,,the ,practical ,magician ,,and ,,ventriloquist',s ,,guide4 ,a ,,practical ,,manual ,,of ,,fireside ,,magic ,,and ,,conjuring ,,illusions1 ,,containing ,,also ,,complete ,,instructions ,,for ,,acquiring ,,practising ,the ,art of ,ventriloquism4 ,,new ,,york ,,hurst ,,co41 ,publishers1 #ge ,,nassau ,,street4 7,entered according to ,act of ,congress in the year #ahgf1 by ,,thomas ,d4 ,,hurst1 in the office of the ,librarian of ,congress1 at ,washington1 ,d4,c47 ,,best ,,book ,,on ,,the 8,,black ,,art40 ,,parlor ,,pastimes4 ,a ,,new ,,book ,,on ,,magic1 ,,conjuring1 ,,legerdemain1 ,,and ,,prestidigitation4 ,,by ,,the ,,celebrated ,,professor ,,raymond ,this work is certainly the most exhaustive one on ,magic that has ever been issued4 ,it exposes all the secrets of the ,wizard's ,art4 ,no trick or illusion of importance is left unnoticed1 and the explanations are made in so simple a manner that any one of ordinary comprehension can readily understand and perform them4 ,the book thoroughly elucidates all the mysteries connected with ,white ,magic1 ,natural ,magic1 ,jugglery1 ,sleight-of-,hand1 ,electricity1 ,chemistry1 ,cards1 ,coins1 ,galvanism1 ,magnetism1 ,legerdemain1 ,necromancy1 ,fireworks1 ,mechanics1 ,the ,black ,art1 ,prestidigitation4 ,it also contains a grand assortment of ,,riddles1 ,,conundrums1 ,,charades1 ,,enigmas1 ,,rebuses1 ,,transpositions1 ,,anagrams1 ,,puzzles1 ,,paradoxes1 ,,acrostics1 ,,and ,,problems4 ,a study of this extremely interesting work would make any one thoroughly expert in the art of ,amusing1 whether in private or public4 ,the work may be consulted with profit either by the ,amateur or ,professional ,magician4 ,price ,twenty-,five ,cents4 ,sent to any address on receipt of price4 ,address ,,hurst ,,co41 #ge ,,nassau ,,street1 ,,new ,,york4 ,,contents4 ,,page ,introduction4 #h ,of palmistry and the passes4 #i ,to command a dime to pass into the centre of a ball of wool1 so that it will not be discovered till the ball is unwound to the very last of its threads4 #ac ,to change a bowl of ink into clear water with gold fish in it4 #ad ,the dancing egg4 #ae ,the walking cent4 #af ,tricks with and without collusion4 #ai ,to make a quarter and a penny change places while held in the hands of two spectators4 #bc ,trick with the dime1 handkerchief1 and an orange or lemon4 #bc ,how to double your pocket money4 #bd ,the injured handkerchief restored4 #be ,to make a large die pass through the crown of a hat without injuring it4 #bf ,to produce from a silk handkerchief bon-bons1 candies1 nuts1 etc4 #bg ,practice4 #bi ,a sudden and unexpected supply of feathers from under a silk handkerchief or cloth4 #ca ,heads or ,tails8 #cc ,to cook pancakes or plumcakes in a hat over some candles4 #cd ,to eat a dish of paper shavings and afterwards draw them from your mouth like an ,atlantic cable4 #cf ,how to cut off a person's nose without injuring him4 #cg ,tricks by magnetism1 chemistry1 galvanism and electricity4 #ci ,the watch obedient to the word of command4 #da ,a chemical trick1 to follow one where a young friend has assisted4 #dc ,to draw three spools off two tapes without those spools having to come off the ends of those tapes1 and while the four ends of the tapes are held by four persons4 #dd ,to restore a tape whole after it has been cut in the middle4 #df ,on the continuity of tricks4 #di ,the invisible hen1 a very useful trick for supplying eggs for breakfast or dinner4 #ec ,tricks with a plain gold ring4 #ef ,friendly suggestions4 #ei ,the conjuror's 8bonus genius0 or familiar messenger4 #fa ,the shower of money4 #fc ,to furnish the ladies with a magic supply of tea or coffee1 at their selection1 from one and the same jug4 #fd ,to furnish a treat to the gentlemen4 #ff ,ventriloquism4 #fg ,ventriloquism among the ancients4 #gj ,modern professors of the art4 #ga ,the theory of ventriloquism4 #gf ,the means by which it is effected4 #gi ,practical illustrations4 #ha ,polyphonic imitations4 #hg ,a mountain echo4 #hh ,points to be remembered4 #hh ,concluding remarks4 #ij ,to make the magic whistle4 #ia ,illustration3 ,decoration ,,the ,,practical ,,magician ,,and ,,ventriloquist',s ,,guide4 ,,chapter ,i ,,introductory4 ,my object in writing these hints on ,,conjuring is for the benefit of amateurs to promote lively and entertaining amusement for the home circle and social gatherings4 ,my large experience enables me to explain and simplify many of the best tricks and illusions of the art4 ,i present the key to many of the mystical mysteries which have puzzled and bewildered our childhood days as well as confounded us in our maturer years4 ,the young student can in a very short time1 if he be in the least of an ingenious turn1 amuse and astonish his friends1 neighbors and acquaintances4 ,preference has been given to those tricks which suggest others1 the more complete and difficult performances and illusions have been passed by as being out of place2 ,i shall not1 therefore1 in these elementary papers advert to those experiments which require ample resources1 or a prepared stage1 for exhibiting them--or which can only be displayed to advantage by consummate skill and the most adroit manipulation--but confine my remarks at present to those branches of the art to the performance of which a young amateur may aspire with prospect of success4 ,a few hours' practice will enable the learner to execute the simple tricks that ,i shall first treat of2 and they will only require for their display such articles as are readily available in every household4 ,most of them will be supplied by any company of a few friends1 and if not in the parlor1 can be brought from no greater distance than the kitchen or housekeeper's room2 such as handkerchiefs1 coins1 oranges1 or eggs1 a glass bowl1 etc41 etc4 ,there may only remain a few inexpensive articles to be supplied from repositories for the sale of conjuring apparatus1 or they may be had direct from the publishers of this work4 ,it may be well explicitly to avow that the time is quite gone by when people will really believe that conjuring is to be done by supernatural agencies4 ,no faith is now reposed in the 8black art of sorcery10 or even in the art to which the less repulsive name was given of 8white magic40 ,many years have elapsed since conjurors have seriously assumed to themselves any credit as possessing supernatural powers1 or as enabled by spiritual agency to reveal that which is unknown to science and philosophy1 or mysteriously to work astonishing marvels4 ,a well-marked contrast exists between the old school of conjurors and those of modern times4 ,the former1 who used boldly to profess that they employed mysterious rites and preternatural agency1 designedly put the spectator upon false interpretations1 while they studiously avoided giving any elucidation of the phenomena1 nor would ever admit that the wonders displayed were to be accounted for by the principles of science and natural philosophy4 ,modern conjurors advance no such pretensions4 ,they use as scientifically as possible the natural properties of matter to aid in their exhibition of wonderful results4 ,they are content to let the exhibition of their art appear marvelous4 ,they sometimes mystify the matter1 and so increase the puzzle1 in order to heighten the interest and amusement of the spectators2 but they throw aside any solemn asseveration of possessing hidden powers1 or of ability to fathom mysterious secrets4 ,it may be admitted that proficients and exhibitors still adopt language that has become current with conjurors1 and in common parlance it may be asserted that the wonderful ,mr4 ,so-and-,so undertakes to pass some solid object through a wall or a table2 to change black into white1 and white into black2 to place rings in closely-fastened boxes1 or draw money out of people's ears2 and conjurors may with ridiculous humor distract the attention of spectators1 so that accurate observation is not fixed upon the object that is to undergo before their eyes some singular transformation2 but no outrageous bombast or positive falsehoods are commonly advanced4 ,and the practical meaning of any exaggerated pretension is clearly understood to mean no more than that ,mr4 ,so-and-,so undertakes to present before you what1 ,,to ,,all ,,appearance1 is the conversion of black into white1 or vice versa2 and the audience are clearly aware that no more is assumed to be presented to them than a very striking illusion1 undistinguishable from a reality2 and how this is effected will be in many cases wholly untraceable1 and therefore the trick is inimitable4 ,we may be permitted to feel some pleasure in the conviction that the exhibition of our art in its more striking exploits is really marvelous1 and very attractive2 for we certainly have the power of placing some astonishing phenomena before our audience2 and we may surely prize the estimation with which the uninitiated are disposed to honor us1 but we erect no vain-glorious assumptions upon these data1 as we are quite contented with fair praise intelligently accorded to us4 ,and so far from closely concealing the principles and arcana of our science1 we are ready plainly to avow that it all depends upon faculties that all may attain by patient culture1 and exhibit by careful practice4 ,undoubtedly there are less and greater degrees of excellence to be obtained by proportionate intelligence and dexterity4 ,there are attainments in the art1 at which1 by natural qualification and peculiar adaptation1 special study1 practice1 and experience enable some few only to arrive4 ,these qualifications cannot be easily communicated to every one who might wish to possess them2 and therefore the highest adepts will ever have an incommunicable distinction4 ,but this is no more than is the case in the medical1 the legal1 and any learned profession1 in all which the most eminent proficients reserve to themselves1 or unavoidably retain1 an unquestioned superiority4 ,at the same time there is much in our art that may be communicated1 and the present papers will show to our friends that we are willing to impart to others such portions of our art as they are capable of acquiring2 and we trust that what we shall communicate to them will furnish them much rational recreation among themselves1 and enable them to supply innocent and interesting amusement to their friends and companions4 ,,chapter ,,ii4 ,,of ,,palmistry ,,and ,,passes4 ,the true nature and limit of the art of ,conjuring has now been defined--what it is that we assume to do1 and wherein we have discontinued the exaggerated pretensions of the conjurors of the old school2 and ,i have hinted in what respects1 and within what bounds1 a young amateur may gim at exhibiting some amusing experiments in our art4 ,but it remains for me to explain the grand pre-requisite for a novice to cultivate before he should attempt to exhibit before others even the simplest tricks of prestidigitation or legerdemain1 to which we at present confine our attention4 ,i have first to speak of ,,palmistry1 not in the sense that the fortune-teller uses the word1 but as expressing the art of the conjuror in secreting articles in the ,,palm of one hand while he appears to transfer those articles to his other hand4 ,it is absolutely necessary that the young amateur should acquire the habit of doing this so adroitly as to escape the observation of others while doing it openly before their eyes4 ,the two principal passes are the following3 ,,first ,,pass2 or1 method of apparently carrying an object from the right hand to the left1 while actually retaining it in the right hand4 ,the reader will please to observe that the illustrative sketches depict the hands of the performer as seen by himself4 ,,first ,,position ,,of ,,pass #a4 ,the right hand1 having the knuckles and back of the fingers turned toward the spectators1 and holding openly a cent1 or some similar object1 between the thumb and forefinger1 must be moved toward the left hand4 ,the left hand must be held out1 with the back of the hand toward the ground1 as exhibited in the illustration4 7,fig4 #a47 ,illustration3 ,,fig4 #a4 ,first ,position of ,pass #a4 ,,second ,,position ,,of ,,pass #a4 ,the left hand must appear to close over the object that is brought toward it1 at the same instant that the right hand secretes and withdraws that object4 ,the left hand that appeared to receive it must continue closed4 ,the right hand1 though it actually retains the object1 must be allowed to hang loosely over it1 so that it appears to have nothing in it4 ,illustration3 ,,fig4 #b4 ,second ,position of ,pass #a4 ,the performer then may blow upon the closed left hand1 and may say1 8,fly10 or 8,begone10 or any similar expression1 and then open his left hand1 holding it forward4 ,of course there is nothing in it1 and the object seems to have flown from it1 and the spectators are much surprised4 ,,second ,,pass4--,method of apparently transferring an object from the left hand to the right1 while retaining it in the left hand4 ,,first ,,position4 ,let the left hand hold up the object in its open palm4 ,the right hand is brought toward the left hand1 but only appears to grasp it4 ,illustration3 ,,fig4 #c4 ,first ,position of ,pass #b4 ,,second ,,position4 ,the left hand secretes the object in its palm1 while the fingers are allowed to fall loosely down1 appearing to retain nothing under them4 ,at the very same moment the right hand must be closed1 and remain in shape as if containing the object1 with the second joints of the fingers pointed toward the spectators1 and the back of the hand toward the ground4 ,the performer then holding his right hand forward1 may blow on it and say 8,change--fly10 and opening that hand1 the spectator deems the object has passed away from it1 though in fact it has remained all along in the left hand4 ,illustration3 ,,fig4 #d4 ,second ,position of ,pass #b4 ,the illusion in either of these passes is1 that the spectator seeing both hands move as if the object were passing from one to the other1 thinks it has done so2 whereas1 in fact1 the object always remains in the hand where it was first visible to the spectators4 ,the ,,back of that hand where the object is first displayed must afterwards be kept well toward the spectators4 ,observe1 the eye of the performer must rest always on the hand or object at which he desires the spectators to look1 and whatever he wishes them not to notice1 he himself must refrain from looking at4 ,if it is not required that the very object that has been held up in these passes be seen again by the spectators1 the performer must quietly pocket it1 or drop it on a handkerchief on his table1 or inside a hat1 or otherwise get rid of it as soon as he conveniently can4 ,on the contrary1 if that very object must be again produced or transferred to a person standing at some little distance1 this must be effected by one of the following methods3 ,either you must take care beforehand to place adroitly in that person's cap or pocket a double or similar object4 ,or1 you must walk up to him1 and putting your hand on his hair1 sleeve1 or pocket1 quickly place there the object you have all along retained1 and which you must pretend by this manuvre to find in his possession4 ,or1 lastly1 you will see in the first trick subjoined1 a method of substituting one object for another4 99 99 99 99 99 ,,first ,,trick4--,to command a dime to pass into the centre of a ball of ,berlin wool1 so that it will not be discovered till the ball is unwound to the very last of its threads4 ,,requisite ,,preparations1 ,,to ,,be ,,made ,,privately4 ,you will require a glass bowl or quart basin1 and you must have a flattened tube of tin about four inches long4 ,it must be just large enough to let a dime slide easily through it by its own weight4 ,round the end on this tube wind a ball of ,berlin wool of bright color1 covering about two inches of the tube1 and projecting about an inch beyond the end of it4 ,place this ball with the tube in it in your right-hand pocket of coat tail1 7or in the left breast-pocket1 if that is large enough to hold it completely covered47 ,lastly1 place a dime concealed in the palm of your left hand4 ,commence the exhibition of the trick by requesting one of the spectators to mark a dime 7or cent7 of his own1 so that he will be sure to know it again4 ,then ask him to lend you that coin4 ,holding it up in your right hand1 you may say1 8,now1 ladies and gentlemen1 this is the marked dime which ,i shall experiment with4 ,the gentleman has accurately marked it1 so that there can be no mistake about its identity when reproduced40 ,then by ,pass #a pretend to transfer the marked coin to your left hand1 but in reality retain it in your right hand4 ,next1 hand with your left hand your own dime 7which had been secreted in that hand7 to some person1 and request him to hold it4 ,choose for this person some one three or four yards distant from yourself1 and also from the person who originally marked the coin4 ,it is unnecessary to explain that you do so1 lest the two should compare notes4 ,of course1 the person who is asked to hold it will believe that it is the very dime that was borrowed4 ,you may proceed to say3 8,now we want a ball of worsted40 ,so1 placing your right hand in your pocket1 pretend to feel about for something in your pocket1 and while doing so you must place the dime in the top of the tin tube1 and shake it down4 ,then carefully draw the tube out of the ball of worsted2 and leave the tube in your pocket1 but draw the ball out of your pocket1 pressing it together while doing so4 ,then request some one to feel the ball in order to ascertain that it has no opening towards its centre4 ,you may here make some humorous remark about your having such a ball in your pocket4 ,as for instance3 8,ladies may think it odd that ,i have such a ball of ,berlin wool in my pocket4 ,it was bought to please my cousin ,mary ,ann1 or my ,aunt ,tabitha4 ,well1 it will do very fairly for our experiment40 ,then request some one to hold the glass basin containing the woollen ball4 ,while you retain in your hand the end of the woollen thread1 address the gentleman who has consented to hold the dime1 asking him to hand it to you4 ,take it in your right hand1 pretend by ,pass #a to transfer it to your left hand1 but in reality keep it concealed in your right hand4 ,holding up your closed left hand1 7which in fact has nothing in it17 you may say3 8,now1 dime1 pass along this woollen thread into the very centre of the woollen ball which is there held in the glass bowl or basin40 ,blow upon your left hand1 and show that the dime is gone4 ,you must adroitly get rid of the dime1 which has remained secreted in your right hand1 by placing it in your pocket or sleeve while making some humorous remark1 or while asking some lady or gentleman to draw the woollen thread till it is all unwound4 ,it will be done the quicker by letting the ball be confined loosely in the bowl with two fingers preventing its leaping out4 ,draw attention to how completely the coin is wrapped up till you arrive at the very last circles1 when it will drop into the bowl4 ,hand the dime to the owner who marked it1 and let him declare whether he recognizes it as the very one he lent you4 ,his affirmative will surprise the spectators4 ,,second ,,trick4--,to change a bowl of ink into clear water1 with gold fish in it4 ,,requisite ,,preparation1 ,,to ,,be ,,made ,,privately ,,beforehand4 ,the same glass bowl as in previous trick4 ,if your bowl has not a foot to it1 it must be placed on something that will hold it high above your table4 ,some small fish1 a white plate or saucer1 a piece of black silk just fitting the inside of your bowl1 a spoon of peculiar construction1 so that in a hollow handle it will retain about a teaspoonful of ink1 which will not run out as long as a hole near the top of the handle is kept covered or stopped4 ,a large tumbler and two or three minnows will do for a simpler exhibition1 but will1 of course1 not be so pleasing to the eye4 ,place the black silk so as to cover the part of the bowl that is shaded2 when damp it will adhere to the glass4 ,pour in clear water to fill the space covered by the black silk1 and place the fish in the water4 ,illustration3 ,,fig4 #e4 ,commence the trick in public thus3 ,holding the spoon-handle slanting up and uncovering the hole in the handle1 the ink which you have placed in the handle will run into the bowl of the spoon1 and the spoon being held carefully to the surface of the water1 concealing the black silk1 will give the spectators the impression that you fill the spoon from the glass bowl4 ,pour the spoonful of ink on a white saucer1 and show it round to convince the spectators it is ink4 ,they will see it is undeniably ink1 and they will conclude1 if the spoon were properly lifted out of the bowl1 that the glass bowl contains nothing but ink4 ,borrowing a silk handkerchief1 place it for a few seconds over the bowl1 and feigning to be inviting fish to come to the bowl1 exclaim 8,change60 ,then1 placing your hand on the edge of the bowl near yourself1 draw off the handkerchief1 and with it take care to catch hold also of the black silk4 ,the bowl when uncovered will exhibit the fish swimming about in clear water4 ,while the spectators are surprised at the fish1 return the handkerchief1 having first dropped out of it the black silk on your side of the table4 ,decline giving any explanation1 as people will not thank you for dispelling the illusion4 ,,third ,,trick4--,the ,dancing ,egg4 ,,requisite ,,preparation ,,to ,,be ,,made ,,in ,,private4 ,an egg-shell that has been blown 7my young friends will know that the way to blow an egg is to make a small hole at each end of the egg4 ,then1 by blowing at one end1 the yolk will be driven out1 and the egg-shell be left empty47 ,make a hole also on the side of the egg1 in which insert a chip of wood1 or a small pin1 held by a fine black silk thread1 about twelve or fourteen inches long1 which must have a loop at the far end1 which loop fasten to a button on the coat or waistcoat2 and have on a dark vest1 otherwise the dark thread becoming visible1 will reveal the moving power4 ,illustration3 ,,fig4 #f4 ,commence by borrowing two black hats4 ,if there is an instrument in the room1 ask some one to play a lively tune1 as 8eggs are fond of lively music to dance to40 ,then1 with the brim of a hat in each hand1 interpose the round of each hat successively under the thread that holds the egg1 moving them from your breast toward the egg4 ,the egg will appear to move of itself over the hats1 as you place them under it4 ,you must not allow people to handle the egg on the thread afterwards1 for when they see the simplicity of the process they will undervalue the trick1 whereas it appears marvellous as long as they do not understand how the extraordinary movements are produced4 ,and in these illusions1 as ,hudibras expresses it1 ,doubtless1 the pleasure is as great ,in being cheated as to cheat4 ,,fourth ,,trick4--,the ,walking ,cent4 ,,preliminary ,,preparation ,,in ,,private4 ,ask for a long dark hair from some lady's tresses4 ,have a pin in shape of a hook1 or a small loop affixed to the end of this hair1 and fasten a little piece of beeswax 7less than a pea7 at the other end of the hair4 ,fasten the hair by the loop to a button on your vest1 taking care to wear a dark-colored vest4 ,the hair may be allowed to hang from your vest1 with the beeswax visible4 ,have a glass of water or cup on the table4 ,commence the exhibition of the trick by borrowing a cent4 ,while pretending to examine the cent to see if it is a good one1 press the waxed end of the hair firmly to the under side of the cent1 and place it about a foot from the edge of a table4 ,then bid the cent to move toward you1 to the right or to the left1 and by gently moving your body in whatever direction you name1 the hair will draw the cent in the same direction4 ,you may say1 while your left hand is near the table1 8,now1 cent1 move up my arm40 ,advancing your arm gently1 the cent will appear to move up to your elbow4 ,it is your arm that moves1 but it will appear to the spectators as if the cent moved2 or you may help it up the outside of the sleeve by interposing your right hand under the hair1 so as to draw up the cent1 while appearing to beckon it4 8,now1 cent1 as you have performed so well1 you shall have a bath40 ,placing the tumbler near the edge of the table1 draw the cent into it4 ,after exhibiting it in the water1 say1 8,oh1 cent1 you must not stay so long in the water40 ,then jerk it out upon the table4 ,detach the waxed end of the hair by your nail1 after which return the cent to the person who loaned it to you4 ,when performing this trick1 in order to keep the spectators at a little distance1 you must inform them that 8the cent is very susceptible to magnetic influences1 and request ladies not to approach too near it1 as the loadstones of their eyes are the cause of the magnetic attraction40 ,illustration3 ,,fig4 #g4 ,my young friends must remember that it is absolutely necessary to keep up in spectators their belief in the mysterious1 and therefore must decline on the spot to give explanations before or after the performance of this trick1 however they may be disposed to reveal the secret privately to any friend4 ,a singular instance is recorded of a person who was grievously disappointed when by importunity he had received an explanation of this very trick1 which had appeared at first to him a most marvellous phenomenon2 and he was quite annoyed when the gilt was stripped off his ginger-bread4 ,it is said that a gentleman walked into a coffee-room at ,manchester1 ,england1 and was exhibiting to a friend the above trick4 ,a traveler at a table near them had his attention drawn by their laughing discourse1 while one of them exhibited the trick to the other4 ,the cold barrier of ,english reserve was broken down1 and he addressed one of the strangers1 requesting to be informed how the trick was done4 ,for his part he imagined it must be connected with some perfectly new philosophical law of attraction involved in the experiment4 8,will you be kind enough to tell me8 ,i shall be happy to offer a fee to learn it4 ,i was about to proceed by the next train1 but ,i will gladly defer my journey to understand this1 which appears so unaccountable40 ,the gentleman declined for a considerable time2 but at length1 being overcome by the importunity1 in order to get rid of the matter1 assented4 ,the time of the departure of the train had arrived and passed by1 and the aspirant offered two guineas to learn the trick4 ,the gentleman acceded to his request on condition that he should faithfully promise not to reveal it to others1 or to make public the mystery4 8,agreed10 says the traveler4 ,the mail train was gone--the money paid--the trick exhibited and explained to him4 8,oh60 cried the traveler1 8how easy and plain it is4 ,what a simpleton ,i have been to lose my journey and spend my money only to learn how you--40 8,stop60 cried the gentleman1 8remember you have promised not to divulge the secret40 8,yes1 but how foolish to care for an experiment which only depends on--40 8,stop1 sir1 stop4 ,are you going to tell all the room80 and thus a good half-hour's amusement was caused by the traveler fretting over his simplicity1 and having relinquished an important journey for that which1 though marvellous while a secret1 became so simple and uninteresting to him after an explanation4 ,,chapter ,,iii4 ,,tricks ,,with ,,and ,,without ,,collusion4 ,in resuming my hints to amateurs1 ,i shall now offer some remarks upon two subjects4 ,,first4--,i will notice the class of tricks that are performed by the collusion of a confederate4 ,old books on conjuring record several of this description1 and some conjurors still practise them4 ,but ,i do not advise the inexperienced frequently to exhibit tricks of this sort1 for the co-operation of assistants used in them is liable to be traced by spectators1 or to be divulged by the person who has been employed to aid in the exhibition of them4 ,they may1 indeed1 be very well as a make-shift until dexterity of hand is acquired2 but they will always rank as an inferior branch of the science of conjuring1 and if the collusion is discovered1 it will throw discredit even upon those tricks which the same performer may exhibit without such collusive arrangement4 ,an instance of the annoying failure of such dependence upon confederates is recorded in 8,houdin's ,memoirs40 ,it is there related that ,torrini1 at the commencement of his career1 was insidiously induced by an envious rival 7,pinetti7 to undertake a public exhibition of his art before a very grand assembly4 ,torrini was at the time diffident of his own attainments1 but he was persuaded to make the attempt by the assurance of ,pinetti that he would take care that several confederates should be present1 and should help in carrying out sundry illusions which he would have to display4 ,one of these was1 that the conjuror1 after borrowing a ring1 was to restore it magically into the possession of its owner4 ,the ring was borrowed1 and some mysterious gesticulations practised2 but instead of the contemplated result being produced1 the false confederate proclaimed aloud that he had lent a very valuable jewelled ring1 and had only received back a common copper ring4 ,the audience was of course disappointed at such words so derogatory to the conjuror4 ,this unpleasant feeling was deepened by the malicious meddling of another false confederate4 ,torrini had to present some cards to the ,king of ,naples1 who was honoring the assembly by witnessing the exhibition1 and a card was selected by his ,majesty4 ,instead1 however1 of being pleased with what he saw on the card1 the king manifested intense disapprobation4 ,the confederate had written on the card words of disrespect and insult1 and ,torrini had to retire amid the loud censures of the enraged spectators4 ,there may be no danger of so disastrous results to a young amateur2 but dissatisfaction of a milder kind will probably ensue whenever it is discovered that any trick has depended upon the secret co-operation of an assistant among the spectators4 ,the ,,second topic which ,i propose at present to discuss is the employment of mechanism--such mechanical constructions as boxes with false sides1 cabinets with secret drawers1 or double compartments1 etc4 ,it makes a great difference whether such arrangements are used as subordinate aids1 or as constituting the essence and substance of the illusion4 ,in the former respect it is quite legitimate to take advantage of any well-arranged mechanical aid subordinately4 ,in fact1 nearly all tricks must be performed with some modified aid of artistic contrivance1 or with mechanical implements adroitly used4 ,the conjuror1 therefore1 unavoidably requires1 and may advantageously employ1 mechanical arrangements to give greater effect to his illusions4 ,i only wish to dissuade the learner from relying solely upon mere mechanical puzzles1 or artistic contrivances1 for furnishing an interesting exhibition of the conjuror's art4 ,the fewer the contrivances which he employs of this sort1 and the more entirely the performance rests upon sleight-of-hand the more lively will be the surprise of the spectators4 ,i myself prefer doing without the aid of any confederate1 and without mechanical aids2 but ,i must remember that ,i am writing for amateurs and novices in the art1 and that1 in proportion as they are unpractised in palmistry1 and in what the ,french term prestidigitation1 7preste digite1 signifying 8ready fingers107 it will be desirable for them1 at first1 to have the assistance which mechanism will supply towards the exhibition of their tricks4 ,let them1 however1 keep such aids as subordinate and as secret as possible4 ,for instance1 in the preparation for exhibiting the first trick described on page #ab1 the small tin tube 7which is requisite for the performance of that trick7 must not be seen by the audience1 either ,,before or ,,after the trick is exhibited1 but must be kept secreted in the pocket4 ,again1 in ,trick ,no4 #d1 the preparation of the hair and beeswax must be made ,,privately beforehand2 and these implements must vanish out of sight when the trick is over4 ,and the reader must observe that in both the first and fourth tricks the mechanical aid employed is the minor and subordinate part of the tricks1 and that a successful exhibition of either of them depends really on the dexterity of the passes1 and of manipulations by the performer4 ,it may be admitted1 then1 that1 with regard to the first topic of our present paper1 the young conjuror need not be restrained from employing the subordinate aid of an assistant1 so far as this may carry him over difficulties which he cannot otherwise surmount in the present stage of his imperfect skill4 ,and in regard to the second topic1 the employment of mechanical contrivances1 7though it may be well to begin with those departments of the art which are easier1 because aided by mechanical apparatus17 it will be desirable for the amateur to strive to get free from dependence upon such aids4 ,mechanical arrangements cannot be wholly discarded at any time1 and the conjuror will always require a few implements2 but the more he advances in dexterity of hand1 quickness of eye1 control of his hand and eye1 instantaneous adaptation of his words and movements to contingencies as they arise1 the more able will he become to elude the observation of the most watchful spectators1 and to mislead their imagination1 so that they shall fancy that they see him ,,do things which he only ,,appears to do1 and shall blindly fail to observe actions and movements carried out before their very eyes4 ,and here let me say1 that ,i have1 by long experience1 come to the conviction1 that the simpler and more common the objects are on which1 and with which1 a trick is performed1 and the less anything beyond dexterity of hand is openly used1 the greater will be the astonishment and the amusement of the spectators4 ,there are1 it is true1 some very striking and complicated illusions which it is impossible to present without resorting to artistic contrivances of mechanical or scientific arrangement4 ,on these illusions1 as being beyond the power of a young amateur1 ,i need not dwell4 ,nor need the preceding remarks be considered as any disparagement of the combinations and extrinsic aid which are indispensable for developing such startling illusions4 ,the scope of my present remarks is simply to this effect1 that to depend mainly upon the co-operation of a confederate1 or upon mechanical contrivances1 for what can be far better carried out by mere sleight-of-hand1 will not pass for a satisfactory exhibition of conjuring now-a-days2 and the amateur will find that1 as he advances in skill and dexterity1 he will swim more freely the less he trusts to such unsubstantial bladders to uphold him4 ,having thus discussed my two topics ,i shall now add explanations of a few more tricks1 which the learner may practise with the hope of making progress in the art of conjuring4 ,the only way to make such progress and gain high attainments in the art1 is to practise diligently over and over again the passes ,i have described in my former paper1 and to learn to do a few tricks neatly1 and without hesitation or stumbling4 ,i subjoin1 therefore1 some simple but effective tricks1 in which they will do well to perfect themselves4 ,,trick #e4--,to make a quarter and a penny change places1 while held in the hands of two spectators4 ,,preparation4 ,have a quarter of your own secreted in your right hand4 ,then borrow two handkerchiefs1 and a quarter and a penny1 from any one in the audience4 ,tell the lender to mark or accurately observe them1 so that he will know them again4 ,in placing them on the table1 substitute your own quarter for the borrowed one1 and conceal the borrowed one in your palm4 ,,memorandum4 ,it is better to use things borrowed than coin of your own4 ,still1 the conjuror should provide himself with articles requisite to display any trick1 or otherwise much delay may occasionally arise while borrowing them4 ,commence the trick by pointing out where the quarter and the penny are lying on the table4 ,take up the penny and show it openly to all4 ,then take up one of the handkerchiefs1 and while pretending to wrap up the penny in it1 substitute in its place the borrowed quarter which you had concealed in your palm1 and ask one of your friends to feel that it is enfolded in the handkerchief1 and bid him hold the handkerchief enclosing it above his head4 ,ask him if he has got the penny there safely4 ,he will reply that he has4 ,then take up your own quarter which was laid upon the table2 pretend to wrap it up in the second handkerchief1 but adroitly substitute the penny1 7which you concealed in your palm while wrapping up the first handkerchief47 ,ask some friend to hold it up above his head1 indulging in some facetious remark4 ,slip your own quarter into your pocket4 ,clap your hands or wave your wand1 saying1 8,change40 ,tell your friends to unfold their handkerchiefs4 ,they will be astonished to find that the quarter and penny have changed places4 ,,trick #f4--;,another trick with the dime1 handkerchief1 and an orange or lemon4 ,,preparation4 ,have an orange or lemon ready1 with a slit made in its side sufficiently large to admit the dime easily2 and have in your pocket a good-sized silk handkerchief with a dime stitched into one of its corners4 ,borrow a marked dime4 ,take out your handkerchief1 and while pretending to wrap this dime in the handkerchief1 conceal it in your palm1 and take care that the one previously sewn into the corner of the handkerchief can be felt easily through the handkerchief4 ,giving it to one of your friends1 tell him to feel that it has the dime in it1 and to hold it up over his head firmly4 ,while giving these directions to your friend1 the dime that is in your palm must be transferred to your pocket1 and introduced into the slit of the orange4 ,then bring the orange out of your pocket1 and place it on a table2 you will keep the slit on the side away from the audience4 ,then make a few mesmeric passes over the hand of the person that holds the handkerchief1 saying1 8,i will now destroy the sense of feeling in your hands4 ,tell me1 can you feel the dime80 ,he will say1 8,yes40 ,you can reply1 8,oh1 you must be wrong1 sir4 ,see6 ,i will shake out the handkerchief40 ,taking hold of one corner of it1 shake it out1 saying1 8,observe1 nothing will fall to the ground4 ,you see that you were mistaken about feeling it in the handkerchief40 ,the fact is1 the dime being stitched in the #8corner' could not fall out1 and you must take care not to let that corner of the handkerchief hit against the ground4 ,put the handkerchief in your pocket1 and say1 8,but ,i must return the borrowed dime40 ,exclaim3 8,fly1 dime1 into the orange on the table40 ,cut up orange1 and show the dime concealed in it1 and then restore it to its owner1 asking him to tell the audience if he finds it to be his own marked dime4 ,,trick #g4--;,how to double your pocket money4 ,the only preparation is to have four cents concealed in your left palm4 ,commence the trick by calling forward one of the spectators1 and let him bring up his hat with him4 ,then borrow five cents1 or have them ready to produce from your own pocket should there be any delay4 ,request your friend1 while he places them one by one on a small plate or saucer1 to count them audibly1 so that the company may hear their number correctly4 ,inquire1 8,how many are there80 ,he will answer1 8,five40 ,take up the saucer and pour them into your left hand1 7where the other four are already concealed47 ,then say1 8,stay1 ,i will place these in your hat1 and you must raise it above your head1 for all to see that nothing is added subsequently to them40 ,you will have placed these nine cents in his hat unsuspected by him4 ,borrow five cents more4 ,make ,pass #a1 as described on page #i1 appearing to throw these five into your left hand1 but really retaining them in your right hand1 which is to fall by your side as if empty4 ,afterwards get rid of four of the five cents into your pocket1 retaining only one in your right palm4 ,hold up your closed left hand1 and say1 while blowing on it3 8,pass1 cents1 from my left hand into the hat4 ,now1 sir1 be kind enough to see if they have come into your possession4 ,please to count them aloud while placing them in the saucer40 ,he will be surprised1 as well as the spectators1 to find that the cents in his hat have become nine4 ,you may then put on a rather offended look1 and say3 8,ah1 sir6 ah6 ,i did not think you would do so6 ,you have taken one out1 ,i fear40 ,approaching your right hand to his sleeve1 shake the sleeve1 and let the one cent1 which you have in your own hand1 drop audibly into the saucer4 ,it will raise a laugh against the holder of the hat4 ,you can say3 8,excuse me1 ,i only made it appear that you had taken one4 ,however1 you see that the original money is now doubled40 ,,trick #h4--,the injured handkerchief restored4 ,,preparation4 ,have a dime of your own wrapped in the centre of a piece of cambric about five or six inches in diameter1 the ends falling down loose4 ,conceal these in the palm of your left hand4 ,borrow a marked dime from any of the spectators1 and a white cambric handkerchief4 ,throw the handkerchief spread out over your left palm1 7holding under the handkerchief your own dime wrapped in the small piece of cambric47 ,openly place the borrowed dime on the centre of the spread-out handkerchief4 ,keeping hold of that dime1 jerk the ends of the handkerchief over1 so as to fall loose down from the lower side of your left hand4 ,draw out from between your thumb and fingers 7that is from the upper side of your left hand7 about two inches of the smaller piece of cambric1 containing your own dime4 ,the spectators will naturally conceive the two pieces of cambric you hold in that hand to be merely the cambric handkerchief4 ,call any of the spectators forward1 and request him to mark off with his knife the portion of the piece of cambric which holds your own dime1 and whisper to him to cut it completely off1 and to let the dime drop on the table4 ,the spectators will believe that he has cut a hole in the handkerchief itself1 and that the dime falling out is the one you recently borrowed1 whereas it is in fact the other piece of cambric that has been cut1 and the borrowed coin remains still wrapped up in the handkerchief4 ,pretend to blame the person who cut the two inches off1 saying3 8,dear me1 sir1 what have you done8 ,you have quite destroyed this nice handkerchief4 ,well1 ,i hope1 madam1 you will pardon the mistake1 if ,i manage by magic to restore to you your handkerchief in perfect order1 and ,i request you to allow me to try to do so40 ,carefully holding in the candle the edges of the cambric1 7both of the part cut off and of the portion from which it was cut17 and letting the real handkerchief hang down from the same hand1 pretend with a conjuring wand to weld together the edges of the cambric when they get hot1 as a blacksmith welds metals together4 ,you can prevent the flame from reaching the real handkerchief by tightly pressing your fingers4 ,then exclaim3 8,oh1 where is the dime80 and while picking it up from the table1 get quietly rid of the pieces of cambric with their burnt edges into a hat or some corner unseen by the audience4 ,holding up the dime which you had just lifted from the table say3 8,but to complete my trick ,i must replace this dime in the centre of the restored handkerchief1 whence it was cut out40 ,make the ,pass #a1 appearing to pass it into the centre of the handkerchief1 but retaining it in your hand1 and afterwards secretly pocket it4 ,the handkerchief has already the borrowed dime in it4 ,say to the handkerchief3 8,change--restore60 and unfolding it1 show the borrowed coin in it4 ,shake out the handkerchief and show it is all sound and right1 and restore it with thanks1 as well as the borrowed dime1 to the owners4 ,,trick #i4--,to make a large die pass through the crown of a hat without injuring it4 ,i will now give my young friends a nice1 easy trick1 requiring very little dexterity1 as the articles for its exhibition can be purchased at any depot for the sale of conjuring apparatus2 therefore the most diffident amateur will be able to display this trick4 ,,preparation4 ,have a die exactly like the common dice1 only it may be about two inches square4 ,have two covers for it1 one of them exactly resembling the appearance of a die1 only hollow1 except that one side of it is open1 so that it can easily be placed over1 or be taken off1 the solid die4 ,the other cover may be of decorated material1 and it is intended to be placed over the first die-cover4 ,let this last cover be made of some pliant material1 so that by compressing gently two of its sides with your fingers1 while lifting it up1 you can lift up the first die-cover1 which will be within it4 ,commence the trick by borrowing two hats2 place one with its rims upwards on the table1 and show that you place in that hat the die with its first cover on it4 ,but say1 8,i forgot to appeal to the company whether they will like to see the trick done visibly or invisibly40 ,they will most likely say1 8,visibly20 but it is of no consequence which answer they make1 for the process of the trick is the same in either case4 ,take out from the lower hat the first cover1 which is painted exactly like a die1 and having placed the second hat 7with its rims downwards7 on the other hat1 display the first cover1 and openly place it on the crown of the upper hat4 ,all the spectators will believe it to be the solid die itself4 ,then take your penknife2 you may just thrust it into the crown of the hat1 and pretend to cut all round the die-cover there lying2 say--8,i shall now bid it move into the lower hat1 but it will not do so while uncovered1 so ,i must place this ornamental cover over it40 ,do so2 show that you have nothing in your hands or sleeves2 then wave your wand or your hand1 and say1 8,change1 pass1 die1 into the lower hat40 ,give it a little time4 ,then1 compressing the outward cover gently1 lift off also with it the painted die-cover1 which it has inside it4 ,lift up the lower hat1 and show the company the solid die lying in it4 ,show all that the upper hat has received no injury4 ,the illusion to the audience will be that the solid die has passed through the crown of the upper hat without at all injuring it4 ,return the hats to the owners1 and show them to be uninjured4 ,,trick #aj4--,to produce from a silk handkerchief bon-bons1 candies1 nuts1 etc4 ,,preparation4 ,have packages of various candies1 wrapped up in bags of the thinnest tissue paper1 and place them on your table rather sheltered from observation4 ,have also a plate or two on your table4 ,,memorandum4 ,it will be always desirable to have the table removed two or three yards at least from the spectators1 and of a height that they cannot see the surface of it while sitting down in front of it4 ,commence the trick by borrowing a silk handkerchief1 or any large handkerchief4 ,after turning it about1 throw it out on the table1 so as to fall over one of these packages4 ,having carefully observed where the bag lies1 place your left hand so as to take up the bag while catching hold of the middle of the handkerchief4 ,taking the handkerchief up by nearly the centre1 the edges of it will fall around and conceal the bag2 make some pretended wavings of your wand or right hand over the handkerchief1 and say1 8,now1 handkerchief1 you must supply my friends with some bon-bons40 ,squeeze with your right hand the lower part of the bag which is under the handkerchief2 the bag will burst1 and you can shake out into a plate its contents4 ,asking some one to distribute them among your young friends1 you can throw the handkerchief 7as it were carelessly7 over another bag1 from which you can in the same way produce a liberal supply of some other sweetmeats1 or macaroon biscuits1 etc41 etc41 all of which will be duly appreciated by the juveniles1 and they will applaud as long as you choose to continue this ,,sweet trick4 ,,chapter ,,iv4 ,,practice4 ,in conjuring1 as in all other arts and sciences1 perseverance is requisite in order to become expert and successful4 ,there is no royal road1 or possibility of acquiring the end1 without exercising the means to that end4 ,let my young friends1 then1 carefully practise over and over again the passes and the tricks which ,i have already explained to them4 ,it is the only way to attain dexterity and confidence1 without which they will never be able to make any creditable exhibition of the art of conjuring4 ,after they have attained considerable skill and sleight-of-hand in displaying a few tricks1 they will easily extend the range of their performances1 and gradually rise to greater ability4 ,i may1 therefore1 parody an old injunction for obtaining success1 and say3 ,there are three rules for its attainment3 ,the first is 8,practice40 ,the second is 8,practice40 ,the third is 8,practice40 ,in a word1 constant and careful practice is requisite1 if any wish to be successful as amateur conjurors4 ,they should never attempt to exhibit before their friends any tricks that they have not so frequently practised that no bungling or hitch is likely to occur in their performance of it4 ,let no one be staggered by the simplicity of the processes recommended in these tricks4 ,the result will in fact be all the more astonishing1 the simpler the operations employed4 ,the great point is the address of the performer1 and that will carry through successfully the means employed4 ,however simple and insignificant those means may appear to the learner when they have been explained to him1 if there is good address and accurate manipulation1 the astonishment at the result will be infinitely greater than any one would imagine possible to be produced by such simple means4 ,there is one help that ,i can suggest towards the better management of the hands in concealing or removing objects2 it is the use of a conjuror's rod or short magic wand4 ,this is1 now-a-days1 commonly a stick of about fifteen inches long1 resembling a common rule1 or a partially-ornamented one4 ,you may often have observed this simple emblem of the conjuror's power1 and deemed it a mere idle or useless affectation4 ,the conjuror waves it mystically or majestically as he may be disposed4 ,of course you are right in your judgment that it can do no good magically2 but it does not follow that it is useless4 ,the fact is1 that it is really of considerable service to him4 ,if he wants to hold a coin or any object concealed in his hand1 without others observing the fact of his hand being closed1 the wand in that hand is a blind for its concealment4 ,he may require to pick up or lay down some object1 and he can do so while openly fetching or laying down his wand4 ,if he wants to gain time1 for any illusion or process of change1 he can obtain it while engaging the attention of the spectators by some fantastic movements of his wand4 ,by the use of the wand1 therefore1 you will be able to prevent the observation of your audience too pointedly following the movements which you wish to carry on secretly4 ,you may also1 at the same time1 dispel their attention by humorous remarks1 preventing it from being concentrated on watching your movements4 ,as a general rule1 you must not apprise your audience of what you are actually doing1 but must often interpose some other thought or object to occupy their mind4 ,for instance3 ,do you desire that a person should not examine too closely any object which you place in his hand1 tell him to hold it well above his head4 ,that takes it out of the range of his eyes4 ,it would never do to tell him not to look at it4 ,he would then immediately suspect that you are afraid of something being observed4 ,have you perchance forgotten to bring on your table any article requisite for displaying any trick1 a feint must be made that you must have more candles1 or must remove some other object1 thus gaining the opportunity to fetch what you require without naming it4 ,do not even announce too fully or vauntingly beforehand what is to be the result or development of any trick2 rather proceed with it1 and let the audience come unexpectedly upon a result which they had not contemplated4 ,their surprise will be greater1 and their amusement more lively1 at such unexpected result4 ,it is for this reason that it will be well to avoid the repetition of the same trick in the same evening1 though requested to perform it over again4 ,the minds of the spectators have already traced once the whole performance of it--the beginning1 the middle1 the end4 ,the zest of it1 therefore1 is gone off2 their minds are languid and disinterested about its second repetition2 and the conjuror's art proportionately sinks in their estimation4 ,having offered these general remarks1 ,i will now invite the attention of my young friends to another batch of interesting tricks1 which1 with a little effort1 they may succeed in exhibiting4 ,,trick #aa4--;,a sudden and unexpected supply of feathers from under a silk handkerchief or cloth4 ,,preparation4 ,have ready a good supply of plumes of feathers4 ,they may be obtained from a fur or fancy store1 or purchased there loose1 and tied up so as to lie thin and flexible where you wish to place them4 ,you may have at least four batches of them4 ,the common hackle feather will do1 stitched round a thin piece of whalebone4 ,feathers that are a little injured for sale as ornaments may be picked up at little cost4 ,take off your coat4 ,you may then have one or more batches of feathers placed round each arm2 the lower point of the stem on which the feathers are fixed being near your wrist1 and the top of each batch of feathers confined near your elbow by a slight worsted string1 so that they do not stick out the coat sleeve too much1 or slip down together if two batches are concealed in the same sleeve4 ,you can have one or more batches placed just within each side of your waistcoat1 with the lower point of the stem within easy reach of your hand--about four inches below your chin4 ,then put your coat on4 ,illustration3 ,,fig4 #h4 ,commence the trick by borrowing a large silk handkerchief or cloth of the same size4 ,show it to be empty by holding out the two top corners in front of your breast1 and shake the handkerchief while it falls loosely down over your vest4 ,then moving the handkerchief toward your left1 catch hold 7with your right thumb and finger7 of the end of the stem of the plume1 ,no4 #a1 and draw it from under the left side of your vest4 ,it will remain concealed behind the handkerchief while you move your two hands to the right1 which will draw out the plume from under your vest1 then over the centre of your chest4 ,then toss the handkerchief about1 enveloping the first batch of feathers2 say1 8,handkerchief1 you must supply me with some feathers40 ,in a minute or so1 take off the handkerchief1 and display the plume to the spectators4 ,show the spectators again that the handkerchief is quite empty4 ,move your arms toward your right till your left hand comes just over the edge of the right side of your vest4 ,with your left thumb and forefinger catch hold of the stem of the feathers there concealed1 and by moving your arms back towards the left1 you can draw out without its being observed the plume that had been concealed under the right side of your vest4 ,toss about and display as before this second batch of feathers1 and then place them aside4 ,then show to the company again that your handkerchief has nothing in it1 and lay the handkerchief over both your hands4 ,while waving it mysteriously about1 exclaim that the handkerchief must furnish you with some more feathers4 ,draw out of the left sleeve one of the plumes1 shake the feathers out while taking off the handkerchief from this1 which will be plume the third4 ,then1 throwing your handkerchief over the hand1 and clapping your hands together1 7with the left over the right hand17 manage to catch hold of another point of a plume1 and pull it out from your right sleeve while waving about your two hands with the handkerchief over them4 ,you have now produced four plumes4 ,the exhibition may be continued to an increased number of plumes1 if you have more concealed in your sleeves1 or elsewhere2 but four will probably be sufficient to manage at the commencement of your career as an amateur conjuror4 ,,trick #ab4--;,heads or ,tails8 ,i shall now give directions for reproducing1 before a juvenile audience1 a trick that will carry us back to the primitive style of conjuring in old times4 ,i cannot say that there is anything very scientific or elevated in it1 but1 if neatly and adroitly executed1 it will tell very well with a youthful audience4 ,,preparation4 ,you must take care that your table be so placed that none of the spectators can see behind yourself or the table4 ,you must provide yourself with some young pet of the juveniles1 such as a puppy1 a kitten1 or any other small pet4 ,the performer must either have some little bag hanging under his coat-tails1 or some provision for concealing the little animal behind him1 or in a drawer before him2 so that there will be no chance of any of the audience seeing it before the proper time4 ,he must have ready also a penny1 or any coin4 ,to begin the exhibition of the trick4 ,standing with all the nonchalance you can assume1 and placing one or both your arms behind your back1 you may say1 8,for a variety1 ,i will challenge one of my young friends to come and try which of us will succeed best in a few tosses of this penny40 ,induce some young person to come to the front of your table1 and tell him to bring forward his hat4 ,ask him to toss first with the cent and put the hat over it1 while you will guess 8heads0 or 8tails40 ,say it shall be seen who is most successful in five guesses4 ,after he has tossed up twice1 you can take the penny1 and say1 8,now1 ,i will vary the method of tossing4 ,you shall name now which you choose1 #8heads' or #8tails4'0 ,toss up the penny1 and while attention is occupied with this1 and he is looking to see which is uppermost1 heads or tails1 you withdraw your left hand from behind you1 holding the little animal you have concealed1 and slipping it into the hat1 and turning the hat down over it1 exclaim1 8,stay1 ,i mean to pass the penny through the hat upon the table1 and the whole affair shall be settled by the result of the present toss4 ,you shall see the heads or tails on the table40 ,by ,pass #a1 pretend to place the penny on the hat1 but retain it in your right hand4 ,say1 8,fly1 pass1 and quickly40 ,lift the hat1 and show both head and tail on the little animal or pet there concealed4 ,if you should have had a ,guinea pig1 you must make the guesses go on till your adversary guesses 8tails10 and then it will make a good laugh to say1 8,he has won1 and he had better now take it up by the tail40 ,,trick #ac4--,to cook pancakes or a flat plum cake in a hat1 over some candles4 ,,requisite ,,preparation4 ,have two gallipots or earthen jars1 of a size to go easily into a hat1 but of such dimensions that the one reversed will fit closely over the other4 ,tie worsted or a strip of linen round the smaller gallipot1 so as to insure the larger one holding firmly round the smaller one4 ,have ready some thin1 fluent dough1 some sugar1 and a few currants1 enough for two or three pancakes or a small plum cake2 also a spoon to stir the ingredients up4 ,have at hand two or three warm pancakes that have just been prepared by the cook for you1 with the same ingredients as mentioned above4 ,let them be firm and free from grease4 ,have also at hand two small plates1 with knives and forks4 ,commence the exhibition by borrowing two hats1 to give you a choice with which to perform4 ,you can remark that as you should be sorry to injure your friend's hat1 you will secure it from being soiled by placing some paper in it as a lining4 ,hold up the paper to show it is only paper1 and then openly place it in the hat1 and lay the hat down on its side on the table near you1 having the brim towards you4 ,have the ready-prepared pancakes lying near you1 and whilst taking off the attention of the spectators by pretending to arrange the articles on your table1 slip the prepared pancakes or plum-cake into the hat4 ,illustration3 ,,fig4 #i4 ,unobserved1 also place the smaller gallipot in the hat1 and while doing so1 if requisite1 add some remark1 such as3 8,please to shut1 or open1 that door10 or any words that will draw off the attention of the spectators from what you are doing4 ,you must next1 with some parade1 mix the fluent dough with the sugar and currants in the larger gallipot4 ,it must be fluent enough to pour out slowly1 apparently into the hat1 but really into the smaller gallipot1 which has been already concealed inside the hat4 ,show you have emptied the larger gallipot1 all but a little2 then1 placing it over the smaller gallipot again1 empty the very last of it1 and press the larger gallipot firmly down over the smaller one4 ,then1 with it1 lift the smaller gallipot also1 with its contents1 while you appear only to take back the larger gallipot4 ,remove the gallipots1 as supposed to be empty1 out of sight4 8,now1 ladies and gentlemen1 ,i must request your patience a few minutes for the process of cooking40 ,put two or three candles near one another1 and move the hat at a safe distance above them for two or three minutes1 making in the meantime any laughable remarks that may occur to you1 such as3 8,my young friends will find this capital way of supplying themselves with a delicate dish when they have lost their puddings from being in the black books of their teacher or parents10 or any similar humorous remark2 but take care not to burn the hat whilst the 7supposed7 cooking is going on4 ,after a short interval1 place the hat on the table1 and with some little ceremony take out the real pancakes or plum-cake4 ,let it be cut up and handed round to the juveniles who may be present4 ,,remarks4 ,a more finished or surer arrangement for holding the dough1 etc41 can be made with a tin apparatus1 which can be prepared by any tinman1 upon the same principle as the gallipots1 taking care not to have it made larger than the inside of a youth's hat4 ,illustration3 ,,fig4 #aj4 ,an amateur can render a common table more suitable for concealing any little object he wishes to have secreted1 by placing three or four tumblers under each end of a plank1 about the length to extend across the table1 and throwing any common cloth over the board and table1 or a kitchen table1 covered with a cloth1 having a drawer pulled out about six inches1 will furnish a very good conjuror's table4 ,it is well to have the table rather broad1 so as to keep the spectators at a sufficient distance4 ,,trick #ad4--,,to ,,eat ,a ,,dish ,,of ,,paper ,,shavings1 ,,and ,,draw ,,them ,,out ,,of ,,your ,,mouth ,,like ,,an ,,atlantic ,,cable4 ,,preparation4 ,procure three or four yards of the thinnest tissue paper of various colors4 ,cut these up in strips of half an inch or three-quarters of an inch breadth1 and join them4 ,they will form a continuous strip of many feet in length4 ,roll this up carefully in a flat coil1 as ribbons are rolled up4 ,let it make a coil about as large as the top of an egg-cup or an old-fashioned hunting-watch4 ,leave out of the innermost coil about an inch or more of that end of the paper1 so that you can easily commence unwinding it from the centre of the coil4 ,procure a large dish or basketful of paper-shavings1 which can be obtained at little cost from any bookbinder's or stationer's4 ,shaken out it will appear to be a large quantity4 ,as you wish it to appear that you have eaten a good portion of them1 you can squeeze the remainder close together1 and then there will appear to be few left1 and that your appetite has reason to be satisfied4 ,commence the trick by proclaiming you have a voracious appetite1 so that you can make a meal off paper-shavings4 ,bend down over the plate1 and take up handful after handful1 pretend to munch them in your mouth1 and make a face as if swallowing them1 and as you take up another handful1 put out those previously in your mouth1 and put them aside4 ,having gone on with this as long as the spectators seem amused by it1 at last1 with your left hand1 slip the prepared ball of tissue paper into your mouth1 managing to place towards your teeth the end you wish to catch hold of with your right hand1 for pulling the strip out from your mouth4 ,you will take care also not to open your teeth too widely1 lest the whole coil or ball should come out all at once4 ,having got hold of the end1 draw it slowly and gently forward4 ,it will unroll to a length of twenty yards or more in a continuous strip1 much to the amusement of the spectators4 ,when it has come to the end1 you may remark3 8,i suppose we have come to a fault1 as there is a #8solution of continuity here1 just as the strongest cables break off1' so we must wait to pick up the end again1 and go on next year1 when the ,great ,eastern again goes out with its next ,atlantic ,cable40 ,,trick #ae4--;,how to cut off a nose--of course without actual injury4 ,,preparation4 ,have ready a piece of calico of light color1 or a white apron1 a sponge saturated with a little liquid of the color of blood--port-wine1 or the juice of beet-root1 will do2 also two knives1 resembling each other1 the one of them whole1 the other with a large notch in its blade1 so that when placed over the nose it will appear to have cut through the bridge of the nose4 ,a cutler could supply such knives1 or they may be purchased at the depots for conjuring apparatus4 ,having placed out these articles on your table with seriousness and imposing formality1 show to the audience the knife that is whole1 and call upon them to observe that it is sufficiently strong and sharp4 ,the other knife must be placed somewhere near you1 but where it is sheltered from the observation of the spectators4 ,ask some young friend to step forward1 assuring him that you will not hurt him4 ,make him sit down on a chair facing the audience4 ,after having measured the real knife across his nose1 say3 8,but ,i may as well protect your clothes from being soiled1 so ,i will put an apron round your neck40 ,go to the table to take up the apron1 and1 in doing so1 place down the real knife where it cannot be seen1 and1 with your left hand take up the conjuror's knife1 holding it by the blade1 lest any one should observe the notch in it4 ,conceal at the same time also1 in your left hand1 the piece of sponge4 ,advancing to the chair1 tuck1 with your right hand1 the apron round the youth's neck4 ,then press the conjuror's knife firmly over the nose and leave it there1 as if you had cut into the bridge of the nose4 ,at the same time gently squeeze the sponge1 and a little of the liquid will make an alarming appearance on the face and on the apron2 go on for a short time1 covering the face and apron with 7apparent7 blood4 ,when the audience have seen it long enough1 seize up the apron1 wipe the face of the youth quite clean1 throw away the conjuror's knife1 and exhibit your young friend to the audience all right1 and dismiss him with some facetious remark on his courage in undergoing the alarming operation4 ,,chapter ,v4 ,,tricks ,,by ,,magnetism1 ,,chemistry1 ,,galvanism1 ,,or ,,electricity4 ,there is a class of tricks about which ,i must say a few words1 viz41 those that require to be exhibited by the help of magnetism1 chemistry1 galvanism1 or electricity4 ,i need not dwell long on them1 for ,i do not consider them such as the young people1 for whom these notes are written1 can be recommended to devote their attention to1 for the following reasons3 in the first place1 they are1 with a few exceptions1 attended with considerable expense4 ,secondly1 the tricks connected with the powerful agencies of galvanism and electricity are dangerous to the unskilful operator2 and1 even in experienced hands1 the most effective of them are uncertain things to manage2 therefore their effect cannot be depended on4 ,some very interesting tricks have1 doubtless1 at times been exhibited by the help of galvanism and electricity4 ,we have read of a conjuror by such help confounding a powerful ,arab1 by first letting him lift with ease a box1 and afterwards rendering it impossible for him to raise it1 when an electric current had1 to his dismay1 paralyzed all his strength4 ,it is evident that an experiment of this kind could not be safely attempted by any but a very experienced person4 ,we read also of conjurors who have surprised their audience by receiving them in a dimly-lit theatre1 and then firing off a pistol1 7to startle the audience and cover the real mode of operation17 they have by electricity lighted up one hundred lamps at once4 ,this has proved very successful on some occasions2 but on others1 notwithstanding the most careful preparation and the greatest precaution1 it has been found that the apparatus would not act1 and the impatient spectators have visited the disappointing failure with their indignant murmurs4 ,other conjurors have become so attached to electric experiments1 that they have proposed to regulate all the clocks of a large district by electricity1 or have amused themselves by turning electric or galvanic currents to the door-handles of their houses1 so that unsuspecting strangers1 on touching them1 were startled with electric shocks4 ,there is also a trick for rendering one portion of a portrait electric by a metal plate concealed under it1 and the spectators being invited to touch some part of the picture1 have1 on touching the spots that were charged with electricity1 received a shock or powerful blow1 as if the portrait resented their touching it4 ,having briefly given the character of this class of tricks1 and stated that they not only require expensive apparatus1 but are attended with danger to the inexperienced1 there still remains another serious objection1 viz41 that1 like the experiments performed by automaton figures or complicated machinery1 they are liable to fail1 through any trifling disarrangement1 just at the moment when the performer is hoping that his audience will be delighted with his surprising exhibition4 ,for these reasons ,i shall not stay to describe the more elaborate of these tricks1 as1 however interesting they may be to the scientific1 they would not1 in a youthful amateur's hands1 be sure to produce the amusement which it is my primary object to supply4 ,the simpler experiments of magnetism and chemistry may well be regarded as recreations of science1 interesting curiosities1 suitable enough to be exhibited by a professor of chemistry for amusement and instruction2 but even these can hardly be considered as belonging to 8conjuring proper40 ,young people do not care1 at festive parties1 to watch red liquids turning into green1 blue1 and yellow2 or the mixture of different chemical ingredients producing strange conversions into varied substances2 nor will experiments that are interesting as chemical curiosities produce the same excitement and pleasing surprise that the wonders of sleight-of-hand do4 ,in a word1 such experiments in a private circle of young friends fail to constitute the most amusing kind of parlor magic1 while upon a public stage they are too minute for any large audience to trace and comprehend4 ,lest1 however1 my young readers should think that ,i have any desire to shut them out from any field of reasonable pleasure1 ,i will now carefully select one or two examples of tricks connected with the sciences of magnetism and chemistry1 and which may1 even in the hands of amateurs1 produce a safe and pleasing exhibition4 ,in the following trick they will find an amusing instance of the combination of science with rational recreation4 ,,trick #af4--,the watch obedient to the word of command4 ,the magnet is a well-known agent in producing several toys for the entertainment of the young1 and though its attraction is wonderful1 there is no danger likely to arise from employing it1 in the same way as might arise from unskilful dabbling with electricity1 galvanism1 or chemical powers1 and a strange and singular effect may be produced by placing a magnet of some little strength near a watch4 ,supposing the young conjuror to have provided himself with a powerful but not very large magnet1 let him conceal it in the palm1 or under a thin glove in his left hand1 or near the edge of the cuff of his sleeve4 ,let him then borrow a lady's watch1 7without chain17 and the thinner the watch-case is1 and if it has a glass1 the better4 ,let him then call forward a youth1 and placing the watch in his own right hand1 and near to the ear of the other1 ask him if he hears it going3 he will answer 8,yes40 ,let him next bid the watch to stop2 and on taking it in his left hand1 where the magnet is concealed1 it will stop1 if held steadily2 and on inquiring of his young friend whether he can hear it1 he will reply 8,no40 ,observe3 you must keep systematically to using your right hand when you wish to make the watch go on1 and to your left when you wish it to stop4 ,appealing to others among the company1 the performer may then tell the watch to go on1 and holding it in his right hand1 and giving it a slight shake1 apply it to one of their ears2 it will be heard 8tic1 tic20 then holding it in his left hand and telling it to stop1 they will also find that it does stop4 ,you can pretend to doubt whether they are all deaf of one ear1 but lastly may declare that this is caused by the obedient disposition of the watch1 which so orderly obeys your command4 ,remind your audience that savages upon first seeing a watch believe it to be a living animal with power to think and act of itself4 8,at any rate10 you may conclude1 8the present watch seems to hear1 to understand1 and to obey my orders40 ,it will be an amusing addition to the above trick to say that you will now order the watch to fly away and conceal itself4 ,you must for this purpose have provided yourself with an electro-plated locket resembling a lady's watch1 and have two loaves ready in some convenient corner4 ,when the watch has finished its 8manual and platoon0 exercise on the platform1 you may say1 8,i will now place this watch visibly to all upon the table40 ,turn round to go to your table1 and in walking to it1 substitute the locket for the watch1 and place the locket on some spot visible to all4 ,it will not be distinguishable from the watch by the spectators at six or eight yards' distance from them4 ,conceal the watch itself in the palm of your hand4 ,you can now exclaim1 8,i require two loaves10 and walking towards them1 slip the watch into the one you have prepared with a slit in its side4 ,advancing to the audience1 ask in which loaf they will prefer that you shall bid the watch fly4 ,if they name the one in which you have concealed it1 proceed to break open the loaf and find the watch4 ,but suppose they name the wrong one3 you then1 remembering that the left hand of the spectators is your right hand1 proceed with the true loaf1 whichever they have named1 or manage to cross the position of the loaves as you place them on the table4 ,then taking up the locket with your right hand1 make ,pass #a1 as if transferring it to your left hand1 but really retaining it in your right hand 7as described in my first paper47 ,blow upon your closed left hand1 and say1 8,watch1 fly into that loaf40 ,clap your hands4 ,it is gone4 ,advancing to the loaf1 get rid of the locket from your right hand2 take up the loaf1 break it open on the other side from that in which the locket was introduced1 bring out the watch1 and appeal to the lady to declare whether it is the same which she lent to you4 ,,trick #ag4 ,an experiment with a very mild dash of electricity in it1 which will at any rate be a popular trick with most people that try it4 ,it will do for a small entertainment1 or at any joyous party of young people4 ,it does not1 however1 require a large number to be present1 but1 contrary to the usual scientific tricks1 its development comes off better with one companion than with a dozen4 ,,preparation4 ,you must induce your cousin ,jemima1 or some other young lady who is just of age to have cut her eye-teeth1 to consent to help you by accompanying you to a room with closed shutters and no candles4 ,a moderate-sized looking-glass must be on the table1 the smaller the better1 for reasons below assigned4 ,have ready at hand some ounces of hard candy4 ,you commence the trick by placing yourselves1 hand-in-hand1 before the looking glass4 ,if it is rather small1 your heads will be the closer--in order to see the reflection of both at once4 ,then1 with mouths as open as may be1 try which of you can crush his or her share of sugar-candy with the teeth the quickest4 ,in the glass will appear the reflection of sparks of electricity1 as the experiment proceeds4 ,if your companion is nervous1 you can of course support her with one arm--ladies are sometimes susceptible1 whether from animal magnetism or what not4 ,the electric sparks coming between the lips may also be attractive1 and you may be tempted to try whether the electricity evaporates the sweetness2 but of course you must not be tempted to forget the philosophical nature of the experiment2 and1 if you behave with propriety1 the lady will doubtless1 on her return to the company1 tell them1 in a staid manner1 that the experiment was all right2 and perhaps when you see her1 even a day or two afterwards1 you will observe there is an arch dimple on her cheek and an electric sparkle lighting up her eye--and ,i should not wonder if you should feel a desire to try the experiment over again4 ,,trick #ah4--;,a chemical trick to follow one where a young friend has assisted4 ,,preparation4 ,you must have a wine-glass1 a saucer1 and a teaspoon1 and the chemical bottles ,no4 #a 7silicate of potash7 and ,no4 #b 7aluminate of potash17 which can be obtained from any druggist4 ,at the close of some trick in which any young friend has assisted1 you can say3 8,well1 my young friend1 you have assisted me so courteously and well that ,i must1 in order to express my thanks1 ask you to take a glass of wine4 ,do you like wine8 ,ah1 ,i see by your smile you do40 ,pour out of bottle ,no4 #a half a glass1 and1 going towards him1 stop short and say3 8,ah1 but ,i am afraid your mamma would be displeased with me if ,i gave you wine so strong without any water1 and ,i should be sorry to tempt you to drink what she would disapprove4 ,stay1 ,i will mix a little water with it40 ,mix some of ,no4 #b bottle1 so as to fill the wine-glass1 and say3 8,oh1 never mind losing the pure wine2 ,i dare say you will like it very well as it is10 and make a few chatty remarks1 to give the liquids time to mingle their effects in the glass2 and after a minute or two say3 8,ah6 ,i'll tell you what ,i am sure your mamma would like still better--if ,i could give you some calves'-foot jelly4 ,now1 ,i really believe1 if ,i were to stir it with this teaspoon1 and try my magic wand over it1 ,i can turn it to jelly4 ,let us try40 ,occupy a little time while it is becoming like jelly1 and go on with a little more talk till you see that it has become solid4 ,then say3 8,well1 after all1 ,i will not deprive you of your wine2 so here it is4 ,please drink it40 ,putting it to his lips1 he will find it has become so solid that he cannot drink it1 but it can be turned out quite solid into the saucer1 and a general laugh will greet him on the disappointment of his wine4 ,having submitted a few remarks upon the class of tricks that are to be performed by help of the sciences1 magnetism1 chemistry1 etc41 and having stated my reasons for my not more fully discussing them1 ,i will now proceed to give an explanation of one or two more that are better suited for the practice of amateurs4 ,,trick #ai4--,to draw three spools off two tapes without those spools having to come off the ends of the tapes1 and while the four ends of the tapes are held by four persons4 ,,preparation4 ,you must have two narrow tapes of about four feet long1 bent as in ,fig4 #aa4 ,red tape ,i prefer4 ,you must next insert about half an inch of ,a through the loop of ,b1 and bring it back down on the other part of ,a4 ,a spool such as cotton is wound on1 or an ornamented ball with a hole drilled through it1 just large enough to hold the tapes lightly1 will be required 7,fig4 #ac47 ,illustration3 ,,figs4 #aa1 #ab4 ,illustration3 ,,fig4 #ac4 ,illustration3 ,,fig4 #ad4 ,the spool or ball must be put on the tapes at the extreme ends of the tape ,b1 and drawn to the left1 till it just covers the noose at ,k4 as in ,fig4 #ad4 ,n4 ,b4--,all the above should be prepared before the spectators are invited to witness the trick4 ,commence the exhibition by calling upon the spectators to observe that you hold a reel1 or ball1 through which two tapes are passed4 ,you may then produce two more spools1 or wooden balls1 and place one of them over the ends at ,a1 and the other over the ends at ,b4 ,illustration3 ,,fig4 #ae4 ,the following will then be the appearance of the balls or spools and the tapes passed through them 7,fig4 #ae73 ,you may move about the spools #b and #c1 to show how the tape runs through them1 but you must not move spool #a4 ,you may then say that the puzzle is to get the spools off the tapes while the four ends are held firmly in the hands of four persons4 ,appoint four persons to hold them1 and you may then say3 8,to make doubly sure1 ,i will tie one of the ends at ,a to one of the ends at ,b with 7the first half of7 a knot40 ,it does not signify which ends you take to do this1 so that you take one ,a and one ,b4 8,i will now pull these two ends so tight that it will draw the three spools together1 and also tighten all along one side of them40 ,illustration3 ,,fig4 #af4 ,then1 while four persons hold firmly the extreme ends of the tapes1 you must take shorter hold of the two ,a's with your left hand1 7where it is marked by a dotted line1 ,fig4 #af17 and also take hold of the other tapes where a dotted line is marked on them towards ,b4 ,then drawing your arms wider apart1 so as to pull the tapes steadily1 the spools or balls will fall to the ground without passing over the ends of the tapes4 ,,trick #bj4--,to restore a tape whole after it has been cut in the middle4 ,,preparation4 ,have five or six yards of tape about three-quarters of an inch broad4 ,take half the length in each hand4 ,you will be able to show the audience that you are about to cut it in the middle1 by holding it in two loops of equal length4 ,call their attention pointedly to the equal division of the full length4 ,the tape will thus appear to the performer in the position represented in ,fig4 #ag4 ,observe the tape ,a crosses at z the tape ,b on the side next to the performer1 whereas the tape ,d is to cross the tape y on the side farthest from him4 ,fig4 #ah represents the hands as they appear to the performer himself1 holding the tape with the thumb and forefinger at the crossings of the tape at y and z1 while the outward sides of each loop are to be held by the three other fingers of each hand4 ,illustration3 ,,fig4 #ag4 ,illustration3 ,,fig4 #ah4 ,to proceed with the trick3 ,holding your hands in this position1 7,fig4 #ah17 you must request one of the spectators to cut through the tape at x1 but just as he is about to do so1 you must quickly lower your hands two or three inches1 and then raise them again4 ,this movement will conceal the following operation4 ,you drop the part 7,b7 of the tape held in your right hand1 and at the same moment pick up with that hand the other tape marked ,c4 ,this will bring the portion of tape from ,c to ,d1 so that it now becomes the transverse tape1 substituted in place of the tape marked x1 and your young friend will then cut it--instead of the original tape marked x--without being aware that he is so doing4 ,when the tape has been cut through1 you can put your hands near together1 allowing the two ends of the little piece of the tape--,c ,d--to be seen1 but concealing from the spectators that you have hold of two pieces1 one a very long one1 and the other only about five inches long4 ,you can then say3 8,now ,i have to join these two ends1 and to restore the tape whole as at first40 ,you then turn the little piece ,c ,d round the piece y1 which is in your left hand1 and you tie a knot with the ends of that little piece4 ,you must not tie this knot very tight1 and after you have tied it1 you drop the other end of the tape altogether out of your right hand4 ,illustration3 ,,fig4 #ai4 ,the appearance which the tapes will then have is represented in ,fig4 #ai4 ,that is1 you will seem to hold the equally divided pieces of the long tape joined in a knot at y1 whereas in fact it is only the small end piece ,c ,d1 tied round the middle of the long tape1 which you hold between the thumb and forefinger of the left hand4 ,exhibit the knot to the company1 and say3 8,i admit that this knot hardly looks like a perfect restoration2 ,i must employ my best art to get rid of its unsightly appearance40 ,ask some one to hold1 at about three yards' distance1 the end marked with small d1 retaining hold of the centre--at y--in your left hand1 which quite covers the knot4 ,tell your friend to wind the tape round his hand1 and1 while pretending to show him how to do this1 by winding the part which you hold round your left hand1 slide away towards your right the loose knot under your right hand4 ,then1 holding out the end of the tape ,a towards another friend1 to hold at about three yards' distance to the right1 slip from off the long tape the little movable knot under your right hand1 just before he takes hold of this end of the tape4 ,conceal in your right hand the little end-piece of tape1 until you can get rid of it into your pocket1 or into any unobserved spot4 ,blow upon your left hand1 which is supposed still to cover the knot1 saying3 8,knot1 begone6--,restore60 ,take up your left hand1 and show the tape to be free from any knot1 or join from one end of it to the other4 ,,chapter ,,vi4 ,,on ,,the ,,continuity ,,of ,,tricks4 ,it may be useful now to invite attention to the theory of preserving a continuity in the development of tricks1 where circumstances admit of this being done4 ,sundry displays of legerdemain admit of being adroitly linked together2 and ,i shall endeavor to explain why such an harmonious continuity is preferable to an unconnected series of isolated tricks2 for when once a novice gets a clear perception of this principle1 he will be able1 according to his own special taste1 to produce a pleasing variety of combinations in his experiments4 ,he will thus rise above being a mere copyist of the methods used by others1 and so will give a zest and freshness to his performances4 ,now1 there are many short and secondary dashes of legerdemain1 which a spirited performer will be able to introduce in addition to the tricks which he is exhibiting4 ,there are also several ornamental or fanciful little tricks which would not rivet the attention of an audience if exhibited by themselves4 ,these1 though unqualified to shine as the main object of observation1 may nevertheless be worked into the evening's entertainment as amusing by-play1 and may thus prevent the interest of the spectators from flagging4 ,they may come in as accessories--as stimulating side-dishes--causing the entertainment to bear a continuous character1 instead of merely consisting of sundry isolated experiments4 ,let me be allowed to substantiate what ,i have advanced by reference to some of the tricks which ,i have already described4 ,the reader will have seen that1 in some of the tricks explained in previous papers1 there is simply some one definite object to be carried out4 ,for instance1 in the two tricks which concluded the last paper1 the performer simply undertakes to throw the spools off the tape1 or to restore a tape which has been cut4 ,he sets about this1 accomplishes it1 and the trick is over4 ,this is all very well as far as it goes4 ,if the trick is really a good one1 it is like a host furnishing his guests with a solid joint to satisfy their appetite2 and it may do so4 ,but still it comes short of a lively entertainment4 ,it is confessedly dull for an audience to come to pauses or gaps between isolated tricks4 ,their attention is unoccupied while the performer1 having finished off one trick1 is making mute preparations to introduce some other trick wholly unconnected with what has gone before4 ,such a method will not keep awake the lively interest that the skilful combination of the conjuror's art will sustain4 ,i maintain that varied by-play and supplementary sets-off will greatly heighten the interest of the performance4 ,it will also serve to disarm the suspicious and incredulous1 preparing them to believe what they might otherwise stand on their guard against4 ,bare tricks brought forward as isolated experiments give time for the mind to take its estimate of their possibility2 and1 of course1 in attempting to exhibit wonders1 the improbability of them is apt to stare people strongly in the face4 ,they are perfectly convinced that a dime cannot fly into an orange at the other end of the room1 that ink cannot become water1 nor a hat be safely used as a frying-pan2 but if you interpose appearances and movements that are consistent with such processes going on1 they are gradually prepared to recognize as a legitimate result what you have previously indicated as the contemplated end of those processes4 ,the amplification or fuller development which ,i speak of can be effected at any of the following stages3 #a4 ,in the introductory matter leading on to the main trick or transformation3 #b4 ,in the subsequent stages of its development2 or1 #c4 ,in the winding-up smartly or variedly the conclusion of a trick4 ,i do not say that every trick is to be amplified or loaded with extraneous matter in all these different stages1 7that would be to run into the contrary extreme of over-cumbrous amplification27 but ,i will endeavor to point out the effect of such development in the above three stages of a trick1 and if ,i can show that amplification in each several one may be an improvement1 ,i may be considered to have made good my proposition that any trick may be improved and rendered more interesting by one or other of those amplifications4 ,let us see if we cannot lay down a bill of fare for our guests which1 going beyond a solid joint1 7good as that may be in its way17 will furnish them with some relishing accessory in the first course of a trick1 some stimulant side-dishes with its second course1 or may please with some bon-bons before the entertainment is quite concluded4 #a4 ,,introductory4 ,now1 first as to introductory matter4 ,suppose a conjuror is able to perform ,trick #c--the 8,dancing ,egg0--it will waken up his audience if1 instead of proceeding at once with the trick1 he can by sleight-of-hand find out an egg in the whiskers or necktie of some unwatchful spectator1 and afterwards substitute for it the egg prepared with a hair and wax4 ,the chief aim of introductory matter should be to enlist the thoughts and expectations of your audience under your command1 so as to preclude their watching what you are driving at4 ,show all you can safely show openly2 enlarge upon the things being submitted to their own eyes and touch2 engage their eyes and ears with certain appearances leading their thoughts to adopt your suggestions1 so that1 when you approach the development intended1 they have had no reason to suspect your motives2 thus having their confidence1 you can jump at once to their credulity1 though there may1 in fact1 exist some gap1 or illogical process1 which they omit to notice4 #b4 ,,during ,,the ,,successive ,,stages ,,of ,a ,,trick4 ,i often vary and render more interesting the development of a trick by some little by-play4 ,for instance1 in the trick which ,i often use as my first trick ,i make a candle an amusing helper1 by snatching it from the candle-stick1 and asking some one to hold it wrapt up in paper4 ,and this unexpected service of the candle is wrought into the body of the trick which ,i have in hand4 ,i change also a crystal ball into an orange by skilful manipulation4 ,by such brief diversion of the attention of the spectators1 their eyes are withdrawn from watching too narrowly some manuvre that is requisite to carry out the more important trick which you have in hand4 ,or you may actually make an act1 which is a mere accessory1 cover some important portion of the trick2 as in the tape trick 7,no4 #bj47 ,while ,,pretending ,,to ,,show ,,your ,,assistant ,,how ,,to ,,hold the tape in ,,his hand1 you slip the knot away unperceived wider ,,your ,,own hand4 #c4 ,,in ,,concluding ,a ,,trick4 ,it greatly adds to the efficiency of a trick to let it finish off with a sparkle1 or some playful addition which gilds its exit4 ,for instance1 in the trick of doubling the pocket-money1 7#gth trick17 the little by-play of finding1 or rather pretending to find1 some coins secreted in the sleeve of the young friend who has helped you1 is sure to bring out a good-humored laugh at the termination of the trick4 ,again1 in ,trick #af1 the additional fact of finding the watch in the loaf makes a lively termination of the performance of the obedient watch4 ,in the #ahth ,trick1 the glass of wine becoming solid might be used as a good finish to any trick where some friend has assisted in its exhibition4 ,you may often raise a good-humored laugh by appearing to swallow any object which you have used in a trick--as an orange1 ball1 egg1 or dime--and afterwards bringing it out from your sleeve2 or1 by the use of ,pass #a1 to drive a coin up one sleeve1 round the back of your neck1 and down the other sleeve1 into your right hand4 ,i not only consider such ,amplifications of a trick lively and interesting1 but ,i maintain this to be the best way of employing many secondary and short tricks wherever they can be brought in appropriately as offshoots of longer and more important ones4 ,,trick #ba4--,the invisible hen3 a very useful trick for supplying eggs for breakfast or dinner4 ,,preparation4 ,illustration3 ,,fig4 #bj4 ,in order to save the invisible hen trouble and delay1 it will be advisable to have eight or ten egg-shells1 7as described in ,trick #c27 or some light imitation eggs1 painted white1 may be bought at any depot of conjuring apparatus4 ,a linen or camlet bag may also be procured from the same depot1 though ,i think a bag made at home1 according to the following directions1 to be preferable4 ,it must be about the size of a small pillow1 two feet three inches across1 and one foot nine inches deep4 ,it has one of its sides of double cloth1 7x17 the other single1 7z17 in the same way as leather writing-cases have a pocket on one side1 and a single cover on the other4 ,the double side is stitched together all round1 with the exception of an opening at ,a1 which must be about five inches long1 or large enough to admit easily a hand to put in or take out the eggs4 ,this double side of the bag must always be kept towards the performer1 whereas the single side must be always kept towards the spectators2 and the only opening between these two sides is between ,c and ,d4 ,on the interior of the side of the double cloth bag1 a strip or kind of frill of the same cloth must be sewn1 with an elastic binding round the pockets or cups for eggs4 ,the elastic binding will keep them in these pockets1 unless they are pressed by the thumb or finger1 so as to release them and let them fall into the centre of the double bag4 ,the strip has the appearance of a string of inverted egg-cups1 thus3 ,illustration3 ,,fig4 #ba4 ,the position of it in the bag is indicated in ,fig4 #ba by the dots running across the bag2 but the strip itself is never seen by the spectators1 for it is placed on the inner side of the double bag1 which is always towards the performer4 ,having carefully prepared the above apparatus1 commence the exhibition of the trick by holding up the bag by the corners ,c and ,d1 as represented in ,fig4 #ba4 ,shake the bag well while so holding it1 showing it to be 7apparently7 empty4 ,after having thus exhibited the bag1 thrust both your hands down inside it to the corners ,a and ,b4 ,holding those corners1 pull the bag inside out1 and again show it to be empty1 in this reversed position1 represented in ,fig4 #ba4 ,as the spectators have now seen it thoroughly1 inside and outside1 you may put the question to them1 8whether they admit it to be empty1 as they ought to know40 ,while holding the bag by the same corners ,a and ,b1 you must now gather the bag a little closer together1 and holding it well up--see ,fig4 #ba--press with your thumb one of the eggs out of its elastic cup4 ,this can be easily done without any one observing the movement4 ,this egg1 with a little gentle shaking1 will fall into the large bag made by the double side2 but it cannot fall to the ground1 however much you shake it1 for there is no opening but at ,a1 and that is upwards towards your right hand1 so you may shake the bag boldly4 ,illustration3 ,,fig4 #bb4 ,you next lower the bag a little1 and spread it on your chest1 letting it rest there while you move your hands from ,a and ,b to take hold of the corners ,c and ,d2 and you must give an opening for what had hitherto been the higher part of the bag1 to drop through between the opening that there is between ,c and ,d4 ,this will keep the double side of the bag 7x7 still towards yourself1 and the bag will now be returned to its original position 7,fig4 #ba47 ,with your left hand retaining hold of the corner ,d1 and lowering the bag towards your right hand1 shake well the loosened egg down towards the corner ,a4 ,search with your right hand about that corner1 and the opening of the double bag1 and you will be able to bring out the egg that had been loosened while the bag was in position #c4 ,take out that egg2 shake the bag well1 as if it were quite empty3 and then1 thrusting both your hands into the interior corners at ,a and ,b1 turn the bag inside out2 bring it to position #b1 ready to re-commence bringing out the other eggs one by one1 as long as the spectators are interested4 ,while you hold the bag in position #b1 you can safely let any young person feel to the bottom of the bag1 as he will not be likely to suspect the eggs are towards the top of the bag on the side near to yourself4 ,the same bag may be used also much to the amusement of children1 by your loading it with walnuts1 chestnuts1 small apples1 or pears1 or any bon-bon of about the size of an egg2 and then allowing the children1 one by one1 to feel in your lucky bag for what you take care they shall find in their successive searches4 ,a ,,series ,,of ,,tricks1 #bb1 #bc1 #bd4--,the chief agent being a plain gold ring4 ,,preparation4 ,you must be provided with a small thin wire pointed at both ends1 which1 being bent round1 will resemble an ordinary plain gold ring4 ,you must also have on your table an orange or a lemon1 a box or bowl1 a tumbler1 and a dessert-knife4 ,and you must have four or five needlefuls of thick cotton1 which have been previously steeped for about an hour in a wine-glass of water1 with a teaspoonful of salt in it2 and have been afterwards completely dried1 so as to burn easily4 ,,trick #bb4 ,having the fictitious ring in the palm of your hand1 commence by requesting any lady present to oblige you by lending you a plain gold ring1 and borrow also from some gentleman a colored silk handkerchief4 ,appear to place the borrowed ring in that handkerchief1 but in reality place in it the rounded fictitious ring4 ,doubling the centre of the handkerchief round it1 request some gentleman to hold it1 so as to be sure he has got the ring in the handkerchief--while you fetch a slight cord to fasten it4 ,while going to your table to fetch this cord1 you slip the real ring into a slit in the orange which you had prepared1 and which closes readily over it4 ,you then tie the cord round the handkerchief1 about two inches from the ring1 and1 calling the spectators to notice how it is secured1 take hold of that part of the handkerchief which incloses the fictitious ring in your own hand1 and tell the gentleman to place one by one the four corners of the handkerchief over your hand4 ,directly he has begun to do this1 your fingers must proceed to unbend and open the fictitious ring1 and to press it by its pointed end through the silk1 and conceal it in your own palm4 ,you tell your assistant to blow upon the handkerchief and open it--the ring is gone1 and you return the handkerchief to the owner4 ,fetch the orange from your table1 and ask some one to cut it open1 and he will find the lady's ring in the centre of the orange4 ,,trick #bc4 ,you are now to proceed immediately to the next development of the mysterious powers of the plain ring1 which ladies so much admire4 ,you may commence by remarking that 8you have little doubt that this symbol of love and obedience will at your command pass through the table1 solid as it is4 ,let us try40 ,place the tumbler on the table--produce your own silk handkerchief1 to the centre of which a plain ring is already fastened by a doubled silk thread of about #d inches length4 ,use ,pass #a with the real ring1 as if passing it into the handkerchief3 conceal that ring1 and substitute for it the fictitious ring4 ,then addressing the spectators1 say3 8,now1 ladies and gentlemen1 ,i will drop this ring into the glass1 so as you shall hear it fall40 ,do so4 ,let the handkerchief rest over the glass for a minute or two4 8,now ,i must place this bowl under the table to receive the ring40 ,in so placing the bowl1 you must silently place the real ring in it4 ,then say aloud1 8,change1 ring2 pass from the glass through the table into the bowl below40 ,lift up the handkerchief1 and while inviting one or two to come and examine the glass and the bowl1 smooth your forehead with the handkerchief as if heated1 and pass it into your pocket4 ,your young friends will be astonished to find the ring not in the glass1 where they heard it tinkle1 but in the bowl underneath the table4 ,,trick #bd4 8,now1 ring1 you have amused us so well1 that you shall1 like ,mahomet1 be sustained in the air without visible support40 ,place over a common walking-stick some of your prepared cotton threads1 having twisted two or three of them together1 and united them in a loop1 which you draw through the ring1 and then slip the ring through the end of the loop4 ,the ring will then hang suspended about a foot below the stick4 ,the stick itself may be steadily fixed1 resting on the back of two chairs at an elevation1 so as to be easily seen by the company4 ,when the ring has been thus suspended1 set fire to the cotton about two inches above the ring2 the flame will run upwards towards the stick2 blow it out when about two inches from the stick1 and the ring will remain pendulous in the air for some little time after the cotton has been burnt4 ,the suspension is said to be caused by a filament1 or fine thread of glass--which has been formed by the ashes of the cotton uniting with the heated salt1 with which the cotton had been prepared4 ,now this trick would be too simple an experiment to be exhibited by itself2 but coming as a finish to two other tricks1 which have been performed with the same ring1 the spectators ,will give it honor due4 ,i trust that ,i have satisfactorily established the assertion that a combination of congenial tricks will often tell more effectively than the same tricks would if exhibited without such combination4 ,,chapter ,,vii4 ,,friendly ,,suggestions4 ,as the amateur will aspire to come before his parlor audience some day or other1 it may be some little service and help to him to give a few suggestions as to the best way of conducting such an exhibition1 and to specify the kind of tricks to which he will do well to limit himself4 ,it will be desirable to open with an off-hand expression of his wish to place before them a few amusing tricks to wile away an hour2 and let him assume a lively air1 for his own liveliness will sustain that of the spectators4 ,there are some conjurors who1 though they can perform good tricks1 exhibit them in such a heavy1 uninteresting way that they create no enthusiasm4 ,an over-anxious look1 coupled with a creeping1 fearful movement1 and a dull1 monotonous voice1 will suggest distrust and dissatisfaction1 even where the audience has come together prepossessed with the expectation of mirth and glee4 ,let none assume1 then1 to wave the conjuror's wand till he has himself some confidence in his powers1 knows what he purposes to do1 and means to carry it out4 ,i would say that a moderate degree of assumption1 a gay vivacity1 ready to break out into a smile1 a cheerful spirit1 and a joyous voice1 will go a great way to bespeak favor1 which the performer can quickly repay by dashing off his tricks with enthusiasm4 ,the language used by the conjurer should be studiously guarded4 ,let there be no vain-glorious assertions1 no self-praise1 but respectful deference to the judgment of the spectators2 rather inclining to give them the credit of understanding more than they do1 than twitting them with understanding less4 ,be neither overbearing with conceited 8chaff0 upon any of the company2 nor1 on the other hand1 venture upon extreme and disconcerting compliments to any person present4 ,rather1 as a courteous master of the ceremonies1 conduct the experiments with a simple effort to please and to amuse all4 ,with the exhibition of an amateur1 the performance of some lively airs upon the piano by any friend will form an agreeable accompaniment1 especially if the spirited and humorous melodies are introduced1 which the public taste recognizes as the tunes of the day4 ,you will do well to have your table neatly and carefully arranged4 ,let it not lie too near to the spectators1 nor within reach of too minute inspection4 ,it should be of sufficient height to show the main objects placed on it2 but the surface of it may be just high enough to be sheltered from the spectators clearly viewing every article upon it4 ,the ornaments should be few1 yet1 at the same time1 be serviceable to shade a few articles which it may be policy to conceal4 #a4 ,the centre table may be a moderate-sized kitchen table1 with a drawer to stand open2 so that the performer can take any article out of the drawer with one hand1 while engaging the eyes of the spectators with his other hand4 ,a colored cloth should be over the tables1 on the side towards the spectators4 #b4 ,two small tables1 at the sides of the centre table1 may also be useful1 as in ,fig4 #bc4 ,illustration3 ,,fig4 #bc4 #c4 ,with tables arranged somewhat in this manner1 the amateur will be able to take up articles1 from either the surface or back of the tables1 without attracting notice to his doing so4 ,he must practise taking up things with one hand1 while his other hand and his eyes are ostensibly occupied with some other object2 for if the spectators see him looking behind his table1 their eyes will immediately follow in the same direction4 ,the amateur will do well to select the simpler tricks for his first attempts1 and never pretend to exhibit even those without having frequently and diligently practised them4 ,he must make up his resolution to train his hands to the passes1 and to the several manuvres in the tricks1 as diligently as young ladies train their fingers to the keys of the piano4 ,and let them not be discouraged if they feel awkward and nervous at first4 ,some of the best conjurors have candidly confessed their early failings and misgivings4 ,with practice and perseverance this will1 in most cases1 wear off4 ,i would augur that1 if they feel an interest in the art1 and a desire to excel in it1 they will most probably secure a measure of success that will amply repay their efforts4 ,,trick #be4--,the ,conjuror's 8,bonus ,genius10 or ,familiar ,messenger4 ,this is an old trick that has delighted thousands1 and may amuse thousands more1 if adroitly performed4 ,there are only the simplest mechanical arrangements connected with it2 its successful exhibition depends upon the dexterity and vivacity of the performer4 ,,preparation4 ,you must have a strong wooden doll1 about eight or ten inches high2 the head must fix on or off by a peg at the bottom of the throat1 being placed in a hole made at the top of the bust4 ,besides a close-fitting dress to its body1 a large1 loose1 fantastic cloak must be placed round the whole figure1 but must be so arranged as to allow the head to be pushed down through the part of the cloak that covers the bust1 and an elastic pocket must be neatly made inside the cloak to receive and retain the head4 ,having the above apparatus ready1 you may commence by saying3 8,allow me1 ladies and gentlemen1 to introduce my learned friend and assistant--indefatigable in traveling to the most distant parts on any message ,i may wish to send him4 ,he used to be recognized by early conjurors as their ,bonus ,genius--their good familiar spirit4 ,but1 whatever his special title1 he is gifted with the art of rendering himself visible or invisible1 as he feels disposed1 while he travels to distant countries4 8,allow me to call your attention to the solid frame and unflinching nerves1 at any rate to the well-seasoned constitution of my friend4 ,rap him loudly1 rap1 rap1 rap1 on the table4 ,the raps he received during his education doubtless accustomed him to bear much without flinching4 ,though his travels have ranged from ,china to ,peru1 from the ,equator to the ,poles1 you perceive he still sounds like a hardy ,pole himself4 7,rap1 rap1 rap47 8,i perceive1 however1 by the glaring of his eye1 that1 after my too rough handling1 he is desirous of starting on his travels4 ,i suppose we must provide him with the needful for his expenses4 ,large sums are given now-a-days to special correspondents in foreign countries2 who will kindly give him sufficient8 ,he will want a golden or silver key to open some curiosities he may wish to inspect in foreign cities4 7,pause47 ,oh1 well1 as there is a delay about it1 ,i must myself supply him4 ,i think ,i have a few disposable coins in my pocket3 he shall have them40 ,suiting the action to the word1 while your left hand holds the upper part of the cloak near the neck1 so as to cover what you are doing1 you withdraw the wooden body with your right hand1 while you move your right hand down to your pocket for the coins4 ,you then leave the body of the doll in your pocket1 and taking out the coins1 present them to the head and cloak of the figure1 which is held in your left hand1 saying3 8,there1 my good friend1 you can now1 if you wish1 proceed on your tour to ,algiers1 or ,dahomey1 or ,timbuctoo1 or wherever the universal ,yankee travelers fancy at the present to resort4 8,ah1 ,i see he is pleased and in good spirits again4 ,he wishes apparently to bid you good-bye4 ,you will excuse his looking also round about him1 to judge whether the weather is fair to set out2 after which ,i will lay my hand on his head to express my good wishes for his journey4 ,i dare say he will not stay much longer after that than a schoolboy does after his master has bid him good-bye40 ,place with formal ceremony your hand on his head1 press it down through the opening below it1 receive it in your left hand underneath the cloak1 and bestow it safely in the pocket4 ,affect astonishment at finding the gown alone left in your hands1 and fold it up with a lamentation at his departure4 ,you may say3 8,it is clear that he has chosen to go to a hot climate1 as he has left his cloak behind him40 ,discourse for a few minutes about sending a telegram to overtake him at ,london or ,san ,francisco--talk about the sea-passage1 railways1 tunnels1 and what not4 8,ah1 but ,i need none of these if ,i wish him back4 ,i can summon him again by a few mystic wavings of my wand and by secret art4 ,hey1 my friend1 ,i need thy presence2 quick1 return1 ,i pray you4 ,i wish to see you again in your familiar garb-- ,by the pricking of my thumbs1 ,something ghostly hither comes40 ,swell out the cloak with your left hand1 and at the same time thrust up the head from the pocket4 ,it will appear as if the whole figure stood before them4 ,then say3 8,i fear1 dear friend1 ,i have trespassed by abridging your tour4 ,you can hardly have traversed ,algeria1 crossed the mountains of the moon1 or found the birthplace of the ,nile2 and no one returns now-a-days without some such marvel to relate4 ,i will let you depart again4 ,as some people say to troublesome visitors3 #8,you may depart now2 please to call again to-morrow4'0 ,repeat the manuvre1 as before1 of secreting the head4 ,then exclaim3 8,alas6 he is gone in earnest1 like the sojourner of a day 7with mock pathos47 ,when we have lost him1 we feel our loneliness40 ,fold up sorrowfully the cloak of the departed1 and so conclude the trick4 ,,trick #bf4--,the ,shower of ,money4 ,a dozen silver coins1 or pennies1 will be equally useful in exhibiting this trick2 but some fictitious coin1 in color resembling gold1 will perhaps more effectively delight those who are charmed by the yellow glitter of the precious metal4 ,the performer must have provided himself with so many of these in his left hand as he purposes to produce at the end of the trick1 and two of the same coin also must be concealed in his right palm4 ,he must further borrow a hat from one of the company4 ,the imagination of the spectators having been excited by the expectation of beholding a shower of money1 the adept in sleight-of-hand1 keeping one of the two coins in his right hand concealed1 must advance the other coin to the end of his forefinger and thumb1 while he pretends to pick a coin out of the candle1 or of the rim of a hat1 or from a lady's fan or shoulder1 or may pretend to clutch a coin floating in the air4 ,as he brings away his prize1 he may rattle it against the other coin concealed in his right hand4 ,then1 making ,pass #a1 he may pretend to pass it into the hat1 being careful precisely at the same moment to drop1 audibly1 a coin from his left hand into the hat which he holds in that hand4 ,let him tell the audience to keep count how many he collects3 it will rather distract their attention4 ,he can continue this pleasant appearance of acquiring wealth for ten minutes1 or as long as he can devise various methods of appearing to clutch it1 till the number with which he stored his left hand is exhausted4 ,he may then request some one to count out1 audibly1 into a plate the coins collected in the hat1 which will coincide with the number he has appeared to collect so magically from various sources4 ,when adroitly done1 this trick is very pleasing and effective4 ,,trick #bg4--,to ,furnish ,ladies ,with a ,magic ,supply of ,tea or ,coffee1 at their selection1 ,from ,one and the ,same ,jug4 ,,preparation4 ,have a metal jug to hold not less than three pints4 ,it must be constructed with two compartments in the lower part of it1 holding about a pint and a quarter each1 and these must each have a pipe connected with the spout of the jug and another pipe connecting with its handle1 and in the handle a small hole about the size of a letter--o--in this print4 ,these lower compartments must be filled with good tea and coffee before the jug is produced4 ,the upper chamber or compartment1 like the upper portion of a patent coffee-pot1 must have no communication with the lower divisions1 and must be well closed also at the top with a tin cover1 closely fitting4 ,have half a dozen small tea-cups and half a dozen small coffee-cups ready on a tray4 ,begin the trick by placing openly in the upper compartment coffee-berries and tea1 mixing them together4 ,take up1 as a sudden thought1 an old blacking bottle1 and pretend to pour from it into the jug1 to furnish highly-colored liquid to improve the coffee2 and a little gunpowder1 about a teaspoonful1 may be fired off over the mixture to make the tea strong4 ,wave your wand over the jug4 ,then you may address the ladies3 inform them that the ingredients are well mixed1 and invite them to name which they will prefer1 8tea or coffee10 as you can produce either at their command from the same jug4 ,get some friend to hand the cups1 while you follow him1 and1 by unstopping the holes in the handle for admitting air upon the coffee or tea1 the one of them that each lady names will flow out from the spout of this magic jug4 ,,trick #bh4--;,a ,pleasing ,exhibition for both the ,performer and the ,audience to view when they feel a little ,exhausted4 ,,preparation4 ,have two pint bottles and one quart bottle2 the pint bottles to be filled1 one with a liquid resembling port1 the other with one resembling sherry2 the large bottle to be at first empty4 ,three opaque metal stands--the centre one to stand under the quart bottle1 to have a large cavity to hold a quart1 and the upper part of this stand to be full of large holes1 like a cullender1 for the liquor to run from the opening at ,h into that cavity4 ,illustration3 ,,fig4 #bd4 ,you must also have three metal covers1 of proper size to cover the above three bottles--these covers to have handles at top1 so as to be easily lifted4 ,the large centre cover is simply a cover2 but the two side ones1 which are to cover the pint bottles1 must be made with metal cavities large enough to hold1 one a pint of port1 the other a pint of sherry1 at top1 with a descending pipe to fall into the mouths of the pint bottles4 ,illustration3 ,,fig4 #be4 ,there must be a small hole at top of each of the small covers1 at ,b and ,c1 which hole1 being covered with tinfoil1 will1 as long as it is closed1 prevent the wine from running out at ,d4 ,but when the tinfoil is scraped off1 and the hole admits the air1 the wine will then be able to run into the pint bottles4 ,the above apparatus being all ready1 commence by saying3 8,i will now pour this pint of port and this pint of sherry into the large bottle1 mixing them inseparably together40 ,having done so1 remove the stopper at bottom of the large bottle as you place it on its stand1 and immediately place the large cover over it4 ,the mixed liquid will gradually run out into the concealed cavity in the stand4 ,you must now talk a little magic nonsense1 to draw off the attention1 while you place the special covers over each of the small bottles1 so that the descending pipes in the covers fit in the necks of the bottles4 ,remove the tinfoil with which you had covered the holes at ,a and ,b4 ,with a few magic waves of your wand1 and words of art1 say3 8,i shall now cause the mixed liquids in the centre bottle to appear severally in their own original bottles40 ,let the covers remain a few seconds4 ,clap your hands1 saying3 8,change1 begone60 ,lift the centre cover3 the large bottle will be seen to be empty4 ,lift successively the covers from the small bottles3 they will be seen to have each their proper wine--one port1 the other sherry4 ,,trick #bi4--,to ,furnish a ,treat to the ,gentlemen4 ,for this the magic bottle must be procured4 ,one with three or four compartments is amply sufficient4 ,in these place gin1 sherry1 and port wine1 respectively4 ,the bottle will have three or four holes1 on which you place your fingers as if stopping the holes of a flute4 ,you may have a bucket of water and a common bottle1 resembling the magic one in size and appearance1 near your table4 ,have ready also a tray of wine-glasses of thick glass1 and holding only a very small quantity4 ,exhibit the common bottle to the audience1 and then place it on your table1 and direct attention to some of the other articles on your table4 8,now ,i must begin my experiment4 ,i will wash and drain my bottle1 that you may see the experiment from the beginning to the end40 ,place it in the bucket1 and while shaking it about1 and letting the water run out1 exchange it for the magic bottle lying by the bucket4 ,wipe that carefully with a napkin1 as if drying it1 and calling two or three of the audience forward at a time1 inquire which they prefer4 ,have the stops according to alphabetical order to prevent your mistaking--gin1 port1 sherry4 ,continue supplying the small glasses as called for1 till your bottle gets nearly empty1 and then pour them out indiscriminately4 ,there will have been sufficient to satisfy the most eager4 ,but if you wish to continue the trick1 yen may have a second magic bottle prepared in the same way1 and you will easily1 while propounding some magic charm and gesticulating1 make some pretence that will enable you to exchange the empty for the second bottle1 and so proceed4 ,,ventriloquism ,,made ,,easy4 ,,what ,,is ,,ventriloquism8 ,before we take the reader into the precise and minute instructions which he will have to study and practice ere he can become the possessor of the coveted art1 it will be necessary to inform him what ,ventriloquism#a is1 and in what it consists4 ,in doing so1 we shall endeavor to be as plain and clear as possible4 ,ventriloquism may be divided into two sections1 or general heads1 the first of which may be appropriately designated as ,polyphonism1 and consists of the simple imitation of the voices of human creatures1 of animals1 of musical instruments1 and sounds and noises of every description in which no illusion is intended1 but where1 on the contrary1 the imitation is avowedly executed by the mimic1 amongst which we may classify sawing1 planing1 door-creaking1 sounds of musical instruments1 and other similar imitations4 #a ,literally signifying belly-speaking1 from venter1 the belly1 and loquor1 ,i speak4 ,secondly1 we have ventriloquism proper1 which consists in the imitation of such voices1 sounds1 and noises1 not as originating in him1 but in some other appropriate source at a given or varying distance1 in any or even in several directions1 either singly or together--a process exciting both wonder and amusement1 and which may be accomplished by thousands who have hitherto viewed the ventriloquist as invested with a power wholly denied by nature to themselves4 ,it is needless to observe1 that when the imitations are effected without a movement of mouth1 features1 or body1 the astonishment of the audience is considerably enhanced4 ,the terms polyphony1 mimicry1 or imitation1 are employed to designate results obtained in reference to the first division of the subject1 where no illusion is intended2 while the term ventriloquism distinguishes those under the second division1 where an illusion is palpably produced4 ,the first is much more common than the latter2 indeed1 there is scarcely a public school which does not possess at least one boy capable of imitating the mewing of a cat1 the barking of a dog1 or the squeaking voice of an old woman4 ,on the other hand1 from a want of the knowledge of how to proceed1 it is very seldom that even a blundering attempt at ventriloquism is heard1 except from a public platform4 ,there have been many statements put forward defining ventriloquism1 but we are decidedly of opinion that the theory of two of the most celebrated of foreign ventriloquists1 ,baron de ,mengen and ,m4 ,st4 ,gille1 who were sufficiently unselfish to avow the secret of their art1 is not only the most correct1 but it is at once the most reasonable and the most natural4 ,from ,baron de ,mengen's account of himself1 and the observations made by ,m4 de la ,chapelle1 in his frequent examinations of ,st4 ,gille1 whom we shall afterwards refer to1 it seems that the factitious ventriloquist voice does not 7as the etymology of the word imports7 proceed from the belly1 but is formed in the inner parts of the mouth and throat4 ,the art does not depend on a particular structure or organization of these parts1 but may be acquired by almost any one ardently desirous of attaining it1 and determined to persevere in repeated trials4 ,the judgments we form concerning the situation and distance of bodies1 by means of the senses mutually assisting and correcting each other1 seem to be entirely founded on experience2 and we pass from the sign to the thing signified by it immediately1 or at least without any intermediate steps perceptible to ourselves4 ,hence it follows that if a man1 though in the same room with another1 can by any peculiar modifications of the organs of speech1 produce a sound which1 in faintness1 tone1 body1 and every other sensible quality1 perfectly resembles a sound delivered from the roof of an opposite house1 the ear will naturally1 without examination1 refer it to that situation and distance2 the sound which he hears being only a sign1 which from infancy he has become accustomed1 by experience1 to associate with the idea of a person speaking from a house-top4 ,a deception of this kind is practised with success on the organ and other musical instruments4 ,rolandus1 in his 8,aglossostomographia10 mentions1 that if the mediastinum1 which is naturally a single membrane1 be divided into two parts1 the speech will seem to come out of the breast1 so that the bystanders will fancy the person possessed4 ,mr4 ,gough1 in the 8,manchester ,memoirs10 vol4 v4 part ii4 p4 #fbb ,london1 #ahjb1 investigates the method whereby men judge by the ear of the position of sonorous bodies relative to their own persons4 ,this author observes1 in general that a sudden change in direction of sound1 our knowledge of which1 he conceives1 does not depend on the impulse in the ear1 but on other facts1 will be perceived when the original communication is interrupted1 provided there be a sensible echo4 ,this circumstance will be acknowledged by any person who has had occasion to walk along a valley1 intercepted with buildings1 at the time that a peal of bells is ringing in it4 ,the sound of the bells1 instead of arriving constantly at the ears of the person so situated1 is frequently reflected in a short time from two or three different places4 ,these deceptions are1 in many cases1 so much diversified by the successive interpositions of fresh objects1 that the steeple appears1 in the hearer's judgment1 to perform the part of an expert ventriloquist on a theatre--the extent of which is adapted to its own powers1 and not to those of the human voice4 ,the similarity of effect which connects this phenomenon with ventriloquism1 convinced the author1 whenever he heard it1 that what we know to be the cause in one instance1 is also the cause in the other1 viz41 that the echo reaches the ear1 while the original sound is intercepted by accident in the case of the bells but by art1 in the case of the ventriloquist4 ,it is the business of the ventriloquist to amuse his admirers with tricks resembling the foregoing delusion2 and it will be readily granted that he has a subtle sense1 highly corrected by experience to manage1 on which account the judgment must be cheated as well as the ear4 ,this can only be accomplished by making the pulses1 constituting his words strike the heads of his hearers1 not in the right lines that join their persons and his4 ,he must therefore1 know how to disguise the true direction of his voice2 because the artifice will give him an opportunity to substitute almost any echo he chooses in the place of it4 ,but the superior part of the human body has been already proved to form an extensive seat of sound1 from every point of which the pulses are repelled as if they diverge from a common centre4 ,this is the reason why people1 who speak in the usual way1 cannot conceal the direction of their voices1 which in reality fly off towards all points at the same instant4 ,the ventriloquist1 therefore1 by some means or other1 acquires the difficult habit of contracting the field of sound within the compass of his lips1 which enables him to confine the real path of his voice to narrow limits4 ,for he who is master of his art has nothing to do but to place his mouth obliquely to the company1 and to dart his words out of his mouth--if the expression may be used--whence they will then strike the ears of the audience as that from an unexpected quarter4 ,nature seems to fix no bounds to this kind of deception1 only care must be taken not to let the path of the direct pulses pass too near the head of the person who is played upon1 but the divergency of the pulses make him perceive the voice itself4 ,our readers will1 therefore1 not be surprised that the ,french ,academy adopted this view of the subject1 and laid down that the art consists in an accurate imitation of any given sound as it reaches the ear4 ,in conformity with a theory so incontrovertible1 physiologists have suggested a variety of movements of the vocal organs to explain still further the originating cause2 and some have gone so far as to contend for a peculiarity of structure in these organs as an essential requirement2 but they have wisely omitted to specify what4 ,nothing1 however1 can be more accurate than the description of 8the essence0 of ventriloquy in the 8,english ,cyclopdia0--namely1 that it 8consists in creating illusions as to the distance and direction whence a sound has travelled40 ,how those sounds are produced1 we shall show in another chapter4 ,,ventriloquism ,,amongst ,,the ,,ancients4 ,charles ,lamb gave utterance to the thought that it was 8pleasant to contemplate the head of the ,ganges10 but the student of ventriloquism finds it difficult to obtain a view of the source of his art4 ,in the dim and misty ages of antiquity1 he may trace under various guises the practice of it4 ,many of the old superstitions were fostered by its means2 from the cradle of mankind to the birthplace of idolatry1 we incidentally learn of the belief in a familiar spirit--a second voice1 which afterwards took the form of divination4 ,the various kinds of divination amongst the nations of antiquity which were stated by the priesthood to be by a spirit1 a familiar spirit1 or a spirit of divination1 are now supposed to have been effected by means of ventriloquism4 ,divination by a familiar spirit can be tracked through a long period of time4 ,by reference to ,leviticus xx4 #bg it will be seen that the ,mosaic law forbade the ,hebrews to consult those having familiar spirits1 and to put to death the possessor4 ,the ,mosaic law was given about fifteen hundred years before ,christ4 ,divining by a familiar spirit was1 however1 so familiar to the ,jews1 that the prophet ,isaiah draws a powerful illustration from the kind of voice heard in such divination1 see ,isaiah xxix4 #d4 ,there can be little doubt but the ,jews became acquainted with this voice during their compulsory captivity in ,egypt4 ,in many of the mysteries which accompanied the worship of ,osiris1 the unearthly voice speaking from hidden depths of unknown heights was common4 ,some philosophers have imagined that a series of tubes and acoustical appliances were used to accomplish these mysterious sounds4 ,the statute of ,memnon will instantly suggest itself as a familiar instance4 ,the gigantic stone-head was heard to speak when the first rays of the worshipped sun glanced on its impassive features4 ,the magic words were undoubtedly pronounced by the attendant priest1 for we find a similar trick prevalent throughout the whole history of ventriloquism1 and even now the public professors of the art know how much depends on fixing the attention of their audience on the object or place from whence the sound is supposed to proceed4 ,the ,jews carried the art with them into ,palestine1 for we trace the agency throughout their history4 ,the ,greeks practised a mode of divination termed gastromancy1 where the diviner replied without moving his lips1 so that the consulter believed he heard the actual voice of a spirit speaking from its residence within the priest's belly4 ,in the ,acts of the ,apostles 7xvi4 #af71 mention is made of a young woman with a familiar spirit meeting the ,apostles in the city of ,philippi1 in ,macedonia1--,st4 ,chrysostom and other early ,fathers of the ,christian ,church mention divination by a familiar spirit as practised in their day4 ,the practice of similar divination is still common in the ,east2 it lingers on the banks of the ,nile1 and is even practised among the ,esquimaux4 ,this divination by a familiar spirit has been practised upwards of three thousand years4 ,,modern ,,professors ,,of ,,the ,,art4 ,the earliest notice of ventriloquial illusion1 as carried out in modern times1 has reference to ,louis ,brabant1 valet-de-chambre of ,francis ,i41 who is said to have fallen in love with a beautiful and rich heiress1 but was rejected by the parents as a low1 unsuitable match4 ,however1 the father dying1 he visits the widow2 and on his first appearance in the house she hears herself accosted in a voice resembling that of her dead husband1 and which seemed to proceed from above4 8,give my daughter in marriage to ,louis ,brabant1 who is a man of great fortune and excellent character4 ,i now endure the inexpressible torments of purgatory1 for having refused her to him2 obey this admonition and ,i shall soon be delivered2 you will provide a worthy husband for your daughter1 and procure everlasting repose to the soul of your poor husband40 ,the dread summons1 which had no appearance of proceeding from ,louis1 whose countenance exhibited no change1 and whose lips were close and motionless1 was instantly complied with2 but the deceiver1 in order to mend his finances for the accomplishment of the marriage contract1 applies to one ,cornu1 an old and rich banker at ,lyons1 who had accumulated immense wealth by usury1 and extortion1 and was haunted by remorse of conscience4 ,after some conversation on demons and spectres1 the pains of purgatory1 c41 during an interval of silence1 a voice is heard1 like that of the banker's deceased father1 complaining of his dreadful situation in purgatory1 and calling upon him to rescue him from thence1 by putting into the hands of ,louis ,brabant1 then with him1 a large sum for the redemption of ,christians in slavery with the ,turks2 threatening him at the same time with eternal damnation if he did not thus expiate his own sins4 ,upon a second interview1 in which his ears were saluted with the complaints and groans of his father1 and of all his deceased relations1 imploring him1 for the love of ,god1 and in the name of every saint in the calendar1 to have mercy on his own soul and others1 ,cornu obeyed the heavenly voice1 and gave ,louis #aj1jjj crowns1 with which he returned to ,paris1 and married his mistress4 ,the works of ,m4 ,l',abbe ,la ,chapelle1 issued #aggb1 and before alluded to1 contain descriptions of the ventriloquial achievements of ,baron ,mengen at ,vienna2 and those of ,m4 ,st4 ,gille1 near ,paris1 are equally interesting and astonishing4 ,the former ingeniously constructed a doll with moveable lips1 which he could readily control by a movement of the fingers under the dress2 and with this automaton he was accustomed to hold humorous and satirical dialogues4 ,he ascribed proficiency in his art to the frequent gratification of a propensity for counterfeiting the cries of the lower animals1 and the voices of persons with whom he was brought in contact4 ,so expert1 indeed1 had practice rendered him in this way1 that the sounds uttered by him did not seem to issue from his own mouth4 ,la ,chapelle1 having heard many surprising circumstances related concerning one ,m4 ,st4 ,gille1 a grocer at ,st4 ,germainen-,laye1 near ,paris1 whose powers as a ventriloquist had given occasion to many singular and diverting scenes1 formed the resolution of seeing him4 ,being seated with him on the opposite side of a fire1 in a parlor on the ground floor1 and very attentively observing him1 the ,abbe1 after half an hour's conversation with ,m4 ,st4 ,gille1 heard himself called1 on a sudden1 by his name and title1 in a voice that seemed to come from the roof of a house at a distance2 and whilst he was pointing to the house from which the voice had appeared to him to proceed1 he was yet more surprised at hearing the words1 8it was not from that quarter10 apparently in the same kind of voice as before1 but which now seemed to issue from under the earth at one of the corners of the room4 ,in short1 this factitious voice played1 as it were1 everywhere about him1 and seemed to proceed from any quarter or distance from which the operator chose to transmit it to him4 ,to the ,abbe1 though conscious that the voice proceeded from the mouth of ,m4 ,st4 ,gille1 he appeared absolutely mute while he was exercising his talent2 nor could any change in his countenance be discovered4 ,but he observed that ,m4 ,st4 ,gille presented only the profile of his face to him while he was speaking as a ventriloquist4 ,on another occasion1 ,m4 ,st4 ,gille sought for shelter from a storm in a neighboring convent2 and finding the community in mourning1 and inquiring the cause1 he was told that one of their body1 much esteemed by them1 had lately died4 ,some of their religious attended him to the church1 and showing him the tomb of their deceased brother1 spoke very feelingly of the scanty honors that had been bestowed on his memory1 when suddenly1 a voice was heard1 apparently proceeding from the roof of the choir1 lamenting the situation of the defunct in purgatory1 and reproaching the brotherhood with their want of zeal on his account4 ,the whole community being afterwards convened in the church1 the voice from the roof renewed its lamentations and reproaches1 and the whole convent fell on their faces1 and vowed a solemn reparation4 ,accordingly1 they first chanted a ,de profundis in full choir2 during the intervals of which the ghost occasionally expressed the comfort he received from their pious exercises and ejaculations in his behalf4 ,the prior1 when this religious service was concluded1 entered into a serious conversation with ,m4 ,st4 ,gille1 and inveighed against the incredulity of our modern sceptics and pretended philosophers on the article of ghosts and apparitions2 and ,st4 ,gille found it difficult to convince the fathers that the whole was a deception4 ,m4 ,st4 ,gille1 in #agga1 submitted his attainments in this direction to several experiments before ,,mm4 ,leroy and ,fouchy1 ,commissioners of the ,royal ,academy of ,sciences1 and other persons of exalted rank1 in order to demonstrate that his mimicry was so perfect as to reach the point of complete illusion4 ,for this purpose a report was circulated that a spirit's voice had been heard at times in the environs of ,st4 ,germain1 and that the commission was appointed to verify the fact4 ,the company1 with the exception of one lady1 were apprised of the real nature of the case1 the intention being to test the strength of the illusion upon her4 ,the arrangement was that they should dine together in the country1 in the open air2 and while they were at table1 the lady was addressed in a supernatural voice1 now coming from the top of adjoining trees1 then descending until it approached her1 next receding and plunging into the ground1 where it ceased4 ,for upwards of two hours was this startling manifestation continued with such adroitness that she was convinced the voice belonged to a person from another world1 and subsequent explanation failed to convince her to the contrary4 ,m4 ,alexandre1 the famous ventriloquist1 had an extraordinary facility in counterfeiting all the expressions of countenance and bodily conditions common to humanity4 ,when in ,london1 his mimetic powers1 which he was fond of exercising both in public and private1 made his company in high request among the upper circles4 ,the ,lord ,mayor of the ,city1 in particular1 received the ventriloquist with great distinction1 and invited him several times to dine at the ,mansion ,house4 ,but it unluckily happened that on every occasion when ,m4 ,alexandre dined there1 he could not stay to spend the evening1 having contracted engagements elsewhere4 ,the ,lord ,mayor expressed much regret at this1 and the ventriloquist himself was annoyed on the same account1 being willing to do his best to entertain the guests whom the ,lord ,mayor had asked each time to meet him4 ,at last1 on meeting ,m4 ,alexandre one day1 the ,lord ,mayor engaged him to dine at the ,mansion ,house on a remote day4 8,i fix it purposely10 said his lordship1 8at so distant a period1 because ,i wish to make sure this time of your remaining with us through the evening40 ,through fear of seeming purposely to slight his lordship1 ,m4 ,alexandre did not dare to tell the ,mayor that on that very morning he had accepted an invitation from a nobleman of high rank to spend at his house the evening of the identical day so unfortunately pitched on by the civic dignitary4 ,all the ventriloquist said in reply was1 8,i promise1 my lord to remain at the ,mansion ,house1 till you1 yourself think it time for me to take my leave40 8,ah1 well10 said the ,lord ,mayor1 and he went off perfectly satisfied4 ,at the appointed day ,alexandre sat himself down at the magistrate's board4 ,never had the ventriloquist comported himself with so much spirit and gaiety4 ,he insisted on devoting bumpers to each and every lady present4 ,the toasts went round1 the old port flowed like water1 and the artiste in particular seemed in danger of loosing his reason under its potent influence4 ,when others stopped1 he stopped not1 but continued filling and emptying incessantly4 ,by and by1 his eyes began to stare1 his visage became purple1 his tongue grew confused1 his whole body seemed to steam of wine1 and finally he sank from his chair in a state of maudlin1 helpless insensibility4 ,regretting the condition of his guest1 the ,lord ,mayor got him quietly lifted1 and conveyed to his own carriage1 giving orders for him to be taken home to his lodgings4 ,as soon as ,m4 ,alexandre was deposited there1 he became a very different being4 ,it was now ten o'clock1 and but half an hour was left to him to prepare for his appointed visit to the ,duke of ----'s soiree4 ,the ventriloquist disrobed himself1 taking first from his breast a quantity of sponge which he had placed beneath his waist coat1 and into the pores of which he had1 with a quick and dexterous hand1 poured the greater portion of the wine which he had apparently swallowed4 ,having washed from his person all tokens of his simulated intoxication1 and dressed himself anew1 ,m4 ,alexandre then betook himself to the mansion of the nobleman to whom he had engaged himself4 ,on the following day the fashionable newspapers gave a detailed account of the grand party at his ,grace the ,duke of ----'s1 and eulogized to the skies the entertaining performances of ,m4 ,alexandre1 who1 they said1 had surpassed himself on this occasion4 ,some days afterwards1 the ,lord ,mayor encountered ,m4 ,alexandre4 8,ah1 how are you80 said his lordship4 8,very well1 my lord10 was the reply4 8,our newspapers are pretty pieces of veracity10 said his lordship4 8,have you seen the ,courier of the other day8 ,why1 it makes you out to have exhibited in great style last ,thursday night at his ,grace of ----'s60 8,it has but told the truth10 said the mimic4 8,what8 impossible60 cried the ,mayor4 8,you do not remember1 then1 the state into which you unfortunately got at the ,mansion ,house80 ,and thereupon the worthy magistrate detailed to the ventriloquist the circumstances of his intoxication1 and the care that had been taken with him1 with other points of the case4 ,m4 ,alexandre heard his lordship to an end1 and then confessed the stratagem which he had played off1 and the cause of it4 8,i had promised10 said ,alexandre1 8to be with his ,grace at half-past ten4 ,i had also promised not to leave you till you yourself considered it fit time4 ,i kept my word in both cases--you know the way40 ,the civic functionary laughed heartily1 and on the following evening ,alexandre made up for his trick by making the ,mansion ,house ring with laughter till daylight4 ,many anecdotes are told respecting ,m4 ,alexandre's power of assuming the faces of other people4 ,at ,abbotsford1 during a visit there1 he actually sat to a sculptor five times in the character of a noted clergyman1 with whose real features the sculptor was well acquainted4 ,when the sittings were closed and the bust modelled1 the mimic cast off his wig and assumed dress1 and appeared with his own natural countenance1 to the terror almost of the sculptor1 and to the great amusement of ,sir ,walter and others who had been in the secret4 ,of this most celebrated ventriloquist it is related that on one occasion he was passing along the ,strand1 when a friend desired a specimen of his abilities4 ,at this instant a load of hay was passing along near ,temple ,bar1 when ,alexandre called attention to the suffocating cries of a man in the centre of the hay4 ,a crowd gathered round and stopped the astonished carter1 and demanded why he was carrying a fellow-creature in his hay4 ,the complaints and cries of the smothered man now became painful1 and there was every reason to believe that he was dying4 ,the crowd1 regardless of the stoppage to the traffic1 instantly proceeded to unload the hay into the street4 ,the smothered voice urged them to make haste1 but the feelings of the people may be imagined when the cart was empty and nobody was found1 while ,alexandre and his friend walked off laughing at the unexpected results of their trick4 ,it would be obviously invidious to compare the merits of living professors4 ,mr4 ,maccabe1 ,mr4 ,gallagher1 ,mr4 ,thurton and ,mr4 ,macmillan have long been favorites with the public4 ,,the ,,theory ,,of ,,ventriloquism4 ,many physiologists aver that ventriloquism is obtained by speaking during the inspiration of air4 ,it is quite possible to articulate under these circumstances1 and the plan may with advantage be occasionally adopted2 but our own practical experience and close observation of many public performers1 and of not a few private friends who have attained distinctness and no small amount of facility in the art1 convince us that the general current of utterance is1 as in ordinary speech1 during expiration of the breath4 ,some imagine that the means of procuring the required imitation are comprised in a thorough management of the echoes of sound4 ,unfortunately1 however1 for this theory1 an echo only repeats what has been already brought into existence4 ,several eminent ventriloquists1 including the late ,mr4 ,matthews1 have displayed the vocal illusion while walking in the streets4 ,baron ,mengen describes as follows his mode of speaking1 when he desired the illusion to take the direction of a voice emanating from the doll3 8,i press my tongue against the teeth1 and then circumscribe a cavity between my left check and teeth1 in which the voice is produced by the air held in reserve in the pharynx4 ,the sounds thus receive a hollow and muffled tone1 which causes them to appear to come from a distance40 ,the ,baron furthermore mentions that it is essential to have the breath well under control1 and not to respire more than can be avoided4 ,m4 ,st4 ,gille was seen to look somewhat exhausted when the vocal illusion grew less perfect4 ,we ourselves1 and all ventriloquists with whom we have conferred1 have acknowledged that they have experienced fatigue in the chest1 and have attributed it to the slow expiration of the breath4 ,m4 ,st4 ,gille1 with the majority of ventriloquists1 was often compelled to cough during the progress of his exercitation4 ,to attain an exact and positive knowledge of the modifications of voice specified as ventriloquism1 it is important to be familiar with the distinctions of the sounds uttered by the mouth2 and to ascertain how the organs act in producing those vocal modifications1 it is necessary to know how the breath is vocalized in all distinctions of pitch1 loudness1 and quality1 by the ordinary actions of the vocal organs4 ,in ordinary language1 we speak of noise1 of common sound1 and of musical sound-terms employed by ,dr4 ,thomas ,young in illustrating the mechanical agencies of articulation3--8,a quill striking against a piece of wood causes a noise1 but striking successively against the teeth of a wheel1 or of a comb1 a continued sound1 and1 if the teeth of the wheel are at equal distances1 and the velocity of the rotation is constant1 a musical sound4 ,the general terms--pitch1 loudness1 quality1 and duration1 embrace all the distinctions with which the musician has to deal1 and which he uses in his art40 ,the distinguishing feature of musical sound is its uniform pitch throughout its duration1 and acoustically musical sound is composed of an equal number of impulses or noises produced in equal tones4 ,the general terms--pitch1 loudness1 quality1 and duration1 also embrace all the distinctions heard in ordinary sounds4 ,these sounds differ from the musical in the pitch constantly varying throughout their duration1 as the human voice in speaking1 and the voice of quadrupeds4 ,acoustically such sounds are composed of an unequal number of impulses or noises produced in equal tones4 ,and from this circumstance pitch1 in the strictly musical sense1 is not a property of ordinary sound4 ,the general terms--loudness and quality1 embrace all the distinctions heard in a noise1 as in the collision of two unelastic sticks4 ,pitch and duration can scarcely be considered as belonging to common noise4 ,thus we have--7#a7 noise whose audible distinctions are comprehended under the general terms loudness and quality2 7#b7 common sound1 whose audible distinctions are comprehended under the general terms--loudness1 quality1 duration1 and every varying pitch2 7#c7 musical sound1 whose audible distinctions are comprehended under the general terms--loudness1 quality1 duration1 and uniform pitch4 ,phonation1 or the production of voice1 is a result of actions taking place under two distinct classes of laws--namely1 the ordinary mechanical laws of acoustics1 and the physiological laws of muscular movement4 ,the adjustment of the vocal mechanism to be brought into operation by the current of air1 is made by actions under the latter laws2 and phonation is the result of the reaction of the mechanism on the current of air1 by mechanical movements under the former laws4 ,now1 the pitch of the voice essentially depends on the tension of the vocal ligaments2 the loudness or the extent of the excursion of these ligaments in their vibration2 the duration on the continuance of the vocalizing causes2 the quality on the organization of the larynx1 and also on the form and size of the vocal tube4 ,the form and size of this tube can be altered in various ways--for instance1 by dilating or contracting the pharynx2 by dilating or contracting the mouth2 by contracting the communication between the pharynx and mouth1 so as to constitute them distinct chambers1 or by dilating the opening so as to throw them into one1 which is chiefly attained by movements of the soft palate2 and by altering the form of the mouth's cavity1 which is effected by varying the position of the tongue4 ,each of these modifications of the vocal tube conveys a peculiarity of quality to the voice1--all1 however1 being local or laryngeal sounds4 ,moreover1 sounds can be produced in the vocal tube1 apart from the larynx4 ,these1 strictly speaking1 are not vocal sounds1 though some of them may be of a definite and uniform pitch1 while others are mere noises--as rustling1 whispering1 gurgling1 whistling1 snoring1 and the like4 ,now1 as everything audible comes under the classes of noise1 sound1 or musical sound1 and as each variety originates in the vocal apparatus of man1 it is obvious that an ordinary vocal apparatus is all that is required for the achievement of the feats of ventriloquism4 ,a person having an ear acutely perceptive to the nice distinctions of sounds1 may1 by a little practice1 imitate many sounds with accuracy4 ,those persons1 however1 who are highly endowed with the mental requisites1 which consist of an intense desire to mimic1 coupled with the ability to originate mimetic ideas1 are able to imitate sounds at first hearing4 ,we next proceed to treat of those illusions1 where the voice so perfectly counterfeits the reality intended1 that it appears not to issue from the mimic1 but from an appropriate source1 in whatever direction1 and at whatever distance the source may be4 ,we do not hear the distance which a sound has travelled from its source1 but we judge the distance from our former experience1 by comparing the loudness which we hear with the known distance and known loudness of similar sounds heard on former occasions4 ,common experience will prove that we oftener err in estimating the distance of uncommon than of familiar sounds4 ,in apology for such an error1 the ordinary language is1 8,it seemed too loud to come so far10 or 8,it seemed too near to be so faint a sound10 as the case may be1--both of which are apologies for an erroneous judgment1 and not for faulty hearing4 ,near sounds are louder than distant ones4 ,now1 by preserving the same pitch1 quality1 and duration1 but with an accurately graduated reduction of loudness1 a series forming a perspective of sounds may be created1 which1 falling in succession on the ear1 will suggest to the mind a constantly increasing distance of the sound's source4 ,the estimate1 then1 which is formed of the distance which a sound has travelled before reaching the ear is a judgment of the mind formed by comparing a present perception 7by hearing7 with the remembrance of a former loudness in connection with its known distance4 ,with regard to direction1 it is observed1 8,the direction whence a sound comes seems to be judged of by the right of left ear receiving the stronger impression1 which1 however1 can only take place when the sound's source is in a plane1 or nearly so1 with a line passing through both cars4 ,it is familiarly known that a person in a house cannot by the noise of an approaching carriage judge with certainty whether it is coming from the right or left4 ,he accurately judges it to be approaching1 passing1 or receding1 as the case may be1 by the gradations of loudness1 but is unable to decide with certainty whether its approach or recession is from up or down the street4 ,enough has been stated to show that we do not hear1 but that we judge the direction a sound has travelled from its source on reaching the ear40 ,the ventriloquist indicates1 either directly or indirectly1 the direction from which he wishes his audience to believe the sound is coming4 ,thus he directly indicates it by words1 such as--8,are you up there80 8,he is up the chimney10 8,he is in the cellar10 8,are you down there80 c41 as illustrated in the various examples4 ,he indirectly indicates it by some suggestive circumstance1 as an action or gesture1 which is so skilfully unobtrusive and natural as to effect its object without being discovered4 ,thus1 when the ventriloquist looks or listens in any direction1 or even simply turns towards any point1 as if he expected sound to come thence1 the attention of an audience is by that means instantly directed also to the same place4 ,thus1 before a sound is produced1 the audience expect it to come in the suggested direction2 and the ventriloquist has merely1 by his adjustment of vocal loudness1 to indicate the necessary distance1 when a misjudgment of the audience will complete the illusion which he has begun4 ,the effect which is produced on sound by its travelling from a distance1 is observed to be3-- 7#a7 ,that its loudness is reduced in proportion to its distance4 7#b7 ,that its pitch remains unaltered4 7#c7 ,that its quality or tone is somewhat altered4 7#d7 ,that its duration remains unaltered4 7#e7 ,that the human speech is somewhat obscured1 chiefly in the consonant sounds4 ,it must be remembered that the ventriloquist makes the sound1 not as it is heard at its source1 but as it is heard after travelling from a distance4 ,,the ,,means ,,by ,,which ,,it ,,is ,,effected4 ,before entering upon the first and easy lessons1 it will be as well to consider the means by which the effect is produced4 ,the ,student is supposed to have made himself thoroughly acquainted with the previous chapter1 as to the effect to be produced1 not on himself1 but on the spectators and audience4 ,and we may assure him1 that if he has a fair range of voice1 a diligent observance of the rules which we are about to lay down1 coupled with attention to the nature of sound as it falls upon the ear1 will lead him to such triumphs as1 in all probability1 he never imagined he could have attained--an assurance which we are emboldened to offer from our own pursuit and practical realization of the art4 ,the student must bear in mind that the means are simply natural ones1 used in accordance with natural laws4 ,we have given him the acoustical theory of the effect on the auric nerve1 and the means are the organs of respiration and sound1 with the adjoining muscles4 ,they are the diaphragm1 the lungs1 the trachea1 the larynx1 the pharynx1 and the mouth4 ,the diaphragm is a very large convex muscle1 situated below the lungs1 and having full power over respiration4 ,the lungs are the organs of respiration1 and are seated at each side of the chest2 they consist of air-tubes minutely ramified in a loose tissue1 and terminating in very small sacs1 termed air-cells4 ,the trachea is a tube1 the continuation of the larynx1 commonly called the windpipe3 through this the air passes to and from the lungs4 ,it is formed of cartilaginous rings1 by means of which it may be elongated or shortened4 ,the larynx is that portion of the air-tube immediately above the trachea3 its position is indicated by a large projection in the throat4 ,in the interior of this part of the throat are situated the vocal chords4 ,they are four bands of elastic substance somewhat similar to ,india-rubber4 ,the cavity1 or opening between these vocal chords is called the glottis3 it possesses the power of expanding or contracting under the influence of the muscles of the larynx4 ,the pharynx is a cavity above the larynx1 communicating with the nasal passages3 it is partially visible when the mouth is opened and the tongue lowered4 ,near this part of the root of the tongue is situated the epiglottis1 which acts as a lid or cover in closing over the air-tube during the act of swallowing4 ,the mouth forms a cavity to reflect and strengthen the resonance of the vibrations produced in the air-tube2 it also possesses numberless minute powers of contraction and modification4 ,we now proceed to give the instructions to which we have referred--instructions guaranteed by a proficiency which we are ever ready to submit to the ordeal of a critical examination1 either in private or in public4 ,if the student will pay strict attention to the parts printed in italics1 and will practice the voices here specified1 he will find that they are the key to all imitative sounds and voices2 and1 according to the range of his voice and the capabilities of his mimetic power1 he will be enabled to imitate the voices of little children1 of old people1 and1 in fact1 almost every sound which he hears4 ,too much attention cannot be bestowed on the study of sound as it falls on the ear1 and an endeavor to imitate it as it is heard--for the 8secret0 of the art is1 that as perspective is to the eye so is ventriloquism to the ear4 ,when we look at a painting of a landscape1 some of the objects appear at a distance2 but we know that it is only the skill of the artist which has made it appear as the eye has seen it in reality4 ,in exactly the same manner a ventriloquist acts upon and deceives the ear1 by producing sounds as they are heard from any known distances4 ,,practical ,,illustrations4 ,,no4 ,i4 ,,the ,,voice ,,in ,,the ,,closet ,this is the voice in which ,mr4 ,frederic ,maccabe1 the celebrated mimic and ventriloquist1 excels1 and the clever manner in which he can adapt it off-hand1 as it were1 will be best illustrated by the fact mentioned to us by the gentleman in question1 whom we call ,mr4 ,b4 in ,mr4 ,maccabe's presence4 ,mr4 ,b41 who was an invalid1 suffering from some nervous disorder1 originating by overwork and anxiety1 was travelling in ,ireland in search of health1 and when on his way from ,dublin to ,cork1 he lay exhausted in a corner of a railway-carriage1 muffled up in cloaks and wrappers in a paroxysm of pain4 ,at ,mallow1 two gentlemen entered the carriage1 one of whom was in exuberant spirits1 and commenced telling some amusing anecdotes4 ,at length the porter came to collect the tickets4 ,they were all handed in but one1 when the following colloquy ensued3-- ,porter4--,a gentleman hasn't given me his ticket4 ,gentleman4--,bill1 in the next compartment1 has the ticket1 7tapping at the partition74 ,haven't you1 ,bill8 ,the imaginary ,bill1 who appeared to be suffering from a severe cold1 replied that he had1 and the porter would not take it4 ,the official went off to find the ticket1 but ,bill1 in the mean time had vanished4 ,back came the porter and indignantly demanded the ticket4 ,he was interrupted by a shrill voice in the opposite compartment1 crying1--8,porter6 porter6 why don't you come and take the ticket6 ,there's some one insulting me60 ,away went the chivalric porter1 to come back puzzled and chafed to receive the ticket1 which was handed to him4 ,his hand had not reached the coveted piece of pasteboard1 ere the yell of a terrier under the wheels caused the porter to draw back1 amid bursts of laughter1 during which the ticket was thrown out1 and the train moved on4 ,and ,mr4 ,frederic ,maccabe stood confessed1 but not penitent4 ,voice ,no #a4--,to acquire this voice1 which we so name for distinction's sake1 speak any word or sentence in your own natural tones2 then open the mouth and fix the jaws fast1 as though you were trying to hinder any one from opening them farther or shutting them2 draw the tongue back in a ball2 speak the same words1 and the sound1 instead of being formed in the mouth will be formed in the pharynx4 ,great attention must be paid to holding the jaws rigid4 ,the sound will then be found to imitate a voice heard from the other side of a door when it is closed1 or under a floor1 or through a wall4 ,to ventriloquize with this voice1 let the operator stand with his back to the audience against a door4 ,give a gentle tap at the door1 and call aloud in a natural voice1 inquiring 8,who is there80 ,this will have the effect of drawing the attention of the audience to a person supposed to be outside4 ,then fix the jaw as described1 and utter in voice ,no4 #a1 any words you please1 such as 8,i want to come in40 ,ask questions in the natural voice and answer in the other4 ,when you have done this1 open the door a little1 and hold a conversation with the imaginary person4 ,as the door is now open1 it is obvious that the voice must be altered1 for a voice will not sound to the ear when a door is open the same as when closed4 ,therefore the voice must be made to appear face to face1 or close to the ventriloquist4 ,to do this the voice must not be altered from the original note or pitch1 but be made in another part of the mouth4 ,this is done by closing the lips tight and drawing one corner of the mouth downwards1 or towards the ear4 ,then let the lips open at that corner only1 the other part to remain closed4 ,next breathe1 as it were1 the words out of the orifice formed4 ,do not speak distinctly1 but expel the breath in short puffs at each word1 and as loud as possible4 ,by so doing you will cause the illusion in the mind of the listeners1 that they hear the same voice which they heard when the door was closed1 but which is now heard more distinctly and nearer on account of the door being open4 ,this voice must always be used when the ventriloquist wishes it to appear that the sound comes from some one close at hand1 but through an obstacle4 ,the description of voice and dialogue may be varied as in the following examples-- ,,ex4 #a4 ,,the ,,suffocated ,,victim4--,this was a favorite illustration of ,mr4 ,love1 the polyphonist4 ,a large box or close cupboard is used indiscriminately1 as it may be handy4 ,the student will rap or kick the box apparently by accident4 ,the voice will then utter a hoarse and subdued groan1 apparently from the box or closet4 ,,student 7pointing to the box with an air of astonishment73 ,what is that8 ,,voice3 ,i won't do so any more4 ,i am nearly dead4 ,,student3 ,who are you8 ,how came you there8 ,,voice3 ,i only wanted to see what was going on4 ,let me out1 do4 ,,student3 ,but ,i don't know who you are4 ,,voice3 ,oh yes1 you do4 ,,student3 ,who are you8 ,,voice3 ,your old schoolfellow1 ,tom1 ----4 ,you know me4 ,,student3 ,why1 he's in ,canada4 ,,voice 7sharply73 ,no he ain't1 he's here2 but be quick4 ,,student 7opening the lid73 ,perhaps he's come by the underground railroad8 ,hallo6 ,,voice 7not so muffled as described in direction73 ,now then1 give us a hand4 ,,student 7closing the lid or door sharply73 ,no1 ,i won't4 ,,voice 7as before73 ,have pity 7,tom1 or ,jack1 or ,mr4 ----1 as the case may be71 or ,i shall be choked4 ,,student3 ,i don't believe you are what you say4 ,,voice3 ,why don't you let me out and see before ,i am dead8 ,,student 7opening and shutting the lid or door and varying the voice accordingly73 ,dead6 not you4 ,when did you leave ,canada8 ,,voice3 ,last week4 ,oh8 ,i am choking4 ,,student3 ,shall ,i let him out8 7opening the door74 ,there's no one here4 #b4 ,,the ,,milkman ,,at ,,the ,,door4--,this affords a capital opportunity of introducing a beggar1 watercress or milkman1 and may be varied accordingly4 ,we will take ,skyblue1 the milkman2 and we would impress on the student1 that1 although we give these simple dialogues1 they are merely intended as illustrations for the modest tyro1 not to be implicitly followed when greater confidence and proficiency are attained4 ,,voice3 ,milk below6 ,,student3 ,is it not provoking that a milkman always comes when he is not wanted1 and is absent when we are waiting for the cream8 ,,voice3 7whistling a bar of 8,shoo ,fly074 ,,student3 ,oh1 yes1 always the broken-hearted milkman as if he was not as happy as a king4 ,,voice 7nearer73 ,milk below6 ,why1 ,sally1 where's the can8 ,,student3 ,sally will be long in answering1 ,i think4 ,,voice3 ,sally's gadding with the police4 ,milk below6 ,,student 7slightly opening the door73 ,we don't want any milk1 my good man4 ,,voice3 ,no skim milk for the cat1 or cream for tea8 ,,another ,,voice3 ,watercresses6 ,,student3 ,really1 this is too bad4 ,go away4 ,,voice3 ,you owe me ten cents for last week's milk2 ,i was to wait4 ,,student3 ,this is intolerable4 ,i'll send for the police4 ,,voice ironically3 ,send for ,sally and p'lice1 ,i'll foller4 ,,student3 ,impudent rascal4 ,,voice3 ,keep your compliments at home1 ,master ,idlebones4 ,,student opining the door3 ,i'll report you to your master4 ,,voice louder1 as the door is opened3 ,will you1 young ,whippersnapper1 pay us the dime1 and let us go8 ,,student offers to pay1 while the voice gets weaker in the distance with 8,milk below60 until it becomes inaudible4 ,a conversation may be held in a similar strain with cellarman3 and1 as a rule1 the lower notes of the voice will be best for voices in the basement1 and formed as low in the chest as possible4 ,,student3 ,thomas1 are you coming8 ,,voice ,,below gruffly3 ,i should think ,i was4 ,,student3 ,we are waiting for the beer4 ,,voice partly aside3 ,the longer you wait1 the greater our honor4 ,mary1 have another drop4 ,,student3 ,why1 the scamp is drinking the beer6 ,thomas6 ,who's there with you8 ,,voice3 ,myself4 ,aside ,make haste with the pot1 ,mary2 he's in such a hurry4 ,,student3 ,you drinking rascal1 how dare you6 ,,voice3 ,coming1 sir4 ,the barrel's nearly empty4 ,,student3 ,i should think so1 tippling as you are at it4 ,,voice3 ,now don't be saucy4 ,,student3 ,the fellow is getting intoxicated4 ,thomas6 ,,voice3 ,wait till ,i come4 ,i have waited for you many times4 ,,student3 ,i suppose it is of no use hurrying you8 ,,voice3 ,no1 it isn't1 my young tippler4 ,i'm ,,coming6 coming66 coming666 ,from this illustration the student may proceed to try the second voice4 ,,no4 ,,ii4 ,voice ,no4 #b4--,this is the more easy to be acquired4 ,it is the voice by which all ventriloquists make a supposed person speak from a long distance1 or from1 or through the ceiling4 ,in the first place1 with your back to the audience1 direct their attention to the ceiling by pointing to it or by looking intently at it4 ,call loudly1 and ask some question1 as though you believed some person to be concealed there4 ,make your own voice very distinct1 and as near the lips as possible1 inasmuch as that will help the illusion4 ,then in exactly the same tone and pitch answer2 but1 in order that the same voice may seem to proceed from the point indicated1 the words must be formed at the back part of the roof of the mouth4 ,to do this the lower jaw must be drawn back and held there1 the mouth open1 which will cause the palate to be elevated and drawn nearer to the pharynx1 and the sound will be reflected in that cavity1 and appear to come from the roof4 ,too much attention cannot be paid to the manner in which the breath is used in this voice4 ,when speaking to the supposed person1 expel the words with a deep1 quick breath4 ,when answering in the imitative manner1 the breath must be held back and expelled very slowly and the voice will come in a subdued and muffled manner1 little above a whisper1 but so as to be well distinguished4 ,to cause the supposed voice to come nearer by degrees1 call loudly1 and say1 8,i want you down here10 or words to that effect4 ,at the same time make a motion downwards with your hand4 ,hold some conversation with the voice and cause it to say1 8,i am coming10 or1 8,here ,i am10 each time indicating the descent with the hand 7see examples74 ,when the voice is supposed to approach nearer1 the sound must alter1 to denote the progress of the movement4 ,therefore let the voice at every supposed step1 roll1 as it were1 by degrees1 from the pharynx more into the cavity of the mouth1 and at each supposed step1 contracting the opening of the mouth1 until the lips are drawn up as if you were whistling4 ,by so doing the cavity of the mouth will be very much enlarged4 ,this will cause the voice to be obscured1 and so appear to come nearer by degrees4 ,at the same time1 care must be taken not to articulate the consonant sounds plainly1 as that would cause the disarrangement of the lips and cavity of the mouth2 and in all imitation voices the consonants must scarcely be articulated at all1 especially if the ventriloquist faces the audience4 ,for example2 suppose the imitative voice is made to say1 8,mind what you are doing1 you bad boy10 it must be spoken as if it were written 8'ind 'ot you're doing1 you 'ad whoy40#b ,this kind of articulation may be practised1 by forming the words in the pharynx1 and then sending them out of the mouth by sudden expulsions of the breath clean from the lungs at every word4 ,this is most useful in ventriloquism1 and to illustrate it we will take the man on the roof as an illustration4 ,this is an example almost invariably successful1 and is constantly used by skilled professors of the art4 ,as we have before repeatedly intimated1 the eyes and attention of the audience must be directed to the supposed spot from whence the illusive voice is supposed to proceed4 #b ,it is very rarely that a ventriloquist shows a full face to his audience3 it is only done when he is at a great distance from them1 and is pronouncing the labial sounds1 in the manner given1 for any movement of the jaws would help to destroy the illusion4 ,,student3 ,are you up there1 ,jem8 ,,voice3 ,hallo6 who's that8 ,,student3 ,it's ,i6 ,are you nearly finished8 ,,voice3 ,only three more slates to put on1 master4 ,,student3 ,i want you here1 ,jem4 ,,voice3 ,i am coming directly4 ,,student3 ,which way1 ,jem8 ,,voice3 ,over the roof and down the trap4 7,voice is supposed to be moving as the student turns and points with his finger47 ,,student3 ,which way8 ,,voice 7nearer73 ,through the trap and down the stairs4 ,,student3 ,how long shall you be8 ,,voice3 ,only a few minutes4 ,i am coming as fast as ,i can4 ,the voice now approaches the door1 and is taken up by the same tone1 but produced as in the first voice4 ,as another illustration1 we will introduce the reader to ,,the ,,invisible ,,sweep4--,this is a striking example of the second voice4 ,let the student pretend to look up the chimney1 and rehearse the following or some similar colloquy3-- ,,student3 ,are you up there8 ,,voice3 ,yes4 ,chimley want sweep8 ,,student3 ,really1 it is extraordinary4 ,what are you doing8 ,,voice3 ,looking for birds'-nests4 ,,student3 ,birds'-nests6 ,there are none there4 ,,voice3 ,dick says there be4 ,,student3 ,come down6 ,,voice3 ,i shan't4 ,,student3 7stirring the fire72 ,i'll make you show yourself4 ,,voice3 ,i say1 don't2 it's so hot4 ,,student3 ,come down1 then4 ,,voice3 ,don't be so stupid4 ,let ,i alone4 ,,student3 ,will you come down8 ,,voice3 ,yes1 ,i will4 ,,student3 ,what's your name8 ,,voice 7much nearer73 ,sam ,lillyvite4 ,i say1 what do you want me for among company8 ,,student3 ,to show yourself1 ,,voice 7nearer73 ,what for8 ,,student3 ,to let these ladies and gentlemen see that there are many strange things between heaven and earth1 but not ,sam ,lillyvite1 the sweep4 ,another good illustration is to hold a conversation with a friend who lives on the first floor1 and with whom you can converse on any subject--as the retired and mysterious student--but the moment the student can master the elementary sounds1 he will not need our assistance in providing him with dialogues1 which1 however simple they may be to read1 have an extraordinary effect when properly spoken4 ,,polyphonic ,,imitations4 ,,the ,,tormenting ,,bee4--,it is related that ,mr4 ,love1 when young1 took great delight in imitating the buzzing of insects and the cries of animals2 indeed1 it is difficult to decide whether he or ,mr4 ,thurton most excelled in this particular species of mimetic illusion4 ,in all imitations of insect noises1 the bee should be heard to hum gently at first1 so as in a private party not likely to attract attention till the right pitch is obtained1 and be it remembered that the sound1 without being particularly loud1 can be made to penetrate every corner of a large room4 ,the illusion is greatly increased by pretending to catch the offending and intrusive insect4 ,the humble bee1 the wasp1 and the bluebottle fly are best to imitate1 and afford an agreeable relief to the other exercises of ventriloquial power4 ,to imitate the tormenting bee1 the student must use considerable pressure on his chest1 as if he was about to groan suddenly1 but instead of which1 the sound must be confined and prolonged in the throat2 the greater the pressure1 the higher will be the faint note produced1 and which will perfectly resemble the buzzing of the bee or wasp4 ,now1 to imitate the buzzing of a bluebottle fly1 it will be necessary for the sound to be made with the lips instead of the throat2 this is done by closing the lips very tight1 except at one corner1 where a small aperture is left1 fill that cheek full of wind1 but not the other1 then slowly blow or force the wind contained in the cheek out of the aperture3 if this is done properly1 it will cause a sound exactly like the buzzing of a bluebottle fly4 ,these two instances will show how necessary it is for the ventriloquist to study minutely the different effects of sound upon his hearers in all his exploits4 ,and to make the above properly effective1 he should turn his face to a wall2 with a handkerchief strike at the pretended bee or fly1 at the same time pretend to follow his victim first this way and then that1 and finally to 8dab0 his pocket-handkerchief on the wall as though he had killed it2 the sounds should be at times suddenly louder and then softer1 which will make it appear as it is heard in different parts of the room4 ,,the ,,spectre ,,carpenter4--,the noise caused by planing and sawing wood can also be imitated without much difficulty1 and it causes a great deal of amusement4 ,the student must1 however1 bear in mind that every action must be imitated as well as the noise1 for the eye assists to delude the ear4 ,we have even seen ventriloquists carry this eye-deception so far as to have a few shavings to scatter as they proceed1 and a piece of wood to fall when the sawing is ended4 ,to imitate planing1 the student must stand at a table a little distance from the audience1 and appear to take hold of a plane and push it forward3 the sound as of a plane is made as though you were dwelling on the last part of the word hush--dwell upon the sh a little1 as tsh1 and then clip it short by causing the tongue to close with the palate1 then over again4 ,letters will not convoy the peculiar sound of sawing--it must be studied from nature4 ,a ,,mountain ,,echo4 ,some persons imagine ventriloquism to be an echo2 but1 as we have said1 an echo only repeats what has been said before--it could not answer a question4 ,an echo is reflected sound1 and the reflecting body must be at such a distance that the interval between the perception of the original and reflected sounds may be sufficient to prevent them from being blended together4 ,no reflecting surface will produce a distant echo1 unless its distance from the spot where the sound proceeds is at least #ef feet1 because the shortest interval sufficient to render sounds distinctly appreciable by the ear is about one-tenth of a second2 therefore1 if sounds follow at a shorter interval1 they will form a resonance instead of an echo2 and the time a sound would take to go and return from a reflecting surface1 #ef feet distance1 would be one-tenth of a second4 ,it would1 therefore1 be impossible for a ventriloquist to produce an echo in a room of ordinary size1 as the walls1 being so near1 would cause the sounds to be blended1 and would only produce one impression on the ear2 and yet the skilled ventriloquist can with ease imitate1 in a room1 a mountain echo4 ,we will give the instructions1 as it is very amusing4 ,turn your back to the listeners2 whistle loud several short1 quick notes1 just as if you were whistling for a dog2 then1 as quick as possible1 after the last note1 and as softly and subdued as possible to be heard1 whistle about a third the number of notes1 but it must be in the same note or pitch2 this will cause the last whistle to appear just like an echo at a great distance4 ,this imitation1 if well done1 never fails to take the listeners by surprise1 and causes astonishment4 ,the same thing can be done by shouting4 ,call aloud any sentence1 such as--8,holloa1 you there60 ,let your voice be formed close to the lips2 then quickly1 and mind in the same pitch or note1 speak the same words very subdued and formed at the back of the mouth4 ,this is not difficult1 and is very effective4 ,,points ,,to ,,be ,,remembered4 ,in giving the succeeding instructions1 it must be borne in mind that the power and acuteness of hearing is possessed in a greater or less degree by different individuals1 and depends upon the sensibility of the auric nerves4 ,it will not be out of place nor uninteresting to show the effect of sound and the manner in which it is heard by the organs of the ear4 ,it is said that the human ear is capable of appreciating as many as twenty-four thousand vibrations in a second1 and that the whole range of human hearing1 from the lowest note of the organ to the highest known cry of insects1 as of the cricket1 includes nine octaves4 ,sound first strikes the drum or tympanum1 a thin membrane which closes the aperture of the ear2 when this drum vibrates by the sonorous undulations of the external air2 the vibrations are communicated by minute bones1 muscles1 and fluid in the cavity of the ear1 and are then conveyed to the brain2 and to show how absolutely necessary it is that all the organs of the would-be ventriloquist should be entire and without fault to succeed well1 we will show how the ventriloquist makes that nice distinction of the gradation of sound1 and by which he is enabled to judge whether he is causing his voice to appear at the proper distance from his audience or not4 ,let any one firmly close both ears by stopping them1 then speak a few words2 now1 as the cars are stopped1 the sound cannot enter immediately to the drum of the ear1 but it takes cognizance of the sound by a passage called the eustachian tube1 which extends from the back part of the mouth to the cavity immediately behind the drum of the ear4 ,the sound vibrations made in the mouth are transmitted along this tube to the interior part of the organs of hearing4 ,now it is by a nice judgment of sound by this tube that the professional ventriloquist judges the majority of his voices1 especially those greatly obscured or muffled4 ,not only must the auric nerves of the would-be ventriloquist be perfect1 but he will become more proficient as he is able to study and understand the human voice4 ,there is the language of emotion1 or natural language4 ,when we say natural1 we mean the language by which the feelings manifest themselves without previous teaching1 and which is recognized and felt without teaching4 ,some of them are the scream of terror1 the shout of joy1 the laugh of satisfaction1 laugh of sarcasm1 ridicule1 c41 which are made by man1 and understood by fellow-men1 whatever may be the speech or country of the other4 ,there are also distinct qualities of voice1 peculiar to each person1 both in tone and quality1 and the best practice is to try and imitate three or four people's voices1 and let them be of a different tone and pitch4 ,the ordinary compass of the voice is about twelve notes1 and a very good practice to the attainment of the art is to call aloud in a certain note1 and then in the octave to that note2 do this several times a day1 changing the note1 also speak a sentence all in the same note or pitch1 properly called intonation1 loud at first1 and then by degrees lower2 this kind of practice will enable the ear to judge of the modulation required to make a voice appear to recede or come near by degrees4 ,,concluding ,,remarks4 ,when the student is acquainted with the voices before described1 he may imitate many others by contraction and expansion of the glottis1 and by modification of the cavity of the pharynx and mouth4 ,the best way to practice is in a room by himself1 to talk loud1 and1 while so doing1 to make all sorts of contortions with the muscles of the mouth and jaws--first fixing the jaws in the manner already described1 then drawing the lips inward1 next putting them forward1 at the same time putting the tongue in different shapes and positions in the mouth2 also by speaking in the natural voice1 and answering in the falsetto pitch1 which is the imitating voice for women and children4 ,we are confident that enough has been said to enable any one with a good range of voice to attain proficiency in the art2 the student always remembering 7and it cannot be too often repeated7 that to render a voice perspective1 the most essential thing is to attend to the study of sound as it falls upon the ear2 then imitate that sound by the different contractions and expansions of the muscles of the throat1 mouth1 face and jaws4 ,during these various contractions and expansions1 draw in a long breath and talk1 first rapidly1 then slowly1 but always with a slow expiration of breath4 ,do this a dozen times consecutively for several days1 at the same time taking particular care to elevate and depress the roof of the mouth1 especially the back part1 as this movement will cause the voice to appear near1 or at a distance4 ,ample directions have been given how all this is done1 but let it be understood that it is most essential4 ,the student may then practice before a friend1 and he will be astonished to find that he can deceive any listener1 as to the point from which the sound comes2 and will be gratified that he has become the source of great amusement to himself as well as in the circle in which he moves4 ,thus we have acquired a working power in the art which1 we trust1 we have now explained to the satisfaction of the reader4 ,the progress of the student will1 of course1 be facilitated by an inherent propensity of mimicry1 which often approaches some of the minor attainments of ventriloquism4 ,in every company some person may be found who1 without any professional instruction1 can give admirable imitations1 of the voice1 gait1 and peculiarities of a friend or acquaintance2 thus proving that ,nature1 to some extent1 supplies the basis upon which1 if we may use the phrase1 the complete superstructure of vocal illusion may be raised4 ,the possession of this quality would amount1 comparatively1 to little1 without instruction and perseverance4 ,here1 as in other respects1 practice makes perfect2 and1 more than that1 a diligent application of our rules will invest the originally defective amateur with an attainment which the ignorant will attribute to the possession of a supernatural gift4 ,all we need say in conclusion is1 that the rules propounded will not only clear away imaginary difficulties from the path of the student1 but entitle him1 like ourselves1 to an acquirement more or less near perfection1 according to a natural gift of mimicry1 and to the zeal with which he may study and practice the art4 ,,the ,,magic ,,whistle4 ,it will be pleasant when the wind is howling without1 among the snow-laden limbs of the trees1 to be reminded of the gay summer by the counterfeit notes of the woodland songsters2 or1 wandering among the woods and fields in spring or summer time1 how glorious to challenge the feathered musicians to a contest of skill with you in their own sweet language4 ,we propose to instruct the reader in the manufacture of a little instrument by which the notes of birds1 voices of animals1 and various peculiar sounds may be imitated4 ,first1 look at the annexed diagram1 and then procure a leek and cut off from the green leaf thereof a piece about the size of the diagram2 then lay it on a smooth table1 and with the thumb-nail delicately scrape away a small semi-circular patch of the green pulpy substance of the leaf as represented in the diagram1 being careful to leave the fine membrane of outer skin of the leaf uninjured--and there is the instrument complete4 ,it may require several experiments to make the first one1 but once having discovered the right way1 they are very easily manufactured4 ,the reader may not be aware of the fact that the leaf of the leek has a fine transparent outer skin1 which is quite tough1 but by breaking and carefully examining one or two leaves1 he will soon find out what we allude to4 ,illustration3 ,the section of leaf4 ,the way of using this instrument is to place it in the roof of the mouth with the side on which is the membrane downwards2 then place it gently in its place with the tongue1 and blow between the tongue and the upper teeth4 ,after the first two or three attempts1 you will be able to produce a slight sound like a mild grunt2 then as you practice it you will find you can prolong and vary the sound somewhat1 so that in the course of a couple of days you can imitate the barking of a dog and the neighing of a horse4 ,with two or three weeks' practice1 you will be able to imitate some of the song birds2 but to produce exact counterfeits of the best singing birds will probably require months of study2 the result1 however1 will reward you for all your pains1 for certainly to be able to carry a mocking bird1 canary1 thrush1 cat-bird and sucking-pig in your vest pocket1 is no small accomplishment4 ,when not using the instrument1 it should be kept in a glass of water to prevent its drying4 ,,the ,hunters' and ,trappers' ,,complete ,,guide4 ,a ,,manual ,,of ,,instruction ,,in ,,the ,,art ,,of ,,hunting1 ,,trapping ,,and ,,fishing4 ,this book will be found very valuable to those who have not had experience in these healthy1 manly and profitable pursuits4 ,the book is thorough in detail in every respect4 ,the young sportsman can learn how to use the ,gun or ,rifle with ease and precision1 and become an unerring shot4 ,the mystery of making1 setting and baiting ,traps successfully1 is shown4 ,the ,best ,methods of ,catching all kinds of ,fish1 ,either in the ,sea1 ,lake or ,river1 is told practically and understandingly4 ,the whole ,art of ,managing and ,training ,dogs for ,sporting ,purposes1 and all about the care of ,skins and ,furs1 so that they will fetch the highest market price1 is given1 with a vast amount of other valuable information relating to the ,hunters ,craft4 ,,contents4 ,,about ,,guns4 ,,how ,,to ,,select ,a ,,gun4 ,,breech-,,loaders4 ,,how ,,to ,,load ,a ,,gun4 ,,the ,,art ,,of ,,gunning4 ,,the ,,rifle1 ,,and ,,how ,,to ,,use ,,it4 ,,about ,,dogs4 ,,management ,,of ,,dogs4 ,,training ,,of ,,dogs4 ,,best ,,dogs ,,for ,,shooters4 ,,hunting1 ,,gunning ,,and ,,shooting4 ,,rabbit ,,shooting4 ,,snipe ,,shooting4 ,,partridge ,,shooting4 ,,woodcock ,,shooting4 ,,wild ,,fowl ,,shooting4 ,,deer ,,hunting4 ,,buffalo ,,hunting4 ,,trapping4 ,,how ,,to ,,make ,,traps4 ,,setting ,,and ,,baiting ,,traps4 ,,proper ,,season ,,for ,,trapping4 ,,hints ,,to ,,trappers4 ,,specific ,,directions ,,for ,,trapping ,,and ,,snareing ,,all ,,kinds ,,of ,,birds ,,and ,,animals4 ,,fishing4 ,,baits1 ,,hooks1 ,,lines1 ,,rods1 c4 ,,how ,,to ,,catch ,,various ,,kinds ,,of ,,fish4 ,,the ,,art ,,or ,,stretching ,,and ,,curing ,,skins4 ,,dressing ,,and ,,tanning ,,skins ,,and ,,furs4 ,,coloring ,,and ,,dyeing ,,skins ,,and ,,furs4 ,the ,book is indispensable to all who delight to ,fish1 ,hunt or ,trap1 either for sport or profit4 ,the instructions will enable anyone to become thoroughly expert in the ,sports and ,pastimes of the ,river1 ,field or ,forest4 ,illustrations are given1 where needed1 to elucidate matters1 as in the construction of traps1 c4 ,this book will place many in a position to turn their spare time to a very profitable account4 ,furs and ,skins are always in demand1 and if properly caught and managed1 sell for large prices4--,price #be ,cents4 ,address all orders to ,,hurst ,co41 #ge ,nassau ,street1 ,n4 ,y4 ,,cheapest ,,and ,,best ,,in ,,the ,,world4 ,,the ,n4 ,y4 ,,home ,,magnet ,is a ,beautifully ,illustrated1 ,large1 #cb ,column ,paper4 ,published regularly every month1 at the low rate of ,,fifty ,,cents ,a ,,year4 ,the price is the only 8cheap0 thing about it4 ,handsomely illustrated4 ,it is first class in every way1 shape and manner4 ,,boys will read it1 for it has the best ,hunting1 ,indian and ,sea ,stories2 tells how to make traps1 toys1 bows and arrows1 etc41 etc4 ,,girls will like to have it1 for it is brimful of superior ,tales of the ,affections and of ,home ,life2 with any quantity of articles on ,love-making1 ,household ,management1 ,fashions1 has ,toilet ,mysteries1 ,preserving1 ,cutting ,dresses1 ,working ,crochet1 ,lace1 ,braid1 etc41 etc4 ,,men will like it for the vast amount of valuable information on every subject that can improve the mind1 the morals and the habits4 ,giving all new phases of thought1 all new inventions1 and particularly those by which money can be easily made4 ,,ladies will like ,,the ,,magnet1 for in its columns will be found everything detailed that can go to embellish ,home1 and render it more attractive2 teachings in every kind of culinary economy1 and modes of making a little money go a good way in household management4 ,,everybody will like ,,the ,,magnet for in its columns will be found something to suit every taste1 whether grave or gay2 whether in search of amusement1 instruction or profit1 you will become for its perusal wiser1 better and richer4 ,nothing is too light and amusing1 nothing too grave1 learned or useful to find a fit place in ,,the ,,magnet',s varied pages4 ,these are a few of the subjects that will be found in every number of ,,the ,,magnet3 ,tales and ,romances4 ,lively ,editorials4 ,pleasant ,pastimes4 ,household ,hints4 ,portfolio of ,information4 ,maids1 ,wives and ,widows4 ,young ,folks' ,department4 ,our ,knowledge ,box4 ,health ,hints4 ,answers to ,correspondents4 ,ways that are ,dark4 ,humorous ,department4 ,poetry4 ,facts and ,figures4 ,conjuring4 ,and hundreds of other useful and profitable employments will be written upon and explained by experts1 so that the reader can both inform his mind1 and make money by what he learns from ,,the ,,magnet4 ,,take ,,special ,,notice1 that ,,the ,,home ,,magnet will plainly show ,how any one can make a ,real ,working ,clock at a cost fifty cents4 ,how to ,construct and ,operate an ,electric ,telegraph1 transmitting and receiving messages4 ,how to make a ,microscope that will immensely magnify1 at a cost of five cents4 ,how to ,build and ,set to ,work a real ,steam ,engine4 ,how to ,make the ,apparatus for ,photography1 and how to take ,pictures of every style easily1 successfully and profitably4 ,how to ,construct and ,operate a ,galvanic ,battery1 and apply it so as to practically plate any articles with ,copper1 ,silver or ,gold2 and to take beautiful facsimiles of medals and coins2 as well as explain how to deposit metals upon leaves1 insects1 etc4 ,how to ,make and ,work a ,lathe4 ,with the art of ,wood ,turning fully illustrated4 ,the art of ,glass ,blowing1 instructing any one to make a thousand and one novel and interesting subjects from a piece of glass4 ,bear in mind1 that these processes1 which we engage to teach in ,,the ,,magnet1 are plain1 practical things1 so that the learner can turn his knowledge to use1 and make money by the exercise of the skills that he acquires4 #ej ,,cents ,a ,,year4 ,remember that this is all you have to pay to get this ,paper for a ,whole ,year4 ,many and many an article will appear in ,,the ,,magnet that may put thousands of dollars in your pockets2 for it will be full of new1 valuable receipts and suggestions4 ,do not ,forget4--,every subscriber gets a ,valuable ,premium4 ,one can be selected from a ,list of ,twelve1 comprising beautiful ,chromos1 ,good ,books and ,useful ,novelties4 ,no delay in filling orders4 ,send stamp for our ,agents' ,terms1 ,list of ,premiums and ,specimen ,copy of ,,the ,,home ,,magnet4 ,remember1 that we give more actual value to our subscribers than any other paper has ever offered4 ,,do ,,not ,,fail to send ,,fifty ,,cents and get the most ,lively1 ,spirited and ,unique ,paper ever issued1 for a ,,whole ,,year1 with a ,,valuable ,,premium1 worth much more than the price asked for the ,paper alone4 ,address ,,hurst ,,company1 ,,publishers1 #ge and #gg ,nassau ,street1 ,n4 ,y4 ,,the ,,book ,,of ,,knowledge ,,and ,sure ,guide to ,rapid ,wealth4 ,fortunes are made every day by the manufacturing and selling of some of the articles here given4 ,directions are given for making all kinds of ,cosmetics1 ,lotions1 ,ointments1 ,patent ,medicines1 ,soaps1 ,cements1 etc4 ,the secrets used by ,metal workers1 how to make ,gold1 ,silver and the various precious stones1 with many practical directions for working and using the commoner metals4 ,the secrets of the ,liquor trade are fully detailed1 and the choicest receipts and formulas are given for the making of different kinds of liquors1 including the new method of making ,cider without ,apples1 all without the use of poisons or poisonous drugs4 ,it is arranged and divided into departments for the use of ,liquor ,dealers1 ,druggists1 ,manufacturers1 ,farmers1 ,medical ,men1 ,the ,household1 ,confectioners1 ,hunters ,trappers1 ,perfumers1 ,artists4 ,no one1 whatever be his position in life1 can fail to find something in this book that will repay a hundredfold its price4 ,many of the receipts have been advertised and sold for sums ranging from #be cents to ten dollars4 ,we send the whole book1 postage free1 for #be cents4 ,,singing ,,made ,,easy4 ,this book shows how any one with an ordinary voice can1 by proper management1 as here indicated1 become proficient in singing4 ,it explains the pure ,italian method of producing and cultivating the voice1 the management of the breath and voice organs1 the best way of improving the ear1 how to sing a ballad1 with much other valuable information equally useful to ,professional ,singers and ,amateurs4 ,price #bj cents4 ,,riddles1 ,,conundrums ,,and ,,puzzles4 ,the choicest1 newest and best collection of ,riddles1 ,conundrums1 ,charades1 ,enigmas1 ,anagrams1 ,rebusses1 ,transpositions1 ,puzzles1 ,problems1 ,paradoxes and other entertaining matter1 ever published4 ,here is ,fun for the ,mirthful1 ,food for the ,curious1 and ,matter for the ,thoughtful4 ,price #bj cents4 ,address all orders to ,,hurst ,co41 #ge ,nassau ,street1 ,n4 ,y4 ,fortune ,telling ,made ,easy2 or1 ,,the ,,dreamers' ,,sure ,,guide4 ,,containing ,,plain1 ,,correct ,,and ,,certain ,,rules ,,for ,,foretelling ,,what ,,is ,,going ,,to ,,happen4 ,,by ,,the ,,celebrated ,,gabriel1 ,the ,astrologer of the #aith ,century4 ,a ,complete ,oracle of ,destiny4 ,in this ,book you have all that was ever made known by the ancient ,egyptians1 ,assyrians1 ,persians1 ,greeks1 ,chinese and ,hindoos relating to the occult sciences4 ,much has been procured from overlooked sources1 and transcribed from the original hieroglyphics4 ,the substance1 also1 of all that has been1 brought to light by the researches and investigations of modern ,astrologers and ,professors is here laid before the reader in a plain and intelligible manner4 ,this ,book contains3 ,the celebrated ,grecian ,oracle of ,destiny4--,the renowned ,egyptian ,fortune ,telling ,tablets4--,the ,great ,hindoo ,trial of ,destiny4--,palmistry1 the art of telling fortunes by the lines on the hand4--,fifty-two ,grecian observations on moles4--,how to make the ,dumb ,cake4--,the birth of children1 and foretelling other events by the moon's age and the days of the week4--,to know if your love of a person will be mutual4--,charms1 ,spells and ,incantations4--,to procure ,dreams1 ,tokens1 and other insights into futurity4--,fast of ,st4 ,agnes--,the ,nine ,keys4--,magic ,rose4--,cupid's ,nosegay4--,the ,ring and the ,olive ,branch4--,love's ,cordial4--,the ,witches ,chain4--,love ,letters4--,strange ,bed4--,to see a future husband4--,to know what fortune your future husband will have4--,the ,lovers' ,charm4--,hymenial ,charm4--,for a girl to ascertain if she will soon marry4--,physiognomy2 the art of discovering a person's disposition by their features4--,how to tell a person's character by means of ,cabalistic calculations4--,fortune-telling by means of a tea or coffee cup--,how to read your fortune by the white of an egg4--,to choose a husband by the hair4--,lucky days4--,fortune telling by dice4--,fortune telling by cards4--,dreams and their interpretation4--,a complete dictionary of dreams4 ,this ,book will acquaint you truthfully about ,what your portion in life will be4 ,what you will to successful in4 ,what you are adapted for4 ,what your absent wife is doing4 ,what your absent husband is occupied with4 ,what your future partner will be4 ,what your destiny is4 ,whether your intended is true to you4 ,whether you will be childless4 ,whether you will die an old maid4 ,whether you will have money left you4 ,whether your marriage will be happy4 ,whether you will be successful in your love affairs4 ,whether you will be a widow4 ,whether you will get a divorce4 ,whether you will be disappointed in money matters4 ,the book is1 in fact1 a perfect ,oracle of ,fate1 and may be consulted with certainty upon all matters that relate to your present or future prospects4 ,price #be ,cents4 pointing hand ,sent by ,mail to any address1 on receipt of ,price4 ,,new ,,and ,,indispensable ,,manuals4 8,,the #8,,magnet' ,,hand-,,books40 ,these books are the very best ever issued upon the various subjects of which they treat4 ,each volume is complete and perfect1 and thoroughly practical4 ,each book contains #ajj pages large #abmo41 well printed and bound in handsome illuminated covers4 ,,price ,,twenty-,,five ,,cents ,,each4 ,,parlor ,,pastimes2 or1 ,,the ,,whole ,,art ,,of ,,amusing1 for public or private entertainments4 ,an entirely new work by the celebrated ,professor ,,raymond1 on ,,magic1 ,,conjuring1 ,,legerdemain1 and ,,prestidigitation4 ,it is a complete expos of the ,wizard's ,art4 ,no trick or illusion of importance is left unnoticed1 and the instructions and explanations are so simple and exhaustive that a child could perform them4 ,this book thoroughly elucidates and explains all the mysteries and wonders associated with all kinds of magic and occult science4 ,it tells how to make1 operate and perform with ,coins1 ,cards1 ,fire works1 ,mechanical ,devices and ,magnetic ,contrivances4 ,the book also contains a large collection of ,,riddles1 ,,conundrums1 ,,charades1 ,,enigmas1 ,,rebusses1 ,,puzzles1 ,,acrostics1 ,,transpositions1 ,,anagrams1 ,,paradoxes1 ,,and ,,problems4 ,a study of this interesting work would make any one thoroughly expert in amusing either a public or private audience4 ,price #be ,cents4 ,,how ,,to ,,write ,a ,,letter4 ,a complete letter writer for ladies and gentlemen4 ,this book is not a collection of letters and examples1 as is generally the case with all 8,complete ,letter ,writers0 now in use1 but is a book which actually tells how to write a letter upon any subject out of the writer's 8own head40 ,it gives much very necessary information relating to ,punctuation1 ,spelling1 ,grammar1 ,writing for the ,press1 ,legal ,importance of ,letters1 ,love1 ,courtship and ,marriage4 ,it also contains the ,art of ,rapid ,writing1 by the abbreviation of longhand and a ,,dictionary ,,of ,,abbreviations4 ,this book is worth its weight in gold to all4 ,no one can fail to be benefited by some of the information it contains4 ,it contains all the points and features that are in other ,letter-,writers1 with very much that is new1 original and very important1 and which cannot be got in any other book4 ,price #be ,cents4 ,,the ,,american ,,book ,,of ,,genteel ,,behavior4 ,a complete handbook of modern etiquette for ladies and gentlemen4 ,a perusal of this work will enable every one to rub off the rough husks of ill-breeding and neglected education1 and substitute for them gentlemanly ease1 and graceful1 ladylike deportment1 7as the case may be71 so that their presence will be sought for1 and they will not only learn that great art of being thoroughly at home in all societies1 but will have the rarer gift of making everybody around them feel easy1 contented and happy4 ,this work is fully up to the requirements of the times2 it describes the etiquette of our very best society4 ,get at once this greatest ,hand-,book of ,modern ,etiquette4--,price #be ,cents4 ,,personal ,,beauty2 ,or the whole art of attaining bodily vigor1 physical developement1 beauty of feature and symmetry of form1 with the science of ,dressing with ,taste1 ,elegance and ,economy4 ,to those to whom ,nature has been sparing in its gifts1 suggestions are here offered that will enable them to overcome these defects1 and to become beautiful1 elegant and graceful1 and to be admired and sought after by the opposite sex4--,illustrated4--,price #be ,cents4 ,copies of the above books sent to any part of the world on receipt of price4 ,address ,,hurst ,,co41 ,publishers1 #ge ,nassau ,st41 ,new ,york4 99 99 99 99 99 ,transcriber's ,notes ,obvious typographical errors have been silently corrected4 ,variations in hyphenation have been standardised but all other spelling and punctuation remains unchanged4 ,the following corrections have been made4 ,trick #h ,paragraph #d - ,the cambric becomes calico in this paragraph4 ,it has been changed back to cambric ,fig4 #aj was originally labelled ,fig #be4 ,fig4 #bc was originally labelled ,fig4 #bb ,italics are represented thus italic1 bold thus bold4