genius1 wit1 and spirit of a nation are discovered in its proverbs1 and the condensed wisdom of all ages and all nations is embodied in them4 ,a good proverb that fits the case is often a convincing argument4 ,this volume contains a representative collection of proverbs1 old and new1 and the indexes1 topical and alphabetical1 enable one to ,end readily just what he requires4 ,,things ,,worth ,,knowing ,by ,john ,h4 ,bechtel ,can you name the coldest place in the ,united ,states or tell what year had #dde days8 ,do you know how soon the coal fields of the world are likely to be exhausted1 or how the speed of a moving train may be told8 ,what should you do first if you got a cinder in your eye1 or your neighbor's baby swallowed a pin8 ,this unique1 up-to-date book answers thousands of just such interesting and useful questions4 ,a ,,dictionary ,,of ,,mythology ,by ,john ,h4 ,bechtel ,most of us dislike to look up a mythological subject because of the time required4 ,this book remedies that difficulty because in it can be found at a glance just what is wanted4 ,it is comprehensive1 convenient1 condensed1 and the information is presented in such an interesting manner that when once read it will always be remembered4 ,a distinctive feature of the book is the pronunciation of the proper names1 something found in few other works4 ,,slips ,,of ,,speech ,by ,john ,h4 ,bechtel ,who does not make them8 ,the best of us do4 ,why not avoid them8 ,any one inspired with the spirit of self-improvement may readily do so4 ,no necessity for studying rules of grammar or rhetoric when this book may be had4 ,it teaches both without the study of either4 ,it is a counsellor1 a critic1 a companion1 and a guide1 and is written in a most entertaining and chatty style4 ,,handbook ,,of ,,pronunciation ,by ,john ,h4 ,bechtel ,what is more disagreeable than a faulty pronunciation8 ,no other defect so clearly shows a lack of culture4 ,this book contains over #e1jjj words on which most of us are apt to trip4 ,they are here pronounced in the clearest and simplest manner1 and according to the best authority4 ,it is more readily consulted than a dictionary1 and is just as reliable4 ,,practical ,,synonyms ,by ,john ,h4 ,bechtel ,a new word is a new tool4 ,this book will not only enlarge your vocabulary1 but will show you how to express the exact shade of meaning you have in mind1 and will cultivate a more precise habit of thought and speech4 ,it will be found invaluable to busy journalists1 merchants1 lawyers1 or clergymen1 and as an aid to teachers no less than to the boys and girls under their care4 ,,ready ,,made ,,speeches ,by ,george ,hapgood1 ,esq4 ,pretty much everybody in these latter days1 is now and again called upon to say a few words in public4 ,unfortunately1 however1 but few of us are gifted with the power of ready and graceful speech4 ,this is a book of carefully planned model speeches to aid those who1 without some slight help1 must remain silent4 ,there is a preliminary chapter of general advice to speakers4 ,,after-,,dinner ,,stories ,by ,john ,harrison ,the dinner itself may be ever so good1 and yet prove a failure if there is no mirth to enliven the company4 ,nothing adds so much zest to an occasion of this kind as a good story well told4 ,here are hundreds of the latest1 best1 brightest1 and most catchy stories1 all of them short and pithy1 and so easy to remember that anyone can tell them successfully4 ,there are also a number of selected toasts suitable to all occasions4 ,,toasts ,by ,william ,pittenger ,most men dread being called upon to respond to a toast or to make an address4 ,what would you not give for the ability to be rid of this embarrassment8 ,no need to give much when you can learn the art from this little book4 ,it will tell you how to do it2 not only that1 but by example it will show the way4 ,it is valuable not alone to the novice1 but to the experienced speaker1 who will gather from it many suggestions4 ,,the ,,debater',s ,,treasury ,by ,william ,pittenger ,there is no greater ability than the power of skillful and forcible debate1 and no accomplishment more readily acquired if the person is properly directed4 ,in this little volume are directions for organizing and conducting debating societies and practical suggestions for all who desire to discuss questions in public4 ,there is also a list of over #bjj questions for debate1 with arguments both affirmative and negative4 ,,punctuation ,by ,paul ,allardyce ,few persons can punctuate properly2 to avoid mistakes many do not punctuate at all4 ,a perusal of this book will remove all difficulties and make all points clear4 ,the rules are plainly stated and freely illustrated1 thus furnishing a most useful volume4 ,the author is everywhere recognized as the leading authority upon the subject1 and what he has to say is practical1 concise1 and comprehensive4 ,,oratory ,by ,henry ,ward ,beecher ,few men ever enjoyed a wider experience or achieved a higher reputation in public speaking than ,mr4 ,beecher4 ,what he had to say on this subject was born of experience1 and his own inimitable style was at once both statement and illustration of his theme4 ,this volume is a unique and masterly treatise on the fundamental principles of true oratory4 ,,conversation ,by ,j4 ,p4 ,mahaffy ,some people are accused of talking too much4 ,but no one is ever taken to task for talking too well4 ,of all the accomplishments of modern society1 that of being an agreeable conversationalist holds first place4 ,nothing is more delightful or valuable4 ,to suggest what to say1 just how and when to say it1 is the general aim of this work1 and it succeeds most admirably in its purpose4 ,,reading ,,as ,a ,,fine ,,art ,by ,ernest ,legouve ,the ability to read aloud well1 whether at the fireside or on the public platform1 is a fine art4 ,the directions and suggestions contained in this work of standard authority will go far toward the attainment of this charming accomplishment4 ,the work is especially recommended to teachers and others interested in the instruction of public school pupils4 ,,socialism ,by ,charles ,h4 ,olin ,socialism is in the air4 ,references to the subject are constantly appearing in newspapers1 magazines1 and other publications4 ,but few persons except the socialists themselves have more than a dim comprehension of what it really means4 ,this book gives in a clear and interesting manner a complete idea of the economic doctrines taught by the best socialists4 ,,journalism ,by ,charles ,h4 ,olin ,what is news1 how is it obtained1 how handled1 and how can one become a ,journalist8 ,these questions are all answered in this book1 and detailed instructions are given for obtaining a position and writing up all kinds of assignments4 ,it shows what to avoid and what to cultivate1 and contains chapters on book reviewing1 dramatic criticism and proofreading4 ,,ventriloquism ,by ,charles ,h4 ,olin ,although always a delightful form of entertainment1 ,ventriloquism is to most of us more or less of a mystery4 ,it need be so no longer4 ,this book exposes the secrets of the art completely1 and shows how almost anyone may learn to throw the voice both near and far4 ,directions for the construction of automatons are given as well as good dialogue for their successful operation4 ,fully illustrated4 ,,conundrums ,by ,dean ,rivers ,conundrums sharpen our wits and lead us to think quickly4 ,they are also a source of infinite amusement and pleasure1 whiling away tedious hours and putting everyone in good humor4 ,this book contains an excellent collection of over a thousand of the latest1 brightest1 and most up-to-date conundrums1 to which are added many ,biblical1 poetical1 and ,french conundrums4 ,,magic ,by ,ellis ,stanyon ,there is no more delightful form of entertainment than that afforded by the performances of a magician4 ,mysterious as these performances appear1 they may be very readily learned if carefully explained4 ,this book embraces full and detailed descriptions of all the well known tricks with coins1 handkerchiefs1 hats1 flowers1 and cards1 together with a number of novelties not previously produced or explained4 ,fully illustrated4 ,,hypnotism ,by ,edward ,h4 ,eldridge1 ,a4,m4 ,there is no more popular or interesting form of entertainment than hypnotic exhibitions1 and everyone would like to know how to hypnotize4 ,by following the simple and concise instructions contained in this complete manual anyone may1 with a little practice1 readily learn how to exercise this unique and strange power4 ,,whist ,by ,cavendish ,twenty-third ,edition ,according to ,cavendish is now almost as familiar an expression as according to ,hoyle4 ,no whist player1 whether a novice or an expert1 can afford to be without the aid and support of ,cavendish4 ,no household in which the game is played is complete without a copy of this book4 ,this edition contains all of the matter found in the ,english publication and at one-fourth the cost4 ,,parlor ,,games ,by ,helen ,e4 ,hollister ,what shall we do to amuse ourselves and our friends8 is a question frequently propounded on rainy days and long winter evenings4 ,this volume most happily answers this question1 as it contains a splendid collection of all kinds of games for amusement1 entertainment1 and instruction4 ,the games are adapted to both old and young1 and all classes will find them both profitable and interesting4 ,,astronomy3 ,the ,sun and ,his ,family ,by ,julia ,mac,nair ,wright ,can you tell what causes day and night1 seasons and years1 tides and eclipses8 ,why is the sky blue and ,mars red8 ,what are meteors and shooting stars8 ,these and a thousand other questions are answered in a most fascinating way in this highly interesting volume4 ,few books contain as much valuable material so pleasantly packed in so small a space4 ,illustrated4 ,,botany3 ,the ,story of ,plant ,life ,by ,julia ,mac,nair ,wright ,the scientific study of ,botany made as interesting as a fairy tale4 ,it is better reading than such tales1 because of the profit4 ,each chapter is devoted to the month of the year in which plants of that month are in evidence4 ,not only is the subject treated with accuracy1 but there is given much practical information as to the care and treatment of plants and flowers4 ,illustrated4 ,,flowers3 ,how to ,grow ,them ,by ,eben ,e4 ,rexford ,every woman loves flowers1 but few succeed in growing them4 ,with the help so clearly given in this book no one need fail4 ,it treats mainly of indoor flowers and plants--those for window gardening2 all about their selection1 care1 soil1 air1 light1 warmth1 etc4 ,the chapter on table decoration alone is worth the price of the book4 ,while the subject of flowers is quite thoroughly covered1 the style used is plain1 simple1 and free from all technicalities4 ,,dancing ,by ,marguerite ,wilson ,a complete instructor1 beginning with the first positions and steps and leading up to the square and round dances4 ,it contains a full list of calls for all of the square dances1 and the appropriate music for each figure1 the etiquette of the dances1 and #ajj figures for the german4 ,it is unusually well illustrated by a large number of original drawings4 ,without doubt the best book on the subject4 ,,astrology ,by ,m4 ,m4 ,macgregor ,if you wish to obtain a horoscope of your entire life1 or if you would like to know in what business or profession you will best succeed1 what friends you should make1 whom you should marry1 the kind of a person to choose for a business partner1 or the time of the month in which to begin an enterprise1 you will find these and hundreds of other vital questions solved in this book by the science of ,astrology4 ,,physiognomy ,by ,leila ,lomax ,how can we judge whether a man may be trusted to handle money for us8 ,how can a woman analyze a man who would marry her8 ,partly by words1 partly by voice1 partly by reputation1 but more than all by looks--the shape of the head1 the set of the jaw1 the line of the mouth1 the glance of the eye4 ,physiognomy as explained in this book shows clearly how to read character with every point explained by illustrations and photographs4 ,,graphology3 ,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 character8 ,anyone who understands ,graphology can tell by simply examining your handwriting just what sort of a person you are4 ,there is no method of character reading that is more interesting1 more trustworthy1 and more valuable than that of ,graphology1 and it is the aim of this volume to enable anyone to become a master of this most fascinating art4