,,sleight ,,of ,,hand ,a ,practical ,manual of ,legerdemain for ,amateurs ,others ,,edwin ,,sachs ,illustration ,dover ,publications1 ,inc4 ,new ,york ,published in ,canada by ,general ,publishing ,company1 ,ltd41 #cj ,lesmill ,road1 ,don ,mills1 ,toronto1 ,ontario4 ,this ,dover edition1 first published in #aihj1 is an unabridged republication of the second1 greatly enlarged1 edition of the work as published by ,l4 ,upcott ,gill1 ,london1 #ahhe4 ,international ,standard ,book ,number3 #j-dhf-bciaa-,x ,library of ,congress ,catalog ,card ,number3 #gi-edahd ,manufactured in the ,united ,states of ,america ,dover ,publications1 ,inc4 #ahj ,varick ,street ,new ,york1 ,n4 ,y4 #ajjad ,,contents4 ,,chap4 ,,page ,,introduction #a ,,part ,i4 ,,drawing-,,room ,,magic4 #d ,i4--,,palming #e ,,ii4--,,tricks ,,with ,,coins #i ,,iii4--,,tricks ,,with ,,common ,,objects #ci ,,iv4--,,tricks ,,with ,,cups ,,and ,,balls #ed ,v4--,,tricks ,,with ,,handkerchiefs #fb ,,vi4--,,chinese ,,tricks #gj ,,vii4--,,tricks ,,at ,,table #gg ,,viii4--,,tricks ,,with ,,cards #hh ,,part ,,ii4--,,grand1 ,,or ,,stage ,,magic4 #adi ,,ix4--,,general ,,remarks #adi ,x4--,,the ,,table ,,and ,,dress #aef ,,xi4--,,sleights ,,and ,,properties ,,for ,,general ,,use #afc ,,xii4--,,tricks ,,with ,,cards #ahf ,,xiii4--,,tricks ,,with ,,handkerchiefs ,,and ,,gloves #baj ,,xiv4--,,tricks ,,with ,,coins #bcb ,,xv4--,,miscellaneous #beg ,,xvi4--,,the ,,cornucopian ,,hat #cdf ,,xvii4--,,tricks ,,with ,,watches ,,and ,,live ,,stock #cfa ,,xviii4--,,sham ,,mesmerism1 ,,clairvoyance1 ,c4 #cgh ,,xix4--,,final ,,instructions #cib ,,preface ,,to ,,second ,,edition4 ,it is always a matter for self-congratulation on the part of an author to be called upon to furnish a ,preface to a second or subsequent edition of some bantling of his brain4 ,in the present instance the task is more satisfactory than usual1 the author not coming before the reader empty-handed4 ,since the publication of the first edition1 conjurors have not been idle1 and numerous new methods for producing magical surprises have been invented4 ,such of these as are suitable or worthy--for1 in their haste to be novel1 many have failed to be satisfactory--the author has incorporated2 and1 by a thorough revision of the work1 he has placed before the aspiring conjuror1 written up to date1 all that it is possible for him to know in the region of ,,sleight ,,of ,,hand4 ,e4 ,s4 ,,london1 ,april1 #ahhe4 ,,sleight ,,of ,,hand ,,introduction4 ,it is as pleasant to be cheated as to cheat1 is a maxim that must have been framed expressly for conjuring1 for the more completely one is deceived by its medium 7and1 be it said1 by its medium alone7 the better one is pleased4 ,the date of the origin of conjuring1 as we now understand the art1 is not known1 but there must have been proficients in the practice of it as early as the time of ,chaucer2 for that ancient writer speaks of one ,coll ,tregetour 7,tregetour signifying a juggler7 producing a windmill from beneath a walnut shell4 ,there is doubtless some slight exaggeration in this statement1 or else modern wizards are far behind those of early days--an hypothesis ,i cannot accept4 ,in the superstitious lands of the ,east1 jugglery was doubtless at the bottom of the many manifestations that were mixed up with religion1 and the wily priests made the best 7or worst7 uses of its influence on the uncultivated mind4 ,when we consider the effect that is even now produced on the minds of an enlightened audience by a skilful manipulator1 the wonderment of people who were but half civilised1 and who were taught to believe in spirits1 is scarcely a matter for surprise4 ,although superstition has not died out--if1 indeed1 it ever will die out--there are now very few people who attribute the successes of a conjuror to any other agency than that of his own skill2 always excepting that of the everlasting confederate1 who1 as the reader of the following pages will discover1 exists1 in ninety-nine cases out of a hundred1 only in the imagination of the spectator4 ,formerly1 conjurors appeared clothed in long robes and tall1 pointed hats1 both covered with mystic signs and symbols2 ,robert ,houdin1 whom we may consider the father of modern conjuring1 being the first to perform in the now conventional evening dress4 ,this innovation had the effect of increasing the genuineness of the performance1 as it was an easy matter to conceal large articles beneath a flowing robe1 such as had been previously worn2 but the close-fitting dress suit affords no means of concealment--to the minds of an audience1 at any rate4 ,houdin was the means of elevating the art in the eyes of the public1 besides investing it with nearly all that it possesses of the graceful2 and1 as it has undergone still more improvement since his time1 it has now become a pursuit well worthy the attention of anyone inclined to follow it up1 as much for the amusement of himself as of others4 ,besides its power of amusing1 conjuring affords an immense amount of instruction to its student1 and is useful in inculcating coolness1 precision1 and an endless amount of resource1 which will always stand one in good stead on the world's wide and ever-changing stage4 ,it is my intention to give1 in the following pages1 such instruction as shall enable the merest tyro to become an adept in the art of ,legerdemain1 providing that a due degree of attention is given and a reasonable amount of practice undertaken4 ,practice1 indeed1 is what is required in order to achieve success in any pursuit or amusement1 whatever its nature may be1 and without it the best of instruction is given in vain4 ,for this reason1 ,i must exhort such of my readers as may seek to amuse their friends through the medium of what ,i shall impart to them to devote as much time as they can spare to practice at the outset1 in order that they may acquire a neat method of manipulation1 which is the keystone of success in a conjuror1 and which1 once attained1 will never leave them4 ,if to this delicacy of manipulation is added a suavity of manner1 accompanied by a never-failing cool daring1 then the perfection of a conjuror is attained4 ,magic may safely be divided into two parts1 ,drawing-room ,magic and ,grand ,magic4 ,as it is in the family circle that every amateur conjuror mostly exhibits his attainments1 ,i shall first treat of drawing-room magic2 indeed1 it is absolutely necessary to be a master of that branch1 in order to undertake grand magic successfully4 ,the success of the conjuror who can perform only on the stage1 far removed from all inquisitorial interference1 will be but of short duration4 ,i find it has been the case with most amateurs1 who rarely find opportunities for performing on a stage1 that their greatest successes have been achieved in the drawing-room4 ,the very first thing a conjuror must procure is a conjuring-wand--an implement that is always supposed by the audience to be for show only2 and for such they must always be made to think it is4 ,it is1 however1 an absolutely indispensable article1 both to beginner and proficient1 as it serves as an auxiliary to the concealment of any article in the hand1 as will be explained hereafter4 ,for the present1 all the learner has to do is to procure a round stick of ebony1 about #ah;in4 long1 fitted with ivory1 silver1 or brass ferrules 7not caps7 countersunk at each end1 and to trust to me to its being necessary4 ,it is best to have the wand made to suit the taste1 as those sold at conjuring-shops are invariably too short4 ,any walking-stick manufacturer will make it4 ,,part ,i4 ,,drawing-,,room ,,magic4 ,this derives its chief beauty from the fact that it is almost entirely dependent on pure sleight of hand1 a fact which audiences are never slow to appreciate4 ,the most familiar objects are dealt with1 and are made to vanish and re-appear in unexpected places1 as though they really were disembodied and reinstated4 ,the amateur will find1 after a few years' experience1 that the impromptu performances he may1 from time to time1 be called upon to give in the drawing-rooms of his acquaintances1 will be much more satisfactory to both himself and his audiences than the more pretentious affairs given upon stages1 which call for a great deal of management1 apart from ability1 to render them successes4 ,when once the performer has attained the credit of being better than the ordinary ruck1 it will become incumbent upon him to keep up the level of skill by means of practice1 as wonder must follow wonder in ever-increasing proportion4 ,coins1 from being so readily procurable1 and from their adaptability1 are deservedly favourite media1 and with them ,i shall first deal4 ,for all general purposes1 a well-conditioned florin will be found the best coin for the beginner2 although1 of course1 he must1 in time1 be able to manipulate slippery half-crowns and pennies with equal ease4 ,florins1 as a rule1 are more readily procurable in these days1 but few half-crowns being coined in comparison with them4 ,but as the conjuror must be provided against all emergencies1 ,i shall give directions for the best method of treatment for each coin4 ,the means adopted for the temporary concealment of a coin in the hand is known as ,palming1 and ,i shall commence ,drawing-room ,magic with a description of the various methods4 ,,chapter ,i4 ,,palming4 ,,the ,,palm ,,proper--,,the ,,finger ,,palm--,,the ,,thumb ,,palm--,,the ,,reverse ,,palm4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,method #a4 ,the ,palm ,proper4--,hold the coin firmly between the thumb on the one side and the middle and third fingers on the other1 the first and little fingers taking up graceful positions1 as it were1 to cover the movement about to be made 7,fig4 #a74 ,remove the thumb to its ordinary position of repose1 and1 at the same instant1 let the two fingers 7second and third7 press the coin into the palm of the hand1 half way down the root of the thumb1 the muscles of which must be brought to bear against the edge of the coin1 so that it is held firmly and forms a bridge over the hollow of the hand 7,fig4 #b74 ,a backward and forward swing should be given to the hand whilst the coin is being palmed1 as it not only covers the movement1 but also facilitates the operation in a marked degree4 ,in pressing the coin home1 it will be found that the third finger will be more used than the middle one4 ,the instant the palm is effected1 the hand must be made to assume the most natural position possible under the circumstances1 the little finger being well thrown out1 after the dainty manner ladies affect when holding a cup1 so as to give the hand breadth4 ,some beginners think that in holding the hand perfectly flat they are effecting a very beautiful palm2 but this is not the case1 as can be seen at once by looking at the hand without any coin in its palm4 ,that is the model the conjuror must copy3 any unnatural position at once betrays the fact that something unusual is going on4 ,for this method1 the florin will be found the best coin1 its edge affording a better hold than that of any other piece4 ,method #b4 ,the ,finger ,palm4--,the coin is held between the thumb and forefinger1 and the latter then slid aside1 so that the coin rests upon the side of the middle finger4 ,the forefinger then takes the place of the thumb1 and the coin is held as in ,fig4 #c4 ,the action is simplified if the coin is held in the first instance between the thumb and middle finger1 but it looks awkward and suspicious4 ,this method will be found particularly adapted for concealing coins of the size of a shilling and less4 ,larger coins should not be treated thus1 except in emergencies1 when anything is allowable4 ,method #c4 ,the ,thumb ,palm4--,this palm is not generally known1 which is to be wondered at1 for it is a very safe and easy one4 ,the coin is simply held between the thumb and forefinger1 and then slid to the root of the latter1 where it is held1 as in ,fig4 #d4 ,the only objection to this palm is that it keeps the thumb a close prisoner1 to the manifest loss of grace1 but it is exceedingly useful for large and slippery coins1 such as half-crowns1 pennies1 and crowns4 ,illustration3 ,,fig4 #d4 ,illustration3 ,,fig4 #e4 ,method #d4--,two1 three1 and four coins may be palmed by the first method1 but the method shown at ,fig4 #e is the safer4 ,there is a rather unnatural disposition of the thumb about it1 but the fingers are left free play4 ,illustration3 ,,fig4 #f4 ,method #e4 ,reverse ,palm4--,it is sometimes required of the performer to show that his hands do not contain any coin4 ,if a coin is palmed in one of them1 he must first exhibit the other open in a very ostentatious manner1 and1 whilst the audience is momentarily engaged in looking at it1 press the coin1 by means of the thumb1 through the fingers of the hand in which it is held1 so that it protrudes at the back1 and cannot be seen from the front 7,fig4 #f74 ,some performers have brought this palm to a great state of perfection4 ,one very telling effect is to pretend to throw the coin away4 ,for this purpose1 it is held between the tips of the first finger and thumb1 whilst lying upon the side of the middle finger4 ,as the action of throwing is imitated1 the forefinger is slid over the coin1 the thumb being removed1 and the coin thus made to protrude at the back of the hand4 ,other fanciful methods of palming exist1 but they will be of no practical use to the conjuror1 so ,i have omitted descriptions of them4 ,,chapter ,,ii4 ,,tricks ,,with ,,coins4 ,,trick ,,for ,,palm ,,practice--,,how ,,to ,,pass ,a ,,coin ,,invisibly--,,how ,,to ,,change ,a ,,coin--,,the ,,use ,,of ,,the ,,wand ,,in ,,palming--,,to ,,pass ,a ,,marked ,,coin ,,through ,a ,,table--,,method ,,for ,,concealing ,,many ,,coins--,,the ,,aerial ,,visit ,,and ,,journey--,,to ,,pass ,,several ,,coins--,,hints ,,on ,,practice--,,to ,,cause ,a ,,coin ,,to ,,vanish ,,from ,a ,,handkerchief--,,on ,,borrowing ,a ,,handkerchief--,,the ,,dancing ,,coin--,a ,,mystery ,,within ,a ,,mystery--,,to ,,cause ,a ,,florin ,,and ,a ,,penny ,,to ,,change ,,places--,,to ,,pick ,a ,,marked ,,coin ,,from ,a ,,number1 ,,blindfolded--,,the ,,marriage--,,to ,,invisibly ,,extract ,a ,,coin ,,from ,,out ,,of ,a ,,glass ,,of ,,water--,,to ,,pass ,,pennies ,,into ,a ,,bottle--,,to ,,cause ,,exposed ,,coins ,,to ,,change ,,places--,,to ,,sleeve ,,coins--,,hints ,,on ,,marking ,,coins--,,the ,,best ,,coins ,,to ,,use4 ,the uses of the palm will make themselves manifest in every trick in which money is used as a medium1 but the beginner can astonish his friends1 and1 at the same time1 make himself perfect1 by any of the following minor tricks3 7a7 ,throw the coin backwards and forwards1 from hand to hand1 three or four times1 in a careless manner1 always taking care that the left hand is shut well over each time the coin is contained in it2 and then make a feint of throwing1 but1 in reality1 palm the coin after the method that best suits its size4 ,the hand 7in most cases it would be the left1 as the majority of conjurers palm with the right2 with left-handed people it would be1 of course1 reversed7 which is supposed to receive the coin must be closed smartly1 so as to make a noise similar to that caused by a coin thrown into the palm4 ,this is effected by the ends of the two middle fingers striking the fleshy part of the thumb 7,fig4 #g74 ,if this is properly executed1 the illusion is perfect1 and all eyes will be directed to the left hand1 when the coin can be quietly placed in a side or tail pocket1 to which receptacle it may afterwards be made to pass from the left hand1 where it is supposed to be1 in a magical manner4 ,i would recommend the beginner to practice this movement sedulously in private1 as it teaches quick and neat palming1 and will prove a most useful auxiliary to many important tricks4 ,by passing a coin from place to place in a magical manner is implied the act of pretending to do so2 it being an accepted axiom amongst conjurers never to pass anything invisibly to any given spot until the article is already safely located there4 ,this practice will1 of course1 commend itself to all as avoiding untoward mistakes4 ,to pass a coin from the hand1 wave the wand over it1 and say whatever you think will go down best with the particular audience you have before you4 ,a sharp rap on the knuckles will complete the operation1 but always take care to show the hand empty1 otherwise the trick is spoilt4 ,if the wand is not handy1 pretend to rub the coin away between the fingers1 or affect to give it to one of the audience4 7,see ,figs4 #h and #i for an effective method47 ,illustration3 ,,fig4 #g4 7,the dotted line represents the coin palmed in the right hand47 ,illustration3 ,,fig4 #h4 ,illustration3 ,,fig4 #i4 7b7 ,have a coin palmed in the left hand1 and borrow a similar one from the audience1 and have it well marked 7always have coins marked where possible1 to prevent changing74 ,make a movement as though you placed the marked coin in the left hand1 but in reality palm it4 ,at the same time1 open the left hand1 and the coin that has been snugly concealed there will look as if it had just left the right hand4 ,by this means a change is effected which you can utilise according to circumstances4 ,by fidgeting about among the audience1 you may be able to place the marked coin under one of them2 the other coin being held by someone who is directed to hold it very high1 sir1 very high1 so that everyone can see it--the real object being to keep him from examining it too closely4 ,by standing the holder of the coin on a chair1 an opportunity for slipping the palmed coin into his pocket presents itself1 and should be taken advantage of4 ,the marked coin being once safely hidden1 it is an easy matter to palm the unmarked one 7which1 of course1 the audience has been led to believe is the marked one7 and make it pass invisibly to wherever the other may be4 ,the conjuror's own coin should always be provided with a very distinct mark--a cross is invariably a safe one to employ--as it is rarely that one meets with people who can refrain from instituting an illicit investigation so soon as the conjuror's back is turned4 ,when the holder of the coin is seen to be surreptitiously examining it for the mark1 the conjuror should not prevent him1 but call the attention of the audience to the fact1 and ask if the mark be visible4 ,the holder1 seeing the cross1 will answer in the affirmative2 he not being aware1 of course1 that the borrowed coin was possibly marked with a very different sign4 ,this incident will add to the effectiveness of the trick4 ,in tricks a and b the wand will be found very useful4 ,it should always be carried under the arm1 after the manner in which soldiers carry their canes2 and when any palm has been effected1 and the coin has to remain concealed in the hand1 the wand should be taken in the hand containing the coin4 ,beginners1 especially1 will find this of great assistance1 as in the case of a somewhat defective palm the coin can be pressed well home by clenching the wand hard4 ,besides this1 the fact of carrying a wand in the hand keeps the idea of the coin being there from the minds of the audience2 and the mind is what the conjuror has to deceive4 7c7 ,have a coin palmed in the right hand 7,palm ,no4 #b71 and procure a similar one1 marked1 which hold up to the audience by the left hand4 ,pretend to take it in the right1 but let it fall into the hollow of the left hand 7,figs4 #h and #i72 the unmarked coin in the right hand being exhibited4 ,in order to effect this daring change naturally and without detection1 the thumb of the right hand must be passed through the ring formed by the thumb and forefinger of the left and the coin held between them1 and the fingers closed well over the coin1 which will appear to be grasped by them4 ,now place the left hand under the table1 the right hand remaining above4 ,covered by the action of bringing it on the table1 execute ,palm ,no4 #a with the right hand1 but keep the fingers formed as though they still held the coin1 which you then pretend to lay on the table with a sharp click4 ,this click is made by the coin in the left hand1 under the table1 in order that the illusion may be perfect4 ,the right hand will then affect to rub the coin through the table1 and eventually the one in the left hand1 which has in reality never been out of it1 will be produced4 ,the noise of rubbing is also made by the coin under the table1 only it must not be continued too long2 and care must be taken that the two hands act in perfect unison1 as it will not do for the noise to continue when the action of rubbing with the right hand has ceased4 ,this trick is not so difficult as it looks on paper1 and is very effective4 ,the whole trick consists in pretending to take the marked coin from the fingers of the left hand without doing so4 7d7 ,conceal a number of coins in the left hand4 ,as a quantity cannot be easily palmed1 they must be held in the hand with the wand4 ,if that is not handy1 hold the flap of the coat2 but care should be taken that the wand is at hand for this trick4 ,borrow a hat1 taking it in the right hand 7in which a solitary coin is palmed71 and transfer it rapidly to the left in such a manner that the crown is always towards the audience1 and the fingers holding the coins are inside4 ,the coins must not be jingled1 or the trick will be exposed4 ,tell one of the audience that he must be very rich if he can afford to carry money about in such strange places as you perceive he does4 ,surprise will1 of course1 be expressed on his part1 when you will fumble about in his hair1 and eventually find the coin which you have had palmed4 ,this is a much better method of commencing than merely saying1 ,i have here a shilling4 ,it is sure to amuse the audience1 and put you on a good footing with them2 besides which1 it is always well to mingle as much with them as possible1 as then people go home and say1 ,oh6 he came right down among us1 and found money in people's heads1 c4 ,also take care to find the money in an elegant and inoffensive manner4 ,having spun the coin in the air1 in order to show that it is a real one1 retire to the end of the room1 as far away as you can1 if the room is small1 and hold the hat1 still in the left hand1 before you1 with the crown towards the audience4 ,with the coin in the right hand1 make a pass at the hat1 palming the coin 7,palm ,no4 #b71 and letting one from the left hand fall4 ,you will then appear to have passed the coin from the right hand into the hat1 by way of the crown4 ,should the coin by accident fall on a soft place in the hat1 and make no noise in so doing1 shake the hat about to show that the coin really is inside1 or no one will know what is supposed to have taken place4 ,now advance a step or two1 looking cautiously forward as if you saw something in the air1 and suddenly make a dart out with the right hand1 at the same time bringing the coin to the extreme ends of the fingers4 ,the idea conveyed is that the coin has been caught in the air 7,fig4 #aj74 ,pass it through the hat1 letting another fall from the left hand1 and shaking the hat so as to ensure the two that have been dropped jingling together1 and find another in the air a little farther on4 ,proceed in this way till all the coins in the left hand are exhausted 7varying the proceedings by occasionally finding one at your elbow or foot71 and then show the hat with coins to the audience1 a member of which will doubtless have just one more seated on the tip of the nose1 which coin is put into the hat in the ordinary way4 ,the beginner should use shillings1 seven or eight only in number1 for this trick1 although larger coins are certainly more effective at a distance4 ,it is best to use two palms1 viz41 the finger palm when the coin is to be caught in the air or in the flame of a candle 7a very pretty effect71 as it is more readily brought to the ends of the fingers from that position2 and either of the others 7,no4 #a for choice71 when the coin is to be found on the body or elsewhere4 ,it is as well to occasionally pretend to put the coin into the hat in the ordinary way1 instead of through the crown4 ,some conjurors object altogether to passing through the crown2 but this is merely a matter of fancy4 ,it sometimes happens that the person in whose hair you find the first piece will1 from his being a funny man1 or otherwise privileged person1 ask you to give him back his property4 ,acquiesce at once with his request1 of course after your own manner1 which will be to palm the coin1 and pretend to give it to him1 much to his discomfiture4 ,in borrowing the hat1 be sure that it hides the left hand in the act of being taken1 so that any accidental exposure of the coins held there1 which might occur through inexperience1 will be covered4 ,also observe the greatest caution in dropping only one coin into the hat at the first pass4 ,after the first coin has fallen1 it does not matter if two or more are accidentally let fall at once1 as the error could not be detected2 but at the commencement it would be simply fatal to do so4 ,under cover of the hat it is easy to separate one coin from the rest for the first drop4 ,if the number of coins is very limited1 you must give the hat a short1 sharp shake1 which will serve in lieu of letting one fall2 but only do this now and then4 ,this trick will be treated in an enlarged form1 under the head of ,grand ,magic4 ,when any number of coins are required for any other trick1 they should always be collected in this manner1 it being a most effective method4 ,always take a step in advance each time a coin is found4 ,for this reason the performer should stand well to the right on the stage on commencing4 ,illustration3 ,,fig4 #aj4 7e7 ,the following makes an excellent follow to the preceding trick3 ,suppose that you have sixteen coins in all in the hat2 conceal four of them in one hand4 ,if the hat is then held by the same hand1 it will not be noticed that it contains any coins4 ,now ask someone to count the coins in the hat1 and1 of course1 there will be twelve4 ,take four of these away1 and give them to be held by another person4 ,hold the hat high in the air1 and tell the person who has the remaining eight coins to drop them into it when you have counted three4 ,watch the action of his hand narrowly1 and1 as the eight coins fall1 release the four concealed in the hand which holds the hat so that they all fall exactly together4 ,the great thing to avoid is the sound of two distinct drops1 which would be fatal4 ,leaving the hat1 covered with a handkerchief if you please1 in the hands of your temporary assistant1 who will1 of course1 be enjoined to hold it very high1 you take the four coins just previously given to be held1 and pass them invisibly into the hat1 where1 of course1 twelve coins will be found4 ,the method for passing used is the same as that depicted at ,fig4 #g1 with the difference that the coins are not palmed4 ,they must be held in the fingers loosely 7,fig4 #aa7 so that when the false movement of placing them in the outstretched palm is made they will come together with a clash1 which is highly necessary for the success of the pass4 ,the hand actually containing the coins must instantly seize the wand1 which article will then cause the magic journey from left hand to hat to be made4 ,be careful that the counting of the coins is done in a very deliberate manner1 and in a loud voice1 so that everyone in the room knows how many coins are supposed to be in the hat before you pass the rest into it4 ,if this is not done1 the effect of the trick is lost4 ,illustration3 ,,fig4 #aa4 ,here let me advise my readers to assiduously practise quick palming1 for which purpose ,i would recommend trick a as a most effective exercise4 ,so much depends upon a quick and secure palm1 that too great a stress cannot be laid upon it4 ,indeed1 ,i cannot too strongly impress the learner with the necessity of practising everything1 to the minutest detail1 in private1 before venturing to perform before others4 ,by so doing1 much chagrin and disappointment will be averted4 7f7 ,the trick ,i am now about to describe will1 ,i have no doubt1 be known to many of my readers2 but ,i ask no excuse for giving it here1 as those who can claim a previous acquaintanceship with the trick will1 perhaps1 here learn a wrinkle or two worth knowing3 ,borrow a handkerchief4 ,when ,i say borrow a handkerchief1 ,i do not mean simply borrow one without any comment4 ,on the contrary1 make a great fuss about never using your own handkerchief1 c42 and be particular to hand round all borrowed articles for inspection1 to show that you have no confederates4 ,by making your audience thoroughly sick of looking at borrowed articles1 they are more likely to pass over anything of your own that will not bear minute examination4 ,this should be borne well in mind4 ,spread the handkerchief out upon the table1 and place a coin1 not heavier or larger than a shilling 7borrowed and marked71 in the centre of it4 ,beneath the nail of the middle finger of the right hand 7which hand is immaterial1 but for the purpose of illustration it is necessary to use the terms right and left7 you have a small piece of bees' wax 7on no account cobblers' wax7 which you have previously made tolerably adhesive by working it about4 ,place this finger on the coin1 saying1 ,now1 in order that all may see that ,i do not for one instant move the coin from its position1 ,i place this finger upon it1 and1 taking up one of the corners of the handkerchief in the other hand1 fold it over the coin so as to well cover it1 and press it down hard1 allowing the wax to come off on the coin1 and to cause a mutual adherence between it and the handkerchief4 ,fold the remaining three corners over one another with great deliberation1 exhibiting a portion of the coin each time1 to show that there is no cheating4 ,when all four corners are folded over1 the handkerchief will still be in the shape of a square1 but of course much smaller than it was at the commencement1 and it will have an aperture running from the centre to each corner4 ,note the portion of the handkerchief to which the coin is stuck1 and place the two hands1 side by side1 in the aperture formed by this portion and the one next to it 7,fig4 #ab74 ,if the hands are now separated briskly1 and the sides of the handkerchief allowed to slide through the fingers1 it stands to reason that1 the coin being fast to the corner of the handkerchief1 it will1 when the corner is reached1 find its way into the hand4 ,the handkerchief must be shaken hard1 as soon as the coin is safe in the hand1 for effect4 ,the operations of opening the handkerchief and shaking it must be practised until they can be compassed both smoothly and quickly in one movement4 ,the trick is easy1 but requires some little practice4 ,common soap is an excellent substitute for wax1 but it has the disadvantage of being less portable4 ,the beauty of the wax is that it can be so easily concealed beneath the nail1 and comes off the coin cleanly4 ,the coin successfully vanished from the handkerchief1 it rests with the performer to reproduce it in what manner he pleases4 ,if he has already found coins in the heads of the audience1 the reproduction can be varied4 ,for instance1 if a tiny piece of wax be affixed to the flat end of the wand1 and that end brought into contact with the coin whilst in the palm1 and a little pressure used1 the coin will adhere4 ,then1 if the wand be passed rapidly behind a curtain1 or inside the coat of one of the audience1 a great effect can be caused by slowly producing the vanished article from its supposed place of concealment at the end of the wand4 ,the trick can be further prolonged by having about #ae;in4 of human hair1 with a tiny bead of wax at the end1 affixed to a waistcoat button4 ,affix the coin to the waxed end1 and place it in a wineglass1 in which it can be easily made to dance by slightly moving the glass or depressing the hair with the wand1 which is supposed to be beating time4 ,such a combination of tricks1 each one easy in itself1 affords invaluable practice to the beginner4 ,the conjuror1 like the chess-player1 must always see1 in his mind's eye1 two or three moves ahead1 so that no hitch or hesitation occurs4 ,for example1 the instant the coin reaches the hand from the handkerchief1 it must be palmed1 the wand taken up1 and the handkerchief ostentatiously given round for inspection to show that there is no hole in it1 or for any other plausible reason4 ,perhaps you will only gain five seconds by this1 but that is time enough to enable you to press the wand against the coin4 ,you must not1 after this1 allow the least pause to occur1 but at once seize someone1 and have your wand inside his coat before he knows what you are about2 for it must be remembered that1 if the action is noticed1 the coin will be noticed too1 as it is in a tolerably conspicuous position at the end of the wand4 ,then1 whilst you are rating the individual soundly for having endeavoured to spoil your trick by concealing the coin1 and drawing universal attention to him1 one hand will be busily employed in pressing the waxed end of the hair against the coin4 ,the trick of dancing a coin in a glass is so well known that no one with any desire for a reputation as a prestidigitateur would introduce it by itself2 but1 in the illustration ,i have just given1 the coin has been in such a variety of places and situations1 that the idea of its being fixed to anything does not enter the minds of the audience4 ,half-a-minute's dancing is quite sufficient1 and at the end of it the attention of the audience must be at once drawn into another groove by your showing the coin to be the veritable one marked some time since1 the wax being removed by a finger nail4 ,illustration3 ,,fig4 #ab4 7g7 ,another very pretty trick is the following1 although also well known4 ,procure 7a magical repository will be found the best place to go to in the long run7 a nest of round boxes1 one fitting inside the other4 ,if the outside one is of the size of a crown piece1 and the inner one large enough to contain a shilling1 the nest should consist of nine or ten boxes4 ,have the lids arranged in order1 one within the other1 and the bodies in the same manner1 beside the lids4 ,if you are performing with a retiring screen1 the boxes can be arranged behind it4 ,lacking this1 the next best plan is to have them at the bottom of a bag1 which will stifle the noise made by shutting them4 ,borrow a marked coin1 which you will exchange for a similar one in your palm 7,palm ,no4 #a74 ,give this to be held4 ,say1 ,now1 here ,i have a small box4 ,but as you have purposely left the small box behind your screen or in your bag1 as the case may be1 you will have to go and fetch it4 ,as soon as your hands are out of sight1 pop the coin 7which will be the marked one7 into the smallest box1 and shut all the lids down together4 ,if you have to do this inside the bag1 and consequently in full view of the audience1 your face must bear an anxious and slightly annoyed expression1 as if the box could not be found4 ,as soon as the manoeuvre is executed1 exclaim1 as if much relieved1 ,ah1 here it is4 ,now1 ladies and gentlemen1 c41 c4 ,the operation of shutting all the boxes down at once is a very simple one if the lids are taken in one hand and the bodies in the other1 the two halves meeting1 as it were1 half way4 ,a little practice will soon show the futility of attempting to turn the lids over on the bodies4 ,place the box in a prominent place 7do not give it to be held1 as a slight shake will reveal the fact that there is a coin already inside71 and1 taking the coin out of the handkerchief1 pass it into the box1 which now ask someone to open4 ,of course1 box ,no4 #b will be found inside1 at which you will say1 ,dear me6 or make any other expression of surprise4 ,boxes ,nos4 #c1 #d1 and so on will in turn be revealed1 amidst great amusement1 and in the innermost one1 which the performer must1 on no account1 open himself1 the coin will be discovered4 ,you cannot very well avoid allowing an examination of the boxes1 but always take care that the lids are in one place and the boxes in another1 and all in great confusion as to gradation of size1 and at the earliest opportunity sweep them away4 ,it is the fashion to perform this trick with a coin previously sewn in a handkerchief1 which handkerchief is whisked in the air4 ,the effect is decidedly good1 if not spoilt 7as it certainly will be1 ever and anon7 by a demand to examine the handkerchief1 which demand1 ,i need hardly say1 it is impossible to accede to4 ,this sort of thing the conjuror must never indulge in4 ,let him borrow and return his handkerchief like a man1 and trust to his sleight of hand4 7h7 ,palm a penny 7,palm ,no4 #a72 borrow another1 and a florin4 ,ask one of the audience to extend his or her hands 7palms open and upwards7 towards you2 give the borrowed penny to be held by someone else1 hold the florin at the ends of the fingers of the left hand1 and execute the pass described in trick c1 which will leave the florin in the palm of the left hand4 ,the penny in the right hand must not1 however1 be actually exhibited1 as is the coin in trick c1 but be immediately placed in one of the outstretched hands before you4 ,if the owner of them is at all restive1 and anxious to see what is in his or her hand1 or is a person you know or think you cannot trust1 ask the nearest person to assist in the operation by holding the hand in one of his or her own4 ,this1 you will explain1 is to show that you have no confederates4 ,if the two parties are of opposite sexes1 you can improve the occasion by some gentle sally about the gentleman being honoured by holding a lady's hand1 c4 ,this operation concluded1 the audience1 including the holder of the coin1 is1 you may have no fear1 under the impression that the florin is in the holder's hand4 ,you have now to make believe to place the penny into the other outstretched hand4 ,to do this1 you must execute the same pass as before1 only reversed2 i4e41 the right hand will hold the penny1 and the left the palmed florin4 ,this trick affords an instance where palming with both hands is a requisite accomplishment4 ,if the performer is not able to palm with both hands1 an opportunity must be made for getting the coin in the left hand back into the right4 ,by repeating the change as before1 you will be supposed to place the penny in the other hand of the holder1 and1 drawing particular attention to the exact position of the coins1 command them to change places4 ,this trick1 so simple to look at1 is one of the most difficult to perform of those yet described2 for not only must the sleight of hand be well executed1 but the whole demeanour of the performer must be impressive of the fact that he really is doing what he says he is1 instead of exactly the reverse4 ,yet the impressiveness must not be too pointed1 or the natural suspicion in human nature will be aroused4 ,the happy medium is well hit if the performer1 in giving the florin 7in reality the penny71 says1 ,now1 sir 7or madam1 as the case may be71 ,i will ask you to take great care of this coin for me4 ,conjurors are but poor people1 and cannot well afford to lose money2 for this reason ,i have given you the florin to hold in your right hand1 it being the stronger4 ,on giving the penny1 you can say that ,i would rather1 for safety's sake1 that it were along with the florin in the right hand1 only1 in that case1 there would be no trick4 ,in giving the coins into the holder's hands1 it is highly essential that you close the latter rapidly1 the coins being so covered by your own fingers during the operation that nothing is seen of them4 ,otherwise1 it would be unnecessary to proceed further with the trick4 ,the florin may be marked1 but not so the penny1 unless the audience insists upon it1 as they sometimes will1 at the instigation of ,mr4 ,interference2 in which case the pennies must be once more exchanged--a very simple matter--before the coins are returned to their owners4 7i7 ,borrow or produce 7it is immaterial1 save for appearance1 which you do7 six to nine coins1 and lay them1 apart from each other1 on a table or slab4 ,have one of the coins marked by several persons in the room 7use the no confederate excuse71 and placed along with the unmarked ones in a hat and the whole shaken up so as to be well mixed4 ,whilst this is being done1 have yourself blindfolded4 ,placing your hand in the hat1 feel every coin1 and you will at once detect which is the marked one1 by its warmth4 ,the heat is imparted to it from the many hands through which it has passed4 ,it is always advantageous to have the other coins lying on as cold a place as possible2 but never turn back a tablecloth for the purpose of allowing them to lie on the bare mahogany1 or a clue to the solution of the mystery will be given4 ,sometimes some clever people will pretend to put the marked shilling into the hat without doing so4 ,this you can easily detect by counting the coins4 ,of course1 you would not count them until you failed to find the marked one1 as the trick should be performed as quickly as possible4 ,no sleight of hand whatever is required2 but it is a trick which never fails to excite the greatest wonderment whenever successfully performed4 ,by allowing the audience to arrange the preliminaries1 you disarm suspicion4 ,the blindfolding1 which is an innovation of my own1 ,i find a great improvement4 ,of course1 make the most of it4 7k7 ,have a shilling palmed 7,palm ,no4 #a71 and borrow another2 also a handkerchief4 ,place the borrowed shilling in the handkerchief1 which roll up very loosely1 the coin from the palm being included in the folds1 and as near the other one as possible without actually touching it4 ,place the whole in a hat1 with one end of the handkerchief hanging out4 ,now borrow another shilling1 which say you will pass invisibly into the handkerchief4 ,make a pass1 and ask someone to shake the handkerchief into the hat1 when the two coins will jingle together4 ,this is a simple trick1 and is capable of variation according to circumstances4 7l7 ,the trick ,i am now going to describe1 as a drawing-room experiment with coins1 surpasses1 for simplicity and effect1 all others4 ,but its simplicity must not lead the learner to attempt it without having attained some proficiency in the foregoing tricks1 for considerable neatness is required to execute it effectively4 ,procure a piece of glass of the size and thickness of a penny1 and have the edges ground smooth1 but not polished4 ,this is best obtained from a lapidary--not an optician4 ,have it palmed in either hand 7,palm ,no4 #a74 ,borrow a penny1 and1 whilst it is being marked1 ask one of the audience to half fill a wineglass1 which has been well examined1 with water4 ,always let the audience attend to such matters as these1 as it tends to disarm suspicion1 and also saves you trouble4 ,you will1 of course1 not omit to make the most of there being no possible deception in the glass1 which you will give a lady to hold by the stem or foot4 ,now borrow a white handkerchief1 as coarse as you can procure it 7do not ask for a coarse handkerchief1 for that would be impolite1 but say you want a gentleman's handkerchief1 and then you can select which you prefer71 and1 taking the marked coin in the same hand as that in which the glass is palmed1 spread the handkerchief over it4 ,approach the lady holding the wineglass1 and affect to take up the coin1 with the handkerchief1 from the outside1 by means of the disengaged hand1 but in reality take up the glass1 palming the coin 7,palm ,no4 #a74 ,now spread the handkerchief over the wineglass1 with the supposed coin exactly above the latter1 and within an inch of its rim4 ,let the holder of the wineglass grasp the coin 7i4e41 the counterfeit presentment thereof7 with the thumb and forefinger of the disengaged hand1 and keep it in the same position1 with the understanding that at the word three it is to be allowed to fall into the glass 7see ,fig4 #ac74 ,take great care that the piece of glass is held exactly over the wineglass1 and utter the word of command only when there is a dead silence4 ,the jingling of the falling glass will1 of course1 be assumed by the audience to be that of the penny4 ,you will now express your intention of invisibly extracting the coin from the glass4 ,use any cabalistic form you may choose1 and1 with a flourish of the wand from the wineglass towards your hand1 exhibit the coin1 and give it to be examined4 ,let the lady withdraw the handkerchief from the wineglass1 which at once seize and show rapidly round4 ,the glass at the bottom will not be perceived1 and you must take an early opportunity of extracting it4 ,some tricks take in various degrees at different times1 but this one never fails to throw the audience into a state of bewilderment4 ,always obtain possession of the wineglass as soon as you can after the completion of the trick1 for people will sometimes feel to the bottom of it with their fingers1 although without the faintest notion of what they are looking for4 ,when you bewilder people1 you must not be surprised if they do inexplicable things1 and must prepare yourself for all emergencies4 ,illustration3 ,,fig4 #ac4 ,my reason for directing the performer to borrow a penny for this trick is that it has1 similarly with the circle of glass1 no milled edge1 and is of the size most convenient for the occasion4 ,in extreme cases an eyeglass may be used1 when1 if it has a milled edge1 as most of them have1 it would be as well to borrow a florin2 but in such instances there must be no dallying in showing the glass round after the trick1 or the ribbed edge will infallibly be seen4 ,i remember finding myself1 on one occasion1 without my piece of glass1 and borrowed an eyeglass of one of the audience1 under the pretext that the silken cord by which it was suspended was the very thing ,i required for a trick4 ,i did some trivial thing with the cord1 but forgot to return the glass for an hour or so1 having in the interim forced it out of its frame 7it was mounted in tortoiseshell71 performed the trick1 and replaced it4 ,i knew that ,i should have to perform this particular trick1 or have my reputation tarnished1 so made a bold stroke for victory4 ,now ,i am never without the glass1 and advise my readers to observe the same precaution4 ,a port wine glass is the best to use1 the piece of glass being liable to stick in the comparatively narrow sherry glass4 ,always give the wineglass to a lady to hold3 ladies are less liable to attempt to conduct experiments after their own manner1 or to make premature disclosures1 either of which proceedings is embarrassing to the performer4 ,the conjuring repositories supply a champagne tumbler1 with a glass exactly the size of the interior of the bottom4 ,this is an undoubted improvement1 as the water may be poured out1 if an examination be demanded1 when the glass will still adhere to bottom of the tumbler1 although the latter be turned upside down4 ,this trick1 when worked in conjunction with the nest of boxes1 previously mentioned1 makes an excellent combination4 ,the nest can be used for any sized coin by the simple expedient of removing the very smallest boxes4 7m7 ,take a penny1 in good condition1 and make1 or have made1 by a competent person1 a groove1 quite #c_/af;in4 deep1 all round the outer edge4 ,this is very easily and most efficiently managed by means of a lathe2 but1 wanting that useful machine1 a piercing-saw and flat needle-file will answer4 ,when the groove is completed1 with the piercing saw cut the penny into three pieces of equal width4 ,now take a very fine indiarubber band1 obtainable at all shops where rubber goods are sold1 and stretch it round the groove4 ,the illustration shows the penny in three pieces1 and also the band--actual size before being stretched4 ,in putting on the band1 commence with the centre piece1 and then fit in the side pieces1 the greatest care being necessary not to allow the band to get twisted4 ,the result of these operations1 when concluded1 is that the penny can be folded up and made to occupy a space in width one-third of its usual diameter4 ,when held at a little distance from the spectator1 the incisions are not observable1 especially before the penny is used for a trick1 the issue of which1 being unknown1 does not lead the suspicions of the audience into any particular groove4 ,as the act of folding causes a sharp strain to be put upon the band at the junctions1 the groove at those points must be carefully filed1 so as to completely do away with anything resembling a cutting edge1 or a disaster may very easily occur4 ,invariably1 before using1 the band should be minutely examined1 and1 if the slightest signs of wear manifest themselves1 it should be changed4 ,illustration3 ,,fig4 #ad4 ,the prepared coin 7which need not necessarily be a penny7 is generally used in conjunction with a bottle1 into which it is made to pass1 vi the mouth4 ,in order to make the trick at all satisfactory1 a marked penny should be borrowed1 and exchanged1 by any of the previously described methods1 for the prepared one4 ,a soda-water bottle has been previously handed round for examination1 and this is taken in the left hand4 ,with the right hand show that the penny is at least as broad again as the mouth of the bottle1 and then1 folding it up quickly whilst making a covering movement1 and hidden by the body of the hand1 let it fall through4 ,show the bottle round to the spectators1 continually shaking it1 as if to convince them that the coin is solid and real1 but really to prevent the possibility of the slits being seen4 ,the trick can now be finished in two ways1 viz41 the bottle may be broken1 or the coin can be shaken out again4 ,i fancy the breaking of the bottle is the more effective1 as the shaking out method impresses too forcibly upon the mind of an intelligent company the fact that some mysterious1 if ingeniously concealed1 preparation exists in connection with the coin4 ,but the performer in this instance1 as in very many other cases1 must be guided in his actions by the mental calibre of the spectators4 ,to shake the coin from the bottle1 the latter should be taken horizontally in the right hand1 the fingers of the left hand closing round the mouth1 leaving a hollow in the palm for the coin to fall into4 ,a not too violent sweeping shake is then given1 bringing the mouth of the bottle downwards1 when the coin should pass into the left hand4 ,some little practice will be required to insure this operation being brought off at the first attempt4 ,having to shake the bottle three or four times looks unskilful1 although it does not absolutely spoil the trick4 ,i have directed the use of a soda-water bottle because it has sloping sides1 which facilitate the operation of getting the penny out very considerably1 and also because it is made of white glass4 ,if a coloured bottle were used 7which it must not be1 if possibly avoidable71 the spectators would suspect that a coin had somehow been concealed in the interior before the trick began4 ,however the coin may be regained1 whether by breaking the bottle or by shaking out1 it must be immediately re-exchanged for the borrowed penny1 which will then be returned4 ,it is quite possible to have that coin palmed during the whole operation2 but if the performer lacks the necessary skill for this1 it should be carried in the ticket pocket of the coat4 ,the conjuror should have every coat he wears 7excepting his dress one7 furnished with this ticket pocket1 and it will be greatly to his advantage to have one on each side4 ,it should not be too deep1 so that coins and other articles may be speedily reached with certainty1 and it should not have a covering flap4 ,the penny can also be prepared by omitting the groove1 employing instead holes1 made completely through1 across the slits1 through which elastic is passed1 and fastened4 ,as1 for this purpose1 flat elastic is immeasurably superior to any other form1 some trouble is entailed in making suitable slits through2 but1 once accomplished1 the article is far better than one prepared in any other way4 ,the elastic should run quite freely through the centre piece1 and be fastened with glue to the outside pieces only1 first being slightly stretched1 to insure the whole being brought closely together4 ,the grooved penny can be purchased at a much less cost than would be incurred in making it1 and1 in addition1 is more likely to be correctly constructed4 ,illustration3 ,,fig4 #ae4 ,the following is a development of the use of the folding penny1 which is even more startling than the foregoing1 one or more pennies being made to pass into a bottle1 which has been examined1 and which has the mouth stopped by a large cork4 ,in this case1 the cork 7,fig4 #ae7 is a delusion and a snare4 ,it is just #b;in4 long1 and #a-a_/af;in4 broad at the top1 tapering to #ae_/af;in4 at the bottom4 ,viewed from the exterior1 it is a cork2 in reality1 it is made of brass1 with a thin veneer of cork glued on the outside4 ,the measurements given include the cork skin4 ,the bottom opens1 flap-like1 on a hinge1 but is kept normally closed by means of a fine spiral spring1 running the whole length of the inside1 and soldered on the top and bottom4 ,protruding through a hole drilled in the top is a pin1 which also runs the whole length of the interior 7carried inside a small tube71 and1 when pressed1 pushes open the bottom flap1 thus allowing any contents there may be to fall out into the bottle4 ,when the pressure upon the pin is removed1 the power of the spring closes it again4 ,this cork is charged with one or more folding pennies 7three or four are generally used71 and concealed in the hand1 a genuine cork being handed for examination4 ,the latter is changed for the property cork1 which is then placed in the bottle1 which must be white1 and1 of course1 have a very wide mouth4 ,the performer now produces some pennies1 which he may pass into the bottle in any way he pleases4 ,a good method is to use the two boxes described in ,grand ,magic as then the performer's hands are free4 ,but the pass shown at ,fig4 #aa may be employed1 the bottle being taken in the hand in which the coins are actually concealed4 ,when the coins are being passed1 the bottle must1 of course1 be held in one hand or the other1 and pressure given the pin by a finger at the proper moment4 ,where one coin only is used1 it may be simply palmed1 which method would also apply where the performer is skilful enough to palm several coins at once4 ,in this case1 the coins would merely be held in one hand1 and the bottle in the other1 and the coins thrown into the bottle4 7n7 ,a very pretty trick1 though rather difficult to learn1 is performed1 with the aid of the ,reverse ,palm 7,fig4 #f71 as follows3 ,borrow from two separate persons two coins of the same denomination4 ,take particular pains to have the marks quite distinct on each1 so that the two are distinguishable from one another4 ,there is no objection to the performer superintending the marking1 in order to insure its being properly done4 ,one coin1 for instance1 might have a single stroke marked upon it1 or a cross1 whilst the other could have a small circle or an initial4 ,the numbers #a and #b could also be efficiently employed2 and1 for facility of description1 ,i will now suppose them used4 ,palmed 7,fig4 #b71 you have another coin of your own1 similar to those borrowed4 ,you place two chairs or settees a little distance apart1 between yourself and the spectators4 ,take coin ,no4 #a1 and1 standing behind one of the chairs1 facing the company1 act as though you tossed it upon the cushion4 ,what you really do1 however1 is to palm the coin by the reverse palm1 following the instructions on page #h1 for throwing a coin away into the air2 the coin that has been concealed in the palm being released1 in its stead4 ,this action must be assiduously practised until it can be performed with complete certainty and smoothness4 ,practise first tossing a coin on a chair from a distance of a couple of feet1 and then imitate that action as nearly as possible whilst making the change4 ,the toss must be made with a steady1 smooth swing1 neither too hurriedly nor too slowly executed4 ,when the manoeuvre is finished1 the palm of the hand must1 of course1 be towards the audience4 ,a half1 or whole1 turn of the body must now be made1 to enable the performer to get the coin from the back of the fingers to the palm proper4 ,the way to ensure the safe execution of this is to put the thumb over the first finger1 so that it grasps the coin1 assisted by the middle finger4 ,the first finger can then be drawn out of the way4 ,with coin ,no4 #a in the palm1 take coin ,no4 #b1 and repeat the changing operation1 at the completion of which the state of affairs will be3 ,on chair #a1 duplicate coin 7supposed by spectators to be coin ,no4 #a72 on chair #b1 coin ,no4 #a 7supposed by spectators to be coin ,no4 #b72 in performer's palm1 coin ,no4 #b4 ,any fanciful form of causing a magical change to take place may be gone into1 and the performer then asks a spectator to examine the coin on chair #b1 which is found to be coin ,no4 #a4 ,as only two coins are known to the spectators1 it is taken for granted by them that the one on chair #a is coin ,no4 #b2 but it will be as well for the performer to incidentally remark1 ,and1 of course1 there is coin ,no4 #b1 and then at once proceed to show the trick over again1 for the general satisfaction of those present4 ,for this purpose1 coin ,no4 #a is taken from the person who examined it1 and ostensibly replaced upon chair #b4 ,instead1 however1 coin ,no4 #b is placed there4 ,under the plea of placing the chair a little closer1 so that a better view may be obtained1 the performer takes up duplicate coin from chair #a1 and1 in apparently replacing it1 substitutes coin ,no4 #a4 ,the coins have thus been made to regain their old positions1 and may now1 of course1 be freely examined1 the performer not touching them again4 ,if the performer feels any confidence in himself in this rather difficult trick1 he may use three marked coins1 when1 by skilful manipulation1 he may make all sorts of changes4 ,by working changes with only two of the three at a time1 he always has one lying dormant1 which is not liable to inspection1 and may1 therefore1 be the duplicate one4 ,it is not advisable for him to prolong the trick1 unless it be going very well4 ,he must keep his wits about him1 however1 or he may find that he has forgotten the precise whereabouts of his own coin4 ,a very bold1 but remarkably effective1 way of bringing about the final change is to pick the coin from the chair1 and1 instead of moving that closer1 toss the coin into a lady's lap4 ,the lady should be sitting upon the extreme verge of the other spectators1 or else must be shielded by some article of furniture1 or the coin palmed at the back of the hand is not unlikely to be seen4 ,the very boldness of this action is1 however1 its chief safeguard1 only there must be no sort of hesitation in its execution4 ,a performer with large and muscular fingers can use half-crowns for the trick1 but for the beginner shillings and halfpence will be sufficient4 ,copper coins are not so effective as silver2 but an accidental exposure of a portion of them is not so readily perceived as is the case with the brighter metal--not that there is the least excuse for such exposure4 ,before returning the duplicate coin to the pocket1 the performer may produce one or two other effects with the reverse palm4 ,let him borrow a hat1 and a coin similar to the one concealed4 ,standing sideways to the company1 let him have the duplicate palmed reversely in the hand that is farthest from the audience4 ,say it is the left hand4 ,with the right hand place the hat into the left one1 the thumb on the brim1 the fingers inside4 ,as the company have seen the palm of the left hand open1 not the slightest suspicion will be entertained that it holds anything4 ,the borrowed coin is now made to perform an rial journey1 being palmed4 ,the performer's eye follows its imaginary flight1 and then catches it in the hat1 the coin in the left hand being of course released1 when it will be heard to fall4 ,after showing this coin1 reverse palm the other1 under cover of the hat1 and repeat the operation4 ,to do this1 the performer must be able to palm equally well with either hand4 ,if the trick be repeated1 it should be varied each time by some such device as finding that the coin had taken refuge in a gentleman's hair1 lady's handkerchief1 c41 on its way to the hat4 ,by the time the learner has proceeded thus far with success1 he will have acquired a proficiency that will enable him to amuse a circle of friends for an hour or two by means of coin tricks alone1 without much fear of detection1 especially if the rule of rehearsing in private before exhibiting in public be adhered to4 ,the security afforded by a good palm can scarcely be over-estimated1 as it enables the performer to attempt the most barefaced impromptu experiments with comparative impunity4 ,these impromptu interludes are always conducive to success1 for the audience can generally discover originality4 ,but1 before taking a temporary leave of coins1 ,i must put my readers up to a few wrinkles in connection with the use of the sleeve--a portion of the conjuror's attire which is but rarely employed1 notwithstanding the popular exclamation of ,up his sleeve1 which is usually made use of when the operator has vanished some trifle in the shape of a cauliflower or rabbit1 for the reception of which articles the sleeve of a dress coat is so admirably adapted4 ,no2 the sleeve is only used when its coadjutorship is unsuspected2 and1 in the case of coins1 only when the palm is suspected of containing the coin4 ,so many people have a misty idea of palming1 that one frequently hears whispered1 ,in his palm4 ,should the whisperer be wrong1 of course you will at once prove him to be so by exhibiting your palms empty2 but should he be right1 you will then feign not to hear the whisper4 ,sometimes1 though1 the announcement is not made in a whisper1 but in the form of a challenge to you1 and this you must be prepared to meet4 ,suppose the coin is palmed and you are challenged2 you are close to or among the audience1 and the challenger is importunate4 ,nothing remains but to sleeve the coin4 ,this manoeuvre is executed by shooting the arm straight out1 the palm open and downwards1 with such force as will carry the coin up the sleeve4 ,of course1 you must not stand in middle of the room shooting your arm out1 or the audience will either divine what you are about or will think you are taking leave of your senses4 ,the action must be covered by an advance towards the challenger1 which must be done as boldly as if you had never even seen the coin1 much less concealed it in your palm4 ,as you advance1 say something2 for example1 ,what6 in my palm1 sir8 ,i don't understand you4 ,how can anything be in my palm8 ,if you don't believe me1 see for yourself4 ,with this1 make the shoot1 and turn the hand over4 ,care must be taken that the arm is quite level1 or the coin will slide gracefully on to the floor4 ,you must not stop here1 but say1 ,perhaps you would like to see my other hand as well1 sir 7show left hand1 at same time allowing coin to fall back in the right1 where palm it71 or maybe you think the coin is up my sleeve4 ,shake both arms vigorously1 which1 as the coin is again in your palm1 you can do with impunity1 and ask someone to feel your sleeves4 ,an extra effect is given by your asserting that the cause of the gentleman's anxiety was that he himself had basely pilfered the coin1 and wished to pass the odium on to you4 ,with this remark1 produce the coin from some part of his person4 ,barring the disturbance to the equilibrium of one's feelings of security whilst the performance is going on1 this little interlude1 promptly carried out1 is as good as any set trick4 ,of course there must be no bungling4 ,should the sleeves be turned back1 as they often will be1 they must first be unrolled1 with great deliberation4 ,in such an instance you would1 of course1 show that your sleeves are guiltless of any deception1 before exonerating the palm4 ,practice will enable you at once to perceive the nature of the objection about to be raised1 so that ordinarily you can anticipate1 and turn down one sleeve at least4 ,it is not often that the exigency occurs1 but it will infallibly do so at some time or other1 so one must be prepared to meet it1 or be looked upon as an impostor4 ,a second method for sending a coin up the sleeve is to place it almost on the ends of the fingers 7,fig4 #af7 palm upwards1 and1 turning the hand rapidly over1 close it 7,fig4 #ag74 ,this will throw the coin up the sleeve1 whereas the appearance is that it is enclosed in the hand4 ,a third method is to hold the coin between the thumb and middle finger 7,fig4 #ah7 and flip it up the sleeve4 ,a fourth method is to place the coin on the edge of the table and cover it with the ends of the fingers1 which draw smartly back and shut1 when the coin will be shot up the sleeve4 ,this somewhat resembles the second method4 ,a fifth method is to spin the coin high in the air1 and as it descends make a grab at it as if catching1 but in reality allow it to fall down the sleeve1 keeping the hand shut as though holding it4 ,this is one of the most thorough deceptions ,i know of4 ,it is so perfect that the operator himself cannot see the coin enter the sleeve4 ,i am quite aware that it seems improbable1 but a trial will be conclusive on the point4 ,a pleasing variety of the first method is to place a coin 7the heavier the better7 on the palm of the hand4 ,turn the hand over briskly1 at the same time thrusting it well forward1 and the coin will slide up the sleeve4 ,in performing any of these tricks be careful to have the shirt cuff pulled well up and out of the way1 and do not wear large links or solitaires1 against which the coin will infallibly clink1 if only for the simple reason that it is not wanted to do so4 ,no one but a bungler would use the sleeve in his regular performances1 except when driven by necessity2 but it is highly essential for a conjuror to be perfect in all the minuti of his art1 and he must practise them as the pianoforte-player practises the scales which he never plays to the public4 ,illustration3 ,,fig4 #af4 ,illustration3 ,,fig4 #ag4 ,illustration3 ,,fig4 #ah4 ,in using marked coins1 always take the greatest care that the marking is done in such a manner as to render it impossible for the coin not to be recognised on making its reappearance2 and also let several people see the mark4 ,it is very disheartening1 when you have performed an elaborate trick1 in which a ,mr4 ,interference has given you no end of trouble1 to hear the owner of the coin say that he cannot recognise his mark4 ,i have seen people put some trivial mark on a coin in pencil1 which would rub off immediately4 ,it is also advisable to have a quantity of cheap coins by you4 ,in such tricks as trick d1 large1 thin1 and showy silver ,turkish coins are the best4 ,they possess every advantage2 the milled edge gives a firm hold for the palm1 whilst the substance of the coin allows of a large number being held in the hand4 ,besides this1 thin coins give a good business-like clink2 whilst a large coin is always more effective than a small one4 ,pennies plated over make very fair substitutes1 and do not entail much loss of capital if kept aside ready for use1 as they always should be1 which can hardly be said to be the case with florins or half-crowns4 ,,chapter ,,iii4 ,,tricks ,,with ,,common ,,objects4 ,,on ,,rapidity ,,and ,,deception--,,misdirection--,a ,,japanese ,,sugar ,,trick--,,fly ,,away1 ,,jack2 ,,fly ,,away1 ,,john3 ,,come ,,again1 ,,jack2 ,,come ,,again1 ,,john--,a ,,rising ,,blade--,,to ,,restore ,a ,,piece ,,of ,,cotton ,,that ,,has ,,been ,,cut ,,up ,,in ,,small ,,pieces--,,to ,,pass ,a ,,ring ,,from ,a ,,handkerchief ,,on ,,to ,a ,,wand ,,held ,,at ,,each ,,end--,a ,,second ,,method--,a ,,third ,,method4 ,i commence this1 the second portion of drawing-room conjuring1 with the decided hope that1 before my readers attempt to follow me1 they will have attained some proficiency in the art of palming and other little matters alluded to in my remarks concerning the treatment of coins4 ,if such skill has been acquired1 although in a small degree only1 it will be of use in rendering the manipulation of other objects much easier4 ,the prevailing idea with the public is that a conjuror moves things about from place to place before one's very eyes1 but with such extreme rapidity as to avoid detection4 ,this1 ,i say1 is the prevailing idea1 and long may it continue to be so1 since it is the very thing an audience is supposed to imagine4 ,the learner1 however1 must1 from the outset1 dismiss such an impression from his mind as untenable1 even for an instant4 ,if he has a lurking opinion that a hand can be moved without the motion being detected1 let him practise at moving1 say1 a cork or a piece of sugar1 a distance of only one short inch4 ,let him practise for a twelvemonth to begin with1 and ,i will guarantee that at the end of that period he is no nearer the consummation of the feat than he was at the commencement4 ,if time hangs heavily on his hands1 let him go on practising1 say1 for five or ten years3 the result will be precisely similar4 ,no2 conjuring is based upon more deceptive principles than mere rapidity of movement1 although that1 of course1 enters largely into its composition4 ,articles are1 indeed1 transmitted from one place to another before the eyes of the audience1 but it is always1 as it were1 sub rosa4 ,this is the reason why conjurors say so much about the hand being quicker than the eye1 c4 ,the audience is continually trying to detect movements which are never even attempted1 the result being that other movements are conducted with impunity4 ,the conjuror must start with the one principle firmly fixed in his mind that he is to deceive his audience in every way possible4 ,at no time is he actually to do that which he says he is doing4 ,every look and gesture1 besides every word1 should tend to lead the mind into the wrong groove4 ,,misdirection is the grand basis of the conjuror's actions2 and the more natural the performer's movements in this particular1 the more complete will be his success4 ,with each trick that requires it1 ,i shall give hints for misdirecting the spectator's attention1 although ,i am of opinion that every conjuror can best suit himself if he is only firmly impressed with the necessity for misdirection4 ,the drawing-room conjuror must hold himself prepared to perform offhand with any article that may happen to present itself to view2 although it is1 of course1 perfectly allowable for him to send for anything he may require4 ,an article which one is tolerably certain to find in most houses is ,sugar4--,take four well-shaped pieces1 of a medium size1 and place them before you on a table1 at which you will sit at your ease1 in the form of a square1 and about a foot from each other4 ,hatch up a long rigmarole about one piece being the ,emperor of ,japan1 another his wife1 another his daughter1 and another his prime minister1 or any other rubbish you please1 so long as you bring it about that it is necessary that all four should assemble together in one place4 ,in the country of which you are speaking1 you will explain1 it is the custom of ,royalty to travel by telegraph1 and invisible to the gaze of the common herd4 ,to illustrate how it is done1 you will cover two of the four pieces1 each with a separate hand1 and1 at the word pass1 make a slight movement as if throwing a piece from one hand to the other4 ,on raising the hands1 two pieces will be found under one1 and none under the other4 ,repeat this operation 7the minority always going over to the majority7 until all four pieces are collected under one hand4 ,the explanation of this really pretty1 and1 to the uninitiated1 inexplicable trick1 is1 that you have a fifth piece of sugar palmed4 ,if this piece be released1 and that under the other hand palmed1 the effect is the same as if an invisible journey had really been made4 ,supposing the five pieces of sugar to be represented by numerals1 the various changes may be thus tabulated3 ,left ,hand4 ,right ,hand4 #a4--,raise #a and ,drop #e with #b4 #b4--;,drop #a with #e and #b and ,raise #c4 #c4--,raise #d and ,drop #c with #a1 #e1 and #b4 #d4--,raise both hands and pocket #d4 ,the rough and adhesive nature of sugar renders it very easy to palm4 ,in palming1 avoid all contraction of the muscles of the back of the hand1 which is visible to the audience1 or a clue to the solution of the trick will be given4 ,if going out to a place where you are likely to be asked to exhibit your skill1 be provided with a piece of sugar1 and then ask for the requisite four pieces4 ,if you are unprovided1 then you must secure possession of the sugar basin1 and secrete the extra piece as best you can4 ,the extreme simplicity of this trick is only equalled by the astonishment of the audience1 who are straining their eyes to catch a glimpse of the piece of sugar as it passes4 ,i need hardly remark that they never succeed4 ,illustration3 ,,fig4 #ai4 ,illustration3 ,,fig4 #bj4 ,knives1 ,i think ,i may say1 are also tolerably common articles1 and some good tricks are performed with them4 ,take a cheese knife and four tiny squares of paper4 ,stand facing your audience1 however small it may be1 and1 wetting the papers separately1 stick two on each side of the blade1 taking care that the positions on both sides correspond as nearly as possible4 ,hold the knife before you in the fingers of the right hand 7,fig4 #ai71 and in such a position that only one side of the blade is visible4 ,with the thumb and finger of the left hand remove the piece of paper nearest the handle1 and1 putting your hand behind your back1 make a feint of throwing it away1 without actually doing so4 ,now1 with a rapid movement1 cause the knife to describe a half circle in the air still with the same side uppermost2 but the position of the hand will be slightly altered 7,fig4 #bj71 which will lead the audience to think that the knife has been actually turned over4 ,barely before the movement is completed a finger of the left hand must be upon the spot recently occupied by the piece of paper1 as if taking off a second piece from the opposite side4 ,the first piece1 which has all the time been in the left hand1 is thus made to do duty twice4 ,the second time1 it is dropped on the floor in full view of the audience1 accompanied by the remark1 that makes the second piece4 ,now remove the other piece of paper1 and repeat the manoeuvre executed with the first piece1 taking the greatest care that only one side of the blade is visible1 and that the finger of the left hand1 with the concealed paper1 is down upon the vacant spot before the spectators' eyes can rest there4 ,having ostensibly removed the fourth and last piece of paper1 the knife is supposed to be empty1 which you boldly declare to be the case1 making a rapid backward and forward movement with the blank side to prove it4 ,you then say you will cause the papers to re-appear upon the knife instantaneously4 ,all you have to do is to put your hand behind your back and reverse the position of the knife so that the side of the blade with the two pieces of paper still remaining upon it is uppermost4 ,bringing the knife again to the front1 make another quick backward and forward movement1 saying1 ,here are the papers back again on both sides as before1 and then1 without any further preliminaries1 draw the blade through the fingers and cause the two papers to fall upon the floor4 ,if this final movement is not executed1 the audience will1 when they have recovered their senses1 point to the two papers which you dropped on the floor during the performance of the trick1 and want to know why they are there and not on the knife4 ,continued rapidity of motion is what is required for the success of this trick4 ,there must be no halting in the middle or hesitation of any kind1 to avoid which practice in private will be essential1 as1 indeed1 it will be with every trick worth doing at all4 ,borrow a light penknife1 and take care that it is not too sharp1 and has a good deep notch at the haft4 ,you are previously prepared with about two feet of very fine black silk1 one end of which is attached to a button of your vest1 the other end being furnished with a loop large enough to pass over a finger4 ,this can either be wound round the button1 or can hang loosely1 with the free end looped up4 ,i prefer the latter method1 and have never found it lead to any inconvenience1 which at first sight it appears extremely likely to do4 ,also borrow a hock or champagne bottle2 pint size preferred4 ,first send round the knife to be examined1 and1 whilst the examination is going on1 get the loop of the silk over the end of one of the fingers of the left hand4 ,when the knife is returned to you1 and not before1 give the bottle to be examined1 and distract the attention of the audience by allusions to the departed spirits of the bottle1 and admonitions to be sure and see that the bottom does not take out4 ,by the time the bottle comes back you have slipped the loop over the blade of the knife and allowed it to catch in the notch1 where cause it to remain4 ,if the knife is a sharp one1 extra caution must be observed1 or the silk will be severed4 ,this actually happened to me on one occasion1 so ,i speak from direful experience4 ,by sending the bottle away to be cleaned1 ,i gained sufficient time to tie another loop in the silk1 and went on as usual2 but the incident was not a particularly cheerful one taken altogether--there was too much glorious uncertainty about it4 ,take the knife upside down1 i4e41 with the sharp edge of the blade uppermost1 between the finger and thumb1 hold the silk sufficiently taut to keep the loop in position by means of the other fingers1 and drop the whole into the bottle4 ,this must not be done with the bottle in a perpendicular position 7in which case the loop will probably either break or slip off the knife71 but with it inclined at an angle of about #de deg4 7,fig4 #ba74 ,this will allow the knife to slide down at a safe speed and yet reach the bottom with a good thud4 ,having satisfied yourself that everything is in order1 hold the bottle perpendicularly in the left hand between the audience and yourself1 and about breast high4 ,make use of any cabalistic nonsense you please1 and then cause the knife to rise from the bottle by the action of moving it from you and towards the audience4 ,the action of raising the bottle must be but sparsely indulged in1 if at all1 as it is easily noticed2 not so the horizontal motion4 ,when brought to the mouth of the bottle the knife quietly topples over on to the floor1 whence allow it to be picked up by a spectator1 who will not require much admonition to examine it4 ,also send the bottle round again2 and get rid of the silk as soon as you can after the trick is done4 ,it will be noticed that ,i have directed the performer to use a hock or champagne bottle4 ,the reason for this will be obvious after once trying the experiment with a bottle having an abrupt shoulder1 such as an ale bottle4 ,the knife catches in it1 and a vigorous jerk1 which is as likely to cause a breakage as anything else1 has to be resorted to to free it4 ,the sides of hock and champagne bottles presenting an even surface the whole way up1 that class of bottle is therefore to be preferred4 ,by means of the foregoing three tricks ,i have seen a room full of intelligent people utterly bewildered4 ,illustration3 ,,fig4 #ba ,the following trick ,i have never known to be discovered if only properly performed4 ,for it you will require another exceedingly common object1 viz43 ,cotton4--,take a piece of any colour1 #ab;in4 to #ae;in4 long1 and see that one of the audience is provided with a very sharp penknife4 ,double the cotton once1 and have the bend cut quite through4 ,double again and have it cut1 and repeat the operation until it is nothing but pieces1 each barely a third of an inch long4 ,rub the pieces together in the fingers1 and1 after a short time1 quietly draw out the cotton again as it was in the first instance4 ,that is what you must ostensibly do3 now for how to do it4 ,first of all1 have concealed between your finger and thumb a piece of cotton about the length above mentioned4 ,this you must roll up small1 and deliberately hold between your finger and thumb1 or1 better still1 if the fingers be sufficiently large1 between the tips of any two fingers1 as they are more naturally kept together4 ,nobody will notice it if the hand is engaged in negligently holding the lappel of your coat1 the wand1 c4 ,i need hardly mention that the concealed piece must be of the same colour as that operated upon1 as the production of a white in place of a black piece would scarcely be satisfactory4 ,to ensure the success of this preliminary1 some considerable manoeuvring has often to be gone through1 and no small amount of tact exhibited4 ,where you are showing the trick for the first time1 you can of course ask for any coloured cotton you please 7always choose black when you have a choice71 but it is such a fascinating trick that you will be called upon to perform it over and over again in the same house1 or before the same people--which is quite as bad--and you will find that all kinds of ingenious devices will be brought to bear upon you4 ,as a commencement1 always carry in the corners of your waistcoat pockets two black and two white pieces1 ready for emergencies4 ,each pocket will contain two pieces of the same colour1 but differing in thickness1 one in each corner4 ,it is useless to carry other colours on the mere chance1 as you are sure to be unprovided with the exact one required at the moment4 ,when coloured cotton is produced1 you must1 by some means or other1 get at the reel from which the cotton is taken4 ,if driven right into a corner1 you must go so far as to ask someone 7always let it be the master or mistress of the house7 to secretly obtain a piece for you2 but this you will have to resort to on rare occasions only4 ,make all sorts of excuses so as to cause a delay1 even going so far as to postpone the performance of the trick1 but not before you have seen what colour you are likely to be favoured with4 ,your wits must do the rest4 ,the reader must remember that ,i have taken extreme cases1 and such as but rarely occur2 but still they do occur1 and if ,i did not warn the beginner of pitfalls ahead1 he would not think much of my teaching4 ,in the ordinary way1 he will be able to ask for any colour he pleases1 which will of course be similar to that with which he is provided4 ,we will suppose that everything has progressed favourably4 ,take the cotton to be cut between the thumb and forefinger of each hand1 by the extreme ends1 and1 doubling it1 let one hand hold the loop to be cut1 the fingers of the other hand holding the ends4 ,as soon as the knife has passed through the cotton1 give it a twitch1 and bring the ends1 of which there will now be four1 quickly together1 as if you had performed some very intricate manoeuvre4 ,of course1 you have really done nothing at all1 the movement being only a deceptive one to lead the spectators to believe that the secret of the trick consists in the way in which you twist or double the cotton4 ,have this in mind all through the trick1 and keep up the deception4 ,continue to double the cotton1 taking the greatest care that the ends all come neatly together1 and that all the loops are cut through4 ,do everything with the greatest deliberation 7except the delusive twitch71 for there is no occasion for any hurry4 ,when the cotton is cut so small that it will not double any more1 commence to knead in the fingers1 and gradually work the fragments behind the concealed piece1 which must be brought to the front4 ,this you will do without once removing the hands from the full view of the audience--in fact1 under their very eyes4 ,when you feel quite sure that everything is snug and secure1 commence to unravel the whole piece1 which will pass for the resuscitated original4 ,people who have seen the trick performed before will sometimes suggest that the piece of cotton should be measured before being cut up4 ,allow this to be done with all the grace in the world 7when you find that you cannot do otherwise71 but1 before operating upon it1 roll it up in the fingers1 either absently1 whilst engaging the audience in conversation1 or for the purpose of seeing if it is of the proper dimensions1 and exchange it1 unperceived1 for the concealed piece1 which will be cut up instead4 ,although it is not advisable to have the cotton measured first1 yet1 when it is done1 it invariably adds lustre to the feat4 ,the pieces must never be carelessly thrown away1 but secreted in a pocket on the first opportunity that presents itself1 and afterwards burnt4 ,illustration3 ,,fig4 #bb4 ,rings can be made use of in many tricks1 both in the drawing-room and on the stage4 ,the following will be found very neat and effective3 ,procure a metal imitation of a wedding-ring1 and have it cut neatly through4 ,pass this ring under a single thread of your handkerchief near one of the corners4 ,borrow a lady's ring1 which palm1 under pretence of putting it in the handkerchief4 7,the best method for palming a ring is to hold it between two fingers at the roots47 ,this you will appear to have done if you give the false ring 7under cover of the handkerchief7 to be held by someone who is not the owner of the borrowed article4 ,it is immaterial whether the genuine ring has a fancy head or not1 as the back of it will usually be about the width of a wedding-ring4 ,take the wand in the hand1 and1 unperceived1 slip the ring in your palm over it until it reaches the middle1 still covered by the hand4 ,now ask two persons to hold the wand1 one at either end1 and lay the handkerchief containing the false ring 7still held from the outside by the original holder7 over it4 ,if you now remove your hand1 you will leave the ring on the wand still concealed by the handkerchief 7,fig4 #bb74 ,take hold of the end of the handkerchief which hangs down below the wand1 and instruct the person holding the false ring to leave go when you count three4 ,as soon as you are obeyed1 draw the handkerchief smartly across the wand4 ,this will cause the ring to spin round1 and assist materially in inducing the audience to believe that it was actually conjured from the handkerchief on to the wand whilst the latter article was being held at either end by two people4 ,a slight jerk will detach the false ring from the handkerchief1 which you can send round to be examined4 ,a hint ,i can give the learner is1 never to ask a lady to lend you her wedding-ring or keeper4 ,many ladies are exceedingly superstitious1 and feel embarrassed when asked1 from not liking to refuse1 and yet being unwilling to take their rings from their fingers4 ,always borrow a ring the back of which nearly1 if not quite1 matches your false article in substance4 ,procure a metal ring1 similar to the one used in the last trick1 of very soft brass1 and1 when you have cut it through1 sharpen up the two ends to points with a file1 or any other way you please4 ,borrow a lady's ring1 and exchange it1 as in last trick1 putting the false one in a handkerchief1 which have tied with tape or string in such a manner that the ring is contained in a bag4 ,if the borrowed ring is narrow all round1 you may make use of your nest of boxes 7described in trick g1 ,chapter ,,ii471 if it has not been previously utilised in some other trick2 it being a golden rule among conjurors never to use the same apparatus twice during the same evening4 ,an apple 7a potato1 small loaf1 c41 will do as well7 can be used instead with effect1 if a goodly slit be made in it1 and the ring pushed in while you are taking it from your bag or from behind the screen4 ,show the apple round1 boldly saying that everyone can see that there is no preparation about it1 at the same time taking care that no one has time to decide either one way or the other from the rapidity with which you pass it about4 ,place it in a prominent position1 and then take the handkerchief containing the false ring by the bag1 allowing the ends to fall over and conceal your hands4 ,quickly unbend the ring1 and1 working one of the pointed ends through the handkerchief1 draw it out1 and rub the place of exit between your fingers1 so as to obliterate all traces of it4 ,all this you must do very quickly1 and1 dropping the handkerchief on the floor1 say1 ,without untying the string1 ,i have abstracted the ring1 which ,i now pass into that apple4 ,here make a pass4 ,take a knife in the hand holding the false ring 7unless you have been clever enough to get rid of that article71 and1 showing the audience that the other hand is quite empty1 proceed to cut open the apple slowly4 ,when the knife touches the ring1 allow it to clink upon it as much as possible1 and call attention to the fact1 as it is a great feature in the trick4 ,do not cut the apple completely through1 but1 taking it forward 7on a plate is the best way71 allow the owner of the ring to take it out with her own hand4 ,of course1 the audience must not be allowed to handle the apple1 and so discover the old slit4 ,this trick should not be performed with the preceding one1 but on another evening4 ,the principal effect of the trick is the apparent abstraction of the borrowed ring from its confinement in the handkerchief in an incomprehensible manner1 and you must1 therefore1 allow the audience to see that the ring undoubtedly is tied up securely in the first instance4 ,another trick with a ring is performed by aid of the wand only4 ,borrow a good stout ring1 a signet for example1 and1 holding it near the roots of the fingers of the right hand1 pretend to pass it over the wand1 but1 in reality1 let it slide along on the outside of it1 and still keep it in the hand4 ,the deception is assisted if the ring be first carelessly placed upon the wand1 and taken off again1 two or three times4 ,say to one of the audience1 ,will you be so kind as to hold one end of the wand with either hand8 and1 in stretching the wand out towards him1 allow the left hand momentarily to pass close under the right1 and let the ring fall into it--of course1 unperceived4 ,if you look at your hands whilst doing this1 you are a lost man4 ,you must look the addressee boldly in the face1 and thereby divert attention to him--not that there is the slightest excuse for exposing the ring during its passage from one hand to the other4 ,when the wand is firmly held at both ends1 say something about the futility of strength in certain cases1 and eventually show the ring in the left hand1 and remove the right from the wand to show that it is empty4 ,if relinquished at this stage1 the trick is very incomplete1 as the audience usually divine1 or affect to divine1 that the ring never was put upon the wand at all4 ,it is a peculiarity of this trick that this remark is almost invariably made1 so the conjuror must be prepared with something still more staggering4 ,return the ring to its owner1 and call attention to the fact that you have not cut it in any way 7not that anyone will ever think that you would do so1 but you must assume that this idea is prevailing in the minds of the audience71 and secretly take from your pocket1 or wherever it may be concealed1 a thick metal 7or gold7 ring1 which keep in the left hand4 ,borrow the ring again1 and slide it over the wand with precisely the same movement which you used in the first instance1 when you did not put the ring on4 ,this time you must appear to be very clumsy1 and let the two hands come together so that everyone can see the action clearly1 and snatch the left hand away sharply as if it contained the ring4 ,you will doubtless see a number of heads lean towards each other1 and hear a good deal of loud whispering1 in which the words left hand will be conspicuous4 ,take no notice of this beyond looking as confused as possible1 and the audience will think they have bowled you out at last4 ,the strange part of it is that1 in a trick of this kind1 a spectator who fancies1 rightly or wrongly1 that he has discovered something1 never attributes the fact to your want of skill1 but to his own remarkable powers of perception4 ,the effect of the ruse will be heightened if you allow a tiny portion of the false ring to catch the eye of one or more of the audience2 or resort to any other artifice to induce them to believe that you really have the borrowed ring in the left hand1 and have allowed the fact to transpire through carelessness4 ,now say that1 the ring being securely on the wand1 you mean to take it off as before1 and give the two ends of the wand to be held4 ,you will then appear to notice the incredulous looks and remarks of the audience for the first time1 and stoutly deny that the ring is in the left hand1 which1 however1 you decline to open4 ,allow the audience to argue the point with you1 and1 when one has said that he saw you take the ring in the left hand1 and others have made a similar statement1 pretend to give in1 and say that you must admit that you are discovered2 but1 at the same time1 you feel it incumbent on you to do something to retrieve your character4 ,you will1 therefore1 pass the ring1 now in the left hand1 invisibly on to the wand4 ,make a pass with the left hand1 and draw the right smartly away from the wand1 causing the ring on it to spin round4 ,the effect may be imagined4 ,at the instant the right hand leaves the wand1 the left should place the false ring 7supposing one is used7 in the pocket1 as all manner of questions will be asked afterwards4 ,the trick can be varied in many ways1 by confusing the spectators4 ,peripatetic conjurors make a good deal of money by means of this trick1 by betting that the ring is either on or off the wand4 ,manner has a great deal to do with the success of it4 ,,chapter ,,iv4 ,,tricks ,,with ,,cups ,,and ,,balls4 ,,the ,,cups--,,the ,,balls--,,how ,,to ,,conceal ,a ,,ball--,,how ,,to ,,slip ,a ,,ball ,,under ,a ,,cup ,,unperceived--,,how ,,to ,,vanish ,a ,,ball3 ,,phase ,,one1 ,,phase ,,two1 ,,phase ,,three--,,the ,,manufactory--,,how ,,to ,,introduce ,,large ,,objects ,,beneath ,,the ,,cups--,,bag ,,for ,,holding ,,articles--,,hints--,,talk ,,for ,,the ,,trick4 ,illustration3 ,,fig4 #bc4 ,the variety of tricks performed with the aid of cups and balls take a prominent position in the repertory of every conjuror laying claim to any proficiency in pure sleight of hand4 ,three tin cups 7or1 rather1 as they are always used in an inverted position1 covers71 rather more than #d;in4 in height1 and some #c;in4 across the mouth1 with the bottom concave1 and two or three little rings near the mouth 7,fig4 #bc7 will be required4 ,also make1 to commence with1 four cork balls1 blackened1 either by burning or by colouration1 each about the size of an ordinary bullet4 ,the audience know of the existence of three balls only1 the fourth being concealed by the conjuror between the roots of the third and middle fingers4 ,the very first thing the learner must acquire is the knack of slipping the ball rapidly from the exposed 7,fig4 #bd7 to the concealed position 7,fig4 #be7 in a secure manner4 ,the ball is partly slid1 partly rolled1 partly dropped into the position1 the thumb1 with a slight motion1 which1 in time1 will become quite an unconscious one1 pressing it finally home4 ,illustration3 ,,fig4 #bd4 ,illustration3 ,,fig4 #be4 ,the action1 which must be accompanied by the backward and forward swing used when palming coins1 must be practised with both hands1 the more awkward hand of the two being taught first4 ,when tolerably perfect in this1 practise getting the ball down to the tips of the fingers at the roots of which it is held1 care being of course taken that no portion of it protrudes4 ,the object of getting the ball into this position is1 that it may be placed under any cup1 raised ostensibly for some other purpose1 without detection4 ,as the cup is placed on the table1 the ball held in the fingers is slid quietly under it4 ,all conjurors do not use this method1 some grasping the cup as low down as possible1 and jerking it up and down1 thus getting the ball inside direct from the concealed position 7,fig4 #be74 ,this latter method is exceedingly neat1 but is the more difficult one to accomplish4 ,however1 the learner may try for himself1 and adopt the method which comes the easier to him4 ,the ball is not taken in the tips of the fingers until the hand is about to grasp the cup1 the major motion shielding the minor one4 ,with the two movements described under his control1 the learner should proceed thus3 ,place the three cups in a row1 with a ball in front 7i4e41 towards the audience7 of each1 and explain that the cups are solid tin and are not provided with permeable bottoms4 ,there is no objection to allowing an examination to be made1 but it had better take place at the end of the trick1 or much time will be wasted4 ,say that the tin cups are for the purpose of covering the balls1 and place one cup over each to illustrate it4 ,now take up cup ,no4 #a1 and1 whilst placing it down a few inches off1 slip the concealed ball under it4 ,pick up ball ,no4 #a1 and vanish it by concealing it in the prescribed method 7,fig4 #be74 ,you can pretend to throw it into the air1 or affect to put it into the other hand 7see ,coins1 ,fig4 #g71 from which it will be passed by a rap from the wand1 which article you will find a true friend when performing with the cups and balls1 and which should be held in readiness under the arm4 ,repeat the operation with cups ,no4 #b and ,no4 #c1 each having a ball placed under it when shifted4 ,tell the audience that so well trained are the little balls1 that1 at your word of command1 they will return from their invisible wanderings to their imprisonment beneath the cups1 which you will then raise1 and show the balls beneath4 ,this is the first and simple phase4 ,in the next1 cup ,no4 #a is placed over a ball1 and the concealed one slipped in with it4 ,take up another ball1 and pretend to pass it through the cup1 which raise1 showing two balls together1 and then replace1 slipping concealed ball under along with the other two2 and then pass the third ball through1 which will bring all three balls under one cup4 ,on putting cup ,no4 #a down1 after exhibiting the three balls together1 slip concealed ball under it1 and pick up one of the three1 which vanish4 ,then say it is as easy for you to abstract a ball from beneath a cup as it is for you to pass it to the inside4 ,put cup ,no4 #b over the two balls1 and pretend to take one out by means of the wand1 the concealed ball being exhibited as the one thus abstracted4 ,pass this through cup ,no4 #a1 which raise1 showing the ball already there1 and1 on replacing it1 slip under concealed ball4 ,recall the ball you vanished previously1 and show it under cup ,no4 #a1 and then pass it back to cup ,no4 #b1 where the two balls still are2 slip concealed ball under1 and then pass ball from cup ,no4 #a to cup ,no4 #b4 ,the ball passed must in each instance be picked up and vanished1 and not merely told to pass from one cup to another4 ,the changes can be kept up for a long time if a ball be slipped under a cup whenever it is raised2 but the performer must keep his head clear1 or he will find himself getting into trouble by showing four balls at the same time4 ,phase #c consists of piling the three cups one over the other1 and passing the balls into what ,i may term the storeys thus formed4 ,it is for this phase that the bottoms of the cups are made concave to receive the ball4 ,if the bottom were flat1 the ball would roll off at an awkward moment4 ,place cup ,no4 #a1 with concealed ball underneath1 on the table1 and1 taking up a ball1 pass it through4 ,put cup ,no4 #b over cup ,no4 #a1 concealed ball being sandwiched between the bottoms of the two4 ,the slipping of a ball beneath a cup which is placed on the table is a very simple matter1 but it requires considerable adroitness to slip one cleanly between two cups4 ,it is only to be done with a sharp jerk1 the ball being thus sent to the top of the cup1 which is then rapidly placed over the other4 ,considerable practice will be required to attain this knack1 but the pretty effect well repays any trouble4 ,even when taking the greatest care1 the ball is very liable to become jammed between the sides of the cups instead of their bottoms4 ,the noise made by the rattling of the ball in the cup is covered by that occasioned by one cup being placed over the other4 ,repeat the operation with the third cup1 and then show the balls in their respective positions4 ,should a cup cant over to one side1 it will be because the ball beneath1 it is not in its place1 but is jammed in between the two sides of the cups4 ,in this case1 care must be taken in removing the uppermost cup4 ,if adroitly managed1 the errant ball can be brought back to its proper position on the top of the lower cup by the action of withdrawing the upper one4 ,this should be practised in private1 so that the emergency may be met without difficulty when it occurs4 ,the fourth phase consists in apparently manufacturing an inexhaustible quantity of balls beneath the cups4 ,this is very easily managed by first covering each of the three balls with a cup openly4 ,take up cup ,no4 #a1 and put it down again a few inches off1 with the concealed ball under it4 ,pick up ball ,no4 #a1 and pretend to put it in your pocket1 but conceal it in the fingers2 take up cup ,no4 #b1 and replace it1 with concealed ball beneath it1 and affect to put ball ,no4 #b into the pocket1 but conceal as before4 ,repeat operation with cup and ball ,no4 #c1 and then recommence with cup ,no4 #a4 ,this phase can be prolonged at will4 ,a number of balls can be carried in the pocket1 and afterwards exhibited as the ones you have manufactured2 but this is by no means necessary to the success of the trick4 ,a most startling and amusing conclusion to a display with the cups and balls is the introduction of large balls1 potatoes1 oranges1 lemons1 apples1 c41 beneath the cups4 ,care must be taken that these larger articles will go into the cups easily1 or a fiasco may result4 ,the best balls are those made of fancy paper1 as they are nice and light4 ,a convenient place for keeping them ready for use is a shallow1 oblong1 open bag1 made out of black silk or alpaca1 and furnished with a bent pin at each end1 and one in the middle4 ,this bag you can affix to the tablecloth behind the table4 ,in the absence of such a receptacle1 the tablecloth can be pinned up1 and so form an impromptu one2 but this can hardly be arranged unperceived in front of an audience4 ,in the absence of both cloth and bag1 the articles to be conveyed inside the cups must be kept under the waistcoat1 or in the pockets1 but1 in this case1 the pockets must be side ones1 and easily got at4 ,the moment for introducing the large ball1 orange1 c41 into a cup is when the eyes of the audience are attracted towards any object just revealed to them4 ,the orange1 c41 must be taken by the left hand from its place of concealment whilst the right is engaged with the cup2 and the instant the latter is raised1 for the purpose of showing whatever may be under1 it must be passed briskly--at the same time1 in a manner not too marked--to the left hand1 and the article slipped inside4 ,the hands must remain together only sufficiently long to permit the completion of the manoeuvre1 when the cup must be again held by the right hand only2 the article inside being prevented from falling by having the little finger placed beneath it4 ,sometimes1 ,i press the paper balls lightly into the cup1 and am so enabled to hold the cup by the top1 and to raise it from the table1 to show that there is nothing under it4 ,by bringing the cup down hard on the table1 the ball will become disengaged4 ,this method should only be used as a change4 ,supposing that you have an orange inside cup ,no4 #a1 place it gently and unconcernedly on the table whilst drawing attention1 by means of your tongue1 to cup ,no4 #b4 ,by the time cup ,no4 #b is raised1 the left hand will contain1 say1 an apple1 which will go inside the cup1 and public attention drawn to cup ,no4 #c1 which1 in its turn1 will be raised1 and tenanted with a potato4 ,you can now either knock over all three cups1 and reveal their contents1 which has a very good effect1 or continue the manufactory as with the cork balls1 pretending to put the potatoes1 oranges1 c41 into the pocket4 ,it will be only necessary to have one of each kind of article1 although the audience will be led to believe that your pockets are crammed with them by the time you have finished4 ,it is best to have four kinds1 as by that means each cup has something different under it every time it is raised4 ,it is not advisable1 however1 to fill the cups more than twice by this method4 ,the performer must not have his head filled with the idea that his movements are noticed1 for the eyes of the spectators are sure to be riveted on the article last revealed4 ,any hesitation will be attended with disastrous results1 so the thing must be done with dash1 or not at all4 ,every conjuror should endeavour to become perfect with the cups and balls1 as they not only amuse and astonish audiences1 but afford great practice to the learner4 ,one very important thing in connection with this trick is the talk with which it is accompanied4 ,the performer should be talking the whole time1 explaining everything as he goes on2 at the same time1 he must not talk a lot of nonsense1 which will only cause the audience to form a low estimate of his prestidigitatorial powers1 but infuse his harangue with a little very mild humour4 ,something like the following1 varied to suit the circumstances1 will be to the point3 ,i have here three little tin cups1 solid1 and free from any trickery or deception1 as you may see for yourselves4 7,hand cups round47 ,kindly see that the bottoms do not take out4 ,i have also three little cork balls1 equally guileless with the cups4 ,madam1 will you be so good as to squeeze one1 and see that it is solid8 7,give a ball to a lady47 ,thank you4 ,these little balls1 ladies and gentlemen1 are1 you will be interested to hear1 trained to a high degree of perfection1 and are perfectly obedient to my will1 as ,i will shortly show you4 ,this cup1 which you will perceive is perfectly empty1 ,i place here on the table1 and1 taking up one of the balls1 ,i simply say to it1 ',hey1 presto6 begone6' and it has vanished4 ,the second little ball ,i take from beneath this cup1 and command it to keep company with its predecessor4 ',fly6' and it has gone4 ,the remaining ball ,i treat in the same manner4 ,by the aid of my magic wand1 ,i recall my little servants4 ,see1 here comes one1 and1 following my wand1 it passes through into this cup 7tap a cup with the wand71 c41 c4 ,it will be as well for the conjuror to study what he intends saying beforehand1 in the early stages of his career1 for he will find his wits sufficiently troubled to execute his tricks properly without requiring to think about his language4 ,a little sleight1 which may be introduced with effect1 is the apparent throwing of one cup through the other4 ,this illusion is effected by holding a cup1 mouth upwards1 lightly between the thumb and forefinger4 ,the other hand then throws a second cup sharply into it4 ,the lower cup is allowed to fall1 and the second cup caught by the thumb and forefinger1 the appearance being that one cup has passed completely through the other4 ,,chapter ,v4 ,,tricks ,,with ,,handkerchiefs4 ,,burning ,a ,,handkerchief ,,in ,a ,,small ,,way--,,hints ,,about ,,apparatus--,,how ,,to ,,pull ,a ,,handkerchief ,,through ,,the ,,leg--,,the ,,knot ,,untied ,,by ,,magic--,,the ,,confectioner ,,handkerchief--,,feats ,,with ,,handkerchiefs4 ,what conjurors would do without pocket handkerchiefs1 ,i will not venture to suggest4 ,almost every trick has a handkerchief of some kind as a component part4 ,handkerchiefs are torn up1 burnt up1 tied into knots1 made receptacles for money1 and used in a variety of other ways2 in fact1 they are the conjuror's most faithful allies4 ,burning a ,handkerchief is usually made a stage trick1 and belongs properly to ,grand ,magic2 but there is a method which may be successfully tried in the confined limits of the drawing-room4 ,i do not allude to the use of the burning globe1 which article entirely dispenses with the necessity for the display of anything approaching sleight of hand1 with which ,i1 in this book1 have only to deal4 ,by using mechanical tricks1 many feats of sleight of hand are imitated2 but then the apparatus cannot be shown round1 and the audience goes away from the performance impressed with the idea that conjuring means exhibiting a certain number of cunningly-devised boxes1 canisters1 c4 ,i remember being present at an amateur conjuring entertainment1 where tricks were exhibited that must have cost two hundred pounds1 at least4 ,the eye was perfectly bewildered with the array of electric clocks1 drums1 c42 but every third trick failed at some point1 which was not to be wondered at1 seeing that the thing was got through as though against time4 ,this sort of thing is not conjuring2 although it would be bad for conjuring-trick manufacturers if everyone thought the same4 ,some apparatus one must have2 but only what is absolutely necessary4 ,the difference between an apparatus conjuror and an adept at sleight of hand is as great as that between an organ-grinder and a skilled musician4 ,to burn a handkerchief in what ,i may term a small way1 be provided with a piece of cambric1 or other material resembling a handkerchief1 about four inches square4 ,the best way is to cut up a cheap handkerchief that has been hemmed4 ,have this piece rolled up in the hand1 and concealed by the act of holding the wand4 ,borrow a handkerchief1 which carelessly roll up in the hands1 as if judging as to its size1 and get the piece mingled in its folds4 ,ask the owner if he or she has any objection to your burning the end of it4 ,say ,thank you1 whether the answer be ,yes or ,no 7conjurors are often afflicted with a convenient hardness of hearing71 and proceed at once to burn what is1 in reality1 your interpolated piece1 but which will appear to the audience to be the handkerchief1 at a candle4 ,when you have burnt a tolerably large hole1 put out the flame1 and walk towards the owner of the handkerchief1 as if about to return it to him1 thanking him1 at the same time1 for the loan of it4 ,if you had not permission to burn the handkerchief1 the owner of it will probably now tell you so2 and if he is at all testy on the point1 so much the better for the success of your trick4 ,say that you really thought he said ,yes1 are sorry for the mistake1 which1 however1 cannot now be helped1 c4 ,if1 on the other hand1 you had permission to do as you pleased1 which a flattering1 implicit faith in your abilities will frequently accord to you1 you must affect to see in the person's looks an objection to take the handkerchief in a burnt state1 and so1 in either case1 eventually set yourself the task of having to restore the injured article4 ,this you can very simply do by rubbing it in your hands1 and concealing the fictitious piece rolled up in the palm2 or you can prolong the operation by folding the handkerchief in a piece of paper1 omitting the burnt piece1 and then pronouncing some cabalistic words over it1 whilst it is held by someone in the audience4 ,this is1 perhaps1 the better way of the two4 ,if the beginner is afraid to trust to his own skill1 and prefers using apparatus1 he can procure many kinds of canisters1 c41 for changing handkerchiefs1 the working of which will be explained by the vendor1 so there is no necessity to do so here4 ,to ,pull a ,handkerchief through the ,leg4--,this is a trick which will bear exhibition in any company4 ,it recommends itself especially for drawing-room purposes4 ,take a very long handkerchief1 and1 seating yourself1 pass the handkerchief 7apparently7 twice round the leg1 just above the knee1 and tie the two ends securely together1 or have them tied for you4 ,take hold of a single thickness of the handkerchief1 and jerk it sharply upwards1 when it will appear to pass through the leg4 ,the secret of the trick is thus explained3 ,when you pass the ends below the leg1 for the purpose of ostensibly crossing them1 so as to bring them up on opposite sides1 you rapidly make a bend in one1 and pass the other firmly round it4 ,by this means1 a temporary junction is formed strong enough to bear a slight strain4 ,by distending the sinews of the leg1 the folds are compressed1 and additional security is thus obtained4 ,the ends are of course brought up again on the sides on which they descended1 and the knot tied above the thigh--not beneath it4 ,the formation of the bend and loop round it must be practised assiduously1 for ,i do not know of any trick of the same magnitude requiring more skill in execution than this one4 ,the hands should not remain an instant longer under the leg than one would require to merely cross the ends1 and there must be no fidgeting observable4 ,for performing this trick1 ,dbler 7the original one7 received a diamond ring from the ,emperor of ,russia4 ,to ,untie a ,knot by ,word of ,command4--,tie a knot with two ends of a handkerchief1 but in such a manner that one end is always quite straight2 in fact1 one end should be tied round the other1 and not the two ends tied together4 ,if you take the extreme end of the straight portion1 anyone may pull as hard as he likes at it from the other side of the knot without making it any tighter1 although you must lead him to believe that he is doing so4 ,when he has pulled to his heart's content1 take the knot in one hand and cover it with the rest of the handkerchief4 ,whilst doing so1 work1 with the concealed hand1 the straight end through the folds of the other1 but do not destroy the folds1 which give to be held1 of course under cover of the handkerchief4 ,command the knot to come undone1 and then shake the handkerchief out4 ,this is the groundwork of a trick on a much larger scale1 which will be treated of in ,grand ,magic4 ,it is a very effective little trick1 and should never be despised4 ,to ,find ,sweetmeats in a ,handkerchief4--,for this pretty trick the performer will require a conical bag1 made of fine calico1 cambric1 or any other substance resembling a handkerchief4 ,the length of the bag should be about #e;in42 and it must be furnished at the apex with a bent pin--a black one4 ,the mouth must be fitted with two pieces of flat watch or crinoline spring1 sewn in the stuff in such a manner as to keep the opening closed4 ,this bag must be filled with sweets1 and suspended1 by means of the bent pin1 on the edge of the table--out of view of the audience1 as a matter of course4 ,borrow a handkerchief1 and say that you will now find something that will please the juvenile portion of the audience4 ,wave the handkerchief mysteriously about1 and then spread it out upon the table4 ,wave your hands over it1 take it up delicately by the centre with one hand1 and squeeze it with the other over a plate with which you will be provided4 ,naturally1 nothing will come of it1 so you repeat the operation1 this time at a different part of the table4 ,at the third or fourth attempt1 the handkerchief should hang over that portion of the table where the bag is suspended1 and when it is raised the bent pin should be included in the grasp4 ,on squeezing the handkerchief this time1 the hand should compress the ends of the springs1 which will open1 and allow the sweets to escape and fall upon the plate with a great clatter4 ,do not empty the bag at once1 but give it two or three squeezes1 allowing a little to fall out each time1 which will greatly heighten the effect4 ,when the bag is empty1 the next thing to do is to remove it from the handkerchief4 ,if a chair is handy1 the bag can be dropped on it2 but the best way is to boldly introduce the hand beneath the handkerchief1 and1 whilst calling attention to the sweets1 hang it again on the edge of the table1 which can easily be managed behind the handkerchief4 ,the sweets used should be small round or oval ones1 they being best suited for the purpose4 ,there are many little feats performed with handkerchiefs hardly deserving the title of tricks1 in the way of tying bows and knots1 c41 by entirely unorthodox methods4 ,they are too insignificant for performance alone2 but they look very well when worked in with more important tricks4 ,besides 7and it cannot be too often stated71 conjurors should endeavour to know everything connected with sleight of hand4 ,in drawing-room circles1 one is continually asked if one can do this1 that1 or the other2 and it is quite as well to be able to reply in the affirmative1 for it always tells detrimentally to fail in a little matter4 ,the following feats will be found effective3 ,to ,lengthen a ,handkerchief4--,having borrowed a handkerchief1 great amusement is caused when the performer observes that the article is not long enough1 and expresses his intention of stretching it4 ,this is done by taking the handkerchief by one corner in each hand1 and1 whilst twisting it up1 gathering an inch or two in each palm4 ,stretch the arms wide apart1 so that the handkerchief lies across the chest1 without allowing any of the gathered-up portions of it to escape4 ,now give the handkerchief a turn or two in the air1 and again stretch it across the chest1 this time allowing about half an inch to escape out of the hands4 ,twist again and stretch1 allowing a little more to escape1 and repeat the operation until the extreme ends are reached4 ,imply by manner1 as much as possible1 that a deal of stretching is taking place1 and the audience will be led to believe that the handkerchief has been extended at least six inches beyond its original length4 ,to ,appear to ,tie a ,knob that will not ,draw ,tight4--,this feat is also exceedingly diverting4 ,the performer1 apparently1 goes through all the necessary formul for forming a knot2 but1 lo6 when the ends are pulled out1 no knot is seen4 ,there are three ways of doing this4 ,one is to pass one end behind the other1 instead of through the loop1 as usual1 which must apparently be done4 ,to do this neatly1 one end must be held in each hand1 the handkerchief twisted sharply up1 and the hands then brought quickly together1 which will cause a coil of about two turns to be formed4 ,pass the right end quickly round the back of the left1 and then draw out both1 as if tightening the knot4 ,as you pull1 the coil will bunch in the middle1 as if a knot were really there1 and increased tension will pull it out quite straight4 ,the second method is thus performed3 ,lay one end of the handkerchief across the right hand1 the major portion of it being on the outside1 and the short end held down by the little finger only4 ,with the left hand1 take the hanging end1 and1 bringing it round on the inside1 lay it over the other4 ,pass the left hand through the loop thus formed1 take with it the uppermost end1 and draw it through2 but1 just as you pull the two ends out straight1 slip the thumb of the right hand under the inside bend of the lower end1 and hold it between the finger and thumb4 ,in the third method1 commence by taking one end of the handkerchief in either hand4 ,pass the right hand over to the left side1 in front of the left arm1 which is kept perfectly still in front of the body1 so that the handkerchief hangs on the left forearm in the shape of a loop4 ,the second end must now be placed in the left hand1 which thus detains both for the time being4 ,pass the right hand1 now free1 through the loop from the inside1 and1 reaching up with it1 let it grasp its original end just placed in the left hand1 and pull it through4 ,this must be done with great deliberation1 as the beauty of the sleight rests in the extreme slowness with which it can be executed1 the secret lying1 not in any quickness of fingers1 but in the fact that the handkerchief ends are never looped one over the other1 as would be the case if the right hand were passed through the loop from the outside1 which the learner may at once discover by experiment4 ,in pulling the end out1 as though tying the knot1 if it be retarded by the left thumb1 a more natural appearance is given4 ,this method is to be preferred to the foregoing1 which1 however1 are useful as changes4 ,to ,tie a ,knot ,instantaneously4--,take an end of the handkerchief in either hand between the thumb and forefinger1 the end in the left hand pointing inwards1 and that in the right hand outwards1 the hands being held so that their backs are towards the company1 the thumbs on top and the little fingers below4 ,open the fingers of each hand at the first and middle fingers1 and then bring the hands together until they overlap a couple of inches1 the right hand on the outside4 ,this will bring the end of the handkerchief in either hand between the opened fingers of the opposite one4 ,the fingers close on the ends1 and the hands are at once separated1 when the knot will be found to be tied4 ,this may be first practised with a piece of stout string1 and the learner must not be satisfied until he can tie the knot by merely bringing the fingers together for an instant1 the knot being tied apparently by means of the mere collision of the two hands4 ,it is astonishing what perfection can be attained by means of practice1 the knot at last seeming to appear on the handkerchief1 instead of being tied4 ,to ,tie a ,knot on the ,wrist whilst ,holding an ,end of the ,handkerchief in either ,hand4--,jerk the right hand towards the left one1 so as to throw a loop in the handkerchief1 through which dart the left hand1 still holding its end1 and the feat will be accomplished4 ,it should be done in a nonchalant manner1 and without any ostentation4 ,practise first with a piece of string4 ,the performance of the foregoing feats will be facilitated by the use of a silk handkerchief that is not too new1 and it should always be first twisted1 rope-fashion4 ,,chapter ,,vi4 ,,chinese ,,tricks4 ,a ,,new ,,marble ,,trick--,,fire-,,eating--,,final ,,effect--,,the ,,butterfly ,,trick--,,the ,,fan--,,how ,,to ,,make ,,the ,,butterflies--,,how ,,to ,,keep ,,them ,,in ,,the ,,air4 ,chinese ,marble ,trick4--,some years ago1 there came over to ,england a few ,chinese conjurors1 who were seen by the public but very little1 but who favoured me on several occasions with private views4 ,their skill lay chiefly in the performance of such delectable feats as swallowing sword-blades1 tiny china cups1 glass balls1 and large leaden plummets4 ,although appreciating such tricks1 ,i respectfully declined attempting to astonish my audiences by their means4 ,there was1 however1 one little trick performed with four small marbles1 which struck me as being something quite novel and quaint4 ,of the four marbles 7little ivory balls are what ,i invariably use71 one is concealed in the fingers1 as in the cup and ball trick1 unknown1 of course1 to the audience1 who are supposed to know of the existence of three only4 ,these three the performer puts into his mouth--one at a time1 slowly1 is the best way--to show that there is no deception4 ,he now forms his left hand into a fist1 and holds it steadily in front of him1 thumb upwards1 as though holding a sword at rest4 ,with the right hand he pretends to take a marble from the mouth1 the concealed one being exhibited4 ,the action of taking a marble from the mouth must be imitated exactly2 and this is best done by rolling it along the lips until it travels from the roots of the fingers to their tips4 ,the sleight must be quickly done1 for the eyes of the audience are full upon the hand4 ,place the marble on the top of the left hand1 i4e41 on the doubled-up first finger1 which1 after a few seconds1 open slightly1 so as to allow the marble to disappear in the hand4 ,with the right hand actually take a marble from the mouth1 which will now contain two4 ,pretend to place this marble on the left hand1 as you did the first one1 but in reality conceal it4 ,when the left hand is momentarily covered with the right1 as it feigns to place a marble upon it1 open the first finger1 and1 with the least possible jerk1 bring the first marble again to the top4 ,the audience will think that marble ,no4 #a is in the hand and marble ,no4 #b atop4 ,after another short pause1 allow the marble to again sink in the hand1 thereby causing the idea that two marbles are concealed in it1 and1 with the right hand1 affect to take another marble from the mouth1 the concealed one being1 of course1 shown4 ,ostensibly1 place this one on the left hand 7deception as before71 and allow it to disappear like its two supposed predecessors4 ,at this stage1 the state of affairs will be thus3--,the right hand1 presumably empty1 contains one marble2 the left hand contains presumably three1 but in reality only one marble2 the mouth1 presumably empty1 contains two marbles4 ,the performer then proceeds as follows3 ,allow the marble in the left hand to sink until it is in the position for concealing at the roots of the fingers4 ,if with the tips of the second or third fingers it can be pressed firmly home1 so much the better1 for the command to vanish can at once be given1 and the hand opened--palm downwards1 of course4 ,if the marble cannot be secured in this way1 the thumb must be brought into use in the usual way2 but the hand must be waved about a little so as to cover the movement4 ,the three marbles are now supposed to be non est4 ,the performer can proceed to find the first of them in whatever manner he pleases4 ,he may pretend to pick it from the table cloth1 break it from the end of his wand1 or find it in the possession of one of the audience2 how1 is quite immaterial4 ,as each hand conceals a marble1 it is also immaterial which one is used4 ,this first marble is placed on the table1 and another one found4 ,this second one1 instead of placing on the table1 the performer affects to pass into his ear1 concealing it as before1 and after a few seconds1 it appears at his lips1 the one thence protruding being1 of course1 one of the two concealed in the mouth4 ,allow it to fall from the mouth1 and then proceed to find the third marble1 which pass1 say1 through the top of the head4 ,the remaining marble in the mouth is then exhibited1 and the three wanderers are recovered4 ,if the marbles or ivory balls are not small1 their presence in the mouth1 when they are not supposed to be there1 will be discovered4 ,i always conceal one on each side of the mouth1 between the lower gums and the cheek4 ,ivory balls are in every way preferable1 as they do not strike cold to the teeth1 and do not rattle much1 both of which disagreeable properties are possessed by marbles4 ,any ivory-turner will supply the little balls very cheaply4 ,the performer must study to execute this trick with the greatest possible delicacy1 or--especially before ladies--it will become repulsive4 ,the method of finding the balls after vanishing them should be varied1 each one being found in a different way4 ,the portion of the trick requiring the most practice is that in which the left hand is opened4 ,the knack of concealing the ball held in it unobserved requires some little address4 ,fire-eating4--,this was another trick performed remarkably well by my ,chinese4 ,it is1 ,i should think1 one of the best-known in ,england1 for every country fair has its fire-eater2 but it is not everyone who knows how it is performed4 ,in the first place1 prepare some thick1 soft string1 by either boiling or soaking it in a solution of nitre 7saltpetre74 ,take a piece1 from #a;in4 to #b;in4 in length1 and1 after lighting it1 wrap it in a piece of tow as large as an ordinary walnut4 ,conceal this piece under a heap of loose tow1 the whole of which is put on a plate1 and so exhibited to the audience4 ,the string will burn very slowly indeed1 and the very little smoke issuing from it will be quite smothered by the tow4 ,show the mouth empty1 and then put a little tow into it4 ,commence chewing this1 and1 after a little time1 put in some more4 ,repeat this three or four times1 taking the chewed portion secretly away each time you put any fresh tow into the mouth1 and in one of the bunches include the piece containing the burning string4 ,do not chew this about at all1 in reality1 although you will make great gestures as if so doing4 ,take a fan1 and fan the ears1 and presently take in a good breath at the nostrils1 blowing it out at the mouth4 ,this will cause some smoke to be ejected1 the volume of which will increase as the breathings are kept up4 ,always be careful to draw in at the nostrils1 and eject at the mouth2 otherwise you will be choked4 ,renew the fannings 7merely for effect71 and1 by continued breathings1 the tow in the mouth will be brought into a glow1 and one or two sparks will issue from the mouth4 ,when this has continued sufficiently long1 take in more tow1 and so smother the burning string again1 extracting the piece containing it under cover of a loose bunch4 ,there need be no fear of burning the mouth1 as1 directly it is closed1 the light becomes a mere spark4 ,the trick causes great effect1 not to say alarm on many occasions4 ,a very pretty and laughable termination to the above trick is to pass1 unperceived1 into the mouth 7under cover of a piece of tow1 as usual7 a little ball composed of a long band of coloured paper1 about half an inch or so wide4 ,take this by the end1 and draw it out through the teeth4 ,tightly rolled up1 a ball may contain several yards of paper4 ,it should be composed of three or four different colours1 in lengths1 each pasted to the other1 for there must be no break4 ,the end should have a piece of cotton attached to it1 or it will be next to impossible to find it in the mouth4 ,the cotton will adhere to some portion of the mouth1 and so be easily found4 ,these balls of paper are supplied at all conjuring shops1 as is also an article known as the ,barber's ,pole4 ,this consists of a spiral of paper1 which shuts up into a very small compass1 but assumes a great length on being merely twisted4 ,a long pole appears to come out of the performer's mouth4 ,the ,butterfly ,trick4--,invisible at a short distance1 very fine silk and hair are invaluable adjuncts to the conjurer's repertory1 both in the drawing-room and on the stage4 ,the celebrated and fascinating ,japanese butterfly trick is performed with the aid of a piece of fine black silk or horsehair4 ,the former is1 in my opinion1 immeasurably the superior of the two4 ,hair is most difficult to manipulate1 from its springy nature1 and requires a great deal of coaxing before it will condescend to be tied in a knot4 ,in the butterfly trick1 the performer sustains one or more butterflies1 made from rice 7or tissue7 paper1 in the air1 by means of the current caused by the motions of a fan4 ,when this trick was first brought out1 all the world wondered1 for no one1 even after long practice1 could keep the paper butterfly hovering in a given space for a single moment4 ,i tremble to think of the number of fans ,i destroyed in my early days over this trick1 before ,i knew the secret of it4 ,the fan used should be a very strong and large one1 of the old shape--not the circular--and be composed of paper and wood only1 so as to be free from superfluous weight4 ,affixed to the top waistcoat button1 or any other convenient spot1 have from #c;ft4 to #d;ft4 of the finest black silk floss or hair1 with a knot at the free end4 ,have1 also1 a piece of crisp tissue 7or rice7 paper1 and a pair of scissors4 ,let the audience examine the paper1 and then proceed to cut out the rough form of a butterfly1 explaining your action as you go on1 giving the centre a twist or two1 for the double purpose of forming a body to the insect1 and concealing the knotted end of the silk or hair1 which it is as well to have between the fingers before commencing operations1 as it is not allowable to grope about for it in view of the audience4 ,when finished1 the butterfly's wings should have the appearance of being three parts extended1 and should be slightly concave from beneath4 ,a little care bestowed on its formation will be repaid by an increased steadiness when in the air4 ,when all is ready1 hold the butterfly in the air at the full stretch of the connecting medium1 and fan pretty briskly with the other hand1 not immediately underneath the paper1 but from the body1 and along the silk or hair1 which must always be kept at a stretch1 or nearly so1 or control over the butterfly will be lost4 ,notwithstanding the aid of a connecting medium1 there is more skill required to perform this trick really neatly than is generally supposed4 ,after a time1 practice will enable the performer to cause the butterfly to settle on a flower or on the edge of another fan1 and also to sustain two in the air at one time1 which has a very pretty effect indeed4 ,when two butterflies are used1 it will be found almost necessary to have two fans1 one in each hand1 and each insect must1 of course1 have a separate thread4 ,some use wax at the end of the connecting medium1 but this is a bad plan1 as it deters the performer from giving round the butterfly to be examined after performing the trick4 ,whilst cutting out and twisting up the paper1 it is as well to call attention to the fact that the trick is performed by some people with the aid of a thread--an assistance which you will say you utterly despise1 as will be perceived4 ,this will totally disarm those people who may have bought the trick 7it is sold universally71 and are yet only tyros at performing it4 ,there is a second method1 in which two butterflies are joined by a thread or hair a few inches long4 ,these do not require to be attached to the performer's person1 the partnership being sufficient to enable him to keep them in mid-air4 ,speaking of the ,chinese1 it is a most noticeable thing that their methods of vanishing and concealing articles are the same as those practised by ourselves1 which fully demonstrates the fact that there is only one proper way2 for there is only one thing more highly improbable than that we learnt the minuti of the art of conjuring1 practised by us for centuries1 from the ,chinese1 and that is that the ,chinese learnt from us4 ,it is only during the present century that we have been sufficiently familiar with the ,chinese to borrow their ideas on magic1 did we wish to do so4 ,,chapter ,,vii4 ,,tricks ,,at ,,table4 ,,how ,,to ,,cause ,a ,,wineglass ,,with ,,wine ,,in ,,it ,,to ,,vanish--,,its ,,startling ,,reproduction--,,filter ,,tumblers--,,how ,,to ,,cause ,a ,,plate ,,or ,,other ,,large ,,article ,,to ,,vanish--,,how ,,to ,,perform ,,the ,,cup ,,and ,,ball ,,trick ,,with ,,plates ,,and ,,bread ,,pellets--,a ,,die ,,trick--,,magical ,,surgery--,a ,,dessert ,,of ,,corks--,,knife-,,swallowing ,,made ,,easy3 ,,two ,,methods4 ,to ,vanish a ,glass of ,sherry4--,when invited out to a dinner party1 one usually leaves one's conjuring tricks at home2 but in some instances1 where1 perhaps1 one's fame has gone before1 an unexpected call is made for an exhibition of skill4 ,come1 ,so-and-so1 let us see some tricks1 says the host1 and ,hear1 hear6 say the guests4 ,you are1 of course1 quite unprepared1 and beg to be excused1 but in vain4 ,you must acquiesce1 or be voted a boor4 ,in an absent manner1 you place a glass of sherry to your lips1 as though bracing yourself for the fray4 ,the glass is half emptied 7be careful about this71 when a sudden movement is made as though you threw it up at the ceiling2 but nothing is seen to ascend1 though the glass1 with the wine in it1 has disappeared4 ,after a short pause1 to allow the general astonishment to take full effect1 the missing article is discovered inside the coat of your immediate neighbour1 with the wine in it unspilt4 ,this startling effect is thus managed3 ,open the legs just a few inches1 and in the disengaged hand hold a napkin or handkerchief4 ,when the feigned movement of throwing the glass upwards is made1 the article itself is left between the legs1 and immediately covered with the napkin4 ,it is1 however1 of the highest importance that the hand does not dwell an instant in leaving the glass behind1 otherwise the movement will be discovered4 ,the action must be swift1 clean1 and noiseless4 ,to find the glass on the person of your neighbour1 take it up1 with the napkin with which you have covered it1 with one hand1 and1 bringing yourself quite close to the party to be operated upon1 whip it inside his coat with the other4 ,produce it very slowly from its supposed place of concealment1 for extra effect4 ,the success of the trick is greatly enhanced by its total unexpectedness1 and the performer must take care not to reveal1 by any word or gesture1 what he is about to do4 ,he should1 however1 immediately preceding the vanish1 draw attention to himself by addressing the host1 or otherwise engaging the conversation1 lest he perform the trick and afterwards discover that no one saw it1 for it is a trick that will not bear repetition4 ,a tea or coffee cup1 small size1 can be treated after the same manner4 ,to ,vanish a ,plate4--,this is considerably more ambitious than the preceding1 and requires some confidence in one's powers4 ,there are two methods1 each differing only slightly from the other4 ,in the one1 the plate1 which should be small1 is taken in the hand1 and apparently thrown up to the ceiling1 but1 instead1 adroitly grasped by one leg1 purposely extended1 behind the knee1 between the calf and the thigh4 ,in the other method1 the performer rises slightly from his seat1 as if to make an extra vigorous throw1 and the plate is slipped beneath him4 ,both methods are good2 but it is essential to the success of either that the performer sits on the extreme outside of everyone else4 ,under any other circumstances1 the requisite freedom of action cannot be obtained4 ,so soon as the plate has disappeared1 the conjuror should seize a napkin1 wave it about1 and find the plate in it4 ,it must be distinctly understood that the leg which is to hold the plate during its concealment must be first brought round to the side of the chair on which the performer is sitting1 and there doubled up slightly1 so that there is just room to pass the plate between the calf and the thigh1 which will then hold it tight4 ,the learner must not expect to execute this vanish at the first attempt1 but will require to practise considerably before arriving at anything like perfection of execution4 ,a primitive method for vanishing a plate is to place the left hand slightly behind the body1 and with it receive the plate from the right hand4 ,in this method1 which can only be used when the performer is standing1 the plate must immediately be found in someone's coat4 ,books1 straw mats1 knives1 and other large articles can be made to disappear by any of the foregoing methods4 ,to ,pass a ,fork or ,spoon through a ,tumbler4--,the foregoing successfully performed1 take up a tumbler carelessly1 and remark to the host that you notice that he has some of the patent filter tumblers4 ,ignorance of the fact will1 of course1 be expressed1 and you then proceed to show that the tumbler you hold has a hole through the bottom1 by apparently passing the handle of a spoon or fork1 or any other suitable article1 through it4 ,this diverting optical illusion is thus performed3 ,take the tumbler 7empty7 in the left hand1 near the bottom1 not in the ordinary way1 as if about to drink from it1 but in such a manner that it lies along the hand1 the mouth towards the wrist4 ,take the article to be passed through the tumbler in the right hand1 and1 after thrusting it once or twice against the bottom1 pass it between the hand and the outside of the glass1 allowing two or three inches to protrude beyond the ends of the fingers4 ,this simple action causes it to appear that the spoon handle1 skewer1 c41 has been passed through the bottom of the tumbler4 ,permeable ,plates4--,following up the idea of the patent filter tumblers1 you can mention that you notice that the host has also the last new plate4 ,hold up a plate to the light and say1 ,yes1 ,i can distinctly see through it4 ,laughter will1 of course1 ensue1 and you will offer to prove your assertion4 ,to do this1 make up three bread-paste balls about the size of those used in the cup and ball trick1 of which this one is1 indeed1 only a variety4 ,you will have an extra one concealed in the fingers1 of course4 ,now take two plates1 one in each hand1 upside down1 and held in such a manner that the ball in the fingers is concealed4 ,place them on the table1 about a foot apart1 and1 by opening the fingers1 allow the concealed ball to remain under one plate4 ,vanish a ball as in the cups and balls1 and find it under the plate1 repeating the process with all three balls1 the one concealed being dropped each time the plate is replaced after raising it to show the one just passed through it4 ,now say that it is as easy to perform the feat with another plate1 and take up the second one in the hand containing the concealed ball4 ,supposing this to be1 as it generally will be1 the right hand1 it will now be taking up the plate on your left4 ,cross the arms1 and1 with the left hand1 take hold of the plate on your right hand1 allowing the fingers to extend well beneath it4 ,call attention to the fact that under the left-hand plate there is nothing1 whilst under the right-hand one there are three balls2 and then place the left-hand plate upon the table1 with concealed ball under it4 ,then command one ball from the right-hand plate to pass under the left-hand one4 ,with the fingers seize one ball of the three1 and raise both plates4 ,now bring back the arms to their original positions1 in order that the left hand1 which contains one ball concealed1 may be brought to the single ball1 which is supposed to have been transferred from the right-hand side4 ,replace both plates1 allowing concealed ball to fall from the left hand1 and take up another1 in the fingers of the right hand4 ,command a ball to pass1 and raise plates as before4 ,re-cross the arms1 and repeat the operation1 when all three balls will have apparently passed from one side to the other4 ,without crossing the hands this would not be possible1 and the reason you give for so doing is to show that it does not matter which plate is used1 both being equally permeable4 ,the learner must bear in mind that in this1 the second phase of the trick1 the two plates are never relinquished simultaneously4 ,the hand picking up a ball cannot quite quit all hold on the plate1 or detection would ensue4 ,the plate having a ball passed beneath it can be released for the time from the hand entirely4 ,the ball remaining concealed at the end can be dropped in the lap under cover of the plate4 ,it is always as well to have one's handkerchief lying carelessly in one's lap1 as it comes in very useful for concealing small things4 ,by taking some cork balls in his pocket1 the conjuror will avoid the necessity for using balls made of bread4 ,such occasions as the one ,i have now assumed are the ones favourable for the introduction of the previously mentioned tricks with sugar and knives2 and1 if the performer has taken my advice1 he will be provided with his disc of glass for the performance of the glass of water trick1 also previously described4 ,changing ,dice4--,it is also useful1 on such occasions1 to have in the pocket a pair of dice1 rather smaller than those in general use1 for the performance of the following trick4 ,place the dice1 side by side1 between the finger and thumb4 ,this will leave two sides1 back and front1 open to view4 ,ask the spectators to note the numbers at the front1 and then those at the back4 ,show each side two or three times1 turning the hand over each time1 and then give a slight twist with the finger and thumb1 just sufficient to cause the dice to revolve the extent of one square only4 ,this will bring different numbers to the back1 whilst the front ones have apparently remained unaltered1 as you will show1 taking care to twist the dice back again to their original positions4 ,the twist must be given as the hand is turned over1 when it will be quite imperceptible to anyone4 ,this is the first and simple phase of the trick2 the second is more convincing still4 ,it very frequently happens that someone says1 ,ah6 of course you turn them over4 ,this you stoutly deny1 and proceed at once to prove the fallacy of the idea that the dice move in your fingers4 ,to do this1 give the twist backward and forward each time the hand is turned over in what the spectators consider to be merely the preliminary to the actual trick4 ,then say1 ,now1 ,i will turn my hand over as slowly as possible1 and ask some one to hold my fingers firmly so as to render it utterly impossible for me to move them4 ,of course1 as the positions of the dice have been changed each time you turned your hand over1 you have now only to keep them still to effect an alteration4 ,this ruse invariably silences sceptics4 ,the trick is also capable of further development if the dice be properly arranged4 ,by placing the two fives face to face1 the numbers will read one-three1 three-one1 six-four1 four-six4 ,hold the dice in the fingers so as to cover one three-one and one six-four4 ,the visible numbers will then be six-four and three-one4 ,suppose the six-four is on the top1 the twist of the fingers will expose the hidden six-four at the bottom1 and the hidden three-one at the top4 ,the two numbers will then appear to have completely changed places4 ,the fact that1 in one instance1 the four and the one are where the six and the three were previously will not be noticed if the performer is careful to always call the numbers the same1 viz41 ,here we have six-four on the top and three-one at the bottom2 six-four 7turn over71 three-one 7turn back71 change 7turn over71 three-one on the top1 six-four on the bottom4 ,a fresh combination can at once be obtained by placing any other numbers face to face1 so that they be the same unit4 ,this variation will be found very effective and dumbfounding4 ,to ,cut a ,person's ,arm with a ,knife1 through the ,coat1 without ,injuring the ,cloth4--,turning to his next-door neighbour1 who1 ,i need scarcely say1 must not be a lady1 the performer seizes a knife and asks him whether he would like to have his arm cut4 ,a bloodthirsty slash in the air will add emphasis to the question4 ,the person questioned will invariably decline1 with thanks1 and the performer then affects to think that the reason for the negative is an objection to having the coat cut1 and not on the score of any pain to be inflicted4 ,he assures his neighbour1 with great emphasis and earnestness1 that any injury necessarily done to the cloth will be immediately remedied1 and that no traces of a cut will remain4 ,when it is begun to be realised that the cloth is not to be cut1 a joke is anticipated1 and consent to the operation will soon be obtained1 especially if the performer alters his manner1 and becomes persuasive4 ,it is necessary1 in order to invest the trick with interest1 to work up a state of apprehension to begin with1 as it is but a small thing in execution1 and requires filling out4 ,when the necessary consent has been obtained1 the performer places a napkin or handkerchief over the biceps of his neighbour1 and1 introducing the knife underneath1 commences to saw away at the arm4 ,presently the patient will give a sudden start1 and1 if at all weak-minded1 he will shout ,oh6 as well4 ,on being questioned1 he will explain that he distinctly felt the knife cut into his arm1 which is1 indeed1 precisely the feeling communicated to him4 ,the secret of the trick is simply a common pin1 which1 under cover of the napkin or handkerchief1 the performer takes from his vest1 or wherever it may be concealed1 in the left hand4 ,both hands are introduced under the napkin1 the right hand sawing away with the knife1 with the blunt side against the coat4 ,great care must be taken to employ a new knife1 as old ones frequently have their backs rather sharp1 and the cloth might be cut in reality4 ,press pretty firmly with the knife1 sufficiently to make the patient feel it1 and then gradually push the pin through close beside it1 pushing only when pressure is put upon the knife4 ,in time it will work through the clothing--a quantity of which rather assists the illusion--and1 entering the flesh slightly1 will cause a sensation precisely as though the arm really were cut4 ,the performer at once stops1 and either sticks the pin into the napkin or in its former place of concealment1 or else drops it on the floor4 ,the trick may be repeated upon other patients2 indeed1 it is not easy to appreciate it unless it has been actually performed upon one4 ,the pin need only be dropped when the performer notices looks of suspicion directed at his fingers4 ,he has others concealed about him1 naturally4 ,black pins should be used as being less likely to be seen1 especially when dropped2 although so common an object as a pin upon the floor1 even if noticed1 would scarcely excite suspicion4 ,still1 it is always best to think of every contingency1 and provide for it1 or1 haply1 experience may teach the lesson in a harsh manner4 ,corks are generally handy at a dinner table 7at set dinners tricks would scarcely be introduced71 and1 being easily palmed1 form excellent media for small conjuring4 ,the cork should be held by the tips of the first and fourth fingers1 lengthwise1 and it then palms right across the hand1 the sharp edges 7do not choose a ragged edged cork7 giving a splendid hold1 especially as the article is so light4 ,corks are very easily swallowed1 being either placed 7apparently7 in the mouth by the hand palming them1 or else put into the other hand first4 ,houdin used to regale himself at friends' houses by a dessert of corks1 brought on in a sauce-boat or soup tureen1 especially chosen because it concealed the hand when thrust in4 ,the performer continually took out corks1 dropping the ones palmed as he did so1 until he had apparently eaten a dozen4 ,a good deal of natural chewing should be indulged in1 and the changes continually rung upon the various palms and passes taught in this book4 ,finally1 the performer says he can eat no more1 as he is full up4 ,as evidence of this1 he extracts from his ear the last cork he ate1 and1 after 7apparently7 replacing this in the bowl1 he is taken with a spasm1 and another cork is taken out of his mouth1 the supposition being that it had been unable to find room below4 ,it is1 of course1 rolled into the partially opened lips from the palm4 ,it is quite open to the performer to reproduce a number of corks from his person in this way1 when the company will imagine that he really secreted those he pretended to swallow4 ,this effect will be heightened if the performer has gone to the dinner with half-a-dozen corks in his pocket4 ,as a finale1 he says3 ,the rest are here in my pocket1 and produces them all at once1 throwing them carelessly into the bowl4 ,if he has performed the rest of the trick properly1 the company will think him quite capable of secreting half-a-dozen corks in his pocket without being observed1 no one dreaming for a moment of any previous arrangement4 ,swallowing a ,knife4--,performed after the following method1 this illusion can be carried out most effectively3 ,taking a large knife--a carving-knife is not too large--the performer lays it in front of him1 right and left4 ,he turns up his coat sleeves1 as far as they will go1 and then1 squaring his elbows1 so as to bring the forearms across his body1 he places his hands along the knife1 one hand overlapping the other1 so as to completely hide the knife from view4 ,in the case of a large knife1 some parts of it--the ends--will be hidden by the wrists4 ,nipping it with the thumbs1 or with one thumb only1 it is raised from the table1 the hands keeping their somewhat constrained position upon it4 ,one hand is now brought to the mouth1 the other being raised1 and an apparent attempt made to swallow1 the hands appearing to tilt the knife down the throat4 ,the performer1 however1 suddenly begins to choke1 and the attempt is relinquished1 the knife being laid upon the table again4 ,it is1 however1 immediately raised again1 as before1 but the second attempt is no more successful than the first4 ,the knife is once more taken in the hands1 and1 in the act of picking it up1 is brought just beyond the edge of the table1 and allowed to fall into the lap4 ,it must be barely raised from the table1 or else the drop will be observed4 ,the hands are1 for the third time1 brought to the mouth1 as before1 when1 of course1 the swallowing is successfully accomplished4 ,the performer has taken the precaution to have a napkin lying loosely upon his lap1 in which the knife at once becomes hidden4 ,the illusion is a very complete one1 especially if the performer takes care to make each of his three movements of the hands to the mouth precisely the same1 the knife being brought beyond the edge of the table at each abortive attempt1 and not at the last one only4 ,if the performer pleases1 he may refrain from turning up his coat sleeves1 and1 when the trick is finished1 show them to be empty4 ,everyone will suppose that the knife has gone down the sleeve1 and it1 perhaps1 provides an extra effect to show that it has not done so4 ,as the position of the hands is somewhat unusual1 the performer should be explaining1 during the performance of the trick1 that the true secret of knife-swallowing lies in the steadiness with which the knife is passed down the throat1 this steadiness being better given with two hands than with one4 ,as soon as the trick is safely accomplished1 the performer should get his legs well under the table1 and1 taking the knife with one hand1 place it under his knees1 where it must be gripped1 or else stick it in his boot4 ,the hand is supposed to be placed below merely to procure the napkin1 which is instantly produced1 and the performer's lips carelessly wiped with it4 ,he can then push his chair away from the table1 and1 leaning back1 so as to expose his lap1 join in the conversation1 or1 better still1 at once commence a fresh trick4 ,the thoughts of the company diverted1 the knife may presently be brought to light from under someone's coat1 or the performer may simply secrete it in his napkin1 and place them together upon the table4 ,a smaller knife can be very effectively swallowed as follows3 ,a cheese-knife is placed on the table1 edge downwards1 the left hand retaining it in that position by holding it near the point of the blade4 ,it is then picked up by the right hand1 the first and second fingers of which nip the back of the blade1 close to the point1 about half an inch of which is purposely left visible4 ,the rest of the knife lies along the inside of the hand1 the handle being concealed by the wrist4 ,the handle is brought to the mouth1 the knife being held upright1 and the left hand1 by means of gentle taps1 thrusts it gradually downwards1 until it wholly disappears down the throat4 ,this illusion is managed within an inch or so of the end of a precisely similar knife to that supposed to be swallowed4 ,this the performer has concealed between two fingers1 and1 when the knife is picked up1 it is brought into position at the ends by means of the left hand1 which is all the time busy helping the right one4 ,the knife is1 of course1 at once dropped into the lap1 the eyes of the company being fixed upon the little piece visible1 which they naturally take to be the actual point of the knife4 ,with the palm of the hand a few taps should be given the fragment1 so as to cause it to slide out of sight1 but still held between the fingers4 ,the tapping is continued with the left hand1 although it is performing upon nothing1 the throat of the performer giving forth choking sounds1 to assist the deception1 until the knife may be fairly supposed to be swallowed4 ,the fragment of knife is treated precisely as a coin held by the finger palm1 and may be placed in the vest pocket1 under the plea of getting out a toothpick4 ,it should have its ragged edge nicely smoothed1 so as not to cut the fingers4 ,,chapter ,,viii4 ,,tricks ,,with ,,cards4 ,,the ,,value ,,of ,,card ,,tricks--,,the ,,cards--,,where ,,to ,,procure ,,them--,,the ,,double-,,handed ,,pass--,,single-,,handed ,,passes--,,the ,,diagonal ,,pass--,,the ,,false ,,shuffle--,,tricks ,,with ,,pass ,,and ,,false ,,shuffle--,,to ,,cause ,a ,,card ,,to ,,show ,,itself--,,the ,,attached ,,card--,,the ,,congenial ,,aces--,,the ,,reversed ,,card--,,the ,,travelling ,,card--,,the ,,lady',s ,,own ,,trick--,a ,,rapid ,,change ,,pass--,,methods ,,for ,,using ,,same--,,the ,,change--,,its ,,uses--,,the ,,palm--,,on ,,palming ,a ,,single ,,card--,,on ,,palming ,,many ,,cards--,,on ,,vanishing ,a ,,pack--,,methods ,,for ,,using ,,the ,,palm--,,tricks ,,combining ,,palm ,,and ,,change ,,pass--,,the ,,slide--,,its ,,uses--,,the ,,force--,,on ,,forcing ,,packs--,,la ,,carte ,g,n,,rale--,,sympathetic ,,cards1 ,,or ,,hold ,,them ,,tight6--,,how ,,to ,,pass ,a ,,card ,,through ,a ,,person--,,to ,,divine ,a ,,card ,,thought ,,of--,,method ,,of ,,making ,a ,,chooser ,,think ,,of ,a ,,certain ,,card--,a ,,card ,,made ,,to ,,appear ,,anywhere ,,in ,,the ,,pack--,,card ,,boxes--,,tricks ,,with ,,same--,,how ,,to ,,throw ,,cards--,,the ,,revolution--,,prepared ,,cards--,,cut ,,packs--,,long ,,and ,,broad ,,cards--,,pricked ,,cards--,,chameleon ,,cards--,,methods ,,affected ,,by ,,buatier ,,and ,,houdin--,,houdin',s ,,superiority--,,the ,,travelling ,,cards--,,the ,,assembly3 ,,methods ,,for ,,palm1 ,,pass ,,and ,,change--,,thought-,,reading ,,extraordinary--,,game ,,at ,,napoleon--,,lightning ,,change--,,conclusion4 ,having shown the beginner what can be done with the ordinary objects of everyday use1 ,i will now endeavour to instruct him in the skilful manipulation of cards4 ,by his success or failure in this particular branch of legerdemain will his reputation as a conjuror be made or marred4 ,card tricks1 more than anything else1 demand sleight of hand pure and simple1 and success with them can only be attained by assiduous practice4 ,to the learner some of the following directions will at first appear impossible of execution1 owing to the unaccustomed positions in which the fingers have to be placed2 but a little resolution will soon overcome all obstacles1 and when once success1 however trifling1 has been achieved1 greater results will speedily follow4 ,in conjuring1 as in most things1 everything that is at all worthy of accomplishment requires some little trouble2 and the learner must1 therefore1 not be disheartened if his early efforts are not crowned with success commensurate with his wishes4 ,there is no disguising the fact that card tricks which owe their accomplishment to sleight of hand 7and they are the only ones worthy of the conjuror's consideration7 are difficult--in many cases exceedingly so2 but this fact ought only to make one extra energetic in mastering them4 ,amateur conjurors of every grade ,i have met with1 but those skilful with cards ,i can count upon the fingers of one hand4 ,before everything1 let me inform the reader of one fact1 not by any means universally known1 which is that the cards generally used by conjurors are considerably smaller than those in ordinary use4,a ,i will not say that it is impossible to conjure successfully with ordinary cards1 because ,i know of very clever conjurors who use the full-sized card1 but they have strong hands2 but the advantage of using smaller ones is so marked that anyone thinking seriously of practising sleight of hand should provide himself with some small-sized packs4 ,many use the ,french cards1 but ,i find them far too flimsy for many things4 ,the best are those made by nearly all the large ,english card manufacturers for conjuring purposes4 ,bancks ,brothers1 ,glasshouse-street1 ,london1 are1 perhaps1 as good as anyone4 ,should the reader be unable to procure these small cards1 he can provide very fair substitutes by having an ordinary pack shaved at the edges1 and so reduced in size4 ,to enumerate every card trick individually would necessitate a separate volume1 so numerous are the varieties of changes capable of being introduced4 ,all the teacher can do is to instruct in the general principles1 by means of which the results are brought about1 and to give illustrations of the actions of the same4 ,accident or design will enable the performer to vary his tricks in hundreds of ways4 ,the chief things to be learnt at first are3 #a4 ,the pass4 #b4 ,the false shuffle4 #c4 ,the palm4 #d4 ,the change4 #e4 ,the slide4 #f4 ,the force4 ,,the ,,pass4 ,with the foremost of these1 as the most important1 ,i will first deal4 ,the use of the pass is to transfer a given card from one portion of the pack to another4 ,in nine tricks out of ten1 a card is chosen and replaced in the centre of the pack1 which is then shuffled4 ,if this were in reality done without any previous interference on the performer's part1 he would be at sea as to the position of the chosen card1 and so rendered totally unable to find it when he wanted to do so4 ,to avoid this contretemps he1 by means of the pass1 brings the card either to the top or the bottom of the pack1 and executes a shuffle which1 although it appears to mingle all the cards1 in reality leaves the chosen one in its original position4 ,if a chosen card is placed in the centre of a pack1 it divides it into two portions1 and the effect of the pass is to reverse the positions of these portions1 the upper one becoming the lower1 and vice vers4 ,it will therefore be seen that if the card is to go to the top of the pack it must1 when replaced1 and before the pass is made1 form the uppermost card of the lower portion1 and when it is to go to the bottom it must form the bottom card of the upper portion4 ,except in very special instances1 the card is usually required at the top1 and this1 for the sake of uniformity1 ,i shall assume in my examples to be the case4 ,illustration3 ,,fig4 #bf4 ,illustration3 ,,fig4 #bg4 ,for the purpose of learning the pass1 it will not be necessary to assume that a card has been chosen1 but let the learner take the pack in the left hand4 ,the little finger is inserted in the centre of the pack1 thereby dividing it into two portions1 the upper one of which must be held by the fingers as securely as the unusual circumstance will admit 7,fig4 #bf74;,b ,the right hand is now brought across the left hand1 as in ,fig4 #bg1 the lower portion of the pack being held between the thumb at one end and the second and third fingers at the other4 ,the state of affairs is now this3 ,the upper hand holds the lower portion and the lower hand the upper4 ,now1 in order to alter the positions of the two halves of the pack1 the left hand must draw off1 under cover of the right hand1 the upper portion1 and1 working as though it were a hinge1 replace it beneath the lower one1 which is slightly raised by the right hand during the operation1 so as to facilitate its execution4 ,the cards should not be held in a horizontal position1 but at an angle of fully #de deg41 or even more1 the declension being towards the right hand4 ,the movement should first be practised as slowly as possible1 and with a few cards only4 ,it will be time enough to increase the speed when a good action has been secured4 ,one little point must be borne in mind1 and that is that that half of the pack which was originally the lower one1 and therefore held by the right hand1 must always be kept hard against the root of the thumb of the left hand whilst the pass is being made1 it working there as if hinged4 ,at first the two halves1 in passing each other1 will make a scraping noise1 sometimes very loud4 ,this noise must be studiously avoided1 as the pass must be noiseless as well as invisible4 ,when making the pass before an audience1 move the hands up and down or from side to side1 to cover the movement4 ,it is sometimes required to pass a single card from the very top of the pack to the very bottom4 ,this can1 of course1 be done in the foregoing manner1 but the quickest way is to simply press the fingers of the left hand 7the hands being in position for the pass without the little finger inserted7 on the top card1 and then execute the hinge movement4 ,this will pull the top card off and slip it to the bottom2 but it is hopeless to expect to do this without some slight noise1 although that can be almost nullified by immediately running the thumb sharply across the edges of the cards1 and so causing a similar sound to be made4 ,such is the double-handed pass4 ,illustration3 ,,fig4 #bh4 ,illustration3 ,,fig4 #bi4 ,illustration3 ,,fig4 #cj4 ,there are also various single-handed passes1 one or two of which1 at times1 come in very handy4 ,they are very difficult to master1 and are best learnt with two cards only at the very commencement4 ,the neatest1 and in every way most effective1 is the following3 ,hold the pack by the ends of the fingers and thumb1 the first and fourth fingers acting as supports1 by being slightly bent under 7,fig4 #bh71 and allow a portion of the cards to drop from below 7,fig4 #bi74 ,this portion push back towards the thumb by means of the first and fourth fingers1 until it will permit of the upper portion dropping down1 and so becoming the lower 7,fig4 #cj74 ,the asterisk denotes the chosen card1 which is passed from the centre to the top of the pack4 ,although three positions are here shown1 in order to make the action of the pass clear1 it must by no means be thought that there should be three distinct movements4 ,when the beginner can execute from thirty to forty passes in the minute1 he may consider himself tolerably proficient4 ,it will assist the action if the fingers are well raised and the thumb held a little low1 thereby causing a better fall to be made2 also considerable swing should be given to the hand1 to cover the shifting which takes place4 ,with practice this pass can be made without detection4 ,illustration3 ,,fig4 #ca4 ,illustration3 ,,fig4 #cb4 ,the pass shown at ,figs4 #ca and #cb is a fairly good one1 but much more difficult than any other4 ,the middle and third fingers are inserted in the pack1 the bottom portion of which is held by the four fingers1 two above and two below4 ,the upper portion is held between the roots of the thumb and forefinger4 ,the fingers draw out the lower portion and place it upon the upper one4 ,this pass is useful when it is required to pass a card from the bottom to the top4 ,under most circumstances1 the pass first described 7,figs4 #bh1 #bi1 and #cj7 is preferable1 except when the top card has to be passed to the bottom1 when the following method is sometimes adopted4 ,push off the top card1 which is the one to be passed1 by means of the thumb1 until it lies well over the ends of the fingers4 ,stretch the fingers out straight1 and the card will be drawn completely off the rest of the pack1 which is quickly raised by means of the forefinger1 and placed over the card4 ,a good backward and forward swing will assist the action considerably4 ,experience has taught me1 however1 that the pass shown at ,fig4 #ca1 c41 is the best one for getting a card from the top to the bottom single-handed4 ,the cards are so firmly gripped by the fingers that the pass may be executed1 no matter what position the pack is held in1 whether end on1 sideways1 or upside down4 ,the beginner will find that the thumb has but little difficulty in dragging off the top card1 especially if very slight pressure indeed be put upon it to commence with4 ,if an examination is made of the root of the thumb1 a line will be found to run half way round it1 joining other lines on the inside1 where the flesh is loosest4 ,the card should be held just there4 ,matters will be greatly facilitated if the right hand1 whilst placing the pack in the left1 holds it for an instant4 ,the thumb of the left hand then draws the card off an eighth of an inch1 which will be quite sufficient to enable the card to be seized by it at the root4 ,but the aid of the right hand should be dispensed with as soon as possible4 ,the passing of cards by means of one hand only is not suspected by the general run of spectators1 who are1 however1 always suspicious directly the two hands are brought together4 ,illustration3 ,,fig4 #cc4 ,the learner should always use the double-handed pass1 practising the single-handed ones in private1 until he has attained that confidence in his skill which is afforded by frequent exhibitions before his friends1 c4 ,an easy1 but somewhat clumsy1 single-handed pass is depicted at ,fig4 #cc4 ,the third finger is inserted in the pack1 and the top portion held between it and the middle finger1 the rest of the pack being between the first finger and thumb4 ,the top portion is then twisted round in a semi-circle in the direction of the arrow1 and so brought beneath what was originally the lower one4 ,the objection to this pass is that it disarranges the cards a good deal4 ,the best way of avoiding this is to move the hand towards the table whilst making the pass1 so that the edges of the cards can be set square at once on its surface4 ,the motion must be made as if it were merely intended to place the pack upon the table4 ,,the ,,diagonal ,,pass4 ,this is a very useful variety of the two-handed pass1 by means of which cards placed simultaneously in different parts of the pack are at once brought together4 ,say1 three cards have been selected by various spectators4 ,the performer presents the pack to each in turn1 requesting to have the card chosen placed in any portion of it4 ,the chooser thereupon pushes the card between the others1 which are not opened out by the performer1 but merely presented in a compact body4 ,the card is not permitted to be pushed quite home1 the performer withdrawing the pack in time to prevent this4 ,the pack is presented to the two other selectors of cards1 and1 when the three have all been placed in it1 the performer apparently pushes them home with the right hand4 ,what he actually does is thus described3 ,nip the three cards by the still protruding portions between the thumb and middle finger1 across their width1 and1 in the act of pushing them into the pack1 turn them obliquely sideways sufficiently to cause the right-hand top corners to project a quarter of an inch from the pack4 ,the length of this projecting portion will be rather more than an inch1 and is easily hidden from the spectators by means of the first and second fingers of the left hand4 ,the top left-hand corner must be pushed down out of sight1 and it will then be found that there are two considerable projections on the side and bottom of the pack4 ,the right-hand one is hidden by the palm of the hand1 and the lower one by the little finger4 ,the pack1 as it appears at this stage of the trick1 held in the left hand 7the right hand being removed for the sake of clearness71 is shown at ,fig4 #cd4 ,illustration3 ,,fig4 #cd4 ,as the cards are supposed to be pushed home along with the rest of the pack1 it is advisable to actually remove the right hand for a short time1 the performer commencing to say what he is about to do with the cards4 ,when he subsequently brings the hands together again1 for the purpose of making the pass1 the thumb and second finger of the right hand should again nip the upper end of the pack4 ,a simultaneous twisting movement is made with both hands1 the right hand turning the pack to the right1 whilst the left turns the three cards to the left1 until they are clear of one another1 when the motions are reversed1 the three cards being placed either on the top or at the bottom1 as the performer may desire4 ,he will find it easier to place them at the bottom1 as they come more naturally there4 ,the position of the left hand remains the same throughout1 the three cards being held in position by the pressure of the little finger at the lower right-hand corner4 ,the making of the pass must be covered by a slight swinging movement of the two hands in any direction4 ,some performers1 finding it rather difficult to push home several cards into the desired position simultaneously and neatly1 make the pass each time a card is placed in the pack4 ,it is open to the learner to adopt this method if he so pleases1 but he is more liable to detection2 besides which1 the feature of the pass is the showing the cards all in different parts of the pack1 and then apparently pushing them home at one and the same time4 ,an alternative method is to push the cards down1 with the projecting corner on the thumb side of the left hand1 and then1 by straightening the cards at once1 leave half an inch or more of the whole width of the chosen cards projecting from the bottom of the pack1 instead of having them diagonally across the pack1 as is shown in illustration4 ,a trial will show the learner that this method is an expeditious one1 but my reasons against its use are twofold4 ,firstly1 too much of the cards to be passed is exposed1 and1 secondly1 the act of pushing them down is extremely likely to carry along with them indifferent cards intervening between two of them4 ,this is especially likely to be the case with cards that are at all worn4 ,the reason for this is that there is no stop to the body of the cards1 which stop is provided1 in the method shown at ,fig4 #cd1 by the little finger1 during the whole of the operation4 ,the act of pushing the cards transversely down1 from the opposite side of the pack to that depicted1 renders it impossible that the little finger can be in position on the lower side of the cards at the most critical time1 the commencement1 to prevent any but the desired ones from being pushed down4 ,its presence just at the corner seems to me to be very essential to the effective performance of the pass1 combined with security from mishap4 ,,the ,,false ,,shuffle4 ,this the conjuror will find a very useful adjunct to the pass4 ,there is nothing very difficult about it1 but it is necessary to be somewhat bold in executing it4 ,the two methods of shuffling in ordinary use are the perpendicular and the horizontal4 ,the perpendicular is the most business-like1 and ,i have no doubt that it is used by most of my male readers who are card-players4 ,ladies1 ,i am aware1 mostly patronise the horizontal shuffle1 in which the cards are passed from right to left1 or vice vers1 alternately over and under4 ,to illustrate the perpendicular method1 suppose the card to be at the bottom of the pack1 just passed there1 and it is desired to keep it in that position4 ,by applying pressure with the fingers and thumb1 the top and bottom cards will be retained in the left hand when the right hand draws away the rest of the pack1 which is then shuffled over the two4 ,the operation can be repeated hundreds of times without fear of a mistake4 ,with the card at the top1 the action is more complicated1 though not difficult4 ,the pressure with thumb and fingers must be made as before4 ,this will bring the chosen card from the top to second from the bottom4 ,commence the shuffle a second time1 and the card will be the bottom one of those held in the right hand1 the one recently beneath it having been drawn off by the fingers of the left hand4 ,it now remains to continue shuffling vigorously until the chosen card alone remains in the right hand1 which then leaves it on the top of the pack in its original position4 ,for this shuffle1 which ,i prefer to any other1 ,i have to thank myself4 ,it is utterly impossible for the eye of anyone1 be he the most practised conjuror1 to follow the positions of the one card1 even supposing that an opportunity for minute investigation were allowed1 which it scarcely would be during a performance4 ,when exhibiting before a select company of extra sharp people who have vague notions of false shuffles and passes1 it is sometimes advisable to bring the chosen card to the top1 with one card or more above it4 ,you can then say1 ,now1 it is utterly impossible for me to know where the card is4 ,you see it is neither at the bottom nor next to the bottom 7throw bottom card off71 nor is it at the top 7throw as many cards off the top as are above the chosen card74 ,more than this the spectators can hardly expect you to do4 ,in the horizontal shuffle1 with the card at the top1 draw the card off between the first and second fingers1 and put all cards which are shuffled above it between the first finger and thumb4 ,this will form two packs1 divided by the first finger4 ,the final movement in the shuffle is the replacing the lower half on the upper2 but ,i prefer bringing this about by means of the pass4 ,with the card at the bottom1 one has merely to shuffle the cards in the ordinary way1 just taking care that the bottom card is shuffled last by itself to the top1 where it may be left2 or it may equally easily be shuffled to the bottom again by simply retaining it in the hand last4 ,this is the simplest shuffle of all1 but it will not deceive enlightened people4 ,i find it an excellent method to combine two methods of shuffling4 ,great rapidity of action should be studied2 everything1 however1 being practised very slowly at first1 until the proper method is secured4 ,the false shuffle is very useful in covering the pass4 ,the pass should be made1 and the shuffle at once proceeded with1 without allowing a fraction of a second to elapse4 ,leaving the beginner to overcome at his leisure the various difficulties connected with the mastery of single-handed passes1 ,i will describe some tricks performed by the aid of the pass1 assisted by the false shuffle alone1 commencing with the most simple4 ,lest the reader should say1 ,oh6 but no person in his senses would be deceived by that simple thing1 ,i will observe that he should endeavour to suit his audience to his skill4 ,the learner should commence by allowing a card to be selected from the pack1 which he then cuts near the centre1 and requests the person who selected the card to place it upon the lower portion4 ,he then replaces the upper portion1 taking care to allow the little finger to intervene between the two1 so as to be ready for the pass1 which must be made on the first opportunity1 and the pack handed to a spectator to hold4 ,now say that you will cause the card chosen to rise from the centre of the pack1 where it is supposed to be1 to the top1 and then let the holder of the pack show that such has actually been done4 ,by inserting the finger beneath the card before making the pass1 it will be brought to the bottom of the pack1 whither you can afterwards command it to go4 ,in these instances the effect will be spoilt if any shuffling takes place2 but1 in most of the following1 false shuffling should be resorted to1 attention being called to the fact that the cards are well mingled1 and that you1 therefore1 cannot possibly know the position of the chosen card in the pack4 ,to ,cause a ,card to ,show itself on the ,top of the ,pack4--,bring the card to the top1 and1 holding the pack in the right hand1 push it off with the thumb of the left hand about half an inch1 and then throw the pack violently on the table or floor4 ,the resistance of the air will cause the uppermost card 7the chosen one7 to turn completely over1 without losing its position4 ,the effect is very good indeed4 ,the ,attached ,card4--,bring the chosen card to the top1 and give the pack to be held by one corner tolerably firmly1 between the finger1 and thumb4 ,see that it is held neither too tightly nor too loosely1 and then suddenly strike the cards upwards with the hand4 ,give a good strong blow1 and all the cards1 with the exception of the top one1 will fly into the air1 the chosen card remaining in the fingers4 ,if the card is brought to the bottom1 the cards must be struck downwards to the floor1 which method certainly has the advantage of causing less litter4 ,the effect is increased if two cards are chosen1 one being brought to the top and the other to the bottom4 ,the cards are then struck--only moderately hard in this instance--sideways1 when the top and bottom cards will remain in the holder's fingers4 ,to ,catch ,two ,cards in the ,air1 out from the ,pack4--,a better way with two cards is1 after bringing one card to the top and one to the bottom1 to take the pack firmly between your own thumb and fingers1 and jerk it upwards4 ,this will cause all the cards to fly towards the ceiling1 except the top and bottom ones1 in a bunch4 ,before the cards fall1 you make a dash at them1 and affect to catch the two chosen cards in the air out from the rest4 ,this is a very finished illusion4 ,the audience1 having their eyes upon the pack1 do not notice the two cards between the performer's fingers1 but the dash at the pack must be made immediately4 ,the ,congenial ,aces4--,select from the pack the four aces 7four cards of any other denomination would serve equally well1 but aces are best for effect71 and allow the pack to be thoroughly examined for the purpose of showing that there are no others contained in it4 ,give one ace to one person1 another to a second person1 and the remaining two to a third4 ,have the first ace placed at the top of the pack1 the second at the bottom1 and the third and fourth in what the audience will suppose to be the middle of the pack1 but in reality between the top and bottom cards brought together by means of the pass4 ,as you turn to the third person holding aces you pretend to open the pack in the middle1 but in reality make the pass1 but without bringing the two portions together again4 ,the two remaining aces are thus innocently placed between the two already restored to the pack1 which you instantly close up1 whilst calling particular attention to the fact that you do so with all possible deliberation and slowness4 ,now command all four aces to join company in the centre of the pack4 ,on the pack being opened1 the command will be found to have been obeyed4 ,the trick can be varied by placing a red ace in the centre and a black one on the top or bottom1 and then causing them to change places by means of the pass4 ,but the most startling change of all is when two aces of one colour are placed in the centre1 and the two of the other colour1 one on the top and one at the bottom1 and then made to change places4 ,the company cannot realise that this can possibly be accomplished in so brief a space of time2 but it is simple enough4 ,it should always be produced as a final effect1 the performer saying1 ,now ,i will show you something more remarkable still4 ,he then places1 say1 the two red aces in the centre of the pack1 and one black ace on the top and the other at the bottom4 ,in order to convince the company thoroughly that things are as stated1 the pack is turned over and opened slightly1 fanwise4 ,in showing the cards thus1 it will be very easy to insert the little finger between the two red aces unperceived1 and the double-handed pass is made in the act of turning the pack over4 ,it is instantly placed in the hands of one of the company1 who may be asked to blow upon it1 or to perform any other operation equally unlikely to bring about any magical change1 and then the cards can be examined without the performer approaching them again4 ,but1 in such cases1 much depends upon how the pack is examined1 and it should always be done under the performer's directions4 ,for instance1 he would say1 ,on the top was a black ace2 will you please look at the top card now8--you will see that it is a red one4 ,at the bottom was also a black ace2 turn the pack over1 please1 and you will find a red one there also4 ,in the centre were two red aces2 kindly look there1 and you will find the black ones4 ,by this means1 the whole of the company are informed of what has taken place1 which would only be unsatisfactorily done if it were left in the hands of the temporary holder of the cards1 who only thinks of satisfying his own curiosity4 ,the single-handed pass 7,fig4 #bh1 c47 may be employed in this trick to great advantage1 whenever it is required to bring cards from the outsides to the centre4 ,where cards1 already in the centre1 have to be brought to the top or bottom1 the insertion of the little finger is necessary1 and so the double-handed pass has to be employed4 ,in such cases1 the employment of the pass depicted at ,fig4 #cc would be possible2 but the performer would have to execute it in a more masterly manner than ,i have yet seen exhibited4 ,for the first phase described1 the single-handed pass 7,fig4 #bh1 c47 is perfect4 ,two aces are placed1 one at the top and the other at the bottom of the pack1 and as the performer turns to the holder of the two others1 he executes the pass1 leaving the cards open1 precisely as depicted at ,fig4 #cj1 turning the hand slightly downwards1 so that the ace in the middle shall not be visible4 ,it then appears to the spectators as if he had merely opened the cards slightly2 and1 when the two aces are inserted1 the top half is allowed to fall to1 and the pack given there and then into the hands of one of the audience4 ,the ,reversed ,card4--,this is not at all a bad termination to a trick4 ,bring the chosen card to the top1 and then pass it to the bottom with the two-handed slip pass previously described2 but1 in passing1 cause it to turn upside down4 ,this1 it will be found on trial1 is very easily managed by keeping the face of the card always against the pack4 ,now make the ordinary pass1 and so bring the card to the middle1 and then throw the pack along the table1 when the chosen card will appear in the middle1 face upwards4 ,if you like1 you may ask the audience whether the pack shall be reversed and the chosen card found face downwards1 or vice vers4 ,it does not matter which is selected1 as it is only necessary to turn the pack over before spreading it out1 in order to bring about a reversal of affairs4 ,the ,travelling ,card4--,by attaching a hair to a waistcoat button1 and affixing the other end1 by means of a tiny bead of wax1 unperceived1 to the chosen card1 it can be made to walk out of the pack at the performer's command by a slight motion of the body4 ,the cards should be spread face upwards upon the table1 and the effect of one card disengaging itself from the rest is a very comical one4 ,the waxed end of the hair should be held in a finger nail1 so as to be at hand4 ,another method is to bring the card to the top1 and then1 holding the pack upright in one hand1 with the faces of the cards towards the audience1 pretend to pluck a hair from the head1 and then to wind it rapidly round the pack with the disengaged hand4 ,pretend to pull at the imaginary hair1 and1 with the first and second fingers of the hand which holds the cards1 work up the chosen card from the back4 ,the effect is very comical4 ,two or three cards1 selected by different people1 may be treated in the same manner1 when it is as well to come forward1 after the first card has risen1 and1 making the pass1 show that the chosen cards are not on the top4 ,before continuing1 the pass must be again made to bring the cards back1 the little finger having1 of course1 all the while divided the two halves of the pack4 ,the trick should be practised before a looking-glass to ensure that the working of the fingers is not observed4 ,it will be found necessary to allow the cards to well cover the finger roots4 ,the performer should stand well away from the audience1 and be certain that no one has a side view of his hand4 ,the ,lady's ,own ,trick4--,say that you have now done quite sufficient yourself1 and think it time someone else had a turn4 ,bring the card to any portion of the pack you please1 so long as you know where it is4 ,take sixteen cards from various portions of the pack 7you may have them selected if you please71 taking care that the chosen card is included in the number1 and arrange them in four divisions4 ,now1 say that this trick must be done solely by a lady1 and1 giving your wand to one of the fair sex1 ask her to point to any two divisions4 ,the exact words you will use are1 ,kindly tell me which two divisions ,i shall take4 ,the word take is intentionally ambiguous1 as1 if one of the two divisions pointed at contains the chosen card1 on which you are1 of course1 keeping a sharp eye1 you will understand it to mean that you are to take those two and continue with them4 ,if1 on the other hand1 they do not contain the card1 you will assume that they are to be removed1 and throw them aside accordingly4 ,two divisions will now remain1 and you ask the lady to point to one of them1 using the words1 ,now1 which do you prefer of the two8 ,this is1 again1 ambiguous1 and you can do as you wish about taking or leaving the division pointed at4 ,four cards now remain1 and you ask that two of them shall be selected1 and1 on two cards remaining1 you repeat the request4 ,if the chosen card is then pointed at1 you allow it to be taken up2 if the other1 remove it1 leaving the chosen card to be picked up by the chooser4 ,you must endeavour to impress spectators with the idea that it is all sleight-of-hand1 and never do it twice4 ,some tricks 7not very many1 though7 will bear repetition1 although it should always be avoided if possible4 ,if there is no help for it1 endeavour to vary the method as much as possible4 ,illustration3 ,,fig4 #ce4 ,another very rapid single-handed pass is depicted at ,fig4 #ce4 ,as it is only useful for passing one or more cards from the top to the bottom1 or1 rather1 from back to front1 it is not in general use1 but forms almost a separate trick by itself4 ,the cards1 which should not exceed twelve or fifteen in number1 should be held at the top corners by the first finger and thumb1 and the third finger inserted beneath the card to be brought to the front4 ,this card is then1 by means of the middle1 third1 and little fingers1 which hold it1 brought from behind and passed round the others1 care being taken to bring all together evenly4 ,in executing this pass1 the pack is first held up with the faces of the cards towards the audience1 and is then turned downwards for a moment4 ,when the pack is again held up1 it is seen that the front card 7the bottom one7 has changed4 ,the trick can be thus worked3 ,place secretly at the back of the pack three of any denomination of card1 say1 the fours4 ,at the front1 place the other four1 which suppose to be the four of clubs1 and request one of the audience to say into which other suite the card shall change4 ,you will know the order in which the three fours at the back are placed1 so you will only have to place the third finger beneath the one named and pass it to the front4 ,if it is the actual top card1 you will bring it forward alone2 but if it is the second or third1 those above it must come forward as well4 ,as this pass cannot be effected without noise1 it is always best to pretend to pass the card chosen as the one into which the original four is to change from some cards held in the other hand4 ,ruffle these cards with the thumb and say1 ,did you not hear it go8 ,the slight noise heard will be accounted for by the cards passing from one pack to the other4 ,if a duplicate four of clubs is held at the bottom of the second pack1 it can be exhibited as the one changed in the other pack4 ,but the best trick performed by means of this pass is by the aid of two duplicate cards1 say1 the knave of clubs and the ace of hearts4 ,a pack must be held in each hand4 ,at the top of the right-hand pack put the ace1 and at the bottom the knave4 ,at the top of the left-hand pack put the knave1 and at the bottom the ace4 ,the cards at the top are placed there secretly2 those at the bottom openly before the audience4 ,hold the faces of the packs towards the audience1 and1 calling particular attention to the positions of the cards1 say that you will make them change places4 ,turn the packs face downwards1 with a flourish1 executing the pass with both hands1 saying1 ,presto6 pass4 ,did you not see them go8 ,on holding the cards up again1 it will be seen that the knave has gone over to the left-hand pack1 and the ace to the right-hand one4 ,this is very effective indeed4 ,,the ,,change4 ,this1 as a sleight-of-hand feat with cards1 takes precedence1 for bare-faced daring1 of1 perhaps1 any other4 ,it consists in deliberately exchanging a card held in one hand for another in the pack held in the other hand1 and this in full view of the audience4 ,such a feat may appear at first sight impossible1 but1 with a little attention and practice1 it will become as easy as any other1 although it will always demand some care and address in execution4 ,there are various methods by means of which the change is effected1 of which the following three are perhaps the best4 ,for simplification of description we will suppose that the ace of diamonds is to be exchanged for the ace of clubs4 ,first method3 ,hold the pack1 with the ace of clubs on the top1 in the left hand1 between the first finger and thumb4 ,the other fingers should be so disposed under the pack as to leave a space between the first and middle fingers4 ,this space1 is for the reception of the card to be exchanged1 in this instance the ace of diamonds1 which is held between the first and middle finger of the right hand4 ,to effect the change1 bring the hands momentarily together1 and place the ace of diamonds between the first and middle fingers of the left hand2 the thumb and first finger of the right hand taking1 at the same time1 the ace of clubs from off the top of the pack4 ,just before executing the change1 the thumb of the left hand should push the ace of clubs slightly off the pack1 so that it may be in a favourable position for the finger and thumb of the right hand to seize4 ,the action must1 of course1 be instantaneous and unaccompanied by the slightest hesitation or bungling4 ,there must also be an auxiliary movement of the body from right to left1 without which it is exceedingly difficult1 if not impossible1 to execute the change unperceived4 ,the left hand must also be taken away from the other1 at the same moment1 the feat being practised until it can be accomplished in one movement1 the hands not dwelling together for the most infinitesimal period of time4 ,the learner should first practise by saying to himself1 ,now here ,i have the ace of diamonds1 and1 by simply rubbing it on this table 7here give the body a half turn from right to left1 and execute change71 ,i will transform it into the ace of clubs4 ,this form of address should be used when exhibiting the change in this its most simple form before spectators4 ,the chief principle to be engrafted on the mind is1 that the first half of the change is performed with the right hand and the second half with the left--the two movements being interwoven1 as it were1 with the body swing4 ,on no account must the hands be brought suddenly together and then parted as if something had been snatched away4 ,this method is the one in general use1 and1 for ordinary purposes1 ,i can scarcely recommend any other4 ,by its means1 it is as easy to exchange two1 three1 or more cards for others as a single card4 ,the cut 7,fig4 #cf7 illustrating this change shows the two hands in actual contact4 ,it will be seen that the actions of leaving the one card and taking the other are simultaneous4 ,illustration3 ,,fig4 #cf4 ,illustration3 ,,fig4 #cg4 ,second ,method3 ,by the first method it will be seen that the card first shown is left1 after the change1 at the bottom of the pack4 ,this result is not always desirable4 ,when the cards have to be1 as is sometimes the case1 changed back into their former positions1 the card must be left at the top at each change4 ,in this instance1 the ace of diamonds must be held between the thumb and first finger of the right hand2 the ace of clubs being1 as before1 at the top of the pack1 and slightly pushed off by means of the thumb4 ,on the hands being brought momentarily together1 the ace of clubs is seized between the first and middle fingers of the right hand1 the ace of diamonds being left on the top of the pack4 ,the thumb of the left hand is utilised in detaining the ace of diamonds1 which1 without its use1 would probably fall on the floor4 ,the first finger of the left hand must be kept well out of the way1 or it will interfere with the smooth passage of the cards4 ,fig4 #cg represents this change just as the hands are brought together4 ,noise is more likely to be made by this change than by the preceding one1 so care must be taken to avoid it as much as possible4 ,the three card trick1 so much in vogue amongst card-sharpers in wheedling money out of the pockets of greenhorns1 becomes very amusing when worked by means of this change4 ,the usual shifting about of the cards upon the table must be executed in the most childishly simple manner1 which will not much matter1 as you will take care to speedily change the card to be found1 for one on the top of the pack4 ,when the spectators have amused themselves for some time in endeavouring to find out a card which is not there at all1 you will change it back again4 ,illustration3 ,,fig4 #ch4 ,third ,method3 ,hold the pack in the left hand1 with the ace of clubs at the top4 ,take the ace of diamonds in the right hand1 between the first and middle fingers1 and1 bringing it briskly across the pack from front to back1 take off the ace of clubs by means of the first finger and thumb1 the ace of diamonds being left in its place4 ,the little finger of the left hand should be curled up behind the cards1 and so prevent more than the top one being removed1 as will sometimes be the case if this precaution is not observed4 ,this change is shown at ,fig4 #ch4 ,besides the part it takes in regular set tricks1 the change is of the utmost utility to the conjuror in cases of emergency1 especially when he makes1 as he infallibly must at various times1 a mistake4 ,on eventually producing a card which turns out to be a wrong one1 the performer must not appear in the least discomfited1 for that would commit him at once1 but ask the chooser of the card if the one now exhibited really is what he or she states it to be4 ,of course1 an affirmative will be received in reply1 and the performer must say1 ,well1 ,i would not for worlds contradict you1 but really ,i think in this case you are wrong4 ,will you1 madam 7here give the card1 rapidly changed in the transit to someone else71 say if this card is the seven of diamonds1 which this gentleman says it is8 ,as it has been changed for the ten of hearts1 or whatever the desired card may be1 a laugh will ensue1 and it will appear as if the climax of the trick had been arrived at1 and no one will know that you intended doing anything else4 ,one of the great arts in conjuring is that of turning all mistakes and unexpected occurrences to the best advantage1 and a thorough knowledge of all the various artifices and dodges is necessary to accomplish this4 ,,the ,,palm4 ,palm a card6 exclaims the reader1 how can one possibly palm a card8 ,not after the manner of a coin1 certainly2 but1 after the proper method1 the palming of a card--i4e41 the concealing it unnoticed in the hand--is not at all difficult4 ,it is as important as1 and1 next to the pass1 more used than1 the other sleights with cards1 there being a continual demand for its assistance4 ,to palm a card in the right hand1 take it in the left1 across the middle1 and place it in the right1 so that the top left-hand corner is against the inside of the little finger1 and the bottom right-hand corner against the fleshy part of the thumb4 ,this pressure is quite sufficient to hold the card1 but other parts of the hand and fingers will render a slight assistance4 ,this1 unless one possessed an enormous hand1 would be impossible of accomplishment with the ordinary playing-cards1 hence the necessity for using those of smaller dimensions4 ,when the learner can palm the card tolerably well1 he should learn to secrete it from its position on the top of the pack1 under which circumstances the palm is mostly used4 ,the right hand must press upon the pack1 and when it is felt that the card is in position it must be slid off sideways1 not lifted4 ,the hand containing the card should not be held unnaturally flat1 but considerably curved1 care being taken not to bend the corners of the card to any extent4 ,the wand will1 as usual1 be of use here1 as1 if held between the finger and thumb1 it will assist in disabusing the minds of the audience of the idea that anything is contained in the hand4 ,it is not very likely that they will think so1 for the idea that it is even possible to hold a card in the hand1 without its being discovered1 never occurs to anyone4 ,the wand can also be held flat in the hand across the card1 which is as good a way as any4 ,palming is not by any means confined to a single card1 any number1 up to a whole pack1 being rendered invisible by this method4 ,when two or more cards are to be palmed from the surface of the pack1 they must be first slightly dislodged by the thumb of the hand holding them1 and held a very little--not more than a quarter of an inch--above the others1 just sufficient to enable the other hand to palm them rapidly without disturbing the pack4 ,the palm is1 of course1 executed right in front of the audience1 who never dream of what is going on4 ,to entirely vanish a pack1 take it in the right hand1 across the back1 lengthways1 the thumb being at one end and the fingers at the other4 ,stand sideways to the audience1 and1 bringing the hands together1 make a perpendicular swinging motion once or twice1 as if about to toss the pack towards the ceiling4 ,make a final and vigorous toss1 as if you had done so1 and1 with the left hand1 press the cards into the right hand4 ,the wand should be under the arm during this operation1 in order that it may be at once seized by the thumb of the hand concealing the cards4 ,if it be not handy1 the lappel of the coat must be brought into requisition4 ,it causes a good effect if the cards are afterwards found inside the coat of one of the audience1 with whom you affect to be displeased thereat4 ,you can also go down among the audience1 and pretend to give someone the pack with the left hand1 which must1 of course1 be so disposed as if it really contained the cards4 ,to do this requires a little confidence1 and care must be taken to hold the inside of the hand well towards the body1 or detection may easily ensue when one is quite surrounded by eager1 prying eyes4 ,the simplest trick performed with the use of the palm is to ask someone to look at the top card on the pack held in your left hand1 and to replace it4 ,in the right hand you have a card palmed4 ,ask the name of the card just looked at1 and1 on being told it1 affect surprise1 and say that you fancy there must be some little mistake--you feel quite certain that the card is not what it is stated to be4 ,of course1 the party who looked at the card1 and who probably allowed it to be seen by others1 will be positive1 so you say that you will show that you are right4 ,bring the right hand over the cards in a similar manner to that employed when about to perform the third change 7,fig4 #ch71 and1 with one movement1 leave the one palmed on the top and pick it off again4 ,the picking off will be done very slowly1 to show that you really do take the top card4 ,finish up by palming the card originally looked at1 and remarking that you cannot understand how the mistake occurred1 for here is the card in my pocket4 ,produce it from thence1 the hand containing the card being merely plunged into the pocket1 and slowly withdrawn1 holding the card in the tips of the fingers4 ,another very effective method is to stand sideways to the audience1 and hold the pack perpendicularly 7the length being horizontal7 in the left hand1 with the faces visible4 ,in the right hand have a few cards palmed1 with the faces towards the hand4 ,suppose the seven of hearts to be at the bottom of the pack in the left hand4 ,say that you can change it by simply passing the hand across it1 which you then do1 leaving one behind4 ,if two or three are left by accident it does not matter1 the chief object aimed at being smoothness4 ,care will have to be taken to have the end of the fingers of the left hand protruding well1 so as to be in readiness to take the card thus left on the seven of hearts4 ,the motion of passing the right hand over the left should be an upward one1 and the performer should practise to dwell as little as possible over the pack4 ,the palm is also invaluable when anyone insists upon shuffling the pack1 so as to make sure of mingling the cards well4 ,the card secure in the performer's hand1 the pack may be shuffled for a whole week without much harm being done4 ,with the palm and the pass shown at ,fig4 #ce combined1 a very pretty trick can be performed4 ,it is somewhat similar to one already described4 ,take four cards of any denomination1 and1 cutting the pack into two halves1 place one of the four at the bottom of one half4 ,place the remaining three at the top of the other half1 which give to be held by a spectator1 the three cards being previously palmed1 and put on the top of the other cards1 as you take them up to show the card at the bottom4 ,tell the person holding the cards1 which are supposed to contain the three1 to keep a very tight hold1 and1 tapping his pack with the wand1 affect to take one of the cards away and pass it into your pack4 ,give a flourish1 and pass one card to the front4 ,the slight noise made by the pass will not signify if you say1 ,ah6 you heard it go8 ,repeat this operation with each of the cards1 when you will show all four at the bottom of your pack1 whilst the three will be found to have vanished from the one given to be held by one of the audience4 ,the ,royal ,marriages4--,this is a very pretty variety of the foregoing trick4 ,take the four queens from the pack1 and place them on the table1 remembering the order in which the suits run4 ,take the four kings 7in the same order as the queens71 and have them put in one portion of the pack1 which you have divided as before4 ,if the kings are placed in the centre1 you can make the usual pass1 palm them1 and put them1 unperceived1 on the top of the other portion of the cards1 and then let someone shuffle till he is tired4 ,the trick now proceeds very much as before1 except that you commence operations by placing one of the queens on the bottom of the pack held by you1 which has the four kings on the top4 ,the lady is then supposed to call for her husband1 who1 as in duty bound1 arrives with all despatch4 ,then place another queen at the bottom1 and cause another king to arrive2 and so on until all have appeared4 ,the effect of this trick will be lost if the king of clubs arrives to console the queen of hearts1 and so on4 ,they must come together in suits4 ,as the pass employed in this trick becomes difficult to execute when many cards are held in the hands1 eight or ten only should be taken up in the first instance1 as eight will be added during the performance of the trick4 ,,the ,,slide4 ,illustration3 ,,fig4 #ci4 ,this is a very simple1 but not1 therefore1 any the less useful1 little deception1 which deserves to be brought more into use by conjurors than it is4 ,it consists merely in sliding back1 in a particular manner1 the bottom card of a pack1 with the fingers of one hand1 so that the other hand may remove the one next to it1 and yet appear to actually remove the bottom card4 ,the particular method of holding the pack is shown at ,fig4 #ci4 ,the cards are taken1 face downwards1 in one hand1 and the first and second fingers push back the bottom card to the extent of from half an inch to an inch4 ,damp a finger of the other hand1 and apply it to the bottom of the pack1 drawing away the last card but one instead of the last4 ,thus1 if1 as in the illustration1 the seven of hearts is at the bottom1 and the seven of clubs next it1 the red card will be exhibited to the audience at the bottom of the pack1 which is then turned over4 ,the seven of hearts is then ostensibly taken from the bottom of the pack 7the seven of clubs being taken instead71 and then made to change1 whilst covered by the hand of a spectator1 from the heart to the club suit4 ,this is the simplest form in which the deception can be employed4 ,it is very useful in demonstrating to the audience that a chosen card is neither at the top nor the bottom of a pack1 when it is actually at the bottom4 ,a card or two can be taken from the top1 and then a few from the bottom1 the actual bottom card being slipped aside4 ,after taking off cards in this manner1 always ask whether you shall take any more away1 and so disarm the suspicion that you know the position of the card1 and have only removed a certain number of cards so as to ultimately reach it4 ,should anyone not be satisfied1 but demand to have the pack turned over1 you must comply1 making the pass as you turn the cards over4 ,this will bring another card to the bottom2 but1 if you do not remove the finger from between the two portions1 the pass can afterwards be repeated1 and the cards brought back to their former positions4 ,this is a ruse which will naturally occur to most conjurors when performing4 ,,the ,,force4 ,this is the last of the elementary principles to be learnt1 and in a highly important one4 ,it is hardly a feat of sleight of hand1 although requiring considerable practice and determination to carry out properly4 ,the act of forcing a card consists in inducing the chooser of a card to select from those proffered by you any particular card you please4 ,as will hereafter transpire1 it is highly essential for some tricks that a particular card1 and none other1 be chosen4 ,the best method is as follows3 ,have the card which you desire to have selected at the bottom of the pack1 in which the finger is inserted ready for the pass4 ,as you advance for the purpose of presenting the cards1 make the pass and allow the middle finger to remain under what was the bottom card1 now somewhere in the middle4 ,spread out the cards1 keeping them in constant motion1 and as the chooser's hand is put forward to select a card1 the middle finger should run the desired card into it4 ,this action must be performed as naturally as possible4 ,there must be no distinct motion of pushing the card into the hand1 the cards being so manipulated that it always appears as if they were only just ready as the chooser's hand reaches them4 ,usually the difficulty of forcing a card is very small indeed1 persons unacquainted with the ruse taking the first card that reaches their fingers with charming simplicity4 ,in the event of a failure1 do not appear in the least degree disconcerted1 but force the card on some more tractable person1 and then ask a third party to choose between the two cards selected4 ,you will explain that your reason for having two cards chosen is to prove that you do not force any card1 and then say1 ,now1 which card shall ,i take8 ,if the card you want is indicated1 say1 ,this one1 then1 ,i am to use for my trick2 but if the other card is pointed at1 then say1 ,this card ,i am to take away1 and suit the action to the word4 ,by this means you will appear to have given the audience a free choice1 and at the same time obtained your own private ends4 ,the beginner is sure to be nervous in forcing a card1 and he must endeavour to overcome the feeling as quickly as possible4 ,some performers 7,i won't say conjurors7 use what is called a forcing pack1 viz41 a pack consisting entirely of cards of one particular kind1 which will1 of course1 be that which is required for the trick4 ,as1 however1 it is utterly impossible to allow such a pack to be examined1 and highly disastrous to allow any number of the cards to fall or otherwise become seen1 the conjuror should disdain to seek such adventitious aid as that afforded by a forcing pack1 the possession of which generally causes the appellation of duffer to attach itself to the owner4 ,with a command of the foregoing elementary principles the performer may attempt anything with the cards1 taking care1 however1 always to rehearse any new combination carefully1 lest it prove too much for him in the hour of trial4 ,as previously stated1 tricks with cards are without end1 and the conjuror may vary his causes and effects at will4 ,i give1 however1 a few of the most favourite tricks1 so as to afford an idea of what may be attempted by the learner4 ,la ,carte ,gnrale4--,this is1 perhaps1 as pretty a trick as can well be conceived4 ,force a card1 say the eight of hearts1 have it replaced in the pack1 and re-force it on someone else so far removed from the first chooser that the possibility of their seeing that they have both selected the same card is avoided4 ,have the card replaced in the pack and re-force1 repeating the operation four1 five1 or six1 or even more times1 according to the size of the room and number of the audience4 ,now and then it is as well to pass the card to the top1 palm it1 and then have the pack shuffled by one of the audience1 or1 at least1 to shuffle it yourself4 ,when you have forced the card a sufficient number of times1 bring it finally to the top of the pack1 from which select haphazard a card4 ,show this card to one of the choosers1 and ask if it was the one selected4 ,a negative will of course be given4 ,look neither surprised nor satisfied1 merely exclaiming ,no8 inquiringly4 ,show the card in turn to each of the persons who selected1 asking if it belongs to them4 ,when you have completed the round1 turn to the first chooser1 changing the card unperceived for the one 7the eight of hearts7 on the top of the pack1 and holding it in front of the person1 face downwards1 so that no one can see what it is1 say1 ,well1 since this card belongs to nobody1 will you kindly tell it to go away8 ,as the words go away are uttered1 run the thumb sharply along the edges of the cards held in the left hand1 and flip the eight of hearts with a finger of the right hand1 so leading the audience to believe that some miraculous change had taken place4 ,now hold the eight of hearts to the person whom you addressed1 saying1 ,is not that your card8 ,on receiving1 as you will1 a reply in the affirmative1 turn the card face downwards and proceed to the next chooser of a card1 and so on1 until all are satisfied4 ,as all are supposed to have chosen different cards it is imagined that each card is invisibly changed for the next one required4 ,commence another trick immediately1 or otherwise divert the attention of the audience1 or the drawers of cards will begin to compare notes1 and so discover that they all drew the same card4 ,although this discovery does not actually spoil the trick1 it diminishes the effect immensely4 ,it adds to the effect of the trick if the performer pretends to place each card1 as chosen1 upon a table1 or other prominent place4 ,upon each occasion1 however1 he must change the forced card for an indifferent one4 ,the last time the eight of hearts is actually placed with the rest4 ,the supposed chosen cards are then held up1 fanwise1 together1 and the choosers asked if they do not see their cards amongst them4 ,as they all see the eight of hearts1 they reply in the affirmative1 and thus the idea that only one card has been selected is very unlikely to be entertained4 ,to effect this valuable addition to the trick1 great facility with the change is absolutely necessary1 as it has to be so frequently executed4 ,the ,sympathetic ,cards4--,palm a few 7say1 four7 cards1 and ask one of the audience to take any number1 without any reference to their specification1 from the pack4 ,suppose eight are taken3 how many is quite immaterial4 ,borrow a handkerchief2 and after satisfying all that there is nothing whatever in it1 ask for the eight cards1 to which number add1 unperceived1 those you have palmed1 and place the whole in the handkerchief with great deliberation4 ,fold the handkerchief up1 and ask someone to hold it very firmly4 ,now have some cards drawn from the pack4 ,any number you please1 you will say carelessly1 taking particular care that neither more nor less than four are chosen1 the force being here brought into play4 ,you now ask the person who selected the first batch how many are in the handkerchief1 and the answer in this instance will be eight4 ,eight1 and four ,i have here1 will make twelve1 will they not8 ,now1 sir1 addressing the party holding the handkerchief containing the cards1 please to keep a firm hold whilst ,i pass these four cards into the handkerchief to join the other eight4 ,make a movement as though you threw the cards towards the handkerchief1 palming them1 and then have the handkerchief opened and the cards counted4 ,the beauty of the trick is that the audience apparently selects the number of cards in each instance1 the idea of any previous calculation on your part taking place being thereby precluded4 ,be careful to call attention to the number of cards in the handkerchief1 and to the number to be passed into it1 or the effect of the trick will be lost4 ,this trick is sometimes performed without a handkerchief1 the cards being given to be held in the hand only4 ,which method is the better is purely a matter of opinion1 and the learner may follow which he pleases4 ,do not allow the drawer of the second batch of cards to examine the faces of them1 or it will be noticed that they did not pass into the handkerchief1 should anyone be 'cute enough to look for them4 ,this possible contretemps can be avoided by having duplicate cards palmed in the first instance1 in which case the faces of the cards should be shown to the audience1 who will be asked to remember them4 ,this is decidedly an additional feature to the trick1 but it entails far more trouble4 ,it is for the learner to try these little things1 and then retain or relinquish their use as he finds it assist or trouble him4 ,another way of performing this trick is to ask one of the company to count thirty cards from the pack1 and then to cut them roughly into two parts4 ,taking one of the parts1 ask a spectator to count them4 ,suppose the number is sixteen4 ,taking them momentarily in the hands1 for the implied purpose of describing exactly what you wish done1 you place the four palmed cards upon the sixteen1 and then instruct the spectator to hold them very securely4 ,now count the other heap4 ,there will be fourteen cards1 which number you announce to be quite correct1 sixteen and fourteen together making thirty4 ,pick the cards from the table1 and1 in giving them to someone to hold1 palm off four1 taking the wand in the hand to cover the constrained position of it4 ,now you command four cards to pass from the heap last picked up to the one first given to be held1 and1 when the cards are counted1 this will be found to have taken place4 ,the trick may be reversed with success2 the ten heap having the palmed cards secretly put back1 and given to be held again1 the twenty cards heap having four abstracted before being finally parted with4 ,the cards are then commanded to go back to their original places4 ,this method will possibly be found more difficult than the first one1 in which a handkerchief is used4 ,the ,permeating ,card4--,have a card chosen1 and1 bringing it to the top1 palm it4 ,ask someone who is seated to hold the cards in two hands1 over the head1 holding the pack in the desired position1 and about six inches beyond the person's reach4 ,this will cause him to rise slightly from his seat1 when you instantly slip the card beneath him1 saying at the same1 ,no1 don't stand up2 pray be seated1 and allow the pack to reach his hands4 ,the attention of the audience must be directed to the pack1 or the action of placing the card beneath the holder will1 perhaps1 be perceived4 ,the manoeuvre requires a little care in execution1 and it will be necessary to be as close as possible to the person operated upon1 and at his side4 ,ask for the name of the card1 and then command it to pass through the holder of the pack1 who1 on rising at your request1 will find that he has been seated upon it4 ,this trick usually causes much hilarity4 ,divination of ,thought4--,this is an ambitious and daring experiment4 ,hold the cards upright1 and fanwise1 before one of the audience 7a lady for choice71 and run them rapidly from right to left1 or vice vers1 in such a manner that only a very small portion of each card1 one excepted1 is visible4 ,the bottom1 or front1 card is carefully concealed by the hand1 so that it cannot be seen4 ,the cards are run so rapidly across that it is impossible to recognise any of them by the very small portions of them exhibited by you2 but one you allow to be very much exposed1 and on that one you place a finger1 and continue pushing the rest over in a rapid manner4 ,whilst thus running the cards across1 you ask the lady to kindly think of any one of the cards she sees4 ,as you take good care to show only one card1 you may rest assured that that is the one thought of1 although it is advisable1 on being told that a card has been thought of1 to inquire if it were actually seen in the pack4 ,keeping the finger on the card1 turn the pack over1 and then make the pass4 ,the card can then be produced after any method the performer pleases1 but he should first ask the name of the card 7at which he has taken a glance71 as there is considerable uncertainty about forcing a card upon a person's notice in this manner4 ,in the event of the chooser naming a card other than that manipulated by the performer1 he must at once look through the pack for it1 and first palming it1 boldly declare that it is not in the pack1 which he will give to be inspected4 ,the card named can then be produced from someone's pocket1 c4 ,the method of passing the cards fanwise from side to side1 so as to expose the face of one card only1 should be practised in front of a looking-glass until the learner is perfect4 ,perfection is the only degree in which it is allowed to exhibit conjuring tricks1 especially those with cards4 ,to ,cause a ,card to ,appear in any ,position in the ,pack1 ,counting either from the ,top or from the ,bottom4--,this1 a very favourite diversion in card tricks1 is capable of being performed in many ways1 the best of which are given here4 ,the method of procedure is to bring the card either to the top or the bottom of the pack1 after due shuffling1 c41 and then to ask one of the audience to name the position in which it is to appear4 ,if you have brought the card to the bottom1 then say1 ,at what number from the bottom shall the card appear8 ,it will not answer to count it from the top4 ,suppose the fifth card is decided upon1 all you have to do is to slide back 7,fig4 #ci7 the bottom card1 which is the selected one1 and draw away the next card instead4 ,when four have been thus extracted1 draw away the card itself1 and the trick is done4 ,this is the only method used when the cards are counted from the bottom4 ,in counting from the top proceed as follows3 ,method #a3 ,bring the card to the top and then make the pass in such a manner that the two halves of the pack are facing each other1 after the method previously described in dealing with a single card4 ,this will cause nothing but the backs of the cards to be visible at both top and bottom4 ,hold the pack in the left hand with the thumb turned underneath it1 and the fingers curled round the front side4 ,the selected card is at the bottom1 and it is required to produce it fifth4 7,for the sake of simplicity1 ,i will suppose that the card is required in this position in each of the methods given47 ,count off1 one by one1 four cards from the top1 and then1 whilst affecting to examine the last one1 or to recount those taken off to make sure1 thus drawing attention away from the left hand1 turn the pack rapidly over4 ,this will bring the chosen card atop1 and you have then only to take it off and show it4 ,the reversion of the pack must be very rapidly and quite noiselessly made1 and care must be taken that the cards set evenly at the edges1 or the audience will perceive that one half of them are reversed3 and although the elucidation of the trick will not of necessity follow1 yet it is just as well to avoid the discovery if possible4 ,if the pack be at the same moment handed to one of the company1 with a request to have the next card looked at1 to see if it be the right one1 the action of reversing will be less likely to be remarked4 ,method #b3 ,bring the card to the top1 and hold the cards in the left hand as if about to deal them4 ,do not hold them quite squarely1 but let the thumb push off the upper ones in such a manner that each card overhangs slightly the one beneath it4 ,now commence to take off apparently the top card1 but in reality the one immediately beneath it4 ,this is accomplished by exerting more power with the first finger of the right hand than with the thumb thereof1 the thumb of the left hand at the same time putting sufficient pressure on to the top card to detain it in its position4 ,the top card is taken off with much ostentation1 when it is required for production4 ,this deception is capable of immense development1 if assiduously practised1 it being possible to deceive those who actually know what is taking place4 ,if the learner has this method at his command1 he need never resort to any other1 for he will never be discovered4 ,this practice of dealing the second card in lieu of the first is a common dodge amongst card-sharpers1 who are thereby able to retain all the good cards1 which they have previously marked1 for themselves4 ,i strongly recommend the adoption of this method in preference to all others1 but it must be well executed4 ,method #c3 ,bring the card to the top1 and count the cards off in regular order one by one4 ,as the first card removed 7now the lowest of those dealt off7 is the selected one1 the fifth will naturally be a wrong card4 ,you appear surprised1 and say that you must have made some mistake in the counting4 ,gather up the five cards1 the selected one being at the bottom1 replace them on the top of the pack1 and ask the chooser of the card to count them off himself4 ,this time1 the card will1 of course1 turn up in its proper place4 ,this is the simplest of all the methods1 and is now and then seen through2 but not often4 ,on counting the cards off for the first time1 they must on no account be turned face upwards4 ,if this were done1 it would be at once perceived that the chosen card was on the top in the first instance4 ,method #d3 ,bring the card to the top1 and hold the pack in the left hand1 in a position similar to that shown at ,fig4 #ch1 the little finger being in this instance not curled up behind the cards4 ,place all four fingers of the right hand well over the top card1 almost covering it1 and the thumb well under the bottom card4 ,draw the hand sharply away1 bringing with it the bottom card by means of the thumb1 which it will be as well to damp a little unperceived4 ,the rapid motion will prevent the audience from noticing what has actually taken place4 ,when the time has arrived for so doing1 show the chosen card very slowly indeed1 or even ask one of the audience to remove it1 to show that it really is in the desired position4 ,in counting off the underneath cards1 use a fair amount of rapidity1 and be careful not to draw away more than one card at a time4 ,the action of drawing off the cards must be made towards the body1 and not outwards4 ,method #e3 ,bring the card to the centre of the pack1 keeping the finger upon it1 and1 when you have counted off four cards1 make the pass1 thus bringing the card to the top4 ,this method should only be used when some sharp person insists upon looking to see if the card is at the top or bottom of the pack4 ,after bringing the card to any number from the top or bottom1 you can offer to perform the still more surprising feat of causing it to appear at any place indicated by the insertion of a pen or paper knife between two cards4 ,to perform this feat1 which1 by the way1 is a variation of my own1 hold the pack as in ,fig4 #ci1 face downwards1 and1 presenting the end to one of the audience1 ask to have indicated the place in which the card is to appear4 ,when this is done1 hold the bottom portion by the finger and thumb of the left hand1 across the cards2 and insert the first finger of the right hand1 which is1 of course1 holding the upper portion1 into the space made by the instrument of indication1 from the front4 ,ask whether the person is quite sure that the place indicated is the right one1 and whether another would not be preferred4 ,this is to show that it really does not matter what position is indicated4 ,on receiving a reply in the affirmative1 draw off the top half rapidly1 bringing with it1 by means of the ends of the fingers1 as taught in describing the slide1 the bottom card also1 and hold the whole up to the audience4 ,this manoeuvre defies detection1 and possesses the advantage of bearing a fair amount of repetition4 ,before commencing1 it as well to show that the card is neither at the top nor the bottom4 ,as it is at the bottom all the time1 the slide will have to be brought into play1 in order to enable another card to be drawn away from the bottom and exhibited4 ,what lends great finish to the trick is the bringing the first finger over the ends of the upper cards1 as by this means the slipped card can be immediately brought close against the others1 and not allowed to stand out away from them1 which would give the audience the idea that the trick had been clumsily performed1 even if it did not afford a clue to the secret of it4 ,card-boxes4--,a well-known1 but1 when well executed1 very effective1 trick is performed with the aid of one or two boxes1 known as card-boxes4 ,they are about half an inch deep1 and sufficiently large to hold a card very easily indeed2 that is to say1 there is a good eighth of an inch to spare all round the card when it is in the box4 ,the boxes are black inside1 and are furnished with a thin piece of wood1 also blackened1 which is placed loosely within and fills up the entire interior space4 ,this piece of wood is the secret of the box1 for by its means a card is made to appear and disappear4 ,suppose that the box is wide open1 and in the right-hand half is placed the card1 whilst the left-hand half contains the piece of wood4 ,if1 on the box being closed 7which movement must be rapidly executed1 or the wood may unexpectedly fall out7 the left-hand half is turned over on to the right-hand half1 the card contained in the latter will necessarily be covered by the blackened piece of wood1 and will appear to have vanished entirely when the box is re-opened4 ,by simply turning the box over1 the card will be made to appear4 ,the trick is performed by means of a duplicate card1 which can either be forced1 and1 after being placed in the box1 made to return invisibly into the pack whilst the latter is being held by one of the audience1 or the box may contain one of the duplicate cards in the first instance4 ,the other one can then be forced1 replaced in the pack1 brought to the top1 and palmed4 ,the pack may then be examined1 after the card has been shown to be in the box1 to prove that it really has gone from it4 ,the proper time for replacing the card in the pack is immediately after the person has finished the examination4 ,you take the cards from him1 and1 placing the palmed card on the top of the pack1 make the pass1 and so bring it to the middle2 you can then perform the operation of passing it invisibly from the box back again to the pack1 where it will1 of course1 be found4 ,opinion is divided on the question of handing the box or boxes round for examination4 ,if this is done1 the trick decidedly attains lustre thereby1 but1 of course1 the false wooden bottoms must be concealed about the performer's person1 and slipped in whilst retiring to his table4 ,in showing the boxes round with the false bottoms in them1 keep a finger on the latter1 and knock the boxes about a good deal with the wand to show they are solid1 c4 ,in passing the card1 either from box to pack1 or vice vers1 make a great show of taking it from either place by means of the wand1 on the end of which you seriously declare you can distinctly see it4 ,conjurors are able to make great capital out of doing simply nothing at all2 and as it is impossible1 when performing with nothing1 to make any mistakes1 then is the time to do the most extraordinary things4 ,the trick with the boxes can be varied by having two duplicate cards of different denominations1 one of each kind being concealed in a box4 ,say the cards are the six of clubs and king of hearts4 ,force these cards from the pack and place the drawn king in the box containing the six1 and the drawn six in the box containing the king4 ,you have only to turn the boxes over to effect the change1 although you of course affect to bring it about by magical means4 ,you may then remove one six and one king from the boxes1 leaving one of each still concealed1 and1 placing them in the pack1 bring them to the top1 palming them and proceeding as directed for one card only4 ,this makes a very pretty trick4 ,the boxes are best purchased from a conjuring repository1 where they can be obtained cheaply4 ,to ,throw a ,card4--,in a large room1 throwing cards from one end to the other has a very good effect4 ,it is astonishing how few people can throw a card1 seeing how easy the feat becomes with a little practice4 ,but ,i suppose it is just this practice which stands in the way4 ,the card should be held across its end1 the end of the first finger just turning the outside corner4 ,when in position for throwing1 it should rest upon the middle finger1 which will be curved slightly for the purpose4 ,bend the arm back until the card almost touches the chest1 and then throw it with considerable force from you1 taking care to give it a spin with the end of the first finger4 ,if this spin1 the secret of the feat1 is not given1 the card will not travel three yards1 whereas a good thrower can send one thirty or forty4 ,for long throws1 ordinary heavy cards should be used1 but care must be taken to elevate the trajectory1 as such cards hurt severely when they strike the face with full force1 and serious injury might result if one struck the eye4 ,mehy used to place one card across the back of the left hand1 and flick it off with the first finger of the right4 ,people with strong fingers may try this method1 which will1 however1 never send the cards farther than eight or ten yards4 ,some throwers merely seize a corner of the card between the finger and thumb1 whilst others hold it between the first and second fingers--the latter being a favourite method4 ,the ,revolution4--,this1 as an interlude1 has a very pretty effect4 ,take a full pack of ordinary cards1 and throw them obliquely on the table1 so that they spread nearly across it1 each card resting upon the one next it4 ,run the eye along the cards1 and see they are all even1 as a break will spoil the feat4 ,place the hand well under the first 7the lowest7 card1 taking care not to disturb the position of those immediately next to it1 and turn it suddenly over in the direction of the other cards1 which will1 each in its turn1 be made to reverse their positions on the table4 ,the first card must be more pushed than lifted over2 indeed1 that end of it which is towards the other cards must always remain on the table as if hinged there4 ,if they have turned over in good order1 they may be turned back again by the same means4 ,the success of the feat depends upon the neatness with which the cards are thrown down in the first instance4 ,simple as it appears1 very few persons can execute it neatly1 or with many cards4 ,when the line is very long1 considerable force will have to be applied in turning over the first card4 ,the cards may also be spread in the shape of an arc1 which has a still prettier effect1 but considerable practice will be required in laying the cards out4 ,a more difficult method still is to lay the cards along the forearm1 and turn them over there4 ,many will be the spills1 however1 in practising this feat4 ,prepared ,cards4--,under the heading of ,sleight of ,hand1 the words prepared cards may seem out of place2 but one of the chief articles in my creed is that a conjuror should know everything appertaining to his art4 ,besides this1 many tricks with prepared cards require considerable sleight of hand in their performance2 and not infrequently their introduction is the means of defeating an antagonistic and inquisitive element which will sometimes introduce itself into an audience1 members of which possess just that little knowledge which is said to be a dangerous thing4 ,cut ,packs4--,in some instances1 it is very useful to have the edges of the cards shaved off obliquely1 so that one end is broader than the other4 ,when a card is taken from the pack1 the performer should watch and see if it is turned round whilst in the possession of the drawer4 ,if it be not turned1 then he must reverse the position of the pack before the card is returned to it4 ,the cards may then be shuffled any number of times1 and the performer will always be able to find the card by the fact of its broad end being where the other cards are narrow4 ,this ruse is but little known among amateurs4 ,it saves a good deal of passing1 but it will not obviate the necessity for forcing4 ,long and ,broad ,cards4--,this1 a most useful preparation1 consists merely in having one or more cards in the pack a shade longer or broader than the others4 ,i1 myself1 never use more than one card so prepared4 ,when not forced1 or otherwise actually in use itself1 it is very useful to place over or beneath other chosen cards1 which will1 by its means1 be easily found when wanted4 ,my preference is in favour of a broad card1 as opposed to a long one3 it is more easily found by the finger when preparing to make the pass4 ,as one cannot procure single cards longer or broader than others1 it will be necessary to have the other cards shaved down a little1 omitting1 of course1 those intended to be longer or broader than the rest4 ,it is not necessary to go to a card manufacturer in order to have these operations of cutting and shaving performed2 any stationer or card-plate engraver1 who possesses a paper-cutting machine1 will be able to do all that is desired4 ,pricked ,cards4--,an excellent method for detecting given cards is to have them pricked in the corners1 very nearly through1 with a needle4 ,the hole1 or1 more properly speaking1 the indentation1 should be made on the back of the card1 so that the face presents a little mound to the touch4 ,the card should be marked in each corner1 so that it will not matter which end of it comes to hand first4 ,when it is desired to mark more than one card in the same pack by this method1 one card should have one hole in each corner1 another card two holes1 another card three holes in a triangular form1 another card a line of holes along each end1 and so on4 ,it will1 however1 be seldom necessary to mark many4 ,card cheating is to this day often practised by this means1 cards of value of a certain suit being detected by the dealer as he deals them out4 ,the ,chameleon ,card4--,have two cards chosen1 and bring one to the top and one to the bottom4 ,take the pack1 face upwards1 and make the single card slip pass from top to bottom1 reversing the card during the process4 ,this will bring the two chosen cards back to back4 ,openly take them up by one corner1 but show only one card4 ,ask the name of the other card1 and1 blowing on the two in the hand1 turn them rapidly round1 and thus show the one at the back4 ,replace the cards at once in the centre of the pack4 ,care will have to be taken that the cards are very even when back to back1 or it will transpire that two cards are in the fingers1 and not one only4 ,this trick is sometimes performed with the aid of prepared cards1 the two--duplicates of which must1 in this instance1 be forced from the pack--being gummed together back to back4 ,supposing the cards to be queen of hearts and ten of spades1 the performer would thus proceed3 ,bring the ten to the top1 and the queen to the bottom1 unknown to the audience4 ,produce1 as a single card1 as if taken from the pack 7you will1 of course1 have them concealed about you71 the prepared cards1 showing the audience the ten4 ,in the left hand you will hold the pack1 displaying the queen4 ,prepare for passing the ten 7vide ,fig4 #ce71 which is at the back1 to the front1 and then say1 ,hey1 presto1 pass6 ,turn the prepared cards rapidly round1 and at the time execute the pass1 when the change will have been effected4 ,palm the prepared cards1 and give the pack round to be examined4 ,this method is useful when the performer is able to execute the pass peculiar to the trick with one hand only4 ,as this is a very pretty effect1 which may be introduced in all manner of emergencies1 two illustrations are given 7see ,figs4 #dj and #da74 ,illustration3 ,,fig4 #dj4 ,illustration3 ,,fig4 #da4 ,a very excellent variety of this trick is that described by ,houdin in his work on ,conjuring1 and communicated to me by ,professor ,hoffmann1 to whose research the conjuring world is not a little indebted4 ,most of us have seen the three cards forming a portion of the marvellous and heterogeneous pennyworth offered to the public by a versatile itinerant vendor4 ,when spread open one way1 the seven of spades only is visible1 and on being shut up and opened the reverse way1 graceful female figures or donkeys' heads meet the view2 ,houdin's trick is framed upon this model1 but1 of course1 very much elaborated and improved4 ,indeed1 it was a peculiarity of ,houdin's that he never did touch anything without improving it4 ,the directions for the trick under notice are as follows3 ,have a pack made with plain white backs1 each card being divided by a line diagonally from corner to corner4 ,of the halves thus formed1 one is to represent queen of spades1 and the other the ten of hearts4 ,on the back of each card paint the ace of clubs4 ,have a heap of cards near you1 the three uppermost cards of which are duplicates of those in the prepared pack1 arranged in an order which is known to you4 ,if you prefer it1 these cards can at first be forced from an ordinary pack1 and then given to be held in the audience1 which heightens the effect of the trick4 ,take one of the three cards--for example1 the ten of hearts--and1 after showing it to the audience1 say that the fact of placing it with those held in your hand 7the prepared pack7 will change them all into tens of hearts4 ,taking care that the ten of hearts halves are farthest from you when the cards are held faces downwards1 as they must be1 place the card at the bottom1 and1 after a little nonsense1 spread them all out fanwise1 with the faces towards the audience4 ,close them again1 and remove the ten of hearts4 ,then take up next card1 the queen of spades1 and place that at the bottom1 having previously taken care to turn the pack round so as to bring the court card halves to the fore4 ,repeat the operation of opening the cards as before1 and reclose them1 discarding the queen4 ,now take up the ace of clubs and place it at the bottom1 or anywhere else you please4 ,give the cards a flourish1 so as to enable you to turn them completely over1 and then open them once more1 this time displaying the backs to the audience4 ,it is as well to have the top card of the prepared pack quite plain at the back1 as it is not always possible to avoid showing it whilst performing the trick4 ,when the aces are shown1 this card can be passed to the middle1 where the absence of an ace on its centre will not be noticed4 ,the beauty of this trick is considerably enhanced if the prepared pack be palmed1 and another ordinary one shown round for examination4 ,when this pack is returned to you1 you place upon it the hand in which the prepared cards are palmed1 and1 saying1 ,now ,i take a few cards from this pack1 affect to do so4 ,this at once disarms all suspicion of any preparation4 ,there is no necessity for using more than eighteen or twenty prepared cards1 and that number can easily be palmed with a little practice4 ,some advise changing the packs altogether1 but this method ,i cannot recommend1 as it entails a deal of extra trouble1 without a commensurate meed of effect4 ,in ,grand ,magic1 a method for changing packs of cards will be described in its place1 and the learner can then choose for himself4 ,when well executed1 there is no prettier trick than the one described above4 ,the ,travelling ,cards4--,this is a pretty trick1 and one that is always much commented upon by spectators who have seen it neatly performed4 ,the performer has a couple of cards chosen1 which he brings to the top of the pack2 then1 addressing the company1 he refers to the notion that the sleeve of the coat is employed by conjurors for their concealment4 ,he deprecates the attempt1 made by many performers1 to deny the immense aid afforded by this portion of the attire1 especially for the effective concealment of eggs1 pigeons1 cannon-balls1 and other articles equally easy of manipulation 7this as sarcastically as he pleases71 and says he will now proceed to demonstrate1 conclusively1 in what way the sleeve is employed4 ,so far from there being any difficulty1 ladies and gentlemen1 in concealing cards1 in the sleeve1 for instance1 it is a very easy matter to cause them to travel up or down with great rapidity1 and invisibly4 ,my waistcoat1 as you see1 contains nothing4 ,the performer cannot very well unbutton and open his waistcoat before the company1 so1 to show it is empty1 he places his hand inside1 and performs the action of emptying sufficiently vigorously to dislodge anything that might be there4 ,he next palms a dozen or more cards from the top of the pack1 and then1 extending the left arm1 ruffles the edges of the remaining cards4 ,this act1 he explains1 has had the effect of sending a card up his sleeve1 and he affects to watch its progress4 ,a jerk of the arm is made1 the contraction being caused1 the performer says1 by the passage1 by the card1 of the elbow4 ,plunging the right hand into the vest1 the cards palmed are dropped there1 one card only1 taken from the bottom1 being slowly extracted4 ,a second card is made to pass in the same way1 and another indifferent card extracted4 ,the performer now asks the choosers of the two cards on the top at what numbers they shall pass up the sleeve4 ,this feat is easy of accomplishment1 as the cards are taken from the bottom until the proper number has been reached4 ,when the cards in the vest have been exhausted1 more can be palmed1 and the operation continued until all the pack has been employed2 but this finish is by no means necessary to the success of the trick1 which may be considered concluded when the two selected cards have been withdrawn1 although it is as well to continue passing cards until no more are left in the vest4 ,the ,assembly4--,in this trick1 four cards are laid separately on the table1 in a row1 and upon each card three more are placed from the pack1 making four heaps of four cards each4 ,the company themselves select one of the four heaps1 which is found to consist entirely of the four cards that were only just previously laid upon the table1 apart from each other1 the remaining three heaps consisting of four different cards each4 ,to accomplish this1 the performer commences operations by picking out of the pack four cards of any one denomination1 say1 the knaves4 ,this is far better than having four different cards selected1 as the trick is one of startling effect1 and four picture cards are better for the purpose1 apart from the fact that no one in the company is called upon for an effort of memory4 ,the performer gives the four knaves to one of the company1 and seizes an opportunity for palming three cards4 ,he now allows the four knaves to be placed upon the top of the pack1 which he holds in the left hand1 supplementing secretly the three palmed cards4 ,he then proceeds to deal off the four topmost cards1 one by one1 placing them in a row1 divided by a few inches1 saying1 as he does so1 ,here ,i place one knave1 here a second1 here a third1 here a fourth4 ,after he has placed the fourth card1 which will naturally be the only one of the four that is really a knave1 upon the table1 he pauses for a moment or two1 and then turning it over remarks1 pensively1 ,ah6 the knave of diamonds1 or whichever it may be4 ,this is really to let the spectators see the only knave there is1 in order to convey the impression that all the rest are knaves also1 they being led to fancy the performer looks at the suit of it for the purposes of the trick4 ,the remaining three knaves are now1 of course1 on the top of the pack1 the three palmed cards and one knave having been removed from above them4 ,it is open to the performer to place these three at once on the top of the fourth knave1 and this is generally done1 but ,i do not at all advise it4 ,invariably make a pass at this point1 so as to bring the three knaves to the centre of the pack1 keeping the place where they are well defined by a finger1 or by a break in the pack4 ,i then place the three cards now on the top upon one of the three ordinary cards1 emphasising the fact that they come from the top4 ,i then open the pack a little lower down1 and taking three cards from there1 place them upon another ordinary card4 ,the middle of the pack1 where the three knaves are1 is now reached unsuspiciously enough1 and they are1 of course1 placed upon the fourth knave4 ,three more ordinary cards1 from still deeper down in the pack1 are placed upon the remaining ordinary card1 as much deliberation being paid to this last card as to any other1 or the conjuror's manner may reveal that he has accomplished what he wanted1 however unknown its precise nature may be4 ,the selection of a heap then proceeds precisely as described in ,the ,lady's ,own ,trick1 first two1 and then one being removed4 ,the four knaves are then shown together in the supposed selected heap4 ,a second method depends upon the neat execution of the pass1 and is to be commended because1 each time three cards are placed upon one of the four lying upon the table1 they are first shown to be ordinary mixed cards1 and not knaves4 ,three cards are palmed1 and placed upon top of the four knaves1 as in the first method1 and the three ordinary cards and one knave are placed in a row1 as before4 ,three mixed cards are then taken from any part of the pack1 their faces shown casually1 and they are then put upon an ordinary card4 ,this is gone through three times1 the knave being left till the last4 ,as if by mistake1 the performer places the three cards1 which he has shown to be mixed ones1 upon the cards in his left hand1 instead of upon the knave on the table4 ,at this instant the three are passed to the bottom1 the right thumb at once taking off the three knaves1 as though they were the cards just placed there by mistake4 ,on no account must the performer make any apology2 he need merely say1 ,oh6 that's wrong2 they must go here1 and place the cards upon the knave4 ,one must be perfect in making the pass before attempting this method2 but it is very easy indeed to pass so few cards as three from top to bottom4 ,a third method is also accomplished by means of the pass1 and is preferred by many conjurors4 ,the four cards are shown1 and1 as they are being put upon the pack1 the little finger is passed between the third and fourth1 three cards thus being above it4 ,the insertion of the little finger is in all cases greatly facilitated if the cards are spread a little1 fanwise1 at the moment of placing them on the pack4 ,the three topmost cards 7knaves7 are immediately passed to the bottom1 leaving one knave on the top1 and the little finger kept between them and the rest of the pack4 ,this card is then placed upon the table1 its face being accidentally 787 shown to the spectators1 and three others 7ordinary cards7 successively laid beside it4 ,three ordinary cards1 always taken from the top1 are then placed upon each of the ordinary ones lying singly upon the table1 the audience seeing their faces each time1 and then the pass is made1 bringing the three knaves from the bottom back again to the top4 ,these three cards are then placed upon the other knave1 which brings about the desired state of affairs4 ,as these three knaves cannot be shown to be ordinary cards1 as was each preceding set of three cards1 ,i here recommend the conjuror to make use of a little ruse of mine4 ,it is to take off from the pack four1 instead of three1 cards1 the three knaves thus having an ordinary card beneath them4 ,holding the edges even1 so that only the lowest card can be seen1 the performer says1 ,now ,i once more take three cards1 and--here he turns them over1 and1 spreading them slightly1 discovers four cards1 so he continues1 ,oh6 ,i see1 ,i have taken one card too many4 ,he then removes the underneath card1 and places the remaining three upon the knave4 ,to show the faces of three out of four heaps of cards and not those of a fourth1 causes suspicion to be thrown upon the latter4 ,by adopting the ruse described1 this is ostensibly done2 at any rate1 sufficiently so to satisfy the spectators1 which is all that is desired4 ,a fourth method is bolder still1 and calls for a masterly execution of the change4 ,matters progress precisely as in the second method1 except that the three knaves are always slightly pushed off the top of the pack1 ready to be exchanged at any moment4 ,it is just as easy to change three cards as one by the method illustrated at ,fig4 #cf4 ,the fourth time is perhaps again the most favourable for the substitution1 as the performer may cover the action of changing by handing the pack to be held4 ,holding the pack1 with the knaves on the top1 in the left hand1 and the three ordinary cards in the right1 he should turn round suddenly to someone on his extreme left1 and somewhat behind him1 when every opportunity will be afforded for executing the sleight4 ,or the act may be gone through by giving the last three cards to someone on the performer's left to place upon the remaining uncovered knave1 when the same facility for an exchange will be afforded4 ,yet a fifth method remains1 which is a very fine one indeed1 if the performer should happen to be an adept at changing4 ,to attempt this method1 he must be absolutely perfect in this sleight4 ,the four knaves are first thrown down upon the table1 faces upwards4 ,one is then taken in the right hand1 and three cards put upon it from the top of the pack1 held in the left hand4 ,that is what the performer appears to do1 but1 in reality1 as he approaches the pack with the knave1 the change is effected1 the knave being thereby placed at the bottom of the pack4 ,as he executes the change1 the performer says1 ,i will now take three more cards from the pack1 and1 under cover of the quite natural action of bringing the knave into proximity to the pack1 the change1 if only adroitly executed1 will pass unnoticed4 ,the three cards required are drawn off by means of the right thumb1 and the heap of four placed at a corner of the table4 ,a second knave is similarly treated1 followed by a third4 ,three knaves are now at the bottom of the pack4 ,the performer may now either make the pass1 bringing the three knaves to the top1 and then place them upon the fourth1 or else he may say that he will take three cards from the bottom of the pack1 to show that it is immaterial to him from whence they come4 ,as the feat of changing three times in succession is materially assisted by some freedom of movement1 it is as well to place the four heaps at the corners of the table1 wide apart1 the performer being thereby compelled1 in the eyes of the company1 to move about a good deal4 ,the one great feature connected with this method is1 that the four knaves are shown faces upwards1 until the very moment of their being placed in a heap4 ,in each of the last three methods1 the selection of the knave heap proceeds as described in the first method4 ,the five methods described give the conjuror his choice according to his greater facility with the pass1 the palm1 or the change2 and he will also find that they are capable of far wider application1 in connection with other card tricks4 ,thought-reading4--,give the pack into the hands of a spectator1 and allow one card to be secretly chosen4 ,replaced in the pack1 it is passed to the top 7or bottom71 and a furtive glance taken at it1 the palm being employed1 if necessary4 ,let three cards be chosen in this manner1 a fourth being forced1 consequently previously known4 ,the object of this diversion is in order that the last card selected may be placed in the pack by the chooser1 and the cards immediately shuffled1 which will distract attention from the fact that this was not done in the other cases1 which1 however1 could be done after the performer had glanced at the card1 if necessary1 which it is not1 as it draws out any trick too long to have the cards frequently shuffled4 ,the performer must be careful to remember the cards1 and by whom drawn4 ,taking the pack in his hand1 he presents one end of it to a card drawer1 explaining that he is about to give an exposition of thought-reading4 ,although there is no reason for failing1 it is as well not to make this announcement any earlier1 in case of anything going not quite rightly4 ,the performer makes a great fuss about the necessity for looking full in the eyes of the person drawing the card1 and pretends to arrive at the designation of the card by slow degrees1 saying to himself1 but audibly enough to be heard1 for instance1 ,a red card--hearts--one1 two1 three1 four1 five1 six1 seven spots2 and then1 loudly1 ,the seven of hearts4 ,every incidental occurrence in the behaviour of the persons whose thoughts are being read must be taken advantage of2 a want of alacrity in obeying instructions1 for example1 tending to make the reading more difficult1 the subject being even left for the time being1 and returned to after other cards have been revealed4 ,this trick has the advantage of bearing considerable repetition4 ,a second method is as follows3 ,the performer holds the cards in one hand1 and presents them to a spectator to cut1 with the injunction that the underneath card of the cut shall be removed1 looked at1 and remembered4 ,it is immaterial how many cards are thus chosen4 ,as they are selected they are replaced in the pack by the person choosing1 the performer turning his head away1 if necessary1 whilst this is being done2 or they may be put back together1 and the pack shuffled by the company4 ,simply by placing one end of the pack in the chooser's hand1 whilst holding the other end himself1 the performer is enabled to name the cards as before4 ,this phase of the trick is accomplished by means of a cut force4 ,glancing at the bottom card1 the performer makes the pass1 keeping the two packets apart by means of the little finger4 ,the card which the performer has seen is now at the bottom of the upper half1 and the pack is presented for cutting4 ,as the four fingers are along one side of the pack1 and the thumb along the other1 the cut must be made lengthwise2 and1 as the little finger keeps the pack open at the back1 it must be made there4 ,the person cutting will notice nothing4 ,whilst the card is being examined1 the performer glances at the fresh bottom card1 and1 when the upper half of the pack is returned to him1 once more makes the pass1 and presents the cards to another person to be cut4 ,four cards are quite sufficient for the effect2 but1 if the performer can remember others1 he is quite at liberty to increase the number4 ,the finish of the trick will depend upon the performer's ability to simulate the possession of thought-reading powers4 ,if he has been showing any card tricks previously1 with success1 he may commence this one by saying1 ,i have an idea that many here fancy ,i have a method for forcing certain cards upon persons1 such cards being previously known to me4 ,now1 in order to render such a proceeding quite impossible1 ,i will ask this gentleman to shuffle the cards thoroughly1 so that ,i cannot know the position of any one of them1 and then have the cards cut haphazard4 ,this explains why the cut is used1 and at once makes the trick appear stupendously difficult4 ,the cut force here described may be successfully employed for the purpose of reproducing cards that have been previously chosen1 thought of1 c42 one of the company being made to cut the pack at the very spot where that card is situated1 after shuffling1 c4 ,if the company appears still sceptical about the powers of mind claimed by the performer1 he may give a final convincing proof4 ,placing the pack entirely in the hands of the company1 he desires them to select two or three cards4 ,these cards are gathered by a spectator1 and given to another to hold1 and afterwards placed by him in the pack4 ,the performer then presents his hand to each chooser1 and reads the cards as before4 ,unless the performer can execute the change with certainty1 he must not attempt this method1 or ruinous exposure may await him4 ,about the first portion of the trick all is fair and above board1 the company selecting the cards as they please4 ,the performer1 taking the pack in his left hand1 then says1 ,now1 in order that ,i may not get a sight of the cards1 will some gentleman kindly gather them in his hand8 ,whilst this is being done1 the performer must watch narrowly whose card is placed first1 whose second1 c4 ,taking the three cards from the hand of the collector1 the performer turns to a spectator on his left1 requesting him to hold them between his hands4 ,as he turns1 he makes the change1 the three chosen cards being left at the bottom1 and three indifferent ones removed from the top1 and given to be held4 ,great caution is necessary to keep the cards well covered by the upper hand1 so that the performer shall not see them--his actual anxiety1 of course1 being lest any one else should do so4 ,by this time he has glanced at the bottom card1 and1 making the single card slip pass1 sees the next also1 and the third soon afterwards4 ,affecting to see mistrust in the faces of the company1 the performer says that perhaps it would1 after all1 be better to have the three cards in the pack4 ,for this purpose the pack is handed to the person holding the three cards1 who is directed to shuffle them with the rest4 ,the trick then proceeds as before4 ,if the change is properly executed1 the effect of this trick is extraordinary1 because the three cards have1 apparently1 always been in full view of everyone2 and even if the performer had accidentally seen the face of the lowest one1 the others have certainly never been visible to him4 ,a ,game at ,napoleon4--,the performer forces five cards in succession1 as quickly as he can1 and remembering the whole five4 ,practice in the preceding trick will enable him to accomplish this1 at first1 rather difficult task1 in public1 it being simple enough to remember five cards when one has nothing else on hand at the same time4 ,it is best to force all five cards on one person1 who retains them4 ,if forced upon different people1 they must be afterwards collected in one hand4 ,giving the pack to another of the company1 the performer asks for any five cards to be given him4 ,this done1 he tells the holder of the forced cards that he is about to play a game at ,napoleon with him4 ,for the sake of effect1 he may allow one half of the company to see his hand1 the other half looking over the hand of his opponent4 ,in this way1 universal interest is excited4 ,should the opponent have a poor hand1 the performer may give him the choice of saying how many tricks he will declare4 ,should the opponent have at all good cards1 however1 then the performer must say1 ,i declare first4 ,what he declares will1 of course1 depend upon the cards2 but1 in nearly every case1 he can go ,napoleon1 one condition of the trick being1 as he will explain just before playing the hand1 that the opponent must play the cards as called for by the performer1 who1 of course1 must not make his antagonist revoke4 ,with this proviso1 it is wonderful how often it is possible1 even with the least promising cards1 to win all five tricks2 the cases in which four only are possible being very rare4 ,a couple of sample hands will be instructive4 ,,first ,,hand4--,the opponent's cards are3 ,ad #aj;d ,kh ,jc #gs ,the performer's being3 ,jd #b;d #ajs #ds #c;h ,he declares ,napoleon1 and the hand is played as follows3 #a4 ,performer plays #ajs and calls for #gs #b4 ,do4 #ds ,do4 ,kh #c4 ,do4 #c;h ,do4 ,ad #d4 ,performer plays ,jd and calls for #aj;d #e4 ,do4 #b;d ,do4 ,jc ,had the performer's highest diamond been less than the opponent's ten1 then only four tricks would have been possible4 ,,second ,,hand4--,the opponent's cards are3 ,kc #i;c ,qh ,ad #hs ,the performer's being3 #aj;c #e;c #g;h #b;h #e;d ,he declares four1 and the hand is played as follows3 #a4 ,performer plays #g;h and calls for ,qh #b4 ,performer calls for #i;c and plays #aj;c #c4 ,performer plays #b;h and calls for ,ad #d4 ,do4 #e;d ,do4 ,kc #e4 ,do4 #e;c ,do4 #hs ,should the opponent1 by any chance1 hold an overwhelmingly superior hand1 such as1 for instance1 five high cards of one or two suits1 and the performer low cards of the same suit or suits1 the latter must say1 as soon as he realises the state of affairs1 ,ah6 ,i see1 ,i haven't the ghost of a chance against you with this hand2 have ,i8 at the same time throwing down his cards1 faces upwards1 and demanding a fresh hand4 ,of course1 the astonishing part of the trick to the spectators is the fact of the performer being able to call the opponent's hand1 card for card1 and no one cavils at the absurdity of permitting him to do so utterly regardless of the general rules of the game4 ,the performer can1 of course1 make sure of winning the whole five tricks every time1 if he prearranges to give a poor hand to his opponent2 but a great deal of the fun lies in the fact of good cards falling to insignificant ones4 ,if the performer arranges to have five fairly good cards1 three of them of one suit1 with a big one at their head1 on the top of the pack1 it may be as well1 as1 when he asks for five cards1 they are sure to be given him from that position ninety-nine times in a hundred4 ,should the five cards drawn prove1 by accident1 the masters of them1 then1 of course1 shuffle the pack before asking for a hand from it4 ,personally1 ,i like as little prearrangement as possible about the trick4 ,the ,lightning ,change4--,this is an effective trick of my own1 and the outcome of practice at the single-handed pass shown at ,figs4 #ca and #cb4 ,the performer has several cards selected haphazard4 ,how many is not material1 but four or five will be sufficient4 ,these he has placed in the pack in the ordinary way1 and brought to the bottom2 an extra card1 not one of those chosen1 being added last of all4 ,the order in which the cards were replaced in the pack should be noted4 ,the performer stands sideways to the audience1 with the left arm extended1 the pack being held in that hand perpendicularly1 and not horizontally--the faces of the cards1 and not the backs1 visible4 ,the thumb should lie well across the centre of the undermost card1 and the performer should ascertain by feel that he has it in his grip before continuing the trick4 ,the card that is exposed to view is the added one1 and it conceals the first card gathered in of the chosen ones1 which is naturally the undermost4 ,the chooser of this card is requested to name it1 when the performer informs the company that1 if they watch closely enough1 they will see the one card change into the other4 ,anyhow1 if they are unable to see it1 they will infallibly hear it4 ,as this pass cannot be made noiselessly1 the latter is a very necessary remark to make4 ,the change is not effected with the hand held stationary--no pass ever is--a rapid movement1 some six inches in extent1 and somewhat circular1 being made towards the body and back again4 ,it is only a fraction of a second in duration1 but by the time it is completed the pass must be accomplished4 ,each card is made to appear in turn1 the performer taking care not to attempt the pass until he feels the card well gripped by the root of the thumb2 otherwise1 a fiasco may easily result4 ,the pass may also be effected whilst turning the pack face downwards and back again very rapidly1 but ,i do not find this method quite as good as the partially circular movement towards the body1 the cards sometimes flying out of the fingers in a body1 which is destructive to the success of the trick1 and highly disconcerting to the performer4 ,the feat is ostensibly exhibited as one of skill1 and1 when properly executed1 invariably affords astonishment2 for1 although the company are apprised of the actual moment at which the cards change1 and even hear the movement1 they can see nothing of what takes place4 ,this concludes the series of card tricks1 and also the first part1 ,drawing-room ,conjuring4 ,i have not pretended to describe--and1 indeed1 the feat would be quite impossible--every trick capable of being performed with the various articles mentioned4 ,every conjuror who is what is popularly1 if somewhat bluntly1 termed worth his salt1 will find out little dodges and variations in the course of practice and exhibition2 and ,i would advise no one who discovers a method for arriving at any given result which comes to him easier than any described by me1 to follow my instructions in preference to his own ideas4 ,this advice more particularly applies to card tricks4 ,conjuring1 it must be borne in mind1 is not like cricket1 or rowing1 or shooting1 or anything else2 there is no legitimate means of arriving at anything through its medium4 ,the wished-for result must be produced by fair means or by foul4 ,many tricks included in the first portion may be successfully introduced on the stage4 ,this is essentially the case with the more showy card tricks4 ,,footnotes3 ,footnote ,a3 ,since this was written1 a great change has come over the fashion connected with playing-cards1 the large1 heavy card giving way rapidly to a smaller and more flexible article1 the ,american round-cornered cards occupying a prominent place4 ,footnote ,b3 ,some conjurors 7myself included7 use the third finger1 but the little finger is the better one to employ1 as it is more removed from observation4 ,it is more difficult at the commencement1 the digit being so weak2 but the better execution it ensures repays the extra trouble4 ,,part ,,ii4--,,grand1 ,,or ,,stage ,,magic4 ,,chapter ,,ix4 ,,general ,,remarks4 ,,preparation--,,where1 ,,and ,,to ,,whom1 ,,to ,,give ,,articles ,,to ,,be ,,held--,,on ,,the ,,punishment ,,of ,,meddlers--,,on ,,the ,,repetition ,,of ,,tricks--,,rehearsing--,,patter--,,addr ess--,,impertinence ,,and ,,audacity--,,on ,,playing ,,the ,,buffoon4 ,the learner has now arrived at that point where he will quit the humble drawing-room1 understood in its ordinary sense1 and essay to grander flights on the stage4 ,it is true that this stage may1 after all1 consist only of the back drawing-room1 the front one serving as the auditorium2 but1 in a conjuring sense1 it is a drawing-room no longer4 ,it is the exclusive domain of the performer1 in which he will work his spells of enchantment unmolested by busybodies indulged in too close a view4 ,in this exclusiveness consists the main difference between the two branches of conjuring4 ,in what may be aptly termed impromptu conjuring1 the performer is greatly at the mercy of his audience1 who may at any moment1 if so disposed1 seize upon him and wring from him his secrets4 ,he is beset with difficulties on all sides1 and must exhibit a total invulnerability4 ,in stage performances1 he has matters much more his own way4 ,to a great extent1 he can control circumstances1 to which he is constantly liable to fall a victim when exhibiting in a humble way4 ,he can so arrange matters that one effect follows another in a most natural manner--a state of affairs which it is almost impossible to bring about under any other system of arrangement4 ,so far stage conjuring possesses its advantages2 but1 unless the conjuror has gone through a course of training such as has been set before him in the preceding chapters1 he would be quite unable to avail himself of them4 ,the performer1 with a limited amount of skill in execution1 could never succeed in true legerdemain on the stage1 where it is far more difficult--in most cases impossible--to cover a mistake or clumsy movement4 ,everything must be reduced to an absolute certainty4 ,to ensure this1 the learner must engraft on his mind the single but important word preparation4 ,effective preparation is the great secret of success in stage conjuring of any magnitude3 without it1 things are tolerably certain to result in what is expressively termed a bungle4 ,the reader will discover1 as ,i progress1 what is meant by preparation quite speedily enough1 so ,i will not now enlarge on what will sometimes prove a somewhat tedious operation4 ,i once asked a well-known conjuror how he liked conjuring for its own sake4 ,as far as conjuring itself goes1 he said1 ,i could perform all night2 but what settles me is the everlasting preparation4 ,i must say1 that my ideas on the point are marvellously like his4 ,there are many axioms which belong equally to either branch of conjuring1 and which it is well for the learner to bear in mind at the outset4 ,by getting into the way of acting up to them from the first1 they soon cease to be irksome1 and so assist1 instead of detain1 when anything important is being undertaken4 ,one important thing is to be careful to give borrowed articles to be held1 when it is required to do so1 in a part of the room as far removed from the owners of them as possible4 ,this rule need not be observed when the article is not to be changed2 but it is so seldom that this is the case1 that the possibility of its occurring is hardly worth while considering4 ,it can never do any harm to remove an article which is not to be changed far from its owner2 but a great deal of harm may be done by substituting one article for another in such proximity to its lawful possessor that that individual is able to discover the fraud4 ,if this care be not taken1 the most perfect dexterity will be thrown away4 ,in a large room1 full of strangers1 one can perpetrate the most barefaced deeds1 such as giving a substituted ring1 which is in every respect totally unlike the original borrowed one1 to be held openly in the fingers4 ,neither the holder nor the owner of the ring will know that the article is not the one which was borrowed4 ,where possible1 always give articles1 when they are not too ponderous or awkward1 into the custody of members of the weaker sex4 ,ladies1 as a rule1 have much less self-possession than men during performances1 and1 besides1 are naturally anxious 7and not without some success7 to do everything that is asked of them in the most graceful and effective manner possible4 ,these causes conduce to the result which the performer so much desires1 viz41 an absence of that inquisitiveness which ultimately leads to a private and premature examination of the article in custody4 ,this axiom applies only when an article is to be held passively4 ,under no circumstances must the performer cause a lady to rise from her seat2 rather let the trick be shorn of some of its effect4 ,when the assistance of one of the audience is required1 select an intelligent-looking man1 who will not be likely1 from either incompetency or malice1 to act exactly contrarily to your directions4 ,unfortunately1 a large number of block-heads and malicious persons1 with intelligent and winning expressions of countenance1 do exist4 ,on meeting with either individual in a dangerous shape1 make him look ridiculous by giving him something big and cumbersome to hold above the head1 in a conspicuous position 7such as when standing on a chair71 and let him remain there during the whole of the trick1 or even longer1 if he will put up with it1 selecting someone else to render you the assistance you require4 ,be careful not to allow it to be palpably seen that you are hoaxing the person1 or offence may be given to more than one3 and conjurors must always strive to keep their audiences in the best possible humour4 ,never perform a trick twice4 ,if the performer is weak enough to give way on this point1 he must expect to have the secrets of half of his tricks the common property of his audience in a very short time4 ,such interludes as swallowing an egg1 orange1 c41 and finding it at the elbow1 point of the toe1 or other unexpected place1 one may repeat with tolerable frequency1 although it is as well to vary the precise method a little each time4 ,the reason such feats are comparatively safe to repeat is1 that they come unexpectedly4 ,if people knew that it was intended to vanish any particular article1 they would keep a sharp look-out1 and endeavour to discover what really became of it2 but1 as the performer is particularly careful not to warn his audience of what is about to be done1 the movement is executed before anyone has had time to think4 ,i wish to lay particular stress on the suicidal policy of performing the same trick twice during the same evening1 as ,i know it is a weakness to which young beginners are much addicted4 ,conjurors must never fail2 that is to say1 they must never allow the audience to see that they have failed in arriving at any desired result4 ,the surest method of avoiding this is to practise and rehearse everything1 down to the minutest detail1 in private1 so as to be able to present it in its perfect form to the audience4 ,the beginner feels a little awkward and stupid in rehearsing at first1 but when he discovers1 as he soon will1 the necessity for it1 he will soon become used to it4 ,the great thing is to begin well1 and this is best done if two persons commence studying together1 in which case one will act as a critic to the other4 ,my plan--and ,i recommend everyone else to adopt it--during the first six months1 was to write down everything ,i had to do or say1 accompanied by the most minute stage directions4 ,each hand and foot had its proper position at a given moment4 ,book in hand1 my fellow-student would take up his position as audience1 and keep me rigidly to my stage directions1 besides giving such hints as seemed to him to be necessary4 ,at first1 this kind of thing feels somewhat irksome1 but the good results derived will soon make themselves manifest1 and compensate for all trouble4 ,i have frequently spent a whole evening in getting perfect in a single trick1 which would perhaps be rehearsed ten or twelve times4 ,the properties of each trick should be written on a separate card4 ,one thing of paramount importance is the talk to be used with each trick4 ,at the outset1 this should invariably be written out beforehand1 and committed to memory1 if not word for word1 very nearly so4 ,by this means1 one is best able to avoid a repetition of any well-marked points1 which would pall upon the audience1 and cause them to fancy the performer before them to be a man of limited ideas4 ,at the same time1 great care must be taken to avoid making anything approaching a speech1 which is even worse than saying nothing at all4 ,people come to conjuring entertainments expecting to see sleight of hand performed1 and not to listen to speeches1 however beautiful they may be in themselves4 ,what is wanted is something to accompany the trick1 just as a pianoforte-player accompanies a singer4 ,if this simile be borne in mind1 the learner will not go far wrong4 ,the only occasions on which nothing should be said are when some feats of dexterity--corresponding to the runs and scales of the expert vocalist--are being performed3 a verbal accompaniment would only spoil them4 ,on the other hand1 a very poor trick can be made a good deal of by the introduction of a few lively sallies1 mingled with allusions to topics of the day1 which will be made to appear to bear upon the matter in hand4 ,i shall give but very few examples in my descriptions of tricks1 for ,i think that a conjuror should be1 before everything else1 original2 and this he would not be if he only repeated what other people had to say4 ,i hope the reader is impressed with the absolute necessity of being as well up in patter as in sleight of hand4 ,address in execution is another thing which cannot be too attentively studied4 ,it is not enough that an orange is successfully vanished2 the operation should be performed with all possible grace4 ,this will naturally be impossible if the performer is not well up in his trick2 but this he must not fail to be4 ,the learner must study to acquire a manner that is neither hurried nor slow4 ,some tricks it is necessary to do with extra dash and rapidity2 but the extra speed will never require to be sustained4 ,as a general rule1 audiences prefer a suave and easy style--one which appears free from the slightest exertion4 ,being in a hurry is the way to forget many little but telling points2 whilst being too slow is the way to weary the audience4 ,the worst possible style to adopt is that which impresses the audience with the idea that conjuring is nothing but a mere cheat--a swindle--from beginning to end4 ,this impression is given when the performer wishes to appear extra sharp1 and endeavours 7to use a common idiom7 to thrust everything down people's throats1 whether they will or not4 ,always endeavour to impress spectators that they are being deceived by skilful manipulation1 and not bamboozled by talk4 ,be careful not to substitute impertinence for impudence4 ,too many beginners err in this respect4 ,they mistake the precise nature of the impudence required by the conjuror4 ,a better name for it would be audacity4 ,to be successful out of the ordinary way1 the conjuror must be audacious and venturesome now and again1 although it is as well not to tempt ,fortune too much or too often3 the jade may fail at an awkward pinch4 ,the warning not to play with edged tools should be taken to heart by the conjuror4 ,on no account play the buffoon1 as ,i have seen conjurors do before now4 ,when a laugh is raised1 it should be with1 and not at1 the performer4 ,also1 on raising a laugh at anyone's expense1 let it be done in a polite and inoffensive manner1 unless1 of course1 it be a punishment for previous misbehaviour4 ,,chapter ,x4 ,,the ,,table ,,and ,,dress4 ,,the ,,table3 ,,its ,,height--,,the ,,body--,,the ,,shelf--,,the ,,legs--,,vanishing ,,and ,,changing ,,traps--,,on ,,useless ,,mechanical ,,arrangements--,,side ,,tables--,,how ,,to ,,pass ,,articles ,,down ,,traps3 ,,various ,,methods--,,the ,,dress3 ,,pockets--,,the ,,vest--,,how ,,to ,,commence--,,introductory ,,tricks4 ,of very important assistance in ,grand ,conjuring are the specially prepared tables1 of which one1 two1 or three will be used1 according to the size of the room4 ,these tables differ from ordinary ones1 in the first place1 by being considerably higher1 their height being from #b;ft4 #aj;in4 to #c;ft4 ,this is to render it unnecessary for the performer to stoop when taking anything from or placing anything upon the table1 as the action would take away a great deal from an effective execution of many things4 ,the next important difference 7unknown1 however1 to the audience7 is that the body of the table is a hollow box1 of which that side which is unseen by the spectators is perfectly open1 and is furthermore provided with a protruding shelf1 technically called the servante4 ,this shelf is one of the conjuror's most invaluable assistants4 ,it is always at hand to receive any article which it is desirable to get rid of1 and is a patient holder of others which it may be required1 at a particular moment1 to produce from an invisible source1 but which are too large to be concealed about the person4 ,this shelf should be about #e;in4 or #f;in4 broad1 and should have the ends either rounded or cut off obliquely4 ,if this is not done1 the shelf will be noticed by persons standing or seated at the extreme sides of the auditorium4 ,the edge should be furnished with a small raised beading1 to prevent articles from falling off4 ,the depth of the body of the table should not exceed #f;in41 or it will excite suspicion and remark4 ,if the shelf is fitted to the body of the table by means of hinges1 it will be found a great convenience4 ,it will never become mislaid or knocked about1 and so be either missing or useless when most required2 and it also enables one to use the body of the table as a means for conveying the bulk of the conjuring apparatus4 ,the legs should be made to screw on and off1 so as to increase the portability of the whole2 but see that the worm of the screw is long and deep1 or the table will be unsteady4 ,but1 if the back of the table is mysterious1 the top of it is still more so4 ,for the speedy1 easy1 and complete vanishing of objects1 particularly solids1 it has been found convenient to fit the tops of tables with spring traps1 which1 yielding to certain pressure1 resume their position when it is removed4 ,judiciously used1 these traps are very useful1 and the results attained by their use are most bewildering4 ,in a table #cf;in4 by #ah;in4 7a very convenient size7 there should be a round trap1 #c-a_/b;in4 to #d;in4 in diameter1 in each front corner1 and an oblong trap1 #i;in4 by #e;in41 in the centre4 ,these traps are made of zinc2 but ,i would recommend no one to attempt manufacturing them at home whilst they can be purchased so reasonably at conjuring trick repositories4 ,i would certainly recommend having the table itself made1 under personal supervision1 by a carpenter1 who will let the traps into the top of the table4 ,the ordinary price for a #d;in4 trap is about #gs4 #f;d4 ,there are many elaborate mechanical traps devised for changing articles1 but ,i have never found them of much assistance in the hands of amateurs1 so cannot conscientiously recommend them4 ,there are also several methods for arranging piston rods1 which work up and down by means of a string drawn by a confederate at the side or rear1 or by electricity4 ,but such assistance is so seldom required by the amateur conjuror1 that ,i cannot recommend him to encumber his table with more than three traps4 ,everything beyond this he will find an unnecessary expense4 ,the amateur will also find that his sphere will be continually changed1 one day performing at this friend's house and the next day at another's4 ,hence he will be unable to produce the results which are attainable only by those who1 like professional conjurors1 have sole dominion over their stage and its surroundings at all times4 ,as these chapters are written solely for the edification of amateurs1 and not for the purpose of training up professionals1 ,i shall not launch out into descriptions of things impossible to the great majority4 ,when the size of the room permits of it1 the performer should have1 besides his oblong table in the centre1 one or two small round tables at the sides4 ,these tables should be of the same height as the large one1 but only about #ah;in4 in diameter4 ,they should be provided with one round trap and a small servante4 ,the border should have a deep fringe4 ,the tops of all three tables should be covered with a check pattern1 in order to hide the lines of the traps4 ,on a perfectly plain surface these might be noticed4 ,do not forget to provide the smaller traps with bags to receive the articles passed through4 ,an egg would make an unseemly mess inside the table1 whilst an orange or a lemon would descend with a thud sufficiently loud to reveal to the audience what had taken place4 ,the centre trap1 being used almost exclusively for vanishing live stock1 need not be furnished with a bag4 ,whilst on the subject of traps1 ,i will describe the method for passing articles through them4 ,supposing an orange has to be made to disappear4 ,after showing that it is a real orange and perfectly solid1 c41 place it upon the trap1 the spring of which must1 of course1 be strong enough to bear the weight without giving in the least4 ,turn up your sleeves very deliberately1 and then place the hands around the orange as if about to take it up in them4 ,screened by the front hand1 the rear one presses the trap down quickly1 and the orange falls through1 the hands being brought together as though holding it4 ,advance towards the audience a step or two and commence rubbing the hands together1 gradually making the circumference of the hollow smaller and smaller until the orange appears to have been rubbed away4 ,the action of vanishing the article must be assiduously practised1 for the hands must not dwell perceptibly on the table1 but appear to actually take up whatever they are supposed to4 ,when pretending to rub it away1 the eyes must be directed attentively to the hands as if interested in the experiment4 ,when passing one article into another1 as an egg into a lemon1 place the lemon just in front of the trap1 and1 holding the egg in the rear hand1 pass it down the trap under cover of the front hand1 which will at the moment be just closing upon the lemon4 ,the two hands then take the lemon1 and1 after rubbing it about a little1 show it minus the egg1 which you will say is inside4 ,in the drawing-room1 without the table1 the same results would have to be arrived at by means of vesting4 ,the present instance affords an excellent illustration of my remark that drawing-room conjuring is more difficult than grand conjuring4 ,another method for vanishing articles through traps is to fix a cord to the under side of the trap1 and1 by means of a tiny pulley and staples1 bring it to a hole in the end of the table1 on the outside of which a knot is tied4 ,the article can be then placed upon the trap and covered with a hat1 c41 and made to disappear by pulling the cord4 ,it is better to have the cord belonging to the right-hand trap coming out at the left-hand side1 and vice-vers2 otherwise the audience would be likely to notice the action of the hand pulling the cord1 from its close proximity to the hat4 ,by standing at that end of the table which is opposite to the hat1 the performer can turn sideways1 and point with his wand to the hat or tap it1 when the action of pulling the string will be concealed by his body4 ,in covering any article with a hat1 be careful that the front or back part of it is towards the audience4 ,the arch formed by the side brim of the hat of the present day enables one to see anything placed underneath it1 and it must be admitted that it would be rather awkward if any of the audience saw the article suddenly drop into the body of the table4 ,the uses of the large trap will be dilated upon at another time and place4 ,the uses of the servante being to hold things as occasion requires1 they will make themselves manifest in due course4 ,dress4--,the conjuror's dress will command a great deal of consideration1 the disposition and capacity of the pockets being of considerable importance4 ,i will first take the coat1 which will1 of course1 be a dress one4 ,the whole of the inside of each breast of this should be one huge pocket1 the opening of which is perpendicular instead of horizontal1 and about two inches from the edges1 so as to just escape observation4 ,this enables large objects to be concealed1 and yet easily got at4 ,the tail pockets are not used in performing1 so can be either entirely absent or else made in the usual way4 ,one tail1 however1 should have a large pocket about five inches deep at the bottom1 and right across its width4 ,this pocket should be made very loose so as to be always open to a slight extent1 for it will often have articles dropped into it at all sorts of odd times4 ,some conjurors have copper wire in the edge to keep it open when required4 ,the vest is extremely important4 ,it should be split right up the back and then re-joined by three bands of broad elastic4 ,this is to enable one to put large articles in the breast without causing any unusual wrinkles or bulging4 ,for vesting purposes1 some have a strip of thin leather1 about two inches broad1 sewn round the bottom1 inside1 but ,i do not find this sufficiently safe4 ,i usually have some fine elastic run in the hem by means of a bodkin4 ,it should be tight enough to hold an egg 7a heavy1 slippery thing1 and awkward when dropped7 securely2 but it must not pull the vest out of shape4 ,the only extra pockets required in the trousers are one at each hip1 covered by the tails of the coat4 ,they should be about three inches long by one and a half in depth1 and constructed so as to be always partly open4 ,they are very handy for receiving such articles as coins1 little balls1 rings1 pocket-knives1 c41 which it is desirable that the audience should not see4 ,little pockets1 of a similar nature1 are sometimes used behind the lappel of the coat2 but those in the trousers are far superior1 as they are got at by the perfectly natural action of dropping the arm4 ,the inside turn-up of the sleeve of the coat ,i have also seen similarly employed1 but have not noticed any particular advantage to be derived therefrom4 ,starting now with his prepared tables and mysterious suit1 and armed with a fair amount of manipulative skill1 the learner ought to be able to bid defiance to the world1 and to boldly attempt anything within his particular scope or province that he has seen anyone else do4 ,before commencing1 always say a few words1 to the effect that you are there to conjure1 and not to make speeches2 so you will not detain the audience with a history of conjuring from the year #a1 but proceed to show them what can be done in the present year4 ,in family circles1 more talking should be done than in public places1 where an impressive style should be cultivated4 ,introductory ,tricks4--,besides1 by means of the few words the performer addresses the company before commencing1 it is quite in order that he should introduce himself to the spectators magically2 that is to say1 give them at once some little evidence of his skill1 without any formality of explanation4 ,a well-used trick for this purpose is that of causing a flower to appear instantaneously at the button-hole4 ,just as the performer is about to step forward1 he perceives that he has forgotten his flower1 but explains that the omission is very soon rectified1 as he notices a bouquet in the hands of a lady1 or some flowers in a coiffure1 or about a costume4 ,asking permission1 and taking it at once1 the wand is waved in the direction of the visible flowers1 and the button-hole then touched with it1 when instantly a flower appears4 ,the flower is an imitation one1 and is attached to a piece of elastic1 which passes through the button-hole1 and inside through the one next below1 so that it may be fastened to a vest button1 or elsewhere4 ,when the performer comes on1 the flower is concealed under the left armpit2 so that1 when the button-hole is touched with the wand1 all that is necessary is to raise the arm slightly1 when the flower1 being released1 flies instantly into position4 ,another common1 but very effective1 practice is to come on the stage with the gloves on4 ,as they are taken off the hands1 they melt away1 apparently1 for nothing more is ever seen of them4 ,elastic is again at the bottom of this1 one end passing round the wrist of the glove1 whilst the other is fastened round the biceps of the arm1 or attached to the brace4 ,the glove is removed1 care being taken not to let it slip too soon1 and1 when held between the two palms1 is allowed to go1 when it flies1 unperceived1 up the sleeve4 ,the performer must not dwell at all upon the fact that he is doing anything magical1 but act as though his gloves were merely performing their usual evolutions on being taken off for the day4 ,,chapter ,,xi4 ,,sleights ,,and ,,properties ,,for ,,general ,,use4 ,,how ,,to ,,produce ,,articles ,,from ,,the ,,wand--,,articles ,,produced ,,from ,,the ,,persons ,,of ,,the ,,company--,,vanishing ,,objects ,,from ,,the ,,hands--,,exchanging ,,articles--,,mesmerising ,a ,,dove--,,marking ,a ,,card ,,in ,,course ,,of ,,performing--,,passing ,,handkerchief ,,over ,,flame ,,of ,,candle--,,the ,,conjuror',s ,,shuffle--,,the ,,devil',s ,,handkerchief--,,coin ,,handkerchief--,,flying ,,ring--,,magician',s ,,eggs--,,productive ,,eggs--,,coin-,,vanishing ,,tumbler--,,magic ,,plateau4 ,sleights4--,often1 in the description of a trick1 the learner is told that a handkerchief1 coin1 egg1 orange1 or other article has to be made to disappear or appear by sleight of hand4 ,in the descriptions here given1 my own methods naturally appear in preponderance over those of others2 but it is a mistake for conjurors to confine themselves arbitrarily to any such1 whose soever they be1 or whatever their nature4 ,the peculiar means for magically vanishing or producing an article which has seemed to me to be most convenient under the conditions governing the particular trick under notice1 ,i have always laid the most stress upon2 but it is very likely that1 were half a dozen experts to write upon the same tricks1 they would each vary more or less in the precise means by which the same results were arrived at4 ,this is only as it should be1 the success of a conjuror1 like that of an actor1 depending1 in a very great measure1 upon his originality or individuality4 ,the reader will notice that ,i frequently describe a trick1 and then give one or more alternative ways of doing it1 the last-named being usually methods ,i have seen adopted with success by other conjurors4 ,in order to save endless repetition1 ,i give here a few sleights which the learner should be incessantly practising1 just as he would the pass or the palm4 ,some of the feats actually form small tricks in themselves1 but are only introduced by the performer as suddenly inspired interpolations in the course of a trick1 of which they may1 as a fact1 really form part4 ,for the disappearance of a coin or coins1 the various palms provide2 the method described in connection with the cups and balls 7page #ee7 suffices for the evanishment of marbles1 nuts1 and articles of that size2 whilst the palming of cards has been specially treated4 ,the other sleights which ,i have found most necessary are as follows3 ,to ,produce an ,egg1 ,orange1 c41 from the ,wand4--,this daring feat is certainly one of the most wonder-inspiring description4 ,the performer says1 ,i now require1 for my trick1 an egg4 ,i presume none of the company happen to have such an article about them2 and1 as ,i have forgotten to provide it myself1 ,i must make an appeal to my wand1 which rarely fails me in such cases4 ,standing sideways to the audience1 the performer holds his wand in the fingers1 at arm's length1 and then1 suddenly running his hand along it1 upwards1 as though squeezing it1 he produces1 from the very top1 the egg4 ,as his sleeves are turned well up1 and nothing has been visible in either hand1 the mysterious appearance of the required article is quite inexplicable4 ,it is thus managed4 ,the egg may be either upon the shelf at the back of the table1 or under the vest band4 ,i prefer the latter place of concealment1 because the performer is better able to carelessly show his hands quite empty just previous to the production of the article2 whilst a longer time must elapse between the secretion of the article in the hand and the moment of its appearance on the top of the wand1 if it be placed upon the shelf4 ,apart from this1 going behind the table should always be avoided where possible4 ,it is the easiest thing in the world to get down the article from the vest in the act of turning round4 ,it should find its way at once to the very centre of the hand1 the root of the thumb gripping it1 and the fingers should either seize the coat flap1 or the wand should be put into it4 ,the modus operandi may be simply described as follows3 ,the wand is lying upon the table and the performer comes forward1 showing1 by rubbing them together in the act of speaking1 that his hands are empty4 ,when he has uttered the words in such cases1 he wheels round to the left1 for the purpose of fetching the wand from the table1 and when his back is fairly towards the audience1 he gets down the egg in the right hand1 which then seizes the coat flap4 ,a very important matter must here be observed4 ,the article vested must always be placed on that side of the body which is opposite to the hand that is to bring it down4 ,if1 in the present instance1 the egg were upon the right side of the performer's body1 taking his vest buttons as a central line1 the act of getting it into the right hand could not be achieved without sticking out the elbow1 which would at once reveal to the company that the performer was carrying out some manoeuvre with that hand1 and1 when he turned round1 they would immediately fix their eyes upon it1 and keep them there1 to the serious detraction of the proceedings following4 ,the golden rule must be followed of glueing1 as it were1 the upper arm and elbow to the side4 ,then the forearm and hand may do as they please1 with impunity4 ,the getting down of an article from the vest need occupy only a half-second of time1 so the performer turns briskly to the table1 his every visible action and look being1 of course1 concentrated upon the matter in hand--the fetching the wand from the table4 ,with the right hand1 containing the egg1 holding the coat flap lightly and naturally1 the wand is picked off the table with the left1 the performer's right side being towards the company4 ,holding the wand for a few moments in the left hand1 and looking at it amusingly1 as though wondering quite as much as the company how it is going to accomplish its task1 the right hand is brought boldly to the front1 and the wand placed in the fingers4 ,the back of the hand is1 of course1 towards the company4 ,the fact of its containing a bulky article will naturally cause it to be somewhat curved1 so it is necessary to cause it to look as flat as possible4 ,this is best managed by straightening the fingers and bending the wrist outwards1 the whole length of the fingers being thus presented to the view of the company4 ,it will be found that the wand1 pressing against the article in the hand1 assists towards keeping it in its place there4 ,in the case of an egg1 care must be taken not to put on too much pressure4 ,the wand must be held by its middle portion1 and should not remain in the right hand for more than a couple of seconds1 at the outside4 ,it is then re-taken by the left hand1 but by the lower end1 the right hand simultaneously making the upward squeeze2 the article being produced at the tips of the fingers1 when they reach the top of the wand1 it being allowed to drop from the palm into the bent fingers just previously4 ,the illusion is complete when the sleight is performed with neatness and dash1 the article appearing to actually come out of the wand1 although everyone knows how impossible it is for it ever to have been there4 ,an article so mysteriously produced should1 by all means1 be given for examination4 ,it is surprising what very large-sized oranges can be produced by this means1 when the performer has once acquired sufficient boldness4 ,audacity is the chief ingredient in the sleight1 and the learner will acquire it by beginning with small-sized articles4 ,brilliantly-coloured articles1 such as oranges1 or perfectly white ones1 as eggs1 make the best appearance4 ,to ,produce ,articles from the ,persons of the ,company4--,here audacity plays a very important part indeed1 as the performer goes in amongst the spectators and finds such oranges1 eggs1 lemons1 c41 as he may want1 in their hair and apparel4 ,in the ,gant de ,paris 7page #bbh71 ,i have seen a performer use an orange1 a lemon1 an egg1 and a walnut1 all of which he has found upon the company within a very few seconds of time4 ,a description of how this is done will suffice as a guide to the learner how to proceed in all similar cases4 ,the walnut should be palmed1 and the lemon held in the same hand1 the other hand holding the orange1 both hands of course seizing the coat4 ,the egg is vested4 ,coming on to the stage from behind1 the performer proceeds rapidly into the very midst of the company1 and says1 ,can any one lend me a kid glove for a few minutes8 then1 turning suddenly towards a male spectator--with long hair1 if such a one be handy--,i beg your pardon1 sir1 but ,i see a something in your hair2 what is it8 ,whilst this is being said1 a rapid dash is made at the addressee's hair1 the orange being slid to the ends of the fingers1 and produced with all slowness4 ,it is given a second spectator to examine1 who is discovered to have a lemon in his hair1 or inside his coat4 ,whilst the lemon is being produced1 and all eyes are intent upon it1 the empty hand gets down the egg4 ,this is found in the hair of a third person1 whilst the walnut is discovered on the tip of the nose of a fourth4 ,when the performer afterwards collects all four articles into his hands1 it will never occur to the company that so much bulk could have been deliberately palmed by him in their very midst4 ,as a matter of fact1 it is easier to do these sort of things in the midst of a numerous and rather closely-packed company1 than in the presence of a meagre and widespread one1 and the performer should always go where the spectators are thickest4 ,how to ,cause ,large-sized ,objects to ,appear to ,vanish from the ,hands4--,by large objects are meant eggs1 oranges1 ladies' handkerchiefs1 gloves1 small birds1 c4 ,the sleight-of-hand conjuror should embrace every opportunity for a display of his skill1 handkerchiefs being swallowed and reproduced elsewhere1 and other articles thrown away or made to pass imperceptibly from out of the hand into thin air1 nothing being left of them when the hand is opened4 ,in order to bring about these things1 all that the conjuror has to do is to adapt1 to the altered circumstance of having larger articles to deal with1 what he has been taught in connection with the palming and passing of coins4 ,take1 first1 the apparent placing of an article in the mouth1 and swallowing it4 ,the method adopted will vary1 according to the size of the article4 ,if it be a comparatively small one1 such as a walnut1 then the action depicted at ,fig4 #g must be followed1 the article being palmed in the right hand1 the back of which must necessarily be turned towards the audience more than is shown in the sketch1 by reason of the more bulky nature of its contents1 and the fingers of the left hand rounded in a way suggestive of containing the article supposed to be put into them4 ,the right hand then takes the wand1 which1 in these cases1 must always be carried under the right armpit4 ,should the article not be swallowed1 the wand strikes the closed fingers of the left hand1 which are simultaneously opened and shown to be empty4 ,the success attending this method will depend solely and entirely upon the neatness with which the palm is executed1 and the article apparently placed in the left hand4 ,it must not be ostensibly thrown there1 as is the case with a coin1 but deliberately put in1 the fingers of the right hand1 after the execution of the palm1 forming as though they actually held the article1 those of the left hand closing around them1 as if taking it firmly in charge4 ,it is always as well to actually place the article in the left hand at least once1 thereby silently impressing the company with what is to be done with it4 ,the palming of a walnut is quite as easy as that of a coin1 and the pass must be regarded as a very simple one to learn4 ,eggs1 oranges1 lemons1 and solid articles of that size1 must be treated according to the action shown at ,figs4 #h and #i1 facility in executing which will render the accomplishment of what is now described very easy4 ,as the article is not a coin1 it must not be held between finger and thumb1 but made to rest upon the very tips of the fingers of the left hand1 which is held perpendicularly for the purpose4 ,it is thus very conspicuously in sight of everyone4 ,it is allowed to rest there for a few seconds1 when the right hand is brought suddenly in front of it1 and the action gone through of taking it4 ,at this instant1 the orange 7say7 falls into the hollow of the left hand1 which is immediately dropped to grasp the coat flap1 whilst the right hand apparently puts the orange into the mouth1 a muffled noise being made indicative of the mouth being full4 ,before the hand is removed1 the mouth is closed1 when it is as well to bulge one of the cheeks out with the tongue1 and then make three or four desperate attempts 7ultimately successful7 at swallowing1 accompanied by choking sounds4 ,a smile should then illumine the face of the performer1 who appears to have enjoyed the operation1 and the orange1 if it is wanted again1 may be produced at the right elbow1 or brought round from the back of the neck1 rolled along by the tips of the fingers4 ,a very effective sleight with which to quickly follow the foregoing is as follows3 ,place the wand under the left armpit1 and hold the orange in the fingers of the left hand1 as above described4 ,open the legs slightly1 and then apparently take the orange in the right hand and smash it into the right leg1 just above the knee4 ,the orange must be apparently vigorously snatched out of the left hand1 which at once mechanically finds its way to the wand1 that article being grasped by the thumb only1 the fingers and palm concealing the orange4 ,the performer allows a second to elapse1 and then1 briskly taking the wand in the right hand1 rolls the orange from behind his left thigh to the front4 ,it does not in the least signify what the company fancy actually happened with the orange1 so long as they are not allowed to suspect that it never left the left hand4 ,obliged to account for the phenomenon1 the theories formed will be various1 the majority polling for a tubular communication between sleeve and sleeve1 vi the performer's back4 ,as the orange is apparently smashed into the leg1 the performer will find it necessary to stoop slightly4 ,this sleight should follow the preceding one before the spectators have begun to recover from their wonderment at seeing the orange apparently swallowed and then reproduced4 ,a cigar1 or article of the like shape1 can be similarly treated if it be held in the left hand between the tips of the middle finger and thumb1 the broad end being against the thumb4 ,as the right hand covers it1 in the act of apparently taking it1 the broad end is allowed to fall against the root of the thumb1 and the hand turned slightly over and then allowed to hang down at the side4 ,a very little pressure on the part of the middle finger will suffice to keep the cigar in position4 ,the right hand must conform itself as closely as possible to the shape it would assume if it actually contained a cigar4 ,this sleight will come in handy in conjuring at table4 ,a more complete method of vanishing is as follows3 ,take the article in the right hand1 and hold the waistband of the vest by the left4 ,toss the orange1 c41 twice or thrice in the air1 and then whip it swiftly beneath the vest1 which will be partly raised by the left hand4 ,the two hands thus brought together should be closed one over the other1 as if they contained something1 which something you will then proceed to gradually rub away4 ,as you have nothing whatever in the hands1 you will be able to execute this portion of the deception with great confidence and ease4 ,when you slip any article beneath the vest1 the body should be partially turned from the audience4 ,quickly done1 the movement will never be noticed1 and it is one of the most perfect deceptions practised4 ,the vest is never thought of by an audience as being a place for the concealment of articles1 and so it escapes notice1 and everyone wonders where the vanished article can have gone to4 ,the vest is also an excellent place in which to carry such things as eggs1 lemons1 c41 which may be required during any trick4 ,to ,change an ,article4--,this is executed very much after the manner of the preceding1 with this exception3 the left hand contains the article concealed1 which is to be exchanged for whatever is held in the right4 ,say1 for example1 that the right hand holds an orange1 which the audience1 of course1 examines4 ,the left hand conceals1 say1 an apple4 ,the orange is vested in the orthodox manner1 and the hands brought together as directed1 but this time they contain the apple4 ,rub them a little1 and exhibit the apple1 which can be brought back to its original shape--an orange--if the performer pleases4 ,on no account must the conjuror inform the audience what he is about to do1 or he may find the ideas of the spectators anticipate his actions1 which is1 to say the least1 awkward4 ,these actions of vanishing or exchanging can be done when one is actually surrounded by people2 but the hands must be quick and must appear natural3 for instance1 when supposed to contain an orange they must not be compressed so as to barely leave space within them for a walnut4 ,nothing but careful practice will ensure a satisfactory result1 for the least bungling will lead to detection4 ,i need hardly say that it enhances one's reputation greatly if one can be said to have changed a real orange into a real apple under our very eyes without the aid of any gaudy boxes or canisters4 ,by all means allow the orange to be squeezed and the apple to be eaten4 ,to ,vanish ,handkerchiefs4--,not being solid bodies1 handkerchiefs will require different treatment1 and present the greatest difficulties1 which are fully compensated for by the superior effects produced4 ,in the first place1 the performer must be careful to borrow a lady's small handkerchief1 if for the purpose of vanishing4 ,in performing ,the ,knots 7page #bah7 a small handkerchief is generally included amongst those borrowed4 ,it is not used for the trick2 but the performer says he is very fond of such handkerchiefs1 and forthwith rolls it up in his hands1 pops it into his mouth1 and swallows it4 ,whilst the company are wondering1 he suddenly pulls the handkerchief out of his leg4 ,this is a most wonderful sleight1 and one the conjuror must endeavour to become perfect in4 ,he should begin with a small piece of muslin1 which rolls up very tight and easily4 ,this he takes between the two hands1 the left hand below1 with its back turned somewhat towards the company1 and rolls it sharply round and round1 until he feels that it is well balled4 ,then1 with the right hand1 he apparently takes it up1 the left hand really retaining it by means of the thumb1 and grasping the coat-flap1 as in other cases1 or the wand under left armpit4 ,the right hand apparently conveys the handkerchief to the mouth1 where the choking and swallowing performance is gone through4 ,after a pause of a couple of seconds1 the conjuror looks curiously down at his leg1 and1 pouncing at a spot in the rear of the thigh1 just above the knee-joint1 presses the handkerchief there1 to enable the fingers to obtain a hold of a very small portion of it4 ,it is then at once jerked forcibly away1 when it will appear to the spectators precisely as though it had been pulled out through the cloth4 ,the different movements must all follow one another with regularity and swiftness1 and yet the performer must not appear to be hurrying himself in the least4 ,if the handkerchief experimented upon be large1 some risk is run of a portion appearing from the left hand4 ,even with small handkerchiefs this will1 at times1 occur2 but if the performer carries out the movements of the right hand properly1 the eyes of the company will be directed solely to that4 ,the same sleight is employed in feigning to throw back a handkerchief to its owner1 the action of throwing being employed instead of affecting to place the article in the mouth4 ,in this case1 it is as well to pivot round at once1 vesting the handkerchief in so doing1 and then at once inquiring1 with empty hands1 if the handkerchief arrived at its destination all right4 ,it may be afterwards produced from the interior of a spectator's coat1 by being whipped quickly in and then produced very slowly and at extended length4 ,if this reproduction is to follow quickly1 then do not vest1 which is only done for the purpose of showing the hands empty4 ,if the performer pleases1 he may plunge his hand into his breast1 and produce the handkerchief2 but it will cause less wonderment1 and no amusement at all4 ,small birds present considerable difficulty1 the object being to conjure with the bird without injuring it4 ,a bird cannot be palmed1 like a walnut1 nor can it be rolled up1 like a handkerchief4 ,but1 strange to say1 the very difficulty of the feat assists the performer4 ,in the first place1 the company never suspect that the bird is about to be made to disappear1 unless the performer is weak enough to forewarn them2 and1 secondly1 never having experimented1 they do not suppose for an instant that the bird will be simply retained in the hand all the time1 as it really is4 ,all the conjuror has to do is to hold the bird in the right hand1 outside the wings1 and head downwards1 the tail pointing up the wrist1 and then affect to put it in the left hand1 which is bulged so as to appear to hold it4 ,the wand must be under the right armpit1 and the right hand seizes it at once1 the left hand being struck and opened1 showing the bird to be flown4 ,the sooner the bird is reproduced the better4 ,the most unlikely1 and therefore the best1 place to produce it from is the bottom of the trouser--a lively course of speculation as to how it got there being thrown open to the company4 ,if it be desired to get rid of the bird altogether1 the performer must pivot round and vest4 ,there is not much chance of the bird moving in that position1 but1 of course1 it will be better for the performer to make an early exit1 and relieve himself of the encumbrance4 ,doves are made to disappear by means of the shelf at the back of the table1 or the pocket directed to be made at the bottom of the coat-tail4 ,the shelf vanish is more open to suspicion1 but ,i have1 nevertheless1 found it enormously successful1 when properly managed4 ,the performer1 in the first instance1 must not announce1 by word or deed1 that the disappearance is about to take place4 ,standing to the left 7his left1 facing the audience7 of the table1 and slightly to the rear of it1 he takes the dove in the right hand4 ,walking briskly past the table1 at the back1 he casts his eyes upwards1 and just as he reaches the extreme corner of the table1 makes a movement of tossing the bird into the air4 ,it is1 instead1 placed gently 7not dropped1 or thrown7 upon the end of the shelf1 the brisk pace of the performer carrying him at once a good yard beyond the table1 from which spot the dove is apparently cast into the air4 ,the success of the sleight depends very much upon the exactness with which the performer imitates the actual throwing of a bird into the air1 and the fearlessness with which it is conducted4 ,any symptom of a glance at the shelf would be fatal4 ,the bearings must be taken whilst stationary1 and the rest carried out with the eyes fixed earnestly on the ceiling4 ,rabbits and guinea pigs may be similarly treated2 but large-sized rabbits are unsuited1 since it is not easy to place them upon the shelf4 ,when the pocket is used1 supposing it to be in the right coat-tail1 as it probably would be1 the performer should stand with that side away from the audience1 and ascertain1 by means of the right hand1 if the mouth of the pocket be open4 ,lean slightly over to the right1 and then1 taking the dove in the right hand1 make a movement of casting it into the air1 straight upwards1 whither the eyes are directed4 ,it is1 of course1 left in the pocket1 head downwards4 ,an attempt to place it there tail first would be likely to lead to disaster4 ,as this sleight may be performed away from any table or chair1 it is1 of course1 to be preferred4 ,it is1 undoubtedly1 more difficult of accomplishment than the shelf vanish1 requiring more neatness in depositing the bird2 for1 if the downward sweep be too vigorous1 it will have the effect of disturbing the coat-tail1 which will be momentarily seen1 pushed out behind the performer1 by the company1 and the place of concealment thereby betrayed4 ,it need hardly be pointed out that1 in either case1 the hand must grasp the bird firmly by the body1 clasping the wings tightly down4 ,if it be felt struggling in the pocket1 the performer should bow himself off at once4 ,mesmerising a ,dove4--,the apparent mesmerising of a dove makes1 of itself1 a capital effect1 leading the audience to pay high respect to the necromantic powers of the conjuror4 ,also1 it makes an admirable introduction to the vanish4 ,the bird is taken in the right hand1 outside the wings1 and laid upon its back on the front edge of the table1 so that the head just projects over4 ,the beak is now taken in the left hand and the head turned backwards1 as far as it will go4 ,when held in that position for a few moments1 the hands may be removed1 when the bird will lie perfectly still4 ,it will not always do this at the first1 or even the second1 attempt1 but perseverance will always be rewarded with success4 ,the performer must be as gentle as possible1 and go slowly to work4 ,we need not stay to discuss the reason for the singular phenomenon1 it being sufficient for our purpose to know that the bird will lie still when placed in the proper position4 ,the performer waves his hands over the bird1 as though mesmerising it1 and then he may take one of the feet in his fingers and actually raise the bird1 by one of its legs1 completely off the table4 ,this will require the greatest delicacy and patience to accomplish1 operations being discontinued the instant the bird shows any signs of fluttering4 ,anything approaching a jerk will rouse the bird1 so the lift must be made as gradual and as imperceptible as possible4 ,the reader will1 doubtless1 be able to appreciate the sensation that will be caused when1 the mesmerising accomplished1 the bird immediately afterwards vanishes from sight1 no one knows whither4 ,to ,exchange ,borrowed ,rings for ,dummies4--,with a single ring1 and in a small way1 this may be done by means of the finger palm 7,fig4 #c71 the dummy being already held in the left hand1 between the roots of the fingers1 and a feint made of placing the borrowed one into it4 7,see ,tricks with ,coins1 b1 p4 #aa74 ,this does very well for the drawing-room1 in which domain the following method may also be adopted when two or more rings are borrowed4 ,have the dummies screwed up in a piece of paper1 which hold in the left hand1 and cover with a precisely similar piece of paper1 open4 ,into this latter place the borrowed rings1 and screw up4 ,all that is now necessary is to reverse the positions of the two parcels1 the left hand carrying away the borrowed rings1 the right taking the dummy ones1 the paper containing which is1 of course1 not opened again during the trick4 ,the same method should be adopted with large audiences when a borrowed watch and chain have to be exchanged2 but the following method is far away the best to adopt on the stage with rings4 ,for the purpose of collecting rings borrowed from the audience1 the conjuror should provide himself with an ebony wand1 rather thicker than an ordinary penholder1 and about eight inches in length4 ,if he be performing with an assistant1 that person should do the collecting4 ,upon the wand are already placed the dummies1 covered by the hand holding it by one of its ends4 ,the wand is presented the persons lending the rings1 who slide them on4 ,the performer remains well up the stage1 and1 the assistant1 turning towards him1 changes the wand from one hand to the other1 securing the borrowed rings under the latter1 and spreading the dummies along the wand4 ,this can be quickly effected1 and the assistant at once turns round facing the company1 presenting the wand1 with dummy rings1 to the performer1 who takes it2 the borrowed rings remaining in the assistant's hand1 dropped at once to his side4 ,the performer at once draws attention to himself1 and the assistant makes off with the rings for whatever purpose may have been previously arranged4 ,an assistant must be something of a conjuror to possess the necessary sang froid for effecting the exchange without drawing attention to his movements1 so the performer may have to execute it himself1 in which case he would place the dummy rings in some conspicuous position1 and pass behind the scenes momentarily on the strength of some plea1 which would suggest itself according to the trick in course of performance4 ,how to ,show the ,hands ,empty whilst still containing ,coins4--,in many tricks with money 7,hold them ,tight6 for instance7 it may be advisable1 or even compulsory1 by reason of the doubt of a spectator1 to show that the coins are not in the hand1 whilst they really are so4 ,with a single coin to manage1 the reverse palm will suffice4 ,when two or more are in the hand the coins must be slid inside the doubled up fingers which hold the wand1 placed across the hand4 ,the really empty hand is opened1 and the one containing the coins also1 as far as the performer dare4 ,now1 if he held the fingers doubled up without the wand in the hand1 the spectators would know where the coins were2 but1 seeing the wand1 the partial closing of the hand seems natural enough4 ,of course the hands are boldly thrust out1 the performer saying the while1 ,it is pretty plain that ,i haven't the coins1 for here are my two hands both wide open4 ,now sir1 what have you done with them8 c4 ,unblushing audacity is again the order of the day4 ,a capital effect is made if1 after showing the hands apparently empty1 the coins are abstracted from the hair or beard of a spectator4 ,one never knows when such a sleight may be wanted4 ,when it is1 it is as well to know what to do1 so as to prevent exposure4 ,to ,mark a ,card1 in the ,course of ,performing1 so as to be able to ,recognise it again4--,this is a very useful little dodge1 as by its means the machinations of the obnoxious person in this book denominated ,mr4 ,interference may be defeated4 ,it is only requisite when it becomes absolutely necessary to convince the company that you do not know the position of the card in the pack4 ,it is necessary to get at least a portion of the card in the hand1 when1 from the upper side1 an indentation is made in the card with the thumb nail1 one of the fingers1 on the under side1 performing the office of pressure pad4 ,the card need not be removed from the hand of the chooser1 the performer merely touching it momentarily whilst explaining what he wishes done4 ,it is as well to make the mark near the centre of the card1 as then it is more easily found4 ,after it has been made1 the pack may be given the company1 the card placed in it1 and the whole well shuffled by anyone4 ,the card will at once be recognised by the slight projection that has been made on the under side4 ,should a repetition of the ruse become necessary1 the performer must either leave the card originally marked out of the pack1 or else make two marks on the next2 but it is better to leave the first one out4 ,as the whole of the pack is not used--at least1 not under my instructions--some spare cards are always lying unused upon the table4 ,this spare heap is always exceedingly useful1 as cards such as the one under notice may be placed in it1 whilst others1 which may be presently wanted1 can lie upon the top1 ready at hand4 ,to ,pass a ,handkerchief over the ,flame of a ,candle without ,burning it4--,this is a remarkable effect1 which only requires confidence to ensure its successful execution4 ,the performer has a lighted candle standing upon the table1 and when in possession of a borrowed handkerchief for a trick1 he introduces the sleight as an interlude4 ,grasping the handkerchief by one corner1 in such a way as to spread it somewhat with the fingers1 he holds it in front of the candle1 and then draws it upwards and backwards1 right over the flame1 almost extinguishing the latter in so doing4 ,the handkerchief should be an ordinary white one1 and the flame will be seen by the spectators to be eating into it1 apparently4 ,there is not the least necessity to be in any hurry1 the action of drawing the handkerchief over the flame being a steady and deliberate one4 ,it may be repeated as often as the performer chooses1 but not made anything of by him1 the impression to be conveyed being that the power of placing a handkerchief in the flame of a candle without injuring it is one necessarily possessed by him1 as a matter of course4 ,this sleight will come in particularly propos if it precedes a trick in which a handkerchief is burned4 ,it is not advisable to try the feat with a scented handkerchief1 it being just possible that the spirit contained in the perfume might ignite4 ,the ,conjuror's ,shuffle4--,nearly all good conjurors preface their card tricks with an exhibition of shuffling1 a process always conducted in the showiest manner possible1 although1 by the time it is completed1 it is possible that the position of the cards has not been interfered with in the least4 ,as the term shuffling is only employed for want of a better one1 and it is merely a question of exhibiting skill1 this does not signify4 ,when a conjuror wishes to shuffle the cards1 he adopts the specious method generally in use--if he can4 ,according to whether he be a genuine adept1 or only a performer of an inferior order1 so will the phenomena exhibited to the spectator in this connection vary4 ,in the one case1 the performer1 holding the cards in the two hands1 suddenly opens them very wide apart1 the cards spreading1 after the manner of a comet's tail1 from one hand to the other4 ,for an instant they form an aerial arc1 when1 before they can fall to the ground1 the hands are brought smartly together1 collecting the cards by the action4 ,this movement is repeated twice or thrice4 ,this is what the genuine man does4 ,the impostor ostensibly does a very great deal more1 for he begins by parting and bringing the hands together again1 as one does in playing the concertina1 several times1 the cards acting the part of the concertina perfectly4 ,he then tosses the cards about from hand to hand in the most nonchalant manner1 the cards invariably following one another in an unbroken stream which assumes serpentine and other shapes1 at the will of the performer4 ,they are spread along the conjuror's arms1 and over his chest1 and are invariably gathered in again without a single one being allowed to fall4 ,the feats performed appear to be nothing short of marvellous1 until one becomes possessed of the interesting fact that the cards are all sewn together1 so that the whole thing is merely child's play4 ,now1 although ,i have seen conjurors with good reputations using these prepared cards1 ,i entirely disagree with their use myself4 ,in order to deceive the public1 one must not be particular about the means employed2 but here it is a question of one conjuror setting up to be vastly superior to others1 the facts of the case being precisely the other way4 ,as a matter of fact1 these prepared cards are only used when the performer is so wanting in skill that he cannot execute the genuine shuffle4 ,looking1 as ,i do1 upon the use of these cards as being unworthy anyone but a music-hall performer1 ,i never hesitate to expose the fraud whenever it is perpetrated4 ,i shall1 of course1 describe nothing in connection with it1 but pass on to the genuine article1 which may be at once recognised by the noise accompanying its execution1 the fraudulent method being quite noiseless4 ,as the feat is really difficult of accomplishment1 its study must be conducted by easy stages4 ,the pack1 which should be composed of small cards 7the large ,english ones being very unsuitable71 thirty or so in number1 is held lengthwise in the right hand 7left hand if the performer is very decidedly left-handed7 by the thumb at one end1 and the first1 second1 and third fingers at the other end1 the body of the hand making an arch over the cards4 ,the left hand is held out1 a little lower than the elbow1 in front of the body1 with the fingers spread out1 and slightly curled upwards1 the first finger a great deal more than the rest4 ,now1 if the cards be squeezed by the fingers and thumb of the right hand1 they will bend thus1 downward curve2 but if1 just as the pressure is put on1 the fore finger of the left hand pushes the centre of the pack from below1 the opposite curve will be taken1 thus1 upward curve1 which is the one wanted4 ,with the cards thus bent1 they must be held over the left hand1 and more pressure then applied1 when they will squirt into the left hand1 their foremost ends striking against the up curled forefinger1 and so being prevented from falling to the floor4 ,in making the squeeze1 it will be found that the middle and third fingers use more influence than does the first finger1 which is merely an auxiliary at the commencement4 ,the greatest power of all must be exerted by the thumb1 which is always pushing the cards forwards with considerable force4 ,the learner must content himself with merely squirting the cards from the right hand into the left1 at a distance of two or three inches only4 ,when he can do this easily and smoothly1 and without dropping any on the floor1 he may increase the distance to six or eight inches4 ,this is about the greatest distance he will be able to attain by simple squirting4 ,in order to make a more effective show1 he will have to give to the right hand an upward movement at the moment the cards are pouring from it4 ,this will tend to increase the distance between each card1 but as1 at the same time1 it kills the forward momentum1 the cards would simply fall to the ground were they not prevented from so doing4 ,to accomplish this1 the left hand must follow them up quickly4 ,for an instant of time they will poise in the air1 and then commence to fall2 but1 at that moment1 the left hand comes upward with a rapid sweep1 bringing the cards together against the right hand4 ,by not attempting too great a distance at first1 the learner will progress more rapidly2 and he should not be satisfied until he can compass a distance of two feet4 ,great experts can accomplish very much more than this4 ,as proficiency is attained1 the shuffle should be made more across the body1 the direction being from the left hip towards the right shoulder1 this being more showy4 ,a very difficult1 but highly effective1 method is to make the shuffle the reverse way1 i4e41 downwards4 ,the left hand is held nearly shoulder high and the cards squirted into it1 the right hand sweeping downwards in the direction of the right hip4 ,the performer must always direct his practice towards making the cards remain as long in the air as possible4 ,to this end1 the movement of the right hand must be exceedingly rapid1 so that all the cards are visible to the spectators at once2 and the longer the left hand dallies1 the more rapid must be its motion towards the right hand4 ,it must be distinctly understood that the two hands do not move simultaneously1 there being two decided movements1 one following the other4 ,old cards are useless for this feat1 as they come off in batches1 and have no spring4 ,american cards are a trifle too thin1 and are only good when new1 whilst the regulation ,english whist card is too thick2 therefore a medium thickness must be chosen4 ,the finest quality cards will be found the cheapest to use1 as they stand the strain better4 ,inferior cards soon become demoralised by the rough treatment to which the shuffle subjects them4 ,after using a pack faces downwards for some time1 turn it over1 and use with the faces upwards1 changing back again when the spring of the cards becomes weak4 ,,properties4--,besides the auxiliary articles mentioned in connection with various tricks1 there are some that are of general application which the conjuror should always have in readiness4 ,they are here enumerated and described3 ,the ,devil's ,handkerchief4--,the peculiar use of this article is that anything wrapped in it is made to disappear when the performer desires1 by simply shaking out the handkerchief4 ,the secret lies in the fact that there are two handkerchiefs1 three of the four sides of which are sewn together1 the fourth being left open1 so as to form a bag4 ,the article to be made to disappear is apparently placed under the handkerchief1 but really into the bag1 and it is usual to give this to be held by one of the spectators4 ,later on1 the performer takes the two upper corners of the handkerchief1 and1 asking the spectator to loosen his hold1 gives it a vigorous shake4 ,the company look in the air1 or upon the floor1 expecting to see the object there1 but of course it is at the bottom of the bag4 ,cards are successfully vanished in this manner1 as also watches1 eggs1 and articles not more bulky than they4 ,the handkerchiefs should be of a sombre colour1 and have a decided pattern4 ,this will tend to conceal the contour of the article inside the handkerchief after it has been made to disappear1 although the performer invariably retires with it to the stage1 out of harm's way4 ,some performers use handkerchiefs sewn up on all four sides1 and having merely a slit1 from four to six inches long1 made in one handkerchief4 ,the ,coin ,handkerchief4--,this is an ordinary coloured handkerchief1 into one corner of which1 by means of a small extra piece of stuff1 is sewn a piece of metal 7to avoid unnecessary sinking of capital7 resembling a coin4 ,the performer should have on hand three handkerchiefs prepared with pieces of metal to represent sixpences1 shillings1 and half-crowns4 ,for the latter1 a penny will do admirably1 and it will also act for florins and pennies1 the public not being able to appreciate the slight difference in size when felt or seen through the folds of a handkerchief4 ,the shilling handkerchief will answer admirably for halfpennies4 ,a borrowed coin is apparently folded in the handkerchief1 which the performer has drawn carelessly from his pocket1 and not had lying in state upon a table1 but palmed instead1 the dummy being presented in its place1 and given to be held4 ,the palmed coin is then secreted in the place to which it is presently to be magically transported4 ,to cause the coin1 supposed to be wrapped in the handkerchief1 to disappear1 the performer shakes it by one or two corners1 as in the case of the ,devil's ,handkerchief4 ,each of the three prepared handkerchiefs should be of the same pattern1 so that1 if more than one are used on the same evening1 no remark will be excited as to the appearance of a new property upon the scene4 ,the ,flying ,ring4--,this is a dummy ring1 attached to a piece of elastic passing up the sleeve1 with the other end fastened to the brace1 or elsewhere4 ,on a ring being borrowed1 it is apparently placed in a handkerchief1 the ,flying ,ring being substituted1 and held by a spectator1 of course through the handkerchief4 ,at a given signal the ring is released and at once disappears up the performer's sleeve4 ,magician's ,eggs4--,these are merely blown eggs1 which should always be used when the employment of solid ones is not imperatively necessary4 ,their lightness enables the performer to palm them with considerable ease1 and the same peculiarity renders them less liable to break2 and1 when they do1 by chance1 crack1 no disconcerting emission of glutinous contents ensues4 ,besides this1 a stock can always be kept on hand ready for any performance1 which cannot be done with real eggs4 ,imitation eggs are made in indiarubber4 ,these are of everlasting wear1 bodily1 but the exterior paint wants renewing occasionally1 in order to maintain the resemblance to the real article1 at no time any too exact4 ,productive ,eggs4--,these are blown eggs containing lengthy slips of coloured paper1 rolled up tightly4 ,the introduction of the paper is thus managed4 ,the egg blown and dried1 a slit is made along one side with a piercing saw or fine file4 ,a wire is then passed longitudinally through both thick and thin ends1 one end of the paper inserted through the slit1 and rolled up by means of the wire1 twisted from the outside1 until the egg is full4 ,a piece of cotton is attached to the loose end of the paper1 and the slit and holes in the ends of the egg closed up with plaster of ,paris4 ,at the conclusion of any trick in which real eggs have been used1 one can be exchanged for a prepared egg1 which is then broken1 and the paper extracted1 the piece of cotton at once showing where the loose end is to be found4 ,into a good-sized egg some fifty or sixty feet of paper may be secreted4 ,the paper may be purchased at conjuring shops in large rolls2 and the conjuror will find it better to prepare a quantity of eggs at a time4 ,the ,coin-vanishing ,tumbler4--,this is an ordinary tumbler1 with a horizontal slit at the side1 on a level with the interior bottom1 large enough to allow of the passage of a half-crown4 ,if the tumbler be held in such a manner that a finger closes the slit1 liquid may be poured into it4 ,this should be done casually1 and not professedly for the purpose of showing that there is nothing peculiar about the tumbler1 such a suggestion being unnecessary and dangerous4 ,the company would naturally say1 ,if there be really nothing wrong with it1 why does he not place it in our hands for examination8 ,a coin placed in the tumbler may be got into the hand at any moment vi the slit1 the top being covered with cards1 c41 to prevent the exit of the coin that way3 as if coins were in the habit of leaping out of tumblers into which they have been placed1 and deceiving audiences6 ,nevertheless1 an audience is invariably satisfied when inanimate articles are covered up1 and so supererogatorily prevented from performing acts which are not possible to them4 ,the ,magic ,plateau4--,this is a glass plateau1 in form like a school slate1 there being a broad fancy wood border1 glass taking the place of the slate4 ,the plateau is held like a tray in the hands of the performer1 and coins are placed upon it1 which disappear when it is waved in the air4 ,the secret lies in the fact that the wooden border is undermined1 and1 when a sideways movement is given to the plateau1 the coins disappear underneath4 ,the plateau is then carried with that side in which the coins are concealed1 downwards4 ,it makes a trick of itself1 but is more useful as an adjunct to other tricks4 ,as it is advisable to have a very narrow frame1 shillings should be used3 in no case coins larger than a florin4 ,the plateau is also of great use when the performer is desirous of changing several borrowed and marked coins for some of his own4 ,taking the plateau1 with the marked coins upon it1 in the right hand1 he pretends to pour them off into the left hand1 where the conjuror has his own coins concealed4 ,the marked coins disappear under the frame1 and the concealed ones are exhibited4 ,when the reappearance of the coins on the plateau is desired1 they may be shaken out of the frame as easily as they were sent there2 but ,i do not advise this addition1 as it is very likely to give a clue to the mystery4 ,the article is not difficult of construction1 and the fact of the greater part of the material being transparent glass1 lends it a desirably innocent appearance4 ,,chapter ,,xii4 ,,tricks ,,with ,,cards4 ,,how ,,to ,,vanish ,,and ,,recover ,a ,,pack--,,the ,,egyptian ,,pocket2 ,,how ,,to ,,manufacture ,,cards--,,the ,,missing ,,link--,,ascending ,,cards2 ,,various ,,methods--,,the ,,card-,,holder--,,what ,,apparatus ,,not ,,to ,,use--,,the ,,salamander ,,card--,a ,,legitimate ,,use ,,for ,,forcing ,,packs--,,herrmann',s ,,bouquet--,a ,,human ,,hen--,,the ,,hatched ,,card--,,the ,,wand1 ,,and ,,how ,,to ,,make ,,it--,,more ,,about ,,apparatus4 ,nearly every modern conjuror of any pretensions to skill commences with a card trick4 ,there is something about a good card trick well executed that always takes with an intelligent audience4 ,when a performer does not commence with the cards1 it is generally because he does not possess skill enough to do anything effective with them1 although he will generally make a virtue of necessity 7at which conjurors are particularly apt71 and give some totally different reason4 ,vanishing a ,pack4--,when the time is limited1 none should be wasted in preliminaries2 but1 when possible1 the performer should always vanish the pack1 by palming it1 and find it either at the elbow or sole of the boot1 or else in possession of one of the audience2 or he can pretend to give it into the hands of a spectator1 and then discover it some distance off1 with someone else4 ,to execute this properly1 the cards should be palmed in the right hand1 which affects to put them into the left hand4 ,the right hand should take the wand or lappel of the coat1 and the left be disposed1 palm downwards1 as though it held the pack4 ,such a little exhibition of skill makes a good impression at once1 and puts the spectators on the alert from the very commencement4 ,the ,egyptian ,pocket4--,one of the very best sleight-of-hand card tricks is that introduced by ,herrmann1 who1 a few years ago1 was such a favourite throughout ,great ,britain4 ,he called it the ,egyptian ,pocket1 though1 for all the name implied1 it might as well have been called the ,nubian1 ,chinese1 ,japanese1 or ,brazilian ,pocket4 ,one of the audience took a pack round1 and allowed four cards to be drawn from it4 ,these cards were afterwards gathered in by the same person1 who1 after mounting the stage1 placed them in the pack1 which was then well shuffled4 ,the pack he placed in his breast pocket1 and then drew out1 one by one1 three cards of those selected in the audience as they were called for4 ,the fourth card1 however1 he failed to find1 and was told to search the pack for it4 ,the search proving fruitless1 he was told to manufacture the card1 and1 on expressing his ignorance of the proper method to pursue1 was directed to blow into his pocket1 where the missing card was then discovered4 ,he was found1 however1 to have blown too hard1 for his vest contained a perfect avalanche of cards2 whilst his nose1 on being squeezed1 gave forth a stream of them1 amidst roars of laughter4 ,the method for performing this trick is as follows3 ,place upon your centre table two bulky packs of cards1 and step forward with a third pack in your hands4 ,ask someone to assist you1 and give him the pack in the shape of a fan1 directing him to ask certain ladies1 four in number1 whom you will indicate with your wand1 to select one card each4 ,on this being done1 take the pack from his hand1 and direct him to receive the four cards1 faces downwards1 on the flat of one hand4 ,whilst this is being done1 step on the stage1 but never take your eye off the operations that are going on1 for you must notice whose card is placed undermost1 whose next1 and so on4 ,request your volunteer assistant to kindly step on the stage1 and1 opening the pack in the middle1 ask him to place the four cards inside4 ,close the pack1 keeping the finger inserted where the cards were placed1 ready for the pass1 and inquire if the person on the stage with you possesses an inside breast pocket to his coat4 ,if it is outside1 it does not much matter1 but the inside one is better for the trick4 ,on receiving an answer in the affirmative1 ask to have the pocket emptied4 ,whilst this is being done1 sometimes amidst much amusement1 by reason of the miscellaneous character of the contents of the pocket1 make the pass1 bringing the four cards to the top1 and1 opening the pack slightly1 carelessly run the eye over them4 ,it is always as well to know them1 in case of an accident occurring4 ,palm them1 and give the rest of the pack to your assistant to shuffle4 ,taking the pack back1 replace the palmed cards upon it1 re-palming the top card only1 and bid your assistant place the pack in his pocket4 ,feel the outside of his pocket1 under the pretence of seeing that everything is all right1 but in reality to give the cards a bend1 crosswise4 ,this bend will cause the back of the uppermost card to be the first met with by a hand entering the pocket4 ,now inquire of the chooser of this said top card--which1 as you have palmed the original top one1 will be the third one gathered in--what the name of her card is4 ,you will affect to do this haphazard1 and not as though you selected that particular person to inquire of4 ,on receiving a reply1 desire your assistant to put his hand quickly--very quickly indeed1 sir--into his pocket1 and draw out a card4 ,if you have arranged everything properly1 this will be the desired card4 ,now ask the chooser of the second card what the name of hers is1 and repeat the operation4 ,do the same with the first card1 and then with the fourth4 ,by thus apparently dodging from one lady on one side of the room to one on the other side1 it will still more appear that you are indifferent whose is asked for4 ,this last card will not1 of course1 be forthcoming1 and after a few fruitless attempts to produce it1 plunge the hand1 in which the card is palmed1 into the pocket1 and draw out the pack1 leaving behind the palmed card4 ,the assistant looks through the pack1 but does not find the card1 and you say1 ,well1 sir1 you must make one1 ,i suppose4 ,on hearing that he does not know how1 say1 ,oh6 it is as simple as possible4 ,take this wand in your right hand1 and open your coat with the left4 ,good4 ,now blow into your pocket4 ,the card will be found there1 and your assistant1 thinking it is all over1 will be about to retire1 when you1 having just palmed one of the packs from the table1 detain him with the remark that1 ,although you did the trick very well1 sir1 for the first time1 yet1 owing to your inexperience1 you unfortunately blew a little too hard4 ,see here1 sir1 what you have inside your vest6 ,you then plunge the hand containing the cards rapidly inside his vest and draw out one card only1 then another1 another1 and so on1 and finally say that1 as you do not know how many more there are1 he had better take them out himself4 ,whilst he is doing this1 palm the other pack1 and say1 ,have you any more cards1 sir8 ,no6 ,excuse me1 but will you allow me to finish my experiment8 ,you then place your hand to his nose1 and1 compressing the hand1 cause the cards to shoot forth in a stream on to the floor4 ,immediately it is over1 shake hands with your assistant1 and say you are extremely obliged4 ,this will ease his mind of the idea that you meant to make a fool of him4 ,sometimes1 in drawing the cards from the pocket1 the assistant will accidentally take them from the bottom1 instead of from the top4 ,in this case1 they will be wrong cards1 and you must say1 ,ah6 you don't do it quickly enough2 this is the way1 and1 plunging your hand in the pocket1 draw out the desired card1 giving the pack1 at the same time1 a good bend1 when you can allow the assistant to try again4 ,about thirty cards will make the best pack for this trick1 and great care must be taken that it does not contain two cards of a kind1 for if one of these duplicates is chosen1 and it is the fourth card1 i4e41 the one which is missing at the last1 it 7its duplicate7 will be found in the pack when it is gone over1 and all your blowing in the pocket performance1 which is the great feature in the trick1 will be knocked on the head4 ,i have actually seen this occur4 ,all the performer could do was to palm the card and pretend to pass it into the pocket1 where1 of course1 the duplicate was found2 but it was a very weak finish4 ,the ,missing ,link4--,this is another very telling card trick1 and one that has made the fame of more than one amateur conjuror4 ,a card is chosen from the pack and torn into shreds4 ,the pieces1 with the exception of a single one1 which is given into the custody of a spectator1 are then put into a little box1 piece of paper1 c41 and made to disappear4 ,the card is then found restored in some part of the audience1 but it is noticed that a small portion of it is missing4 ,the single piece1 which was given to a spectator to hold1 will be found to be of the very size and shape required1 thus proving that the performer restored the actual card that was destroyed4 ,for this trick1 some slight prearrangement will be necessary4 ,in the first place1 a card 7say1 the six of hearts7 must have a small piece torn out from one of its sides4 ,this mutilated card must then be secreted in some out-of-the-way place in the auditorium1 or1 what is still better1 in the pocket of one of the audience1 of course some time before the performance begins4 ,i once had it sewn up in the lining of a coat1 and on another occasion inserted in the sole of a boot3 but1 in such instances as these1 care must be taken that the article containing the card is to be worn on the evening of the performance1 or a fiasco will result4 ,it is1 however1 always worth while to run a little risk for the sake of increased effect4 ,the small piece torn from the card is carefully kept1 and1 whilst the trick is being performed1 should be on the table1 concealed by any trifling object that may be upon it at the same time4 ,force 7see instructions for forcing7 a card1 exactly similar in every way to the one you have previously mutilated and concealed1 and then ask the chooser to tear it up4 ,whilst this is being done1 go to your table for your box or piece of paper1 according to which you may elect to use1 and bring with it1 concealed in the fingers1 the little piece of card4 ,then have the pieces1 which should be reduced as nearly as possible to the size of your secreted piece1 placed in the box or paper and1 putting your fingers among them1 affect to take out one piece1 but1 in reality1 show the one you already had in your hand1 and give it to a spectator to hold very tightly1 or if he likes1 to put it into his purse4 ,if you have plenty of time on your hands1 and wish to make extra fuss1 you can have it put into an envelope and sealed by the audience1 which certainly improves the effect4 ,a very pardonable joke here comes in well4 ,on giving the portion of the card to be held1 say to the gentleman1 ,will you kindly keep the piece1 sir8 and then1 affecting to notice reluctance in his looks1 ,no6 then ,i must apply to a magistrate1 who will1 ,i have no doubt1 bind you over to keep the peace for six months or so1 whilst ,i shall only trouble you for a bare six minutes4 ,if you have had the pieces put in paper1 you can roll it up into a ball and vanish by palming in the right hand1 whilst affecting to place it in the left1 after the manner previously described for vanishing objects4 ,a box can be treated in the same manner1 or you can give the trick extra finish by having two boxes exactly similar1 one being filled with chocolate creams or other comfits1 and exchanged for the one containing the torn-up card4 ,the box should be a small round one1 and can then be treated exactly as if it were a coin1 and palmed4 ,the pieces are then commanded to pass to wherever you have originally concealed the torn card1 which will be found in due course4 ,you exhibit it triumphantly1 not affecting to notice the absence of a portion of it at first and1 when you do make the discovery1 you must appear overcome with bewilderment4 ,then suddenly remember the piece you have given to be held1 and have it fitted to the card1 which it will naturally make quite complete4 ,then1 if you have used boxes1 have the box supposed to contain the pieces opened by the lady who chose and tore up the card1 and present her with it and its contents4 ,most conjurors leave the trick here1 but1 if the performer pleases1 he can go still further1 and render the card quite complete again4 ,this is easily managed with the use of a card box 7see p4 #abg71 which can have a perfect card concealed in it4 ,the incomplete card and piece are put in1 and the box turned over4 ,this latter phase is not absolutely necessary for the success of the trick4 ,when1 as is sometimes the case1 it is found to be impossible to conceal the mutilated card satisfactorily in the audience1 the card box will have to be used in the first instance4 ,this trick is best introduced in the middle of a performance1 when the production of the card from the person of one of the audience will look more genuine than it would if it took place at the commencement4 ,the ,ascending ,cards4--,for this trick some little preparation is also necessary1 and a certain amount of apparatus will be required4 ,three1 four1 or more cards are chosen1 and then shuffled up in the pack1 which is put into a metal or cardboard receptacle of the size of a pack of cards4 ,at a word of command1 the cards ascend1 one by one1 from the pack1 without any apparent agency4 ,the apparatus required for this trick consists of the case1 which can either be made to conceal the cards entirely1 or may have the front cut out so as to show the face of the foremost card1 a small border being left for the purpose of preventing the cards from falling out4 ,this case is divided into two divisions1 the rearmost one being much smaller than the other1 and just large enough to hold about ten cards4 ,to the top of the dividing partition affix a piece of fine black silk1 which allow to hang over the smaller division4 ,into this smaller division now introduce a card1 which1 as it is put in1 must have the silk under it4 ,now introduce a second card1 but pass the silk over this one instead of under it4 ,put in a third card with the silk under it1 and a fourth with the silk over1 continuing the operation according to the number of cards you intend performing with4 ,when the silk is pulled1 it will cause those cards which have it passed beneath them to ascend4 ,the same effect would be caused without the intervention of intermediate cards1 but then they would all rise at once1 whereas the trick is to make them do so singly4 ,the performer must have all this arranged before commencing1 and also have the silk passed out either at the back 7which is to be preferred1 where possible7 or the side of the stage1 where an assistant is stationed1 holding the end of it4 ,if at the side1 then a small staple or pulley must be fixed in the back of the table and the silk passed through it1 otherwise a direct pull will not be obtained4 ,the case holding the cards can either be made to fit in the neck of a decanter by means of a cork on the under side1 or can be permanently fixed to a tall stand4 ,i prefer the decanter myself1 as an opaque stand always causes suspicions of mechanical assistance to arise in the minds of the audience4 ,the decanter should be given for examination4 ,the performer must force duplicate cards of those arranged in the small division of the card-case1 of course taking no notice of those over which the silk passes1 as they will never be exposed1 and1 asking the audience to remember the names of them1 have them put in the pack and shuffled4 ,the rest of the trick follows as a matter of course4 ,the pack is placed in the larger front division of the case1 and1 as the chosen cards are called for1 the assistant1 who must have a view of the cards from his place of concealment1 pulls the thread4 ,a very commonly practised piece of humour is to include a knave in the forced cards1 and to place two in the small rear division of the card-case4 ,the one that is to appear first is put in upside down1 court cards with one head only being used4 ,it is upbraided for thus making its appearance1 and it is replaced in the pack--still upside down--but in the front division4 ,the second time1 the other knave appears1 right side up4 ,the marvel of the audience is how the card managed to reverse itself in the pack4 ,these card-cases can be procured from any of the vendors of conjuring apparatus4 ,a better arrangement is the following1 which enables the performer to have his case examined by the audience--always a great advantage4 ,it will require a little construction on the part of the performer himself1 unless he is more fortunate than ,i ever was1 and can find someone to carry out his ideas for him4 ,instead of having the tin case made with partitions1 let him have it quite plain1 and just large enough to take from thirty-five to forty cards4 ,this will bear any amount of examination1 and a pack of cards should always be put in it before the audience1 to show that it is entirely filled therewith1 and so cannot possibly be made to contain any mechanical contrivance4 ,the performer's little arrangement lies in a few cards1 which1 with others1 are lying carelessly upon his table4 ,these cards are prearranged with the silk exactly as just described for the small partition of the case1 the end of the silk being affixed to the top of the undermost card4 ,when the performer returns to his table with the pack1 he should place it1 whilst arranging his case in the decanter1 with the loose prepared cards1 which should then be picked up with it1 the pack being undermost4 ,the trick can then proceed as usual1 and the case be handed round for examination afterwards4 ,great care must be taken not to disarrange the silk whilst picking up the cards1 as any fault in this respect cannot possibly be remedied4 ,the more simple and free from apparatus the method of performing this trick1 the better it will be appreciated4 ,a third method1 quite original1 which ,i have adopted with unvarying success1 the performer1 will1 ,i expect1 prefer to any of the foregoing4 ,it is the only method which does not call for the forcing of the cards2 and its general surroundings are so simple that ,i find conjurors themselves sometimes puzzled to explain how the result is brought about4 ,the performer has the usual bottle1 which it is1 perhaps1 as well to open before the company4 ,it should be of perfectly clear glass1 and some fluid should be left in to give it steadiness during the performance of the trick4 ,the card-holder should have the front side open1 a quarter-inch flange being left on each side1 to prevent the cards from falling out1 and the inside coloured black4 ,the silk1 by means of which the chosen cards are to be made to rise out of the pack1 has a small round cloth-covered button attached to the free end1 and this button must be lying upon the table1 in a convenient position4 ,the performer first comes forward1 and gives the bottle and card-holder into the hands of the company for examination4 ,the examination concluded1 he takes the articles to the table1 and1 as soon as possible1 drops the button into the bottle4 ,he next fits the holder into the neck1 taking care1 as he does so1 to cause the thread to pass over the top of it4 ,he now brings forward his pack1 which he gives up entirely into the hands of the company1 who select three cards4 ,as many people nowadays have some idea of the force1 this at once disarms suspicion in a remarkable manner1 and puts off many knowing ones1 who are sure to have seen the trick before1 otherwise performed1 it being a very favourite one with conjurors4 ,the performer now takes the pack back to the table1 getting a picture card to the front1 as he does so4 ,if he chooses1 he may ask the selectors of the cards to mark them with pencil1 and whilst this is being done1 he goes with the pack to the table1 where he places it carelessly into the holder1 taking care that the thread passes over the top of the cards4 ,it also passes over the front of them1 but1 as a picture card is in front1 it is not seen1 as it would be if a card with much white showing were there4 ,for this same reason1 the inside of the holder is coloured black4 ,the three cards are now fetched from the audience1 faces downwards1 so that the performer1 as he will explain1 cannot see them4 ,it will not assist him in the least if he does2 but audiences invariably think an immense deal attaches to the fact of the performer seeing a card1 and it is as well for all conjurors to conspire to keep up the delusion4 ,laying the cards first upon the table1 he takes up one1 and places it amongst those in the holder1 some three or four from the front4 ,as the card is pressed down1 it takes the silk with it1 care being taken to keep the latter as near the middle of the card as possible4 ,the second card is now placed a few cards farther in the rear1 and the third still farther back4 ,it will be necessary to keep a finger of the disengaged hand upon the top of the card or cards in front of the one being placed into position1 or the downward pressure will cause a corresponding1 but premature1 upward motion to be imparted to those already in position1 which would spoil the trick at once4 ,whilst the cards are being thus placed in the pack1 the performer must be careful to keep the company engaged in conversation4 ,the trick then proceeds as usual2 but1 at the conclusion1 the performer1 seizing the bottle in one hand and the holder in the other1 separates them1 and comes rapidly forward to give them and the cards for examination4 ,the assistant keeping firm hold of the thread1 the button is drawn out of the bottle1 and no trace remains of the medium by which the ascension was accomplished4 ,i take some pride in this little arrangement1 which1 ,i need scarcely say1 is not elsewhere made public4 ,to force three or more cards1 pass them all from the bottom to the centre together1 and not one at a time4 ,always be very particular about showing round the decanter or bottle1 the most innocent portion of the whole apparatus4 ,where convenient1 it causes a good effect to have a bottle of champagne opened on purpose4 ,give some of the wine away1 and use the bottle half emptied1 saying that you must keep some of the spirits in it for your trick4 ,the ,salamander ,card4--,a card is chosen and torn in halves4 ,one half is given into the custody of the audience1 and the other placed in a cleft stick or crayon-holder1 and burnt over a candle4 ,the ashes are put into a piece of paper1 which is rolled up and made to vanish by sleight of hand1 the method used being one which ought1 by this time1 to be familiar to the performer4 ,a letter here arrives addressed to the performer1 brought in by an attendant at the door by which the audience has entered4 ,the performer asks one of the audience to open it for him1 as he cannot stop in the middle of a trick4 ,inside the envelope1 which is sealed1 is found another1 and1 inside that1 another2 and so on until a fifth or sixth is reached4 ,inside the innermost of all that half of the card which was only an instant before burnt before the eyes of the audience is found1 as is proved by fitting it to the portion in the custody of a spectator4 ,this trick is thus managed3 ,the cleft stick1 which is an ordinary piece of firewood rounded and smoothed a little1 has a cleft at each end4 ,a metal crayon-holder1 with double ends1 also serves the purpose admirably4 ,in one end1 the performer has fixed the half of a card1 which must be one of the pack from which the card is to be chosen1 doubled up tolerably small4 ,this end he conceals in his hand1 and then has the half of the card which is to burnt doubled up and placed in the cleft in the other1 retaining the stick in his hand all the time4 ,on turning round to his attendant 7who must know his part1 and have rehearsed it once or twice7 for a candle1 he reverses the ends of the stick1 and1 removing the piece of card just placed in it1 gives it to his attendant whilst in the act of taking the candle4 ,if the attendant is not very proficient1 the performer may go to the side and stretch the hand containing the abstracted piece of card behind the screen or curtain1 and so effect the transfer4 ,the attendant should stand with one hand open and the candlestick in the other 7of course1 out of sight74 ,the performer will call out for the candle1 but1 receiving no answer1 will go quickly to the side1 where he will obtain it4 ,the stick1 with fictitious card in it1 he must have in the other hand1 which must be outstretched all the time1 and never for an instant removed from the view of the audience4 ,if this is not done1 no suspicion will be attached to the fact of his going to the side4 ,the instant the attendant receives the piece of card1 he must slip it inside the small envelope1 which will be arranged1 in order with the others1 beforehand 7the outside one being already addressed1 as a matter of course71 and either take it round to the front himself or deliver it to the servant who is to take it into the room4 ,too much rapidity cannot be exercised in executing this portion of the trick4 ,when once the letter is delivered1 the performer has nothing more to do in the way of exerting his skill1 but has merely to do a little talking1 and eventually have the letter opened4 ,indeed1 in this trick there is but little sleight of hand to be exhibited2 but a bungler would nevertheless make an egregious muddle of it4 ,it requires great neatness of execution4 ,for instance1 in turning round for the purpose of reversing the position of the stick in the hands1 great care must be taken that no movement of the elbows is visible4 ,the movement made must be confined to the arm below the elbow1 or even to the wrists only4 ,this movement of the wrists must be practised1 as it is a highly essential one and has to be brought into use frequently4 ,if any of the audience see the arms moving1 they know1 or surmise1 that something is going on1 even though they cannot divine what it is4 ,although not absolutely necessary1 it is as well always to force a card for this trick4 ,the card can then be doubled up with the pips outwards if the prepared end of the cleft stick contains a portion of a similar card4 ,for frequent performances of this trick and ,the ,missing ,link1 it will be advisable to have what ,i have previously described as 7but condemned the open use of7 forcing packs1 viz41 packs the cards of which are all of one denomination and suite1 as it will not do to tear up cards from ordinary packs4 ,they are easily obtainable at conjuring repositories or card manufacturers4 ,this trick is also exceedingly effective when a borrowed letter or other document is used instead of a card4 ,in large public audiences1 a bank note or other paper of value may be borrowed4 ,it is easy to have a piece of a note of the ,bank of ,elegance in the concealed cleft1 in imitation of a bank note4 ,on important occasions the performer should always have three or four sticks prepared with various coloured papers1 so as to be ready for any emergency4 ,the preparation is trifling1 and the sticks not used will do for another time4 ,it is quite immaterial which way it is done1 but sometimes ,i tell the person to whom ,i give the stick and candle not to burn the paper1 but to put it in the candle4 ,when ,i notice that it is in a fair way to be burned ,i look in another direction1 as if not noticing what is going on1 and am horrified on turning round to find the paper destroyed4 ,this answers best when the material burnt is a borrowed paper4 ,most conjurors perform this trick with the aid of a square wooden ladle1 which possesses a movable flap similar to that of the card box1 and worked by twisting the handle round4 ,this flap releases a fictitious paper1 whilst it covers up the borrowed one4 ,the excuse given for using this ladle is that the performer does not want the audience to suppose1 as they would do if he handled it1 that he changes the paper4 ,this excuse is poor and weak1 as it puts the idea of fictitious substitutions 7the heart and soul of stage conjuring7 into the heads of people who would otherwise never have dreamed of such a thing4 ,the arrangement of the premises very often makes the employment of the envelopes one within the other impracticable4 ,as a substitute method1 ,i here give one of my own1 which1 whilst it is not as amusing as the first one1 is far more wonderful and inexplicable to the company4 ,subsequently to borrowing a piece of paper or bank note from one of the company1 the performer shows round a piece of glass tube1 say four inches in length1 having both ends hermetically sealed by being melted up4 ,this piece of tube is folded in a piece of paper1 and given into the custody of one of the company4 ,the trick is gone through1 as above described1 except that the burnt paper is found restored inside the tube1 which1 of course1 has to be broken before the contents can be recovered by their owner4 ,this1 on the face of it1 is1 of course1 an utter impossibility2 but it is thus accomplished4 ,glass-blowers1 and those who have studied practical chemistry1 know that to construct such a glass receptacle as that above described1 all that is necessary is a piece of tube and a spirit lamp4 ,the tube is held in the flame by the hands1 and1 as the glass melts it is drawn asunder1 the result being that the two new ends thus formed collapse1 and1 cooling1 take the form of points4 ,behind the scenes the assistant is provided with a piece of tube1 eight or ten inches in length1 one end of which has already been melted up4 ,so soon as he receives the piece of paper from the performer he folds it up small1 and pushes it down the tube as far as it will go4 ,then he melts this tube some three inches up1 which will be far enough removed from the paper to keep it from being burned1 and by this means the paper has become hermetically sealed inside a glass receptacle4 ,if the assistant has had the necessary practice1 the operation should not take long4 ,when it is concluded1 the assistant brings the glass on1 and1 under pretence of fetching away the candle1 which the performer has placed upon the table1 leaves it upon the shelf4 ,the empty tube is upon the table1 and the performer1 in fetching it1 takes with him1 secretly1 the one with the paper inside4 ,this is very easily concealed in the hand if one end be pressed against the root of the thumb1 the other end being pressed by the middle finger4 ,the empty tube is shown1 as also a piece of paper1 in which it is ostensibly wrapped1 the one with the paper inside being substituted4 ,this substitution is effected by having the one tube concealed in the left hand1 the empty tube being apparently transferred to it1 but really palmed1 as above directed4 ,the right hand at once seizes the paper1 and covers the tube in the left hand with it1 and the wrapping-up is immediately proceeded with1 as no further exposure may be permitted4 ,if the performer prefers it1 the assistant may wrap the prepared tube in paper1 similar to that used by the performer1 who then conceals the parcel under his vest4 ,in this case1 the empty tube is wrapped up by one of the company1 the performer giving the parcel the necessary resemblance to the other 7each should have twisted ends71 and the exchange may be made subsequently4 ,after the parcel has been opened1 for the purpose of showing the tube with the paper inside1 the performer must not approach it until the owner of the paper has broken it open with a hammer 7the use of the wand for this purpose has less appearance of premeditation about it71 and identified his property4 ,i do not recommend the use of a card for this trick1 as therein the spectators might find some explanation of its wonderful character4 ,by employing a piece of a letter belonging to one of them1 complete mystification is secured4 ,the restored card may be reproduced from a candle1 by way of variety4 ,the performer has on his table two or more candles2 on no account brought on purposely for the trick4 ,it will not matter in the least how long they have been burning1 so that a good portion of them be remaining4 ,as though struck with a sudden inspiration1 the performer suggests1 in his happiest manner1 that the destroyed article be found inside one of the candles4 ,the company not objecting 7spectators1 anticipating amusement from them1 never object to the conjuror's suggestions in these cases71 the owner of the paper or chooser of the card is requested to say which candle shall be employed4 ,one being pointed out1 and extinguished1 it is taken out of the candlestick and put upon the table1 where the performer proceeds to cut it in two with a knife1 affecting great pains in making the portions exactly equal4 ,he now asks which half he shall take1 and1 when the person asked says1 the right 7or left7 half1 he must inquire1 ,which right or left2 mine or yours8 ,the chosen half is again cut in two1 and one of the portions chosen1 that portion being again divided4 ,the pieces remaining will be an inch or so long1 and one is selected of these4 ,this the performer gives to the person most interested amongst the spectators1 on a plate1 along with a knife1 and1 when it is cut open1 the paper or card is found inside4 ,the way this is done is simplicity itself4 ,the candles are all ordinary ones1 so it really does not matter to the performer which is chosen1 although he will do well to exhibit anxiety on the point1 by way of effect4 ,neither does it matter to him which portion of the cut-up candle is eventually chosen1 he having previously given off the piece of paper or card to the assistant1 who has placed it in a small piece of candle1 which the performer has safely secured under his vest whilst he is cutting up the chosen candle4 ,when the last stage of the cutting is finished1 the prepared piece is got down and exchanged in the usual manner for the innocent piece4 ,it is then brought forward on the plate1 and the remainder follows1 as a matter of course4 ,the ,obliging ,bouquet4--,this trick resembles to a great extent ,the ,ascending ,cards1 and was one of ,hermann's many masterpieces4 ,as performed by him1 it outshone1 in exquisite neatness and effect1 all other card tricks2 but the amount of skill and daring necessary to carry it properly through is considerable1 and persons of nervous or uncertain dispositions had better consider well before they attempt it4 ,at the same time1 those with the requisite skill and nerve may earn incalculable glory by including this trick occasionally in their programmes4 ,the description of it 7never before made public7 is as follows3 ,a bouquet of real flowers is handed to a lady in the audience1 and three or four cards are then chosen from the pack4 ,these cards are made to disappear4 ,one by one they are then seen to rise from the bouquet1 which is still held by the lady4 ,as in ,the ,ascending ,cards1 a case for holding cards is required1 but in this instance it is made of zinc1 and just large enough to take about eight cards4 ,the outside is painted dark green4 ,this case must be prepared beforehand1 with cards1 as described in ,the ,ascending ,cards1 with the exception that human hair is substituted for silk4 ,it is also as well either to have the intermediate cards1 i4e41 those over which the hair passes1 fixed permanently1 or else to have partitions of the same material as the case4 ,the loose end of the hair should have a tiny bead of wax on it1 and the case must be placed in the centre of the bouquet1 in such a position that1 although it is not visible from the outside1 yet the cards will have a tolerably free passage for their ascent4 ,if possible1 bring the mouth of it just beneath two buds of roses1 which will give to the slightest pressure1 and allow the card to come up between them4 ,the hair should hang down between the buds1 passing between the stalks4 ,the greatest care must necessarily be taken in arranging all this1 and the trick rehearsed within an hour of its performance1 to make sure of everything being safe4 ,bring the bouquet on1 and1 selecting the lady least likely to interfere with your arrangements 7this selection should be made whilst you are on the stage performing other tricks71 ask her to kindly hold the bouquet for you1 calling attention to the fact that the flowers are real ones4 ,if possible1 always have the bouquet held in the front row of the audience1 and take care that the hair is towards you all the time4 ,now force duplicate cards of those in the bouquet1 and then cause them to vanish as you please4 ,as looking the most skilful1 ,i prefer palming to any other method1 on all occasions4 ,if1 from knowing the cards as you forced them1 you are aware who took particular cards1 you can ask the person who chose the duplicate card of the first in the case1 the name of it1 and then desire that one to rise from the bouquet4 ,on hearing the name of the card1 or just before1 advance to the bouquet1 and ask the holder of it if she saw the fairies bring the cards to the flowers1 or any other fanciful question you please1 and then1 under the pretence of having it held a little higher or lower1 or a little more to the right or to the left1 advance the hand to the bouquet1 and so obtain possession of the end of the hair4 ,a good deal of deceptive action must now be introduced1 the wand being put into the hand holding the hair1 which must then be pulled very slightly indeed1 and if the card rises the strain can be continued4 ,just before the card shows itself1 say1 ,no6 ,i am afraid the fairies have been disobedient to-day4 ,this will momentarily remove the interest of the audience from the bouquet1 and attention will be directed to you1 as if inquiring what will be done next4 ,this is the opportunity you must seize for causing the card to rise1 and then exclaim1 ,ah6 there is one1 after all4 ,run the card up quickly1 and take it out of the bouquet1 or1 if it appears to be very loose1 allow the holder of the bouquet to remove it4 ,if1 at this juncture1 you fancy your temporary assistant is at all suspicious1 at once take the bouquet to someone else2 but on no account take this step if all is going on well4 ,ask the name of the next card1 which cause to rise in the same manner1 and repeat the operation with the remaining card or cards4 ,as the hair becomes gradually longer1 you will be enabled to stand a little further off on each occasion4 ,you must contrive to alter your attitude as often as possible1 and also endeavour to look quite unconcerned4 ,the best way to assume this by no means easy appearance1 is to affect to be rather more amused at the ascension of the cards from the bouquet than the audience itself4 ,one ticklish point is in ascertaining whether everything is in order4 ,this never reveals itself until the first pull is made1 when1 if there is anything wrong1 a jerk will be felt by the holder of the bouquet1 and1 in all likelihood1 a clue to your secret will be given4 ,if you only so much as fancy that anything is wrong1 take hold of the bouquet with your disengaged hand1 without taking it away from the holder of it1 and have it held a trifle higher or lower4 ,this will enable you to give a precautionary pull without allowing any strain to be felt4 ,such a thing as a hitch ought not to take place1 for the previous arrangements should be so perfect as to do away with all possibility of such an occurrence4 ,the cards all out of the case1 inquire1 for the sake of effect1 if there are any more chosen ones that have not appeared1 and then take the bouquet round1 allowing people to smell at it1 c4 ,this is really to enable you to remove the case from the bouquet1 but ostensibly to show that the flowers are real4 ,the best way of removing the case is through the stems of the flowers1 and for this purpose it is made of zinc1 it being a weighty metal4 ,as it is a small affair1 it can easily be palmed4 ,the bouquet should be then presented to the lady who held it during the performance of the trick1 with the request that the flowers should be examined to see if there be any preparation about them4 ,taking into consideration the difficulty in performing the trick1 the desirability of having as small a case as possible1 and the usual shortness of hair1 it is advisable to force only three cards1 although three or four hairs may be employed4 ,when ,i first saw ,herrmann perform this trick1 ,i was simply appalled at the audacity required to perform it successfully2 but experience has taught me that1 with practice1 it is as easy as many other tricks which are not one quarter so effective4 ,the difficulties to be overcome are causing the first card to rise without being discovered1 and removing the case4 ,it will be found that if the bouquet is held a little lower 7only a few inches7 than the hand holding the hair1 there will be less likelihood of any strain taking place4 ,if the performer pleases1 the chosen cards can be torn up or burnt in the first instance1 but the destruction is a needless one4 ,the ,hatched ,card4--,a chosen card is destroyed or made to disappear1 and on an ordinary egg 7selected from a number7 being broken1 it is found inside4 ,before describing the trick itself1 ,i will give a unique method 7,herrmann again7 for obtaining the eggs4 ,a rehearsed assistant will be required1 and he must have in his mouth an egg1 and1 besides1 either a portion 7either end7 of the shell of1 or a wooden or porcelain imitation of1 one4 ,under the vest band1 and sustained by the elastic thereof1 you have four more eggs concealed4 ,you come on with your assistant1 whose mouth is then empty1 and1 telling the audience that you will require an egg1 ask him if he has taken the egg powder you gave him1 and whether he thinks he can give you any eggs4 ,on receiving his reply in the affirmative1 tell him to fetch a plate4 ,this he does1 and1 at the same time1 pops the egg and real or imitation portion of shell into his mouth1 all done in an instant1 so as to avoid suspicion4 ,he now takes up his position in the centre of the stage1 a little up1 with the plate held before him and elbows close to his sides4 ,you stand beside him1 and place your rear hand upon his head4 ,he then slowly exhibits the egg1 which1 with the forward hand1 you then extract with seemingly immense difficulty4 ,whilst the forward hand is thus engaged1 the rear one takes an egg from the vest1 and you cross over behind the assistant1 and are just about to take the plate from him when he exhibits the shell1 which1 to the audience1 appears to be another egg4 ,you exclaim1 ,what1 another6 you must have taken too much powder1 and then advancing the forward 7late the rear7 hand1 you slip the egg palmed in it half into your assistant's mouth1 and then proceed to drag it forth with the same difficulty which attended the abstraction of the first one4 ,the rear hand has by this time another egg in it1 and you go round behind the assistant1 only to find him exhibiting another egg1 which you extract1 as before4 ,the process is repeated until all the eggs are gone4 ,it is not advisable to use more than five eggs1 for precautionary reasons1 and that number is quite sufficient to excite wonder4 ,the assistant must be careful not to allow the shell inside his mouth to be seen whilst you are removing an egg just laid4 ,if you can find anyone with a mouth capacious enough to contain two eggs 7small ones will do71 secure him as an inestimable treasure4 ,no trick being more conducive to laughter than this one1 extra care must be taken with it4 ,the performer should move about in an easy and unostentatious manner1 and endeavour1 by word and mien1 to keep up the impression that the whole of the trick lies in the assistant's mouth4 ,the use of the extra egg end is not absolutely necessary1 for the palming can begin with the first egg1 the one originally in the mouth being kept there till the last1 when it may be allowed to fall out into the performer's outstretched palms4 ,either method is effective4 ,show the eggs round on a plate1 and have one selected with which to perform the succeeding trick4 ,for that1 the following apparatus will be necessary4 ,make1 either of wood or metal 7tin1 brass1 zinc1 c471 a hollow wand 7open at one end1 and closed at the other71 painted or varnished on the outside1 so as to resemble in every little particular the wand you ordinarily use4 ,if the latter has ivory or brass tips1 then your imitation wand must have the same4 ,there is not the least necessity for running into any expense1 for1 by going to a working tinman or walking-stick maker1 the thing can be obtained for a shilling4 ,i much prefer wood to metal1 and would recommend its use4 ,this imitation need not be made of real ebony1 although it should be of tolerably hard wood4 ,fitting inside there must be another piece of wood1 an inch shorter than the interior of the wand itself1 which should move up and down pretty easily1 but not loosely4 ,commencing exactly #b;in4 from one end1 cut a slit #a;in4 long1 and1 making a little peg of wood1 or providing yourself with a small brass round-headed nail1 which must be afterwards coloured to match the wand1 drive it into the sliding piece of wood1 which must be pushed up against the closed end of the wand at the time4 ,by holding the wand at the closed end1 and placing the thumb on the little peg1 the sliding piece of wood can be made to move up and down as easily as can the pen or pencil inside an ivory holder4 ,by making the slit the same length as the space left at the open end of the wand1 the sliding piece will not protrude when the peg is pushed down by means of the thumb4 ,the sliding piece should also be blackened all over1 as1 if left white1 it might show through the slit or at the exposed end1 which1 however1 should never be turned full towards the audience at any time4 ,it is now open to you either to force a card or to have one selected haphazard4 ,if the card is to be forced1 then you can have the wand loaded beforehand4 ,this is done by doubling up the card until it is only #a;in4 wide1 rolling it up1 and putting it into the wand1 which you can then leave on the table handy4 ,if the card is not to be forced1 the wand must be behind1 and the card chosen before the egg-laying performance 7supposing you find your eggs in that way7 takes place4 ,have only about twenty cards to select from1 and let your assistant know what they are4 ,they can be arranged in sequences or suits1 for greater convenience4 ,when your assistant retires1 after producing the eggs1 he takes the pack of cards with him2 and whilst you are showing the eggs round he looks through the nineteen cards and finds out which one is missing4 ,he then takes a duplicate of this1 and puts it into the wand4 ,for the sake of expedition1 you should have a duplicate of each of the twenty cards in readiness4 ,i remember once finding myself without a duplicate of a selected card1 and ,i had actually to go forward and1 under the plea of placing it in an exposed position1 where everyone could see it1 effect a change4 ,i left a dummy card on the chair 7the exposed position17 face downwards1 and carried off the chosen one in triumph1 feeling very much relieved4 ,this method of having a card or cards chosen from a pack1 the cards of which are known1 does not belong particularly to this trick1 but can be used in many others4 ,it is only worth while to take the trouble when your audience is a particularly sharp one1 and not likely to be imposed upon by a force4 ,the egg and card both chosen1 you may do what you please with the latter1 so long as you get rid of it1 and1 taking the egg1 which you have previously had minutely examined and held up to the light1 to show that it is empty1 upon a plate1 give the plate to be held by a spectator1 and then break the shell by means of the open end of your prepared wand4 ,immediately you are well through the shell1 push the peg along by means of the thumb1 and the rolled up card will be forced into the egg1 whence have it extracted by a spectator4 ,if you please1 one of the audience may hold the egg whilst you break the shell4 ,i need hardly mention that1 before you bring your wand into play1 you should make a fuss about passing the card into the egg4 ,the reader1 by this time1 will take that as a matter of course4 ,always have a cloth or handkerchief handy in this trick for wiping egg and fingers4 ,the preceding six card tricks1 used judiciously1 that is to say1 not too frequently1 should1 with those described in ,drawing-room ,magic 7,la ,carte ,gnrale1 for instance71 last a conjuror a lifetime4 ,they are the very best ,i have seen performed1 for they combine sleight of hand with a minimum amount of apparatus2 indeed1 the articles ,i have directed to be used are hardly worthy of the name1 the nearest approach to it being the card-cases and the hollow wand4 ,there are a number of tricks sold in which cards rise from demons' heads1 imitation plants1 and pedestals2 but these are all exceedingly expensive1 and are nearly all worked by electricity4 ,besides this1 there always seems to be an artificial effect about such things4 ,for all the audience know1 there may be a small boy concealed in the demon's head1 or in the huge flower-pot in which the ,magic ,rose ,tree is generally stood4 ,at any rate1 the idea of sleight of hand is not conveyed1 and1 if for that reason only1 ,i will have none of them4 ,,chapter ,,xiii4 ,,tricks ,,with ,,handkerchiefs ,,and ,,gloves4 ,,the ,,restored ,,handkerchief3 ,,its ,,various ,,misfortunes--,,the ,,conjuror',s ,,pistol--,,sun ,,and ,,moon3 ,a ,,total ,,eclipse--,,the ,,dissolving ,,knots--,,the ,,decanted ,,handkerchief--,,the ,,melting ,,handkerchiefs--,,the ,,elastic ,,glove3 ,,how ,,to ,,accommodate ,,all ,,sizes4 ,the ,restored ,handkerchief4--,this title will doubtless apply to many tricks with handkerchiefs1 so1 if the performer thinks it too general1 he can find another of his own for this particular trick4 ,herrmann called it ,le ,mouchoir ,serpent1 from the fancied resemblance to a snake which the handkerchief was made to take at one stage of the trick4 ,for it the performer must have prepared a lemon1 with a small handkerchief inside4 ,the way to operate on the lemon is as follows3 ,cut off one end--the apex is the best--and then1 by means of a spoon1 take out the whole of the interior1 being careful to remove the inner white skin4 ,push in the handkerchief1 replace the portion of lemon which you cut off1 and sew it carefully on with yellow cotton or silk4 ,the first lemon or two are rather tiresome to prepare1 but after a time the job can be done very quickly and neatly4 ,the method of sewing which should be adopted is that known as under-sewing1 and it will be necessary to guard against including the handkerchief itself in the stitching4 ,as the handkerchief placed inside is meant to be subsequently destroyed1 it need be of the very commonest description only4 ,it can be obtained for three-halfpence4 ,on the centre table have a small scent-bottle1 with methylated spirits1 a lighted candle1 a common plate1 and a knife4 ,concealed in the palm of one hand are about ten pieces of cambric1 each about three inches square1 and properly hemmed4 ,under the vest is a piece of cambric two inches broad and about four feet long1 doubled1 not rolled1 up4 ,behind the scenes are a couple of pieces of thin wrapping paper about nine inches square4 ,in the hand not occupied by the pieces conceal the prepared lemon1 and advance to the audience4 ,pretend to see something in a gentleman's hair1 and1 after fumbling in it1 produce the lemon4 ,let several persons smell at the fruit1 taking care to present the better-looking end1 in case your sewing has not been very successful4 ,of course1 the lemon must not leave your hand1 except to be tossed once or twice in the air1 to show that it is real4 ,place this lemon on a side table1 and there leave it1 with the sewn-up end from the audience4 ,now borrow a small handkerchief1 the smaller the better but do not take one that is much ornamented with lace4 ,turn to a gentleman1 and1 whilst asking him to stand up1 roll the handkerchief up carelessly in the hand1 and1 working it round the bundle of pieces which you have concealed1 bring it underneath and let the pieces appear at the top4 ,this can be done in an instant whilst you are talking with the person whom you wish to assist you4 ,give the bundle of pieces1 which the audience will think is the handkerchief1 to him1 with instructions to rub it gently in the hands4 ,you have1 in the meantime1 taken care to keep the exchanged handkerchief well concealed in the palm4 ,retire to the stage1 and1 whilst mounting it1 vest the handkerchief and take in its place the doubled-up long piece1 which keep concealed by means of the wand4 ,ask your assistant how he is getting on1 and explain that you wish him to rub the handkerchief so small that it can be passed inside the lemon4 ,after a little rubbing has taken place1 ask him to open the handkerchief out1 to see if it is any smaller4 ,of course1 when he attempts to do so1 it will drop about in pieces1 to everyone's astonishment4 ,affect great annoyance1 and advance1 saying that the trick is now spoilt all through the handkerchief being rubbed the wrong way4 ,collect the pieces together1 and1 rolling them up1 exchange them in the hand for the long piece4 ,this exchange may at first seem very daring and difficult1 but1 if care is taken always to have the piece or pieces concealed well down in the hand before the substituted article is removed1 there need be no fear of detection2 only the performer must go right at it1 and not falter in the least4 ,give the long piece to your assistant1 and tell him to rub it this time with the left hand4 ,whichever way he rubs you must say is the wrong one1 and finally ask him to give you one of the pieces that you may show him what you mean4 ,in his attempt to give you one of the supposed pieces1 he will unroll the long piece amidst much laughter4 ,after suggesting that the gentleman pays for the destroyed handkerchief1 rub it up in the hands and pass it into the lemon4 ,for this purpose1 it may be rolled up on the table1 and passed down a trap4 ,instead of passing with the hands1 it is in every way neater and more effective to use a conjuring pistol1 which is loaded with the handkerchief and then fired4 ,this pistol will have to be provided with a large tin funnel1 so constructed that the tube portion1 which must fit the barrel of the pistol closely1 extends for a long way inside the funnel4 ,when a handkerchief1 or similar article1 is rammed into the funnel1 care is taken that it goes around the tube so that1 on the pistol1 which has been previously loaded1 being fired1 the flash passes harmlessly down the tube4 ,the mouth of the funnel must never1 by any chance1 be seen by the audience4 ,these pistols1 which are exceedingly useful at all times1 can be purchased at conjuring repositories2 but it is easy for anyone possessing an ordinary pistol to have it fitted with a funnel by a tinman4 ,suppose the long piece either passed or fired out of the pistol1 take the lemon and cut it open with the knife1 and pull out the handkerchief that was already in it4 ,pretend to advance for the purpose of returning it to its owner1 but suddenly discover that it smells of lemon4 ,say that you will put some scent on it1 and1 placing it upon the plate1 saturate it with spirits from your bottle4 ,whilst advancing a step or two1 to inquire if it is enough1 your stage attendant enters and quietly sets light to the spirits with the candle4 ,you turn back and nearly burn your fingers1 and start aside horror-stricken4 ,a slight scene now takes place between you and your attendant1 who insists that you told him to set fire to the handkerchief4 ,run down to the audience with the plate and its blazing contents1 asking the owner of the handkerchief to take it in its present state4 ,turn back and drop it on the floor of the stage1 and then go behind the scenes1 where quickly take the original borrowed handkerchief from the vest1 and wrap it in one of the two pieces of paper 7it will add to the effect if you scent the handkerchief a little71 which hold in the hand covered by the second piece of paper1 open4 ,during your absence your attendant has been dancing about1 affecting to burn his fingers1 c4 ,when the handkerchief is nearly burnt out1 snatch up the remains of it quickly and pop it into the open piece of paper1 roll it up rapidly and exchange for the real handkerchief in paper1 vesting it at once1 or a severe burn may ensue4 ,this is done whilst hurrying towards the owner of the handkerchief1 to whom you say that you have done the best you can1 and are sorry that you have only the ashes of the handkerchief to offer2 but that if she will leave her address1 you will forward a new one in the morning1 c4 ,finally1 you have the supposed ashes blown upon1 and then tear open the paper1 revealing the handkerchief4 ,if you have scented it1 call attention to the fact4 ,if ,i wanted to test a conjuror's ability1 ,i should give him this trick to perform4 ,no duffer could ever get half way through it2 and yet1 by attention to the rudiments of palming1 c41 it becomes easy enough4 ,there can be no two opinions about the effect produced4 ,the principal portions should be rehearsed with your attendant4 ,a very amusing variation to this trick is the following3 ,purchase two cheap sunshades of a precisely similar pattern4 ,they should be small1 and the covers of light alpaca4 ,from one carefully strip the cover1 so as to leave the ribs bare1 and1 at the end of each rib1 fasten a piece of cambric exactly similar to those used in the rubbing-away episode4 ,this sunshade have lying upon the shelf at the back of the table1 rolled up in paper4 ,in one of the large side pockets have concealed the cover1 rolled up and tied with very fine thread1 that may be easily broken4 ,upon the table have lying a piece of paper similar to that in which the sunshade upon the shelf is wrapped4 ,at the opening of the trick1 show this sunshade round1 and then proceed to wrap it up in paper1 on the table4 ,you will always have some extra sheets1 and behind one of these the one sunshade is exchanged for the other4 ,give it to be held in the company4 ,then borrow a hat1 and secretly introduce the cover1 placing the hat on a side table4 ,when the trick has proceeded as far as the discovery of the small pieces in the hands of the spectator who is rubbing the handkerchief1 place them in the pistol and fire at the sunshade held in the company4 ,great amusement ensues when the bare ribs are discovered1 with the pieces of cambric flying from them4 ,these are then taken off1 and the trick proceeded with1 as before described1 the cover being discovered in the hat at any convenient period4 ,break the thread1 and shake it out well before bringing to view1 so as not to suggest any idea of its ever having been rolled up tightly into small bulk4 ,sun and ,moon4--,this is another amusing trick1 in which handkerchiefs are destroyed and restored in a most lavish manner4 ,beyond the preparation of a couple of handkerchiefs1 and the use of a conjuring pistol1 no apparatus is required1 if the trick be performed after the following method1 which is according to my own arrangement1 and in keeping with my belief in sleight of hand as opposed to apparatus4 ,purchase three common coloured cotton handkerchiefs1 all of precisely the same pattern1 and from the centre of one of them cut a circular piece some three or four inches in diameter4 ,replace this with a white piece1 so that you have a coloured handkerchief with a white centre4 ,take a white handkerchief1 and cut from its centre a circular piece just a trifle smaller than that from the coloured handkerchief1 which latter then sew in the centre of the white handkerchief4 ,a friend of yours in the audience should have the second of the coloured handkerchiefs in his pocket1 and receive instructions to the effect that1 when you ask for a handkerchief in a particular manner 7you can easily arrange a sort of by-word between yourselves71 he is to offer this particular handkerchief1 which you tardily accept4 ,this is one of the very rare occasions on which ,i permit myself to have a confederate in the audience2 and ,i only do it because 7#a7 a really capital trick would otherwise be impossible of performance1 and 7#b7 because it is not at all necessary that your confederate should know anything about the trick4 ,i always say that it is necessary for me to have in such-and-such a trick a coloured handkerchief1 merely for effect1 and it is rarely that people bring coloured handkerchiefs with them1 so1 to avoid disappointment1 c41 c4 ,if the person who officiates be a dullard1 he will be none the wiser1 and if he be a relative1 as he should be1 he is tolerably safe4 ,coloured handkerchief ,no4 #c you have rolled up in a piece of paper and placed in your capacious breast pocket4 ,besides these1 you must have in the palm of one hand an ordinary white handkerchief concealed4 ,the two prepared handkerchiefs already described are done up in paper in the shape of a ball and placed upon the shelf at the back of the table1 on the top of which are lying a few loose sheets of paper similar to that in which the handkerchiefs are wrapped4 ,also on the table are two plates1 some methylated spirits1 a lighted candle1 two pairs of scissors1 or else two sharp knives1 and a funnel pistol4 ,advance to the audience1 with the white handkerchief concealed in the palm1 and borrow two handkerchiefs--one a white one1 at hazard1 except that you endeavour to let it be one somewhat similar to your own1 and the other1 the coloured one1 from your friend4 ,exchange the white handkerchief for your own1 as in the preceding trick1 and vest it1 and then give both white and coloured handkerchiefs to be held by separate persons4 ,each handkerchief should be held horizontally by the two hands1 one holding the very centre of it1 and the other grasping it a few inches away4 ,give the scissors or knives to two other persons1 and bid them mark the handkerchiefs4 ,at first some hesitation will be shown at cutting the handkerchiefs1 but you must say there is no fear4 ,from the position in which each handkerchief is held1 it will be incumbent on anyone cutting between the hands of the person holding it to take a piece clean out of the centre4 ,when this cutting is over 7you might do it yourself1 only it looks more genuine and creates more fun to have it done by the audience71 say that there will be no mistaking the handkerchiefs now1 for they are marked with a vengeance4 ,now take the mutilated coloured handkerchief and the white piece1 and put them on one plate1 the the mutilated white handkerchief and coloured piece being put on the other4 ,pour spirits on both1 and set fire to them4 ,when they are well ablaze1 pretend to discover that you have made the mistake of mixing the colours1 and endeavour 7fruitlessly1 of course7 to take out the burning pieces4 ,remark that it is a very bad job1 as you had hoped to have shown a specimen of your skill1 but now everything is spoilt through your forgetfulness4 ,your stage attendant can attend to the burning of the handkerchiefs1 if you so please1 in which case you can give him a good blowing up1 and threaten to discharge him on the spot4 ,the more penitent he can manage to look1 the better it will be for the effect of the trick4 ,take the ashes1 and put them in a piece of the paper which is on the table1 and1 whilst affecting to put this in a second piece1 exchange it for the prepared handkerchiefs in paper on the shelf4 ,this method is very easy1 and is thus performed3 ,stand at the end of the table1 and1 with the hand that is nearest the audience1 raise a piece of paper partly from the table1 but not so much as to enable the audience to see under it1 and behind this temporary screen the exchange can be effected by means of the rear hand with impunity1 providing it is done quickly but not hurriedly1 and with the eyes turned towards the audience1 to whom the performer is impressively descanting on the many vicissitudes which chequer a conjuror's career4 ,directly the two parcels are safely exchanged1 go forward and give the paper to be held by one of the audience4 ,an ordinary pistol can now be let off1 or a word of command given1 and the paper then opened4 ,affecting not to notice that there is anything wrong1 you proceed to return the handkerchiefs to their respective owners4 ,laughter will1 of course1 ensue1 and you will then appear to be overwhelmed with confusion4 ,borrow a hat1 put the handkerchiefs in it and take them out again1 and finally drop one on the floor4 ,the action of stooping to pick it up will enable you to bring the opening of the hat against your breast1 and you must seize this opportunity of slipping the roll from the breast pocket into it4 ,go back to the table and place the hat upon it1 and then1 taking up the funnel pistol1 ram the handkerchiefs into it1 with the remark that you may as well get rid of them altogether4 ,fire the pistol1 and then ask if anyone saw anything pass into the hat1 as you fancy you did4 ,go to the hat and produce the roll1 which open1 and show the coloured handkerchief4 ,spread this out1 to show that the centre is perfectly restored1 and1 whilst going forward with it1 take the white handkerchief1 unperceived1 from the vest1 and roll it up inside the coloured one4 ,then say1 ,ah6 but we have not the white handkerchief yet2 well1 perhaps we shall be able to find it4 ,rub the coloured handkerchief in the hands1 with the white one inside1 and1 finally1 open both and return to their owners4 ,this finale is1 perhaps1 the most difficult part of the trick4 ,take care when the funnel pistol is fired that you either stand it upon its broad end1 or else place it upon the table with the mouth from the audience4 ,although1 to the audience1 an enormous amount of destruction appears to be going on1 such is not really the case1 as two handkerchiefs only are destroyed in the trick4 ,illustration3 ,,fig4 #db4 ,illustration3 ,,fig4 #dc4 ,the ,knots4--,i call this trick by a simple name1 because extreme simplicity is its prevailing feature from beginning to end4 ,the last few tricks described have all had apparatus1 to some extent1 as a component part2 this one is all sleight of hand4 ,in ,drawing-room ,magic 7p4 #fe71 ,i gave directions for untying a knot by word of command1 and noted at the time that an enlargement of the trick would be given in ,grand ,magic4 ,we have now arrived at the enlargement4 ,in the minor trick1 the knot is tied in a peculiar fashion by the performer himself2 now the knots are to be tied by various members of the audience1 and it is this which gives the trick such a marvellous appearance4 ,the performer advances1 and begs the loan of several handkerchiefs4 ,he takes two of those proffered1 and1 advancing towards one of the audience1 presents just four inches 7on no account more7 of one end of each handkerchief1 one being crossed over the other1 with the request to have them tied together in a knot4 ,the reason for crossing one end over is to induce the tyer to make either a granny or a reef knot1 which are the knots easiest to undo--that is1 after the conjuror's method4 ,fig4 #db shows a granny knot4 ,the general appearance of a reef knot is somewhat the same1 so it does not require a separate sketch1 and the mode of proceeding will be in both cases similar4 ,for convenience of description1 ,i have depicted a dark-coloured and a white handkerchief1 and the performer will do well to take this hint1 and always1 where possible1 borrow handkerchiefs varying in colour or texture1 in order that the sinuosities in the knots may be easily followed by the eye4 ,as the performer wants a knot that is tied neither too loosely nor too tightly1 he must keep his eye upon it whilst it is being tied4 ,if it is loosely done1 he must say1 ,don't be afraid of tying it up tight1 sir or madam2 pull as hard as you like4 ,in the event of a too literal acceptance of his words1 he should take the handkerchiefs at once4 ,even when the knot is tied as hard as a stone1 the performer takes it in the hands1 and1 with the remark1 ,oh6 this is not half tight enough yet1 pretends to pull it up with all his force4 ,what he really does is to take the small end of one handkerchief in one hand1 and the body of the same handkerchief on the other side of the knot in the other4 ,by pulling at these hard1 and1 where they do not give easily by wriggling them as well1 the end of the handkerchief will be pulled out quite straight1 as in ,fig4 #dc4 ,it will there be seen that the white handkerchief has been manipulated upon1 and that the dark handkerchief is now really only tied round it4 ,in some cases1 the greatest difficulty arises through some malicious person tying an extremely hard knot4 ,if the performer pulls too hard1 he will1 in all probability1 rend the handkerchief without making things much better4 ,in this case1 he must endeavour1 whilst borrowing another handkerchief1 for the continuation of the trick1 and under concealment of the same1 to loosen the knot a little in the ordinary way1 and then he can straighten the end openly later on1 as though trying if all the knots were secure4 ,it is not often that the amateur will1 at the outset of his career1 find much difficulty of this kind1 for his audiences will not be of the antagonistic class4 ,suppose everything has gone favourably1 the performer then takes another handkerchief1 and has that tied on also1 of course to a disengaged corner1 and so goes on with four1 five1 or six1 each knot being operated upon as soon as it is tied4 ,if he notices that anyone is tying a reef knot1 he should at once audibly remark upon it1 as the public has a great idea that a reef knot is the most difficult to untie1 whereas it is really the easiest of all4 ,when anyone goes in for a multiplicity of twists1 one end being wound round the other several times1 let the performer rest easily in his shoes1 for he has only to pull that end round which the other one is coiled1 and five or six coils will make no difference2 at the same time1 he must appeal to the audience whether it is fair1 c41 for effect4 ,when the required number of handkerchiefs have been tied together1 and all the knots have been operated upon secundum artem1 the performer retires to the stage1 and1 taking a chair or low table 7the chair for preference71 proceeds to place the handkerchiefs in a pile upon it after the following manner3 ,knot ,no4 #a is held between the tips of the finger and thumb in such a manner that the main body of the straight end lies along the palm of the hand4 ,the loose portion of the handkerchief is then opened out by the left hand and covered over the knot1 which is placed1 at the same time1 upon the chair2 whilst1 under cover of the handkerchief1 the little finger of the right hand is drawn up by a contraction of the hand as closely to the knot as possible1 and there grasps firmly the main body of the straight end4 ,by straightening out the hand again1 the end will be pulled right out1 and the handkerchiefs parted4 ,all this must be done quickly4 ,if the end1 as it often will1 requires two pulls to draw it clear1 it is best to lift up the handkerchief1 and exhibit the knot again1 to show there is no deception1 or on any other plea1 before giving the second pull4 ,proceed after the same manner with all the knots1 each one being covered with a separate handkerchief1 taking great care that none of them slip off the chair during the operation1 or it will be shown that the knots are already undone4 ,the handkerchiefs should either be trailed on the floor or hung over the back of the chair1 where they will not become confused or get under the performer's feet1 and so receive an undesired tug4 ,for the purpose of diverting the attention of the audience during this operation1 the performer should make some jocular remark concerning each knot4 ,he should say something about having at length come to the knotty point1 and then describe each knot1 whether correctly or incorrectly will not much matter4 ,one1 he must say1 is the reef knot1 another the ,gordian knot1 and another a weaver's knot4 ,the last made will generally be a true lover's knot1 about which the performer may remark1 before small audiences1 that it was a knotty 7naughty7 person who tied it4 ,the performer has only to wave his wand over the heap1 or to blow upon it1 and then lift off the handkerchiefs one by one4 ,the beginner will do well to try only three knots as a commencement1 and to have them tied by ladies1 who1 as before explained1 are always the best to fly to in risky cases4 ,whilst the knots are being tied1 hang the handkerchiefs already joined over one arm1 where they will be out of the way of danger1 and in the way of assisting the performer by concealing any covert proceedings on his part in untying obstinate knots4 ,the knot depicted at ,fig4 #dd ,i have christened the bte noire knot1 and such the performer will find it whenever it is tied for him4 ,if he does not put the ends of the handkerchiefs crossed into the hands of the person whom he requests to tie a knot1 he will find the bte noire appear with marvellous rapidity4 ,when it or any other difficult knot appears1 the only thing to be done is to untie it covertly1 and do it up again after the matter described in ,drawing-room ,magic4 ,this may seem a very cool direction to give1 but is the only one appropriate to the occasion1 and the performer must make the best of a bad job4 ,i have often untied a knot whilst mounting the steps of the stage1 and had everything done up again by the time ,i reached the chair4 ,the performer must practise by tying for himself the most intricate knots imaginable2 or1 if he learns with a companion1 let the two tie knots for each other4 ,silk handkerchiefs are1 as a rule1 the best2 they slip easily and do not tear readily1 which latter quality is not the lesser advantage3 it makes one very uncomfortable to have to return a handkerchief with one end hanging by a thread4 ,this trick is one of the few which it is impossible to purchase4 ,let every conjuror be careful in his performance of it1 and only give it by request1 or on special occasions1 for it is worth half a dozen apparatus tricks put together4 ,illustration3 ,,fig4 #dd4 ,although very good indeed1 the following method1 in which one handkerchief only is used1 is not so effective as when several are employed4 ,the performer takes a large handkerchief1 and ties a single knot in it1 near the centre4 ,he does not pull this knot tight1 but leaves a loop large enough to receive his hand1 or1 at least1 several fingers4 ,holding this loop in one hand1 and presenting the two ends1 side by side1 with the other1 he has another knot tied upon the first one4 ,whilst passing to another person1 one end is pulled out straight1 of course whilst ostensibly tightening the knot1 and another knot is then tied2 the end before straightened is again pulled at1 and another knot tied1 and so on until the handkerchief is all knots4 ,the performer takes a pull at the straight end to ensure its running easily1 and also pulls it through as far as it will come without actually untying4 ,he then covers the bunch of knots with the loose centre of the handkerchief1 and gives the whole to be held in the hands of a spectator4 ,as the trying of many knots will have caused the centre of the handkerchief to become tightened up1 it will be necessary for the left hand to take some time in opening it nicely4 ,the time thus gained is just sufficient to enable the right hand to work out the straight end through the many folds2 the movement being naturally screened by the open portion of the handkerchief in the left hand4 ,ask the person to whom the bundle is given to hold1 to feel that the knots are still there4 ,he will feel the hardened folds1 and will mistake them for the knots4 ,always borrow a handkerchief for this trick1 or the audience will infallibly think that the knotted handkerchief is rapidly exchanged for another4 ,if anyone starts tying a bte noire1 you can stop him at once by saying that there will be no room for anyone else to tie a knot4 ,this method is much easier than its forerunner1 but1 as before stated1 it is not half so effective4 ,the ,decanted ,handkerchief4--,the performer comes forward with an empty decanter1 which is examined1 and then completely covered with a cloth and given to a spectator to hold4 ,the performer takes a second decanter1 and places in it a handkerchief1 also previously examined1 and stands upon the stage4 ,at the word of command1 the handkerchief vanishes suddenly from the second decanter1 which is not covered1 and1 on the cloth being removed from the first decanter by a spectator1 the handkerchief is found inside4 ,this pretty trick is thus performed3 ,procure two toilet water-bottles--by courtesy called decanters--with as wide necks as possible2 also two silk handkerchiefs1 precisely similar4 ,scarlet is a serviceable colour for the purpose2 and the handkerchiefs should be of very fine material1 in order that they may be rolled up into a very small space1 and not more than #ae in4 square--rather less1 if anything4 ,behind the scenes the performer folds up one of the handkerchiefs small enough to be concealed under the fingers when they are holding the neck of the bottle4 ,if three fingers are sufficient1 so much the better2 but even if four are used no uninitiated person would ever suspect that anything would be concealed in so audacious a manner1 especially as not the least clue has been given by the performer as to what is to be subsequently performed4 ,the bottle shown round1 a cloth is produced and covered over it1 the handkerchief concealed in the fingers being popped into the bottle during the process4 ,as it should at once spread out1 it is not advisable to double it up tightly in the act of folding1 but rather to bunch it1 as it will then spring open the more readily4 ,the bottle should be completely wrapped up in the cloth1 bottom and all1 and the spectator into whose custody it is placed must be enjoined to place one hand on the top and another at the bottom4 ,the performer now proceeds with his other bottle and the visible handkerchief4 ,around his left wrist he has attached a thick eyeglass cord1 which passes up the sleeve1 round the back1 and down the right-hand sleeve1 where it has a short hook attached4 ,in order that it may be readily found1 this hook should be fixed in the inside of the coat cuff4 ,the performer shows round the handkerchief1 leaving the second bottle on the table1 and1 as he turns to fetch that article1 the hook is got down and fixed firmly into the centre of the handkerchief4 ,it is then pushed down the neck of the bottle by the performer1 the pushing down being conducted in such a way as to suggest the extreme difficulty of getting the handkerchief into the bottle4 ,the wand may here be used with effect to ram it down4 ,standing with his right side towards the audience1 the performer holds out the bottle1 and announces his intention of causing the handkerchief to fly from it into the one held by a spectator1 the holder being enjoined to keep a good watch1 c4 ,at the word three 7counting one1 two1 three1 slowly1 always adds to the effect1 by preparing for a climax71 the performer thrusts out both hands to their fullest extent1 when the handkerchief will fly out of the bottle up the right sleeve1 its passage being shielded by the right hand1 which must1 of course1 be disposed preliminarily so as to afford a free course to the handkerchief4 ,if the performer1 holding the bottle in the right hand1 presented his left side to the company1 many spectators might be able to see the handkerchief fly up the sleeve4 ,with the right side towards them1 they only see it disappear suddenly from the bottle4 ,the length of the cord will require adjustment1 and it should be as short as the conjuror can conveniently manage without cramping the movement of the arms4 ,some performers use a piece of stout elastic1 which certainly has the property of causing a self-acting1 rapid disappearance2 but when once the hook is in the handkerchief1 and the latter in the bottle1 a constant hold must be kept on the elastic to prevent a premature flight1 which would at once destroy the trick4 ,the spectator holding the bottle is asked to remove the cloth and examine the bottle as much as he pleases1 and the performer then hands the second bottle for examination1 which has not been done before4 ,a trick so very easy of management1 and yet so effective1 should be a favourite one with amateurs4 ,illustration3 ,,fig4 #de4 ,the ,melting ,handkerchiefs4--,the performer comes forward with a soup-plate in one hand and two silk handkerchiefs in the other4 ,the plate1 after being shown empty1 is placed upon the ground1 inverted1 whilst the performer takes the handkerchiefs in his hands1 and commences to roll them up in them4 ,he rubs his hands together1 and1 on opening them1 the handkerchiefs are found to have melted completely away4 ,the soup-plate is then raised by one of the company1 and the handkerchiefs are found beneath4 ,the soup-plate portion of the trick is thus easily managed3 ,the performer has balled up under the fingers of the hand holding the plate duplicate handkerchiefs of those he holds openly in the other hand4 ,they are of very fine silk1 and so are easily concealed4 ,as he boldly shows the inside of the plate1 where the fingers are1 the spectators never suspect the presence of the handkerchiefs1 or of anything else4 ,as the plate is laid carelessly upon the floor1 it is drawn a few inches towards the performer1 the side that is towards the company scraping the ground4 ,in this way the handkerchiefs are got underneath4 ,the melting away of the handkerchiefs is accomplished with the aid of the plain-looking implement depicted at ,fig4 #de4 ,it is constructed of wood1 is hollow1 and is blackened on the outside4 ,through the end is a hole1 and through that is passed a piece of stout elastic1 having a knot on the inside4 ,on the side seam of the vest is sewn a ring1 and the end of the elastic1 after being passed through this1 is brought round the back and left side1 and fastened securely to a button in front4 ,this great length is necessary for the facile performance of the trick4 ,when at rest1 the wooden holder rests against the ring on the vest4 ,after the performer has finished placing the plate upon the floor1 he retires to the stage1 and stands sideways to the company4 ,supposing the holder to be on his right side1 that side would be nearest the company4 ,first of all1 the sleeves are turned very far back1 and then1 under cover of the right forearm1 the left hand seizes the holder1 and1 drawing it out of concealment1 places it in the right hand1 where the handkerchiefs are being held4 ,the performer may get out the holder before this1 if he pleases--the proper time for so doing being whenever a favourable opportunity presents itself--and keep it palmed in the right hand4 ,the arm will always prevent the elastic being seen by the company4 ,with his arms outstretched1 and the hands together1 the performer proceeds to gather in the handkerchiefs by slow degrees1 the fingers of the left hand pushing them into the holder4 ,when they are all pushed home1 the hands are opened slightly1 the left hand only being moved for this purpose1 and the holder1 thus released1 flies back until stopped by the ring4 ,the performer continues rubbing away the handkerchiefs1 still supposed to be in his hand1 and he must act as though they were being rolled into an ever-decreasing ball1 the final kneading being done by the tips of the fingers of the right hand1 working in the palm of the left hand4 ,all that now remains is to have the plate lifted4 ,the trick may be prolonged and varied if the performer has a second holder on his left side containing handkerchiefs of other colours to those first used4 ,by getting this holder out and rolling up the handkerchiefs from under the plate1 the new handkerchiefs may be got out and the old ones substituted4 ,or the trick may be done the other way round1 and the change executed first1 the second handkerchiefs being found under the plate4 ,there is no reason why this trick should not be even more elaborated1 and further changes of handkerchiefs made4 ,this may be done by means of a holder1 some four inches in length1 open at each end1 and connected with the elastic by a metal fork-shaped piece1 upon which it swivels by means of a pin passing through the centre4 ,each side can contain handkerchiefs of different colours1 the pin through the centre preventing their becoming mixed with one another1 and a variety of changes made1 which will be intensely bewildering to the spectators1 especially as the performer each time gives the handkerchief for examination1 and shows his hands empty4 ,the perfect simplicity and completeness of the method of vanishing permits of its being repeated any number of times1 each successive change or disappearance causing fresh wonderment4 ,care must1 however1 be taken1 in each instance1 that the handkerchiefs are pressed well home in the holder1 as an exposed portion might be seen as it flashed under the coat2 whilst there is still greater danger of its subsequently working out and becoming slowly visible to the company4 ,if the great length of elastic which ,i have recommended were not employed1 the performer would not be able to stretch his arms out to their full extent in front of him2 and it is highly essential for effect that the hands should be as far removed from the body as possible4 ,the ingenuity of the performer will enable him to employ the holder in many tricks in which handkerchiefs take part4 ,le ,gant de ,paris4--,for this trick1 which will bring the performer's utmost skill into play1 the following articles will be required3 ,an orange1 a lemon1 and a walnut1 all embowelled4 ,the walnut contains a small kid glove1 the lemon contains the walnut1 and the orange the lemon4 ,besides these1 the performer has a whole orange1 lemon1 and walnut1 which he can either bring forward1 or1 for preference1 find in persons' hair or on their noses4 ,he has1 also1 concealed separately under the vest1 a tiny glove1 not more than three inches in length1 and another quite ten inches long4 ,these will be best manufactured at home under personal supervision1 and they should be well made4 ,the three fruits1 produced or discovered1 are placed in various positions on the table1 or tables1 care being taken that the lemon is situated conveniently near a trap4 ,opportunity must be taken for exchanging the orange for the prepared one4 ,there are many ways for doing this4 ,one1 which is as good as any1 is to give the perfect orange to the stage attendant1 telling him to place it upon the table1 and then at once engage the audience with something else4 ,in going towards the table1 the attendant effects the exchange4 ,other methods1 such as having the prepared orange on the shelf1 and exchanging it with the other whilst calling attention to the lemon--carrying it in the breast pocket1 and exchanging it when the back is turned to the audience--will readily suggest themselves4 ,it is impossible to set down any hard-and-fast rule for such minuti as these4 ,sometimes the disposition of the stage1 or of the audience1 will necessitate the adoption of a method that would1 under other circumstances1 be impossible of introduction4 ,the small glove is now brought down and kept concealed in the palm1 and a kid glove1 of the same colour as the one inside the prepared walnut shells1 borrowed4 ,express your intention of making it pass inside the walnut1 and observe that it is a little too large4 ,saying that you will make it a little smaller1 proceed to rub it in the hand1 and eventually exchange it for the tiny glove1 which produce1 and give to a gentleman to fit upon the hand4 ,of course1 it will be too small1 and you will inquire what size glove the gentleman wears4 ,you affect to misunderstand him1 and clap on ten sizes more4 ,thus1 if eight and a half is said1 you exclaim1 ,eighteen and a half6 ,that's a very large size1 sir4 ,but perhaps you think ,i can't make one so big4 ,i will show you4 ,it is sure to be explained that eight and a half1 and not eighteen and a half1 was the size mentioned1 but you affect not to hear the correction1 and proceed to rub up the small glove1 having previously got down the large one4 ,make a great fuss of stretching1 and finally produce the large glove1 allowing the small one to drop inside it4 ,the original borrowed glove in the meantime vest1 if you have not done so already4 ,now proceed to the table1 and1 rolling up the large glove1 with the little one inside it1 tightly1 pass it down a trap1 and affect to rub it away into the walnut4 ,take up the walnut and vanish it by sleight of hand1 pretending to pass it into the lemon1 which get rid of1 along with the nut1 down a trap1 and finally cut open the orange4 ,take out the lemon and cut that open1 and produce the walnut4 ,ask one of the audience1 on that side of the auditorium which is opposite to where the owner of the borrowed glove is seated1 to open the walnut1 at the same time getting down the borrowed glove from the vest4 ,take the glove from the walnut in one hand1 and1 pretending to place it in the other1 whilst advancing towards the person from whom it was borrowed1 effect an exchange4 ,this must be done with all possible neatness and skill1 or1 at the last moment1 the trick will fail4 ,supposing that you take the glove from the walnut with the left hand1 the right should contain the borrowed glove4 ,the left hand then makes a rapid movement towards the right1 as if placing the glove in it4 ,the glove in the left hand is in reality concealed1 and the one in the right hand revealed4 ,half an hour's practice will make a wonderful difference in the execution of this pass1 which will often have to be used1 sometimes in cases of great emergency4 ,on cutting open prepared oranges1 lemons1 c41 always be careful to throw the skins behind you1 or elsewhere away from the view of the audience1 who are not likely to be deeply impressed in favour of your skill after a close examination of the remains of the prepared articles4 ,if the triple combination of orange1 lemon1 and walnut is at first too difficult1 try the dual one of lemon and walnut only4 ,it is still very effective1 and there is far less to think about4 ,if the performer is limited as to traps1 the large glove can be fired at the walnut from the pistol tube4 ,the variation is quite unimportant4 ,,chapter ,,xiv4 ,,tricks ,,with ,,coins4 ,,the ,,invisible ,,flight3 ,,the ,,glass--,,the ,,boxes--,,other ,,apparatus ,,used ,,in ,,the ,,trick--,,the ,,banker--,,how ,,to ,,collect ,,money--,,the ,,money ,,tube--,,the ,,multiplying ,,tray--,,hold ,,them ,,tight6 ,,or1 ,,skill ,,versus ,,strength--,,the ,,money ,,changer--,,hints ,,upon ,,manner--,,the ,,crystal ,,plateau--,,the ,,money-,,producing ,,candle--,,the ,,flight--,,coin ,,and ,,worsted ,,ball ,,trick4 ,the ,invisible ,transit4--,this is a remarkably effective coin trick4 ,several coins are inclosed in a little box1 which is stood in a position close to the audience4 ,an empty tumbler is placed upon a chair or table far away on the stage1 and the performer1 abstracting the coins one by one from the box1 passes them into the distant glass1 into which they are heard to fall4 ,on the glass being brought forward1 the coins are poured from it1 and the box into which they were put is found to be empty4 ,the tumbler used should be coloured and opaque1 or semi-opaque4 ,into it is fitted a zinc plate1 depicted at ,fig4 #df4 ,this plate is1 it will be seen1 divided into two unequal portions1 which are then hinged together4 ,b is an arm which1 in the position shown in the sketch1 prevents the flap ,c from opening2 and ,e is a tiny pin fitted into ,c for the purpose of preventing the arm ,b going too far1 and so becoming difficult to control4 ,at ,d is a pin which1 first connected with the arm ,b1 runs through the plate1 and then through the bottom of the tumbler4 ,underneath1 it is provided with another arm 7,a1 ,fig4 #dg71 the position of which should correspond with that of ,b4 ,the pin ,d should be considerably larger than the holes 7they should be round ones7 in the glass and zinc plate1 and those portions of it which are to pass through the said holes must be filed down to the necessary thinness4 ,by this means two shoulders will be formed1 which will prevent the plate from coming down too far1 and thus keep a space clear between it and the bottom of the tumbler4 ,this space should be about three-quarters of an inch in depth4 ,the best method for fixing ,a to ,d is to have a tiny hole through the protruding end of the latter1 through which a cross-pin can be passed4 ,it will be seen that so long as the arm ,b is kept against the pin ,e1 or anywhere near it1 the flap ,c cannot possibly open1 even though the tumbler be inverted4 ,the shifting aside of the arm ,a will cause a simultaneous and equal movement on the part of ,b1 and1 when the glass is again inverted1 whatever has been concealed in the space beneath ,c will fall out4 ,illustration3 ,,fig4 #df4 ,illustration3 ,,fig4 #dg4 ,the performer will also require two little boxes1 resembling each other in every particular4 ,if nothing else be at hand1 then little fancy cardboard boxes may be used1 but it is by far the best to have a couple turned out of some light wood4 ,the turner should receive directions to turn them both out of the same length of wood1 which should have some slight imperfection running through it1 as this will cause each box to be naturally marked in a similar manner4 ,should one lid have a little knot in it and the other be without such a blemish1 it can be faithfully imitated by making a hole in the wood and running a little shellac into it4 ,the boxes should be turned as lightly as possible1 consistent with strength1 and should just admit a half-crown4 ,the interior depth should be that of six half-crowns4 ,one of these boxes the performer conceals under the vest band4 ,the tumbler he loads with four or five half-crowns1 placed in the space under ,c1 and the arm ,b is turned into position against ,e4 ,this glass is placed upon the table4 ,in one outside trouser pocket is a half-crown4 ,the preparations made1 the performer advances with five other half-crowns and one of the little boxes1 and gives the whole into the hands of a member of the audience1 with the request to have the box examined and the coins placed in it4 ,whilst this is being done1 the concealed box is got down from the vest into the left hand4 ,the box1 with the money in it1 is taken by the right hand1 and apparently put into the left4 ,it is1 however1 palmed1 and the empty box shown instead4 ,the performer executes this movement as he is passing to another portion of the audience1 to whom he will explain matters briefly4 ,this passing about the room is highly essential in concealing many movements1 and the conjuror's actions should be well mapped out beforehand1 and not left to accident4 ,as ,i am describing the trick1 the money should be put in the box by someone on the conjuror's right4 ,it then becomes natural for the performer to place the box in his left hand1 in order to exhibit it to those on that side of the room4 ,the learner will find1 as he progresses1 how highly important it is to pay attention to these apparently small1 but by no means insignificant matters4 ,the performer's motions should balance1 as it were2 and his great study should be to make actions that are absolutely indispensable to him appear to be perfectly natural1 if not the only ones that could be suitable to the occasion4 ,the empty box is then placed in the fingers of the right hand1 in which the box containing the half-crowns is still concealed4 ,the performer brings a chair close to the audience1 and places upon it the empty box1 first shaking the hand once or twice to show that the money is still inside4 ,the coins rattling in the hidden box will appear to be in the one which is really empty4 ,care must be taken to keep the back of the hand towards the audience1 and to allow it to hang down considerably1 so as to do away with any possibility of an accidental exhibition of the palmed box4 ,the performer now proceeds to his table1 pocketing the box with coins as he does so in as noiseless a manner as possible4 ,he then takes the tumbler in one hand1 and1 rattling it hard with his wand all the time1 turns it upside down to show that it is empty4 ,on turning it back again the rattling must be repeated4 ,this rattling1 the reader will readily comprehend1 is for the purpose of covering the slight clinking of the coins that are confined within4 ,it is a good plan to have a piece of baize or cloth on the bottom of the tumbler1 inside4 ,this will deaden the sound of the clinking when the tumbler is being replaced upon the table4 ,the performer now returns to the little box1 previously getting the half-crown from the pocket into his palm1 and feigns to abstract one coin from it1 the palmed coin being shown4 ,this1 with appropriate explanation1 he passes into the tumbler1 into which it is distinctly heard to fall4 ,the whole of the coins are1 one by one1 abstracted from the box1 and made to pass into the tumbler4 ,the methods of extracting them should be varied4 ,one can be taken out by means of the wand1 another caught in mid-air1 the next be found at the tip of someone's nose1 and the next in somebody else's hair1 whilst the last will probably be found attached either to the performer's elbow or to the sole of his boot4 ,this variety of movement keeps the audience amused1 and1 consequently1 distracts their attention1 which might1 perhaps1 be employed in watching other matters somewhat too narrowly4 ,the same system of variation should be observed in passing the coins1 three or four different passes being brought into use4 ,the last pass may be effectively made with the reverse palm1 by the method described on page #h for throwing the coin away4 ,the palm can then be shown perfectly empty1 the coin being recovered as the performer proceeds towards the glass4 ,the mystery of the coins being heard to fall into the tumbler has yet to be explained4 ,the explanation is1 that the conjuror's stage assistant is concealed behind the scenes1 in a position as proximate to the tumbler as possible1 with another glass and some coins4 ,the performer and assistant must have an understanding between them1 and when the assistant hears the word given he drops one coin into the glass1 allowing a short time for the supposed journey4 ,the word pass is the one commonly used1 and is the best1 for the conjuror is using it all through the performance1 and it does not1 therefore1 excite any particular attention4 ,it is as well to vary the speed with which the coins travel4 ,the first two should occupy from a second and a half to two seconds in travelling from hand to tumbler4 ,the next the conjuror should say will take a little longer1 it being a very old coin and1 consequently1 weak4 ,five seconds will be quite long enough for this1 and the next can be despatched with the command1 ,presto1 pass6 ,this should arrive at its destination in half-a-second4 ,if no arrangement on this head has been made beforehand1 the performer must take care to speak loudly and distinctly4 ,this co-operation of performer and assistant has already been explained in connection with ,the ,shower of ,gold4 ,sometimes1 with the view1 ,i imagine1 of making the trick appear still more difficult1 the tumbler is covered with a borrowed handkerchief1 pocketbook1 programme1 c4 ,when this is done1 the assistant must cover his glass with a handkerchief1 and so cause the sound of the falling coins to be muffled4 ,i have seen an assistant commit an absurd error of using only one coin4 ,the sound caused by one coin falling upon others in a glass is very different to that of a coin falling into an empty glass4 ,the use of the two little boxes in this trick is an idea of my own4 ,other conjurors invariably use a box with a hinged lid1 which has a horizontal plate on a level with its upper rim4 ,this plate has four slits in it1 and into each slit is placed a half-crown4 ,by an exceedingly ingenious mechanical arrangement1 a coin is made to drop into the body of the box each time the lid is shut down4 ,the performer affects to abstract one in the manner just described4 ,the chief objection to this box is its great expense2 otherwise1 it is a very good piece of apparatus4 ,another piece of apparatus that is also frequently used in conjunction with the trick is what is called the ,half-crown ,wand4 ,this is a hollow tin wand1 with a sliding piston inside it4 ,one end is divided into two parts1 which are hinged4 ,a half-crown1 that has been cut into three portions1 is concealed in this opening top1 and by means of a complexity of hair springs1 and the action of the piston1 moved by the thumb from the outside1 the three fragments are pushed out1 and1 ranging themselves side by side1 cause the appearance of a half-crown on the end of a wand4 ,all ,i can say about this piece of apparatus is1 that it is a pity the inventor's ingenuity was not directed towards making something else4 ,i believe1 though1 that the article sells well1 as it does away with the last piece of sleight of hand left in the trick1 and so gives lazy people and duffers a chance4 ,the ,banker4--,in ,drawing-room ,magic1 a method for collecting coins from the air1 c41 and passing them into a hat through the crown1 was explained4 ,before larger audiences1 the trick is capable of being much more elaborated4 ,going down amongst the audience1 the performer collects quantities of coins from the heads and persons of the audience4 ,there are various methods of executing this4 ,one is to keep a coin palmed1 and then produce it from the hair1 whiskers1 beards1 sleeves1 elbows1 c41 of different spectators1 a motion of throwing it into the hat being made each time it is produced1 and the hat shaken1 to cause the resemblance of a coin falling into it4 ,another method1 which ,i hardly like as well1 although successfully adopted by some good performers1 is to dip the hand into the hat1 and gather some coins quickly in it4 ,these coins are kept in the palm of the hand1 and concealed by the two outside fingers1 and the thumb pushes one forward as it is required for production4 ,the coins1 in this instance1 are actually tossed in the air and caught in the hat1 which is of itself a great advantage1 but the chances of detection are considerable4 ,nevertheless1 the effect is very fine when the conjuror moves rapidly about1 picking coins indiscriminately from everyone around4 ,it is possible to hold a great number of large coins in the hand without detection ensuing4 ,the third method is somewhat similar4 ,the coins are gathered in the hand from the hat1 but1 instead of being reproduced singly1 they are all swept from the head of a spectator into the hat4 ,coins invariably drop on the floor when the latter method is adopted1 and the conjuror is enabled to take a fresh dip into the hat unperceived1 whilst busying himself about the recovery of his property4 ,what ,i recommend is a happy mixture of all three methods4 ,whichever is adopted1 the performer must be exceedingly rapid in his movements1 never stopping in one place1 and accompanying his movements with a running commentary1 such as1 ,ah1 one more on your nose1 sir4 ,thank you1 sir1 just a few in your hair4 ,madam1 a little one hiding itself under your bow1 and1 ,i declare1 another in your fan4 ,a lady's muff1 when handy1 can be well employed4 ,it should be taken in the hand containing the coins1 which are allowed to run through into the hat4 ,a good variation1 too1 is to snatch a hat from a person's head or elsewhere1 and dropping a few coins into it1 immediately toss them about1 and then pour them into your own hat4 ,the larger the audience1 the better this money collecting will succeed4 ,it is a great feature in a performance1 and always takes well4 ,a little piece of apparatus which1 although ,i never use it myself1 many find very useful for the magical production of coins1 is what is known as the money tube4 ,this is a long flat tube of tin1 japanned on the outside4 ,it is just wide and deep enough to admit of the coins in use passing easily through it1 and no more4 ,at one end1 on the outside1 it is furnished with a broad flat hook1 for the purpose of suspending the tube from a buttonhole or slit in the interior of the performer's vest or coat4 ,the bottom end is furnished with a lever arrangement on the outside1 which for half-crowns would be thus constructed3 ,in length it would just exceed the width of a half-crown1 and each end be furnished with a peg about a quarter of an inch long4 ,in the centre is drilled a hole1 and on the tube is a bifurcated projection1 also with a hole through it4 ,the lever is placed in its position1 and a pin passed through it and the projection4 ,a joint will thus be formed very similar in appearance to the centre joint of an umbrella rib4 ,in the tube 7exactly underneath the pegs1 which must be towards the tube7 pierce two holes1 and under the upper half of the lever fix a small piece of spring1 tolerably strong4 ,the apparatus is then complete4 ,the spring causes the upper half of the lever to rise1 and1 as a natural consequence1 the lower half to be depressed4 ,the lower peg thus prevents anything that may be in the tube from passing out at the end4 ,so soon1 however1 as any pressure is put upon the upper half of the lever the lower peg rises and allows the coin to escape4 ,the upper peg1 descending at the same time1 prevents the escape of any other coins that may be in the tube4 ,the method for using the tube is to fix it securely under the vest or coat flap1 with the bottom end all but exposed4 ,when the performer requires a coin1 all he has to do is to curl his fingers under the mouth of the tube1 and press the upper portion of the lever1 when a coin will fall into his hand4 ,as the operation is invariably accompanied by a slight clattering1 however careful the performer may be1 the hat should always be shaken for the purpose of smothering the sound made by the tube4 ,a small band of elastic on the coat or vest will serve to keep the tube steady4 ,the lever lies transversely across the tube1 and not straight along it4 ,this enables the little pegs to pass into the triangular spaces left between two coins1 the edges of which are touching4 ,it is not advisable to produce many coins in a short space of time by this method1 as the frequent repetition of the movement of the hand might easily be noticed4 ,an effective continuation is to apparently cause the coins to pass through the crown the reverse way1 i4e41 from the inside to the outside4 ,for this purpose1 the performer must retire well up the stage1 concealing1 as he does so1 several coins in the palm of the hand1 one being shown at the ends of the fingers4 ,the hat is held out1 crown downwards1 in the other hand1 and the coin in the fingers then tossed high in the air4 ,whilst it is descending the thumb gets another coin in readiness1 and as the coin in the air falls into the hat the one brought from concealment is put against the crown and instantly pulled sharply away from it4 ,the effect is as if the coin thrown in the air had passed through the crown of the hat1 and was caught by the performer as it came through4 ,considerable practice must be undertaken1 as it is indispensable that the fall of the descending coin into the hat and the production of the fresh one at the crown be precisely simultaneous1 otherwise the effect will be weakened1 if not altogether spoilt4 ,the hat must contain some coins at the commencement1 otherwise the accumulation of those thrown into the air and subsequently caught in the hat1 would1 of course1 be noticed4 ,the effect is improved if the crown of the hat be turned slightly towards the audience at the moment when the coin is supposed to come through it4 ,as the eyes of the spectators always follow the coin in the air1 the slight motion of the thumb in getting a fresh coin in readiness is never perceived4 ,large coins tell best1 and about six should be used4 ,when the performer has sufficiently amused the audience in this way1 he can proceed with the trick under notice4 ,for it he will require--at least1 he will find it advisable to have--an oval tray of japanned tin4 ,to all appearances1 the tray is only an ordinary one1 but it has a double bottom1 the space between the two bottoms being a little more than the thickness of a half-crown1 or whatever coin the performer may be in the habit of using4 ,the rims of the two bottoms are joined all round1 with the exception of a portion at one end1 which is left open to the extent of a little more than the width of the coin in use4 ,two strips of tin1 soldered firmly in their places1 extend from each side of this opening1 in parallel lines1 to the other end of the tray1 and so form a passage between the two bottoms capable of receiving a quantity of coins1 ranging in number according to the length of the tray or the will of the performer4 ,when the tray is tilted to any extent1 the open end being the one that is depressed1 the coins will naturally slide out one after the other4 ,if the space between the double bottoms is too deep1 the rearmost coins will overlap those in front1 and so cause an obstruction4 ,the tray is loaded with 7say7 five coins1 and so brought on4 ,fifteen 7a few more or less will not matter7 coins are then taken from the hat1 and placed upon the tray1 which is then put into the hands of a spectator1 who must be enjoined to rise for the purpose1 and to keep very steady1 so as not to upset the coins4 ,a boy's cap is then borrowed1 and put into the hands of another spectator1 who is placed in a position close to and facing the holder of the plate4 ,in the absence of a cap1 a handkerchief1 held in the form of a bag1 will answer as well1 if care be taken to arrange it so that none of the coins can escape and fall to the ground4 ,the performer retires to the stage1 and explains that1 when he counts three1 the holder of the tray is to pour1 as rapidly as he can1 the fifteen coins into the cap1 the holder of which is directed to close the cap immediately this is done4 ,as the performer has taken care to place the tray in the assistant's hands1 with the opening from him1 it follows that1 when the fifteen coins are poured from the surface into the cap1 the five from the concealed receptacle will accompany them4 ,a very distinct mark should be made upon the tray so that the performer can readily distinguish one end from the other4 ,when the cap is closed1 the performer counts five more coins into his hand1 and passes them into the cap1 the holder of which is then requested to count out the coins upon the plate1 to show that the number has been increased by five4 ,all counting of coins should take place both before and afterwards1 or the audience may fail to perceive what has been done4 ,the trays sold at conjuring repositories are nearly always round2 this is a bad shape1 as there is nothing to induce the holder of the tray to tilt it as the performer desires4 ,when it is oval1 it is only natural to pour the coins off the narrow end4 ,it is also impossible to notice from any distance if a round tray has been shifted1 accidentally or otherwise4 ,a couple of inches difference will cause the trick to fail1 for the coins will not pour out2 and some people who are in the secret are malicious enough to be capable of wilfully turning the tray round for the purpose of spoiling the trick4 ,the name of ,the ,banker is given to the trick1 because the performer supposes the holder of the cap to be the banker1 and he then shows how he pays in his money4 ,the great effect of the trick is derived from the fact that the performer never approaches the custodians of the money after once giving it into their hands4 ,hold them ,tight6--,the performer takes a few coins--four half-crowns or florins will be found the most suitable--and also a strong white cotton handkerchief4 ,he then asks the assistance of one of the spectators1 stating his predilection for a very strong man4 ,the more burly the volunteer1 the better he will suit the conjuror's purpose4 ,seat him on a chair a little on one side1 and facing the audience4 ,place the coins in the centre of the handkerchief1 which then invert1 and grasp the coins through it from the outside4 ,this is done openly and deliberately1 and the assistant is requested to hold the handkerchief firmly between the two hands a few inches below the coins4 ,he is then asked if he thinks it possible for the performer to pull the coins through the handkerchief without making a hole1 or to get them out without interfering with the assistant's hand4 ,the answer will invariably be a negative one1 and the performer then says1 ,very good2 that is your opinion4 ,i will now see what the audience think about it4 ,with this1 the performer steps forward with the coins and the handkerchief1 and explains to the audience that it is a trial of ,strength versus ,skill between the strong man on the stage and himself4 ,he then requests someone to place the coins in the handkerchief1 so that there shall be fair play1 the handkerchief being spread over the performer's left hand for the purpose4 ,when the coins are placed in the handkerchief1 they should be grasped through it by the thumb and first and second fingers4 ,the performer then turns suddenly to the person on the stage1 and says1 ,i trust you are not nervous1 sir2 you look very pale4 ,this will cause everyone to look at once at the person addressed1 who will1 if under the glare of footlights or other strong gas1 infallibly bear a pale appearance4 ,but whether he looks pale or not will not matter1 the diversion being made for the purpose of distracting the attention of the audience from the performer for a moment or two4 ,whilst all eyes are directed towards the assistant1 the performer turns the coins over twice in the handkerchief1 a fold of which is taken at each turn1 and the coins thus enveloped4 ,the coins are then grasped in the right hand1 and a good shake given to the handkerchief for the purpose of straightening it as much as possible4 ,the result of this manoeuvre is that the coins are simply hidden in a couple of folds on the outside of the handkerchief1 the supposition indulged in by the audience being that they are inside1 and that the handkerchief has been merely inverted as before4 ,this folding and turning is not easy to accomplish quickly and neatly4 ,the coins must be held firmly1 and the fingers then turn them over inwards1 the thumb being raised to allow them to be pushed well under it4 ,before the fingers are removed1 the thumb descends and nips securely that portion of the handkerchief pushed over with the coins by the fingers1 and retains it whilst the second turn is being made1 the same process being repeated4 ,with the fold well made1 the performer may venture to allow that portion of the handkerchief containing the coins to hang downwards1 and even give a slight jerk to cause the coins to jingle4 ,this will totally disarm suspicion4 ,it is much easier to hold the handkerchief1 with the coins1 in one hand and make the folds with the other1 but the proceeding is unbusinesslike and provocative of suspicion4 ,the handkerchief is then put into the hands of the seated assistant1 as before1 the performer holding that portion containing the coins4 ,a tremendous mock struggle ensues1 the performer allowing himself to be pulled nearly over once or twice1 which will cause him to remark that he has made a mistake this time1 and has met with someone a little too strong for him4 ,all the time he is working a finger into the folds1 which he quietly undoes1 and1 under cover of the left hand1 gets the coins out into the right4 ,with this hand he takes his wand1 which is held under the armpit during the trick1 and continues pulling with the left4 ,after a while1 he says that it is no use1 and1 relinquishing his hold1 asks to have his money given back to him4 ,of course1 the assistant knows nothing about it2 but the performer points out the fact that there is no hole in the handkerchief1 consequently he cannot have the coins4 ,under the plea of finding out where they are concealed1 the performer taps with his wand on various portions of the assistant's person4 ,when he reaches either the elbow or the knee1 he allows the coins in the hand to rattle against the wand at each tap1 and it will appear to the audience that they are concealed up the assistant's arm or leg4 ,grasping the sleeve or trouser1 the performer turns it up a little1 and rattles the coins out on the floor4 ,if found in the trouser1 the assistant should be asked to place his foot upon a chair4 ,it is very easy to jerk the coins a few inches up the sleeve or trouser leg as it is being turned up2 they will then fall out naturally4 ,the reason ,i give directions for using a strong pocket handkerchief is because the continued pulling will sometimes cause a sharp-edged coin to cut through4 ,i never use any but my own handkerchief1 for this reason4 ,there is another method of folding the coins in the handkerchief1 which surpasses the one above described for neatness1 and it may be executed in full view of the audience1 with their eyes specially directed upon the performer's hands1 instead of momentarily diverted4 ,the coins1 in this instance1 are taken between the finger and thumb of the left hand1 and held perpendicularly4 ,with the right hand1 the handkerchief is thrown over them4 ,this the performer does close to his temporary assistant upon the chair2 upon which he says1 ,that is all very well3 you know that the coins are safe inside the handkerchief2 but ,i must also convince the rest of the company4 ,suiting the action to the word1 the performer advances a few paces1 performing1 as he does so1 the following manoeuvre3 ,with the right hand inverted1 i4e41 the palm turned upwards1 the coins are seized between the first and middle fingers4 ,simultaneously the left hand is shifted a couple of inches backwards1 and the right hand1 turning over in that direction1 places the coins once more between the left finger and thumb1 but this time there are two thicknesses of the handkerchief intervening4 ,that half of the handkerchief which is hanging on the side nearest to the company is now raised by the right hand1 when the coins will be exposed to view4 ,the act of shifting the left hand back a couple of inches has caused the fingers of the left hand to be covered by a false fold of those dimensions4 ,the company1 therefore1 cannot see the said fingers1 the performer making doubly sure by holding his hand as low as possible1 without exciting suspicion4 ,now1 after having shown the coins1 if the performer merely turned back the half he had lifted1 no particular result would be arrived at2 but the learner1 who is1 of course1 following me with coin and handkerchief in hand1 will at once see that1 if that half of the handkerchief which is hanging on the side nearer the performer be turned over along with the one that has been raised to show the coins1 in the direction of the company1 the result achieved is that the coins are on the outside of the handkerchief1 but enveloped in the #b;in4 fold4 ,this turning back of two halves1 instead of one1 being the vital part of the whole thing1 must be done with great carelessness4 ,indeed1 the action of turning the rear half over with the right hand is a mistake3 all that is necessary is to drop the left hand with a good shake1 when both halves will fall on the same side1 as naturally as possible4 ,these little things require a good deal of explanation1 but it is a really very simple manoeuvre1 which ,i divide into four distinct movements1 viz43 ,first movement--placing the coins under handkerchief1 in left hand2 second movement--turning over coins with right hand1 and seizing again with left thumb and finger 7see ,fig4 #dh72 third movement--dropping left hand and raising front half of handkerchief with right hand2 fourth movement--releasing handkerchief with right hand and shaking two halves over with left4 ,when the fourth movement has been completed1 the right hand should seize the handkerchief just below the coins1 which can then be struck upon the left palm1 carelessly1 but hard1 so as to indirectly convey the idea of their being contained in a bag1 made by the handkerchief4 ,there need be no fear of the fold becoming loose if the handkerchief be gripped firmly2 and the boldness of the act will disarm suspicion4 ,the very security of this fold renders it more difficult to work the coins out when the trial of strength comes on1 and the assistant must be made to hold the handkerchief some distance away from the coins1 so that the performer's hands have plenty of space to work in4 ,whilst the assistant is thus holding the handkerchief1 it is a good plan to allow that part in which the coins are folded to hang down--whilst the sleeves are being turned back1 for instance4 ,this will keep up the impression of their being enclosed in a bag4 ,illustration3 ,,fig4 #dh4 ,the ,money ,changer4--,this trick is accomplished by means of the first deceptive fold described in ,hold them ,tight6 ,its simple nature may cause it to appear easy of execution2 but let not the learner foster this delusive idea1 for the slightest bungle will spoil the trick1 which depends entirely upon sleight of hand4 ,in the left hand the performer has three pennies concealed4 ,three half-crowns and three pennies1 all marked by various members of the audience1 are then borrowed4 ,the three half-crowns are first collected in the right hand1 and given into the custody of one of the audience4 ,the pennies are next collected1 in the right hand also1 and then the performer begs the further loan of a couple of handkerchiefs4 ,just as he is stepping forward to take the proffered articles1 he says to one of the audience1 ,would you kindly hold these pennies for an instant8 and1 making a pass 7,fig4 #aa7 towards the left hand1 exhibits and hands the coins therein concealed4 ,the idea conveyed by the performer is that1 the coins being in his way whilst borrowing the handkerchiefs1 he wants to be rid of them for a short space of time4 ,this covers the action of the pass1 which might otherwise appear suspicious1 as being unnecessary and meaningless4 ,take the first handkerchief in the right hand1 and let the second hang over the left shoulder4 ,now go at once to the holder of the half-crowns1 and1 taking them from him1 place them in the centre of the handkerchief1 previously spread over the right hand1 which contains the marked pennies4 ,turn briskly to another member of the audience1 executing as you do so a single turn only of the coins in the handkerchief with the fingers of the right hand1 the coins that are in the hand itself going over as well4 ,take that portion of the handkerchief which contains the coins in the left hand1 grasping the whole securely4 ,remove the right hand from underneath1 and with it grasp the handkerchief some four or five inches from the coins1 and then reverse the positions of the hands1 handkerchief and all1 the right being above and the left below4 ,the pennies which were recently in the right hand will now be in a bag1 as it were1 formed by the handkerchief4 ,the half-crowns are still on the outside1 hidden by one fold of the handkerchief1 and held by the fingers of the left hand4 ,request the person to whom you have advanced to stand up1 and inform him that you wish his right hand to take the place of yours1 and that he is on no account to relax a firm hold for an instant1 or to allow any coins either to enter or escape4 ,as you say this1 dance the coins two or three times up and down in the left hand1 which hollow as much as possible1 and the half-crowns will fall into it4 ,their clinking will not signify in the least1 as it will be attributed to the coins in the handkerchief4 ,then give the handkerchief into the custody of the person selected1 the left hand simultaneously finding its way to the handkerchief hanging from the left shoulder1 which it takes4 ,the same manoeuvre is then repeated1 the handkerchief being spread over the left hand with the half-crowns in it1 and the right eventually securing the substituted pennies4 ,all that remains to be done is to command the coins in the handkerchiefs to change places1 which feat is apparently accomplished4 ,the great peril of the trick lies in the necessity of repeating the action of folding4 ,to avoid detection1 the performer must be always on the move1 and endeavour by gesture and speech to continually direct the general attention of the audience to the persons whom he is addressing4 ,the most dangerous person is he from whom the coins are taken before being put into the handkerchief4 ,the best method for disarming him is to be very profuse with thanks for his kindness4 ,by the time you have done thanking him1 your object has been accomplished4 ,it is strange what a trivial thing is required for the purpose of distracting the attention of the audience1 whether collectively or individually1 if the performer can only assume an appropriate expression of countenance4 ,on the other hand1 the least appearance of anything approaching to bewilderment only tends to make the audience doubly sharp4 ,hallo6 they will think1 he is in a fix1 and forthwith the minutest action is devoured4 ,in this trick1 the effect of manner will make itself manifest in a marked degree4 ,it is evident that1 if anyone in the audience fix his eyes intently upon the performer's hands from the commencement of the trick to the finish1 never removing his gaze for an instant1 he is bound to notice the turns that are made4 ,now1 it is impossible for a conjuror even to keep his eye upon every member of his audience for the purpose of noticing who is and who is not watching him4 ,the utmost he can do is to make such diversions as are best calculated to accomplish his ends in a general way4 ,if anyone in the audience be particularly sharp1 and will not be taken in1 it cannot be helped4 ,i make these remarks in this place because a good opportunity presents itself3 they are of universal application4 ,it is only another sermon on the old text1 misdirection4 ,it is as well to borrow either very thick handkerchiefs or else coloured ones for this trick4 ,thin white handkerchiefs will reveal the nature of the coins contained in them under certain conditions of light4 ,the person who temporarily holds the substituted pennies should be enjoined to close his hand4 ,this is to prevent him from whiling away the time by seeking for the marks4 ,a person might do this merely out of curiosity1 and without any malice whatever4 ,when practising1 it is best to commence with a single coin of each sort1 then two1 and finally three4 ,four coins would only make the trick more difficult1 without increasing the effect4 ,with one coin only1 the trick is very poor2 besides1 it naturally appears to the audience to be more difficult for the performer to transmit a number of coins from one spot to another than to perform a like feat with a single coin4 ,the ,crystal ,plateau4--,this is a very pretty1 but almost unknown trick4 ,hanging by a couple of cords at the back of the stage is an oblong plateau1 composed simply of a frame and a piece of glass4 ,the performer borrows three marked florins or half-crowns1 which he can either hold in his hand1 or place in the little box described in ,the ,invisible ,transit4 ,he calls attention to the plateau1 the transparent nature of which seems to render any examination unnecessary1 and announces that1 not only will he cause the coins to invisibly leave his hand 7or the box71 but they shall do so one at a time1 and affix themselves to the glass of the plateau4 ,this is done1 the coins appearing one after another upon the face of the plateau1 from which the performer removes them1 and hands them back to their owners4 ,illustration3 ,,fig4 #di4 ,this fine effect is thus managed3 ,the plateau 7,fig4 #di7 is composed of two pieces of glass1 one behind the other4 ,the front piece is fixed firmly into the frame1 but that in the rear is only loosely fastened4 ,an indiarubber band1 passing across the lower portion of the latter1 keeps the two glasses close together at their lower edges1 but at the top they are kept apart to the extent of about twice the thickness of a half-crown4 ,from the upper part of the frame three spaces are cut out1 wide enough to admit a coin1 and deep enough to cause a coin dropped in from that point to fall between the two glasses4 ,to keep the coins temporarily suspended1 three holes are drilled through the rear glass1 just below the places for the coins1 and little pegs inserted therein4 ,to each of these pegs is attached a thread1 held in the hand of the assistant behind the scenes4 ,the latter should be immediately in rear of the plateau1 in order that he may get a straight pull4 ,when the performer cries ,pass1 one peg is pulled out1 and the coin it supported falls between the two glasses4 ,as these approach each other by degrees1 the falling coin sticks fast about mid-way1 appearing to the company--and1 for that matter1 to the performer1 too1 so perfect is the deception--to be stuck on the surface of the front glass1 supposed by the company to be the only one4 ,when all three coins have thus made their appearance1 the performer proceeds to the plateau1 and1 placing a hat beneath it with one hand1 opens the rear glass slightly out from the front one1 the coins thus falling out4 ,the marked coins have1 of course1 never left the performer's hand1 three of his own having been placed in the little box1 if that was used2 and it is very easy for him to palm these in the hat1 and produce the marked ones1 as though taken from it4 ,to pass them1 one by one1 from the hands1 they must be held in the left hand1 and palmed singly with the right4 ,if the performer is skilful enough to palm them one over the other1 so much the better1 otherwise the palmed coin must be got rid of in the little trouser pocket each time1 whilst the contents of the left hand are being exhibited4 ,the ,money-producing ,candle4--,the performer commences by stating that the next trick will be performed with a quantity of shillings4 ,he will want so many that the company can scarcely be able to supply them1 so he will not put them to any trouble1 especially as he has perfected a new invention by means of which money can be manufactured out of candles4 ,he either borrows a hat1 or takes a plate1 which should be given for examination1 and then approaches a candle1 which has been burning for some time on the table4 ,turning up his sleeves1 and indirectly showing both palms to be empty1 he places his thumb on one side of the candle and the fingers on the other1 near the bottom1 and draws the hand upwards1 as though squeezing the candle4 ,two or three quick movements are made1 and then a shilling appears in the performer's fingers as though it had been taken out of the very flame4 ,the coin is placed in the plate1 or hat1 and1 after the palm has again been shown empty1 a second shilling is squeezed out of the candle1 vi the flame4 ,this is repeated a great number of times1 a quantity of shillings being produced1 with which a trick should be subsequently performed1 the candle experiment1 in itself1 being of insufficient length4 ,illustration3 ,,fig4 #ej4 ,the secret lies in the candle4 ,this is a brass cylinder1 covered with white paper 7,fig4 #ej71 a piece of candle being introduced into the top1 and lighted4 ,this introduction must be neatly done1 and some wax from the candle scraped over the junction1 so as to hide it4 ,inside the cylinder is a spiral spring arrangement1 precisely similar to the cylindrical sovereign-holders sold1 from which one coin at a time is extracted by a simultaneous pressing and drawing action4 ,such a holder1 placed inside the imitation candle1 with the opening downwards1 would be the very thing 7for sovereigns71 provided an opening were made just below it sufficiently large to permit the insertion of a finger with which to withdraw the coin4 ,the spiral spring continually presses the coins from above1 keeping the lowest one always at the opening1 it being prevented from falling by a narrow projecting rim inside1 which leaves a large portion of the central space of the coin free to be acted upon by the inserted finger4 ,the side of the candle upon which the opening is situated is1 ,i need not say1 turned away from the spectators1 and1 as the performer slides his hand slowly upwards1 a finger brings away a coin--the movement being1 of course1 continued evenly1 and no stoppage made at this particular moment4 ,with a little practice1 the coin can be extracted with wonderful facility4 ,before commencing1 the performer should show that there is no preparation about the candlestick1 by turning it upside down1 and banging it upon the table4 ,the candle is grasped by the hand1 for the purpose of removal1 over the spot where the opening is1 and it may then be shown on all sides2 but ,i do not advise that the performer should draw attention to the candle4 ,no hint of a prepared candle should be given the spectators1 who are not at all likely to think of such a thing unless it is suggested to them1 particularly if the performer advances boldly1 candle in one hand and candlestick in the other1 and exhibits them4 ,it will be found that an imitation candle to take shillings will have to be a fairly large one1 so the conjuror must use his judgment1 and have one for sixpences only1 if his exhibition of an abnormally large candle be likely to draw suspicion towards it4 ,for large stage performances a candle capable of taking florins might be used4 ,the candle can be profitably used incidentally to vary the collection of money in the air 7see page #ad1 c471 a coin being now and again placed visibly into the hat1 instead of passed magically through the crown1 and a fresh one obtained from the candle1 just as would be done from the money tube 7see page #bci74 ,the ,flight4--,this is a method for causing five coins to disappear4 ,it is a very useful interlude when the performer is hard up for something to do1 and when it is desirable to lengthen out the entertainment4 ,take five well-worn half-crowns 7your own or borrowed2 marked or not71 stand sideways to the audience1 right side to the front1 and extend the left hand1 palm upwards4 ,hollowing the hand slightly1 place one coin upon the tip of each finger4 ,place the right hand upon the left1 the corresponding fingers of each hand meeting at the tips1 so that the coins are held firmly between them4 ,give the hands a half turn1 so that the back of the right hand is towards the audience1 and hold them in this position for a few moments1 the eyes being directed upwards1 as though the remainder of the trick were to be in connection with the ceiling4 ,give the hands two upward and downward sweeps1 increasing in vehemence1 and at the third bring the points of the fingers together4 ,this will cause the coins to lap one over the other in tolerably good order1 when they must be pushed firmly between the root and first joint of the right thumb1 breadthwise 7see ,fig4 #e74 ,the action must be executed as the hands descend for the third time1 and with such speed that the coins must be secure in position when the hands are brought up again1 when they will affect to toss the coins hard up at the ceiling4 ,this takes some little doing1 as there must not be the slightest pause in the upward and downward swing4 ,the coins can be reproduced from the person of the performer or from the audience1 or they need not be reproduced at all4 ,the feat is capable of being introduced into tricks where five coins are made to disappear4 ,unless each finger has an occupant1 it does not look complete1 so it is not advisable to introduce the variation where four coins1 or fewer1 are employed4 ,coin and ,worsted ,ball ,trick4--,a very good trick indeed is performed with a ball of worsted and a coin4 ,have a flat metal tube broad enough to admit with ease the coin intended to be used1 and wind round one end of it a quantity of worsted1 so as to form a large ball1 completely closing up one aperture1 the other end being left open and protruding half an inch or so4 ,place this in a pocket or a bag1 or behind a screen4 ,you must have a duplicate coin palmed1 which change with the borrowed one1 and give to be held in a handkerchief4 ,the coin would1 of course1 be marked4 ,when the worsted ball is in a bag1 or behind a screen1 the coin must be dropped down the tube1 which is then withdrawn1 and the ball compressed in the hand so as to obliterate all traces of an opening4 ,it is1 however1 a much neater way to have the ball and tube in the pocket 7it will have to be a side pocket72 another ball being sent round to be examined before anything is done4 ,when the coin is in the prepared ball1 and the tube withdrawn1 it can be exchanged with the other4 ,when this has been successfully accomplished1 give the ball to be held high in the air1 and1 taking the substituted coin1 pass it inside4 ,now have the ball placed in a tumbler1 which is held by one person1 whilst another pulls at the end of the worsted1 and so unwinds it4 ,in the centre will1 of course1 be found the borrowed article4 ,,chapter ,,xv4 ,,miscellaneous4 ,,on ,,apparatus1 ,,and ,,its ,,uses ,,and ,,abuses--,,houdin',s ,,die--,,additional ,,effect--,,new ,,method--,,the ,,gold-,,fish ,,trick3 ,,pisciculture ,,extraordinary--,,the ,,bowls ,,and ,,covers--,,the ,,cloth--,,where ,,to ,,carry ,,the ,,bowls--,,how ,,to ,,produce ,,them--,,bad ,,and ,,good ,,innovations--,,how ,,to ,,cause ,,the ,,bowls ,,to ,,disappear--,,mishaps--,,gold ,,fish ,,and ,,ink--,,the ,,globe--,,the ,,lining--,,the ,,ladle--,,how ,,to ,,fill ,,it--,,the ,,card--,,the ,,trick ,,in ,a ,,small ,,way--,,travels ,,of ,a ,,glass ,,of ,,water--,,gold6 ,,gold6 ,,everywhere--,,the ,,hen ,,for ,,every ,,household--,,the ,,best ,,breeds3 ,,no4 #a1 ,,no4 #b1 ,,and ,,no4 #c--;,,how ,,to ,,hatch ,,your ,,eggs ,,with ,,despatch--,,decapitation ,,not ,,fatal ,,to ,,fowls--,,kling1 ,,klang--,,how ,,to ,,stand ,,fire--,,the ,,intercepted ,,bullet--,,the ,,wandering ,,ginger-,,beer ,,bottle--,,the ,,plume ,,and ,,the ,,seed--,,cooking ,,made ,,easy3 ,,hat ,,versus ,,saucepan--,a ,,little ,,accident1 ,,and ,,how ,,to ,,rectify ,,it--,,the ,,flags ,,of ,,old ,,england--,a ,,nut ,,for ,,blacksmiths ,,to ,,crack--,,the ,,drawer ,,box--,,how ,,to ,,make ,,it--,,when ,,to ,,use ,,it1 ,,and ,,when ,,not--,,the ,,cone--,,bacchus' ,,dovecote--,,how ,,to ,,prepare ,,the ,,bottle--,,how ,,to ,,mesmerise ,,and ,,cause ,a ,,dove ,,to ,,disappear--,,the ,,wine-,,drinking ,,crystal ,,ball--,,bacchus' ,,maypole--,,on ,,programmes ,,and ,,titles--,,how ,,to ,,make ,,the ,,bottle--,,the ,,accommodating ,,bottle--,,how ,,to ,,work ,,it ,,successfully--,,another ,,method--,,the ,,mesmeric ,,suspension ,,wand3 ,,two ,,methods--,,the ,,magi',s ,,brazen ,,rod--,,the ,,balls--,,how ,,to ,,change ,,the ,,rings--,,the ,,shower ,,of ,,plumes--,,the ,,fairy ,,flower--,,the ,,vase4 ,however great the respect which one may have for sleight of hand pure and simple1 it is quite undeniable that a set performance is greatly improved by the occasional introduction of some neat-looking1 but not gaudy1 apparatus4 ,under this head need by no means be included self-acting machinery1 during the performance of which the performer acts as a mere puppet4 ,all the apparatus mentioned in this work will require adroit handling2 and the conjuror will do well to practise as thoroughly with each article as he would towards the acquisition of a feat of sleight of hand4 ,apparatus seems to have a malicious pleasure in going wrong1 always on the most critical occasions1 and1 for this reason1 the majority of skilful performers feel most happy when using very little of it4 ,one thing may be taken for granted1 viz41 that apparatus1 exhibited without the assistance of sleight of hand1 and plenty of it1 causes the performer to degenerate into a mere showman--opening a box here1 and taking off a lid there4 ,in introducing apparatus1 the performer must lay a very great deal of stress upon the sleight of hand portion of the business1 as though therein lay the whole of the trick1 the apparatus being a mere necessary evil in connection with it4 ,by engaging the attention of the company with sleight of hand1 it is drawn away from the apparatus1 the spectators being so convinced of the performer's skill that they do not so readily accuse him of trusting to gaudy boxes and canisters for his effects4 ,some of the apparatus described can be made at home1 but1 as a general rule1 it is cheaper and more satisfactory to buy it at a conjuring repository4 ,low prices are the order of the day2 and1 as the articles are made by experienced men1 they must be superior to those manufactured by persons new to the business4 ,houdin's ,die ,trick4--,although this trick1 sold everywhere for a shilling1 must be as well known as any1 ,i have found it appreciated by certain audiences1 which have1 by the way1 invariably been drawing-room ones4 ,before a boys' school1 or large public audience1 it would not be advisable to exhibit it4 ,the trick consists in placing a die upon the uppermost of two hats1 covering it with a cover1 and causing it to pass through into the lower hat4 ,the secret lies in a hollow false die1 which has five sides only1 and which fits over the real die like a cover4 ,the actual cover used in the trick fits over the dummy die4 ,the method of performance is extremely easy4 ,place the dummy die in the breast pocket1 in a handy position1 and give the real one to be examined with the cover4 ,whilst this is being done1 borrow two hats1 and take them to the centre table1 slipping the false die from the pocket into one of them when your back is turned4 ,place the hat containing the dummy on the table1 crown downwards1 and invert the other one over it4 ,now take the die and place it upon the uppermost hat1 and explain to the audience as follows3 ,ladies and gentlemen1--,you have all kindly examined the die and cover1 and found that both are genuine and free from trickery4 ,i now take this solid die and place it upon this hat2 but before doing so ,i will show you that the hat has no hole through the crown4 ,take up hat1 and hold it before the light1 and bang it about a little1 then replace and put die upon it4 ,the trick ,i shall perform will be to cover the die with this cover1 and1 on again removing it1 it will be found that the die will have passed through the hat into the one underneath1 thus tilt the top hat so as to cause the die to fall into the lower hat4 ,now that ,i have explained what is to be done1 ,i will proceed to do it4 ,take the dummy die out of the hat 7being careful to keep the open part from the audience1 and leaving the real die behind71 and place it1 with the opening downwards1 upon the upper hat1 which you have replaced4 ,you can pretend to cut through the hat1 all round the die1 with a penknife1 making a noise with the nail to imitate the sound of cutting1 and then1 placing the cover over the die1 give it a rap with the wand4 ,grasp the cover very tightly near the bottom1 and raise it1 bringing away the dummy die as well4 ,hold it up to the spectators1 and rattle the wand inside1 and then turn out the real die from the hat on to the floor4 ,whilst doing this with one hand1 the other should be passed behind the table1 and the dummy allowed to slide out of the cover on to the shelf4 ,this latter effect is invariably omitted by conjurors1 and the trick1 in my opinion1 spoilt1 as attention to it enables the performer to hand round the cover for inspection after the trick is performed1 thereby totally upsetting those who1 having purchased the trick1 fancy they know all about it4 ,i have frequently been asked by such people how ,i do the trick1 they little thinking that the apparatus ,i use is exactly similar to their own4 ,the die1 cover1 and dummy can be purchased so cheaply that it is scarcely worth while for the conjuror to manufacture his own4 ,if he wishes to exercise his ingenuity1 let him try the following method1 which is an improvement on ,houdin's old one only inasmuch as it is not so well known4 ,procure a die some four inches square1 with dummy and cover complete4 ,a smaller size can be used1 but ,i give the most effective for the trick4 ,now take five pieces of cardboard1 each the size of one side of the die1 and join them together with hinges of linen1 not all in a row1 but with one in the centre and the four others on either side of it4 ,lay these upon the centre of a large coloured handkerchief1 and place another handkerchief1 of a precisely similar pattern1 over it4 ,sew the two handkerchiefs and cardboard together through the centre piece of card only1 and then sew the edges of the handkerchiefs together all round4 ,the two handkerchiefs are made to pass as a single one only4 ,before commencing1 the dummy must be placed1 opening downwards1 upon the shelf1 and the handkerchief should be lying carelessly upon a chair or side table4 ,show the die and cover round1 and borrow two hats4 ,take the cover and hats to the table1 and whilst one hand is placing one hat over the other1 as in the first method1 the other should place the cover over the dummy die on the shelf1 which must thus be picked up4 ,show the inside of cover 7i4e41 the inside of the dummy71 and place it upon the uppermost hat4 ,now take the die and place it upon the table1 a few inches only from the back4 ,spread the handkerchief over it1 and whilst taking hold of the centre piece of card of the internal arrangement across the middle1 with one hand1 from the outside1 pass the other hand underneath the handkerchief1 and1 under cover of the same1 place the die upon the shelf4 ,the hand holding the handkerchief will all the time appear to be holding the die in the air a few inches from off the table4 ,fold the handkerchief carefully up1 and the five pieces of card will give an exact resemblance of a die folded up in a handkerchief1 which idea is what you wish to convey to the minds of the audience4 ,place this carefully upon a side table1 and then explain that you are about to pass the die from the handkerchief invisibly under the cover4 ,raise the cover--and1 along with it1 the dummy die--once more rattle the wand inside1 and replace it4 ,then take the handkerchief carefully by two corners and suddenly give it a hard shake in the air4 ,the die that is supposed to be inside will not1 according to the expectations of the spectators1 roll upon the floor1 but you will show it to be on the top of the hat by raising the cover only1 and revealing the dummy4 ,remove the dummy from the hat to the table with two hands1 as if it were solid1 and act as if you were about to return the two hats4 ,you1 however1 take one of them1 opening downwards1 and1 bringing the brim on a level with the top of the table1 but overhanging the shelf considerably1 pop the die inside it with the other hand1 which instantly takes up the second hat1 and you advance with both4 ,before you have progressed very far1 however1 you say that1 perhaps1 after all1 the audience would prefer seeing the die back again2 and it is very evident that so large an object must be somewhere4 ,of course1 no one will object1 and you replace the hats one over the other1 the one containing the die being naturally the lower one4 ,the trick then proceeds as before described1 the dummy die being carefully lifted with two hands upon the uppermost hat1 and the cutting operation gone through4 ,the difficult portion of the trick is getting the die from the shelf into the hat4 ,this should be well practised4 ,the ,gold-fish ,trick4--,of the first three questions asked a conjuror by a new acquaintance1 one will infallibly be1 ,can you do the gold-fish trick8 ,when it was first exhibited1 it caused intense excitement1 and1 the secret being fairly well kept1 the trick is but little known even now4 ,the performer advances with a shawl or large handkerchief1 and1 after waving it about1 he produces from it a large glass bowl full of water1 in which gold-fish are complacently swimming4 ,i have heard the wildest suggestions made in explanation of the trick4 ,one says the bowls of water come up a trap door1 regardless of the fact that the cloth does not reach the ground1 consequently anything coming up through the floor must infallibly be seen at once4 ,another explains that the performer has the bowls empty about him1 and has an indiarubber reservoir of water up his back1 with a pipe coming down the sleeve4 ,where the fish come from is not explained4 ,no one seems to be able to think of the real secret--an indiarubber cover4 ,the bowls are flat1 not more than two inches deep in the centre1 resembling gigantic saucers made of glass4 ,the indiarubber covers are made exactly the size of the rim of the bowls1 and have a broad turn-under edge besides4 ,the bowls are filled with water1 the fish put in1 and the covers are then stretched over4 ,to put them on neatly and with dispatch two persons are required1 as some force is necessary to pull the indiarubber out sufficiently far to enable it to go on the bowl4 ,deep1 round-bellied bowls should be avoided1 as the covers cannot get a good grip upon them4 ,as1 with ordinary care1 there is no possible chance of a leakage taking place1 the bowls can be placed anywhere the performer pleases1 and in any position4 ,the favourite places about the person are inside the vest1 which will distend sufficiently if prepared with elastic behind1 and inside the large breast pockets of the coat4 ,some conjurors1 however1 prefer placing the bowls simply under the armpits1 inside the coat1 and it is surprising how remarkably safe they are in such a position4 ,they are certainly less liable to cause any extraordinary distension of the performer's person1 and are far more easily got at4 ,but this is a matter entirely for the consideration of the performer4 ,some go so far as to put a bowl up the back1 which to me seems making the trick as difficult as possible4 ,wherever the bowls are put1 they must be pushed well back1 so that all the distension takes place behind1 and the performer must necessarily always face the audience during the trick4 ,a bowl is also sometimes placed upon the shelf of the table2 but a far better place than this is the back of a chair1 made opaque on purpose1 where the bowl is held by means of two large wire hooks4 ,as three bowls are generally sufficient for most audiences1 one can always manage to carry a sufficient number about one's person4 ,i usually have one in the vest and one in each breast pocket4 ,to produce the bowls1 the performer takes a cloth by two corners1 and1 after waving it about a short time for effect1 he throws it over one shoulder1 allowing it to hang well down in front of him4 ,if the bowl is to be taken from the left side1 then the cloth must cover that side most1 and the left arm must be held out so as to allow the right arm room to work4 ,with the right hand1 take the bowl from its hiding place1 and hold it horizontally under the cloth1 which then draw off the shoulder by means of the other hand1 and let it hang over the bowl4 ,now1 with the disengaged hand1 grasp the indiarubber cover firmly on the edge of the bowl1 through the cloth1 and remove it from the bowl with a backward motion4 ,this wants some little doing1 as1 although it greatly heightens the effect to spill a little water1 it looks clumsy to three parts empty the bowl4 ,lay the cloth carelessly aside and take up a fresh one for each bowl4 ,some conjurors1 ,dr4 ,lynn amongst them1 use only one cloth1 which is provided with pockets1 into which the covers are stowed away2 but this is a totally unnecessary innovation1 and often obliges the performer to fumble about before he can get the covers into the pockets4 ,the idea that the audience think more of the trick if the bowls are all produced from one cloth is erroneous1 for in most instances the fact is not noticed2 and when the performer uses a fresh cloth for each bowl the spectators1 when they give the subject any thought at all1 attribute it to the cloths becoming wet and so disagreeable to use a second time4 ,by using several cloths1 greater freedom of action is obtained4 ,an innovation by ,herrmann was calculated to make the trick even more wonderful than it is in its ordinary form4 ,herrmann1 after producing no fewer than four bowls1 used to go right amongst the audience1 and there1 from a borrowed handkerchief1 produce a fifth4 ,this bowl was carried either in the vest or in a breast pocket1 and its production was the more extraordinary by reason of the handkerchief being held across the performer's breast by one of the spectators4 ,it may be safely asserted that no such feat of daring has ever been performed by any other conjuror4 ,few men possessed such indomitable pluck and nerve as ,herrmann1 who1 during a performance1 was to be deterred by nothing4 ,he took the precaution of using a very shallow bowl with sharp sides and a very thin cover4 ,the instant the cover was off1 the handkerchief containing it was rolled up in the hand and carried off along with the bowl as if by accident1 to be immediately returned to its owner1 minus the cover4 ,the most recent addition to the trick is causing the bowls to disappear after production4 ,the simple method for doing this is to have a double handkerchief1 as described in the die trick1 with a circular piece of cardboard1 the size of the bowl to be made to vanish1 inside4 ,the bowl is placed upon the table1 and the handkerchief spread over it4 ,as one hand raises the card the other hand places the bowl upon the shelf4 ,the handkerchief is then brought forward with great care1 and then shaken out in the midst of the audience4 ,a piece of wet sponge is kept on the shelf1 and this is squeezed when the performer goes forward with the supposed bowl4 ,a far better method than this is to use a bowl the top of which is entirely of glass and made in one piece with the bowl1 the water and fish being put in through a hole underneath1 which is stopped with a cork or plug4 ,it must not be quite filled with water1 and when produced the surface must be held a little from the audience1 so that the glass top cannot be noticed4 ,when the bowl is to be vanished1 all the performer has to do is to cover it with the cloth1 and thence quietly put it back into his pocket or vest4 ,it must1 of course1 be done quickly4 ,some ludicrous mishaps have occurred with carelessly covered bowls4 ,one celebrated conjuror produced two bowls with the contents of a third distributed impartially about his person1 saturating his clothes and filling his boots4 ,another performer1 a very skilful amateur1 accidentally threw the whole of the water from a bowl into a lady's lap1 much to the discomfiture of both parties4 ,had due care been taken1 these accidents could never have taken place4 ,the bowls and covers can only be obtained at conjuring repositories4 ,gold-fish and ,ink ,trick4--,this is another instance of astonishing and inexplicable effect produced by most simple means4 ,a large globe 7not a bowl1 such as is used in the foregoing trick71 full of ink1 is produced4 ,the performer ladles out some of the ink and sends it round on a saucer for examination4 ,he also dips a white card into the globe1 and brings it out dripping with ink4 ,after this1 he merely spreads a handkerchief over the globe1 and instantly removes it1 when the ink is found to have disappeared and its place supplied by pure water and gold-fish4 ,the preparation for this trick is as follows3 ,procure a piece of black silk1 in width about four-fifths of the height of the globe1 and sufficiently long to go once round it on the inside4 ,sew the two ends together1 so that a broad band is formed4 ,to any part of the top edge fasten a piece of thin wire1 which blacken4 ,with this silk line the inside of the globe1 and then pour in water exactly to the height of the top of it4 ,the wire must be turned over the edge of the globe a little1 so as to be easily found4 ,when the globe thus prepared is brought on1 it is impossible to tell it from one full of ink4 ,the ladle1 which will be best procured at a conjuring repository1 is not an ordinary one1 but has a hollow handle communicating with the bowl by means of a tiny hole4 ,this hole is made where the stem joins the bowl1 and at the upper end of the handle is another small hole4 ,the hollow handle is filled with ink1 and a finger or thumb placed over the uppermost hole1 thus preventing the fluid from running out4 ,when the performer puts the ladle into the globe1 as if dipping some ink out1 the thumb or finger should be removed from the upper hole1 and the ink will then flow from the handle into the bowl of the ladle4 ,the methods for filling the handle with ink are various4 ,one way is to fill the bowl of the ladle with ink1 and then apply suction to the hole at the other end4 ,this is a very simple method1 but1 unless the person who applies the suction has a decided taste for ink1 it is not a pleasant one to adopt4 ,another method is to exhaust the air from the handle by means of suction1 and then put the ladle in ink2 but this is even worse than the other4 ,the way ,i get over the difficulty is by making the upper hole1 which is never seen1 large enough to admit the nozzle of a very small syringe1 by means of which article the ink can be injected into the handle with cleanliness and dispatch4 ,in purchasing a ladle1 care should be taken to procure as plain a one as possible4 ,a fancy ladle excites suspicion4 ,if the conjuror does not mind a little expense1 he will possess a most perfect article if he purchase a cheap plated sauce ladle1 and then have the handle and stem fitted with a hollow back4 ,this will be entirely free from suspicion4 ,the card which is dipped in the supposed ink is simply a piece of card1 about an inch and a half wide and a few inches long1 with about half of one side of it blackened with ink or paint4 ,the white side is shown to the audience1 and it is then turned over with the peculiar twist illustrated in ,drawing-room ,magic1 ,figs4 #ai and #bj4 ,it is then actually dipped into the water and brought out with the blackened side towards the audience4 ,the water dripping from it will appear to the audience to be ink1 and the deceptive twist can be again given to show that both sides are blackened4 ,in apparently taking out ink with the ladle1 and dipping the card in1 care must be taken that the manner of the performer does not too forcibly impress upon the minds of the audience that he is over anxious they should believe there is actually ink in the globe4 ,the ladling out and dipping the card in must be done tolerably briskly2 for1 if the audience have time1 some of the members may suggest1 what is only reasonable1 that the performer should show the bowl round bodily4 ,the trick is finished by a large1 dark-coloured cloth or handkerchief being thrown over the globe1 and instantly removed1 the performer taking care to grasp the wire1 which will1 of course1 be on his side of the globe1 through the cloth1 and so cause the silk lining to come away inside the cloth or handkerchief4 ,i do not believe in introducing rock work into the globe1 as it gives the audience the idea of something fixed1 and they thus obtain a groundwork to start upon4 ,water and fish are enough to manufacture from ink1 in all conscience4 ,the trick is also very effective when performed in a small way with a tumbler4 ,the ,ubiquitous ,glass of ,water3 ,first ,method4--,procure two small tumblers1 exactly similar in size1 shape1 and appearance4 ,fill one with water1 cover it with a tight-fitting indiarubber cover1 and place it in the breast pocket or inside the vest4 ,these little covers are easily procurable1 as they are universally sold as covers for jam-pots4 ,they cost about sixpence each4 ,have a small double handkerchief or cloth1 containing a circular piece of card1 the size of the mouth of the tumbler1 with a few stitches through it to keep it in the centre4 ,show the empty tumbler1 and then fill it with water4 ,cover it with the handkerchief1 and affect to take it up1 but place it on the shelf4 ,advance very carefully with the supposed glass of water1 and either stumble on the floor and drop everything1 or else pretend to place the glass in someone's hands4 ,if you stumble you must take care to avoid injuring the concealed tumbler4 ,the glass and water vanished1 it is now your business to find them again4 ,for this purpose1 you call in the aid of a spectator 7a youth preferred71 whom you request to stoop4 ,over his back spread the cloth or handkerchief1 and1 grasping that portion containing the card1 raise it gently4 ,hold it a short time in the air1 and then say that you will throw it into someone's pocket1 indicating the particular person4 ,shake out the handkerchief or cloth again and then desire the person indicated to examine his or her pocket4 ,of course nothing will be found1 but you borrow the handkerchief1 which will have been taken from the searcher's pocket during the examination1 and1 waving it about1 get the tumbler into it from the pocket1 according to the directions given for producing the bowls of water and fish4 ,remove the cover and produce the glass and water1 saying that you knew you had passed them into the indicated pocket4 ,the cover being small1 it can be easily removed and the handkerchief returned4 ,it improves the effect a great deal if a small piece of wet sponge can be introduced beneath the cloth whilst the glass1 presumably found in the youth's back1 is being held1 and then squeezed in imitation of the spilling of water from the glass4 ,the sponge can be carried at the mouth of one of the large breast pockets1 and1 if carefully disposed1 need not make the performer uncomfortable by wetting him4 ,i have even seen the sponge attached to the under side of the prepared cloth or handkerchief1 which is an excellent plan if the performer is careful not to expose that side1 as the sponge is always at hand1 and there is no necessity to introduce the hand under the covering1 compression from the outside being equally effective in exuding the water4 ,some performers think it necessary to go through certain actions for the purpose of convincing the company that the handkerchief does not contain a card or other shape4 ,i must confess that ,i regard such actions as being decidedly supererogatory1 for there is not the least foundation for assuming that the audience suspect the existence of any such thing2 and for the performer to do anything indicative of an anticipation on his part that the company are likely to divine what is the true secret of the trick is highly suicidal4 ,however1 all are not of my opinion1 so1 if any beginner thinks he would like to be able to draw the handkerchief through the fingers previous to using1 he can easily do so4 ,all he will have to do will be to run a couple of stitches from two adjacent corners to the centre of the handkerchief1 and inclose his card in the triangular space thus formed4 ,as it is now loose1 when the handkerchief is held by one of the opposite corners1 the card falls to the extreme border1 and the bulk of the handkerchief may be drawn through the hands4 ,when the handkerchief is held by that side which forms the base of the triangle1 the card falls at once into position in the centre4 ,a copper or brass wire ring1 being heavier than card1 is perhaps more serviceable1 as it more readily falls into position4 ,second ,method4--,for this a special tumbler will be required4 ,it is a large one1 with perfectly straight sides1 and is furnished with an outside cylindrical shell1 also of glass1 which is not discernible from the glass itself when in position4 ,this outside shell must be sufficiently large to slip over the hand of the performer1 so it will be seen that it is of considerable dimensions4 ,this fact is always of value from the point of view of effectiveness3 the larger the article the performer can manage to successfully manipulate1 the better4 ,the performer advances with the glass and shell together1 and fills the former to the brim with water4 ,he then places the whole on the rear edge of the table1 and covers with the cloth4 ,grasping the shell1 from the outside1 with one hand1 and placing the other hand below1 the glass is slid gradually off the table1 when it will drop through the shell into the hand of the performer1 which places it upon the shelf4 ,the more rapidity there is employed1 the better4 ,the performer comes forward with the shell inside the cloth1 and allows the audience to feel its shape1 and also taps it with the wand1 to make the glass ring4 ,he cannot allow the shell to be actually seen1 as the absence of any water would be at once noticed2 but the satisfying of the senses of touch and hearing will be sufficiently convincing4 ,retiring to about the centre of the stage1 the performer thrusts one of his hands through the shell1 from the bottom1 and1 whilst supporting the card shape with the fingers1 allows the shell to glide down the arm1 inside the coat sleeve4 ,the handkerchief is then shaken out1 and shown to be empty4 ,in this case1 the glass is not reproduced1 the trick depending for effect upon the apparent bringing of a very large glass1 full of water1 amongst the audience1 and causing it to vanish before their eyes4 ,in the first method1 there is no tapping of the sides of the glass when in the handkerchief1 or any feeling of its shape1 which is1 of course1 a very great feature of this method4 ,the cuff must be gripped by the third and little fingers1 when the arm may be dropped without any fear of the glass shell falling to the ground4 ,third ,method4--,this method is1 in every way1 vastly superior to either of the preceding1 and1 in clever hands1 becomes perfectly marvellous to the uninitiated4 ,only one tumbler is employed4 ,this should be of a substantial character1 and requires to be fitted with a flat glass top1 exactly the size of the top of the tumbler4 ,to the under side of this should be cemented a slightly smaller circular piece1 the size of the interior circumference of the mouth of the tumbler4 ,the glass top cannot now possibly shift from its position4 ,this top the performer has concealed under his vest or in his breast pocket1 so that it is readily at hand4 ,without so much as approaching a table or chair he has the tumbler filled1 and1 as he covers it with the cloth1 he gets out his top and places it into position4 ,with the supposed object of1 say1 placing the tumbler upon a chair1 so that some plea be instituted for bending the body1 the tumbler is removed from the cloth and put into the pocket at the bottom of the coat tail4 ,the performer now goes through any performance he pleases with his shape and sponge1 and1 at the proper moment1 produces the tumbler again4 ,in doing this1 however1 he must get both hands under the cloth1 so that he may secrete the top in one of them4 ,it would not do to lift this off from the outside of the cloth1 as its extra presence would be noticed4 ,its size enables it to be readily nipped between the joints of the fingers and root of the thumb4 ,as the performer does not approach the table1 it is impossible for the audience to imagine what has become of the glass1 filled1 as it is1 with water4 ,there is no doubt that this method calls for more skill in execution than does the first1 but the effect is immeasurably superior4 ,to ,invert a ,glass of ,water4--,this is an effect which may either be accomplished separately1 or may follow the third method of the preceding trick4 ,the performer places the tumbler upon the table1 fills it with water1 and1 in the act of shifting its position1 places the lid1 unperceived1 upon it4 ,he is provided with a half-sheet of note-paper1 which he places upon the tumbler1 and then1 covering the whole with one hand1 inverts the glass upon it4 ,he then addresses the company1 remarking that they are1 no doubt1 familiar with the schoolboy trick of holding an inverted tumbler of water1 with merely a sheet of paper to keep the contents from falling to the ground4 ,to illustrate this1 the performer holds the tumbler by the base in the disengaged hand1 and removes the one below4 ,in the ordinary way the paper would fall to the ground2 but the performer has taken care to allow it to become slightly wetted1 so that it adheres to the glass top4 ,the performer now proceeds3 ,this any schoolboy can do2 but ,i dare say you do not think it possible for me to remove this paper and yet retain the water in the tumbler4 ,however1 ,i will show you that such a feat is possible4 ,taking the paper by an edge1 the performer gradually removes it1 all the time affecting to hold the tumbler with the greatest steadiness1 and keeping his eyes rigidly fixed upon it1 as though momentarily anticipating some catastrophe1 to avert which a concentration of all his energies is necessary4 ,if he pleases1 the performer may swing the tumbler into an upright position and back again1 repeating the action three or four times4 ,the paper may be eventually replaced1 and the top removed inside it1 or that article may be got rid of without the aid of the paper at all4 ,a slight objection exists in connection with the use of the glass top1 from the fact that it is liable to talk1 i4e41 make a noise1 as it is being placed in position4 ,this does not signify on the stage1 but1 when performing before small audiences1 it may be as well to use a piece of mica4 ,as this has no sunken edge1 it is not quite as secure as the glass top2 but1 with ordinary care1 no mishap need be apprehended4 ,in removing the paper from beneath1 it will be necessary to adopt great caution in avoiding all approach to a sideways sliding movement1 which would probably have the effect of shifting the mica1 when a deluge would immediately follow4 ,the paper must be boldly peeled off away from the mica4 ,mica may be purchased in sheets1 and the conjuror should cut several sizes1 both1 for tumblers and wineglasses1 and carry them in his pocket-book4 ,when at a house1 if even only for the evening1 where he is likely to be called upon1 he can soon obtain an opportunity for fitting the various glasses in use1 by carrying a mica in the palm4 ,performed with a wineglass1 the trick makes a very valuable addition to the few applicable to the table4 ,in turning the glass back to the upright position1 always place the hand beneath first1 as1 in removing it1 it is then an easy matter to take away the mica4 ,the ,shower of ,gold4--,the conjuror can perform this trick with the same tumblers and prepared cloth4 ,one tumbler must be filled with imitation sovereigns 7which are sold cheaply as whist counters7 and placed upon the shelf4 ,the empty tumbler is handed round1 and then covered with the cloth1 and apparently placed upon the table4 ,it is instead rapidly exchanged1 under cover of the prepared cloth--which1 when held by the circular card1 will sustain the idea that the tumbler is inside it all the time--for the one containing the coins4 ,the performer now goes down to the audience1 and continues to find in various ways either single coins or three or four of such at a time1 which are passed into the distant tumbler by the various methods described in ,drawing-room ,magic4 ,as coins thrown from a distance would not in the ordinary way fall into a glass receptacle without causing any sound1 it behoves the conjuror to imitate such sound4 ,this is easily accomplished by having an assistant behind the scenes1 stationed as close to the table as possible1 and provided with a quantity of coins and a tumbler4 ,when the performer passes any coins towards the tumbler1 the assistant should1 after a short lapse of time1 allow some to pour into his tumbler4 ,the attention of the audience is so riveted on the covered glass that the deception cannot be detected4 ,indeed1 it is difficult for anyone who knows exactly what is going on behind to notice anything at all suspicious4 ,the deception is a very perfect one1 and is used in many ways by the best conjurors4 ,of course1 performer and assistant must be en rapport with each other1 the one being careful to state loudly at each pass how many coins are being transmitted1 and the other paying strict attention to what is going on4 ,supposing the performer finds a single coin1 he will exclaim loudly1 ,ah6 madam1 here is just one coin on the edge of your fan6 ,permit me4 ,and1 on finding several1 he will say1 ,ah6 in your head1 sir1 quite a quantity of coins4 ,one1 two1 three1 four1 five6 ,sometimes1 too1 it is as well1 for effect1 to vary the speed with which the coins perform their imaginary aerial journey4 ,this one1 the performer will say1 is1 ,i see1 a very old coin1 so will go very slowly indeed2 or1 quite a new one1 ,i declare2 see how quickly it will travel4 ,if the assistant be not listening1 the effect will be absurd4 ,the tumbler into which he drops the coins should be covered1 or the sound will be too sharp4 ,it should be a muffled sound4 ,the ,egg ,bag4--,this is a bag which1 although repeatedly shown to be quite empty1 continues to give forth eggs4 ,in its smallest form1 it consists of a square bag1 made from chintz1 or similar material4 ,one of the sides is double1 and thus forms a secret compartment1 the mouth of which is at the bottom of the bag1 inside4 ,the bag can be taken and turned inside out1 to show that it is empty1 and yet have an egg inside the compartment4 ,the bag1 on being turned back again1 can be held upside down and shaken without the egg falling out1 for it will still be sustained by the inner lining4 ,to produce the egg1 all the performer has to do is to put his hand inside the bag and take the egg out of the compartment4 ,he can then replace it1 and cause it to disappear4 ,sometimes the inner lining covers only about three-fourths of the real side of the bag1 but it is best to have it almost the same size4 ,if1 in turning the bag inside out1 the double side were accidentally shown to the audience1 they would infallibly notice the mouth of an inner bag1 if it were placed about three-fourths of the way down one side2 but if it came on a level with the bottom of the bag itself1 it would rarely be noticed4 ,the larger egg bag1 for the production of many eggs1 is a very different affair1 and requires some making4 ,there are various patterns1 the best of which ,i give3 ,no4 #a is a chintz bag1 about two and a half feet long1 and of proportionate breadth4 ,there is no double lining to it1 but it is barefacedly provided with as many little pockets1 each just capable of containing an egg1 as one side can be made to take4 ,these pockets have buttons1 and the eggs are placed in them1 and they are then fastened1 their mouths being1 of course1 downwards when the bag is held in its proper position4 ,the performer brings on the bag2 and1 after explaining that he has simply an ordinary chintz bag in his hands1 proceeds to show that it is quite empty by turning it first upside down and then inside out4 ,in performing the latter operation1 that side which is provided with the pockets must1 naturally be always turned towards the performer4 ,the bag is then turned back again1 and waved about1 and1 saying that he fancies something has been put into his bag by the fairies1 the performer puts his hand inside1 opening one of the pockets rapidly as he does so4 ,the egg thus released is produced1 and the bag again waved about4 ,the operation of producing the eggs is continued until all are exhausted4 ,it is perhaps better to open the pocket sometimes as the hand is withdrawn with an egg4 ,this will enable the performer to compress the material round the egg1 thereby released from the outside1 before inserting the hand again to extract it1 and exhibit its contour to the audience1 who will then see that the egg is not placed into the bag by sleight of hand just previous to being withdrawn4 ,no4 #b is made of any opaque material1 a soft one for choice4 ,besides the ordinary mouth1 it has two smaller ones1 each some sizes larger than an egg1 at the bottom corners4 ,they are best made by simply cutting the corners off4 ,the double lining is very small1 it being only of sufficient breadth to take an egg4 ,it is situated at the mouth of the bag and runs along the entire length of it4 ,it has only one opening1 a slit across the centre1 and the eggs are put in through this4 ,for safety's sake1 it is as well to have the opening secured with a button4 ,after the bag has been duly turned inside out and back again1 and the slit 7if closed7 opened1 the fingers are run along the top of the bag1 where the narrow strip of inside lining is situated1 and an egg squeezed out through the slit4 ,this egg falls into the bag proper1 which is then tilted sideways over a plate or a basket1 or even a hat1 and the egg thus caused to roll out of the open corner4 ,no4 #c is similar in principle to ,no4 #b1 but has a net underneath1 into which the eggs drop with very pretty effect4 ,the corner openings are dispensed with1 and the hand is inserted into the bag when an egg is to be taken out4 ,what puzzles audiences as much as anything is that so many eggs are manipulated and yet not broken4 ,the secret of this is that the eggs used are1 with the exception of the one first produced1 which is broken on a plate as a specimen1 guiltless of the possession of any interior1 the performer having taken the precaution of blowing them4 ,this enables the performer to throw the bag carelessly on the floor and then to trample on it4 ,of course the trampling would be equally fatal to both blown and unblown eggs if the performer did not carefully avoid that portion of the bag which contains them2 but the mere act of throwing a bag full of eggs in their original state on the floor would alone be disastrous to many of them4 ,the method for holding a bag for the purpose of taking out an egg is to hold one corner between the teeth and the other in one hand stretched out4 ,this leaves the other hand free for operation4 ,ordinarily1 conjurors do not produce more than eight eggs4 ,if the amateur wishes to perform the trick in really good style1 he should have a bag made capable of producing at least two dozen eggs4 ,for this1 a large-sized chintz bag is recommended4 ,incubation by ,magic4--,a very amusing trick can be performed when an entertainment is given in the country1 or anywhere where a few very young chickens are procurable4 ,take four or five of these1 and put them in a black alpaca or silk bag1 the mouth of which is tied with cotton1 and is easy to open4 ,place the bag on the shelf4 ,be provided with a blown egg1 not too large1 which palm4 ,borrow a hat1 and find the egg in any way you please1 and then retire to the stage4 ,place the hat on its side on the table1 with the crown towards the audience1 and the brim over the back edge1 just where the bag is placed on the shelf4 ,do not place the hat in the desired position at once1 but try it in various places first1 and finally decide that the position in which you place it is the only secure one4 ,stand at the end of the table 7,r71 and place the left hand on the brim of the hat1 to hold it steady4 ,with the right hand take the egg1 and1 after one or two feints1 make a pass at the crown of the hat with it4 ,palm the egg and rub the hat1 as if the egg had gone through it4 ,this process of palming is not difficult when the egg has been made light1 by blowing out the inside2 the small end fits nicely between the two fleshy portions of the hand4 ,find another egg 7i4e41 the same one71 in your leg1 wand1 or elsewhere1 and pass it through the hat as before1 and repeat the operation as often as you have chickens inside the bag4 ,this bag will have to be introduced into the hat with the left hand1 and the best time for doing this is when the right hand is engaged in finding another egg on any part of your person4 ,it is not advisable to do it when the hat is first set down1 as the eyes of the audience are full upon it4 ,this is an illustration of misdirection4 ,when you have passed the requisite number of eggs through the hat1 raise it and bring it forward1 remarking that not only have eggs passed through1 but they have all become hatched4 7,the hatching can1 of course1 be done over a candle47 ,great astonishment and amusement will be caused when you produce the chickens one by one4 ,before removing the last one secure the bag in the hand1 for it will never do to allow the audience to see that4 ,the egg you1 of course1 vest before commencing to reveal the contents of the hat4 ,this trick is but little known1 which is a pity1 as it is a very simple one1 and invariably causes great amusement4 ,it also serves to vary the conventional list of tricks performed with hats4 ,there is a capital method for collecting the eggs for this trick in place of finding each one with the hand1 and passing it through the crown of the hat4 ,the hat is loaded1 as before1 with the chickens in a bag1 and placed upon a side table1 as being the least suspicious1 brim upwards4 ,the performer now takes a handkerchief1 which is lying carelessly about1 and opens it out4 ,it is then doubled lengthwise1 perpendicularly1 and1 held by opposite ends2 one end is tilted over the hat1 when an egg slides out4 ,the handkerchief is then opened out to show that it is perfectly empty1 is taken up by two corners1 folded1 and once more emptied of an egg into the hat4 ,this process is repeated as often as necessary1 when the handkerchief is put aside and the trick proceeded with1 as before described4 ,the secret of the handkerchief is that on one side is suspended a blown egg1 by means of a piece of black silk thread4 ,a very thick1 or1 at any rate1 opaque handkerchief1 must be employed1 so that by no possible chance can the shape of the egg be seen through it4 ,the length of the thread will require nice adjustment1 as will also its position on the handkerchief1 for naturally it must not be long enough to allow the egg to appear below the lower margin of the handkerchief1 when that article is held up by two corners1 but must still have an inch or two to spare1 to enable it to fall into the hat without being jerked backwards in the least1 for so unnatural a movement imparted to a falling egg would at once undeceive the company4 ,the position for the thread to be sewn to the handkerchief is about half way between the centre and a corner4 ,the folding of the handkerchief must be done in a very easy manner1 but without imparting a wavy motion to it1 for the least lifting of the lower portion will expose the egg4 ,when the handkerchief is folded the performer may go with it to various parts of the room1 seeking where he can magically find an egg4 ,the egg found1 one of the company may be allowed to feel its contour through the handkerchief4 ,the opening out of the handkerchief1 after the egg has been poured from it1 requires some attention4 ,the lower end is released1 and then the two upper corners are seized1 one by either hand1 and the handkerchief thrown wide open1 showing the side to which the egg is attached4 ,it is then thrown forward1 so as to spread over the hat4 ,by this act it has been turned completely over1 the audience having seen both sides of it1 whilst the egg has been peacefully resting inside the hat1 the thread not being sufficiently prominent to become observed4 ,the two corners nearest the performer1 originally those belonging to the lower end of the folded handkerchief as the egg was tilted into the hat1 are then taken1 and the handkerchief drawn off from the hat towards the performer1 with an oblique upward motion4 ,the handkerchief is then in the position for refolding1 and right for the discovery of a new egg4 ,one defect which always struck me as being apparent in this method was the fact that the handkerchief could never be given round for examination4 ,this difficulty ,i surmounted by the following method3 ,the egg and thread ,i keep apart from the handkerchief until the actual moment for performing the trick arrives4 ,at the loose end of the thread1 the length of which has1 of course1 been previously adjusted to a nicety1 ,i fasten a bent black pin2 that is1 a very much bent pin--a hook1 in fact--with the head end very short and the pointed end very long4 ,the egg lies in my capacious breast pocket1 and the hook is fastened in a convenient position in the edge of the coat flap4 ,the handkerchief is given round for examination1 and returned to the performer1 who1 as he retires to the stage1 fastens the hook into it4 ,before he turns for this purpose1 he must have fixed his eye upon the place where the hook should go1 and have grasped the handkerchief there1 so that afterwards he may be able to conclude his movements without turning his eyes upon the immediate scene of operations2 not that this need take very long4 ,the pin hook must not be merely stuck through the handkerchief1 such a hold being very insecure1 but it must be put through and brought back again immediately4 ,this will effectually prevent its slipping out during the manipulations to which the handkerchief is subjected4 ,so soon as the pin is fixed1 the performer faces the audience1 if otherwise ready1 and1 taking the handkerchief by the two upper corners1 stretches them out1 when1 by putting his hands away from him in front1 the egg will be drawn out of the side pocket4 ,the trick then proceeds precisely as before4 ,if the performer deems it necessary to allow the handkerchief to be again inspected1 which is a matter of fancy1 he must1 prior to commencing1 place a white handkerchief in the hat1 in order that the eggs may fall soft1 and not make an omelette1 he will explain4 ,when the requisite number of eggs have been found1 the pin is unhooked1 and the egg allowed to remain in the hat1 from whence it is removed1 folded in the white handkerchief4 ,if the performer observes a suitable handkerchief amongst the company1 he may borrow it1 when1 of course1 the egg must be got rid of2 but it is not often that this circumstance will occur4 ,it must be admitted that connected with the whole of this trick there are a style and a neatness which are very different from the general run of conjuring tricks4 ,the ,resuscitated ,fowl4--,this can either follow the trick just described1 or it can form a separate trick altogether4 ,it is very old1 and has formed a portion of the stock performance of conjurors for hundreds of years4 ,the head of a fowl is concealed in the hand1 and a live bird seized4 ,the conjuror engages in a mock struggle with it1 endeavouring to seize its head1 the object of the disturbance being to enable the real head to be turned down under one of the wings1 and there held with one hand1 and the loose head to be held on with the other hand1 in its place4 ,the stage assistant now advances with a large knife1 and cuts off the imaginary head4 ,the performer must make the deed as realistic as possible by causing the fowl to appear to struggle vehemently1 and twitch its legs if possible4 ,the head is then taken1 and applied to the neck1 the conjuror remarking that nothing is easier than to cause it to grow on again4 ,palm the loose head1 and1 at the same time1 allow the real one to escape from its confinement1 when it will at once appear to have suddenly grown on again4 ,release the fowl for a short run1 to show that there is no mechanism about it4 ,this trick is frequently performed by the very best conjurors1 sometimes with a pigeon4 ,the loose head must match the real one as nearly as possible1 or the deception may be noticed4 ,kling-,klang4--,this is a pretty little trick1 and does not take long to perform4 ,take a fancy coloured silk handkerchief1 of a small size1 not more than a foot square1 at the utmost4 ,to the centre of this attach a blown hen's egg by means of a piece of thread #b;in4 to #c;in4 long4 ,the end of the thread inside the egg is attached to the centre of a tiny piece of wood1 such as a portion of a match1 which can be pushed in1 end foremost1 through the hole at the end of the egg1 but which1 when once inside1 will steadfastly refuse to be pulled out again4 ,this method is far better than all other devices with cobbler's wax and glue4 ,two other silk handkerchiefs1 quite opposite1 in point of colour1 to the one attached to the egg1 will also be required1 as will a toddy glass with a foot1 and an ordinary egg1 not blown4 ,the last-mentioned article must be vested4 ,one of the two handkerchiefs of a like colour fold neatly in the palm1 and in the same hand take the blown egg1 and1 as a natural consequence1 the handkerchief attached to it1 which arrange neatly around the egg1 so as to conceal the handkerchief in the palm4 ,place the other handkerchief in the toddy glass1 and1 with the wand under arm1 emerge thus laden from the secrecy of behind the scenes4 ,give the glass and handkerchief to one person1 and ask him to examine them both1 and then take from him the glass1 to be held by another person4 ,then say1 ,i have here another silk handkerchief and an egg4 ,the egg ,i will place in this glass1 and then cover it with the handkerchief4 ,proceed to do this1 taking care to slip in the concealed handkerchief under the egg1 and then retire to the stage1 taking with you the second of the duplicate handkerchiefs4 ,as you go to the stage1 bring down the egg from your vest1 and take the handkerchief in the hand which contains it4 ,turn to the audience1 and ask the holder of the glass to shake it gently to show that the egg is still inside4 ,the peculiar kling-klang made by the egg against the glass gives the name to the trick4 ,a caution from you not to shake too strongly1 as you do not want an omelette inside the glass1 is sure to amuse4 ,now bring both hands together in front of you1 and commence to draw in the handkerchief little by little4 ,at intervals have the glass shaken4 ,when a few inches only of the handkerchief protrude from the hand1 draw near the holder of the glass1 whom desire to cease shaking4 ,when you have drawn the handkerchief completely into the hands1 and feel that it is perfectly concealed1 ask a spectator to hold out his hand1 and suddenly produce the egg1 which give to him4 ,without losing a moment1 raise the handkerchief from over the glass by its centre1 thus removing the egg at the same time1 taking care to continually tap the glass with the wand during the operation1 otherwise an accidental knock of the egg against the side of the glass would be heard1 and the whole trick spoilt4 ,call particular attention to the fact of the egg which you produce being a genuine one1 and then get away with your other properties as fast as you decently can4 ,the trick is mostly performed with an imitation egg1 instead of a real one4 ,the egg is hollow1 and has a great opening in one side4 ,into this the handkerchief is forced4 ,there is no sleight of hand about this1 and the egg cannot be given for examination1 which is fatal4 ,the ,harmless ,shot4--,procure a substantial-looking muzzle-loading pistol1 the larger the better1 and get a tinman to make a tube that fits neither tightly nor loosely inside4 ,one end of the tube must be closed1 and the open end be furnished with a turn-over rim1 which you colour or polish1 so as to resemble as nearly as possible the muzzle of the pistol4 ,if it comes easier1 by all means reverse the process1 and make the muzzle of the pistol resemble the muzzle of the tube4 ,the tube should be at least two-thirds the length of the interior of the pistol barrel1 and not about an inch and a half only4 ,now make a wooden ramrod1 which will fit rather tightly into the tube--tightly enough to bring it away from the interior of the pistol when withdrawn after being rammed into it4 ,the exterior of the tube should match the ramrod in colour and appearance1 so that the fact of the one being within the other when held in the hand in that condition will not be detected4 ,advance to the audience with the pistol1 ramrod1 powder1 caps1 paper1 and bullets4 ,the tube is concealed somewhere about you4 ,give round one or more bullets to be marked by the audience1 and1 at the same time1 give the pistol into the hands of someone for examination4 ,if the pistol takes to pieces1 so much the better1 as it is highly advantageous for the audience to be quite convinced that there is no mechanical preparation of the performer's own devising connected with the implement4 ,have a fair charge of powder put in1 and give the ramrod for ramming the charge4 ,whilst this is being done1 get the tube into the hand1 and1 when the ramrod is returned to you1 pass it into the tube1 and then at once say earnestly1 ,i hardly think you rammed it sufficiently1 sir4 ,without taking the pistol yourself1 hold the muzzle in the fingers of the left hand1 and ram with the right4 ,the left hand must pinch the rim of the tube1 which will thereby become disengaged from the ramrod1 and remain inside the pistol4 ,by this means the tube has become inserted in the pistol without any occasion for the pistol leaving the possession of the person assisting4 ,the bullet or bullets are then dropped in by such of the audience as have marked them1 the pistol being handed round by the volunteer assistant1 who is also asked to put a piece of paper in as well4 ,this piece of paper is very small1 and is rolled up by the performer himself1 who will1 of course1 take particular care that it is not bulky enough to jam in the tube4 ,the performer now1 without taking the pistol1 puts in the ramrod and presses down the bullets--apparently4 ,he1 however1 takes good care to avoid pressing them at all1 but brings the hand holding the ramrod over the muzzle of the pistol1 and so secures the tube4 ,there is nothing in the action to excite the least suspicion2 still1 it is best to have the ramrod of such length that only an inch or so of it protrudes from the muzzle4 ,if this particular be observed1 then the hand must approach the muzzle on every occasion of ramming down a charge1 and so no suspicion can possibly be excited by the action4 ,the imaginary ramming is1 of course1 continued1 the tube being moved up and down inside the pistol vehemently4 ,withdraw the ramrod and tube1 carefully concealing the junction of the two1 and have the pistol capped4 ,having secured the bullets in the tube1 the next thing is to get them into the hand4 ,as it is impossible to withdraw the rod from the tube in full view of the audience 7it can certainly be done behind the table2 but the unavoidably lengthened absence of both hands for the purpose would be fatally suspicious71 the performer must necessarily retire behind the scenes4 ,the best excuse is that of requiring a plate4 ,whilst fetching this1 the rod is withdrawn from the tube1 and the bullet or bullets shaken out4 ,the paper ought not to stick1 but it might2 and so it is always as well to have a piece of wire with a sharp hook at one end in readiness4 ,this abstraction of the bullets could be managed whilst the performer retires up the stage1 and it would be advisable to do so if the bullets were certain to drop out1 which1 however1 they are not4 ,when the performer has a stage assistant1 as he always should have when possible1 the matter becomes much easier4 ,the assistant holds the box of caps on or near the stage1 and the performer goes to him for them1 and gives him the wand with the tube on it in an offhand manner4 ,the assistant then manages all the abstraction whilst the capping of the pistol is going on1 and stands1 just removed from sight1 with the plate in one hand and the bullets in the other4 ,the performer then has only to stretch his arm behind to receive the bullets first and the plate next1 both in one hand4 ,the bullets are held under the fingers1 which are on the inside of the plate4 ,the performer now holds the plate either in front of his face or at arm's length1 and requests that the pistol may be fired at it4 ,when this is done1 the bullets are allowed to roll on the plate1 which is brought simultaneously into a horizontal position1 a kind of grab being made with it1 as if catching the bullets in the air4 ,i like this method better than catching the bullets in the mouth1 as the performer can at once run forward with them on the plate1 and the audience will be thus enabled to see for themselves that no substitution has taken place during transit4 ,the difficulty of extracting the bullet or bullets ,i finally mastered1 after various trials1 by using a tolerably thick piece of cork for the purpose of closing the one end of the tube4 ,when the performer retires up the stage1 he holds the closed end in his hand and presses the ramrod against his body1 thus forcing out cork1 bullet1 and paper with one vigorous push4 ,the operation does not occupy a second1 and1 when the performer turns facing the audience again1 the ramrod is in his hand as before4 ,it will naturally occur to everybody that1 if the ramrod fits tightly into the tube1 the whole arrangement will be neither more nor less than a popgun1 and the cork will be blown out as soon as the ramrod is inserted into the tube4 ,to avoid such a startling result1 the ramrod must1 although fitting the tube at certain places1 be made out of truth1 so as to admit of an escape of air1 or else the cork must have a hole burnt through it by means of red-hot wire4 ,piercing a hole through the cork will not suffice1 as the nature of the material will speedily cause the opening to close up again4 ,if this cork arrangement be used1 then the performer need never leave the stage4 ,i have given the learner what ,i consider to be the best method for performing the trick4 ,a method which differs only slightly from mine1 the principle being the same1 is to use a tube barely two inches in length4 ,this tube is dropped into the pistol by the performer1 who takes the pistol entirely in his hands1 for the purpose of ramming down the powder charge4 ,as it lies secreted a long way down the pistol1 it1 of course1 can never be seen4 ,in pushing the ramrod down1 it becomes fixed in the tube1 and brings it away1 the ramrod being the least bit tapered1 to insure its going into the tube4 ,it should be tapered at each end1 so that there may be no bother about looking to see which end is the graduating one4 ,the rest of the trick is performed exactly as in the other method4 ,my objections to the use of the short tube are that1 in order to get it into the pistol1 the performer must secure actual possession of the firearm1 and he must repeat the manoeuvre when he wishes to take it out again4 ,again1 it is very difficult to conceal the point of junction of a short tube on a long ramrod4 ,if the performer does not use the utmost caution1 the tube will be noticed sticking on the rod as they are withdrawn from the pistol4 ,the rim of the long tube is covered with the hand before the abstraction is made1 and added to this is the fact that the pistol never leaves the hand of the volunteer assistant1 which is a great feature in the trick4 ,the only objection to the long tube ,i found to be the difficulty sometimes arising in abstracting the bullets2 but my cork has now removed that difficulty4 ,i have given both methods that the learner may choose for himself4 ,although ,i have said bullet or bullets1 because some conjurors employ one only and some three or four1 ,i should1 myself1 never think of using more than one4 ,the effect is the same1 whilst the trick is made immeasurably easier to the performer4 ,people may1 perhaps1 be a little more satisfied at seeing several bullets marked by different people1 but it is just as easy1 and quite as effective1 to have one bullet thus treated4 ,it will not matter in the least to the performer how many people mark it4 ,another method for performing the trick is to substitute for the marked bullet a blacklead one4 ,this1 on account of its lightness1 the performer must himself drop into the pistol and see that it is so rammed that it is broken up4 ,i would never advise anyone to adopt this method1 although ,houdin caused consternation amongst the ,arabs by allowing himself to be fired at from a distance of a few paces4 ,with his usual completeness he finished the trick by firing another pistol at a whitewashed wall1 on which appeared a large splash of blood4 ,this was managed by means of a ball of black wax1 the inside of which was filled with blood4 ,the ,arabs were duly impressed4 ,there are some pistols made with spring openings in the barrel1 through which the bullet falls into the hand of the performer2 but1 in this case1 the pistol cannot be examined1 which fact is quite sufficient to taboo the method4 ,unless the pistol is given to be examined1 and left in the hands of the spectators the whole time1 there is1 in my opinion1 nothing in the trick4 ,a ,bottle of ,ginger ,beer4--,the reader will scarcely require to be told that one of the great deceits practised by conjurors is that of duplication4 ,in order to apparently execute the impossibility of conveying a large solid body invisibly through space1 the conjuror has to cause the article itself to disappear by any means at hand1 and to produce another similar article1 or counterfeit thereof1 at the spot to which the original one is supposed to be magically transported4 ,in the case of ,houdin's die trick a counterfeit die was made use of1 and in many of the coin tricks duplicate coins were employed4 ,whatever the article used1 the method is almost invariably the same2 and the public are often invited to witness the exhibition of a new wonder1 which is in reality only a variety of what has been done in hundreds of ways before4 ,one very effective variety of this particular deceit is the transposition of a ginger-beer bottle from one paper cover to another4 ,the trick and its explanation are as follows3 ,the performer brings forward a ginger-beer bottle and a glass1 on a tray4 ,if he pleases1 he may have two ginger-beer bottles1 and ask the audience to choose between them4 ,he should ask them to select between the one on the right and the one on the left4 ,if right is said1 and the one with which the trick is to be performed is on the left of the audience1 then the performer must say1 ,on my right4 ,thank you2 and instantly take up that bottle without more ado1 and uncork it4 ,he then pours out the ginger beer1 to show that it is genuine--so he says1 but the real object is to keep the spectators from suspecting that there is anything uncanny about the bottle itself4 ,the peculiarity of the bottle is that it either never had a bottom to it1 or else that portion of it has been forcibly removed4 ,some few conjuring trick makers supply bottles without bottoms2 but any lapidary will perform the desired operation should the performer himself be unsuccessful in accomplishing it with a hammer4 ,the chief thing is to obtain two bottles that match exactly in colour4 ,height is not of much consequence1 as that is not so readily retained by the eye as is colour2 still1 it is as well to have them match in that even1 but colour stands first in importance4 ,one of these bottles is placed upon the right-hand side of the shelf behind the table1 and the other is fitted inside with either a piece of thick cork or gutta-percha4 ,whichever it is1 it must fit very tightly1 and be situated about an inch from the foot of the bottle4 ,the cork must be left out until the last minute1 or the fermentation of the ginger beer will cause the false bottom to come out unexpectedly with a pop4 ,this prepared bottle is the one that is brought on on the tray1 with or without another genuine one1 as the performer pleases4 ,when two are brought on1 the second one should always be left with the audience for them to open if they be so minded4 ,it is sure to be examined with strict minuteness1 and its unblemished innocence will reflect upon its late companion4 ,under his vest band the performer has a small apple1 a walnut1 or little ball4 ,this he gets down as he retires to the table1 and slips it in the lower cavity of the bottle1 holding it there suspended by means of the little finger4 ,he then places the bottle upon the left-hand front corner of the table1 and on the corresponding corner he places a duplicate of the article which he has secretly introduced under the bottle4 ,this duplicate will have been lying on the table all the time1 and can1 of course1 be examined4 ,the performer now takes two cardboard or paper covers1 each just large enough to cover a ginger-beer bottle easily1 and shows them round4 ,these covers can be made with very little trouble1 and the plainer they are the better1 in my opinion4 ,spectators think no more of a trick because of a cover of many colours covered with gold or silver stars4 ,a fancy paper on the outside is all that is required1 for it will not do to look beggarly4 ,these two covers are now taken back1 and the performer goes behind his table4 ,with the left hand he places one cover very slowly and deliberately over the bottle1 and calls very particular attention to what he is doing4 ,the cover in the right hand is meanwhile being placed over the bottle on the shelf4 ,the conjuror's whole attention1 eyes and everything1 must be engrossed on what he is doing with the bottle which is visible4 ,any glance which he may want to take for ascertaining the exact position of the bottle on the shelf must take place as he goes behind the table2 any downward look after this would be fatal4 ,directly it is felt that the hidden bottle is safe in the cover1 the latter must be brought into view again2 and care must be taken that it is held a little obliquely1 the mouth being towards the performer4 ,as an additional security1 it is always as well to have the inside of the covers blackened1 or lined with black paper1 and the inside and base of the second bottle treated likewise4 ,any accidental exposure will then not be so likely to be attended by serious results4 ,when the first cover is fairly over the bottle1 the second one1 containing the other bottle1 is placed over the little ball1 or whatever it is4 ,the performer next takes up his wand and says1 ,now1 what ,i am about to do is to cause the ginger-beer bottle and the little ball to change places4 ,this1 ,i am aware1 anyone can do by simply lifting off the covers and altering the positions of the articles with the hand2 but ,i shall do nothing so transparent4 ,i will show you that the articles are still where ,i placed them1 and that ,i have not already moved them from their positions4 7,the covers are alternately lifted1 care being taken not to prematurely expose the wrong article47 ,my method of procedure is as follows3 ,first1 ,i take out the little ball 7on the shelf there is a third article1 similar to the other two1 and this the performer palms in the left hand7 in this manner4 ,you see1 ,i simply run my wand up the side of the cover1 and here ,i have the little ball in my hand4 7,strike left hand with wand1 and open it and put the ball on table47 ,this cover is now empty4 ,by means of my wand1 ,i remove the ginger-beer bottle1 large and cumbrous as it is1 from the cover--here it is1 see1 on my wand6--and pass it gently1 for fear of breakages1 into the empty cover4 ,this little ball ,i take thus1 and pass into this cover1 where the bottle was1 not five seconds since4 7,perform any pass with the ball1 and put it back upon the shelf47 ,on raising the covers1 it will be seen that the change has actually taken place4 ,raise the left-hand cover first1 grasping it firmly so as to ensure the bottle from slipping1 and then show the second bottle on the right1 bringing the left hand1 at the same time1 over the shelf1 upon which the first bottle is permitted to drop1 very gently1 from the cover4 ,both covers should be afterwards shown round1 although the trick can be repeated1 i4e41 done backwards1 if the performer desires4 ,if he does so1 he should say1 ,ah1 ,i daresay everybody did not see how that was done1 and1 as ,i always like the method of my tricks to be understood by everybody1 ,i will do it over again4 ,there is no fun in a trick if one does not see how it is done4 ,on removing the bottles at the close of the trick1 care must be taken that the hidden ball1 c41 is not knocked down on the floor1 as is sometimes done by accident4 ,this is a genuinely good trick1 the opening of the ginger-beer bottle before the audience serving to throw that body off its guard4 ,the ,flying ,plume and ,seed4--,this is another trick in which duplicated representations play an important part1 but the articles and methods employed are so totally distinct from those used in the preceding trick that one might follow the other in a performance1 and yet both appear to be totally distinct in every way4 ,there is a little simple apparatus in connection with the trick4 ,first of all1 a tin tube1 #ah;in4 long1 and at least #a-a_/b;in4 in diameter4 ,it is provided with a cap at each end1 fitting inside1 and not over1 as is usual4 ,the tube also possesses the peculiarity of being divided longitudinally1 by a tin partition1 into two portions4 ,this partition does not run down the centre of the tube1 but takes a transverse direction from one side of one end to the opposite side of the other end4 ,by this means1 both ends are open to their full extent1 and the tube can be shown briskly round1 with the cap off1 without anyone being able to detect anything wrong4 ,of course1 only one end will be given for inspection1 the audience not suspecting the existence of more than one opening4 ,then there is a vase1 also of tin1 but painted on the outside or japanned4 ,this vase has a foot about #c;in4 high1 which is hollow1 and is connected with the body of the vase by means of a very large hole4 ,this hole is hidden by a large domed cap on the end of a pin1 which runs through the foot1 and is furnished with a button underneath4 ,a spiral spring inside keeps the cap down on the hole1 but pressure on the button under the foot causes it to rise1 and any seed that may be in the body of the vase will instantly run down into the foot4 ,two plumes of exactly the same colour and length will also be required4 ,these plumes can be obtained at a cheap rate at any plumassier's4 ,one of the compartments of the tube is secretly filled with seed1 and the end opening that division is closed with the cap4 ,this cap should bear a distinct mark to distinguish it from the other4 ,in the vase there should be an egg1 orange1 lemon1 or apple1 c41 which must not be seen by the audience1 and on the table there should be another similar article4 ,up the performer's sleeve1 or in his side pocket1 one of the plumes is secreted4 ,the other plume is handed round and then thrust down the tube1 which1 to all appearances1 it entirely fills4 ,place the tube on a chair or on the floor1 and then take the vase1 and into it pour a quantity of seed1 going forward so soon as the article at the bottom is covered4 ,show the vase round full of seed1 and then place it on another chair1 the button being pressed and all the seed allowed to run away in transit4 ,now borrow either a hat or a handkerchief4 ,if the plume is up the sleeve1 then a handkerchief is required4 ,spread the handkerchief over the hand1 as if showing there is nothing in it1 and seize the end of the plume through it with the other hand4 ,draw the handkerchief smartly away with the plume inside it1 and throw both on the floor4 ,if the plume is in the pocket1 then borrow a hat and slip the plume into it4 ,the plume will curl round inside the hat1 and remain firmly fixed1 so the hat can be turned brim downwards without fear of the plume falling out4 ,these preliminaries concluded1 proceed as follows3 ,touch the tube with the wand and say you have taken out the plume1 which you then pass into the hat or handkerchief1 as the case may be4 ,now touch the vase with the wand1 and say that you have removed all the seed1 which you then command to go into the tube4 ,vanish the egg1 or whatever it may be that you use1 down a trap1 and pass it into the vase4 ,nothing then remains but to open the tube1 and to show the vase and handkerchief or hat4 ,millet is by far the best seed to use4 ,it is light1 and its spherical shape causes it to run smoothly4 ,a conjuror1 who was experienced enough to know better1 persistently used rice for this trick4 ,the result was extra delay1 for the rice generally managed to clog somewhere1 and always made a tell-tale rattling as it trickled into the foot4 ,it made one tremble to look and listen4 ,the trick is very easily managed1 and creates a remarkably pretty effect4 ,the conjuring shops supply the apparatus4 ,how to ,make and ,cook a ,pudding in a ,hat4--,procure a large size gallipot with nice thin sides4 ,have a tin lining made to fit the inside of this1 and divide the lining into two portions by means of a horizontal division across the middle4 ,the inside of a gallipot being somewhat narrower at the bottom than it is at the top1 the lining will be taper1 and consequently one partition will be larger than the other4 ,into the larger partition put a plum pudding1 or cake1 hot1 and stand it on the shelf1 without the gallipot4 ,borrow a hat1 and1 whilst busy about putting some paper at the bottom of it1 and explaining that it is to prevent its being spoilt1 take an opportunity of slipping the tin containing the pudding into it4 ,now take some flour1 eggs1 plums1 sugar1 and water1 and mix them all up in the gallipot1 to the accompaniment of some facetious remarks about your being a first-rate cook4 ,next pour the paste from the gallipot into the empty division of the tin1 and1 putting the pot momentarily into the hat1 press it down well over the tin1 which it will bring away1 leaving the pudding alone behind4 ,now hold the hat over a spirit lamp 7a candle would spoil the hat71 and profess to be cooking the contents1 which presently take out close to the audience and distribute4 ,some conjurors make omelettes and pancakes1 which certainly make a good show1 and are suggestive of being cooked on the crown of a hat4 ,some address is required in executing this trick1 especially in getting the tin into and out of the hat4 ,the knack of putting things into hats from the shelf neatly is one of the most difficult things to acquire1 and the performer must never be nervous at the moment1 or he will be certain to allow himself to be discovered4 ,sometimes the egg is first broken into the hat 7i4e41 the tin71 and the flour and water afterwards mixed up in the gallipot4 ,the effect of the contents of an egg dropping into a hat is certainly good4 ,an amusing interlude1 when borrowing a hat1 is to apparently push the forefinger through the crown and then restore the hole supposed to be made by the act4 ,this deception is managed by having a cast of a human forefinger made in either wax1 gutta-percha1 or plaster1 and provided with a pointed wire at the thick end4 ,this finger is concealed in the right hand1 and the left hand put inside the hat4 ,the right hand is then brought on the outside of the crown1 and with the remark1 ,i fancy you have a hole in your hat1 sir1 an apparent effort is made1 and a finger shown protruding through the crown4 ,all that is done is to pass through the wire1 which is held on the inside by the left hand4 ,after making a few sharp movements simulating a finger in the act of being shaken1 bring the right hand on to the crown again1 and make as though considerable exertion were required in order to get the finger back again4 ,the dummy is1 of course1 merely secured in the right hand1 and the hat immediately shown ostentatiously round1 so as to keep attention away from the right hand4 ,the imitation finger must naturally be coloured to resemble the performer's flesh4 ,the trick must not last long--a quarter of a minute is ample4 ,if the finger remains through the hat for any length of time the audience will soon realise what the nature of the deception is4 ,it should appear as if the finger had been just pushed through1 shaken derisively1 and then withdrawn4 ,the ,flags of ,old ,england4--,without any visible preparation1 and from no conceivable source1 the performer produces hundreds of flags with the hands4 ,the flags1 which can1 of course1 be of any colour1 but1 for obvious reasons1 should be red1 white1 and blue1 for preference1 are thus made quickly3 ,procure some sheets of tissue paper1 and cut them into slips of equal dimensions4 ,a good size to commence with is #c;in4 by #a-a_/b;in41 three of which will make a flag of #d;in4 by #c;in41 a very nice size4 ,for rapid pasting1 place1 say1 the red slips one over the other1 each one permitting just a quarter of an inch of the one beneath it to be seen4 ,with one sweep of the brush a large number can be thus pasted4 ,perform the same operation with the blue papers1 and the white ones will not require any paste at all4 ,join the three together1 and1 when dry1 paste them on either very thin sticks or wire1 or else on bass4 ,the latter is far preferable to any other substance1 and can be easily procured4 ,now make some flags about #f;in4 by #d;in4 in the same manner1 and1 if you choose1 a few even larger still4 ,roll them all up very tightly in two or three bundles1 and secrete them about you4 ,i always place a bundle of small flags up each sleeve1 the larger ones being either in the vest or in the large breast pocket of the coat4 ,take a little flag in each hand1 and advance with them4 ,wave them about1 and1 lowering one hand1 allow the bundle to slide into it from the sleeve1 care being taken that the back of the hand is towards the audience4 ,bring the hands together immediately1 and continue to wave them about for a few seconds1 when commence to unroll the flags1 and cause a few to appear first at the top1 and then to fall on to the floor4 ,continue this1 all the time moving about1 until you find the supply getting low1 when1 with a downward sweep of the hands1 extract the bundle from the other sleeve4 ,this movement will be perfectly concealed by the numerous flags flying about4 ,it will also be perfectly easy to obtain possession of the other bundles from the vest or pocket1 if care be taken to raise the flags that are being exhibited1 so as to conceal the motion of the hand4 ,when the larger flags are being unravelled1 the waving should increase4 ,the effect of a quantity of flags coming from apparently nowhere is always very bewildering to an audience1 and this is heightened when the larger ones appear4 ,i remember producing one quite #h;ft4 in length1 with a complimentary motto1 allusive to the season of the year1 elaborated upon it4 ,there is1 however1 no necessity to go to such a length as this4 ,buatier1 instead of two flags to commence with1 takes a bundle of coloured paper1 which he rolls up1 and then pretends to transform into flags4 ,this is not at all a bad method1 and1 if the performer prefers it to my own1 there is no harm in adopting it4 ,buatier decidedly makes a mistake1 though1 in producing the original paper after he has manufactured several hundreds of flags from it4 ,this is not consistent4 ,the ,chinese ,rings4--,whether originally ,chinese or not1 is of little moment3 the trick has received the name1 and is known by it only1 so ,i adhere to it4 ,the trick consists in apparently accomplishing the evident impossibility of linking strong metal rings1 that have no break or opening in them1 one within the other4 ,the secret of the trick lies in the fact that one of a number of rings is provided with a slit or opening1 which is kept carefully concealed by the performer's fingers4 ,as1 however1 one ring with an opening would not alone suffice to link several others together in a continuous chain1 the rings are made in sets of three and two welded together1 besides three or four single ones4 ,the set of two ,i always dispense with as useless4 ,there is not the slightest necessity for going to a conjuring repository to obtain the rings1 for an ordinary smith can produce a much more serviceable article4 ,my idea of a good ring is one made of iron wire fully #c_/h;in4 in thickness and #i;in4 in diameter4 ,let the metal be well burnished1 and see that the welding is properly done4 ,the opening in the one ring should be #g_/af;in4 wide so as to admit the other rings freely4 ,some rings have a slit merely1 whilst others have the ends springing one into the other4 ,these precautions are quite unnecessary1 for the secret ring is never given round for examination4 ,when the performer comes on1 he has the open ring concealed either under his armpit1 in his breast pocket1 or in the vest2 or he may have it hanging behind a chair1 if he has one with an opaque back on the stage4 ,the other rings he has in the hand1 and gives them round for examination4 ,unless this examination takes place1 there is nothing in the trick1 for the audience would justly argue that all the rings have secret spring-bolt openings which are invisible at a short distance4 ,to abstract the concealed ring without detection requires1 at times1 considerable address4 ,a good way is to allow some of the others to fall1 and whilst stooping quickly for them1 get out the concealed one4 ,turning the back upon the audience1 and deliberately taking the ring out from its place of concealment whilst walking towards the stage1 is the method ,i usually adopt4 ,when it is hung at the back of a chair1 the bulk of the rings should be placed upon the seat1 and two or three taken up in one hand2 say1 the right4 ,in stooping to pick up some more rings with the left hand1 the right1 naturally enough1 finds its way to the top of the back of the chair1 and1 as the ring will be suspended half an inch down1 the end of one finger will be sufficient to obtain it4 ,i lay some stress upon this recovery of the open ring1 for in its neat execution lies the whole secret of the trick4 ,if the performer feels that he has accomplished the feat without being observed1 he may boldly assert that he knows that other conjurors perform the same trick with prepared rings--he does nothing so mean and despicable4 ,as a rule1 ,i disagree with any hint whatever that may give a clue to the secret of a trick2 but this particular one is so widely known that ,i doubt if an audience of ordinary size could be found with everyone ignorant of its secret4 ,under these circumstances1 the conjuror who wishes for success must be different to everyone else4 ,if he is not prepared to do or die1 let him leave the ,chinese rings alone4 ,the method of working the trick is to first take up the open ring and one of the single ones1 one in each hand4 ,unless the performer be left-handed1 or ambidextrous1 it is always advisable to hold the open ring in the right hand1 the opening being between the finger and thumb4 ,stand at the front of the stage 7if there are side boxes1 then a little back71 and let the open ring hang carelessly on the thumb1 only broadside on to the audience4 ,by turning up the point of the thumb ever so little1 the opening is rendered quite invisible to spectators1 who will think that two perfect rings are being held before them1 they having no possible reason to suspect even that an open ring is anywhere about4 ,bang the two rings together several times1 and pretend to make two or three attempts to fit one into the other1 by what precise movement does not matter in the least4 ,presently slip the solid ring rapidly through the opening of the other1 without ceasing for an instant the movements you have hitherto made1 which continue as if the two rings were still apart4 ,soon you will work the two close together1 and1 by degrees1 bring round the solid ring to the bottom of the open one1 and then allow it to hang from it4 ,be careful1 however1 that the opening is never so much as approached by the solid ring after the latter has been passed through it4 ,by a reversal of the proceedings1 the ring must be taken off again1 the two rings being held touching one another1 and worked about as if still linked1 long after the actual detachment has taken place4 ,the audience are supposed to actually see one ring pass through the other1 and the performer must cause this to appear to be done at the lower half of the open ring4 ,performers always make a grand mistake in hurrying over this1 the opening part of the trick1 which is really the most important part of it4 ,within reasonable bounds1 the linking of the two first rings cannot be much too long drawn out4 ,if he be possessed of sufficient daring1 the performer may advance to one of the audience with the two rings linked1 and give him one of them 7the solid one1 of course7 to hold4 ,just as the ring is put into his hand1 the disconnection should take place4 ,this is an interlude1 which the performer may use or not1 according to how he feels in spirits1 for conjurors are like race-horses1 and are at times in or out of form4 ,two loose rings can then be put on the open one1 one at a time1 and then removed and held together4 ,the open ring can be passed over the arm out of the way1 the opening being1 of course1 concealed1 and some business can be gone through with the other two1 which1 as they never were together1 can be separated without much difficulty4 ,some conjurors become breathless at the bare idea of allowing the open ring to leave the hand1 whereas1 when properly managed1 there is not the least danger to be apprehended4 ,when the ring is passed over the arm1 the hand does not leave the opening until it is well embedded inside the elbow joint4 ,it is bad policy to hold one ring continually in the hand1 as the fact is extremely likely to be noticed4 ,when a few evolutions have been performed with the single rings1 including throwing one in the air and catching it on the open ring on its descent1 the triplets should be taken up1 and1 after plenty of shaking about and turning round and over1 an end one should be linked on4 ,by linking up the other end as well1 a square is formed4 ,give two rings of this to be held by different people1 and tell them to pull4 ,give one or two jerks yourself1 and at one of them disconnect1 and then gradually appear to unlink the square1 bringing1 at last1 the four in a single chain4 ,make a lot more flourishes1 but merely bring the four side by side in one hand1 hanging4 ,hold the open ring firmly1 and allow the others to drop steadily4 ,this they will do in two distinct stages or jerks1 at each of which you make a movement with the disengaged hand as if controlling them4 ,as a finish1 it is usual to put all the rings in a bunch on the open one4 ,when this is done1 one of the solid rings should be made to sustain the rest for a short time in place of the open one1 which may be allowed to hang down in the rear of the others1 where it will not be seen4 ,the solid ring thus temporarily used should be held alternately in several places1 so that the audience1 and especially such as know the secret of the trick1 may see that there is actually no opening it4 ,this is an excellent ruse to adopt4 ,when performing with the rings1 always make a deal of clatter with them2 it adds to the effect4 ,an effective finale is to grasp the open ring by the solid part immediately opposite the opening1 and1 turning the whole bunch rapidly over1 shake the other rings loose upon the floor1 dropping the open ring amongst the rest4 ,the apparent recklessness of this goes still further to disarm suspicion as to an open ring4 ,it will be seen that1 beyond obtaining the open ring1 everything is what is understood as hankey-pankey--in fact1 downright humbug--but it is humbug of a superior order4 ,the performer who introduces it injudiciously and unskilfully will have reason to regret any imperfect study of this trick4 ,there is not much true sleight of hand in it1 but the perfection of address will be required4 ,the ,drawer-,box4--,this is not the name of a trick1 but of one of the most useful pieces of apparatus which a conjuror can possess4 ,i have purposely refrained from making any mention of it before1 because ,i wanted to make the beginner an adept at vanishing and producing with his hands before ,i gave him an article that would save him the trouble at the loss of a large amount of effect4 ,when a person is able to do considerable execution with his hands alone1 there need be no anxiety about giving apparatus into them4 ,it is only with the beginner that the danger lies1 for he will say1 ,oh6 this box does all ,i want--at least1 quite well enough for me--so why should ,i take the trouble to learn to do it without8 ,the expert is never too anxious to use apparatus1 and invariably manages with as little of it as he can4 ,now1 the drawer-box is an article of such peculiar handiness on so many occasions1 that the temptation held out to beginners to use it frequently is too great to be resisted4 ,it will bear a cursory examination1 and yet1 although crammed with any kind of article to its fullest extent1 it is made to appear quite empty1 by merely being shut and re-opened1 and this in the midst of the audience2 or the operation may1 with modifications1 be reversed1 and the box shown first empty1 and then full4 ,most of us must have seen the little cigar-case which is so handy to smokers who wish to keep a good brand of cigar to themselves4 ,the drawer-box is made on exactly the same principle as this1 only1 of course1 in an enlarged form1 and in wood4 ,illustration3 ,,fig4 #ea4 ,illustration3 ,,fig4 #eb4 ,the appended sketches 7,figs4 #ea and #eb7 show the apparatus4 ,i give a minute description of it here1 as it is only in very large towns that the article is procurable1 made in the manner it should be1 so the conjuror can either get a cabinet maker to make him one1 or1 if he be anything of a carpenter1 make one for himself4 ,a 7,fig4 #ea7 is a lightly-made drawer1 without any back end1 and fits somewhat easily into ,f 7,fig4 #eb71 which should be made of #c_/h;in4 stuff1 and strongly put together4 ,b is another lightly-made drawer1 smaller than ,a1 into which it fits4 ,a has a narrow combing all round the upper surface of the front end and sides4 ,this serves to conceal the presence of ,b1 which in reality looks like the inside of ,a4 ,to perfect this deception1 the open sides of ,a are1 as depicted in sketch1 made with mortises1 and the end of ,b being allowed to extend a little each side1 and also mortised1 the two dovetail one into the other1 and present a most innocent appearance4 ,the knob ,d is not fixed1 but has a slight perpendicular play4 ,it is connected with a piece of flat metal1 which extends from the knob to the upper portion of the wood1 inside the combing1 where it is furnished with a catch1 which can be made by turning over the end of the metal and sharpening it a little4 ,in ,b there is a slight incision made at ,c4 ,when ,b is pushed home into ,a1 and the knob ,d pressed downwards1 the catch fixes itself into ,c1 and thus keeps the two drawers firmly together4 ,the action of shifting the knob up and down is very slight indeed1 a #a_/d;in41 or1 at the outside1 #a_/c;in4 play being ample4 ,when the two drawers are thus fixed1 they may be shown round1 and no one not in the secret will suspect that there is more than one drawer4 ,the more care and attention that is paid in fitting the drawers nicely together1 the better4 ,at the lower part of the back end of ,b will be noticed a protruding piece of wood1 ,e4 ,this fits closely against ,a when the two are closed together1 but it plays an important part in the working of the box4 ,in the body1 ,f 7,fig4 #eb71 is cut a square hole1 immediately under the point where the thumb is seen to be pressing4 ,g is a flat spring let into the bottom of ,f1 and fixed at the end farthest removed from the square hole4 ,a square piece of wood1 the same thickness as the bottom of the body ,f1 and slightly smaller than the hole1 is glued firmly on the free end of the spring1 so that it is always in the hole4 ,the exterior of the box should be painted or ,french polished1 and the bottom covered with baize or cloth4 ,the material should be glued on1 the space covering the spring1 and half an inch all round it1 being left free4 ,the apparatus is then ready for use1 and is thus worked3 ,we will suppose that it is required to cause several apples to disappear4 ,the drawer ,a1 with ,b inside it1 and the knob pressed firmly down1 is shown in one hand1 and the body ,f in the other4 ,the apples are then put into ,a 7really into ,b71 which is then pushed into ,f4 ,after the performer has pretended to extract the apples by magical means1 he takes up the box with both hands1 one hand grasping one end1 with the thumb on the spring ,g 7,fig4 #eb71 and the other hand seizing the knob ,d1 which it presses upwards1 thus removing the catch from the slit ,c4 ,with the thumb pressing as hard as possible on the spring1 the drawer ,a is pulled out4 ,the square piece of wood on the end of the spring ,g1 being pressed inside the box1 causes an obstruction to the inner drawer ,b through the medium of the protrusion ,e1 and ,b is consequently held back in ,f4 ,the drawer ,a1 which is1 after all1 merely an outer shell1 is shown instead1 and the audience1 not knowing of the existence of a double drawer1 imagine that the one shown them is the one which they saw filled with apples4 ,when the box is opened1 it should be held sideways1 with the top turned towards the audience1 and when it contains such articles as apples1 which easily shift in a very audible manner1 it should be placed in this position on the table1 before the contents are made to disappear4 ,it would be stupid to pull out an empty drawer and then cause a rumbling to be heard4 ,the audience would at once divine that the articles were kept back in the body of the box by some means4 ,when the box is made so large that the hand cannot grasp it in the manner shown at ,fig4 #eb1 the closed end should be furnished with a knob matching that on the drawer ,a4 ,this can then be held by the fingers1 and so enable the thumb to find a purchase4 ,a very good box is one made without the spring acted upon by the thumb4 ,in its place is a loose metal peg1 which drops in and out of the hole in the double drawer by the mere tilting of the box4 ,this style of box is best made with both ends of the cover open1 an increased appearance of innocence being thereby secured4 ,with such a handy article at command as the drawer-box1 which will vanish or produce anything at will1 it will be easily understood that the beginner is extremely likely to be tempted into using it with too great a frequency4 ,let him beware of this1 and1 at the outside1 use it not more than twice in the same evening1 and then only under completely differing conditions1 and after the lapse of a good interval of time4 ,in a number of the foregoing tricks the drawer-box could be used with success1 ,i grant1 but not with any very great effect4 ,in the trick with the large die and the handkerchief1 it would be handy for causing the die to vanish4 ,it could be used in ,the ,sun and ,moon1 ,a ,bottle of ,ginger ,beer1 and in a dozen others1 but the temptation to do so must be resisted4 ,popular usage has assigned the drawer-box the position of a regular property in a very effective trick performed with a large solid block of wood1 familiarly known as the ,cone4 ,it can be made of any size1 but it is as well to have it as large as possible1 that is1 not less than #f;in4 in height4 ,when large1 it is just as easy to manipulate1 and is much more effective4 ,the only desideratum is that it should go comfortably into the drawer-box4 ,it should be well tapered from the base to the summit1 which may be simply flat or fancifully turned4 ,over this block fits a thin shell1 the facsimile of it--the die and dummy repeated1 only in a different shape4 ,the dummy shell is usually turned out of a piece of wood similar to that of which the block is made1 and both are polished to match4 ,it is essential that they be very smooth4 ,all else that is required is a very tall paper cone1 which passes very loosely over the shell1 and a couple of apples1 oranges1 lemons1 or any similar articles1 both being placed on the shelf4 ,the drawers1 fastened1 should be taken out of the body and stood upon it at one end of the table1 and the cone1 with the shell on it1 at the other end4 ,the performer next takes the paper cone and exhibits it4 ,he then says1 standing behind the table1 ,this cover1 which is1 as you see1 made simply of paper1 is for the purpose of covering this solid block of wood4 ,the paper cover is passed over the cone and shell1 which are grasped firmly with one hand and slid off the table on to the other hand4 ,the shell is then grasped a little higher up1 through the paper1 and the solid block jerked out of it on the floor4 ,the paper containing the shell cone is then laid flat on the table1 with the closed end towards the audience1 and the solid cone picked up and placed in the drawer1 which is first shown briefly round4 ,the drawer-box is closed and placed on a side table to the left1 and the performer1 passing behind the table1 takes up one of the two articles which are upon the shelf4 ,this he produces in any way he pleases1 taking it from the wand being the most effective method 7see ,sleights for ,general ,use74 ,he should then say that he requires an orange1 c41 for the trick1 which he will ask his wand to give him4 ,the orange1 or whatever it may be1 is then placed upon the table1 and covered with the paper cover1 with the dummy cone inside it4 ,the performer then explains that what he is going to do is to cause the solid cone to come out of the box and pass into the paper cover4 ,whilst saying this1 he goes behind the table and secures the second of the two articles that were on the shelf1 in the right hand4 ,he then comes round1 and proceeds3 ,to do this1 it will be first necessary for me to remove the orange from the paper1 and ,i accomplish the feat in this manner4 7,he runs the wand lightly up the side of the paper1 and then produces the orange out of it1 the action being somewhat similar to that used in the previous production47 ,now that the cover is empty1 ,i can pass the block of wood into it4 ,i take it out of the box1 thus 7taps box with wand71 and1 see1 it is on my wand4 ,i carry it carefully to the cover and pass it thus into it4 ,the wand is carried very gingerly1 in a horizontal position1 as if the block of wood were really balanced upon it4 ,the paper is then taken by its very apex1 and lifted carefully off the dummy shell1 and the drawer-box opened1 as previously explained for showing it empty4 ,the performer1 after a short pause1 to allow of the free circulation of universal wonderment1 says1 ,ah6 but perhaps ,i did it a little too quickly1 and you did not notice how it was done4 ,i will do it in a different way4 ,here we have the piece of wood1 which ,i cover with the paper2 my box1 empty1 ,i shut and place here1 and the orange ,i take in my hand1 thus 7trap it71 and rub it slowly away4 ,i command the block of wood to pass back again into the box1 and the orange to appear under the paper cover4 ,lift the paper and dummy together1 pinching them at the base1 and lay them down as before directed1 and then tilt out the drawer1 allowing the wood to fall upon the floor4 ,if the cone be not very large1 then the dummy may be allowed to slide out of the paper cover on to the shelf1 and the paper shown empty4 ,there is an objection to having the dummy shell made of wood1 which is that it is necessarily very light1 and so easily overturned4 ,an accidental stumble against the table will sometimes effect this untoward result4 ,zinc and tin are heavier1 but there is an objection laid against them as well3 they talk--that is1 they make a scraping noise against the real block of wood when withdrawn from it4 ,i leave the conjuror to decide which is the lesser of the two evils4 ,cones standing two or three inches in height can be successfully passed through hats1 after the method employed in ,houdin's die trick4 ,further uses for the drawer-box will appear in the course of the description of other tricks4 ,bacchus' ,dovecote4--,the performer advances with a bottle and glasses on a tray1 and a dove on his shoulder4 ,from the bottle he pours some wine1 and then places it upon a side table4 ,the dove is next wrapped in some paper1 from which the tail is allowed to protrude1 and the performer then jumps upon it or else burns it4 ,on the bottle being broken1 the dove is found inside4 ,the bottle is prepared by having the bottom knocked out1 which can be easily managed with a hammer1 smart taps with which have to be administered1 in a circle4 ,the hand holding the bottle whilst this is being done should have a glove upon it1 in case of a breakage4 ,a dove is put into the bottle1 head first1 through the bottom4 ,this is rather uncomfortable for the bird1 and ,i cannot bring myself to think that the latter likes it2 but no bad results seem to follow the treatment1 which should be rendered as gentle as possible4 ,a tin tube is passed down the neck of the bottle1 secured at the mouth by means of red sealing-wax1 and then filled with red wine4 ,on the table are spread some sheets of paper1 on the margin of one of which are pasted some dove's tail feathers4 ,the exhibited dove is placed upon the centre trap1 and the performer pretends to wrap it in the paper having the feathers upon it4 ,it is1 instead1 passed through the trap1 and the paper rolled carefully up1 as though the bird were inside4 ,the protruding feathers leave no doubt of this in the minds of the audience4 ,the ends of the paper should be screwed up tightly1 and a little hole torn in the parcel1 to give the dove air4 ,if1 when placed upon the floor or table the paper should accidentally roll slightly1 the performer must attribute it to the restlessness of the bird supposed to be inside1 and apostrophise it accordingly4 ,if crushed1 it should be treated lengthways1 so that the feathers are not afterwards observed1 or the audience might think it only reasonable that the bird found inside the bottle should be minus a tail if he has left it behind him in the paper4 ,it may seem very simple on their parts1 but audiences never seem to doubt that the dove apparently wrapped in paper and the one found in the bottle are one and the same bird4 ,there is no distinguishing mark on it to identify it1 and everything tends to make one think otherwise2 but never a doubt is raised4 ,this circumstance should be very consoling to the conjuror4 ,i have even seen two doves put into a drawer-box and two other doves made to appear at the other end of the room1 and no one seemed to doubt for a moment that they were the same ones that had been just before put into the box4 ,doves are most docile creatures1 and accommodate themselves to circumstances in a remarkable manner4 ,when passed through a trap1 they never wander about and exhibit themselves at the corners of the shelf1 or otherwise expose the performer's secrets4 ,at times1 though1 they will start their peculiar call1 but this happens very rarely4 ,most regular performers1 whether professional or not1 usually keep a pair of doves at least4 ,they are very hardy1 and soon become accustomed to being pulled about4 ,the ,wine-drinking ,crystal ,ball4--,the tube in the neck of a bottle1 mentioned in the preceding trick1 is a very effective and much-practised deception4 ,in the present instance1 the performer selects an opaque bottle with a deep kick in the foot1 and has a tin tube fitted into its neck4 ,the mouth of the tube is provided with a rim turning outwards1 to prevent a total disappearance of the article inside the bottle4 ,this rim should be nicely rounded1 so as to fit the mouth of the bottle neatly1 as it will not do for the audience to entertain the slightest suspicion of its presence4 ,the bottle is three-parts filled with water1 and the tube with red wine4 ,the performer is provided with two clear white glass balls1 a little over an inch in diameter1 and one red one1 of the same dimensions4 ,these are concealed conveniently about the person4 ,the trick is commenced by the wine being poured into glasses and handed round4 ,retiring to the table1 the tube is extracted and vested1 or put elsewhere out of sight1 and one white ball got into the hand4 ,by means of the wand1 this ball is magically produced4 ,the performer then remarks that he wants two balls1 and manufactures another by striking the one he has in the hand with the wand2 the explanation given being that the original one has been cut in two4 ,the reader will understand that the second white ball has been got down from concealment1 and exhibited at the proper moment4 ,two balls are not really required for the trick1 but the diversion is made for the sake of increasing the attention of the audience1 and for giving the trick a general completeness4 ,if he so pleases1 the performer can proceed to rub one of the balls until it becomes as small as a pea1 or as large as an orange3 all that is required is to be provided beforehand with balls of the necessary sizes4 ,the ball which is supposed to be undergoing the compression or expansion can be easily palmed in the right hand1 the fingers of which are engaged in shaping the latest arrival by rolling it in the palm of the left hand4 ,to get it back to its original size from the tiny one1 the small ball has only to be concealed between the roots of the third and fourth fingers 7,fig4 #be74 ,to get it back from the large size1 place the large ball upon the table over a trap1 and1 after admiring it as a splendid production on your part1 pretend to take it in the hands1 trapping it4 ,after much hard squeezing and rubbing1 accompanied by expressions of doubt as to the success of your exertions1 all enacted close to the audience1 the original ball will be produced1 it having been1 of course1 palmed the whole time4 ,give it to a spectator to hold1 and then fetch the bottle4 ,whilst retiring get down the coloured ball and introduce it into the kick1 where keep it by means of the little1 or any other convenient1 finger4 ,with the bottle in the left hand1 return to the audience1 and1 taking the white ball from the person holding it1 palm it at once1 retiring a few steps as you do so1 holding the fingers as though they contained the ball4 ,if the palm be kept upwards1 there is no fear of the ball slipping out of it1 which it possibly might do--it being an awkward thing to hold firmly--were the fingers turned downwards4 ,explain that you are about to throw the ball into the air and catch it in the bottle4 ,as the ball is considerably larger than the mouth of the bottle1 this announcement will naturally be received with incredulity4 ,you1 however1 with the hands as widely separated as possible1 toss an imaginary ball into the air with the right hand1 and affect to catch it in the bottle with the left4 ,a vigorous shake given to the bottle will cause the ball held in the foot by the left hand to rattle1 and the illusion of the catch will be perfect4 ,now say that1 having got the ball inside the bottle1 you must break open the latter in order to get the ball out1 and turn round1 feigning to look for a hammer4 ,this will give you an opportunity for concealing elsewhere the ball in the palm4 ,so soon as this is done1 say1 ,well1 perhaps ,i shall only make a litter with the broken glass2 so ,i will get the ball out in a more artistic manner4 ,whilst ,i am talking1 though1 ,i fear the little gentleman inside is making very free with the wine4 ,ask the ball how he is getting on1 and advise him not to drink too much1 c41 and then proceed to get him out of the bottle by striking the palm of the right hand on the mouth of the latter with considerable force4 ,at the third blow or so1 release the ball in the kick1 and it will fall to the ground with the appearance of having been forced through the bottom of the bottle4 ,call attention to the fact that it is red1 and consequently1 as you feared1 must have been drinking the wine4 ,to test this1 pour out the contents of the bottle1 which1 being pure water1 will cause the audience to be of your opinion1 ludicrous though it may appear4 ,after this1 hand round both bottle and ball for inspection4 ,it is a great mistake to omit showing the bottle1 as the audience is invariably impressed with the idea that it has an opening in the bottom4 ,instead of the imaginary catch1 the bottle can be stood upon a table1 and the ball passed into it by any ordinary pass4 ,the disadvantage attending this is that the ball is not heard to fall into the bottle1 as in the other method4 ,it is natural that a heavy ball falling into a bottle must make some noise on striking the bottom4 ,audiences1 perhaps1 are not sharp enough to remark the absence of this natural result1 but there is no denying that the trick is rendered more complete with its addition4 ,besides1 when placing the bottle upon a table1 the ball in the kick would naturally be loose were not some method for preventing this to be adopted1 and it would become a matter of great difficulty1 if not an absolute impossibility1 to raise the bottle again without revealing the real state of affairs4 ,a little black wax in the apex of the kick serves to sustain the ball in a very satisfactory manner2 but1 in adopting this auxiliary1 one has to dispense with what ,i consider to be a most necessary feature in the trick1 viz41 giving the bottle round for examination afterwards4 ,the wax will tell an undeniable tale4 ,it is possible to vary this trick in many ways1 quite according to the fancy of the performer4 ,it is well1 however1 to be certain of palming and vanishing your ball quickly and neatly before attempting the trick at all1 as everything depends upon this4 ,if the white ball is observed to be still in your palm1 no amount of rattling in the kick of the bottle1 however seductively executed1 will convince an audience that it has passed into the bottle4 ,bacchus' ,maypole4--,i do not mind admitting to the reader that1 where my imagination will permit1 ,i am inventing new names for my tricks4 ,i do this in order to save those who may hereafter undertake performances a certain amount of trouble1 and also to get a little out of the beaten track4 ,ever since this trick has been invented it has been known as ,ribbons and ,bottle4 ,now1 that is a very poor title to put upon a programme1 which1 as it cannot possibly give any very valuable information to the spectator1 may as well be embellished with neat terms as slovenly ones4 ,a bottle and some ribbons certainly are used in the trick2 but1 as the old title does not reveal whether the ribbons go into or come out of the bottle1 or whether the bottle comes out of the ribbons1 a more fanciful one1 so long as it is near the mark1 seems just as appropriate1 and much more ornamental4 ,at the same time1 it is very unadvisable to fill a programme with outrageous and ridiculous titles4 ,i went to an entertainment once1 given by a gentleman afflicted with a liking for high-sounding titles4 ,at first ,i thought ,i was going to see something totally new1 and waited for the curtain to draw up with some impatience1 for the first item on the programme was thus designated3 ,the ,celestial ,mystery2 or1 the ,winged ,fairies of the ,emperor ,foo-,chow4 ,this was the butterfly trick4 ,however1 although greatly disappointed1 ,i kept up my courage1 for item ,no4 #b was ,the ,sorcerer's ,secret2 or the ,sheik's ,visit to the ,great ,mogul4 ,the egg bag6 ,i collapsed1 and took no further interest in the ,arabian ,necromantic ,divinations1 ,scandinavian ,second ,sight2 or1 the ,finnish ,seer1 c41 for they were all tricks of the most ordinary class4 ,let the performer1 by all means1 embellish his programme with well-chosen titles2 but let him1 at the same time1 steer clear of the other extreme4 ,experience teaches one that there is more in a programme well got up than at first meets the eye4 ,although there is rather more of mechanism1 and less of sleight of hand1 in it than ,i usually adopt1 still this is such a very pretty trick that it would be a pity not to mention it4 ,the performer comes on with a bottle1 from which he pours a quantity of wine1 beer1 or other liquid1 and then1 either still holding it in his hand1 or placing it upon a table or chair1 he draws from it a ribbon of any colour that may be asked for by the audience4 ,more liquid is poured out1 and more ribbons produced4 ,the secret lies in the manufacture of the bottle4 ,in most cases1 an imitation one of blackened tin is used1 but1 as the difference between a metal bottle and a glass one is easily discernible1 this is a bad principle4 ,the best method is to procure a tapering bottle1 quart size1 and opaque1 and get the bottom neatly cut out by a lapidary4 ,if the glass be semi-transparent it is easily rendered opaque by being painted with ,brunswick black on the inside4 ,into the bottom fit a block of wood nearly an inch thick1 the upper half of which has been turned away half an inch1 so as to form a step4 ,to this step have fitted a long tin funnel of such a length that1 when the block of wood is fitted into the bottle1 the small end will be within the third of an inch of the mouth4 ,this funnel is much smaller than the interior of the bottle1 so that when it is in position there is space for a considerable quantity of liquid between it and the glass sides4 ,the small end is closed up with a piece of metal1 which is provided with a number of slits1 each large enough to admit of a ribbon passing through it4 ,on the block of wood arrange as many tiny reels as it will take4 ,it will be necessary to do this in tiers4 ,there is no reason why they should be like the ordinary reel1 for the smaller they are the better4 ,each of these reels carries a differently coloured ribbon1 which has been previously passed through one of the slits at the closed end of the funnel4 ,it will be discovered that it is not possible to wind them up quite tightly1 but an inch or two hanging loose will not signify if care be taken not to cross the ribbons in any way4 ,that end of the ribbon which appears outside the slit must have a piece of wire sewn in it1 to prevent its going quite through4 ,with the block thus prepared1 and the funnel fitted firmly upon it1 put the whole into the bottle1 and then pour the liquid carefully down the sides of the funnel1 taking care not to let any get in through the slits4 ,having poured out a little of the liquid1 for the benefit of the company1 say that you are now going to ask the bottle to give you a colour1 and request the audience to say which particular one it shall be4 ,of course1 some half-dozen1 at least1 will be given by as many persons1 which is all in your favour1 as you may then choose which you please1 or1 more properly speaking1 not notice any extraordinary one with which you may not be provided4 ,some clever person is sure to rack his brains for some impossible colour1 but1 as you will take no notice whatever of him1 it will not matter much4 ,each time a colour is asked for1 turn to some object of that particular hue1 and pretend to convey some of it on the end of the wand to the mouth of the bottle4 ,there is nothing in this1 perhaps1 but it gives an air of finish to the trick4 ,snatch up the bottle every now and then1 and pour out some liquid from it1 and also call attention in an indirect manner to the fact that the ribbons are perfectly dry4 ,also tap the bottle once or twice with the wand1 for the unexpressed purpose of showing that it is glass1 and handle it generally in a careless manner1 swinging it about by the neck1 taking care1 however1 not to expose the bottom4 ,this makes a very effective stage trick4 ,a second method1 which the reader is not at all likely to have seen performed1 seeing that ,i invented it myself1 enables the conjuror to employ an ordinary glass bottle1 having no preparation whatever about it4 ,it should be a dark bottle1 so as to be quite opaque at a distance4 ,the bottle is shown for examination1 and placed upon a low table or chair1 and the performer extracts coloured ribbons1 just as they are called for4 ,as the bottle has been examined1 no necessity exists for occasionally pouring out liquid from it1 which is a dumb way of saying that the bottle is an ordinary one4 ,secreted beneath the vest band1 the performer has his rolls of ribbon arranged4 ,they may be either upon bent pins1 stuck in the vest itself1 or the performer may have a band1 fitted with wire hooks1 which may be buttoned on in a few moments4 ,as the ends of the hooks or pins are towards the performer's body1 the ribbons cannot fall off2 but the ends of the fingers1 curled slightly underneath1 obtain them at once4 ,the colours must be arranged in a certain order1 which the performer will1 of course1 have to remember1 and he must depend entirely upon his sense of touch4 ,directly the colour is named1 the performer commences to seek for some article of furniture or dress containing it2 and whilst the wand is extended towards the object1 for the purpose of magically bearing away some of its colour1 the other hand is getting down the ribbon1 that side of the body upon which it is secreted being turned from the audience4 ,proceeding to the bottle1 the wand affects to place the colour magically obtained into the bottle1 and1 as soon as the other hand has secured the loose end of the ribbon1 it is brought to the mouth1 and the ribbon allowed to unroll4 ,a tiny piece of lead1 sewn in the end1 will assist this greatly2 but the ribbons should always be kept flat1 except when in actual use1 otherwise they will assume a curl1 which will betray the fact that they have been rolled up4 ,if symptoms of curling manifest themselves1 the wand should be held at the mouth of the bottle and pressed against the ribbon as it comes out1 and it should be then taken in both hands and held stretched until placed upon the table4 ,by adopting this method1 the performer is enabled to produce a very great number of colours2 and it is advisable to have two or three of them twice over4 ,however well the trick may be performed with the prepared bottle1 the company instinctively feel that a certain number of ribbons are concealed somewhere or other1 and that when they are once produced no more can come4 ,by producing the same colours twice1 the notion of an inexhaustible productive power is conveyed4 ,there is a third method1 which can only be employed on a regular stage4 ,the bottle is a specially constructed glass one1 that part which is known as the kick extending upwards to the neck1 and having a hole in the top4 ,thus there is still space left in the bottle for plenty of liquor1 whilst there is an open passage up the middle of it4 ,this bottle is placed over a hole in a table having a hollow leg 7a small1 single-legged round table is invariably used71 and the ribbons are passed up on the end of a rod by an assistant below4 ,by this method1 an endless supply can be taken from the bottle1 but few of my readers will1 ,i fancy1 be able to adopt this method1 although it could be done over a draped table under which a small boy was secreted for the time being4 ,when the performer advances to the bottle he gives out the name of the colour very loudly1 and places his fingers over the mouth1 at the same time pressing hard1 to prevent the bottle being shifted by the action of the ascending rod4 ,the assistant below has his ribbons arranged in order1 and1 as soon as he hears the colour given1 attaches the proper one to the pin at the end of the rod4 ,when the performer is quite ready he strikes the bottle with the wand1 upon hearing which1 but not before1 the assistant pushes up the rod4 ,he must be in no hurry to withdraw it1 but give the performer plenty of time to clear the ribbon4 ,a suitable bottle may be manufactured by knocking the bottom out of an opaque glass bottle1 and then fitting a tin lining to it1 inside1 which can be fixed and rendered watertight by means of putty1 afterwards blackened1 if white putty be used4 ,the bottle is occasionally taken up1 and liquor poured from it1 as in the first method4 ,the ,accommodating ,bottle4--,this is a bottle from which the performer pours any kind of wine or spirits that may be asked for4 ,the secret1 as in the foregoing trick1 lies in the bottle1 and it is only introduced here on account of its remarkable effectiveness in clever hands4 ,the interior of the body is divided into a number of compartments1 usually five4 ,each compartment has a tiny tube running from it half way up the neck of the bottle1 and has also an aperture1 just capable of admitting an ordinary pin1 at the side of the bottle4 ,four of these apertures should be arranged an inch apart in a slightly curved line1 so that one finger can be placed upon each when the bottle is grasped in the hand4 ,the fifth aperture should be situated underneath the thumb4 ,it is possible1 but very difficult 7owing to the absolute necessity for having the partitions hermetically closed1 except at the tubes and the apertures71 to have an ordinary quart bottle1 with the bottom knocked out1 fitted with a tin lining1 properly prepared4 ,when this can be done1 it is decidedly advantageous2 but1 in the ordinary way1 one has to be contented with a tin article1 japanned4 ,by means of a specially fine funnel1 each compartment is filled with a different wine1 and great care must be taken in remembering which contains the port1 which the sherry1 and so on4 ,so long as the fingers and thumb are kept firmly pressed upon the apertures1 no liquid will escape1 even when the bottle is inverted1 as it will be by the performer1 previous to commencing1 to show that it is empty4 ,some bottles have an extra compartment1 into which water is poured1 in full view of the audience1 and the bottle apparently washed out1 the water being poured out again4 ,the adoption of this addition is a matter of taste4 ,a dozen or so of liqueur glasses upon a tray1 and carried by an attendant1 will be required1 and1 after calling attention to the fact that the bottle is quite empty1 and that he has no pipes running up his sleeve1 the performer asks a lady what particular wine she would like4 ,it is as well to use the words port1 sherry1 or what8 by way of suggesting something which you have in your bottle to start with4 ,you will1 of course1 have champagne1 claret1 and hock1 which1 with the sherry and port1 will make about as good a quintet as could be selected4 ,on any particular wine being called for1 all you have to do is to raise the finger covering the hole corresponding with the compartment containing the required beverage1 and it will flow out2 on replacing the finger the flow will cease4 ,by using small glasses1 one appears to supply so much more than would be the case with larger ones4 ,never more than half fill a glass1 and always pass as rapidly as possible from one person to another4 ,of course1 you will be frequently asked for a wine with which you are not provided4 ,this1 in nine times out of ten1 you can manufacture out of your stock4 ,for marsala1 for instance1 give a little sherry and hock mixed4 ,for sparkling burgundy mix champagne and port1 or champagne and claret4 ,when you make a mistake1 pretend to be in a great hurry to attend to another applicant1 and accidentally 767 drop the glass on the floor4 ,never mind if the glass does break2 your trick is not spoilt4 ,it is wonderful how much success is attained by management in this trick4 ,in one person's hands1 it falls so flat as to be almost a failure2 whilst1 in another's1 it will probably be the success of the evening4 ,it is especially successful in the hands of a brisk and lively performer1 before1 or rather amongst1 a large audience of a free and easy nature4 ,it is not a good trick to introduce before a select and stiff company4 ,should any particularly fastidious person be met with1 he can generally be settled by the administration of a mixture of the whole five wines4 ,if he is still dissatisfied1 ask him1 if the beverage is not the one for which he asked1 to say what it is4 ,it will puzzle him to answer1 and you will then be able to retaliate upon him by supposing that he does not know the taste of the wine for which he was so anxious4 ,some first-rate continental conjurors1 who1 as a rule1 take infinite trouble with their tricks1 perform this trick with an ordinary bottle1 which1 after being examined1 is filled with sweetened water 7ostensibly plain water71 and then any liqueur is given from it4 ,the secret in this case lies in the glasses1 which are coloured1 and contain each an extract of a certain liqueur4 ,the sweetened water answers for all4 ,by this means1 it is possible to be provided with an immense number of flavours1 but the trouble in preparation is such as only a professed conjuror could undertake4 ,the ,mesmeric ,suspension ,wand4--,the ,fakir of ,oolu 7he is known in private circles by a far less sounding and much more cockneyfied name than that7 was the first to introduce this trick to the ,british public4 ,the performer is provided with an ordinary conjuring wand1 blackened all over4 ,he passes it through one hand1 to show that it is not attached to any suspending medium1 and then performs a series of feats with it1 which apparently entirely upset the laws of gravitation4 ,for instance1 when placed horizontally against the under side of the outstretched hand1 it does not1 as one would expect1 fall at once to the ground1 but remains in the unnatural position4 ,when placed perpendicularly against a finger or thumb1 the result is the same2 and it can be just as easily suspended from the tip of the finger by its extreme end4 ,there are three methods in general use for producing these phenomena4 ,one is to have the rod provided with several black pins1 which stand out a little from the wand1 and are then bent at right angles4 ,the heads are taken off1 and the exposed ends left rough4 ,if two of these pins be placed about five inches apart1 with the points of each turned towards the other1 a hand placed flatly between them will be enabled to sustain the rod in any position by merely opening out the fingers1 thereby causing a pressure on the two pins4 ,this is the whole secret of the first method4 ,the conjuror can arrange his pins according to fancy4 ,i find five ample viz41 two about two and a half inches apart at each end1 and one small one at the actual tip4 ,there is no necessity for more2 and the space of two and a half inches admits of the introduction of two fingers1 which possess quite sufficient power to sustain the rod4 ,the advantage of using two fingers only is that1 by employing the middle ones1 those on the outside are left free to be moved about1 as they should be1 to assist in abolishing the idea of any connection existing4 ,when the wand is drawn through one hand1 the action must be quickly executed1 and no notice given of the intention to perform it1 otherwise the attention of the audience will be sufficiently attracted to the wand to cause it to be noticed that the hand does not actually touch it1 although it appears to do so4 ,a serious pantomime of mesmerising the wand by means of a few passes may be indulged in with advantage1 according to the ability of the performer in this direction2 but he must treat it seriously4 ,if it is at all well done1 one half of the audience will remain almost convinced that some influence has been exercised over the rod4 ,the wand should then be taken in one hand1 and struck smartly on the palm of the other1 to show that it is solid1 or it can be done previous to the mesmerism4 ,this is very necessary1 as a universal idea exists1 amongst those who do not know the trick1 that the wand is made of pith1 and that the performer has some sticky stuff on his fingers4 ,it should next be held horizontally at the end by one hand1 and the other passed slowly along it once or twice1 the motion becoming slower and slower until it ceases altogether4 ,the fingers will then be between two pins1 and1 on the rod being released by the other hand1 it will apparently cling to the under surface of the one above it4 ,to cause it to attach itself to a finger or thumb perpendicularly1 it is only necessary to hang it by one pin on the outstretched member1 and the prodigy is accomplished4 ,the pin at the tip is for the purpose of suspending the rod from the end of a finger4 ,this is accomplished by pushing the pin under the nail4 ,no trick could be simpler2 therefore the performer must do all he can to make the audience believe in its extreme difficulty4 ,once or twice1 at least1 the mesmeric power should fail1 and fresh passes resorted to in order to restore it4 ,an effective action to introduce is that of placing both hands above the wand whilst it is in a horizontal position1 and then appearing to move them backwards and forwards along it4 ,this is accomplished by fixing the fingers of one hand only in the pins4 ,the hands are then parted1 and joined twice with considerably rapidity4 ,the disengaged hand must not alone be moved1 but the other as well1 otherwise it will be seen that the wand is affixed to one hand1 and the other merely moved along it4 ,the care taken by the conjuror will make this trick the more or less successful4 ,the second method is to have a ring upon the finger provided with a clamp1 which receives the wand in its embrace4 ,the only thing to be said in favour of this device is that it enables the wand to be shown round4 ,in all else it is vastly inferior to the bent pin arrangement4 ,the number of positions in which it is possible to suspend the rod are exceedingly limited1 and the probability of the ring being accidentally exposed is by no means remote4 ,as it is decidedly advantageous to give the rod round for examination1 it is always well for the performer to devise a method for handing round one rod1 free from any preparation whatever1 and then exchanging it for a prepared one4 ,this is1 perhaps1 best managed by concealing the prepared one up the coat sleeve4 ,the one that is shown round is dropped into the tail pocket1 which can be specially arranged for such a use without much difficulty4 ,the change behind the table is weak1 and a large majority of the audience invariably see through it1 in which case all the performer's subsequent actions with the article are looked upon as farcical4 ,when a dummy article is to be exchanged for a prepared one1 the change must be perfect1 or left alone altogether4 ,if the performer have any doubt about it1 let him rather dispense with the examination and consequent exchange1 for then the audience can only suspect2 but1 if any covert action is detected1 then the suspicion resolves itself into a tolerable certainty4 ,the wand for this trick is very easily made1 any ordinary wood being suitable1 and a packet of black pins1 a pair of pliers1 and a file will do the rest4 ,it is best as a stage trick1 private audiences in small rooms being somewhat too close for safety4 ,there is1 however1 a third method1 which ,i think the reader will1 after giving it a trial1 find commend itself highly1 as it enables him to use his ordinary wand1 and so avoid the suspicion naturally engendered by the employment of a fresh article expressly for a special trick4 ,our old friend1 the silken thread1 is once more the means employed1 and it may be either passed round the performer's neck1 in the form of a large loop1 or be affixed to a waistcoat button4 ,experiment will at once determine the proper length1 which will naturally vary with the physical proportions of each performer4 ,the wand is1 of course1 given round for examination1 and may be passed through the loop whilst the performer is facing the audience1 although it is1 perhaps1 the safer way to do this whilst retreating to the stage4 ,it will be found that when the thread is stretched outwards from the body by means of the wand1 acted upon by the hands1 it supports the wand by drawing it hard against the fingers4 ,at first the wand is taken in the two hands1 one near each end1 and held out very gingerly4 ,when the thread is felt to be tightly stretched1 the fingers are opened1 and it is as well to at once give a swinging motion to the hands4 ,the hands should then be drawn together and parted again two or three times1 both slowly and fast1 a slight swinging being still kept up1 and then two or three1 or single fingers can be employed1 as may the sides and backs of the hands4 ,these movements will necessitate some little practice1 in order to ensure facility of execution4 ,when enough has been done by two hands1 one hand should be placed in the centre of the wand1 the thread passing between the fingers1 when the wand will be just as securely supported4 ,the hands should be changed1 the one hand taking the wand from the other1 from beneath4 ,the finale to this method of doing the trick is the most startling of all1 the wand being suspended by one end from the tip of a finger1 and from thence given to the company4 ,to bring this about neatly1 grasp one end of the wand with the right hand and place the tip of a finger of the left hand against the other end4 ,let the wand assume a perpendicular position1 the right hand undermost1 and1 at the same time1 cause the thread to slide along until within a bare inch of the finger at the other end4 ,if the wand be fitted with ferrules1 as directed1 the thread is certain to rest at their terminations4 ,the pressure of the finger against the resistance of the thread1 delicately dispensed1 will cause the wand to be supported1 and with it in this position the performer advances to the company1 and1 with the right hand1 places it in their hands1 a very slight under sweep1 quite compatible with a graceful presentation of the article1 sufficing to free it of the slight tenure the thread holds over it4 ,as the ,fakir's wand has been on sale for very many years1 there will probably be amongst the spectators some who know its secret4 ,with these the method now described will be most successful in creating astonishment1 for it will be quite beyond them4 ,illustration3 ,,fig4 #ec4 ,a little additional sleight may be practised1 which gives finish to the trick4 ,this is to cause the wand to apparently attach itself to the tips of the outstretched fingers of one hand4 ,to the spectators1 it appears as if the fingers were merely outstretched1 and the wand placed against them1 when it adheres4 ,it is quite true that only the tips of the fingers touch the wand1 but they must be so disposed that the first and fourth are on the inside1 and the second and third on the outside4 ,the theory of the grip is the same as though the wand were held between the four fingers1 an inch or more down them4 ,what the conjuror has to study is to bring sufficient pressure to bear by means of the tips only1 the nails of the first and third fingers resting against the wand4 ,the hold is really of the most fragile description1 only one longitudinal half 7the inside one7 of the wand being operated upon4 ,a strong and rather fleshy finger will succeed best1 but1 in any case1 the first and fourth fingers must be stretched out as wide as they can be made to do1 and the whole operation will be very materially assisted by using a wand that is neither heavy1 thick1 nor slippery4 ,an unvarnished wand would be the best1 and it should be as much less than half an inch in thickness as can be made convenient4 ,weight will then be comparatively immaterial4 ,the performer will find the effect of his trick wonderfully enhanced if1 in handing the wand from one member of the company to another1 he does so by means of the apparently magnetic tips of his fingers4 ,the sleight is illustrated at ,fig4 #ec4 ,the ,magi's ,brazen ,rod4--,this is a solid brazen rod1 one quarter of an inch in thickness4 ,at each end is a brass ball1 free 7whether solid or not7 from any preparation whatever4 ,one ball is firmly fixed1 and the other screws off and on4 ,some ladies' rings are borrowed1 and a solid wooden ball1 which is subjected to examination1 is then passed on the brazen rod1 and the movable brass ball screwed on4 ,the ball ends are then held firmly by two of the audience1 and a handkerchief spread over the wooden ball4 ,the performer introduces his hands1 containing the rings1 beneath the handkerchief1 and1 in a moment1 the ball drops from the wand1 upon which1 on the withdrawal of the handkerchief1 the rings are seen4 ,there are many variations in the details of the trick2 but the one great secret in connection with it is that1 besides the solid wooden ball which is shown round1 the performer has one behind the scenes that is hollow1 and is divided into two equal parts1 which fit firmly together1 like a box and lid4 ,in the box portion is fitted a piece of cork1 in which are three slits4 ,ostensibly to fetch the solid ball1 the performer retires behind1 and there rapidly places the three borrowed rings1 for the possession of which at this stage ,i shall presently account1 lightly into the slits1 closes the ball up1 and palms it4 ,returning to the stage1 with the solid ball openly in the hand1 he gives it to be examined4 ,on receiving it back1 he has to exchange it for the prepared one 7a feat neither too difficult nor too easy71 which is passed on the rod instead1 the solid ball being vested4 ,the sequel follows as a matter of course4 ,the solid ball is re-palmed1 and secretly introduced under the handkerchief at the same time as the rings 7i4e41 their substitutes72 the hollow ball is opened1 thus leaving the rings alone on the wand1 re-closed and palmed1 the solid ball at the same moment being dropped on the floor4 ,the performer must be careful not to have the wooden balls larger than is absolutely necessary1 or he will find some difficulty in exchanging and concealing them neatly when occasion requires4 ,they must be turned with circular grooves1 in one of which the opening of the prepared ball is made1 so as to escape detection from casual glances4 ,the method of obtaining the rings varies considerably4 ,some performers put them into boxes with secret openings1 and thus obtain possession of them4 ,the simplest plan1 if one has a stage assistant1 is that described under the heading ,sleights for ,general ,use4 ,the assistant remains on the stage1 holding the wand until the rings are required again4 ,the performer then puts them in a piece of paper1 ostensibly to take better care of them1 but really to make it easier for him to get rid of them1 and they are palmed1 along with the dummy ball1 when that is taken off the wand4 ,i have seen it attempted to place the dummy rings inside the ball before re-closing it1 but the operation took too long by far in execution4 ,if too much paper be not used1 and the rings are small and tightly folded together1 it is possible to pop the little parcel inside the lid of the ball4 ,the rings could be of such a size as to allow of this4 ,the method for managing the exchange of the rings depends much upon circumstances4 ,the one ,i have given will be found generally applicable1 especially as the trick is essentially a stage one4 ,the handkerchief that is thrown over the rod should be drawn off smartly1 so as to cause the rings to spin round1 by the hand containing the ball just removed from the rod1 which it will assist to conceal4 ,on the completion of the trick1 hand back the borrowed rings on the rod itself1 and also show round the ball again4 ,there is no reason why this should be an expensive trick4 ,a brazier could make the rod and knob ends for a very few shillings1 and the two wooden balls should cost about #as4 #f;d4 ,the ,shower of ,plumes4--,this is a trick requiring a great display of dexterity1 combined with considerable boldness4 ,the performer produces1 from a large handkerchief1 enough plumes1 each nearly #b;ft4 in length1 to cover the floor of an ordinary room4 ,the plumes are rather expensive articles to purchase1 but1 when once obtained1 form an excellent stock-in-trade4 ,the method for producing them is to take off the coat1 and then1 grasping a large quantity by the lower ends in each hand1 replace the coat4 ,the compressible nature of the feathers enables a dozen or more plumes to be concealed up each sleeve4 ,care should be taken that they lie along the back of the arm4 ,the performer1 thus padded1 comes on with a large silk handkerchief in his hands1 but contents himself with remaining well at the back of the stage1 and also refrains from turning his back to the audience4 ,he waves the handkerchief to and fro1 to show that it is empty1 and then says that he will try and find something in it4 ,to do this1 he spreads it over one hand1 and1 with the other1 seizes the end of one plume through it4 ,at the same moment1 with a sharp swift movement1 the handkerchief and plume are withdrawn1 the underneath hand falling to the side1 assisting thereby in the withdrawal of the plume1 and also keeping the ends of the remaining ones out of sight4 ,the hand holding the handkerchief is inverted1 and the plume will be revealed4 ,under pretence of removing this plume1 the disengaged hand seizes another plume through the handkerchief1 and withdraws it with the same movement which casts the one exhibited on the floor4 ,the second one is then shown1 and the process of drawing out another repeated from each arm alternately1 the production of the plumes being made as rapid as possible1 the motive being to bewilder the audience1 who1 if the performer does not make any blunder1 will never imagine that they are concealed up the sleeves4 ,it is as well to draw out a couple at one time once or twice1 for the sake of extra effect1 and1 with the same object in view1 have the plumes of several colours4 ,some should be all white1 some all red1 and others all blue1 whilst another variety can be of two or even three colours4 ,never attempt to produce a plume until the handkerchief has fallen well over the arm from which it is to be drawn1 and let the whole trick be executed with great dash4 ,sometimes larger plumes are placed round the body and drawn out from the vest1 the handkerchief being spread over the chest for the purpose4 ,the attendant who picks up the plumes should make the best show he can with them4 ,some performers place the plumes in fan-shaped vases or other receptacles1 but the operation hampers the performance of the trick too much1 and also leads to too many undesirable movements to be recommended4 ,an excellent ruse is to conceal one plume beneath the carpet1 with the end just through a hole or slit in the seam4 ,the handkerchief is spread on the floor1 and the plume produced4 ,it is undoubtedly a very difficult trick to perform well1 but it produces a great effect4 ,the trick may be performed1 in a small way1 by means of ostrich feathers laid inside the shirt sleeve1 the coat sleeve being turned back4 ,the ,fairy ,flower4--,from a large cut-glass vase1 having a cover1 cut out a large portion--say1 a piece #c;in4 wide1 and extending from the top almost to the bottom1 or foot4 ,along the back edge of the top of the table affix a spiral spring of several close coils1 the free end of which should be of sufficient length1 and of such shape as to enable it to extend well over the top of the table4 ,to the extreme end of it affix a cut rose1 camellia1 or other showy flower1 and then bend it down until it is out of sight behind the table4 ,a sliding pin1 working in a couple of staples1 and having a loop at one end1 must be brought on at the side of the spiral spring1 and when the end with the flower on it is bent back1 this pin is pushed across it1 and so prevents it returning to an upright position4 ,a thread attached to the loop1 and passed out at the side1 will enable the assistant to release the spring when desired4 ,the vase is brought on1 and the best side shown to the audience1 besides being rung with the fingers or wand to show that it is sound1 and it is then placed in position exactly against the spot where the spring is affixed1 and the cover put on4 ,the performer then says that he will cause the fairies to place a flower inside the vase1 and commands them to do so4 ,he can either spread a handkerchief momentarily over the vase1 or dispense with the operation altogether4 ,the attendant pulls the thread1 the pin is drawn aside1 and the spring with the flower on it flies into the vase4 ,the cover is then removed1 and the flower taken out from the top1 a strong nip of the nails being necessary to remove it4 ,the assistant1 in removing the vase1 bends back the wire and pushes the pin over it4 ,this trick is usually performed with the aid of a box-shaped pedestal1 on which the vase is stood4 ,within this pedestal the spring and wire arrangement1 with flower attached1 is concealed1 the working being practically the same as that just described2 but the reader will1 doubtless1 agree with me1 that the introduction of a large box is likely to bring suspicion along with it4 ,the ,perambulating ,bottle and ,tumbler4--,this is a trick in which absolute sleight of hand does not appear2 but it calls for a certain amount of finish in execution1 and1 like ,a ,bottle of ,ginger ,beer1 makes an agreeable change in a programme1 both to company and performer4 ,the performer has a bottle of beer1 a tumbler1 and two cardboard covers1 which are1 in fact1 mere cardboard tubes1 open at each end4 ,beer is poured from the bottle into the tumbler1 and both articles are then placed upon the side tables1 and covered with a cover4 ,after the performance of the usual magical passes1 the covers are removed1 when the glass and bottle are found to have changed places4 ,the following is the ingenious method by which the impossibility is apparently brought about3 ,have a tin bottle made1 exactly in imitation of a beer bottle1 between nine and ten inches high1 and japanned so as to look like glass at a distance4 ,the bottom of this bottle is open1 but four inches from the lower edge is a tin partition1 dividing the bottle laterally into two compartments4 ,the upper compartment is for the purpose of containing the beer4 ,passing through its very centre1 and reaching to within half an inch of the top of the neck1 is a tube about a third of an inch in diameter1 or1 at any rate1 large enough to take a small funnel4 ,thus communication is established with the lower open compartment1 by means of the tube4 ,then have a second bottle made1 also of tin1 and japanned to match1 just large enough to pass over the first one4 ,this bottle has no interior whatever1 and is1 in fact1 a mere shell4 ,in height it need be only the merest trifle taller than the other1 and the tinman should be enjoined to keep it as narrow as possible1 compatible with an easy fit over the smaller bottle4 ,each bottle should be decorated with a flaring beer label1 taken from genuine bottles4 ,needless to say1 they must be precisely similar1 and if each has a piece accidentally 767 torn out of it1 sufficiently large to be noticed by the spectator1 so much the better4 ,in the middle of the body of each bottle is cut a circular hole1 nearly an inch in diameter1 and fully two inches removed from the nearest edge of the label4 ,further will be required the two pasteboard covers1 which may be of any length between twelve and fifteen inches4 ,these must be made to fit very closely over the bottles1 without actually clinging to them1 consequently one will be larger than the other4 ,finally1 two tumblers1 precisely similar1 will be wanted4 ,they must not exceed four inches in height1 or they will not go under the small bottle1 on account of the partition there4 ,behind the scenes the small bottle has its compartment filled with beer1 and is then placed over one of the tumblers1 the large shell bottle being finally placed over both4 ,placing the middle finger through the holes in the bottles pressure is brought to bear upon the tumbler1 which in this way may be lifted with the bottles4 ,the whole1 looking to the audience merely like a single bottle1 is thus brought on1 and placed upon the centre table4 ,the two covers are shown1 the performer explaining that they are merely made to cover the bottle4 ,suiting the action to the word1 he places the large cover over the bottle1 and at once withdraws it1 nipping it near the bottom1 so as to bring away the outer shell inside4 ,with the other hand1 the smaller cover is then placed over the smaller bottle1 and at once withdrawn4 ,the company1 knowing of only one bottle1 will fancy they have seen both covers placed over it4 ,the large cover1 having the shell within it1 must not be laid upon its side1 but stood up alongside the empty one4 ,the performer now takes the smaller bottle in one hand--holding the tumbler beneath it as well1 by means of a finger through the hole--and the visible tumbler in the other4 ,beer is poured out until the tumbler is filled4 ,the performer now says that he does not want his glass too full1 and1 replacing bottle on table1 places a small funnel into its mouth1 care being taken to insert it in the tube4 ,half the beer--neither more nor less--must now be poured into the funnel1 and it of course finds its way into the tumbler beneath4 ,the conjuror will have to experiment beforehand1 so as to discover how much liquid he must leave in the visible tumbler1 and how much he must pour away1 slight marks being made1 with a diamond or file1 for his guidance whilst exhibiting4 ,it is highly essential that each glass contains precisely the same quantity4 ,the visible tumbler is now placed upon one side table and covered with the large cover1 containing the shell4 ,the small bottle is placed upon the other side table1 with the tumbler still concealed under it1 and covered with the small cover4 ,by means of his wand1 an imaginary exchange of the articles is now made1 and the covers are lifted--that containing the shell lightly1 so as to leave the shell behind2 whilst that containing the bottle is gripped nearer the bottom1 so as to lift that article with it1 exposing the second tumbler4 ,the general method adopted in lifting the covers is to take them by the extreme top when the article contained is to be exhibited1 and at the very bottom when it is to be carried away4 ,these are certainly very safe methods2 but they are unnecessarily so1 and afford far too much clue to the spectators4 ,the variation between the positions of the hand need never exceed a couple of inches4 ,the height of the upper edge of the body of the bottles the performer may have indicated upon the outside of the cover4 ,half an inch below that line he has only to exert pressure to ensure the carrying away of the bottle or shell4 ,a little above it he is clear of them1 and need not fear carrying them away by mistake4 ,a variation of two or three inches is a natural one1 and unnoticeable4 ,poor conjurors1 too1 always treat a cover containing anything in a far too gingerly manner4 ,an empty cover they flourish about with extreme recklessness1 exhibiting the interior freely2 but1 a few moments later1 they carry the same cover about as gingerly as one would a very lofty and quivering tipsy cake or jelly4 ,spectators cannot but notice this sudden change from extreme freedom to plainly-depicted trepidation1 and generally draw very correct conclusions4 ,the conjuror should practise to be as free and as nonchalant as possible with articles that are really mysterious1 and study carefully how far he may go without exposing any secrets4 ,in the present instance1 the cover containing the shell should be flourished about a good deal1 and finally placed over the tumbler in a careless manner4 ,the change made1 the performer will of course offer to do it again1 in order to give everyone a chance of noticing how it is done4 ,he may pretend to give his spectators some assistance by telling them1 in confidence1 that the tumbler and bottle really came out at the tops of the covers1 his original statement1 that the openings were there to prevent suspicion1 being untrue1 their real purpose being to afford easy exits and entrances for the articles4 ,the articles then make a return to their original positions1 after the covers have been replaced1 the shell being carried away1 and the bottle allowed to remain4 ,the feature of the trick1 which completely mystifies the company1 is the transposition of the beer-containing tumbler4 ,the fact that the bottle has been nearly inverted1 in the act of pouring out the beer in the first instance1 precludes the idea that it could ever have been concealed in that4 ,although beer is here mentioned1 claret or claret and water may be used1 or any other showy liquid at hand4 ,the ,magic ,omelette4--,this is a very favourite trick4 ,the performer borrows two or three rings1 which are cast into an omelette pan4 ,eggs are broken into the pan1 and spirit added1 and lighted4 ,a cover is momentarily placed over it1 and1 when removed1 all traces of the omelette have vanished1 two doves taking its place4 ,this would1 perhaps1 not be so very extraordinary were it not for the fact that around the birds' necks are pieces of ribbon1 having upon them the borrowed rings4 ,such a trick may well be admired4 ,it is thus performed3 ,the pan1 about #aj;in4 in diameter1 and between #b;in4 and #c;in4 deep1 is made of plain brass1 copper1 or nickel1 and has a slight turnover edge1 turning outwards4 ,the cover1 which is a shallow one1 has a #b;in4 flange4 ,this flange is for the reception of a secret lining to the pan1 containing the doves1 and left behind when the cover is raised1 after being placed over the pan4 ,it fits outside the cover flange1 loosely1 but very tightly into the pan1 for there must be no danger of its being carried away when the cover is lifted4 ,it also has a turnover edge1 precisely as has the pan1 and by means of this edge it is temporarily attached to the cover4 ,the cover1 on the under side1 at the extreme border1 has two flat hooks1 an inch or so in length4 ,these are placed on opposite sides4 ,in the turnover edge of the lining are two slits1 admitting the flat hooks4 ,to attach the lining to the cover is therefore simple1 the hooks being placed in the slits and a twist given to the cover1 which has only to be twisted the reverse way to withdraw the hooks from the lining again4 ,firstly1 the performer sends his assistant forward to borrow the rings1 which the lenders place upon the little wand he carries4 ,in returning he changes them for dummies1 as described at page #agf1 and at once retires behind the scenes1 where he has the cover and lining already prepared with the birds inside1 but not with the hooks in position4 ,the ribbons around the necks of the birds are left outside1 the insertion of a stick in the loops preventing their being pulled inside by the movements of their wearers4 ,this prearrangement is necessary1 as rapidity of action is essential4 ,a ring is rapidly attached by the ribbon loop being first passed through it1 and then opened out over it4 ,when attached1 the rings are popped inside1 the cover hooked to the lining1 and a prearranged signal given the performer that all is in readiness4 ,the performer1 in the meanwhile1 has been making his omelette1 which he must not light until his assistant signals that he is ready4 ,then he applies fire1 and1 rushing forward1 shows the spectators the rings frizzling in the midst of the eggs4 ,this is done rapidly2 and it is certainly advisable to avoid1 if possible1 the actual owners of the rings1 or the absence of a lent one may be noticed4 ,the assistant seizes this opportunity for bringing on the cover1 which he does in a careless manner2 and it is as well to bring on the wand at the same time1 as though both articles had been carelessly forgotten4 ,the majority of the spectators1 if not all1 will1 however1 be engaged with the movements of the performer1 who rushes back to his table1 claps on the cover1 his assistant firing a pistol to stir up the company to increased excitement1 and takes it off again1 giving1 at the moment1 the disengaging twist1 the lining being thus left inside the pan1 with the doves4 ,the latter are brought down to the company1 with the rings on their necks1 and the pan shown empty1 the contents being concealed between the bottom of the lining and the bottom of the pan4 ,to ,pass a ,borrowed ,ring ,inside an ,egg4--,a ring is borrowed1 and placed in a handkerchief1 or elsewhere1 and an ordinary full egg1 which may be examined1 is placed in an egg-cup4 ,the ring is passed into the egg1 which is broken by the spectators1 who also find the ring inside the egg by means of a little hook1 with which they fish for it4 ,the secret of the trick lies in the egg-cup4 ,this may be of wood or metal--the latter for preference1 wooden egg-cups being open to suspicion1 whereas plated ones are not4 ,inside the cup1 at the bottom1 is cut a moderately deep slot2 and when the performer has obtained possession of the ring by one of the methods described in this book1 he secretly places it in the slot4 ,the egg is now placed in the egg-cup1 but1 before doing so1 the performer accidentally 767 breaks the shell at the small end1 either by tapping the egg on the table or striking it with his wand1 whilst in the act of explaining that the ring is to be found inside when the egg is placed into the cup1 with the cracked end downwards4 ,a little pressure will cause the ring to be forced into it4 ,a small hook is now presented to a spectator1 who is desired to break the top of the egg1 and fish for the ring with the hook4 ,sooner or later1 the ring will be brought to light4 ,particulars to be observed in connection with this trick are that the borrowed ring must not be too broad1 or it may jam in the slot1 nor must it be of a nature likely to be injured by the contents of the egg4 ,the cup1 with egg in it1 should be brought forward on a plate or small waiter1 in case of an overflow1 a napkin being also necessary1 for the same reason1 and for the additional purpose of wiping the ring4 ,the performer should present several eggs to the company1 who select the one with which the trick is to be performed2 but he should previously ascertain that each of them fits well into the cup1 and does not jam at the sides4 ,the safest plan is to have a special egg-cup made sufficiently large to take any ordinary hen's egg1 as occasions may arise when the eggs will be provided by the house1 as would be the case in the country4 ,an additional feature is sometimes introduced of having a second egg-cup1 without any slot in it1 this one being given for examination1 and the prepared one afterwards exchanged for it4 ,the prepared one can very well be kept under the vest1 and exchanged in the act of turning round4 ,the ,flying ,cage4--,the performer comes forward with a square cage in his hand1 containing a live bird4 ,standing close in front of the audience1 he suddenly makes a movement as of throwing the cage upwards1 when that article disappears1 bird and all4 ,the secret lies in the fact that1 whilst the framework of the cage is actually of wood or metal1 and the wires of real wire1 the whole is jointed together at the corners with elastic1 and the wires looped or hinged where affixed to the framework1 so that the whole may be shut up1 cornerwise1 longitudinally1 and made to disappear up the coat sleeve4 ,the sleeve must be pretty large for this purpose1 and the shirt cuff must offer no obstruction2 in fact1 a cuffless shirt should be worn4 ,at one corner of the cage is affixed a strong black cord1 which passes up the sleeve1 round the back1 and down the other sleeve1 where it is tied to the wrist4 ,the length must be such that the performer is just able to hold the cage1 and have the cord tight4 ,the bird is inserted through the wires4 ,when the performer desires to cause the cage to disappear1 he shuts up the cage obliquely1 and1 by simultaneously stretching out his arms1 it is made to fly up his sleeve4 ,so instantaneously is this accomplished1 that even those acquainted with the means by which the disappearance is arrived at cannot actually see the cage go1 although the performer faces the company during the entire execution of the trick4 ,it is advisable to purchase a cage ready made1 in preference to constructing it oneself4 ,a black frame is preferable to a brightly-burnished brass one4 ,the ,great ,dictionary ,trick4--,few tricks have caused more general wonderment than this one4 ,it is presented in various ways2 but the original form1 to which the reader may make what variations circumstances and ingenuity may suggest1 is as follows3 ,the performer advances with several pieces of paper1 all blank4 ,these are folded and thrown into a hat4 ,one is selected by a spectator1 and left in custody of the company4 ,several dictionaries are now produced1 and handed round for subsequent reference4 ,a paper-knife is placed in the hands of a spectator1 who is desired to thrust it at will into the dictionary which the performer presents to him4 ,the book is opened at the place thus indicated1 the performer announcing the pages1 to which the holders of the other dictionaries at once turn4 ,the audience select which page and which of the two columns upon it shall be employed2 and then1 in order to ascertain which word shall be selected1 a bag containing numbered counters1 shown to be all different1 is presented to another spectator1 who draws one1 and is asked to announce it4 ,the word corresponding to that number1 counting from the top of the page1 is then read out1 and on the paper previously chosen being opened1 the word is found written upon it4 ,the working of this trick is as follows3 ,the dictionary which is presented by the performer to the holder of the paper-knife is composed of two pages only1 repeated over and over again1 throughout the book4 ,thus1 it makes no difference where the knife may be thrust4 ,say that the thirteenth word on the right-hand column of the left-hand page of the book is the one selected by the performer4 ,he would first ask someone which page he should take4 ,if the right hand were said1 the performer immediately ejaculates1 ,your right hand2 thank you6 and immediately proceeds to have the right-hand column selected by someone else1 in the same one-sided manner4 ,the selection of the proper word is thus managed4 ,the bag is a double one1 and in one side are numbers running in proper arithmetical progression4 ,these are shown and replaced4 ,in the other side are a quantity of counters1 but each is numbered thirteen1 so the drawer is bound to draw that number1 the performer taking care to open that side for the insertion of his hand4 ,the corresponding word has been previously written upon the paper4 ,this may be forced upon the selector by being placed upon the crown of a hat in a circle with other pieces1 the hat being adroitly turned at the proper moment1 so that the desired piece of paper comes to the hand of the chooser4 ,this force must not be insisted upon if the chooser be at all unwilling1 and the performer must resort to the alternate ruse 7which many prefer entirely to the force7 of a change4 ,for this1 the prepared paper is held in the left hand1 and a plain paper apparently put into it by the right1 it being1 of course1 retained there1 and the one in the left hand exhibited4 ,when performed many times before the same company1 different arrangements of pages will have to be adopted1 or the recurrence of the same page may easily lead to detection of the fraud4 ,magical ,wine4--,the performer comes forward with a glass of port wine in his hand4 ,he then explains the convenience of being a conjuror1 since one can always accommodate one's friends4 ,for instance1 here is a glass of port wine4 ,the friend to whom it is proffered does not happen to care for port4 ,in the ordinary way the wine would be wasted2 but not so with the conjuror4 ,all he has to do is to borrow the friend's handkerchief 7here a handkerchief is borrowed71 and1 waving it thus over the glass1 see1 the wine has changed to sherry6 ,but the friend does not like sherry either4 ,what does he like1 then8 ,a little spirit8 ,yes6 ,gin1 perhaps8 ,if you please4 ,the handkerchief is once more waved over the glass1 and the sherry turns to gin1 which the company are welcome to prove by the ordeal of taste4 ,the secret of this trick lies in two pieces of coloured glass1 shaped thus3 ,illustration so as to fit perpendicularly into a wineglass4 ,one piece of glass is yellow1 to represent sherry1 and the other red4 ,the performer advances with the glass full of gin1 and the two glasses placed in it4 ,the red and the yellow commingling produce the tawny port colour4 ,it need hardly be said that the edges of the glasses must never be towards the company4 ,the first time the handkerchief is placed over the glass the red glass is abstracted1 leaving the yellow1 which is removed on the second occasion4 ,the glasses are most easily palmed4 ,provided with his glasses1 the performer will find this a handy trick to perform extempore at the houses of friends1 where water might be used if gin were not handy1 or else very pale whisky4 ,it is not of sufficient importance for the stage4 ,the ,sack ,trick4--,this trick is variously performed1 but ,i shall only give one method1 as being the one best within reach of the amateur4 ,it requires the aid of an assistant1 who comes forward undisguisedly as such4 ,a large sack is handed round to the company1 along with a piece of cord1 for examination4 ,as a matter of fact1 there is nothing to be discovered in connection with these articles4 ,into the sack the performer or his assistant steps1 and it is tied securely over his head1 the cord being finally sealed by one of the company4 ,a screen is placed in front of the individual in the sack1 and1 in a very short space of time1 he comes from behind it with the sack in his hand1 and minus a boot4 ,the sack is given to the company for examination1 when the mouth is found to be firmly tied and the seal unbroken1 whilst the missing boot is clearly inside1 it being thereby conclusively demonstrated that it was actually the sack which contained the owner of that piece of wearing apparel4 ,the seal has to be broken before the boot can be recovered4 ,the explanation is that there are two sacks1 the second one being concealed up the back of the person who is tied up4 ,so soon as he is put into the first sack he gets down the concealed one1 and pops his boot into it4 ,he then folds the mouth of it neatly1 and1 as his confrre forms up that of the visible sack for tying1 he thrusts it up into his hand4 ,the tyer1 holding his hand so as to conceal the fact of there being two mouths1 ties up the inside one very securely--a few folds of the cords just nipping the outside sack also1 so that the hand holding them may be presently removed without any exposure resulting4 ,the greatest care must1 of course1 be taken that the sealing is done upon the inside sack only1 the tyer superintending this operation very closely4 ,everything depends upon the neatness with which he performs his part4 ,if it is a clumsy job1 the sealing must be dispensed with1 or the sealer will notice the presence of two sack mouths4 ,the material of which the sacks are made should1 therefore1 not be very thick1 or the cord will not be able to conceal the outside sack mouth4 ,when the screen is placed in front1 the man inside carefully pulls away the outside mouth from under the cord1 and he is free4 ,the first sack he merely hangs up behind the screen--which is afterwards folded up and carried away with the sack inside it--and comes forward with sack number two1 which he has never been inside1 in his hand4 ,it is a good stage trick4 ,the ,dancing ,sailor4--,this is a trick which may always be relied upon not to fall flat1 and should be introduced whenever the audience has had a good dose of serious tricks administered4 ,the feat consists in taking the rude effigy of a sailor1 cut out of a simple piece of cardboard1 which may be freely and minutely examined by the company1 and1 standing it on the floor1 to cause it to remain there1 and to dance according to the directions of the performer1 without any visible means of support becoming evident4 ,the sailor can be very easily manufactured in an hour or so1 out of a piece of fairly thick card4 ,the trunk and head should be cut out of one piece1 with the arm1 from the shoulder to the elbow protruding at a considerable angle4 ,the forearm is jointed on1 as are also the legs1 which must be in two pieces4 ,the joints may consist of thread1 and should be very loose4 ,the design may be varied according to the fancy of the maker1 but he will be safe in giving to the cheeks and nose an extravagantly rubicund hue1 and the mouth a humorous turn4 ,the hat should be on one side1 the trousers broad at the bottom1 and the feet large1 and turned outwards1 and slightly upwards4 ,when the jointing has been done1 it is as well to cover the whole figure with thick paper1 on both sides1 in order to obtain a smoothness of exterior4 ,in pasting on this paper1 care must1 of course1 be taken that the joints are not touched by the adhesive matter employed1 or they will not work properly4 ,the whole figure1 to look sufficiently imposing1 should stand quite #ae;in4 high2 but if it be intended to dance it upon the table1 then #ab;in4 is sufficient4 ,effect is everything in conjuring1 and a great deal may be lost by having things just a size too small4 ,in performing the trick1 the conjuror brings forward the sailor1 whose appearance1 if properly designed1 should at once create amusement4 ,he is given for examination1 and the performer then retires to the stage1 bending1 as he does so1 the arms of the figure at the armpits slightly backward from the body4 ,he then proceeds to show the company that no threads or wires are anywhere about4 ,this he does by slashing about in every direction1 high1 low1 and on either side1 with his wand4 ,as a matter of fact1 no threads or wires are within his reach1 so he cannot do wrong2 but a thread does exist in connection with the trick all the same4 ,it should be a fine silk thread4 ,invariably use silk for everything1 as it is both stronger1 finer1 and more durable and pleasant than cotton4 ,if two assistants are available1 there should be one on each side of the stage1 holding the ends4 ,when the performer is doing his slashing around1 the thread is simply held as high as possible1 the expedient of standing upon chairs being resorted to by the assistants1 if necessary4 ,it is very often the case1 however1 that the aid of only one assistant is possible or advisable4 ,the thread must then be fixed on one side of the stage1 at the proper height from the floor1 a few inches of elastic being first tied on to counteract the effect of any unpremeditated jerk1 which might easily prove disastrous to the trick4 ,the elastic1 being thick in substance1 must be out of sight4 ,if the dancing is to be done upon the floor1 then the thread must be affixed about an inch higher than the armpits of the figure 7to allow for the drop in the centre of the thread71 and allowed to lie upon the floor1 except when in actual use4 ,if the dancing be done upon the table1 the assistant must do the best he can1 and the performer use judgment in the way he sweeps with his wand4 ,when the assistant receives his cue from the performer1 which may be done in a thousand different ways1 he lowers the thread1 and holds it taut4 ,the performer then places the figure directly over it1 allowing the thread to pass under the armpits4 ,as these have been pressed back1 the thread will pass across the front of them1 and across the back of the figure4 ,the assistant must watch the figure narrowly1 so that no motion whatever is given to it4 ,a rehearsal or two is all that is necessary to make it appear that the figure stands of its own accord1 and without aid1 upon the floor4 ,any swaying motion will tend to destroy this illusion4 ,the rest of the trick follows as a matter of course4 ,if music be at hand1 the performer has a lively air1 such as a hornpipe1 played1 or1 in the absence of any instrument1 the performer must needs whistle4 ,in any case1 he keeps time with his wand1 and looks approvingly at the figure1 talking to it occasionally4 ,the assistant need jerk but very slightly at the thread to cause the figure to dance1 and he can easily vary his motions to fast or slow4 ,the legs of themselves assume various steps1 which many of the company will think to have been brought about by design4 ,once or twice the performer passes his wand over and before and behind the figure whilst it is dancing1 to show that there really is no connection4 ,if it be dancing upon the table1 a borrowed hat may be held in front of it1 and the figure made to advance upon it and dance upon the crown4 ,this1 besides being additionally diverting1 indirectly does away with any suspicion1 which might excusably exist1 as to the presence of mechanism within the table4 ,when the assistant and performer are well together1 all sorts of tricks may be indulged in4 ,the figure may be made to dance inside a hat2 and ,i have even seen a skilful performer twirl an umbrella between it and the floor1 the sailor continuing his hornpipe merrily and unconcernedly all the while4 ,if the performer chooses to add to the humour of the situation1 he may1 if the figure be dancing upon the table1 take it by the head 7it should never be touched elsewhere7 and lay it down1 saying that there has been dancing enough4 ,he then turns to the company1 and commences to say something1 as if about to explain a new trick1 when the figure suddenly starts up and commences dancing with great vigour4 ,the company laugh1 and the performer goes to the figure to lay it down1 this time with the wand placed across it to keep it quiet4 ,so soon as he begins to speak to the company1 however1 up starts the figure a second time1 the wand rolling off on to the floor1 the dance being renewed with fresh energy4 ,when the trick is to be brought to a close1 the assistant holds the thread firmly1 and the performer1 seizing the sailor by the head1 lifts him off4 ,now1 if ,i had not directed both sides of the figure to be covered with paper1 a very great risk would be run of the projections at the joints catching in the thread4 ,properly covered on both sides1 everything is smooth1 and so there is nothing to catch4 ,the figure should be instantly brought forward to the company for re-examination4 ,in a small way1 i4e41 before children1 the figure may be made to dance between the legs1 the thread being attached to the legs4 7,see ,to ,cause a ,stick or ,poker to ,stand on ,end47 ,the slightest movement of the legs in an outward direction will give motion to the figure1 the feet beating time with the air1 whether played1 hummed1 or whistled1 so as to cover the action4 ,the country public-house conjuror affects this phase of the trick4 ,the ,anti-,gravitation ,ball4--,the performer produces a solid wooden ball1 having a thick cord passing through it1 and this he allows the company to examine4 ,it is seen that the cord passes freely through the hole4 ,placing one end of the cord under his foot1 he holds the other end at arm's length1 so that the cord is perpendicular4 ,with the disengaged hand1 the ball is raised up to the other1 and1 on being released1 of course falls to the ground2 when1 however1 the performer gives the word for it to remain at the top of the cord1 instead of descending1 it obeys4 ,he then points with the wand to a part of the cord a foot or so down1 and the ball at once descends so far1 and then stops dead4 ,to any place on the cord that is indicated by the performer or any of the company the ball will stop and remain4 ,the secret of this is1 that the hole is not drilled straight through the ball1 but has an angle1 or bend1 in it4 ,the result is1 that when the cord is pulled tight the ball is held1 but when it is slackened the ball falls1 a sudden tightening being sufficient to arrest it in its career4 ,a very good form of ball is that now generally sold4 ,it has a very large hole indeed1 quite a dozen times larger than the cord passing through it4 ,this hole is slightly tapered1 and the cord is passed through a small plug fitting into the hole4 ,this plug is concealed in the performer's hand as he holds the cord1 at one end of which is a big knot1 or tassel4 ,the plug has a crooked hole drilled through it1 and when the ball is run down the cord1 so as to get the plug inside it1 the two become one1 and the ball behaves precisely as it would were it itself prepared4 ,as the spectators1 however1 fancy the ball to be strung on a cord that is many times smaller than the opening1 the force which causes the object to remain wherever it is ordered1 in defiance of the laws of gravitation1 is quite inexplicable4 ,i once saw a ,chinaman with a doll which went both up and down a cord4 ,this was very ingenious and diverting1 but was too obviously mechanical4 ,a neat way of performing this trick1 and one which ,i recommend for drawing-room use1 is to take a ball of worsted and thread it with cotton or thread1 the threading not being done straight through the ball1 but crookedly4 ,this ball will then be found quite amenable to discipline1 and1 of course1 not the least suspicion can attach to it1 the worsted being borrowed from the hostess's work-basket1 and the threading done before the company's eyes4 ,in any form1 this trick is not sufficiently important for the stage1 there being no variety or change in it4 ,to ,cause a ,stick or ,poker to ,stand on ,end4--,for this feat the performer must be provided with #b;ft4 or so of fine black cotton or silk1 with a black pin at each end1 securely tied on4 ,the pins may be either bent or straight1 and must be fixed in the trousers at the calf1 one in each leg1 which will enable the operator to walk about without any fear of the thread getting him into trouble4 ,the performer first takes a stick or poker 7if a poker1 it should be a light one71 and1 after having had it examined1 proceeds to mesmerise it1 as he will call it4 ,this mesmerism should be conducted with the greatest seriousness imaginable4 ,when the magnetic influence has been properly aroused by rubbing1 c41 the performer should sit down and open his legs1 so causing the cotton or silk to become stretched4 ,he then takes the stick or poker1 and stands it upon the floor in front of him4 ,on being left to itself1 it1 of course1 falls to the ground1 but after three or four failures1 the performer brings it against the thread1 and then1 making several mesmeric passes with the hands1 relinquishes all hold4 ,the stick or poker will1 of course1 be supported by the thread1 but during the whole time it is so sustained the hands must be waved over and around it1 as though exercising some influence over it4 ,do not prolong this trick more than can possibly be avoided1 but get out of sight and remove the pins and thread with all despatch4 7,see also ,the ,dancing ,sailor47 ,,chapter ,,xvi4 ,,the ,,cornucopian ,,hat4 ,,on ,,skill--,,cannon-,,balls--,,cauliflower s--,,the ,,distribution--,,bonbons ,,and ,,flowers--,,shower ,,of ,,cups--,,multiplying ,,balls3 ,,how ,,to ,,make ,,and ,,how ,,to ,,produce ,,them--,,bundle ,,of ,,firewood--,,reticules ,,and ,,dolls3 ,,how ,,to ,,make ,,them--,,birdcages--,a ,,feast ,,of ,,lanterns--,,an ,,unfortunate ,,climax3 ,,how ,,to ,,get ,,out ,,of ,,it--,,the ,,flying ,,hat4 ,one of the most taking of all the tricks performed by the many public exhibitors is that in which a hat is borrowed from the audience1 and at once from its interior are produced a quantity of heterogeneous articles1 the nature and number of which cause1 not only the greatest merriment1 but also the most unbounded astonishment that they should ever have found lodgment in so unsuitable a receptacle as an ordinary chimney-pot hat4 ,the reader will hardly require to be told that every article which is produced from the hat has first to be introduced into it by the performer1 and on the skill with which this is done will the success of the trick depend4 ,it must be understood that there is no middle degree of perfection allowed in performing this trick4 ,no one must be able to say1 ,yes2 he got them in pretty well that time--,i hardly noticed him4 ,the motion which accompanies the introduction of any article or articles into a hat must be absolutely unobserved by anyone of the audience4 ,no extraordinary degree of speed is required1 for success will depend more upon the completeness of the arrangements made by the performer for the accomplishment of his designs than upon mere rapidity of movement1 which1 as ,i have often explained1 is by itself of no use whatever1 it being impossible for the human hand to make any movement openly so rapidly that it cannot be followed by the human eye4 ,the object of the performer being to introduce certain articles into a hat without detection1 anything falling below this accomplishment is imperfect2 but1 at the same time1 anything which goes beyond this in a striving to obtain an ideal perfection is useless1 and results in a mere waste of energy4 ,the essence of the trick being that it is 7apparently1 at least7 performed for the most part whilst surrounded by the audience1 the articles to be produced must be chiefly such as can be concealed about the performer's person4 ,of such a nature1 the reader will doubtless be astonished to find1 are1 when properly constructed1 bird-cages containing live birds1 quantities of ladies' reticules1 lighted ,chinese lanterns1 and many other articles entirely at variance with any possibly preconceived notions of what might ordinarily be contained in a hat4 ,the beginner1 however1 will have to commence with less startling productions than bird-cages1 c41 and graduate in the art1 as it were4 ,the ,cannon-ball4--,one of the commonest articles which it is still the fashion to produce from a hat is a cannon-ball1 or1 rather1 the wooden semblance of one4 ,this is introduced from the shelf1 which is provided with little hollows for the reception of such unstable articles4 ,it has a deep hole1 just large enough to admit the middle finger1 and is so disposed that a hand placing a hat momentarily1 brim downwards1 on the back edge of the table would be able to introduce the finger without difficulty4 ,the finger firmly inserted1 the hat is drawn off1 and1 naturally falling backwards1 covers the ball1 which is furthermore curled into the hat by means of the finger4 ,if the ball were solid and made of any heavier material than wood1 this would not be possible of accomplishment4 ,the usual method is to have two cannon-balls1 one a hollow one of zinc1 blackened1 with a hole about two inches across made in it4 ,this hole is covered by means of a sliding lid1 which lid has a smaller hole in it for the introduction of the middle finger4 ,the ball is filled with articles1 almost invariably purchases made at a baby linen warehouse1 which are produced1 with all possible effect1 one by one1 before the ball itself4 ,sometimes the ball is packed as tightly as possible with feathers1 in which case a very large quantity can be produced1 a small pinch from the ball sufficing to apparently fill the hat1 which should be exhibited1 ostensibly full1 to the audience every now and then4 ,if feathers are used1 a large cloth should be spread upon the floor1 or there will be a sad litter4 ,the introduction of the cannon-ball must not1 however1 form the commencement of the trick1 but follow on something else in which a hat has been required4 ,it would never do to borrow a hat and straightway march with it to the table1 there to execute divers entirely unnecessary movements4 ,under such circumstances1 the audience would be surprised if something were not produced from the hat4 ,there are many tricks mentioned in which a hat is used4 ,whilst the result of one of such tricks is being exhibited with one hand1 the other can easily introduce the cannon-ball1 without fear of detection1 if the performer's manner leads the attention elsewhere4 ,the ball safely in the hat1 the performer steps briskly forward to return the borrowed article1 and1 just as he is about to put it into the owner's hand1 he makes a slight start1 saying1 ,i did not notice it before1 sir1 but there is a little something just at the bottom of your hat4 ,what is it8 ,something belonging to your little girl1 ,i presume--a pair of socks1 c4 ,the articles are then deposited on a chair or side table1 and a motion made of returning the hat when a little something else is noticed4 ,the ball being by this time worked round in the hat so that the opening is concealed from view1 the hat can be exhibited with the ball sticking inside4 ,after remarking that it is a very extraordinary thing to carry in a hat1 and surmising therefrom that the infant to whom the clothes just discovered belong must be a ,woolwich infant1 great1 but unavailing1 efforts are made to extract the ball4 ,in order to make it appear to stick in the hat 7which sticking makes its presence there at all seem all the more inexplicable71 invert the hat1 and introduce a forefinger from each hand beneath the ball4 ,the whole can be then well jerked two or three times4 ,it is at length got out by the assistance of your attendant1 who is directed to give it to the gentleman to put in his waistcoat pocket4 ,for the sake of effect he staggers towards the audience1 but the performer recalls him1 saying that he will send on the articles by parcels delivery4 ,whilst this is being done1 the wooden ball is got inside the hat1 which is once more carried down towards the owner4 ,the discovery of more contents is made1 as before1 and the performer remarks that had he known that the owner of the hat carried a complete arsenal about with him he would have borrowed someone else's hat4 ,the hat is jerked as before1 and at the third or fourth attempt the ball is allowed to drop on the stage4 ,this will confirm the idea in the audience that the first ball was solid1 should there1 by chance1 be any wavering on the point4 ,the only objection to this really very effective phase of the trick is1 that it has been done so often2 the consequence is that so many1 anticipating correctly that which is about to come1 are better able to divine the means by which it is accomplished4 ,the best way to guard against this is to introduce the features at unusual moments1 taking advantage of any favourable circumstance or opportunity that may casually transpire4 ,a cabbage or cauliflower is often introduced into a hat in place of the solid ball1 and is very effective4 ,a hole for the finger can be made in the stalk1 but it is advisable to push a tin tube into the hole1 or bind the outside of it with cord1 as the stalk will sometimes give way1 and a disaster1 in the shape of a vegetable falling down heavily from behind the table1 occur4 ,in using a cabbage or cauliflower1 be careful to clean and dry it well on the outside1 or a hat lining may be spoiled4 ,the ,distribution4--,the gratuitous distribution of bonbons1 flowers1 c41 from a hat is1 owing to the expense entailed1 hardly such a favourite variation of this trick with professionals as with amateurs--that is1 with those very few amateurs who are able to execute it with any degree of success4 ,it requires an unusual amount of sang froid and boldness1 combined with a perfect dexterity4 ,when ,i can obtain nothing else1 ,i use bonbons1 but they are not the best article to employ1 on account of their bulk4 ,the sweets known as kisses--pieces of toffee wrapped in gold and silver paper--and gelatine bags of sweets are far more showy1 as so many more can be introduced at a load4 ,the performer must have either some black silk bags or else some pieces of black silk1 in which the articles are packed and tied with the thinnest cotton or silk1 which need only be just strong enough to keep all together4 ,three or four little parcels should be made up and stowed away inside the vest and in the breast pockets of the coat1 where they can be reached without difficulty4 ,the performer then advances1 with an orange or similar article concealed in the hand1 and borrows a hat4 ,the hat is quickly taken in the hand containing the orange1 and shaken1 with the remark1 ,why1 you have left something inside1 sir4 ,the shaking is to prevent the article falling on the crown of the hat with a thud1 which would too plainly reveal the moment of its introduction into the hat1 which is then inverted1 thereby causing whatever may be inside to fall out upon the floor4 ,all eyes1 including more particularly your own1 will be turned towards it1 and you seize the opportunity to introduce one of your packages into the hat4 ,the action of stooping to see what it is that has fallen will naturally cause the hat in the hand to come against the breast4 ,the other hand is then introduced beneath it1 and the bundle slipped noiselessly in4 ,the instant this is done1 obtain possession of the orange1 and be as funny as you can about it with the owner of the hat4 ,you then discover other things in the hat1 and just before one bundle is exhausted introduce another4 ,the most extraordinary expedients will at times have to be resorted to for accomplishing this1 varying according to the position in which the performer is placed4 ,one movement that should always be tried is a rapid three-quarter turn on the heel1 during which a bag is whipped in4 ,another ruse is to allow the wand or some of the contents of the hat to fall1 and so obtain a momentary diversion whilst stooping for them4 ,any approach to hesitation will be fatal4 ,when a fresh supply has been obtained1 turn the hat upside down1 supporting the contents with the fingers1 and1 shake it1 thus appearing to show it empty4 ,a splendid ruse to adopt at such a moment1 in order to intimate that the hat is still empty1 is to apparently read out the name of the maker 7which you have previously noted71 and say that you will go to him in future for your hats4 ,should there be no name1 say you are sorry1 as you wanted to know where such curious hats are to be bought4 ,the introduction of flowers from the performer's person is not advisable1 it being impossible to keep them from being crushed4 ,they are best introduced from the shelf1 and for this purpose the following little arrangement will be found useful3 ,procure a tin or zinc cylinder1 about two inches in diameter1 and two inches long4 ,around the outside of this have affixed a number of small cylinders1 each capable of admitting the stalk of a flower4 ,such an article will hold some thirty flowers at least1 or even tiny button holes can be employed4 ,round the cylinder pass some wire1 a portion of which form into a loop4 ,the whole arrangement can then be suspended at the back edge of the table1 or behind a suitable chair4 ,by having some packs of cards introduced into the hat in the first instance1 an excuse for going to the table or chair is obtained4 ,packs of cards make a great show when the hat is tossed vigorously about1 so that some of the contents fly in the air and out on the floor4 ,the last few can be taken out by the hand and thrown in the air in such a manner as to flutter as much as possible between the audience and the hat1 which is1 at the same time1 brought into the position favourable for getting the flowers into it4 ,the wire loop is easily found by the fingers1 and1 on the hat being brought backwards1 when the table is used 7forwards1 with the chair71 the bouquet is easily introduced4 ,the cylinder arrangement is often made much larger than two inches each way1 but no very increased effect is thereby obtained--certainly not sufficient to compensate for the augmented difficulty in getting rid of the article after it is done with4 ,when made of the size ,i have given1 it is simply concealed in the hand1 as are the bags or pieces of silk in which the cards1 c41 have been wrapped4 ,the ,shower of ,cups4--,amongst other things1 a favourite production from hats is an enormous quantity of tin cups1 very similar to those used in the cup and ball trick described in ,drawing-room ,magic1 but much larger4 ,these cups1 being all of the same taper1 fit well one into the other1 and1 being also very thin1 a large number can be well put together without forming a very formidable pile4 ,fifty is a very common number to introduce into a hat at one load4 ,the upper rim is turned over outwards1 to give the cup a look of great solidity1 and the bottoms are fairly thick1 for strength4 ,they should be wrapped in silk1 and the inside cup filled tightly with ribbons or cut paper1 or anything else that will make a great show when distributed4 ,the performer then walks about the stage tossing the cups out of the hat with great rapidity on to the floor1 occasionally placing a few on the table upside down4 ,a dozen or so on a table make a good show1 and they are also useful for concealing the bags and silk used previously for containing other articles4 ,spread out a few in the hat now and again and show it thus filled4 ,very few will suffice to fill a hat to the brim4 ,these cups are1 perhaps1 best purchased at conjuring apparatus houses1 their manufacture not being universally understood4 ,multiplying ,balls4--,these1 which are by some persons considered even more effective than the cups1 can be made1 for the most part1 at home1 with a little expenditure of ingenuity and trouble4 ,they consist of an ordinary cloth ball covering1 with an extraordinary interior1 consisting1 as it does1 of a tapering spiral spring4 ,although ,i have succeeded in producing springs of the required shape by twisting wire round a peg top1 ,i cannot conscientiously recommend anyone else to adopt a similar method of proceeding4 ,a professed wire-worker would do the thing much more satisfactorily in every way4 ,the covering is a very easy matter1 and any one of the weaker sex may be confidently entrusted with it4 ,six of these balls1 when pressed tightly together and tied with cotton1 take up only a very little more than the space that would be occupied by a single ordinary ball4 ,eighteen1 or more1 in batches of six1 can be introduced at one time if tied up in silk4 ,the cotton of one batch being broken1 the hat will be entirely filled1 and the process can be repeated1 the hat being each time shown to the audience in a replete condition4 ,a tray should be at hand on which to place the balls1 great care being necessary to prevent any of them falling to the floor1 which would at once reveal their unreal nature4 ,when the balls are used1 as is not unusual1 in conjunction with the cups--that is to say1 either immediately preceding or following them--it is advisable to have an ordinary stuffed cloth ball1 exactly resembling the multipliers1 inside the inner cup4 ,this ball is allowed to fall and roll towards the audience 7accidentally1 of course671 who will require no admonition to examine it4 ,the balls can also be made to multiply in the hands4 ,for this purpose1 take one bundle and spin it high in the air 7be sure to spin it well71 and1 catching it as it descends1 give it a sharp twist1 to break the cotton4 ,as the balls will all suddenly expand1 the hands must be held very hollow and kept close to the breast1 against which they should be sustained4 ,another method is to break the cotton1 but prevent their bursting out1 and1 holding up the hand containing them1 with the back towards the audience1 roll the balls into view1 one by one1 by means of the other hand4 ,these effects are both good1 but must be done with dash4 ,both the cups and balls are best got into the hat from the shelf4 ,the safest way to get them is1 in the first instance1 to introduce the cards into the hat1 which1 after shaking about1 empty on the table with a bang4 ,a favourable opportunity for introducing anything is thus made4 ,some conjurors have an arm protruding at the back of the table1 on which bundles of cups1 balls1 c41 are suspended1 and got into the hat by means of a sweep of that article4 ,this is an excellent method1 when the performer does not make a bad shot1 and sweep the whole on the floor instead of into the hat4 ,bringing the hat round the end of the table1 and1 tipping things into it from the corner of the shelf1 is a method in use1 but it is a bad one4 ,bundle of ,firewood4--,immediately after the taking out of a dozen or two of balls or tin cups1 the performer may1 if his previous arrangements tend thereto1 proceed to extract from the hat a common bundle of firewood1 which1 the company may see1 entirely fills the interior of the hat by itself4 ,as1 subsequent to the extraction of the balls1 the performer has not even retreated to the stage1 the company cannot but be at an utter loss to account for the presence of so ponderous a body4 ,the bundle of wood is1 however1 far from being what it seems4 ,that portion of it1 the exterior1 which is visible to the company1 is genuine enough1 being firewood1 but this is only an outer layer glued upon a cylindrical shape of thick pasteboard1 bound round1 so as to look real1 with a piece of string taken from a genuine bundle of wood4 ,the bundle has only one end1 made1 of course1 of pasteboard also1 and covered with half-inch lengths of wood1 which will present a perfectly real appearance4 ,into the open end are crammed the cups1 balls1 or other articles1 which1 being produced1 enable the performer to subsequently extract the supposed bundle of wood without having refilled the hat4 ,some bundles are made with both ends covered1 one end having a trap opening in it4 ,this is to prevent the possibility of the unreal nature of the article becoming known2 but ,i really do not see why both ends should ever be exposed2 and1 with the end perfectly open1 the extraction of articles is very much facilitated4 ,the bundle must1 of course1 be introduced into the hat from the shelf1 it being too decidedly bulky to carry about the person4 ,reticules4--,a quantity of these articles are sometimes produced from a hat4 ,they are1 as may be imagined1 far from being the substantial objects they represent4 ,the ends fall inwards and lie flat on the bottom1 to which they are hinged by means of calico1 and the tops1 sides1 and bottom are hinged together also by means of calico1 and so double up4 ,a piece of cord1 tape1 or thin leather strap runs through two holes1 about an inch apart1 in the top1 the ends being affixed to the ends of the reticule1 inside4 ,a pull at the centre of this cord1 c41 raises the ends1 which force the other portions into position4 ,the outside is covered with cloth1 and otherwise decorated to represent a small reticule4 ,i have seen them made of playing cards without any outer covering whatever4 ,the result was1 that the audience saw through the whole thing at once1 as was but natural4 ,a dozen or more of these reticules can be introduced at once1 and they make a good show4 ,they can be easily made from playing cards1 and afterwards covered4 ,dolls4--,calico dolls1 with spiral springs inside1 can also be effectively employed4 ,a tolerably large one1 introduced into the cannon ball with the baby's clothes1 is effective when produced last of all4 ,in any case they should not be less than #f;in4 in height4 ,the face and greater portion of the dress must be painted on1 a few little bows1 artfully disposed1 serving to make the doll look as substantial as possible4 ,bird-cages4--,this is a trick which ranks almost as high in public estimation--the only gauge1 by-the-bye1 by which conjuring tricks can be measured--as the gold-fish trick4 ,the same principal feature--the production of a substantial article1 containing living things1 from such unsuspected regions as the interior of a hat1 or the folds of a handkerchief--is in both1 and the audience is1 in each instance1 in the same dilemma in endeavouring to explain where the article comes from1 and how the living creatures get into it4 ,it may sound like exaggeration to assert that two substantial cages1 #f;in4 high1 each containing two live canaries or other birds1 can be produced from a hat from one load1 but such can be done1 nevertheless4 ,the cages are of wire at the top and on the sides1 the bottom being solid and heavy4 ,the sides are hinged to the top1 under which they fold1 when the bottom1 which slides up and down the sides1 is pushed up4 ,the top being domed1 the birds are safe therein1 not as comfortable1 perhaps1 as they might be1 but still unhurt4 ,the bottom pushed up and the sides doubled under1 the whole is scarcely #b;in4 in depth2 and two cages1 placed bottom to bottom1 and kept together by means of an elastic band or by a thread1 can be got into the hat from the coat breast-pocket in the prescribed manner4 ,to produce them1 it is only necessary to raise the upper portion1 by means of the ring there affixed1 and the bottom will run down into its place1 causing the sides to go into their positions4 ,these cages are also produced from handkerchiefs1 in which case it is usual to have them of very large dimensions4 ,herrmann produced one at times which had to be concealed up his back1 so large was it4 ,this was produced1 without detection1 in the very centre of the audience4 ,illustration3 ,,fig4 #ed4 ,illustration3 ,,fig4 #ee4 ,illustration3 ,,fig4 #ef4 ,chinese ,lanterns4--,the production of six or more of these articles1 all ablaze1 from a borrowed hat1 causes an effect not far from astonishing4 ,the well-known collapsible nature of the articles would render the production of a number of them from a hat a matter of no great marvel were they unprovided with a light4 ,what cannot be readily explained is the feature of so many lanterns being alight in the hat at one time without burning either the hat or one another1 or1 indeed1 how they can all be alight at one time at all4 ,the secret lies in the construction of the bottoms of these lanterns1 and the positions of the candle or wick holders4 ,the bottoms are made of tin1 and on one only of each series of lanterns is the candle holder placed in the centre4 ,this lantern ,i will call ,no4 #a 7see ,fig4 #ed74 ,no4 #b has the holder a little on one side1 and a hole through its centre to admit of the candle or wick of ,no4 #a passing through it 7see ,fig4 #ee74 ,no4 #c has two holes1 corresponding exactly with the candle holders of ,nos4 #a and #b1 which pass through its bottom1 and its holder is at the side of the hole through which the holder of ,no4 #b passes4 ,no4 #d has three holes1 ,no4 #e four holes1 and so on all through the series1 which generally consists of seven or eight1 that number being about as many as can well be managed at one time 7see ,fig4 #ef74 ,as the holder of ,no4 #a has to pass through the bottoms of the remaining seven lanterns1 it must1 of course1 be very long4 ,the holder of ,no4 #b will be a little shorter1 and the next shorter still1 that of ,no4 #h being of the ordinary length4 ,by this means all the wicks will be on the same level when the lanterns are packed together4 ,the tin bottoms do away with any danger of a flare up1 and also1 from their weight1 cause the lamps to open easily1 which is of great assistance towards the success of the trick4 ,the upper rims are also of tin1 for strength and security4 ,a few sulphur matches1 which strike noiselessly1 should be affixed to the upper rims of the topmost lantern1 whereon should also be some sandpaper1 on which to strike the matches4 ,the whole should be tied together with string1 and concealed in the breast pocket1 from whence they can be introduced into a hat in the midst of the audience4 ,the match struck1 the wicks are all lighted almost simultaneously2 and1 the flames burning the string1 the performer is enabled to take out the lanterns in rapid succession by means of a bent piece of wire affixed to the rim of each4 ,an attendant should be at hand with a pole or broomstick1 on which to hang the lanterns4 ,a deep round hat is better than a chimney-pot1 the extreme depth of which sometimes causes the performer to burn his fingers4 ,this trick is well worthy the attention of amateurs1 as it is but little worked1 the majority of performers being frightened at it1 but without any reasonable cause4 ,any tinman will make the plates and rims cheaply1 and the paper sides can be taken from the ordinary lanterns and transferred1 so that the trick need not be an expensive one1 by any means4 ,an excellent title for it is ,a ,chinese ,feast of ,lanterns4 ,always remember to hold the hat as high as possible when it contains anything3 premature disclosures of the contents mar the effect considerably4 ,climax to the ,hat of ,plenty4--,when the performer has a stage attendant of average ability1 he can conclude this or any other trick with a hat in a very startling manner4 ,the hat is given to the assistant to return to its owner1 and1 just as he is leaving the stage1 he stumbles1 falling heavily upon the hat1 and flattening it completely4 ,the performer is of course in despair1 and after a slight scene the hat is eventually restored1 it being found under the owner's chair1 or elsewhere4 ,this exceedingly impressive and amusing trick makes a very appropriate conclusion to a performance1 and is managed in two ways3 ,either the hat used in the preliminary trick is actually the property of a stranger in the audience1 and is exchanged for the one to be destroyed1 or a confederate brings it in with him1 and takes his seat on a chair or sofa1 beneath which his own hat has been previously concealed4 ,in the first instance1 the exchange must be adroitly managed4 ,the excuse of going off to brush it1 and returning immediately with the brush1 is as good as any1 although it will always be subsequently apparent to thinkers when the hat was exchanged1 by whatever method the substitution is accomplished4 ,i may say at once that this method is not so good as the second2 but confederates are not always to be obtained when they are wanted4 ,sometimes the performer borrows two hats1 and whilst he is producing something startling from one1 his attendant quietly removes the other and substitutes for it a duplicate4 ,by whatever means arrived at1 suppose the exchange effected1 or1 what is the same thing1 the conjuror's own hat borrowed1 and the assistant lying prone upon the floor4 ,he must then rise slowly1 with a rueful look upon his countenance1 and1 if any object1 such as a tin cup1 be lying upon the floor1 he must abuse it as the cause of the disaster4 ,the performer does not at first notice what has happened2 when he does so1 he is1 of course1 greatly enraged with the assistant1 and assumes a very despondent look4 ,he expresses his regrets to the owner of the hat1 and asks if he would like the hat done up in a small parcel for convenience in carrying4 ,without waiting for a reply1 he and the assistant tear the hat up to little pieces1 some newspapers being produced and spread upon the table4 ,on the shelf is a newspaper parcel containing a crinoline1 a large doll1 or anything else that is ludicrous in appearance4 ,the shreds of what was recently a hat are wrapped in a piece of the newspaper1 with the exception of one solitary piece1 which is purposely allowed to fall upon the floor1 on that side of the table opposite to where the conjuror is standing4 ,when the parcel is made up1 the performer notices this piece1 and1 leaning well over the table1 points to it1 at the same time1 under cover of his body1 effecting an exchange of parcels4 ,the shred is rolled up1 and a pretence made of putting it in the parcel 7it is1 of course1 palmed71 which is then given to one of the audience to hold over his head4 ,a pistol is fired1 and1 if the hat be borrowed from a confederate1 he is bidden to look under his chair1 where1 naturally1 his own hat will be discovered4 ,if1 on the other hand1 the borrowed hat be genuinely the property of one of the audience1 it will be seen to fly across the stage and attach itself to the top of the proscenium1 from whence it falls at the command of the performer1 and is caught by him4 ,this additional effect is managed by passing a black cord through a hole in the proscenium1 and attaching it to the hatband by means of a very large loop4 ,the end to which the hat is affixed must1 of course1 be removed from sight beforehand1 the usual place being behind the proscenium4 ,the construction of the place of performance will naturally have a good deal to do with this particular matter1 and the performer must study what arrangements will be best4 ,wherever the hat is concealed1 it must be thrown into the air when the pistol is fired1 and the cord at once gathered in as rapidly as it is possible to do so4 ,on the command for the hat to descend being given1 the large loop is cut through1 and the hat falls4 ,if the cord were simply tied by a knot to the hatband1 a piece of it would remain attached after being cut away1 and this would give a clue to the mystery4 ,after the hat is safely restored1 open the parcel and exhibit its contents4 ,,chapter ,,xvii4 ,,tricks ,,with ,,watches ,,and ,,live ,,stock4 ,,on ,,borrowing ,,watches--,,the ,,putty ,,watch--,,the ,,glass--,,two ,,kinds ,,of ,,mortars ,,and ,,pestles--,,the ,,dummy ,,watch--,,the ,,watch ,,bag--,,how ,,to ,,reproduce ,,the ,,watch--,,the ,,loaf--,,the ,,target--,,another ,,target--,,the ,,plate ,,screen--,,the ,,adhesive ,,watch3 ,a ,,joke--,,the ,,watch ,,box--,a ,,novel ,,rabbit ,,warren--,,how ,,to ,,cause ,,rabbits ,,to ,,disappear--,,the ,,bran ,,vase--,,the ,,bran--,,the ,,welsh ,,rabbit--,,the ,,saucepan ,,and ,,cover--,,the ,,hat ,,stove--,,the ,,fuel--,,the ,,ingredients--,,the ,,result--,,the ,,bird ,,and ,,card4 ,tricks with ,watches4--,the reader has doubtless been on the look-out for the chapter which shall initiate him in the art of pounding up a friend's gold chronometer before his very eyes1 and immediately afterwards restoring it whole4 ,i have purposely introduced the subject so late in the day1 because watches are very awkward things to perform with1 and the performer should be tolerably expert before he touches them4 ,on borrowing a watch1 it is always as well to do1 or pretend to do1 something with it that shall cause the greatest anxiety to the owner as to its safety1 and consequent amusement to the unsympathising remainder of the audience4 ,to expect this of a conjuror seems to be a fairly-established custom4 ,one way of acquiescing with this unexpressed desire is to apparently incapacitate the watch for further use by bending it several times nearly double4 ,this feat is managed by holding the watch with its back to the audience between the fingers and thumbs of the two hands1 the hands being on opposite sides of the watch4 ,if both hands and watch are worked rapidly backwards and forwards 7i4e41 inwards and outwards7 three or four times1 the varying light and shade upon the shining back of the watch will cause it to appear to be really bent each time a movement is made4 ,the illusion is very perfect1 the effect being always the same1 to initiated1 as well as uninitiated1 eyes4 ,the remark1 ,ah6 yours is one of the new putty watches1 ,i see1 sir1 will assist in carrying out this effective prelude4 ,precisely the same effect may be produced with a bright florin or half-crown4 ,another effective introduction is to have palmed a watch-glass that has been either well cracked previously1 or cut deeply with a glazier's diamond4 ,bring this glass over the one on the watch1 but not touching it1 and then1 addressing the owner of the watch as to the strength of the glass1 strike it carelessly with the wand1 but not so carelessly as to break both glasses4 ,when the breakage takes place1 of course1 great consternation will be exhibited on the face of the performer1 who makes profuse apologies to the owner of the watch4 ,the pieces of the broken watch-glass are allowed to lie on the perfect one1 and the whole shown round1 it being impossible to detect the presence of the perfect glass beneath the pieces4 ,the pieces are then put in a piece of paper1 for convenience in vanishing1 and the trick can proceed4 ,the ordinary method for destroying a borrowed watch is to have a mortar 7usually of wood7 into which fits an inner lining4 ,over the whole fits a pasteboard cover1 with a fairly large round hole in the top1 in which the lining is concealed at the commencement of the trick4 ,the mortar is shown round and the watch put in4 ,the cover is then put on--for the purpose of preventing the pieces of the watch flying out1 it is explained--and the false lining thus introduced4 ,this should be done quickly1 and without any show of care1 which would only excite suspicion4 ,a pestle is then introduced through the hole in the cover1 and a terrific amount of pounding goes on4 ,some old watch works and bits of plated gold1 which have been in the false lining from the commencement1 are then exhibited by removing the cover only4 ,another description of mortar is one with the bottom revolving on a pivot4 ,when the watch is put in1 this bottom is pushed up a little on one side from underneath1 and the watch falls through into the hand4 ,the pestle used in conjunction with this is a very thick one1 especially at the end1 in which are concealed some watch works4 ,the action of a piston1 similar to that used in the one for ,the ,hatched ,card1 will propel these pieces into the mortar4 ,a far bolder method is to be provided with a dummy toy watch1 and exchange it for the borrowed one1 and then actually pound it up in an ordinary metal mortar4 ,this method will succeed best in public audiences1 where an individual watch is not likely to be known by many persons in the audience4 ,in showing round the watch1 in its demolished state1 in the mortar1 there is no necessity for allowing a lengthened view1 much less a minute examination1 to be taken by anyone2 and it is as well not to allow the owner of the watch to see the wreck at all4 ,instead of a mortar1 a long bag1 made of alpaca or any other strong stuff1 and about three inches broad and two feet in length1 is sometimes used4 ,this has sewn in one end of it some solid body1 fairly resembling a watch in shape and weight1 and the other end is open4 ,about four inches from the mouth a seam is stitched across4 ,the watch1 on being put into the bag1 stops at the seam1 whilst the performer takes up the other end1 to which the watch has presumably descended1 and exhibits the contour of the article or articles 7a quantity of small broken pebbles is frequently used7 there concealed1 with one hand1 the other hand holding securely the end containing the watch4 ,the dummy end is then struck upon a table1 or against the wall1 several times1 for the purpose of making it go better1 or of converting it into a stop watch4 ,to take the watch out of the bag1 hold the end containing the dummy with one hand1 and invert the whole4 ,the watch will slide into the other hand1 having apparently come from the far end of the bag4 ,an addition to this bag is to have the mouth portion divided into two pockets1 each one having a flap and a button4 ,in one are concealed some broken watch works and bits of metal4 ,the borrowed watch is put into the empty side1 and1 after the process of banging about has been gone through1 that containing the pieces is opened4 ,the manner of reproducing the watch depends greatly upon the ingenuity and resources of the performer4 ,every conjuror differs somewhat from his rivals4 ,a very favourite plan is to discover the watch in a loaf or roll of bread4 ,another is to cause it to appear on the centre of a target1 or in the midst of a bouquet of flowers4 ,it will be readily understood that when the supposed process of destruction has been gone through1 and whilst the performer is amongst the audience with the pieces and engaging their attention1 the assistant unostentatiously removes the mortar or bag containing the borrowed watch1 and arranges the sequel of the trick behind the scenes4 ,if the watch is to appear in a roll1 then it is put into one by the assistant through a slit1 and the roll is brought on with some others4 ,the performer takes three of these1 including the one containing the watch1 and puts one on each of the front corners of the table and one between them in the centre1 this centre roll being the prepared one4 ,he then asks the audience to select one of the three rolls4 ,of course1 all three will be named1 but the performer affects to perceive a majority in favour of the centre one4 ,a great show should always be made of deferring to the wish of the audience1 this being very effective1 and also the best way to secure the desired end4 ,the pieces of broken watch works can then be put into the conjuring pistol1 having been previously wrapped in paper1 and then fired at the roll1 which1 on being cut or broken open1 will1 of course1 be found to contain the watch4 ,should any decided predilection be shown for one of the outside rolls1 a change of tactics must be made4 ,remove the one selected and say1 without exhibiting the slightest appearance of embarrassment1 ,that leaves two2 which one shall ,i now take8 ,if the one containing the watch be chosen1 say1 ,are you quite sure1 now1 that you would not like the other one8 ,this will cause a firmer adherence to the choice1 for it will appear that the other roll would be preferable to the performer4 ,knock the other roll off the table1 and fire at the remaining one4 ,if the watch has been neatly inserted in the roll1 it can be given into the hands of a spectator to hold whilst being fired at4 ,when a bouquet is used1 the watch is merely concealed among the flowers4 ,it should be given to a lady to hold1 in which case the pistol must be directed in the air1 and not at the bouquet4 ,the use of a target is very effective1 and the target itself is not of very difficult construction4 ,it can be either of wood or tin1 and the face should be circular1 about #ab;in4 across1 and affixed to a pillar rising from a square foot4 ,the centre1 or bull's eye1 is pierced out and revolves on a pivot1 an arrangement of watch spring or elastic causing it to keep in its place4 ,it should be black both at the back and front1 the front having a hook on which to hang the watch4 ,the assistant1 on obtaining possession of the watch1 hangs it upon the hook and reverses the centre1 a little bolt serving to keep it temporarily in that position4 ,to this bolt is attached a piece of black thread1 the disengaged end of which is behind1 in the hands of the assistant4 ,on the pistol being fired1 this bolt is removed by the thread being pulled smartly1 and the centre flies back to its normal position1 exhibiting the watch to the audience4 ,the revolution is so rapid that it cannot be detected1 the watch appearing to actually attach itself to the face of the target4 ,a good effect is produced by having the revolving centre of looking-glass1 the corresponding glass on the other side1 with a hook through the centre1 being badly starred4 ,it will appear as though the arrival of the watch had smashed the mirror4 ,another target is one with the centre in the shape of a recess1 over which a little spring blind is drawn after the watch has been hung upon a hook within it4 ,the blind has merely to be released and will fly up1 revealing the watch4 ,this principle is carried out on a much larger scale1 two or more watches and chains and a broken plate being used4 ,the chief apparatus employed is a large picture-frame1 the centre having no picture1 but being made in the form of a recess4 ,in the top is concealed a spring blind1 of the same colour as the back of the recess1 which should be black4 ,the articles to be magically exhibited on the frame are hung upon convenient hooks by the assistant1 who then pulls down the blind and brings the frame upon the stage4 ,the blind has along its lower edge a piece of wire or wood1 from the centre of which projects1 horizontally1 a small pin4 ,in the centre of the lower portion of the frame1 and inside the recess1 is a small catch1 working perpendicularly on a pivot4 ,the upper portion of this catches the projecting pin of the blind1 and the lower portion passes out at the bottom1 where a communicating cord is attached to it4 ,the action of pulling the cord releases the pin1 and the blind flies up1 leaving the articles on the back of the frame exposed to view4 ,the means for getting the watches or other articles into the hands of the assistant are various1 the most effective1 in my opinion1 being the following3 ,the performer borrows two watches1 with or without the chains attached1 and proceeds to wrap them in a piece of paper which he holds in his hands4 ,underneath this piece of paper is another1 in which some dummy watches have been previously folded4 ,in wrapping up the borrowed ones1 it is very easy1 whilst turning the parcels round and round in the hands1 to bring the dummy one to the top1 and1 getting away the real watches1 to conceal them under the vest or elsewhere4 ,passing subsequently behind the table1 they are left upon the shelf1 from whence they are removed by the assistant4 ,the supposed borrowed watches1 still in the paper1 are then put upon a plate and given to the assistant to place upon the table4 ,before reaching the table1 the assistant stumbles1 and plate and watches fly all over the floor1 the plate naturally in many pieces4 ,the usual fuss is made about the assistant's carelessness1 and he is despatched to fetch the frame4 ,the performer1 in the meanwhile1 gathers up the pieces of the plate 7less one piece purposely allowed to remain on the floor7 and the watches1 and puts them into the conjuring pistol1 putting in some paper to keep them in position4 ,during this time1 the frame is brought on and placed in position1 the pistol is fired1 and1 the blind flying up1 the plate is seen in the centre1 and the watches on either side of it4 ,the plate is1 however1 not complete1 one piece being missing4 ,the piece upon the floor is then discovered by the performer1 who passes it towards the plate1 to which it is seen to affix itself4 ,the plate and watches are then brought to the audience1 who are unable to discover any trace of joining in the plate or damage to the watches4 ,the remarkable effect of the restoration of the missing portion of the plate is managed by having a ragged triangular piece of black cloth put upon the plate1 and1 attached to it1 a thread4 ,when the pass is made1 the assistant pulls the thread1 and the piece of cloth falls down inside the frame4 ,the frame can1 of course1 be used for the reproduction of any class of borrowed articles4 ,anyone with a very light turn only for carpentering should be able to make one for himself4 ,the pedestals or feet of both target and frame should be heavy1 so as to remain firm in case the assistant pulls with unpremeditatedly extra strength4 ,an amusing and neat little trick with a borrowed watch is to cause it to appear on the back of a volunteer assistant from the audience4 ,the performer is provided with a sharp-pointed hook1 the blunt end of which is turned back in the shape of a smaller hook4 ,this he has concealed about him4 ,a watch is borrowed and immediately exchanged for one belonging to the performer1 which is given to be held by one of the audience1 as far removed from the owner as possible4 ,a member of the audience is then desired to step up on the stage1 where he is accommodated with a seat in the centre1 and facing the audience4 ,the performer has1 meanwhile1 hooked the loop of the watch on the smaller hook1 and1 taking the head of the assistant in the hands--the one containing the watch being behind--for the purpose of directing him as to the position in which it should be held1 he affixes the larger hook to the back of his coat4 ,he then directs the volunteer to open his mouth very wide1 and pretends to pass the supposed borrowed watch into it4 ,on finding that it has not reached its destination1 the performer must surmise that he threw it a little too hard1 and request the assistant to see if it be behind him4 ,on his turning round for this purpose1 the watch on his back will be revealed4 ,an extra effect can be introduced by trying the extent of the assistant's throat capacity with the wand4 ,the wand is taken by one end with the left hand1 which is placed against the assistant's mouth4 ,the other end is introduced secretly up the performer's right sleeve1 and the right hand worked vigorously up and down the wand4 ,the illusion is that the wand is thrust repeatedly down the assistant's throat to its full length4 ,this should be done quickly1 and only about three thrusts should be made4 ,if the wand used for this particular effect be a special one1 having an extra loose ferrule1 the illusion may be rendered still more perfect if the performer keeps the loose ferrule in the hand1 and slides it up and down the wand4 ,this is a very important little addition to the trick4 ,a piece of apparatus that is very much used in connection with watches is what is universally known as the watch box4 ,it is a box1 the rough dimensions of which are3 length1 #c-a_/b;in42 breadth1 #b-c_/d;in42 and depth1 #b-a_/d;in4 ,the sides1 ends1 and top are very substantially made1 and the bottom is1 to all appearances1 equally so2 but as a matter of fact1 it is made of two thin veneers1 which have little blocks of wood glued between them1 so as to leave an intervening space of one-sixth of an inch4 ,the sides and ends come down flush with the bottom1 and so conceal the deception4 ,one of the ends works on pivots1 the pivots being placed one-third of an inch from its upper edge2 and near the lower edge on the inside is a little brass plate1 with the centre keyed out4 ,the ends1 it must be understood1 are fitted inside the sides4 ,in the hollow of the bottom is concealed a catch1 which protrudes just sufficiently to enter the aperture in the brass plate4 ,no spring will be required to keep it in its place1 as is usually the case1 for if it be glued to the lower veneer1 that will possess sufficient springiness for the purpose4 ,the catch will of course require very neat adjustment1 which is merely a matter of patience4 ,it must be so arranged that the end is very easily closed1 and opened with equal facility1 by the mere pressure of a finger on the thin underside1 providing the pressure is administered just under the spot where the catch is affixed4 ,for facility in opening the box1 it is usual to place two rounded pieces of watch spring on each side of the catch1 adjusted so as to always bear just sufficiently against the end to cause it to fly open a quarter of an inch when the catch is released4 ,these pieces of spring are fixed in blocks of wood glued into position for the purpose4 ,i am not sure that the springs are not superfluous4 ,they cause the end to fly open1 certainly1 and so expedite matters1 but they are far from being noiseless4 ,i have found the action of the fingers quite sufficient for opening the end4 ,for the sake of strength1 it is as well to fill in the end where there is no spring with a large block of wood4 ,the interior should be lined with cloth or velvet1 and a good lock and key added4 ,the box is very useful for obtaining possession of any description of article that is fairly solid and that will go into the box4 ,the following description of a trick performed with a watch will suffice to show how it can be employed3 ,give the box and key into the hands of a lady1 with the request to have everything examined and the lock tried4 ,keep very near whilst this is being done1 in case of an accidental release of the catch4 ,if there are no springs used1 then this will not matter1 as the end will not fly open with a pop1 as it otherwise would1 which should be sufficient argument in favour of their disuse4 ,borrow a watch that has a light chain attached1 and1 winding the chain round the watch1 have both placed in the box4 ,allow it to be locked and the key to remain in the lady's possession4 ,now take the box1 and say1 ,although there is no doubt that the box is securely locked1 you may reasonably think that ,i have some secret means of opening the lock4 ,to prevent the possibility of my doing this1 will some gentleman kindly tie his handkerchief firmly round the box8 ,hold the box in both hands whilst this is being done1 by the opening end1 and make a deal of fuss about the knot being tied securely4 ,open the end1 and1 tilting the box1 allow the watch and chain to fall into the hands1 turning round sharply to someone else at the same time4 ,it is absolutely necessary to make a turn at this point to cover the abstraction4 ,give the box1 at the same time closing it1 into the hands of any one of the audience1 with the strict injunction not to shake it--for fear of injuring the contents1 you will say1 but really to escape the revelation of the fact that it is empty4 ,the watch and chain will be in the left hand by this time1 covered by the wand4 ,if there be any music available1 have a little of the gentle rippling order 7,the ,brook is a suitable air7 played1 and make passes in the air1 as if clutching something1 with the right hand4 ,finally make one vigorous clutch1 and hold the hand closed for a few seconds1 then open it1 showing1 of course1 nothing4 ,instantly take the wand in the right hand and strike the sole or heel of the right foot1 raised for the purpose1 and then apply the left hand to the spot struck1 the watch being allowed to drop down1 a portion of the chain being held between the fingers4 ,the several actions must follow each other with one1 two1 three briskness1 when the effect will be really very fine4 ,naturally1 it must be done far back upon the stage4 ,do not forget to have the knot untied by the person who tied it and the box unlocked by the lady who put the watch in4 ,be careful not to borrow a heavy chain4 ,in my early days1 ,i borrowed a huge watch with a chain only a trifle smaller than a ship's cable1 and with about a pound and a half of charms attached4 ,the result was the not unnatural one of a stoppage and visible embarrassment on the part of the performer4 ,if there are no small chains about1 rather borrow a watch without any at all4 ,the use of the watch box does not in any way interfere with the introduction of the previously described watch-bending and glass-breaking surprises4 ,they can come in as preludes4 ,it will naturally occur to the conjuror that the watch box may be used in connection with the watch target or loaf1 the watch being merely placed in the box instead of pounded in a mortar4 ,it will occasion the performer's leaving the stage on some pretext in order to get the abstracted watch or other article behind to the assistant1 unless the method of placing it upon the shelf be adopted4 ,i certainly object to the performer's absence from the stage as much as anything4 ,if it must be done1 then some suitable pretext 7see ,the ,restored ,handkerchief7 should be worked up to give it a colouring4 ,the watch box is a handy article to use in conjunction with ,the ,magi's ,brazen ,rod1 it being directly employed by having the rings placed in it4 ,the rings should in this case be tied loosely together with a piece of ribbon1 to ensure their simultaneous abstraction4 ,the ribbon should be of sufficient length to enable the rings to be placed in the slits in the hollow ball side by side without the necessity of untying or cutting it4 ,but on no account must the conjuror permit the convenient adaptability of the watch box to tempt him into using it more than once during the same performance4 ,this is a fixed maxim which applies to all visible apparatus1 and is one which should be always rigidly adhered to4 ,tricks with ,rabbits4--,the gentleness and docility of the rabbit makes it1 like the dove1 a favourite with the conjuror1 who does not hesitate to produce it from a hat1 and to cause it to disappear from1 and re-appear in1 most unexpected places4 ,the production of a couple of rabbits from a hat is always very startling1 and requires a deal of doing4 ,the animals are placed one in each of the large side pockets1 where1 if undisturbed1 they will lie as peacefully as could be wished1 and evidently perfectly contented with their lot4 ,the success attending the transfer of the rabbit from the pocket to the hat will depend entirely upon the skill of the performer1 and no middle course can possibly be admitted4 ,it must be done well or not at all4 ,the usual expedient of palming some article and introducing it into the hat directly it is taken into the hand will have to be resorted to1 and the article should be of a startling nature4 7,a pack of cards does very well47 ,whatever is put in must be emptied out on the floor1 and1 whilst stooping1 or rather bowing slightly to see what it is1 the performer brings the hat against his body and quickly introduces the rabbit into it4 ,the animal must be helped in1 as it were1 by the body1 and not dragged into the hat by the ears4 ,so soon as it is in the hat1 one hand should be placed under the crown1 which1 if not very strong1 might otherwise be forced out by the weight of the rabbit4 ,produce the rabbit with all due affectation of surprise1 and1 whilst showing it about1 allow it to fall4 ,by the time it is picked up again1 either by yourself or by a spectator1 the second one is in the hat1 and you express yourself anxious to know if the owner of the hat keeps a rabbit warren in it4 ,so much for producing the rabbits4 ,a favourite and very effective method of conjuring with them further is to apparently rub one into the other4 ,this is managed by the aid of the large centre trap4 ,one rabbit is placed upon the table immediately in front of the trap1 and the other pushed through the table behind it1 a great show all the time being made of forcing one rabbit into the other4 ,the remaining rabbit should be held up by the ears1 with the rump resting on one hand1 when1 to the imagination of the audience1 it will appear to be actually stouter than it was a few minutes before4 ,the remaining rabbit you affect to wrap in a piece of paper1 it being also passed through the trap1 and the paper rolled up as though it really contained an animal1 considerable agitation being communicated to it by means of the hands4 ,the performer affects to lose patience with it because it will not remain quiet1 and crushes the paper either beneath his feet or between the hands4 ,the reproduction of the rabbits 7i4e41 two duplicate ones7 necessitates the employment of a rather elaborate piece of apparatus1 unless the performer has a friend or two in the audience with rabbits in their pockets1 the production of which has a good effect1 but is seriously open to suspicion4 ,the apparatus that is generally employed is a large glass vase or goblet1 some eighteen inches or two feet in height1 according to pleasure 7or pocket74 ,this has a zinc lining1 in two halves1 fitting exactly inside it1 the halves being hinged to a slightly concave top1 also of zinc4 ,the hinges are on exactly opposite sides of the top4 ,the whole is covered with glue and then spread over with bran4 ,there is1 besides1 a large bell-shaped cover1 usually of thin brass1 large enough to conceal the body of the vase completely4 ,in the centre of this1 inside1 is a catch1 which is intended to pass through a hole made in the centre of the concave top of the zinc lining4 ,the vase is prepared by having the zinc lining1 previously loaded with two rabbits1 put into it4 ,it will then have the appearance of being full of bran1 a quantity of which article is spread over the concave top4 ,a raised rim round the hole in the centre will prevent the bran falling through4 ,the vase is brought on by the assistant1 and the performer takes some of the bran from the top and throws it off1 and also thrusts a thin stick or wire through the hole to show that it goes quite to the bottom4 ,he then shows the interior of the cover1 that it may be seen to contain nothing1 and places it over the vase1 pressing it well down4 ,the original rabbits are next manipulated at the table2 and when that matter is settled the cover is raised1 gently and slowly at first1 and perpendicularly1 bringing away with it the zinc lining1 which opens as it ascends1 and leaves the rabbits in the vase4 ,the bran can be made to transfer itself into the drawer box1 previously shown empty1 if the same has not been before used during the evening4 ,a much more effective and in every way a more preferable method is to cause it to make its appearance in a borrowed hat4 ,this is best managed by giving the hat from which the rabbits were originally produced to the assistant to place upon the table4 ,the performer at once engages the attention of the audience with the rabbits1 saying that he will make the one eat the other1 c41 and so enables the assistant to slip into the hat1 whilst retiring1 a bag of bran that is very loosely fastened at the top4 ,this bag the assistant has had concealed under the coat4 ,the hat is placed carelessly upon a side table1 and the bran passed into it by the performer as if on an afterthought1 so as to avoid any appearance of premeditated effect4 ,the bran must be first emptied out1 and the bag can be abstracted1 rolled up in the hand1 which is inserted for the purpose of clearing the lining of any stray flakes4 ,if the foregoing variations are all mingled in one trick the effect is very good2 but the combination requires a deal of practice1 and will prove trying at first4 ,illustration3 ,,fig4 #eg4 ,a ,novel ,welsh ,rabbit4--,employ a tinman to make a saucepan of tin1 the dimensions of which should be #g;in4 or #h;in4 in depth1 and about #e-a_/b;in4 in diameter at the widest part1 which will be the top1 from whence it should taper slightly to the bottom4 ,to this have fitted an outer casing 7,a1 ,fig4 #eg71 also of tin1 that is #b;in4 less in height than the saucepan itself4 ,at the line where the upper rim of the casing comes when the saucepan is fitted into it1 have a beading 7,b1 ,fig4 #eg71 either put on or hammered out of the metal4 ,this will effectually conceal the fact that any outer casing exists1 which will be regarded as the body of the saucepan4 ,into the saucepan fits loosely a secret pan1 about #a-a_/b;in4 only in depth1 and into this again fits a lid1 which is ostensibly the lid of the saucepan4 ,the saucepan is provided with a handle1 which must1 of course1 come from that part which is above the outer casing4 ,the saucepan is prepared by having a rabbit placed in it1 and the false pan put in1 the lid lying loosely on the top4 ,holding it with one hand1 and sustaining the casing1 in which is a piece of cotton or cambric1 by means of the pressure of one or more fingers1 it is brought on1 and going with it towards the audience1 care being taken to hold it high1 a hat is borrowed4 ,observe1 on receiving the hat1 that you intend making a stove of it1 and then borrow a small handkerchief1 which1 you will explain1 when you have obtained possession of it1 you purpose using as fuel4 ,as if indicating the meaning of your words1 put the saucepan into the hat1 and1 on withdrawing it1 leave the outer casing behind4 ,place the hat upon the table1 with the saucepan beside it1 and then1 removing the lid1 break an egg or two into the secret pan--apparently into the saucepan itself4 ,put in any ingredients you please1 not omitting candle drippings1 and then place the lid firmly on4 ,place the borrowed handkerchief into the hat1 between its side and the tin lining within it4 ,pour some spirits of wine upon the piece of linen or cambric1 and then set fire to it4 ,of course the audience1 on seeing the flames1 will suppose that the borrowed handkerchief is being burnt inside the hat1 and mingled amusement and consternation will be exhibited4 ,do not allow the burning to last long1 or the tin casing will become undesirably heated2 but put the saucepan quickly into the hat1 after affecting to cook the contents1 and perform the double operation of putting out the flames and bringing away the casing4 ,if the casing be too hot1 the action of the heat upon the fingers will speedily make the fact known1 so any further directions upon this point will be unnecessary4 ,remove the lid1 which1 if it fits as tightly as it should into the false pan1 will bring that away as well1 and then take out the rabbit4 ,return the hat1 previously taking out the handkerchief1 and point out that neither are injured2 and also show that the interior of the saucepan is quite guiltless of any contents4 ,if such a combination of apparent impossibilities as are presented in this trick do not astonish1 then nothing ever will4 ,it is a great trick for large mixed audiences4 ,doves or guinea pigs can be used as successfully as rabbits4 ,i have even seen a kitten employed1 but the difficulty was to get it into the saucepan4 ,the ,bird and ,card4--,a very pretty stage trick this4 ,the performer must procure what is known as a bird box1 which is a pretty polished box1 having a secret metal flap inside1 the latter1 when turned down1 forming a retreat for a small bird1 such as a canary4 ,it is held down by a small catch1 released by pressing the key into the lock from the outside1 the double action being performed of setting free the bird and concealing the card4 ,it is useless having such a box constructed1 as it can be much more satisfactorily procured of the proper vendors4 ,two small cages are also necessary4 ,they may be round or square1 but1 in either case1 should be all wire1 like a rat trap4 ,this is merely to give them an innocent appearance4 ,one of these cages is concealed on the shelf1 behind the table4 ,the performer borrows a hat1 either for this or a preceding trick 7preferably the latter71 and gets the empty cage into it4 ,this is best done by placing the hat upon the table1 the opening towards the rear1 and leaving it there for a time4 ,then1 when carelessly shifting its position1 the article required to be got into it may be inserted with less suspicion4 ,in the second cage is a bird1 precisely similar to the one concealed in the bird box4 ,place this cage upon the table1 and cover with a double cloth1 having inside a card-board shape4 ,a card is forced on one of the company1 and placed in the bird box1 in a little slit which will be found there1 just over the hinge of the secret flap4 ,the inside of the box may be carefully exhibited at a slight distance1 the blackened interior preventing anyone from noticing the presence of the turned down flap4 ,whilst affecting to lock it1 the key is pressed hard in and the flap released4 ,in flying back this covers the card4 ,the performer commences by extracting the card4 ,this he can do by having a duplicate concealed in a card-box 7see page #abg71 and causing it to appear in that2 but it will look more artistic to have one palmed and affect to extract it from the box4 ,this done1 the cloth is raised by the shape1 the cage being left upon the shelf4 ,the cloth is then shaken out and laid flat upon the floor4 ,the box is then opened and the bird allowed to fly out1 if tame1 or taken out in the hand1 previously shown empty1 if wild4 ,the performer will derive a great advantage from having a tame canary1 which returns to his shoulder4 ,finally1 the hat is brought forward and found to contain the missing cage4 ,,chapter ,,xviii4 ,,sham ,,mesmerism1 ,,clairvoyance1 ,,etc4 ,,blindfold ,,feats--,,imitation ,,second ,,sight--,,on ,,spiritualism--,,the ,,mesmerised ,,poker--,,the ,,perambulating ,,walking ,,stick--,,the ,,ascent--,,the ,,talking ,,glass3 ,,two ,,methods--,,the ,,spirit ,,bouquet--,,the ,,slate ,,trick--,,fiery ,,hands1 ,,writings1 ,c4--,,the ,,electric ,,touch--,,the ,,animated ,,skull4 ,clairvoyance4--,this is one of the most mysterious agencies with which the scientific world has ever had to deal4 ,doubted by the majority1 because of its seeming improbability1 and because of the difficulty of comprehending it1 the faculty of clairvoyance or second sight has1 nevertheless1 been possessed1 and is possessed1 by not a few4 ,some marvellous manifestations of seeing without the eyes have been shown1 and in a manner sufficient to convince even the most sceptical of its reality4 ,this faculty has often been imitated by conjurors1 some of whom have fairly admitted that they were only imitators1 whilst others have assumed possession of the actual power itself4 ,at that now defunct institution1 the ,polytechnic1 and other places of amusement1 cleverly arranged telegraphic communication has been the means adopted for bringing a person on the stage en rapport with another amongst the audience4 ,i would not recommend the amateur to take any serious trouble in the matter1 but to merely make himself master of a few tricks relating to it4 ,a very simple one is performed with the aid of a pack of cards4 ,an assistant is blindfolded on the stage1 and placed with his back to the audience4 ,before proceeding any farther1 the performer explains that1 beyond a certain point1 he will neither speak nor make any sound or movement1 lest it should be said that he conveyed information to the assistant4 ,he then proceeds to force three or more cards in an order previously agreed upon1 and the holders thereupon ask of the assistant1 as the performer has previously instructed them to do1 what the names of the cards are4 ,the performer must mentally reserve to himself the right of pointing with his wand to the person who is to speak next1 so as to ensure the cards being asked for in the proper order4 ,instead of using cards1 the performer can distribute slips of paper amongst the audience1 for the purpose of having short sentences written upon them4 ,he has a piece of paper of his own previously prepared1 with a sentence upon it that is known to the blindfolded assistant4 ,the papers written upon by the audience are folded up and placed upon a tray1 or the crown of a hat1 each some distance from the other4 ,whilst doing this1 the performer contrives to effect an exchange between his own paper and any one of the others1 it does not signify which4 ,he then asks one of the audience to select one of the papers1 and1 manipulating the hat or tray adroitly1 forces his own4 ,before it is opened1 the assistant is requested to say what is written upon it4 ,this trick is farther elaborated as follows3 ,the performer hands round a fair quantity of paper slips1 and asks the audience to write what they please upon them very plainly4 ,as it is advisable that whatever is written should be brief1 it is best to ask to have the names of celebrated deceased persons only written4 ,the performer has a piece of his own1 previously written upon and folded1 concealed in his hand4 ,supposing this to be in the left hand1 the right takes a folded slip from one of the audience1 and1 under pretence of putting it into the left1 for the purpose of handing it to another person1 an exchange is effected1 and the performer's own piece given instead4 ,the learner will know the proper pass for effecting this by this time4 ,the performer then says that he will go upon the stage and from a distance read what is upon the paper4 ,he does so1 and seizes the opportunity for rapidly opening the paper of which he has just become possessed1 and of reading the name upon it4 ,if much were written upon the paper1 it would be impossible to read its contents in the limited space of time at the performer's disposal4 ,when he turns round there is of course no trace visible of what he has been about1 and he then proceeds to read the name on the paper held by one of the audience4 ,this he does not do readily1 but first names the sex of the person1 and then the capital letter of the name1 as if it were only developing itself by degrees and through some very mysterious medium4 ,the first paper duly read1 a second one is taken1 exchanged as before1 and borne off to the stage1 to be read in transit4 ,this process can be repeated any number of times1 although four will be found quite sufficient1 as it is a harassing trick to perform4 ,an excellent finish is to force a previously prepared paper1 and then have it burnt1 after it has been read aloud by one of the audience4 ,the ashes are collected and rubbed upon the conjuror's bare arm1 upon which the name then appears in black4 ,this is contrived by having the name written upon the arm in glycerine4 ,this will be invisible1 but if the ashes be rubbed lightly upon it they will adhere1 and so show the name4 ,there are chemical preparations used for the same purpose1 but the method described here is by far the most simple and practicable4 ,with this trick ,dr4 ,lynn created a great sensation for several months1 some years ago4 ,anti-,spiritualistic ,tricks4--,in the introduction to these papers ,i had occasion1 the reader may remember1 to refer to the impositions practised by the ancient priests and others on the minds of an unenlightened people by means of what were merely conjuring tricks1 but which were made to appear before the ignorant in the guise of supernatural manifestations4 ,few will require to be reminded of the excitement that has of late years existed concerning spiritualism4 ,one would have thought that1 in these days1 people would have been above believing that the spirits of the departed would be permitted to return to the earth for the sole purpose of answering questions and indulging in tomfoolery2 but such is the simplicity of mankind1 that those who have had the boldness to declare themselves capable of raising the dead1 and to dress up themselves or others in muslin or newspaper1 have not lacked faithful followers4 ,the malpractices have been going on for years1 and many shameless impositions have come under my notice4 ,the victims1 it will not cause astonishment to hear1 were mostly weak-minded ladies1 and the spirits have had the remarkable discernment to visit only those who were well provided with worldly comforts1 backed by an amount of confiding simplicity wonderful to contemplate4 ,the exertions of several amateur1 and some professional1 conjurors have succeeded in proving to all minds open to the workings of common sense that all those professing spiritualism as a means of gaining a livelihood are neither more nor less than scoundrels4 ,but of course there are still thousands who would be as much imposed upon as ever by any white figure seen after dark1 and1 in a private way1 the spiritualists are still reaping a rich harvest4 ,towards clearing away this darkness1 conjurors1 both amateur and professional1 can do a great deal1 and there is a definite and worthy task before them1 which they can best perform by exhibiting such phenomena as are produced by spiritualists at their exhibitions by avowedly natural means4 ,by this means ridicule1 which nothing can survive long1 will be thrown upon the black art1 which is merely conjuring put to base uses4 ,a performance consisting entirely of sham spiritualistic manifestations ,i have found take exceedingly well1 especially with audiences who have seen something of conjuring1 and who are not averse to a change in the programme4 ,i do not agree with pretending to call spirits to one's aid1 for it smacks of irreverence3 the performer should merely explain that what he is about to do or has just done by simple dexterity is brought about by the spiritualists with the asserted aid of familiar spirits4 ,a simple trick which seems well to commence with is-- ,the ,mesmerised ,poker4--,the performer seats himself with his legs apart1 and1 taking a poker1 stands it up on one end before him4 ,on removing the hand the poker falls1 but1 after two or three fruitless attempts1 it remains standing without the aid of any visible support4 ,this is very easily managed by having a fine piece of black cotton attached to the calf of the trousers by means of a bent pin at each end4 ,it need not be so long as to drag on the floor1 and the performer can walk about with comfort and without fear of detection4 ,the action of opening the legs draws the thread out straight and tight1 so that the poker can rest against it when it is required to cause it to stand upright4 ,the ,perambulating ,walking-,stick4--,this is a very amusing trick1 in which a walking-stick is made to walk across the stage by itself4 ,the invisible agency is again a fine black thread4 ,on a stage provided with flies1 it is managed from above1 in which case the only direction required is to affix one end of a thread round the head of a walking-stick1 and convey the other end above to an assistant4 ,by means of this thread the walking-stick is made to progress across the stage by means of little jumps4 ,but on the drawing-room stage the matter is not quite so easy4 ,two threads will be required1 and they must lie across the floor when the curtain is drawn4 ,if possible1 an assistant at each wing should hold the ends1 but when one assistant only can be obtained1 he must do the best he can from one side1 the ends of the thread on the other being tied to the back of a chair1 about the height of a walking-stick from the ground4 ,the walking-stick should be provided with a substantial head1 and the performer must hand it round for minute examination4 ,he then takes it back to the stage1 and flourishes it vigorously to show there are no threads or wires anywhere about4 ,the instant the flourishing portion of the business is over1 the assistants must raise the threads to the proper level1 and one of them1 by crossing his hands1 causes the threads to cross each other at about the middle of the room4 ,the performer then places the stick1 with apparent carelessness1 upright on the floor1 but1 as he takes care to place it between the threads just where they are crossed1 it does not fall on the one hand being removed from it4 ,the assistant who has crossed his hands now uncrosses them1 which action has the effect of holding the stick tolerably firmly between the threads4 ,on receiving commands from the performer the stick is made to dance1 fall down and jump up again1 and walk either to the right or to the left4 ,if it is to go to the right1 the assistant on that side lowers his hands slightly1 and the one on the left administers a succession of jerks to the threads1 which will cause the stick to progress by means of a series of jumps4 ,these jumps can be made alternately long and short4 ,as a final exhibition of skill1 it can be made to turn a complete somersault1 by both the assistants swinging their hands round in complete circles4 ,for this it will be necessary to have a good head to the stick4 ,when the performance is finished hand the stick round again for examination4 ,in my opinion the trick shows best in a room1 where the audience know there is no means of concealing anyone above4 ,the ,ascent can be performed by means of the same threads4 ,books1 pieces of music1 c41 are laid upon the floor1 and rise slowly or quickly1 and remain suspended in the air1 where they can be made to rock about4 ,of course1 they are simply laid upon the threads1 the ends of which are then raised evenly and simultaneously4 ,the best ascent is a sudden one1 as being the most startling4 ,the ,talking ,glass4--,provide yourself with a tall1 thin1 and well-sounding glass vase4 ,at a pinch a thin soda water tumbler will do4 ,across the room and above the table have a piece of thread or fine wire4 ,show the tumbler or vase round1 and then place it upon the table1 or on the top of an inverted tumbler1 which will serve for the purpose of showing that there is no deception beneath1 and will also act as a sounding medium4 ,an assistant at the side draws the thread close against the side of the glass1 and it is stretched as tight as is consistent with safety4 ,the glass is now made to talk by means of sharply emitted sounds in answer to questions1 a small code of signals being established4 ,one sound means yes1 two no1 and so on4 ,these sounds are caused by the assistant catching at the thread sharply with the nail1 which will cause a distinct ring to come from the glass4 ,the principle is very simple1 but ,i have never known anyone but myself adopt it4 ,the performer must endeavour to make his questions amusing1 and1 as the powers of speech possessed by the glass are but limited1 they must not be too severely taxed4 ,if a tumbler be suspended from the wand by means of a thread tied loosely round the wand and tightly round the glass1 a sound will be emitted on twisting the wand ever so slightly4 ,with practice this movement can be made almost imperceptible4 ,if the onlookers begin to look at the hand and wand too much the display must cease at once4 ,the ,spirit ,bouquet4--,one of the most usual1 and at the same time most shallow1 of deceptions practised by the spiritualist1 is that of the production of flowers4 ,the gas is 7of course7 lowered1 a few irreverencies gone through1 and1 on the room being re-illuminated1 lo and behold1 the table and floor have flowers lying upon them6 ,as1 of course1 the manifestors of these wonders could not by any possible means have the flowers in their pockets on entering the room--even if they thought of practising-such a deception6--the spectators are struck with wonder4 ,however1 ,i shall teach the reader how to perform an even greater marvel1 by causing a bouquet to glide through the air into his hand without the assistance of total or partial darkness4 ,the bouquet can be either real or artificial--a real one1 certainly1 for choice4 ,take a piece of the finest iron wire procurable 7jewellers' binding wire is the proper article71 about #f;in4 in length1 and tie it firmly round the stalks of the flowers1 just below the buds4 ,the other end tie round the centre flower1 which is always a little higher than the others1 and you will thus have a loop about #d;in4 in length4 ,if the centre flower be not higher than the rest1 then re-arrange the bouquet1 and make it so4 ,it is essential to have one end of the wire tied on considerably higher than the other1 in order that the bouquet may hang properly4 ,if both ends were tied round the main body of the stalks1 the bouquet would hang upside down1 whereas it should1 when suspended by the loop1 be almost upright1 or1 at least1 only slightly on one side4 ,from the most convenient position behind the scenes1 which will depend entirely upon circumstances connected with the arrangement of the stage1 have another piece of fine wire hanging1 with a loop made in it at one end long enough to reach the centre of the stage4 ,the spot usually the best for attaching this wire is at the side1 as near the audience as possible4 ,on a regular stage the flies are most suitable1 but in the drawing-room1 where there are usually folding doors and curtains 7without them this trick cannot well be managed71 the side must be chosen4 ,when the trick is about to be performed1 the bouquet must be put on the wire by means of the loop1 and an assistant in concealment mounts a pair of steps with it and holds it in readiness4 ,the end of the wire is so disposed that the performer can without difficulty insert his little finger in the loop thereon1 under pretence1 say1 of shifting a chair4 ,he then retires towards the centre of the room until he feels that the wire is drawn perfectly tight1 and then proceeds to speak of the wonderful productions by humbugs1 done in the dark1 and finally finishes up by saying that he has only to extend his hand in the air to find something in it4 ,with the hand that is not holding the wire he makes a grasp in the air1 and at the same moment opens the other hand1 taking care to pull the wire quite tight4 ,the attention of the audience is naturally momentarily attracted towards the hand making the greatest movement1 and at this very instant the assistant starts the bouquet down the wire4 ,the performer1 when the bouquet has reached his hand1 which it will do with remarkable swiftness1 exclaims1 ,ah6 no2 here it is1 see1 in this hand2 and1 ridding his finger of the wire1 brings the bouquet forward1 of course keeping the loop upon it from view4 ,when the performer's actions have been well contrived and carried out1 the bouquet is not seen until it is almost in the performer's hands2 but1 under less fortuitous circumstances1 which are all ,i bargain for myself1 the trick is wonderfully successful4 ,the fact of a small portion of the aerial journey of the bouquet being observed is not by any means undesirable1 the only thing to be kept from the view of the spectator being the commencement of it4 ,the communicating wire must be fixed some distance behind1 so that the bouquet is descending at full speed by the time it comes into possible view4 ,the reader will see that the principle is so simple1 as to be almost commonplace1 but he must not deride it on this account4 ,the most natural actions possible must be brought into play1 and plenty of rehearsals will be required4 ,the reason for having the loop of the wire upon the little finger is that the safe arrival of the bouquet is better ensured thereby4 ,the little finger must be kept undermost1 the hand being at an angle of forty-five degrees1 with the wire lying across the palm4 ,a great deal lies in the neatness with which the bouquet reaches the hand4 ,there must be no bungling4 ,therefore ,i say1 ,rehearse4 ,the ,slate ,trick4--,everyone will naturally wish to know how this is done4 ,dr4 ,slade1 as ,mr4 ,maskelyne correctly showed in open court1 produced his spirit writings on the slate by means of a thimble-shaped instrument1 to which were attached a piece of pencil and a length of elastic4 ,the elastic was fastened to the brace1 or elsewhere1 and caused the disappearance of the thimble and pencil up the performer's sleeve when they were no longer required4 ,under the table was a little ledge which supported the slate whilst the hand1 which was supposed to be performing that action1 was busily engaged in scribbling upon the bottom of the slate1 the thimble arrangement enabling one of the fingers to execute certain letters in a very poor and scarcely legible fashion4 ,the bad writing was supposed to look more mysterious2 but ,slade would have written more legibly had circumstances permitted it4 ,anyone may try this method1 but as a conjuring trick it is poor4 ,the trick as now sold is a slate with an extra or false interior4 ,the answer that is to be given is written upon the genuine slate1 and the false side then put on4 ,the slate is shown casually round without leaving the performer's hands1 and a question is then written upon one side of the slate1 which is waved about1 and an opportunity seized for allowing the false side to drop out behind the table1 or at any other convenient place1 and the answer is then exhibited4 ,if the inside of the false slate have blotting paper pasted upon it1 and a blotting pad be upon the table used whilst the trick is being performed1 it may be allowed to drop out upon the table without any attempt at concealment4 ,fiery ,hands1 ,writings1 c4--,with the aid of phosphorus a very innocent dark sance can be given4 ,the principal thing is to have the gas under control4 ,this lowered1 or turned completely out1 for preference1 the rest is easy enough4 ,bunches of cotton wool1 or tow steeped in phosphorescent spirits1 obtainable at any chemist's1 placed upon the ends of fishing rods1 create a good effect when protruded over the heads of the audience1 and there waved about in circles4 ,a washleather glove1 stuffed with cotton wool1 tied to the end of a rod1 and wetted1 is diverting1 not to say alarming1 when dabbed suddenly in the face of one of the audience4 ,imagination will fancy it the clammy hand of death4 ,care must be taken to withdraw it very suddenly4 ,the best way is to have it swinging from the end of the rod1 when it retires out of reach of a possible grab by virtue of its own impetus4 ,the glove must not be phosphorescent4 ,japanese fishing rods1 with the joints sliding one within the other1 will be found very useful4 ,a good effect is produced by the performer allowing himself to be tied to a chair1 to which his arms are firmly bound1 and the knots sealed by the audience4 ,his assistants1 having first removed their boots1 can come on and manage everything1 and1 as a final effect1 one of them has some words or characters written upon his arms and hands1 or simply has them smeared with the phosphorescent preparation in use4 ,he then kneels behind the performer's chair1 which he must approach either backwards or with his coat on1 and then extends his arms from the performer's shoulders4 ,the form of the hands and arms will be seen1 and it will appear as if the performer had loosened his arms and was exhibiting them in a fiery condition4 ,so soon as the assistant is again out of sight the gas should be turned up1 leaving the audience in a state of bewilderment4 ,the most childishly simple things can be perpetrated in the dark1 when the mind is by nature more easily imposed upon than it is at any other time4 ,the simple expedient of someone coming on the stage in his stockings1 after the room has been darkened1 and1 by turning back the sleeve1 exhibit some words written upon the arm1 is a very good illustration3 it is impossible for an ordinary mind to divine how the sudden appearance of the writing in mid-air is managed4 ,the arm must be extended horizontally before the sleeve is drawn back1 and it must be kept so extended until the writing is again obscured4 ,this is essential4 ,the slightest expenditure of ingenuity and thought will produce other effects1 which will vary according to circumstances and situations2 whilst careful preparation will meet with its usual and deserved reward4 ,the ,electric ,touch4--,the performer may1 if he pleases1 either commence or conclude those portions of his entertainments which have to do with mesmerism with a bogus explanation of the forces latent within him1 the result of a natural gift4 ,he must purposely make his elucidation a little far-fetched1 in order to raise a smile1 or even a remark1 of incredulity4 ,this gives him the desired opportunity for offering to practically prove the truth of what he states4 ,advancing to the company1 he asks one of the spectators to extend his hands in front of him1 palms downward4 ,standing immediately opposite this gentleman1 the performer rubs the back of one of his own hands with the fingers of the other1 and reverses the operation4 ,this he continues for a quarter of a minute or so1 and then suddenly extends his hands over the backs of those held out before him1 an inch or two removed4 ,the spectator feels no shock1 so the performer continues his rubbing1 and1 at the third or fourth trial1 the spectator jerks one of his hands away1 a slight electric shock having been communicated to him4 ,the experiment may be repeated as often as the performer pleases4 ,a little pin is the cause of this marvellous manifestation4 ,this the performer has about him 7stuck under the vest is the best place71 and often1 in gesticulating1 indirectly showing the hands to be empty1 it is got down1 with the head between the first joints of the first and second fingers1 where it can be held firmly1 of course pointing downwards4 ,the nibbing of the fingers of each hand alternately upon the back of the other indirectly points to the absence of anything of the protruding nature of a pin being held in them1 so the assumed excitation of electricity by friction is not the only reason for the action4 ,it adds to the effect when the production of the shock on the first experimenter comes only at the third or fourth attempt4 ,with others1 it may safely come at the first or second1 if the performer be careful to explain that1 the electric power once worked up1 very little is necessary to keep it going4 ,the rubbing is kept up throughout4 ,the shock is1 of course1 produced by bringing the hand holding the pin nearer and nearer to the one beneath it1 until the pin's point touches it4 ,the touch must be as delicate as possible1 as then an after feeling is experienced which necessitates rubbing4 ,if the point enters the skin1 the presence of the pin is at once detected4 ,it being so absolutely necessary to the success of the trick that the touch should be very delicate1 the use of fine entomological pins is recommended1 but they must not be too long4 ,the performer will do well to fail to produce shocks on some of those experimented upon at first1 a return to them being necessary when the electric power has accumulated4 ,any particularly healthy and rubicund person may as well prove quite impervious1 the performer explaining that the strength of mind present is too great4 ,the company will judge by the person's healthy exterior1 forgetting that1 notwithstanding1 the mind within may be nothing very great4 ,as the performer is standing and the company sitting1 he must slant his hands downwards1 or the pin will be seen4 ,the hands experimented upon must1 for the same reason1 be kept low4 ,should anyone suggest a pin1 that article must be at once dropped1 the performer being1 of course1 provided with reserve ones4 ,this part of the trick is very seriously carried out1 the performer congratulating himself and the company upon a state of atmosphere which enables him to exhibit such satisfactory results4 ,the ,animated ,skull4--,the performer places two ordinary chairs1 which may be examined1 back to back1 and a yard or so apart4 ,across the backs he lays a piece of plate glass1 previously examined1 a perfectly transparent table being thus formed1 and one1 as the performer will explain1 impervious to electricity4 ,upon this table the performer places either a real human skull or else a pasteboard imitation of one4 ,the imitation is recommended1 the performer explaining that the reason for its use is that the feelings of some might be shocked1 which really might be the case4 ,the skull is examined previous to being placed upon the table1 the company being safely depended upon for not noticing anything suspicious in the fact that the underside is very much rounded4 ,the skull now answers questions1 giving one nod for ,yes and two nods for ,no4 ,what questions are asked must depend upon the wit of the performer1 and the nature of the company assembled4 ,arithmetical problems should be solved1 as the skull can give any number by means of nods4 ,as a finale1 the skull is asked if it would like to continue the performance1 to which a couple of slow shakes are given4 ,our old friend1 the black silk thread1 is at work again here4 ,a piece is stretched across the stage1 tied up out of harm's way when not in use4 ,as soon as the skull is placed upon the glass the thread is brought down to the level of the mouth1 and made to enter there4 ,the imitation article has a deep indentation at this place4 ,in other cases the thread is brought under the projecting nasal bone4 ,a slight movement of the hand causes the skull to nod1 so long as the thread is in position1 and the performer may pick it off the glass at any moment1 to show that no connection exists4 ,the slow shake is done by manipulating the thread sideways4 ,it cannot be prolonged1 as it tends to work the skull off the glass4 ,the rounded underside is to render the rocking movement easy4 ,in some cases a tiny bead of wax is fastened upon the thread1 and this affixed to the skull1 at the back4 ,,chapter ,,xix4 ,,final ,,instructions4 ,having at length brought the beginner to that point where he will first have to shift for himself in real earnest1 ,i wish to leave him in a position to do credit to my tuition1 and1 with this object1 impart a few hints for his guidance4 ,on the subject of practice1 ,i would not say any more if ,i could4 ,by this time1 it must have become so evident to everyone that nothing can be brought to any degree at all approaching perfection without assiduous attention to detail1 that any repetition of my often-expressed injunctions to practice would become nauseating4 ,but ,i ought to say something regarding the best method for learning new tricks or sleights from the foregoing text4 ,it is a bad plan to read the description through1 and then immediately try to produce the result right away4 ,the whole trick should certainly be read carefully through first1 so that the mind fully grasps what is required to be done2 but1 after that1 the hands should be made to follow1 step by step1 the instructions given1 and no progression made until it is certain that all is correct up to each point4 ,it will be readily understood that my instructions have not been written without a large amount of care1 or without making a due allowance for the great difference between teaching by word of mouth and by book4 ,in many instances1 a single word explains a great deal2 so1 if the reader scans the page carelessly1 it is very possible that he may miss the point altogether1 and perhaps conclude1 in his own mind1 that ,i am a charlatan and an impostor4 ,with cards1 this careful following of the text with the hands is especially essential1 and attention to it will save much time1 trouble1 and annoyance at the outset1 when everything new will naturally appear difficult1 if not absurd4 ,thus much for the beginner4 ,when he arrives at the dignity of an actual performer1 let him be careful to prepare1 and learn by heart1 a little set speech to commence with1 and also the accompanying talk for each trick4 ,when he has exhibited for a year or two1 he will perhaps be able to dispense with such preparation2 but1 at the commencement1 few1 if any1 can do without it4 ,the first appearance before an audience is in itself sufficiently unnerving1 without any additional embarrassment in the shape of a consciousness that you do not know what you are going to say4 ,notwithstanding the most careful preparation1 something is sure to go wrong at first1 and unexpected difficulties will crop up on all sides1 and to meet these successfully will require all the energies of the performer4 ,it does not signify how superior the individual's natural aptitude or oratory may be--the task is too great for anyone at starting4 ,for the first few shows1 it is as well to perform such tricks as do not require the assistance of an attendant1 for the performer must be entirely master of the situation1 and dictate to his assistant at pleasure4 ,this he could not do with freedom if he were uncertain about his own powers4 ,let it also be borne in mind that assistants are like money1 which1 when good1 is a valuable acquisition1 but1 when bad1 only gets one into trouble4 ,have no assistant at all rather than a bungler1 or1 what is1 if possible1 worse1 one who endeavours to attach to himself some degree of consequence in the minds of the audience4 ,except when it is to assist the trick1 he should never open his mouth1 and all his work should be done as silently and unobtrusively as possible1 without absolutely scurrying away4 ,his presence on the stage should be as brief as possible1 and his appearance must always be excused by the performance of some very insignificant and subordinate task4 ,the best assistant to have is one who looks so stupid that the combined efforts of fifty conjurors could not drum into him the method for making the pass4 ,the worst is the one who conveys by his appearance and actions that he knows all about it4 ,the spectators at once attribute the greater portion of the results to his agency--not incorrectly1 perhaps2 but it is unnecessary that they should have any cause to do so4 ,on no account should the attendant attempt to perform any impromptu act1 however clever he may be1 for he is sure to confuse the performer by so doing1 and so lead to awkward results4 ,on many occasions1 it is inconvenient1 or1 at any rate1 highly inadvisable1 to take the conjuring table4 ,at the houses of friends it is exceedingly difficult to keep everything secret without being absolutely rude4 ,the host 7possibly followed by a friend or two--men who understand things of this sort1 you know1 so you needn't be afraid7 is nearly certain to take the fullest advantage of his position1 and to penetrate into the performer's sanctum with all possible alacrity1 and there worm from him valuable secrets4 ,of course1 he wouldn't dream of telling anyone1 not he2 yet1 somehow1 if the tricks are exhibited on another occasion1 the juveniles display an inexplicable and annoying knowledge of the why and the wherefore of them4 ,it is of no use to say1 ,oh6 but no one would take the liberty1 and such like2 my experience teaches me 7and ,i do not think that ,i1 in particular1 have fallen among thieves7 that they do1 so there is an end of it4 ,such articles as multiplying balls1 cups1 reticules1 c41 are easily put out of sight2 but an unwieldy table is quite another thing4 ,of course1 immediately the trap in it is discovered1 away goes your reputation for miraculous sleight of hand2 and1 when you really do exhibit a genuine specimen of it1 you will not get credit for it4 ,no1 no risks must be run on this head--that is1 if the performer cares anything for his reputation4 ,as an excellent substitute for the table1 ,i have an oblong box1 the rough dimensions of which are #ah;in4 #h;in4 #f;in4 ,it has a removable sliding lid1 and is covered with a dark cloth4 ,in this ,i carry such of my belongings as will go into it2 so1 when it is seen during the performance1 it is only regarded in the light of an ordinary deal box4 ,one of the #h;in4 sides1 however1 has a trap cut in it1 with a little bag inside the box for catching articles passed through4 ,the box1 minus the lid1 and plus such articles as would be ordinarily placed upon the shelf1 is brought boldly on1 along with some of the articles which the performer will first require1 as a blind4 ,it is placed carelessly down within three or four inches of the back of the table1 with the open side1 naturally1 at the back1 and the trap uppermost4 ,the table itself plays the part of the shelf1 and articles are now and then placed upon the box1 as they would be1 in the usual way1 upon a table4 ,another way1 much more deceptive1 is to have a trap made in the top of an ordinary high hat4 ,the crown lining should form the bottom of a collapsible bag1 so that the inside of the hat can be first shown1 but1 so soon as it is placed upon the table brim downwards1 the bag falls down4 ,the brim should be tolerably flat1 as the hat should not rock about4 ,the crown itself will require some strengthening material1 such as very thick pasteboard1 glued to it before the trap is cut out1 or the latter will curl up in an unseemly way4 ,this trap hat serves for vanishing articles only4 ,its presence is very opportune at times4 ,the presence of the shelf is by no means indispensable2 indeed1 ,i may safely say that ,i do not require it myself1 except in important performances4 ,if it be inconvenient to take the table1 a programme can easily be arranged so as to dispense with the shelf entirely1 but1 if it can be used1 then1 by all means1 make the most of it4 ,young conjurors must avoid the error of adapting their tricks to the shelf1 instead of the shelf to the tricks4 ,experience will show what an astonishing quantity of things can be concealed in the large breast and tail pockets for hat loading purposes4 ,the tail pockets will carry a bundle of fifty cups with ease1 and without fear of detection2 and when these can be introduced1 and produced without once leaving the audience1 ,i need hardly say that the effect is considerably enhanced4 ,when you are using a table1 be careful never to go behind it without some good reason1 and let your stay there be as brief as possible4 ,stand at the sides as often and as long as you like4 ,the arrangement of the stage and the seating of the audience are matters of vital importance1 and due regard must be paid to angles of vision4 ,one of the greatest bug-bears a performer meets with in private audiences is he 7no lady ever sins in this way7 who1 under pretence of being at hand in case of need1 or by means of some even more transparent excuse1 plants himself1 in close proximity to the stage1 between it and the body of the audience4 ,it is all very well for the reader to say1 ,oh1 but ,i would never allow that under any circumstances6 ,if he be young1 he will find that people will patronise him1 do what he may1 or be as clever as he will2 and it is in the interest of the young beginner that ,i am making these remarks4 ,there will generally be somebody who thinks himself a privileged person1 and who will put himself just where he is not wanted4 ,we know what mean things people will do for money3 to find out the secret of a conjuring trick they will descend almost as low4 ,i am not romancing1 but stating plain truths1 such as have forced themselves upon me time after time4 ,under these circumstances1 the table should be placed as far back as is possible or convenient1 and1 if little tables are used1 they should be well on one side and not too far forward4 ,but more important than this even is the placing of some large object1 such as a vase with flowers on a pedestal1 a statue1 or such like at each corner1 as it is from thence that the best view of the conjuror's secrets can be obtained4 ,a person stationed at a corner can see half of what the performer does in the vesting line1 and he has an unfair advantage1 which must not be permitted1 when avoidable4 ,if a pianoforte be in use1 by all means put it close to one of the corners4 ,curtains are not of much use1 as they are easily pulled aside4 ,if he have the opportunity1 let the performer arrange the seats himself1 and also take the bearings of his table from the corners4 ,be careful that no looking-glasses are in a position to reflect back to the audience those things which are not meant for them to see1 and have the light as evenly distributed as possible2 but do not have any candles or lamp on the table4 ,i object even to an upright candelabrum being placed at each front corner4 ,they are in the way4 ,programmes are a decided addition1 and they should be made as interesting as possible without foreshadowing what is about to follow4 ,the cheapest way is to have a quantity printed1 with the performer's complete catalogue upon them1 numbered1 and then the numbers of the tricks to be performed can be announced in any convenient way4 ,this will only do for private audiences4 ,in performing in public the case is entirely altered4 ,by all means call in the assistance of a pianoforte2 but see that the player of the instrument is one who will not be likely to egotistically launch out into any brilliant fantasia4 ,waltzes1 and such pieces as can be stopped suddenly1 should be chosen4 ,the performer must be as quick as he can between tricks2 but to a waiting audience one minute seems ten1 so it is quite necessary to have a little music when it is obtainable4 ,the player should finish off directly the performer comes on the stage1 without waiting for any word or sign4 ,in such a trick as the ,rising ,cards a little magic music--of the gentle trickling order--will be found very effective4 ,the cards would ascend to the music4 ,the performer should always provide himself with a private programme1 to be hung or pasted up behind his screen1 or wherever his retiring place may be4 ,on this programme should be detailed every property of each trick1 down to the veriest trifle1 for on trifles1 be it remembered1 often depends the whole success of a trick4 ,it is also well to have written down beforehand what articles should be upon the shelf at the commencement of each part1 and any preconceived pieces of appropriate wit should be put against the particular trick to which they belong4 ,these precautions will save the performer--the beginner more especially--a world of trouble and anxiety4 ,as a trick once written out is done for ever1 it is as well to have each one on a separate card4 ,in this case the writing out of an elaborate programme before each performance would be avoided1 besides which the cards are more portable4 ,have the properties of each trick complete4 ,if a knife be required in three tricks1 have three knives1 and not one1 and let this principle be observed throughout4 ,it is as easy to take three knives as one1 and there is1 besides1 the comforting assurance that one will be at hand when wanted4 ,do not perform longer than forty-five or fifty minutes at a stretch4 ,both performer and audience are the better for a short rest at the end of that period1 and an interval of ten minutes or so should be allowed4 ,this will enable the performer to re-arrange his shelf1 which should always be kept as clear as possible1 and to remove articles from the trap bags1 c4 ,above all things1 keep the hands warm1 and for this purpose be provided with a pair of woollen gloves1 which wear indoors as well as out1 previous to a performance4 ,no one can palm with a hand like ice4 ,i do not know that ,i can say anything more without repeating what has already appeared in connection with such tricks as seemed to me to afford the most appropriate opportunities2 so my work is done4 ,to use the words of ,byron1 ,i have nothing further to add1 save a general note of thanksgiving to readers1 purchasers1 and publishers1 and to wish the learner all success--but only according to his deserts--with as much true enjoyment as has been experienced by me in the pursuit of ,,sleight ,,of ,,hand4 ,illustration ,,index ,,page ,a4 ,accommodating bottle1 #caf ,aces1 congenial1 #ajb ,action with rapidity1 c41 #ci ,addressing audience1 style of1 #fj1 #aec1 #afa1 #cic ,animated skull1 #cij ,anti-gravitation ball1 #cdc ,anti-spiritualistic tricks1 #chj ,apparatus1 its uses and abuses1 #beh ,apples and ring1 #ej ,and small eggs1 palming1 #afh ,in cups1 #eh ,arm1 cutting1 with a knife1 #hc ,arrangement of stage1 #cih ,article1 changing an1 #aga ,ascending cards1 #aib ,ascent of articles in spiritualistic tricks1 #chc ,assembly1 #acf ,assistant1 choosing an1 #agf1 #cic ,attached card1 #aja ,audience1 seating the1 #cif ,style of addressing1 #fj1 #aec1 #afa1 #cic ,b4 ,bacchus' dovecot1 #cjf ,maypole1 #caa ,bag1 the egg1 #bgd ,watch1 #cfc ,ball and bottle1 #cjh ,balls and cups1 tricks with1 #ed ,and plates1 #hj ,anti-gravitation1 #cdc ,balls1 concealing1 #ee ,from a hat1 multiplying1 #cec ,passing and vanishing1 #ee ,vanishing1 #agj ,vesting1 #agj ,wine-drinking1 crystal1 #cjh ,worsted1 and coin1 #bef ,banker1 the1 #bcg ,bending watches1 #cfb ,bird and card1 #cgf ,cages produced from a hat1 #cef ,birds1 vanishing small1 #agc ,blindfold feats1 #cgh ,borrowed rings1 exchanging1 for dummies1 #age ,borrowing handkerchiefs1 #ag1 #fc ,watches1 #cfa ,bottle1 accommodating1 #caf ,and ball1 #cjh ,and dove1 #cjf ,and penknife1 #dd ,and ribbons1 #caa ,and tumbler1 perambulating1 #cbh ,magic wine1 #caf ,of ginger beer1 #bhg ,bouquet1 spirit1 #chd ,bowls of fish1 #bfb ,boxes1 card1 #abg ,drawer1 #cjj ,for watch1 #cfd ,passing coin into1 #ba ,watch1 #cfh ,with trap1 #cie ,boxing coins1 #ba ,brazen rod1 magi's1 #cbd1 #cga ,breaking watches1 #cfb ,broad and long cards1 #aca ,bundle of firewood produced from hat1 #ced ,burning a handkerchief1 #fb ,butterfly trick1 ,japanese1 #gd ,c4 ,cabbage and hat1 #cdi ,cage1 flying1 #cce ,cages1 bird1 produced from hat1 #cef ,candle1 money-producing1 #beb ,passing handkerchief over flame of1 without burning1 #agh ,cannon ball and hat1 #cdf ,card and bird1 #cgf ,tricks1 value of1 #hh ,cards1 ascending1 #aib ,assembly1 #acf ,attached1 #aja ,boxes1 #abg ,catching two1 in the air1 #ajb ,causing one to appear in any position in the pack1 counting from top or bottom1 #abc ,causing one to show itself on the top of the pack1 #aja ,chameleon1 #acb ,changing1 #acb ,changing two1 #ajh ,clairvoyance1 #cgi ,congenial aces1 #ajb ,conjurors'1 #hi ,cut packs1 #acj ,diagonal1 #if ,egyptian pocket1 #ahg ,false shuffle1 #ii ,forcing1 #aag ,hatched1 #bje ,la carte gnrale1 #aai ,lady's own trick1 #aje ,lightning change1 #adf ,long and broad1 #aca ,marking1 #agg ,missing link1 #aij ,napoleon1 a game at1 #adc ,obliging bouquet1 #bjb ,palming1 #aab ,passes with1 #ij1 #ajf ,permeating1 #abb ,prepared1 #acj1 #agi ,pricked1 #aca ,reversed1 #ajd ,revolution1 the1 #abi ,royal marriages1 #aae ,salamander1 #aig ,sliding1 #aaf ,sympathetic1 #abj ,thought-reading1 #adj ,throwing1 #abi ,travelling1 #ace ,tricks with1 #hh1 #ahf ,universal1 #aai ,vanishing a pack1 #ahf ,catching coins in the air1 #ad ,two cards in the air1 #ajb ,causing a card to appear in any position in the pack1 counting from top or bottom1 #abc ,a card to show itself on the top of the pack1 #aja ,a stick or poker to stand on end1 #cdd ,challenges1 how to answer1 #ce ,chameleon card1 #acb ,changing articles1 #aga ,cards1 #acb1 #adf ,coins1 #aa1 #cb ,dice1 #ha ,two cards1 #ajh ,chinese fire eating1 #gb ,lanterns produced from a hat1 #cef ,marbles1 #gj ,methods of conjuring1 #gj1 #ge ,rings1 #bif ,tricks1 #gj ,choosing an assistant1 #agf1 #cic ,clairvoyance1 #cgh ,climax to the hat of plenty1 #ceh ,coat1 cutting person's arm through1 #hc ,coin and worsted ball1 #bef ,handkerchief1 #ahc ,coins1 banker1 the1 #bcg ,best kind for use1 #ch ,boxing1 #ba ,catching in the air1 #ad ,changing1 #aa1 #cb ,concealing1 #ab ,copper superior to silver1 #cd ,crystal plateau1 #bej ,dancing1 #bj ,extracting1 from a glass of water1 #bd ,flight of1 #bee ,folding penny1 #bg ,hold them tight61 #bdb ,invisible transit1 #bcb ,marking1 #ch ,minor tricks with1 #i ,money changer1 #bdg ,money-producing candle1 #beb ,palm practice with1 #i ,passing into a hat1 #ac1 #bc ,passing many1 #af ,passing or vanishing1 #aj ,passing through table1 #ab ,selecting1 when blindfolded1 #bc ,shower of gold1 #bgc ,showing hands empty while still containing1 #agg ,sleeving1 #ce ,substituting1 #bb ,tricks with1 #i1 #bcb ,vanishing1 from a handkerchief1 #ag ,coin-vanishing tumbler1 #ahd ,collecting eggs1 #bgh ,common objects1 tricks with1 #ci ,common palm1 #e ,company1 producing articles from the persons of the1 #aff ,concealing a ball1 #ee ,coins1 #ab ,cone and drawer-box1 #cjd ,congenial aces1 #ajb ,conjuring table1 substitute for1 #cid ,conjuror's shelf1 #aef1 #cie ,cooking and making a pudding in a hat1 #bic ,a ,welsh rabbit1 #cgd ,copper coins superior to silver1 #cd ,cork1 false1 #cj ,corks1 ,houdin's dessert of1 #hd ,corks1 tricks with1 #hd ,cornucopian hat1 #cdf ,cotton1 cutting up piece of1 #df ,crystal ball1 wine-drinking1 #cjh ,plateau1 #bej ,cup1 passing one through another1 #fa ,cups and balls1 tricks with1 #ed ,and oranges1 apples1 c41 #eh ,from a hat1 shower of1 #ceb ,cut packs of cards1 #acj ,cutting a person's arm with a knife1 #hc ,up piece of cotton1 #df ,d4 ,dancing coins1 #bj ,sailor1 #cci ,decanted handkerchief1 #bbd ,deception and rapidity of action1 #ci ,dessert of corks1 ,houdin's1 #hd ,destroying a watch1 #cfb ,devil's handkerchief1 #ahb ,diagonal pass with cards1 #if ,dice1 changing1 #ha ,dictionary trick1 great1 #ccf ,die trick1 ,houdin's1 with additional effects1 #bei ,distribution from a hat1 #cej ,dolls produced from a hat1 #cee ,dove and bottle1 #cjf ,mesmerising a1 #age ,dovecot1 ,bacchus'1 #cjf ,doves1 vanishing1 #agc ,drawer-box1 #cjj ,and cone1 #cjd ,drawing-room magic1 #d ,dress for a conjuror1 #afj ,e4 ,eating fire1 #gb ,egg bag1 the1 #bgd ,orange1 c41 produced from wand1 #afd ,eggs and small apples1 palming1 #afh ,collecting1 #bgh ,magician's1 #ahc ,productive1 #ahd ,egyptian pocket card trick1 #ahg ,electric touch1 #chi ,england1 flags of ,old1 #bie ,exchanging borrowed rings for dummies1 #age ,extracting a coin from a glass of water1 #bd ,f4 ,fairy flower1 #cbg ,false shuffle with cards1 #ii ,feast of lanterns1 ,chinese1 #cef ,fiery hands1 writings1 c41 #chg ,filter tumblers1 #gi ,final instructions1 #cib ,finding sweetmeats in a handkerchief1 #fe ,finger palm1 #f ,fire eating1 ,chinese1 #gb ,firewood1 bundle of1 produced from hat1 #ced ,fish and bowl1 #bfb ,and ink1 #bfe ,flags of ,old ,england1 #bie ,flight of coins1 #bee ,flower1 fairy1 #cbg ,ring in1 #ahc ,flowers produced from hat1 #cea ,flying cage1 #cce ,plume and seed1 #bia ,folding penny1 #bg ,forcing cards1 #aag ,fork or spoon through a tumbler1 passing1 #gi ,fowl1 resuscitated1 #bhj ,g4 ,game at ,napoleon1 #adc ,gant de ,paris1 #bbh ,general instruction and management in stage conjuring1 #adi ,remarks1 #adi1 #cib ,ginger beer1 bottle of1 #bhg ,glass of sherry1 vanishing1 #gg ,of water1 extracting a coin from1 #bd ,of water1 to invert1 #bga ,of water1 ubiquitous1 #bfg ,glass1 talking1 #chd ,glove1 gant de ,paris1 #bbh ,gloves suitable for conjurors1 #cih ,gold-fish and ink1 #bfe ,trick1 #bfb ,gold1 shower of1 #bgc ,grand1 or stage magic1 #adi ,h4 ,half-crown wand1 #bcg ,handkerchief1 coin1 #ahc ,decanted1 #bbd ,devil's1 #ahb ,finding sweetmeats in1 #fe ,for egg collecting1 #bgh ,lengthening a1 #ff ,passing through flame of candle without burning1 #agh ,restored1 #baj ,ring and wand1 #di ,through the leg1 pulling a1 #fd ,twisting1 #fi ,tying knot instantaneously1 #fh ,tying knot on wrist1 #fi ,untying knot in1 by word of command1 #fe ,vanishing coins from1 #ag ,handkerchiefs1 borrowing1 #ag1 #fc ,burning1 #fb ,knots1 #bah ,melting1 #bbf ,sun and moon1 #bae ,tricks with1 #fb1 #baj ,vanishing and reproducing1 #aga ,hands1 fiery1 #chg ,to show1 empty1 while still containing coins1 #agg ,harmless shot1 #bhb ,hat and cabbage1 #cdi ,and cannon-ball1 #cdf ,bird cages produced from1 #cef ,bundle of firewood produced from1 #ced ,chinese lanterns produced from1 #cef ,cornucopian1 #cdf ,distribution of presents from1 #cej ,dolls produced from1 #cee ,flowers produced from1 #cea ,making and cooking a pudding in1 #bic ,multiplying balls produced from1 #cec ,of plenty1 #cdf ,of plenty1 climax to1 #ceh ,passing coins into1 #ac1 #bc ,rabbits produced from1 #cgb ,reticules produced from1 #cee ,shower of cups from1 #ceb ,with trap1 #cie ,hatched card1 #bje ,hold them tight61 #bdb ,houdin's dessert of corks1 #hd ,die trick1 with additional effects1 #bei ,i4 ,incubation by magic1 #bgf ,ink and gold-fish1 #bfe ,instruction and general management in stage conjuring1 #adi ,instructions1 final1 #cib ,intervals during performances1 #cih ,introduction1 #a ,of music in performances1 #cig ,introductory stage tricks1 #afa ,inverting glass of water1 #bga ,invisible transit of coins1 #bcb ,j4 ,japanese butterfly trick1 #gd ,k4 ,kling-klang1 #bha ,knife and squares of paper1 #db ,cutting a person's arm with1 #hc ,swallowing1 #he ,knot on the wrist1 tying a1 #fi ,that will not draw tight1 tying a1 #fg ,tying instantaneously1 #fh ,untying at word of command1 #fe ,knots in handkerchief1 #bah ,l4 ,la carte gnrale1 #aai ,lady's own trick with cards1 #aje ,lanterns1 ,chinese1 produced from a hat1 #cef ,large objects from the hand1 vanishing1 #afg ,leg1 pulling a handkerchief through the1 #fd ,length of time for performance1 #cih ,lengthening a handkerchief1 #ff ,live stock and watches1 tricks with1 #cfa ,long and broad cards1 #aca ,m4 ,magical wine1 #ccg ,magician's eggs1 #ahc ,magic1 incubation by1 #bgf ,omelette1 #ccb ,plateau1 #ahe ,wine bottle1 #caf ,magi's brazen rod1 #cbd1 #cga ,making and cooking a pudding in a hat1 #bic ,management and instruction in stage conjuring1 general1 #adi ,manner when performing1 #bdi ,marbles1 ,chinese1 #gj ,marking coins1 #ch ,maypole1 ,bacchus's1 #caa ,meddlers1 punishment of1 #aea ,mesmeric suspension wand1 #cah ,mesmerised poker1 #cdd1 #chb ,mesmerising a dove1 #age ,mesmerism1 sham1 #cgh ,misdirection1 #dj ,missing link1 #aij ,money changer1 #bdg ,tube1 #bci ,money-producing candle1 #beb ,mortar and pestle for watches1 #cfb ,mouth1 producing yards of paper from the1 #gc ,multiplying balls obtained from a hat1 #cec ,music1 introduction of1 in performance1 #cig ,n4 ,napoleon1 a game at1 #adc ,nest of boxes1 #ba ,novel ,welsh rabbit1 #cgd ,o4 ,obliging bouquet card trick1 #bjb ,omelette1 magic1 #ccb ,oranges1 apples1 c41 in cups1 #eh ,produced from wand1 #afd ,vanishing1 #agj ,vesting1 #agj ,p4 ,palm practice with coins1 #i ,palming cards1 #aab ,coins1 #e ,common1 #e ,finger1 #f ,proper1 #e ,quick1 practising1 #ag ,reverse1 #g ,small eggs1 apples1 c41 #afh ,sugar1 #dj ,thumb1 #f ,use of the wand in1 #ab ,with both hands1 #bb ,paper and knife1 #db ,from the mouth1 producing yards of1 #gc ,passes with cards1 #ij1 #ajf ,passing and vanishing a ball1 #ee ,articles through traps1 #aeh ,coins1 #i ,coins into a hat1 #ac1 #bc ,coins through a table1 #ab ,fork or spoon through tumbler1 #gi ,many coins1 #af ,penny into soda-water bottle1 #bg ,ring into an egg1 #ccd ,patter1 #aed ,penknife and bottle1 #dd ,penny1 folding1 #bg passing1 into soda-water bottle1 #bg ,perambulating bottle and tumbler1 #cbh ,walking stick1 #chb ,performance1 length of time for1 #cih ,introduction of music in1 #cig ,performer's private programme1 #cig ,performing1 manner when1 #bdi ,preparations before1 #adi ,skill in1 #cdf ,permeable plates1 #hj ,permeating card1 #abb ,pestle and mortar for watches1 #cfb ,plateau1 magic1 #ahe ,plate1 vanishing a1 #gh ,plates and balls1 #hj ,permeable1 #hj ,plenty1 hat of1 #cdf ,plume and seed1 flying1 #bia ,plumes1 shower of1 #cbf ,pocket1 ,egyptian1 card trick1 #ahg ,poker1 mesmerised1 #cdd1 #chb ,or stick to stand on end1 causing1 #cdd1 #chb ,preparations before performing1 #adi1 #cib ,prepared cards1 #acj1 #agi ,presents distributed from a hat1 #cej ,pricked cards1 #aca ,private programme1 performer's1 #cig ,producing articles from the persons of the company1 #aff ,yards of paper from the mouth1 #gc ,productive eggs1 #ahd ,programmes1 #cig ,performer's private1 #cig ,properties and sleights for general use1 #afc ,pudding cooking and making in a hat1 #bic ,pulling a handkerchief through the leg1 #fd ,punishment of meddlers1 #aea ,putty watches1 #cfb ,r4 ,rabbit1 cooking a1 #cgd ,novel ,welsh1 #cgd ,rabbits produced from hat1 #cgb ,reproducing1 #cgc ,tricks with1 #cgb ,rapidity and deception of action1 #ci ,remarks1 general1 #adi ,repetition of tricks1 #aeb ,restored handkerchief1 #baj ,resuscitated fowl1 #bhj ,reticules produced from a hat1 #cee ,reversed card1 #ajd ,reverse palm1 #g ,revolution of cards1 #abi ,ribbons and bottle1 #caa ,ring1 flying1 #ahc ,rings and apple1 #ej ,and wand1 #ea ,chinese1 #bif ,exchanging borrowed for dummies1 #age ,handkerchief1 and wand1 #di ,inside an egg1 #cce ,palming1 #di ,tricks with1 #di1 #ccd ,rod1 ,magi's brazen1 #cbd1 #cga ,roll1 watch in1 #agh ,royal marriages with cards1 #aae ,s4 ,sack trick1 #cch ,sailor dancing1 #cci ,salamander card1 #aig ,seating the audience1 #cif ,second sight1 imitation1 #cgh ,seed and flying plume1 #bia ,selecting a coin whilst blindfolded1 #bc ,sham mesmerism1 #cgh ,shelf1 the conjuror's1 #aef1 #cie ,sherry1 vanishing a glass of1 #gg ,shot1 harmless1 #bhb ,shower of cups from a hat1 #ceb ,of gold1 #bgc ,plumes1 #cbf ,shuffling1 false1 with cards1 #ii1 #agi ,skill in performing1 #cdf ,skull1 animated1 #cij ,slate trick1 #chf ,sleeving coins1 #ce ,sleights and properties for general use1 #afc ,sliding cards1 #aaf ,small birds1 vanishing1 #agc ,soda-water bottle1 passing penny into1 #bg ,spirit bouquet1 #chd ,spiritualistic animated skull1 #cij ,ascent of articles1 #chc ,electric touch1 #chi ,fiery hands1 writings1 c41 #chg ,mesmerised poker1 #cdd1 #chb ,perambulating walking stick1 #chb ,slate trick1 #chf ,spirit bouquet1 #chd ,talking glass1 #chd ,tricks1 #chj ,writings1 c41 #chg ,spoon or fork passing through a tumbler1 #gi ,stage1 arrangement of1 #cih ,conjuring1 dress for1 #afj ,general instruction and management1 #adi ,or grand magic1 #adi ,tables for1 #aee ,traps for1 #aef ,stick and poker to stand on end1 causing1 #cdd1 #chb ,style of addressing audience1 #fj1 #aec1 #afa1 #cic ,substitute for a conjuring table1 #cid ,substituting coins1 #bb ,sugar1 palming1 #dj ,sun and moon1 #bae ,suspension wand1 mesmeric1 #cah ,swallowing a knife1 #he ,a watch1 #cfh ,sweetmeats1 finding in a handkerchief1 #fe ,sympathetic cards1 #abj ,t4 ,table and dress1 #aef ,tricks at1 #gb ,tables1 passing coins through1 #ab ,position of1 #cif ,selecting1 #aee substitute for conjuring1 #cid ,talking glass1 #chd ,targets for watches1 #cfe ,thought-reading with cards1 #ada ,throwing a card1 #abi ,thumb palm1 #f ,time for performance1 length of1 #cih ,touch1 electric1 #chi ,transit of coins1 invisible1 #bcb ,trap box1 #cie ,traps for stage conjuring1 #aef ,in high hat1 #cie ,passing articles through1 #aeh ,travelling cards1 #ace ,tying a knot instantaneously1 #fh ,a knot on the wrist1 #fi ,a knot that will not draw tight1 #fg ,tumbler1 coin-vanishing1 #ahd ,filter1 #gi ,passing a fork or spoon through1 #gi ,perambulating bottle and1 #cbh ,u4 ,ubiquitous glass of water1 #bfg ,universal card1 #aai ,untying a knot at word of command1 #fe ,v4 ,vanishing and passing a ball1 #ee ,articles through traps1 #aeh ,coins1 #aj ,coins from a handkerchief1 #ag ,doves1 #agc ,glass of sherry1 #gg ,handkerchiefs1 #aga ,large objects from the hands1 #afg ,oranges1 c41 #agj ,pack of cards1 #ahf ,plates1 #gh ,small birds1 #agc ,vesting1 #afj1 #agj ,w4 ,walking stick1 perambulating1 #chb ,wand and ring1 #ea ,half-crown1 #bcg ,finding articles in1 #cje ,mesmeric suspension1 #cah ,passing down throat1 #cfh ,purchasing1 #c ,ring and handkerchief1 #di ,use of1 in palming1 #ab ,warm hands1 necessity for1 #cih ,watches1 bag for1 #cfc ,bending1 #cfb ,box for1 #cfh ,borrowing1 #cfa ,breaking1 #cfb ,causing to appear on assistant's back1 #cfg ,putty1 #cfb ,reproducing1 #cfd ,swallowing1 #cfh ,targets for1 #cfe ,tricks with1 #cfj ,water1 inverting glass of1 #bga ,ubiquitous glass of1 #bfg ,welsh rabbit1 novel1 #cgd ,wine bottle1 magic1 #caf ,magical1 #ccg ,wine-drinking crystal ball1 #cjh ,worsted ball and coin1 #bef ,wrist1 tying a knot on the1 #fi ,writings1 fiery1 #chg 99 99 99 99 99 ,transcriber's ,notes ,minor punctuation errors have been silently corrected4 ,some illustrations have been relocated4 ,part ,i and ,part ,,ii have been added to the ,table of ,contents4 ,page #bf3 ,changed ,alway to ,always4 7,orig3 ,alway obtain possession of the wineglass7 ,page #gh3 ,changed immmediately to immediately4 7,orig3 between the legs1 and immmediately covered with the napkin47 ,page #ajf3 ,removed duplicate in4 7,orig3 it is not in in general use1 but forms almost a separate7 ,page #afd3 description is probably a typo for descriptions4 7,orig3 one of the most wonder-inspiring description47 ,page #ahg3 ,changed maufacture to manufacture4 7,orig3 he was told to maufacture the card17 ,page #aig3 ,possibly missing be before burnt4 7,orig3 half of the card which is to burnt doubled up and placed7 ,page #bbj3 ,changed hankerchief to handkerchief4 7,orig3 and the body of the same hankerchief on the other side7 ,page #bfd3 ,changed that to than4 7,orig3 trick even more wonderful that it is in its ordinary form47 ,page #cad3 ,changed fron to from4 7,orig3 and pour out some liquid fron it17 ,page #cad3 ,changed unexpresed to unexpressed4 7,orig3 for the unexpresed purpose of showing that it is glass17 ,page #cdi3 ,changed unvailing to unavailing4 7,orig3 great1 but unvailing1 efforts are made to extract the ball47 ,page #cec3 ,changed neccessary to necessary4 7,orig3 great care being neccessary to prevent any of them falling7 ,page #cgj3 ,changed when to then4 7,orig3 for a few seconds1 when open it1 showing1 of course1 nothing7