,transcriber's ,note3 ,italic text is indicated by underscores4 ,illustration3 7cover7 ,illustration ,,modern ,,magic4 ,a ,,practical ,,treatise ,,on ,,the ,,art ,,of ,,conjuring4 ,,by ,,professor ,,hoffmann4 ,with #cah ,illustrations4 ,,with ,,an ,,appendix ,,containing ,,explanations ,,of ,,some ,,of ,,the ,,best ,,known ,,specialties ,,of ,,messrs4 ,,maskelyne ,,and ,,cooke4 ,populus vult decipi3 decipiatur4 ,,american ,,edition4 ,,george ,,routledge ,,and ,,sons ,,london3 ,,broadway1 ,,ludgate ,,hill ,,new ,,york3 #i ,,lafayette ,,place ,by ,,professor ,,hoffmann4 ,,parlor ,,amusements and ,evening ,party ,entertainments4 #eaf pages1 #ajg ,illustrations4 #abmo1 cloth1 #a4ej4 ,,modern ,,magic4 ,a ,practical ,treatise on the ,art of ,conjuring4 ,with an ,appendix containing explanations of some of the best known specialties of ,messrs4 ,,maskelyne and ,,cooke4 #egh pages1 #cah ,illustrations4 ,square #abmo1 cloth1 #a4ej4 ,,tricks ,,with ,,cards4 7,condensed from 8,modern ,magic407 #adb pages1 #ej ,illustrations4 ,fancy boards1 #abmo1 #ej cents4 ,for ,sale by ,booksellers1 or will be sent1 postpaid1 on receipt of price by the publishers1 ,,george ,,routledge ,,sons1 #i ,,lafayette ,,place1 ,,new ,,york4 ,,contents4 ,,chapter ,i4 ,,introduction4 ,,page ,introductory ,observations #a ,the ,magic ,wand #d ,the ,magician's ,table #e ,the ,magician's ,dress #h ,profondes #i ,pochettes #i 8,loading0 ,pockets #i ,,chapter ,,ii4 ,,general ,,principles ,,of ,,sleight-,,of-,,hand ,,applicable ,,to ,,card ,,tricks4 ,the ,cards #aa ,to 8,make the ,pass0 #ab ,to 8,force0 a ,card #ba ,to ,make a 8,false ,shuffle0 #bc ,to 8,palm0 a ,card #bg ,to 8,ruffle0 the ,cards #bg ,to 8,change0 a ,card #bh ,to ,get ,sight of a ,drawn ,card #cd ,to 8,slip0 a ,card #ce ,to 8,draw ,back0 a ,card #cf ,to 8,turn ,over0 the ,pack #cg ,to ,spring the ,cards from one ,hand to the ,other #cg ,to ,throw a ,card #ch ,the 8,bridge0 #ci ,,chapter ,,iii4 ,,card ,,tricks ,,with ,,ordinary ,,cards1 ,,and ,,not ,,requiring ,,sleight-,,of-,,hand4 ,simple ,modes of ,discovering a ,given ,card #db ,various ,modes of ,disclosing a ,discovered ,card #dd ,to ,make a ,card ,vanish from the ,pack1 and be found in a ,person's ,pocket #df ,to place the ,four ,kings in different parts of the ,pack1 and to bring them together by a simple ,cut #dg ,the ,four ,kings being placed under the ,hand of one ,person1 and the ,four ,sevens under the ,hand of ,another1 to make them ,change ,places at ,command #dh ,four ,packets of ,cards having been formed face downwards on the ,table1 to discover the ,total ,value of the ,undermost ,cards #di ,to ,name all the ,cards of the ,pack in ,succession #ej ,the ,cards being ,cut1 to tell whether the ,number ,cut is ,odd or ,even #ea ,the ,whist ,trick4 ,to deal yourself all the ,trumps 7see also page #aai7 #ea ,to allow a ,person to think of a ,card1 and to make that ,card appear at such ,number in the ,pack as another ,person shall ,name #eb ,the ,cards revealed by the ,looking-glass #ec ,to ,guess ,four ,cards thought of by ,different ,persons #ec ,the ,pairs ,re-paired #ed ,the ,magic ,triplets #ee ,another ,mode of ,discovering a ,card thought of #ee ,to ,guess1 by the aid of a ,passage of ,poetry or ,prose1 such one of ,sixteen ,cards as1 in your ,absence1 has been ,touched or ,selected by the ,company #ef ,to ,detect1 without ,confederacy1 which of ,four ,cards has been ,turned ,round in your ,absence #eg ,to ,arrange ,twelve ,cards in ,rows in such a manner that they will ,count ,four in every ,direction #eh ,to ,place the ,aces and ,court ,cards in ,four ,rows1 in such a manner that neither ,horizontally nor ,perpendicularly shall there be in either ,row two ,cards alike1 either in ,suit or ,value #eh ,the ,congress of ,court ,cards #ei ,,chapter ,,iv4 ,,tricks ,,involving ,,sleight-,,of-,,hand1 ,,or ,,the ,,use ,,of ,,specially ,,prepared ,,cards4 ,the 8,long ,card0 #fj ,biseaut or ,tapering ,cards #fj ,tricks ,performed by the ,aid of a ,long ,card1 or biseaut ,pack-- ,a ,card having been ,chosen and ,returned1 and the ,pack ,shuffled1 to produce the ,chosen ,card instantly in various ways #fb ,to ,cut at the ,chosen ,card #fb ,to ,let all the ,cards fall1 save the ,one ,chosen #fb ,to ,pick out the ,card1 the ,pack being placed in a ,person's ,pocket #fb ,to ,fling the ,pack in the ,air1 and ,catch the ,chosen ,card #fc ,to ,change a ,card drawn hap-hazard to the ,chosen ,card #fc ,to ,divide the ,pack into several ,packets on the ,table1 allowing the ,company to stop you at any ,moment1 and to cause the ,top ,card of the ,heap last made to ,change into the ,chosen ,card #fe ,to ,teach the ,company a ,trick which they ,learn without ,difficulty2 then to allow them to ,succeed or cause them to ,fail at your ,pleasure #fe ,to ,distinguish the ,court ,cards by ,touch #fi ,to ,name any ,number of ,cards in ,succession without ,seeing ,them #gj ,to ,make ,four ,cards change from ,eights to ,twos1 from ,black to ,red1 etc4 #ga ,a ,card having been ,drawn and ,returned1 and the ,pack ,shuffled1 to make it ,appear at such ,number as the ,company choose #gc ,the same ,trick with several ,cards1 and by a ,different ,method #ge ,the 8,three ,card0 ,trick #gf ,to ,nail a ,chosen ,card to the ,wall #gg ,the ,inseparable ,sevens #gg ,the ,inseparable ,aces #gi ,having placed the ,four ,aces in different positions in the ,pack1 to make the two ,black change places with the two ,red ones1 and finally to bring all ,four together in the ,middle of the ,pack #hj ,a ,card having been thought of1 to make such ,card ,vanish from the ,pack1 and be ,discovered wherever the ,performer pleases #hc ,to cause a ,number of ,cards to ,multiply invisibly in a ,person's keeping #hd ,the ,pack being divided into two ,portions1 placed in the keeping of two different ,persons1 to make ,three ,cards pass invisibly from the ,one to the ,other #hf ,to allow several ,persons each to draw a ,card1 and the ,pack having been ,shuffled1 to make another ,card drawn haphazard change successively into each of those first chosen #hg ,to make ,four ,aces change to ,four ,kings1 and ,four ,kings to ,four ,aces #ij ,having made ,four ,packets of ,cards with an ,ace at the bottom of each1 to bring all ,four ,aces into whichever ,packet the ,company may choose #ia ,to ,change the ,four ,aces1 held tightly by a ,person1 into ,four ,indifferent ,cards #ic ,the ,shower of ,aces #ig ,several ,persons having each drawn ,two ,cards1 which have been ,returned and ,shuffled1 to make each ,couple appear in ,succession1 one at the top and the other at the bottom of the ,pack #ii ,to make ,two ,cards1 each firmly held by a different ,person1 change places #aja ,to change ,four ,cards1 drawn haphazard1 and placed on the ,table1 into ,cards of the same ,value as a ,single ,card subsequently chosen by one of the ,spectators #ajb ,two ,heaps of ,cards1 unequal in ,number1 being placed upon the ,table1 to predict beforehand which of the two the ,company will choose #ajc ,a ,row of ,cards being placed ,face ,downwards on the ,table1 to indicate1 by turning up one of them1 how many of such ,cards have during your absence been transferred from one end of the ,row to the other #ajd ,several ,cards having been freely chosen by the ,company1 ,returned and ,shuffled1 and the ,pack placed in a ,person's ,pocket1 to make such ,person draw out one by one the chosen ,cards #ajf ,the ,cards having been freely ,shuffled1 and cut into three or four ,heaps1 to name the top ,card of each ,heap #ajh ,to allow a ,person secretly to think of a ,card1 and1 dividing the ,pack into three ,heaps1 to cause the ,card thought of to appear in whichever ,heap the ,company may choose #ajh ,to allow a ,person secretly to think of a ,card1 and1 even before such ,card is named1 to select it from the ,pack1 and place it singly upon the ,table #aaj ,a ,card having been secretly thought of by one of the ,audience1 to place two ,indifferent ,cards upon the ,table1 and to change such one of them as the ,audience may select into the ,card thought of #aaa ,a ,card having been ,drawn and ,returned1 and the ,pack shuffled1 to divide the ,pack into several ,heaps on the ,table1 and to cause the ,drawn ,card to appear in such ,heap as the ,company may choose #aad ,to change a ,drawn ,card into the ,portraits of several of the ,company in succession #aae ,a ,card having been ,drawn and ,returned1 and the ,pack shuffled1 to place on the ,table six ,rows of six ,cards each1 and to discover the chosen ,card by a throw of the ,dice #aaf ,a ,card having been withdrawn and replaced1 to call it from the ,pack1 and to make it come to you of its own accord #aag ,mode of ,preparing specially adhesive ,wax for ,conjuring ,purposes #aah ,the ,whist ,trick4 7,improved ,method47 ,to deal yourself all the ,trumps1 the three other ,players holding the usual mixed ,hands #aai ,,chapter ,v4 ,,card ,,tricks ,,requiring ,,special ,,apparatus4 ,the ,magic ,sword4 ,a ,card being drawn and replaced1 and the ,pack flung in the ,air1 to catch the chosen ,card on the point of the ,sword #aba ,the ,rising ,cards4--,several ,cards having been drawn1 returned1 and shuffled1 to make them rise spontaneously from the ,pack #abe ,the ,jumping ,cards4--,two or three ,cards having been drawn1 returned1 and shuffled1 to make them jump out of the ,pack #acj ,to make a ,card stand upright by itself on the ,table #acb 8,changing0 ,card-boxes1 and ,tricks performed with them #acd ,the ,mechanical ,card-box #acg ,the 8,card and ,bird ,box0 #ach ,the ,card ,tripod #aci ,the 8,torn ,card0 #aci ,mechanical ,changing ,cards #adb ,,chapter ,,vi4 ,,principles ,,of ,,sleight-,,of-,,hand ,,more ,,especially ,,applicable ,,to ,,coin ,,tricks4 ,palming #adf ,passes #adg ,changes #aeg ,,chapter ,,vii4 ,,tricks ,,with ,,coin ,,without ,,apparatus4 ,a ,florin being spun upon the ,table1 to tell blindfold whether it falls head or tail upwards #aei ,odd or ,even1 or the ,mysterious ,addition #afj ,to change a ,florin into a ,penny1 back again1 and then to pass the same invisibly into the ,pocket of the ,owner #afa ,to make a marked ,florin and ,penny1 wrapped in separate ,handkerchiefs1 change places at ,command #afc ,to make two marked ,coins1 wrapped in separate ,handkerchiefs1 come together in one of them #afd ,to pull ,four ,florins or ,half-crowns through a ,handkerchief #afh ,to pass a marked ,florin 7or ,half-crown7 into the ,centre of two ,oranges in succession #agj ,the ,flying ,money4--,to make a ,coin pass invisibly from the one ,hand to the other1 and finally through the ,table #agb ,to rub ,one ,sixpence into ,three #age ,the ,multiplication of ,money #agf ,to ,make a ,marked ,sixpence vanish from a ,handkerchief1 and be found in the ,centre of an ,apple or ,orange previously examined #agh ,the ,travelling ,counters #ahj ,the ,wandering ,sixpence #aha ,,chapter ,,viii4 ,,tricks ,,with ,,coin ,,requiring ,,special ,,apparatus4 ,the ,heads and ,tails ,trick #ahb ,the ,magic ,cover and ,vanishing ,halfpence #ahc ,the ,animated ,coin1 which answers ,questions1 etc4 #ahe ,appliances for ,vanishing ,money-- ,the ,vanishing ,halfpenny ,box #ahg ,the ,rattle ,box #ahi ,the ,pepper-box #aij ,the ,brass ,money-box #aia ,the ,brass ,box1 known as the 8,plug-box0 #aib ,the ,handkerchief for ,vanishing ,money #aid ,the ,demon ,handkerchief #aie ,the ,davenport ,cabinet #aie ,appliances for ,re-producing ,vanished ,money-- ,the ,nest of ,boxes #aig ,the ,ball of ,berlin ,wool #aih ,the ,glass ,goblet and ,cover #aii ,the ,glass without ,cover #bjj ,the ,miraculous ,casket #bjb ,the ,half-,crown or ,florin ,wand #bjc ,the ,shower of ,money #bje ,the ,vanishing ,plate1 or ,salver #bjh ,the 8,changing0 ,plate #baj ,the ,tray of ,proteus #baa ,,chapter ,,ix4 ,,tricks ,,with ,,watches4 ,to indicate on the ,dial of a ,watch the ,hour secretly thought of by any of the ,company #bac ,to ,bend a ,borrowed ,watch ,backwards and ,forwards #bad ,the ,watch-mortar and the ,magic ,pistol #bae ,the 8,snuff-box ,vase0 #bag ,the 8,watch ,box0 #bai ,the 8,watch ,target0 #bbj ,the ,mesmerised ,watch4 7,to ,make any ,watch a ,repeater7 #bbb ,,chapter ,x4 ,,tricks ,,with ,,rings4 ,the ,flying ,ring #bbe ,to ,pass a ,ring from the one ,hand to either ,finger of the other ,hand #bbg ,to ,pass a ,ring through a ,pocket-handkerchief #bbh ,to ,pass a ,ring through the ,table #bbh ,to ,pass a ,ring invisibly upon the ,middle of a ,wooden ,wand1 the ,ends being held by two of the ,spectators #bcj ,the ,magic ,ball and ,rings #bca ,to ,pass a ,borrowed ,ring into an ,egg #bcc ,the ,magic ,rose #bcd ,,chapter ,,xi4 ,,tricks ,,with ,,handkerchiefs4 ,introductory ,remarks #bcf ,the ,handkerchief that cannot be ,tied in a ,knot #bcg ,the ,handkerchief that will not ,burn #bcg ,the ,vanishing ,knots #bch ,to ,exchange a borrowed ,handkerchief for a ,substitute #bdj ,the ,locked and ,corded ,box1 and the ,washerwoman's ,bottle #bda ,the ,reversible ,canister #bde ,the ,burning ,globe #bdf ,the ,transformed ,handkerchief #bdf ,the ,handkerchief cut up1 burnt1 and finally found in a ,candle #bdi ,the ,shower of ,sweets #bea ,the ,feathers from an ,empty ,handkerchief #bed ,the ,flying ,plume #bef ,the ,magic ,laundry #beh ,the ,egg and the ,handkerchief #bfj ,the 8,hand-,box10 for ,vanishing a ,handkerchief #bfc ,,chapter ,,xii4 ,,tricks ,,with ,,dominoes ,,and ,,dice4 ,to ,arrange a ,row of ,dominoes face downwards on the ,table1 and on returning to the ,room to turn up a ,domino whose points shall indicate how many have been moved in your absence #bfe ,to ,allow any ,person in your absence to arrange the ,dominoes in a ,row1 face downwards1 and on your return to name blindfold1 or without entering the ,room1 the end numbers of the ,row #bfg ,to ,change1 invisibly1 the ,numbers shown on either ,face of a ,pair of ,dice #bfh ,to ,name1 without seeing them1 the ,points of a ,pair of ,dice #bfi ,,chapter ,,xiii4 ,,the ,,cups ,,and ,,balls4 ,introductory ,remarks #bga ,principles of ,sleight-of-hand applicable to ,ball ,tricks-- ,to ,palm the ,ball #bgc ,to ,reproduce the ,palmed ,ball at the ,end of the ,fingers #bgd ,to ,secretly ,introduce the ,palmed ,ball under the ,cup #bge ,to ,simulate the ,action of ,placing a ,ball under a ,cup #bgf ,to ,produce a ,ball from the ,wand #bgf ,to ,return a ,ball into the ,wand #bgg ,to ,pass one ,cup through ,another #bgg ,burlesque ,address to the ,spectators #bgh ,pass ,i4 ,having ,placed a ,ball under each ,cup1 to draw it out again without ,lifting the ,cup #bgi ,pass ,,ii4 ,to make a ,ball ,travel invisibly from ,cup to ,cup #bha ,pass ,,iii4 ,having placed a ,ball under each of the end ,cups1 to make them pass successively under the ,middle ,cup #bhb ,pass ,,iv4 ,having placed two ,balls under the ,middle ,cup1 to make them pass under the two ,outer ,ones #bhc ,pass ,v4 ,to pass three ,balls in succession under ,one ,cup #bhc ,pass ,,vi4 ,to place three ,balls one after the other upon the top of one of the ,cups1 and to make them fall through the ,cup on to the ,table #bhd ,pass ,,vii4 ,to pass three ,balls in succession upwards through the ,table into one of the ,cups #bhe ,pass ,,viii4 ,to pass two ,balls in succession from one ,cup to another without touching them #bhf ,pass ,,ix4 ,to make three ,balls in succession pass under the ,middle ,cup #bhf ,pass ,x4 ,the 8,multiplication0 ,pass #bhg ,pass ,,xi4 ,to ,transform the ,small ,balls to ,larger ,ones #bhh ,pass ,,xii4 ,to again ,transform the ,balls to still ,larger ,ones #bhi ,,chapter ,,xiv4 ,,ball ,,tricks ,,requiring ,,special ,,apparatus4 ,further principles of ,sleight-of-hand applicable to ,ball ,tricks-- ,to ,palm a large ,ball #bic ,to ,vanish a ,large ,ball with the aid of the ,table #bid ,the ,ball ,box #bie ,the ,red-and-,black-,ball ,vases #bif ,morison's ,pill-box #bih ,the ,ball which changes to a ,rose #cjj ,the ,obedient ,ball #cja ,,chapter ,,xv4 ,,hat ,,tricks4 ,the ,cannon-balls in the ,hat #cjd ,multiplying ,balls #cjg ,the 8,hundred ,goblets0 from a ,hat #cjh ,a ,dozen ,babies from a ,hat #cji ,the ,magic ,reticules #cji ,the ,drums from the ,hat #caj ,the ,birdcages from the ,hat #caa ,the ,cake 7or ,pudding7 in the ,hat #cab ,the ,welsh ,rabbit #cac ,,chapter ,,xvi4 ,,miscellaneous ,,tricks4 ,the ,cut ,string ,restored #cag ,my ,grandmother's ,necklace #cbj ,the 8,bonus ,genius10 or ,vanishing ,doll #cba ,the ,dancing ,sailor #cbc ,the ,bottle ,imps #cbd ,the ,vanishing ,gloves #cbe ,the ,egg ,bag #cbf ,to ,produce ,eggs from a ,person's ,mouth #cbi ,the ,pillars of ,solomon1 and the ,magic ,bradawl #ccj ,the ,magic ,coffers #ccc ,the ,bran and ,orange ,trick #cce ,the ,rice and ,orange ,trick #ccg ,the ,magic ,whistle #cda ,the ,magic ,mill #cdb ,pieces of ,apparatus of ,general ,utility-- ,the ,drawer-,box #cdc ,the ,dissecting ,drawer-,box #cdf ,the ,changing ,card-,drawer #cdg ,changing ,caddies #cdh ,the ,magic ,vase and ,caddy #cea ,the ,cover1 to pick up and replace any ,article #cee ,the ,changing ,cover #cef ,the ,changing ,ladle #ceh ,the ,cone1 or ,skittle #cfj ,the ,cone and ,bouquet #cfd ,the ,flying ,glass of ,water #cfg ,the ,bowls of ,water and ,bowls of ,fire produced from a ,shawl #cga ,the ,bowl of ,ink changed to clear ,water1 with ,gold ,fish swimming in it #cgb ,the ,inexhaustible ,bottle #cgc ,the ,bottle and ,ribbons #cgf ,the ,new ,pyramids of ,egypt1 or ,wine and ,wafer ,trick #cgg ,the ,mysterious ,funnel #cgi ,the ,box of ,bran transformed to a ,bottle of ,wine #chj ,the ,bran ,bottle #chb ,the ,bran ,glass #chc ,to ,fire ,borrowed ,rings from a ,pistol1 and make them ,pass into a ,goblet filled with ,bran and covered with a ,handkerchief1 the ,bran disappearing1 and being found elsewhere #chd ,the ,domino-,box 7sometimes called the ,glove-,box7 #chf ,the ,coffee ,trick #chh ,the ,inexhaustible ,box #cia ,the ,japanese ,inexhaustible ,boxes #cic ,the ,feast of ,lanterns #cie ,the ,butterfly ,trick #cig ,the ,wizard's ,omelet #cih ,the ,rose in the ,glass ,vase #djj ,the ,chinese ,rings #dja ,the ,charmed ,bullet #dji ,the ,birth of ,flowers #daa ,the ,mysterious ,salver #daf ,the ,vanishing ,die #dai ,the ,die ,dissolving in a ,pocket ,handkerchief #dbj ,the ,die and ,orange #dbc ,the ,vanishing ,canary ,bird and ,cage #dbd ,the ,crystal ,balls #dbf ,the ,flags of all ,nations #dcb ,the ,umbrella ,trick #dcc ,the 8,passe-,passe0 ,trick #dce ,,chapter ,,xvii4 ,,stage ,,tricks4 ,the ,tables in use in ,stage ,tricks #dcg ,the 8,plain0 ,trap #dcg ,the 8,wrist0 or 8,pressure0 ,trap #dch ,the 8,rabbit0 or 8,dove0 ,trap #dda 8,changing0 ,traps #ddb ,the 8,money0 ,trap #dde 8,pistons0 7for working mechanical apparatus7 #ddg 8,bellows0 ,tables #ddi ,the ,rabbit ,trick #deb ,the ,fairy ,star #ded ,the ,card ,bouquet #deg ,the ,demon's ,head #deh ,the ,magic ,picture ,frame #dfc ,the ,flying ,watches and the ,broken ,plate #dfe ,the ,magic ,picture and the ,chosen ,cards #dfg ,the ,magic ,portfolio #dfh ,the ,glove ,column #dfi ,the ,vanishing ,pocket-handkerchief1 found in a ,candle #dgj ,the ,sphinx #dga ,the ,cabinet of ,proteus #dge ,the ,indian ,basket ,trick #dgg ,electrical ,tricks #dhj ,the ,light and ,heavy ,chest #dhb ,spirit-,rapping #dhe ,the ,magic ,bell #dhf ,the ,crystal ,cash ,box #dhg ,the ,magic ,drum #dib ,the ,arial ,suspension #die ,,chapter ,,xviii4 ,,concluding ,,observations4 ,hints as to ,working up ,tricks #ejb ,arrangement of ,programme #eje ,stage ,arrangements #ejh ,parting ,counsels #eaj ,,appendix4 ,,chapter ,i4 ,introductory #eae ,,chapter ,,ii4 ,,kempelen4 ,kempelen's ,speaking ,figure #ebb ,its ,construction #ebc ,houdin #ebd ,his ,talking ,figure #ebd ,the ,magic ,harlequin and its ,construction #ebd ,the ,magic ,clock #ebf ,the ,performing ,clown #ebf ,the ,cook of the ,palais ,royal #ebf ,the ,orange and ,rose ,trees #ebg ,electric ,bell and ,drum #ebh ,suspension in the ,air #ebh ,,chapter ,,iii4 ,,theodin4 ,theodin #ecj ,robin and ,anderson #ecj ,the ,magic ,windmill #ecj ,anderson's ,old ,man #eca ,col4 ,stodare's ,living ,head #eca ,pepper and ,tobin #ecb ,proteus2 or1 ,we're ,here and ,not ,here #ecb ,fatima #ecd ,,chapter ,,iv4 ,,automata3 ,,psycho4 ,automaton of ,messrs4 ,maskelyne and ,cooke #ecf ,psycho and its ,imitators #ecf ,zoe #eci ,fanfare #edj ,,chapter ,v4 ,,marionettes4 ,taking a ,man to ,pieces #edb ,the ,living ,marionettes #edc ,,chapter ,,vi4 ,,clairvoyance4 ,clairvoyance1 or ,second ,sight #ede ,the ,clairvoyance of the ,superstitious ,ages and the ,clairvoyance of the ,day #edf ,questions and ,answers #edg ,the ,reading of ,concealed ,writing #edi ,the ,addition of ,unseen ,figures #eej ,,chapter ,,vii4 ,,spiritualism4 ,spiritualism #eea ,mediums and their ,pretences #eeb ,their ,tests #eeb ,various ,tying ,tests #eeb ,the ,sealed ,accordion #eec ,floating in the ,air #eed ,floating ,tambourines1 ,guitars1 etc4 #eee ,the ,spiritual ,musical ,box #eee ,writing on the ,ceiling #eef ,invisible ,writing #eef ,the ,floating ,table1 etc4 #eeg ,,chapter ,,viii4 ,,parlor ,,magic4 ,parlor ,magic #eeh ,a ,surprise #eei ,indian ,sand ,trick #eei ,the 8,q0 ,trick #efj ,the ,bleeding ,thumb #efj ,the ,marked ,florin in ,oranges #efj ,the ,chinese ,pictures #efa ,bautier's ,great ,ink-and-,water ,trick #efb ,carrying ,fire in the ,hands #efc ,illustration ,illustration ,,modern ,,magic4 ,,chapter ,i4 ,,introduction4 ,considering the great antiquity and the unfading popularity of the magic art1 it seems at first sight a matter of wonder that its literature should be so extremely scanty4 ,in ,england1 in particular1 is this the case4 ,until within the last few years it would have been difficult to name a single book worth reading upon this subject1 the whole literature of the art consisting of single chapters in books written for the amusement of youth 7which were chiefly remarkable for the unanimity with which each copied1 without acknowledgment1 from its predecessors71 and handbooks sold at the entertainments of various public performers1 who took care not to reveal therein any trick which they deemed worthy of performance by themselves4 ,upon a little consideration1 however1 the scarcity of treatises on 8,white ,magic0 is easily accounted for4 ,the more important secrets of the art have been known but to few1 and those few have jealously guarded them1 knowing that the more closely they concealed the clue to their mysteries1 the more would those mysteries be valued4 ,indeed1 the more noted conjurors of fifty years ago strove to keep the secret of their best tricks not only from the outside world1 but from their confrres4 ,at the present day the secrets of the art are not so well kept2 and there is hardly a trick performed upon the stage which the amateur may not1 at a sufficient expenditure of shillings or guineas1 procure at the conjuring depts4 ,there being1 therefore1 no longer the same strict secresy1 the literature of magic has improved a little1 though it still leaves much to be desired4 ,the general ambition of compilers seems to be to produce books containing nominally some fabulous number of tricks4 ,in order to do this1 they occupy two-thirds of their space with chemical and arithmetical recreations1 and1 as a necessary result1 the portion devoted to conjuring tricks1 properly so called1 is treated so briefly and scantily as to be practically useless4 ,there is a vast difference between telling how a trick is done and teaching how to do it4 ,the existing treatises1 with few exceptions1 do the former only4 ,the intention of the present work is to do the latter also2 to teach sleight-of-hand generally1 as well as particular tricks2 and to conduct the neophyte from the very ,a ,b ,c of the magic art gradually up to those marvels which are exhibited on the public stage4 ,the student may rest assured that1 if he will diligently follow the instructions here given1 he will be able in due time1 not merely to astonish his friends extempore with a borrowed coin or pack of cards1 but to roll two rabbits into one1 compel chosen cards to rise spontaneously from the pack1 produce lighted lanterns from empty hats1 and bowls of gold-fish from empty pocket-handkerchiefs2 in a word1 to execute all those wonders which he has hitherto deemed the exclusive property of the public performer4 ,there are1 of course1 different degrees of natural aptitude4 8,non cuivis hominum contingit adire ,corinthum40 ,it is not every one that can be a ,robert-,houdin or a ,buatier1 but1 given the usual number of fingers and thumbs1 fair intelligence1 and a sufficiency of perseverance1 any one who will may become at least a tolerable conjuror4 ,be it remembered1 that we especially stipulate for perseverance4 ,a wizard is not to be made in a day1 and he who would attain excellence must be content to proceed as he would with music1 drawing1 or any other accomplishment--viz41 begin at the beginning1 and practise diligently until he attains the coveted dexterity4 ,the student need not1 however1 wait the termination of the somewhat formidable course of study we have indicated1 before he begins to astonish his friends2 on the contrary1 there are numerous tricks requiring very little manual dexterity1 which are yet1 if neatly performed1 brilliant in effect4 ,these simpler tricks1 for which we shall give full instructions1 will supply the beginner1 even at the outset1 with a fair programme1 which he may from time to time enlarge as he feels able to undertake more elaborate illusions4 ,the first rule to be borne in mind by the aspirant is this3 8,never tell your audience beforehand what you are going to do40 ,if you do so1 you at once give their vigilance the direction which it is most necessary to avoid1 and increase tenfold the chances of detection4 ,we will give an illustration4 ,there is a very good trick 7which will be described at length hereafter7 in which the performer1 after borrowing a handkerchief1 gives it to some one to hold4 ,when it is returned1 it proves to be torn into small pieces4 ,it is again handed to the holder1 who is instructed1 in order to restore it1 to rub it in a particular manner2 but when again unfolded1 it is found in a long strip4 ,these effects are produced by successive adroit substitutions1 and the whole magic of the trick consists in the concealment of the particular moment at which each substitution is effected4 ,now1 if you were to announce to the audience beforehand that you were about to cause the handkerchief to appear in several pieces1 or in a long strip1 they would at once conjecture that the trick depended on an exchange1 and their whole vigilance being directed to discover the moment of that exchange1 you would find it all but impossible to perform the trick without detection4 ,if1 on the other hand1 you merely roll up the handkerchief1 and ask some one to hold it1 the audience1 not knowing what you are about to do1 have no reason to suspect that you have handed him a substitute2 and when the transformation is exhibited1 the opportunity of detection will have already passed away4 ,it follows1 as a practical consequence of this first rule1 that you should never perform the same trick twice on the same evening4 ,the best trick loses half its effect on repetition1 but besides this1 the audience know precisely what is coming1 and have all their faculties directed to find out at what point you cheated their eyes on the first occasion4 ,it is sometimes hard to resist an encore1 but a little tact will get you out of the difficulty1 especially if you have studied1 as every conjuror should do1 the variation and combination of tricks4 ,there are a score of different ways of vanishing a given article1 and as many of reproducing it2 and either one of the first may be used in conjunction with either of the second4 ,thus1 by varying either the beginning or the end1 you make the trick to some extent a new one4 ,the power of doing this readily is very useful1 and among other advantages will enable you to meet an encore by performing some other trick having some element of similarity to that which you have just completed1 but terminating in a different and therefore unexpected manner4 ,the student must cultivate from the outset the art of 8talking10 and especially the power of using his eyes and his tongue independently of the movement of his hands4 ,to do this1 it will be necessary to prepare beforehand not only what he intends to do1 but what he intends to say1 and to rehearse frequently and carefully even the simplest trick before attempting it in public4 ,it is surprising how many little difficulties are discovered on first attempting to carry into effect even the clearest written directions2 and nothing but practice will overcome these difficulties4 ,the novice may be encouraged by assuming1 as he safely may1 that the most finished of popular performers was once as awkward as himself1 and were he to attempt any unfamiliar feat1 would probably be as awkward still4 ,before proceeding to the practice of the magic art1 it will be well to give a short description of two or three appliances1 which are of such constant use that they may be said to form the primary stock-in-trade of every conjuror4 ,these are--a short wand1 a specially adapted table1 and certain secret pockets in the magician's dress4 ,there are numerous other appliances of very general use1 which will be explained in due course1 but those we have named are so indispensable that we could hardly complete the description of half-a-dozen tricks of any pretension without a reference to one or other of them4 ,first in order comes ,,the ,,magic ,,wand4 ,this is a light rod of twelve to fifteen inches in length1 and about three-quarters of an inch in diameter4 ,it may be of any material1 and decorated in any manner which the fancy of the owner may dictate4 ,to the uninitiated its use may appear a mere affectation1 but such is by no means the case4 ,apart from the prestige derived from the traditional properties of the wand1 and its use by the wizards of all ages1 it affords a plausible pretext for many necessary movements1 which would otherwise appear awkward and unnatural1 and would thereby arouse the vigilance of the audience at possibly the most critical period of the trick4 ,thus1 if the performer desires to hold anything concealed in his hand1 by holding the wand in the same hand he is able to keep it closed without exciting suspicion4 ,if it is necessary1 as frequently happens1 to turn his back upon the audience for an instant1 the momentary turn to the table1 in order to take up or lay down the wand1 affords the required opportunity4 ,we most strongly advise the would-be magician to cultivate from the outset the habitual use of the wand4 ,even where its employment is not absolutely necessary for the purpose of the trick1 its use is in strict accordance with the character he professes to fill1 and the dainty touch of the wand1 for the supposed purpose of operating a magical transformation1 assists materially in leading the audience to believe that such transformation did actually take place at that particular moment1 instead of having been 7as is really the case7 secretly effected at an earlier period4 ,the next appliance to which we must draw the student's attention is ,,the ,,magician',s ,,table4 ,there are plenty of good minor tricks which may be performed anywhere1 and with little or no previous preparation1 but as soon as the student has outgrown these humbler feats1 and aspires to amuse his friends or the public with a pre-arranged sance1 his first necessity will be a proper table4 ,we do not now refer to the elaborate combination of traps1 pistons1 etc41 which is used for stage performances4 ,this will be duly described in its proper place4 ,the table necessary for an average drawing-room exhibition differs from an ordinary table in two points only--its height1 which should be six or eight inches greater than that of an ordinary table--and the addition of a hidden shelf or ledge at the back4 ,its form and dimensions are very much a matter of fancy and convenience4 ,for most purposes nothing is better than a plain oblong deal table4 ,it should have turned legs of some harder wood1 stained and polished1 and these1 if it is desired to make the table portable1 should be screwed into the four corners1 so as to be readily taken off and put on again as may be required4 ,in length the table may be three to four feet1 and in breadth eighteen inches to two feet4 ,three feet by twenty inches is a very convenient size4 ,at the back should be placed1 about six inches below the level of the top of the table1 a projecting shelf1 six to eight inches in width1 and extending nearly from end to end4 ,this shelf1 which is technically known as the servante1 should be covered with thick woollen cloth1 in order to deaden the sound of any object falling on it4 ,some performers have a rim about half an inch high running along the outer edge of this shelf2 while others1 in place of the shelf1 use a wooden tray1 fixed in the same position1 and one to two inches in depth4 ,the manner of fixing the shelf is optional4 ,in some tables it is made to slide in and out like a drawer2 in others to fold up on hinges against the back of the table1 or itself to form the back4 ,this latter is the most convenient mode1 as the opening made by the flap when let down gives access to the interior of the table1 which forms a convenient receptacle for necessary articles4 ,in this case1 the upper part of the table is made box fashion2 i4e41 is bottomed throughout with wood on a level with the hinges of the servante1 giving an enclosed space under the whole extent of the table4 ,over the table should be thrown an ordinary cloth table-cover1 of such a size as to hang down about ten or fifteen inches at the front and sides1 but not more than an inch or so on the side away from the audience4 ,to prevent its slipping1 the cloth may be fastened on this side with a couple of drawing pins4 ,where traps are used1 and the cloth has therefore to be cut1 the hanging cloth is dispensed with1 and the table is covered with cloth glued on the top1 with a margin round it1 after the fashion of a card-table1 and this may be done1 if preferred1 even where the table is without mechanism4 ,the adoption of this plan allows of the introduction of gold mouldings1 or other ornamentation1 on the front and sides4 ,in our own opinion1 unless there is some special reason to the contrary in the mechanical arrangements of the table1 the plain hanging cover is preferable1 as being least suggestive of apparatus or preparation4 ,the precise height of the table is best determined by the stature of the performer4 ,the servante1 or hidden shelf1 should be just so high from the ground as to be level with the knuckles of the performer as his arm hangs by his side2 and the top of the table should1 as already stated1 be about six inches higher than this4 ,it will be found that this height will enable the performer secretly to take up or lay down any article thereon without stooping or bending the arm1 either of which movements would suggest to the spectators that his hand was occupied in some manner behind the table4 ,one of the first tasks of the novice should be to acquire the power of readily picking up or laying down any article on the servante1 without making any corresponding movement of the body1 and especially without looking down at his hands4 ,if the performer is uncertain as to the precise whereabouts of a given article1 he must ascertain it by a quick glance as he approaches his table1 and not after he has placed himself behind it4 ,from this moment he must not again look down1 as if once the audience suspect that he has a secret receptacle behind his table1 half the magic of his tricks is thenceforth destroyed4 ,an oblong box1 twelve or fourteen inches in length by three in depth1 well padded with wadding1 and placed on the servante1 will be found very useful in getting rid of small articles1 such as coin1 oranges1 etc41 as such articles may be dropped into the box without causing any sound1 and therefore without attracting attention4 ,in default of a table regularly made for the purpose1 the amateur may with little difficulty adapt an ordinary table for use as a makeshift4 ,a common library or kitchen table having a drawer on one side1 and raised on four bricks or blocks of wood to the requisite height will answer the purpose very fairly4 ,the table must be covered with a cloth2 and should have the drawer pulled out about six inches 7the drawer side being1 of course1 away from the audience7 to form the servante4 ,a still better extempore conjuring table may be manufactured in a few minutes with the aid of a good-sized folding bagatelle board4 ,place the shut-up board on a card or writing table 7which should be six or eight inches shorter than the board71 in such manner that there may be left behind it 7on the side which is intended to be farthest from the audience71 a strip of table six or seven inches in width4 ,this will form the servante4 ,throw an ordinary cloth table-cover over the bagatelle board1 letting it hang down a foot or eighteen inches in front1 and tucking its opposite edge under the hinder edge of the board1 whose weight will prevent it slipping4 ,if the cloth is too large1 it must be folded accordingly before placing it on the table4 ,the table thus extemporized will be of a convenient height1 and will answer very fairly for the purposes of an ordinary drawing-room performance4 ,the conjuror1 however1 may be called upon to give a sample of his art when neither regular nor extemporized table is available2 and even where he is sufficiently provided in this respect1 he will frequently have occasion to produce or get rid of a given article without retiring behind his table to do so4 ,the wizards of a century ago met this necessity by wearing openly in front of them a sort of bag or apron1 called in the parlance of the ,french conjurors1 a gibecire1 from its supposed resemblance to a game-bag4 ,this was used not only to carry the cups and balls1 and other minor paraphernalia of the art1 but for the purpose of procuring1 exchanging1 or getting rid of any small article at the pleasure of the performer4 ,in fact1 this bag supplied the place of the servante1 which was not then known4 ,it is hardly necessary to observe that the gibecire has been long since disused1 and a performer who should now appear in a pocketed apron would run much risk of being taken for a hairdresser4 ,although1 however1 the gibecire is not now1 as of old1 worn openly1 the conjuror of the present day is provided with certain secret substitutes1 to explain which it is necessary to say a few words as to ,,the ,,magician',s ,,dress4 ,it is not very many years since the orthodox dress of the conjuror was a long and flowing robe1 embroidered more or less with hieroglyphic characters1 and giving ample space for the concealment of any reasonable sized article--say from a warming-pan downwards4 ,the very last specimen of such a garment1 to the best of our belief1 is1 or was1 worn by the magician attached to the ,crystal ,palace4 ,we do not know whether he is compelled by the regulations of the establishment to wear such a robe2 but if so1 it ought to be liberally considered in his salary4 ,the costume de rigueur of the magician of the present day is ordinary 8evening dress40 ,the effect of the feats performed is greatly heightened by the close fit and comparative scantiness of such a costume1 which appears to allow no space for secret pockets or other place of concealment4 ,in reality1 however1 the magician is provided with two special pockets1 known as profondes1 placed in the tails of his dress-coat4 ,each is from four to six inches in depth and seven in width1 and the opening1 which is across the inside of the coat-tail1 slanting slightly downwards from the centre to the side1 is1 like the servante1 so placed as to be just level with the knuckles of the performer1 as his hand hangs by his side4 ,he can thus1 by the mere action of dropping either hand to his side1 let fall any article instantly into the profonde on that side1 or take anything from thence in like manner4 ,the action is so natural1 that it may be used under the very eyes of the audience1 at very small risk of their observing it2 and if the performer at the same moment slightly turns his other side to the spectators1 he may be perfectly secure from detection4 ,some performers have also a couple of pochettes 7small pockets7 made in the trousers1 one behind each thigh4 ,these are generally used for purposes of production only1 the profondes being still employed for getting rid of any article1 which1 indeed1 is their primary purpose1 for they were originally made too deep 7#8profonde1' whence their name7 to get articles easily out of them4 ,many professors1 in addition to the pockets above mentioned1 have also a spacious pocket1 opening perpendicularly1 inside the breast of the coat1 under each arm1 for the purpose of what is called 8loading10 i4e41 bringing a rabbit1 or other article1 into a hat1 etc4 ,other pockets may be added1 as the fancy or invention of the performer may dictate2 but the above are those generally used4 ,it will also be found a great convenience to have an elastic band1 about an inch in width1 stitched around the lower edge of the waistcoat on the inside4 ,when the waistcoat is in wear1 the band makes it press tightly round the waist1 and any object of moderate size--a card1 or pack of cards1 a handkerchief1 etc4--may be slipped under it without the least risk of falling4 ,used in conjunction with the pockets before described1 this elastic waistband affords a means of instantaneously effecting 8changes0 of articles too large to be palmed with safety2 one hand dropping the genuine article into the profonde on that side1 while the other draws the prepared substitute from under the waistband1 a very slight turn of the body1 towards the table or otherwise1 sufficing to cover the movement4 ,with these few preliminary observations1 we proceed to the practice of the art1 commencing with the ever-popular class of illusions performed by the aid of playing cards4 ,illustration ,,chapter ,,ii4 ,,general ,,principles ,,of ,,sleight-,,of-,,hand ,,applicable ,,to ,,card ,,tricks4 ,among the various branches of the conjuror's art1 none will better repay the labour of the student1 whether artist or amateur1 than the magic of cards4 ,it has the especial advantage of being1 in a great measure1 independent of time and place4 ,the materials for half its mysteries are procurable at five minutes' notice in every home circle2 and1 even in the case of those tricks for which specially prepared cards1 etc41 are requisite1 the necessary appliances cost little1 and are easily portable--two virtues not too common in magical apparatus4 ,further1 the majority of card tricks are dependent mainly on personal address and dexterity1 and1 as such1 will always be highly esteemed by connoisseurs in the art4 ,before very large audiences1 indeed1 the spectators being at a distance from the performer1 much of the effect of a card trick is lost2 which is probably the reason that1 of late years1 tricks of this class 7with a few exceptions7 have been rather neglected by professors2 and that many feats which in the times of ,conus and ,comte were numbered among the sensations of the day1 are now almost entirely forgotten4 ,we shall endeavour in the following pages1 after explaining the principles of sleight-of-hand applicable to cards1 and giving instructions for some of the best of the more commonplace feats1 to revive the recollection--and1 we hope1 the practice--of some of these brilliant performances4 ,the ,cards4--,the adept in sleight-of-hand should accustom himself to the use of every description of cards1 as frequently none but the ordinary full-sized playing cards may be available4 ,where1 however1 the choice is open to him1 he should use in the actual performance of tricks1 cards of a smaller and thinner make4 ,the common ,french cards answer the purpose very well4 ,among cards of ,english make1 some of the best for the purpose are the small cards of the ,french pattern made by ,de ,la ,rue ,co4 for use in ,france1 and those known as the 8,tankerville0 cards1 both imported by ,peck ,snyder1 #abd ,nassau ,street1 ,new ,york ,city1 which are thin1 well made1 and of small size1 but of the ,english pattern4 ,in any case1 it is well to use only the piquet pack of thirty-two cards 7the twos1 threes1 fours1 fives1 and sixes being removed71 the complete whist pack being inconveniently bulky for sleight-of-hand purposes4 ,illustration3 ,,fig4 #a4 ,,to ,,make ,,the ,,pass4 7,sauter la coupe74--,the effect of this sleight1 which is the very backbone of card-conjuring1 is to reverse the respective positions of the top and bottom halves of the pack1 i4e41 to make those cards which at first formed the lower half of the pack1 come uppermost1 when those cards which at first formed the upper half will of course be undermost4 ,it is used by card-sharpers1 immediately after the cards have been cut1 to replace them in the position which they occupied before the cut1 and from this circumstance derives its ,french name4 ,there are various methods of producing this effect1 some requiring the use of both hands1 some of one hand only4 ,these we shall describe in due order4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,first ,method4 7,with both hands74--,hold the pack in the left hand1 lengthways1 with the face downwards1 as if about to deal at any game4 ,in this position the thumb will naturally be on the left side of the pack1 and the four fingers on the other4 ,insert the top joint of the little finger immediately above those cards which are to be brought to the top of the pack 7and which are now undermost71 and let the remaining three fingers close naturally on the remaining cards1 which are now uppermost4 7,see ,fig4 #a47 ,in this position you will find that the uppermost part of the pack is held between the little finger1 which is underneath1 and the remaining fingers1 which are upon it4 ,now advance the right hand1 and cover the pack with it4 ,grasp the lower portion of the pack lengthways between the second finger at the upper and the thumb at the lower end1 the left thumb lying1 slightly bent1 across the pack4 ,press the inner edge of the lower packet into the fork of the left thumb1 so that the two packets will be as shown in ,fig4 #b4 ,next draw away the upper packet1 by slightly extending the fingers of the left hand1 at the same time lifting up the outer edge of the lower packet1 till the edges of the two packets just clear each other 7see ,fig4 #c71 when by the mere act of closing the left hand they will be brought together as at first1 save that they will have changed places4 ,do this at first very slowly1 aiming only at neatness and noiselessness of execution4 ,at the outset the task will be found somewhat difficult1 but gradually the hands will be found to acquire a sort of sympathetic action2 the different movements which we have above described will melt1 as it were1 into one1 and the two packets will change places with such lightness and rapidity that they will seem to actually pass through each other4 ,a slight momentary depression and elevation of the hands 7apparently a mere careless gesture7 in the act of making the pass will completely cover the transposition of the cards1 which in the hands of an adept is invisible1 even to the most watchful spectator4 ,the above is the most orthodox and the most perfect method of making the pass1 and if the student be proficient in this1 he need trouble himself very little about the remaining methods1 which are inserted chiefly for the sake of completeness1 being very inferior in all respects4 ,wherever in the course of this book the student is directed to make the pass1 this first method will be considered to be referred to1 unless otherwise specially expressed4 ,before quitting the subject of this method1 we should mention that it is sometimes necessary to cause the two halves of the pack to #8kiss1' i4e41 to bring them face to face4 ,this is effected by turning the original upper packet face upwards in the act of bringing the transposed packets together4 ,when the pass in the ordinary form is fairly mastered1 this slight variation will occasion no additional difficulty4 ,in this1 as in all other branches of prestidigitation1 the student will find it of the greatest possible advantage to practise before a looking-glass4 ,by this means1 better than any other1 he will be enabled to judge how far his movements succeed in deceiving the eyes of a spectator4 ,one caution may here be given with advantage3 the student of legerdemain must learn to perform all necessary movements without looking at his hands1 unless for some special reason he desires the spectators to look at them also4 ,in every case1 wherever the performer desires his audience to look1 his own eyes must take that particular direction2 and wherever he desires his audience not to look1 he himself must carefully abstain from looking4 ,let us suppose1 for instance1 that a person has drawn a card1 and has replaced it in the middle of the pack4 ,the performer desires to bring it to the top1 for which purpose it is necessary to introduce the little finger above the card in question1 and to make the pass1 as above described4 ,when the card is replaced in the pack1 the eyes of the drawer are naturally directed towards it2 and if the performer were himself to look downward at the cards1 it would multiply tenfold the chances of detection4 ,he should pause for a moment1 and1 looking full at the person who drew the card1 ask1 8,you are certain that you will know that card again80 or make any similar observation4 ,as he speaks1 a natural impulse will draw the eyes of the audience to his own face1 and he may then make the pass without the slight necessary movement attracting the least attention4 ,it is hard to believe1 until tested by actual experience1 what apparently obvious movements may be executed under the very noses of an audience1 if only their attention is diverted at the right moment by a dexterous use of the eye and voice of the operator4 ,illustration3 ,,fig4 #d4 ,second ,method4--7,with both hands74--,holding the pack in the left hand1 as directed for the first method1 grasp as before the lower portion of the pack lengthways between the second finger at the upper end and the thumb at the lower end2 move the left thumb1 which now takes no part in the operation1 a little below the pack to be out of the way4 ,then slide the lower half of the pack a little to the left1 and the upper half to the right till they just clear each other 7see ,fig4 #d71 when you will be enabled to place what was originally the upper half undermost1 and vice vers4 ,this is the theory of the process1 but in practice the necessary motions are not nearly so distinct4 ,as you grow more and more expert1 the necessary movement from right to left should become gradually smaller and smaller1 until at last it is almost imperceptible4 ,you must study to reduce this movement to the very minimum2 and in order to do this1 endeavour1 after you have once seen clearly what it is you have to do1 to keep the hands together as much as possible4 ,let the edge of the palm of the right hand rest gently1 but firmly1 on the first three fingers of the left hand1 and let the contact thus made form a kind of hinge or fulcrum for the movement of the hands4 ,when you become expert1 you will find that the mere outward movement of the two hands upon this imaginary hinge 7the cards being held lightly1 and allowed to accommodate themselves to the movement7 is sufficient to produce the effect4 ,illustration3 ,,fig4 #e4 ,we have above recommended you to keep the hands together as much as possible2 but there are circumstances under which an ostentatious separation of the hands is equally effective4 ,thus1 holding the cards as above directed1 you may make the pass by 7apparently7 merely cutting the cards1 lifting1 in truth1 the under instead of the upper half1 the latter making way 7by a slight and momentary extension of the left hand7 to allow it to pass4 ,you may also1 when holding the cards as just cut 7i4e41 half the pack in each hand71 make the pass in the act of bringing them together4 ,to do this you should hold the right hand packet in such manner that the thumb and second finger may project a full inch beyond the face of the cards4 ,at the moment of bringing the two packets together 7which should be done with a sidelong motion of the right hand from right to left7 this thumb and finger grip the other packet1 and slide it out towards the left shoulder1 leaving what was originally the right hand packet in the left hand4 ,if this is done neatly1 the movement is so subtle that the keenest eye cannot detect that the two packets have changed hands4 ,having effected the change1 you may take your own time as to placing the now uppermost packet on the other4 ,the circumstances of each trick will indicate the cases in which it may be desirable to adopt either of these variations4 ,illustration3 ,,fig4 #f4 ,third ,method4 7,with both hands47--,this is very similar to the first method1 but much less neat4 ,take the cards1 as in the former case1 face downwards in the left hand1 but instead of the little finger1 insert the second and third fingers immediately above those cards which are to be brought to the top of the pack1 and draw the first and fourth fingers below the pack4 7,see ,fig4 #e47 ,in this position1 the lower half of the pack is held as in a forceps between the second and third and the first and fourth fingers4 ,now cover the pack with the right hand as directed for making the pass by the first method1 but in this instance grasp therewith 7between the first and second fingers at top and the thumb at bottom7 the upper half of the pack4 ,raise this upper half slightly1 to allow room for the movement of the lower half1 and at the same moment slightly extend the fingers of the left hand4 7,see ,fig4 #f47 ,this will make the lower packet describe a quarter of a circle4 ,as soon as it is clear of the upper packet1 by reversing the motion 7i4e41 closing the fingers of the left hand1 and at the same time lowering the right hand71 the two halves of the pack will be again brought together1 but that half which was originally undermost will now be uppermost4 ,the movement will be understood more clearly on an inspection of the diagrams a and b 7,fig4 #f71 a representing an end view of the two portions of the pack in their original position1 and b of the same in their transposed position1 the original lower portion being in each case indicated by the darker shade4 ,fourth ,method4 7,with the left hand47--,this is almost the same as the method last described1 save that the left hand only is used4 ,the upper packet1 instead of being held in the right hand1 is in this case clipped between the ball of the left thumb and the point where the thumb joins the hand4 ,in other respects the movement is the same4 ,illustration3 ,,fig4 #g4 ,fifth ,method4 7,with the left hand47--,take the cards in the left hand as before4 ,insert the third finger above the cards which are to be brought to the top 7and which now form the lower half of the pack71 and close the remaining three fingers on the top of the pack4 7,see ,fig4 #a1 but suppose the third finger inserted in place of the fourth47 ,now extend the fingers1 which will make the upper part of the pack describe a semicircle 7see ,fig4 #g71 and at the same moment press downward with the thumb the left top corner of the lower packet4 ,this will tilt up the opposite end of the lower packet1 and give room1 as you again close the fingers1 for the upper packet to pass into the lower place4 7,see ,fig4 #h47 ,to bring the original upper packet 7i4e41 the one with the six of hearts at the bottom7 from the position indicated in ,fig4 #g to that which it occupies in ,fig4 #h1 it is pressed slightly forward with the middle finger1 and is thereby made to perform a semi-revolution1 the third finger acting as pivot4 ,the packet is by this means turned over endways1 i4e41 that end of the packet which was originally nearest to the performer is now farthest from him1 and vice vers4 ,the movement is by no means easy to describe1 but if followed step by step with the cards1 will be readily understood4 ,illustration3 ,,fig4 #h4 ,this method of making the pass has a peculiarity which renders it specially useful in certain cases4 ,when the upper half of the pack describes a semicircle1 as above mentioned1 the bottom card of such half is in full view of the performer1 though the spectators see only the backs of the cards4 ,the performer thus becomes acquainted1 unknown to his audience1 with that card which1 after the pass1 becomes the bottom card of the pack2 which knowledge may occasionally be very useful4 ,the movement of the cards in this mode of making the pass is very noticeable2 but the circular sweep taken by the upper packet so confuses the eye1 that the audience must be extremely keen-sighted to detect the effect of the movement1 which1 if neatly executed1 has the appearance of a mere flourish4 ,a quick sweep of the arm from left to right as the pass is made will greatly assist in covering the transposition of the cards4 ,some perform the pass last described without causing the upper packet to make the semi-revolution above mentioned4 ,the first finger in this case does not participate in the operation1 but is left extended beyond the upper end of the pack4 ,illustration3 ,,fig4 #i4 ,illustration3 ,,fig4 #aj4 ,sixth ,method4 7,with either hand47--,take the pack in either hand1 as if you were about to stand it on end on the table1 the backs of the cards being next to the palm4 ,insert the third finger between the two halves of the pack1 and draw the second and fourth fingers behind the pack4 ,in this position1 the uppermost half of the pack is held between the third finger and the second and fourth fingers4 ,clip the lower or front half of the pack at its two top corners between the thumb and the first finger4 7,see ,fig4 #i47 ,now extend the second1 third1 and fourth fingers1 which will carry with them the upper half of the pack4 ,as soon as it is clear of the lower half1 again close the fingers1 thereby bringing the upper packet to the bottom4 7,see ,fig4 #aj47 ,this mode of making the pass may be employed as you place the pack on the table1 the movement for that purpose serving to cover that by which the cards are transposed4 ,if no table is at hand a quick movement of the hand and arm from right to left1 at the moment when the pass is made1 will be found to answer equally well4 ,illustration3 ,,fig4 #aa4 ,seventh ,method4 7,with the right hand47--,this is a mere makeshift for the pass proper1 though its effect is the same4 ,it is performed in picking up the cards from the table after they have been cut1 and left1 as is usual1 in two heaps4 ,the performer picks up1 as in the ordinary course1 the bottom half of the pack 7which should properly be placed uppermost after the cut72 but1 instead of picking them up in the usual way1 he picks them up with the second1 third1 and fourth fingers under1 and the first finger above the cards4 ,in placing them apparently upon the upper heap1 he tilts up the right hand edge of that heap with the tip of the first finger1 and with the remaining fingers slides the heap he already holds underneath it 7see ,fig4 #aa71 so that the cards are again precisely as they were before the cut4 ,this sham mode of making the pass is rarely used by conjurors1 but is said to be frequently employed by card-sharpers4 ,,to 8,,force0 ,a ,,card4--,by this phrase is signified the compelling a person to draw such card as you desire1 though he is apparently allowed absolute freedom of choice4 ,your first step is to get sight of the bottom card1 or1 if you want to force a predetermined card1 to get that card to the bottom4 ,having done this1 take the pack in the left hand1 and insert the little finger half-way down1 in readiness to make the pass4 ,make the pass by the first method1 but1 before uniting the two halves of the pack in their new position1 again slip the little finger of the left hand between them4 7,the two halves will now be united at the end which is towards the spectators1 but divided by the little finger at the end nearest to yourself2 and the original bottom card1 which is the one you desire to force1 is now the bottom of the top heap1 resting on the little finger47 ,using both hands1 with the thumbs above and the fingers below the pack1 spread out the cards fanwise from left to right1 at the same time offering them to the person who is to draw1 and requesting him to select a card4 ,keep the little finger of the left hand still on the face of the card to be chosen1 or you may now use1 if more convenient1 the same finger of the right hand1 both being underneath the cards4 ,as the person advances his hand to draw1 move the cards onward with the thumb1 so that the particular card shall reach his fingers just at the moment when he closes them in order to draw2 and1 if you have followed these directions properly1 it is ten to one that he will draw the card you wish4 ,it may possibly be imagined that forcing is a very difficult matter1 and requires an extraordinary degree of dexterity2 but this is by no means the case4 ,the principal thing against which a beginner must guard1 is a tendency to offer the particular card a little too soon4 ,when the cards are first presented to the drawer1 the pack should be barely spread at all1 and the card in question should be ten or fifteen cards off4 ,the momentary hesitation of the drawer in making his choice will give time1 by moving the cards quicker or slower1 as may be necessary1 to bring that card opposite his fingers at the right moment4 ,should the performer1 however1 miscalculate his time1 and the card pass the drawer's fingers before the choice is made1 he need not be embarrassed4 ,still keeping the little finger on the card1 he should sharply close the cards1 and making some remark as to the drawer being 8difficult to please10 or the like1 again spread them as before1 and offer them for the choice4 ,a moderate degree of practice will make the student so proficient that even a person acquainted with the secret of forcing will have to be very wide-awake in order not to take the desired card4 ,you will1 however1 sometimes find a person1 suspecting your design and wishing to embarrass you1 suddenly jerk his hand away from the card which he was apparently about to take1 and draw another from a different part of the pack4 ,in the great majority of tricks this is of little consequence1 inasmuch as there are numerous ways 7which will be hereafter explained7 of ascertaining what the drawn card was2 but there are some illusions which depend upon the drawer taking a card similar in suit and number to one already prepared elsewhere for the purpose of the trick4 ,in this case it is1 of course1 absolutely necessary that the card drawn should be the right one2 and as even the most accomplished performer cannot always be certain of forcing a single card1 another expedient must be used in order to ensure success4 ,this is made absolutely certain by the use of what is called a 8forcing pack0--i4e41 a pack in which all the cards are alike4 ,thus1 if the knave of hearts is the card to be drawn1 the whole pack will consist of knaves of hearts1 and the drawer may therefore do his utmost to exercise a free choice1 but the card which he draws will certainly be the knave of hearts1 and no other4 ,where more than one card is to be drawn1 as1 for instance1 in the well-known trick of the 8rising cards10 the pack may consist1 instead of similar cards throughout1 of groups of two or more particular cards4 ,thus1 one third may be knaves of hearts1 one third aces of diamonds1 and the remaining third sevens of clubs--the cards of each kind being together4 ,with the aid of such a pack1 it will require very little skill to ensure one of each sort being drawn4 ,,to ,,make ,a 8,,false ,,shuffle40--,false shuffles are of two kinds1 according to the object with which they are made4 ,those of the first kind are designed simply to keep in view a particular card or cards1 the remainder of the pack being really shuffled4 ,the second kind are designed to keep the pack in a pre-arranged order1 and are shuffles in appearance only1 all the cards being brought back to the same relative positions which they occupied before the shuffle4 ,first ,method4 7,to keep a particular card or cards in view47--,take the pack in the left hand4 ,if the card to be kept in view is not already on the top of the pack1 insert the little finger of the left hand immediately above that card1 and make the pass in order to bring it to the top4 ,transfer this card to the right hand1 and slide the remaining cards upon it1 by little successive parcels of six or eight cards1 one above the other4 ,the known card will now be at the bottom4 ,return the pack to the left hand4 ,slide off three or four of the top cards into the right hand1 and place the remaining cards1 by parcels of six or eight as before1 alternately above and below these top cards1 till you come to the last card1 which is the special one1 and which you will place above or below as occasion may require4 ,if there are three or four cards to be kept in view1 it makes no difference in the mode of operation1 save that you must treat those cards throughout as the single card1 and keep them together accordingly4 ,illustration3 ,,fig4 #ab4 ,second ,method4 7,to keep a particular card in view47--,bring the card in question1 as before directed1 to the top of the pack4 ,take the pack in the left hand1 holding it upright on its side1 the edges of the cards resting on the palm1 the four fingers 7which should be slightly moistened7 being at the back or top1 and the thumb on the face of the pack4 ,now1 with the thumb and middle finger of the right hand 7see ,fig4 #ab7 lift out edgeways that portion of the cards which now forms the middle of the pack1 and drop them by packets of five or six at a time upon the face of the cards remaining in the left hand1 moving aside the left thumb to allow of their passage4 ,the pressure of the fingers will always keep the top card in its place1 however many of the remaining cards you lift out with the right hand2 and as you only shuffle on to the face of the pack1 however often you repeat the process1 this card will still remain at the top4 ,third ,method4--7,to retain the whole pack in a pre-arranged order47--,take the pack in the left hand1 slide off with the left thumb five or six of the top cards into the right hand1 and place the remaining cards by parcels of five or six at a time 7apparently7 alternately above and below these first cards1 as in the ordinary mode of shuffling4 ,we say apparently1 for in reality1 although you go through the motion of placing every alternate packet above the cards in the right hand1 you do not leave it there1 but draw it back again with the thumb on to the top of the cards in the left hand1 and then place it1 by your next movement1 under the cards in the right hand4 ,the result is1 that the cards in the left hand1 instead of being placed alternately above and below the cards in the right hand1 are really all placed below1 and in precisely the same order which they occupied at first4 ,some persons are in the habit of making the genuine shuffle1 of which the above is an imitation1 from the right hand to the left instead of from the left hand to the right1 as above described4 ,it may be stated1 once for all1 that wherever it is found more easy by the student to do with the right hand that which he is here instructed to do with the left1 and vice vers1 there is not the least objection to his doing so1 though the mode here indicated is that which1 it is believed1 will be found most convenient by the generality of persons4 ,illustration3 ,,fig4 #ac4 ,fourth ,method4 7,to retain the whole pack in a pre-arranged order47--,take the upper half of the pack in the right hand and the lower half in the left1 the thumb in each case being above and the fingers below the cards4 ,place the two portions edge to edge1 and work in the edges of the cards in the right hand half an inch or so between the edges of those in the left1 spreading the cards in the meanwhile to facilitate the introduction2 but let the right hand cards project about an inch above the top edges of those in the left hand4 7,see ,fig4 #ac4;,a7 ,if you were to close up the cards in the relative positions they now occupy1 they would be really shuffled4 ,to prevent their being so in fact1 as well as in appearance1 you clip lengthways between the thumb and second finger of the right hand the cards of the packet on that side1 and bend them sharply downwards and outwards4 ,this again disengages them from the other packet1 on the top of which you quickly slide them1 and press the whole square4 ,a ,the cards of the right-hand packet are darkened in the figure for the better distinguishing of the two packets1 though there would1 of course1 be no such difference of shade in the original4 ,illustration3 ,,fig4 #ad4 ,fifth ,method4 7,to retain the whole pack in a pre-arranged order47--,make the pass so as to bring the lower half of the pack uppermost4 ,take the pack in the right hand1 keeping the two portions of the pack separated by the little finger of that hand4 ,hold the cards face downwards a few inches from the table1 and let fall1 by five or six at a time1 those cards which now form the lower half of the pack4 ,you should so arrange that these cards form four little heaps1 falling in the order indicated by the accompanying figure 7,fig4 #ad74 ,thus the bottom cards must fall at #a1 the next lowest at #b1 the next 7comprising all that remain of the lower packet7 at #c1 and the remaining cards 7being the whole of the upper part7 at #d4 ,now 7with the left hand7 quickly place packet #a on packet #d1 and 7with the right hand7 packet #b on packet #a1 and finally 7with the left hand7 packet #c on the top of all1 when the cards will occupy precisely the same relative positions as at first4 ,the use of the two hands alternately1 coupled with the rapidity of the performer1 gives to his motions an appearance of carelessness which effectually baffles the spectators1 and prevents their suspecting that the heaps are re-arranged in any determinate order4 ,sixth ,method4--,this also retains the cards in their pre-arranged order1 with this qualification1 that an indefinite number are transferred from the top to the bottom of the pack1 the effect being as if the cards had been cut without being shuffled4 ,holding the cards as directed for the last method1 you drop them in four heaps as before1 but beginning from the left1 and proceeding straight onwards in regular succession4 ,now place the first heap on the fourth or right hand heap1 and the second heap on the first heap1 finally placing the third heap either above or below the pile thus made4 ,where it is necessary1 after using this shuffle1 to bring back the cards to the precise condition in which they were at first1 this object may be effected by the use of the 8bridge10 hereafter described4 ,illustration3 ,,fig4 #ae4 ,,to 8,,palm0 ,a ,,card4--,bring the card which you desire to palm 7by the pass or otherwise7 to the top of the pack4 ,hold the pack face downwards in the left hand1 covering it lengthways with the right4 ,with the left thumb push the top card till it projects about an inch beyond the edge of the pack4 ,with the third finger of the left hand1 which is now immediately below the card1 press it upwards into the right hand1 which should half close over it4 ,you must not mind about bending the card1 which will lie curled up against the inside of the hand4 ,you may either let the hand drop negligently to your side1 or1 still better1 take the pack between the fingers and thumb of the same hand 7see ,fig4 #ae7 and offer it to be shuffled4 ,this will give you the opportunity1 often very valuable1 of seeing what the card in question is4 ,when it becomes necessary to return the card to the pack1 the mere motion of taking the pack in the right hand1 whether from the left hand or from the table1 will effect that object in the most natural manner4 ,if the card retains a curve from its bent position in the hand1 you may readily straighten it by ruffling the cards1 as described in the next paragraph4 ,if the performer is fortunate enough to have a large hand1 a complete pack of cards may be palmed in this manner without difficulty4 ,,to 8,,ruffle0 ,,the ,,cards4--,hold the pack tightly by its lower end between the fingers and thumb of the left hand1 the thumb being above and the fingers below the cards4 ,cover the pack lengthways with the right hand1 and clip the cards between the fingers and thumb as if you were about to make the pass by the first method4 ,keep the thumb unmoved1 but draw the fingers smartly upwards1 so as to bend the cards slightly4 ,the springing of the cards as they escape one by one from the pressure of the fingers1 and again straighten themselves1 causes a peculiar sharp sound4 ,the ruffle may also be executed with one hand only4 ,take the pack between the middle finger at top and the thumb at bottom1 the first finger resting in a bent position on the back of the cards4 ,press strongly with the thumb1 so as to bend the two ends of the cards smartly outwards1 allowing them one by one to escape from the middle finger1 and simultaneously straighten the first finger1 so as to clip the lower end of the cards between that finger and the thumb4 ,the ruffle is a mere flourish1 but it is by no means without its value4 ,we have indicated in the last paragraph one of its uses1 viz41 to straighten a card which has been palmed4 ,apart from this1 there are many tricks in which it is desirable to mislead the spectator as to the particular movement by which1 or the point of time at which1 a particular effect was produced4 ,this may be effected by a judicious use of the ruffle4 ,suppose1 for instance1 that the trick consists in magically bringing a given card to a particular position in the pack1 and that the performer has already1 without the knowledge of his audience1 placed the card in the required position4 ,if1 before showing that it is so placed1 he ostentatiously ruffles the cards1 nine out of ten of the audience will be persuaded that this noisy movement is in some way the cause of the transposition1 and will be proportionately the less likely to discover the true explanation of the feat4 ,,to 8,,change0 ,a ,,card4 7,filer la ,carte47--,some of the most brilliant effects in card-conjuring are produced by the aid of this sleight1 by means of which a card1 fairly exhibited1 is forthwith apparently transformed to a different one4 ,there are several modes of producing this effect4 ,illustration3 ,,fig4 #af4 ,first ,method4--,hold the pack in the left hand1 as though about to deal the cards4 ,hold the card to be changed in the right hand1 between the first and second fingers4 7,see ,fig4 #af47 ,the card into which it is to be changed should have been previously placed 7secretly1 of course7 on the top of the pack4 ,push this card a little forward with the left thumb1 so as to make it project about three-quarters of an inch beyond the remaining cards4 ,bring the hands close together for an instant1 and in that instant place the card held in the right hand under the pack1 7the second1 third1 and fourth fingers of the left hand opening to receive it1 and the remaining finger making way for it as soon as it reaches the pack74 ,simultaneously with this movement1 the thumb and first finger of the right hand must close upon the card projecting from the top of the pack1 and1 as the hands separate1 carry with them that card in place of the one which the right hand originally held4 ,a half turn of the body to the left or right1 a quick downward sweep of the right hand1 or any other rapid gesture1 will assist in covering the momentary bringing together of the hands4 ,in some cases it is better that the right hand alone should move1 the left hand being held stationary2 in other cases the left hand 7the one holding the pack7 should make the movement1 the hand holding the single card being motionless4 ,it will be well to practise both these modes of making the change4 ,the direction in which the performer turns1 in order to place the card on his table1 or the like1 will indicate which is the best mode to use in any given case4 ,illustration3 ,,fig4 #ag4 ,second ,method4--,this is a very inferior mode of performing the change1 but may be useful as a makeshift while the student is acquiring the greater dexterity required for the former method4 ,hold the pack upright towards the audience1 with the card to be changed at the bottom 7and therefore in full view71 and the card for which it is to be changed at the top4 ,the pack should be supported by both hands1 and the two cards named should project about half an inch to the right beyond the remainder of the pack1 the front or bottom card being between the first and second fingers1 and the back or top card between the thumb and first finger of the right hand4 7,see ,fig4 #ag47 ,call attention to the bottom card2 make a downward sweep with the pack so as to turn the faces of the cards towards the ground1 and at the same moment draw off with the right hand the top card1 which the audience will imagine to be the one they have just seen at the bottom4 ,illustration3 ,,fig4 #ah4 ,third ,method4--,hold the card to be changed face downwards between the thumb and first and second fingers of the right hand1 the thumb being above and the two fingers below the card4 ,hold the pack in the left hand1 as if about to deal the cards1 the card for which that first mentioned is to be changed being on the top4 ,bring the hands rapidly together1 pushing the top card with the left thumb about an inch beyond the rest of the pack1 and at the same moment place the card held in the right hand with a sliding motion upon the top of the pack4 7,see ,fig4 #ah47 ,both this card and the original top card 7which is now second7 will now be between the two fingers and thumb of the right hand4 ,press lightly on the top card with the left thumb to keep it back1 and quickly draw away the right hand1 pressing gently upwards with the two fingers on the face of the second card1 which you will thereby draw away in place of the top card4 ,if neatly done1 the keenest eyesight cannot detect the substitution of the second card4 ,your only difficulty will be to find a colourable pretext for placing the card you hold on the top of the pack4 ,this achieved1 the rest is easy4 ,the nature of the trick you are performing will frequently suggest a plausible excuse4 ,a very successful plan is to boldly request the company to observe that you do not do that which you at the same moment actually do4 8,you will observe1 ladies and gentlemen10 you remark1 8that ,i do not1 even for one moment1 replace the card in the pack1 but simply10 etc41 etc4 ,at the words 8replace the card in the pack10 the hands are brought together1 and make the change4 ,the action1 suiting the words1 is taken by the audience as an indicative gesture only1 and thus the change is effected under their very eyes without exciting the least suspicion4 ,in this mode of making the change1 you should aim at being easy and natural1 rather than very rapid4 ,the main movement 7that which brings the hands together7 is undisguised1 but attributed to a fictitious motive2 and the subsidiary movement of the fingers1 which actually effects the change1 is so slight as to be practically imperceptible4 ,fourth ,method4 7,with one hand only47--,take the pack1 face downwards1 in the left hand1 as if about to deal4 ,place the card to be changed on the top1 and the card for which it is to be changed next below it4 ,with the left thumb push forward the top card to the extent of half its width1 letting it rest on the tips of the fingers4 ,this will leave one-half of the second card exposed4 ,by a reverse movement of the thumb1 draw back this second card till its outer edge is just clear of the inner edge of the top card4 ,now press the second card downwards with the thumb so as to bring its opposite edge just above the level of the top card2 then push it back into its place1 but this time above instead of below the top card4 ,illustration3 ,,fig4 #ai4 ,illustration3 ,,fig4 #bj4 ,fifth ,method4 7,to change a given card without the aid of the pack47--,a card having been chosen and returned to the pack1 make the pass to bring it to the top1 and palm it4 ,give the pack to be shuffled1 and when it is returned pick out hap-hazard any card you please1 and holding it up between the first finger and thumb of the right hand 7in which is the palmed card71 announce boldly that that was the card chosen4 ,you will1 of course1 be contradicted1 whereupon you pretend to be disconcerted1 and ask if the person is quite certain that that is not the card he drew1 and so on4 ,meanwhile1 you take the card1 face downwards1 between the first finger and thumb of the left hand1 whence you immediately take it again in the right hand 7see ,fig4 #ai71 taking it so as to bring the palmed card immediately over it1 when the two will at a little distance appear to be only one card4 ,you then say1 8,well1 if you seriously assure me that it is not the right card1 ,i must endeavour to change it to the right one4 ,may ,i ask what your card was80 ,when you are told1 you continue1 8,it is a very simple process4 ,i have merely to lay the card upon my hand1 so1 or if you prefer it1 ,i will change it in your own hands4 ,oblige me by holding the card face downwards4 ,i think you said your card was0--7say7 8the ace of spades8 ,change60 ,as you say the words1 8lay the card upon my hand10 you place the two cards for an instant on the palm of the left hand 7see ,fig4 #bj71 and draw off rapidly the top card1 which is the right one1 leaving the other palmed in the left hand1 which then drops to your side4 ,the audience do not suspect that the change is already effected1 or that you have had more than one card in your hand throughout1 and if you have performed the trick neatly1 will be utterly nonplussed when the transformation is revealed4 ,you may1 if you please1 conclude by asking what card the audience imagine that they first saw1 and1 when told1 remarking that they must have been mistaken in their impression1 as that card has been in ,mr4 ,so-and-so's tail-pocket all the evening1 as you prove by plunging your left hand 7in which the card remains palmed7 into the pocket1 and producing it accordingly4 ,illustration3 ,,fig4 #ba4 ,sixth ,method4 7,to change several cards at once47--,this sleight is extremely useful in cases where you desire1 without the knowledge of the audience1 to gain possession of a given number of selected cards4 ,palm in the left hand1 face downwards1 a number of cards equal to that which you desire to abstract4 ,take the cards which you desire to gain possession of between the second finger and thumb of the left hand 7after the manner of the single card in ,fig4 #ai74 ,cover these cards lengthways with the right hand1 and palm them in that hand 7see ,fig4 #ba71 at the same moment seizing crossways1 with the fingers and thumb of the same hand1 the cards already palmed in the left hand 7which to the eyes of the spectators will be the same they have just seen71 and throw them face downwards on the table4,b ,b ,the last two very useful and effective sleights are inserted by special permission of the inventor1 ,professor ,hellis1 of ,no4 #ac1 ,silver ,street1 ,kensington1 one of the cleverest and most genial drawing-room performers of the day4 ,,to ,,get ,,sight ,,of ,a ,,drawn ,,card4--,the power of doing this is a sine qu non for the conjuror4 ,as already mentioned1 even the most expert operator cannot be absolutely certain of 8forcing0 the card which he desires1 and a novice is very likely indeed to find a wrong card occasionally drawn4 ,it is therefore necessary to be provided with a remedy for such a contretemps4 ,one mode of meeting the difficulty is to allow the card to be returned to the pack1 make the pass to bring it to the top1 and palm it1 immediately giving the pack to be shuffled1 and in so doing to get sight of the card1 which remains in your own hand1 and can in due time be reproduced in any way you please4 7,see ,fig4 #ae47 ,for the present purpose1 we assume that you do not desire to retain possession of the card1 but merely wish to know its suit and value4 ,these may be ascertained as follows3-- ,illustration3 ,,fig4 #bb4 ,first ,method4--,ask the drawer to return his card to the pack1 which you offer for that purpose in the left hand1 spreading the pack fanwise1 in order that he may insert the card where he pleases4 ,as he replaces the card1 slip the little finger of the left hand below it1 and close the fan4 ,you now have the pack held in the palm of the left hand1 but divided just below the chosen card by the little finger1 the three remaining fingers being on the top4 ,offer the cards to be shuffled1 or make any gesture you like with the pack1 at the same moment slightly straightening the fingers4 ,the effect of this movement will be to lift the upper packet1 and thus open the pack bookwise1 the opening being towards yourself1 and the lowest card of the top heap1 which is the card you desire to ascertain1 being for the moment in full view4 7,see ,fig4 #bb47 ,second ,method4--,proceed as above1 but instead of opening the pack to get sight of the card1 bring it secretly to the bottom by the pass1 and offer the cards to be shuffled1 holding them at the upper end between the thumb and first and second finger of the right hand1 and slanting from you at an angle of #de1 as in ,fig4 #ae4 ,as the faces are towards you1 you have a full view of the card4 ,even if it should suggest itself to the audience that you are able to see the bottom card1 as they are not aware that the chosen card is now in that position1 there is nothing to excite their suspicion4 ,you may1 by way of variety1 instead of offering the cards to be shuffled1 hold them in the right hand1 and make the single-handed 8ruffle0 above described1 at the same time turning their faces slightly towards yourself4 ,you may effect the same object1 even more simply1 by the mere act of passing the pack from the one hand to the other1 keeping the bottom card turned inwards as above4 ,illustration3 ,,fig4 #bc4 ,,to 8,,slip0 ,a ,,card4--,hold the pack in the left hand having first slightly moistened the fingers1 which should rest upon the back of the cards4 ,open the pack bookwise1 at an angle of about #de1 holding the upper packet lengthways between the thumb and second finger of the right hand4 ,draw this upper packet smartly upwards to a distance of two or three inches from the lower packet4 7,see ,fig4 #bc47 ,the top card of the upper packet1 being held back by the pressure of the fingers upon it1 will not move upwards with the rest of the packet2 but immediately the remaining cards are clear1 will fold itself down on the top of the lower packet4 ,if the top card of the lower packet be examined before and after the slip1 the card will appear to have changed1 the fact being that the original top card becomes the second after the slip1 the slipped card covering it4 ,illustration3 ,,fig4 #bd4 ,,fig4 #be4 ,,to ,,draw ,,back ,a ,,card4 7,glisser la carte47--,the performer shows the bottom card1 then dropping the pack into a horizontal position1 face downwards1 he draws out1 with the thumb and second finger of the other hand1 apparently that card1 but really the next above it4 ,this is effected as follows3--,hold the pack upright in the left hand between the first finger and thumb1 the back of the cards towards the palm1 and the thumb and finger about the middle of each side of the pack4 ,let the third finger1 which should be previously moistened1 rest on the face of the cards4 7,see ,fig4 #bd47 ,you will find that in this position1 by moving the third finger1 you can draw back the bottom card about an inch below the remaining cards1 and thereby leave exposed a corresponding portion of the next card4 7,see ,fig4 #be47 ,this is the whole mechanism of the operation4 ,you must1 of course1 take care1 after showing the bottom card1 to turn the pack downward before you slide back that card in order to draw the next card in its place4 ,illustration3 ,,fig4 #bf4 ,,to 8,,turn ,,over0 ,,the ,,pack4--,there are certain tricks 7as1 for instance1 where you have undertaken to produce a given card at a particular number in the pack7 for which it is necessary to deal a certain number of cards from the top1 and then 7without the spectator's knowledge7 to continue the deal from the opposite end of the pack4 ,as a necessary preliminary1 you must 8face0 the cards--i4e41 bring the upper and lower portions face to face4 ,this you have already been taught to do by means of the pass4 ,whichever way the pack is turned1 it will now1 of course1 show backs only4 ,take the pack flat in the left hand1 the fingers clipping it rather tightly1 but without the aid of the thumb4 ,pass the thumb underneath1 and with the ball of the thumb press the pack smartly upwards 7see ,fig4 #bf71 when it will describe a semi-revolution on its longer axis1 the lower face of the pack being thereby brought uppermost4 ,if performed with the hand at rest1 the movement is very perceptible2 but if you at the same time make a semi-circular sweep of the hand and arm from left to right1 the smaller movement of the pack in the hand is much less likely to attract notice4 ,,to ,,spring ,,the ,,cards ,,from ,,one ,,hand ,,to ,,the ,,other4--,this is a mere flourish1 and belongs rather to the art of the juggler than to that of the magician2 but it is so frequently exhibited by conjurors that a work on magic would hardly be complete without some notice of it4 ,the cards are held in the right hand1 between the tips of the second and third finger at the top1 and the thumb at the bottom4 ,if the thumb and fingers are now brought slowly nearer together1 so as to bend the cards slightly1 they will one by one1 in quick succession 7beginning with the bottom card7 spring away from the pack2 and if the pressure be continued1 the whole of the cards will spring away one after the other in this manner4 ,if the left hand be held at ten or twelve inches distance from the right1 with the fingers slightly bent1 the released cards will be shot into the left hand1 which1 as the last cards reach it1 should be rapidly brought palm to palm with the right1 and square up the pack to repeat the process4 ,by giving the body a quick half turn to the right as the cards are sprung from one hand to the other1 you may make the hands 7and with them the moving cards7 describe an arc of about two feet1 and so deceive the eye of the spectator into the belief that the hands are that distance apart1 though in reality1 as they both move together in the same direction1 they retain throughout their original relative distance of ten or twelve inches4 ,,to ,,throw ,a ,,card4--,this sleight also belongs rather to the ornamental than to the practical part of conjuring1 but it is by no means to be despised4 ,it is a decided addition to a card trick for the performer to be able to say1 8,you observe1 ladies and gentlemen1 that the cards ,i use are all of a perfectly ordinary character10 and by way of offering them for examination1 to send half-a-dozen in succession flying into the remotest corners of the hall or theatre4 ,illustration3 ,,fig4 #bg4 ,the card should be held lightly between the first and second fingers1 in the position shown in ,fig4 #bg4 ,the hand should be curved inward toward the wrist1 and then straightened with a sudden jerk1 the arm being at the same time shot sharply forward4 ,the effect of this movement is that the card1 as it leaves the hand1 revolves in the plane of its surface in the direction indicated by the dotted line1 and during the rest of its course maintains such revolution4 ,this spinning motion gives the flight of the card a strength and directness which it would seem impossible to impart to so small and light an object4 ,a skilled performer will propel cards in this way to a distance of sixty or eighty feet1 each card travelling with the precision1 and well-nigh the speed1 of an arrow shot from a bow4 ,the movement1 though perfectly simple in theory1 is by no means easy to acquire in practice4 ,indeed1 we know no sleight which1 as a rule1 gives more trouble at the outset2 but1 after a certain amount of labour with little or no result1 the student suddenly acquires the desired knack1 and thenceforward finds no difficulty in the matter4 ,,the ,,bridge4--,the object of the bridge is to enable the performer1 with ease and certainty1 to cut or otherwise divide the pack at a given card4 ,it is made as follows3 ,holding the cards in the left hand1 with the thumb across the pack1 the performer covers them for an instant with his right hand1 as if about to make the pass4 ,grasping the pack between the thumb and second finger of this hand1 he bends the whole of the cards slightly inwards over the first finger of the left hand1 immediately afterwards bending the upper or outward portion of the pack backwards in the opposite direction4 ,the effect of the double movement is that the two halves of the pack are bent in a double concave form1 thus 771 though in a much less degree4 ,if the cards be now cut1 the concave portions1 instead of being1 as at first1 back to back1 will be face to face1 thus 771 leaving in the centre of the pack an elliptical opening1 of a maximum width of about an eighth of an inch4 ,this slight hiatus in the middle will generally cause a person who is invited to cut to do so at that particular point1 and will in any case enable the performer either to cut or to make the pass at that point with the greatest ease4 ,the cases in which the bridge may be employed with advantage will be more particularly indicated when we come to practically apply the processes already described1 but it has a special use which may be at once mentioned4 ,it will be remembered that some of the false shuffles already described leave the cards as if cut1 though they in other respects retain their pre-arranged order2 and it therefore becomes necessary to again cut them at a particular point1 in order to bring them back to their original condition4 ,this point is ascertained by the use of the bridge4 ,the cards are first bent in the manner above described2 the false shuffle is then made1 leaving the cards in effect cut2 but by again cutting or making the pass at the bridge1 they are once more precisely as at first4 ,we have endeavoured to be as explicit as possible in the foregoing description of the different sleight-of-hand processes1 so that the reader may1 by following our instructions closely1 be able to teach himself1 unassisted1 to perform the various movements described4 ,we have done our best to make our descriptions intelligible1 and trust that we have fairly succeeded4 ,we should1 however1 strongly advise any student who desires to make rapid progress to take1 if possible1 a few preliminary lessons under the personal guidance of a competent performer1 professional or amateur4 ,it is an old saying that an ounce of example is worth a pound of precept1 and a reader who has once or twice seen the processes we have described practically illustrated by skilful hands1 will not only avoid the difficulties which are sure to be at first found in even the clearest written instructions1 but will escape the formation of bad habits1 which it may take much time and trouble to eradicate4 ,should the novice seek such assistance1 he must not expect to find that any one performer uses indifferently all the processes we have described4 ,every ,professor has his own favourite methods of procedure1 and1 generally speaking1 pours scorn and contumely upon all others2 or1 in the words of ,byron 7a little altered7-- 8,compounds for sleights he has a mind to1 ,by damning those he's not inclined to40 ,the student who commences his labours without such assistance must make his own selection4 ,in the 8pass0 we should recommend him to stick to the first method1 the remaining passes being rather curious than useful4 ,among the false shuffles1 the first1 third1 fifth1 and sixth will be found the most effective4 ,for the remaining processes he may be guided by his own taste1 and the greater or less facility with which his fingers adapt themselves to one or the other of them4 ,the various sleights above described will cost the student some time and perseverance before they are fairly mastered1 and until they are so it is hopeless to attempt any of the more brilliant feats4 ,for his amusement in the meantime1 we subjoin a few tricks for which sleight-of-hand is not necessary1 but which1 if performed with neatness and tact1 will cause considerable astonishment to the uninitiated4 ,illustration ,,chapter ,,iii4 ,,card ,,tricks ,,with ,,ordinary ,,cards1 ,,and ,,not ,,requiring ,,sleight-,,of-,,hand4 ,there is a large class of tricks which may be described as consisting of two elements--the discovery of a chosen card by the performer1 and the revelation of his knowledge in a more or less striking manner4 ,we propose to give1 in the first place1 three or four methods of discovering a given card1 and then a similar variety of methods of concluding the trick4 ,it must be remembered that for our present purpose we exclude all tricks for which any special dexterity is requisite4 ,there will be little that is absolutely novel in this chapter1 but it will be for the student to supply the want of freshness in his materials by the ingenuity of his combinations4 ,illustration3 ,,fig4 #bh4 ,,simple ,,modes ,,of ,,discovering ,a ,,given ,,card4 ,first ,method4--,hold the pack face downwards in the left hand1 having previously noticed the bottom card4 ,secretly draw down this card about three-quarters of an inch1 and hold the part so drawn down between the thumb and fourth finger of the right hand1 the palm of the right hand being above the cards4 7,see ,fig4 #bh47 ,now1 with the tip of the first or second finger of the right hand1 draw down the cards one by one about half an inch 7beginning with the top card1 and so on71 inviting your audience to stop you at any card they may choose4 ,when they do so1 draw down all the cards1 as far as you have gone1 completely away from the remaining cards2 but with them draw down at the same time the bottom card4 ,this card1 coalescing with the upper portion1 will be1 to the eyes of the spectators1 that at which you were directed to stop4 ,holding the cards with their backs towards you1 request them to observe what the card is4 ,the pack may now be shuffled to any extent1 but1 being acquainted with the card1 you can find or name it at pleasure4 ,the above may be employed as a means of 8forcing10 where it is essential to force a given card1 and you are not sufficiently proficient to feel certain of effecting that object by the regular method4 ,thus1 suppose that the card which you desire to force is the seven of diamonds1 you place that card at the bottom of the pack1 and proceed as above directed4 ,when the audience desire you to stop1 you draw off the upper packet1 and with it the seven of diamonds1 which will thereby become the bottom card of that packet4 ,you request them to note the card1 and at once hand the pack to be shuffled4 ,this is a very simple and easy mode of forcing1 but it is very generally known1 and it would not1 therefore1 be safe to use it before a large or very acute audience4 ,second ,method4--,deal the cards into three packs1 face upwards1 and request a spectator to note a card1 and remember in which heap it is4 ,when you have dealt twenty-one cards1 throw the rest aside1 these not being employed in the trick4 ,ask in which heap the chosen card is1 and place that heap between the other two1 and deal again as before4 ,again ask the question1 place the heap indicated in the middle1 and deal again a third time4 ,note particularly the fourth or middle card of each heap1 as one or other of those three cards will be the card thought of4 ,ask1 for the last time1 in which heap the chosen card now is1 when you may be certain that it was the card which you noted as being the middle card of that heap4 ,this same effect will be produced with any number of cards1 so long as such number is odd1 and a multiple of three4 ,the process and result will be the same1 save that if fifteen cards are used each heap will consist of five cards1 and the third card of each will be the middle one2 if twenty-seven cards1 each heap will consist of nine cards1 and the fifth will be the selected one1 and so on4 ,third ,method4--,take any number of the cards1 and deal them face upwards upon the table1 noting in your own mind the first card dealt4 ,ask any number of persons each to note a card1 and to remember at what number it falls4 ,when you have dealt all the cards you first took in your hand1 take them up again1 without disturbing their order1 and turn them face downwards4 ,in order to show that the trick is not performed by any arithmetical calculation 7you should lay great stress upon this1 the fact being precisely the reverse71 invite the company to take any number they choose of the remaining cards 7such number being unknown to you71 and place them either above or below the cards you have dealt4 ,allow the cards to be cut 7not shuffled7 as many times as the audience please4 ,you now1 for the first time1 ask each person what was the number of his card1 and1 on being informed1 again deal the cards1 turning them face upwards4 ,when the original first card appears1 count on 7silently7 from this as number one to the number mentioned1 at which number the noted card will again appear4 ,should the whole of the cards be dealt out without reaching the required number1 turn the cards over again1 and continue from the top of the pack until that number is reached4 ,having indicated how a card may be discovered1 we proceed to describe various modes of disclosing the card thus ascertained4 ,first ,method4--,get the card to the top of the pack4 ,give the pack to some person to hold4 ,the cards should be face upwards1 so that the chosen card will be undermost1 with the thumb of the holder above and the fingers below the pack4 ,the fingers should extend under the pack for about an inch1 but the thumb above not more than half an inch4 ,request the person to nip the cards tightly1 and as he does so give them a smart downward rap with your forefinger1 which will knock all the cards out of his hand with the exception of the lowest card1 which will be retained by the greater friction of the fingers1 and will remain staring him in the face4 ,this is a very old and simple finish1 but it appears marvellous to those who witness it for the first time4 ,you may1 if you prefer it1 hold the cards yourself as above directed1 and allow another person to strike them downwards4 ,it is well to moisten the fingers 7not the thumb7 slightly1 as you thereby increase the hold on the chosen card4 ,illustration3 ,,fig4 #bi4 ,second ,method4--,get the card to the top of the pack1 and hold the pack lightly between the thumb and fingers of the right hand1 the thumb being on the face1 and the fingers 7which should be previously slightly moistened7 on the back of the cards4 7,see ,fig4 #bi47 ,give a sharp downward jerk of the hand and arm1 when1 as in the last case1 all the cards will fall save the top card1 which is retained by the greater friction of the moistened fingers4 ,third ,method4--,get the chosen card to the top1 and hold the pack in the right hand1 lengthways and face downwards1 about two feet above the floor or table4 ,push the top card a little off the pack sideways1 so as to make it project throughout its whole length about an inch beyond the rest of the cards4 ,now let fall the pack1 when the resistance of the air will cause the top card to turn over in its fall1 and to appear face upwards1 all the other cards remaining face downwards4 ,fourth ,method4--,place the card in question and seven other indifferent cards in two rows1 face downwards1 on the table4 ,keep in your own mind which is the chosen card1 but do not let the audience see the face of either of the cards4 ,ask the drawer if he is sure that he will know his card again4 ,he will1 of course1 answer 8yes40 ,now ask either the same or another person to touch four of the eight cards upon the table4 ,necessarily1 the four which he touches will either include or not include the chosen card4 ,in either case you take up 7whether he touches them or not7 the four which do not include the chosen card1 remarking1 8,i will return these to the pack40 ,invite the same person to touch two out of the four which remain4 ,again take up the two 7whether touched or not touched7 which do not include the chosen card1 saying1 8,i return these also to the pack40 ,you have now only two cards left on the table1 one of which is the chosen card4 ,invite one of the spectators to touch one of these cards4 ,as before1 whichever he touches1 you pick up and return to the pack the non-chosen card1 remarking1 8,we have now only one card left4 ,you have all seen that ,i dealt out eight cards on the table1 and that ,i have withdrawn seven1 you yourselves choosing which ,i should withdraw4 ,now1 sir1 be kind enough to name the card you drew40 ,the card having been named1 you turn over the card left on the table1 and show that it is the right one4 ,this trick is based upon a kind of double entendre1 which1 though apparently obvious1 is rarely seen through by the audience if performed in a quick and lively manner4 ,the secret lies in the performer interpreting the touching of the cards in two different senses1 as may best suit his purpose4 ,if the chosen card is not among the cards touched1 he interprets the touching as meaning that the cards touched are rejected1 and to be returned to the pack4 ,if the card is among those touched1 he interprets the touching in the opposite sense1--namely1 that the cards touched are to be retained1 and the others rejected4 ,if he is lucky in the cards touched1 it may happen that he is able to interpret the touching in the same sense throughout the trick1 in which case there will be no clue whatever to the secret2 but even in the opposite case1 where he is compelled to put aside first the cards touched and then the cards not touched1 the difference generally passes unnoticed by the spectators1 or1 if noticed1 is put down as a slip on the part of the performer1 rather than as being1 as it really is1 the key to the trick4 ,where the performer is proficient in sleight-of-hand1 the above may be worked up into a really brilliant trick4 ,any indifferent card being drawn and returned1 is brought to the top by the pass1 palmed1 and the pack shuffled4 ,eight cards are laid out1 and the drawn card revealed as above4 ,having described these few commencements and terminations1 we will next proceed to the discussion of some complete tricks4 ,illustration3 ,,fig4 #cj4 ,,to ,,make ,a ,,card ,,vanish ,,from ,,the ,,pack1 ,,and ,,be ,,found ,,in ,a ,,person',s ,,pocket4--,slightly moisten the back of your left hand4 ,offer the pack to be shuffled4 ,place it face downwards on the table1 and request one of the company to look at the top card4 ,request him to place the back of his left hand upon the cards1 and press heavily upon it with his right4 ,in order that he may the better comprehend your meaning1 place your own hands as described 7see ,fig4 #cj71 and request him to imitate you4 ,when you remove your left hand1 the back being moistened1 the card will stick to it4 ,put your hands carelessly behind you1 and with the right hand remove the card4 ,all will crowd round to see the trick4 ,pretend to be very particular that the person who places his hand on the card shall do so in precisely the right position4 ,this will not only give you time1 but draw all eyes to his hands4 ,meanwhile1 watch your opportunity and slip the card into the tail pocket of one or other of the spectators4 ,now announce that you are about to order the top card1 which all have seen1 and which ,mr4 ,a4 is holding down so exceedingly tight1 to fly away from the pack and into the pocket of ,mr4 ,b41 making the choice apparently hap-hazard4 ,on examination your commands will be found to have been fulfilled4 ,it has a good effect1 when practicable1 to slip the card into the pocket of the same person who is pressing upon the pack4 ,,to ,,place ,,the ,,four ,,kings ,,in ,,different ,,parts ,,of ,,the ,,pack1 ,,and ,,to ,,bring ,,them ,,together ,,by ,a ,,simple ,,cut4--,take the four kings 7or any other four cards at pleasure71 and exhibit them fanwise 7see ,fig4 #ca71 but secretly place behind the second one 7the king of diamonds in the figure7 two other court cards of any description1 which1 being thus hidden behind the king1 will not be visible4 ,the audience being satisfied that the four cards are really the four kings1 and none other1 fold them together1 and place them at the top of the pack4 ,draw attention to the fact that you are about to distribute these four kings in different parts of the pack4 ,take up the top card1 which1 being really a king1 you may exhibit without apparent intention1 and place it at the bottom4 ,take the next card1 which the spectators suppose to be also a king1 and place it about half way down the pack1 and the next1 in like manner1 a little higher4 ,take the fourth card1 which1 being actually a king1 you may show carelessly1 and replace it on the top of the pack4 ,you have now really three kings at the top and one at the bottom1 though the audience imagine that they have seen them distributed in different parts of the pack1 and are proportionately surprised1 when the cards are cut1 to find that all the kings are again together4 ,illustration3 ,,fig4 #ca4 ,it is best to use knaves or queens for the two extra cards1 as being less distinguishable from the kings1 should a spectator catch a chance glimpse of their faces4 ,there are other and better modes of bringing together four apparently separated cards by the aid of sleight-of-hand1 which will be explained in due course2 but we have thought it well to give also this simpler method1 as it is always an advantage to possess two different modes of performing the same feat4 ,,the ,,four ,,kings ,,being ,,placed ,,under ,,the ,,hand ,,of ,,one ,,person1 ,,and ,,the ,,four ,,sevens ,,under ,,the ,,hand ,,of ,,another1 ,,to ,,make ,,them ,,change ,,places ,,at ,,command4--,exhibit1 fanwise1 in one hand the four kings1 and in the other the four eights4 ,behind the hindmost of the kings1 and so as not to be noticeable by the audience1 secretly place beforehand the four sevens4 ,hold the four eights in the other hand in such manner that the lower of the two centre pips of the foremost is concealed by the first and second fingers4 ,the same pip on each of the other cards will be concealed by the card immediately before it1 so that the four cards will to the spectators appear equally like the sevens4 ,place the pack face downwards on the table4 ,draw attention to the fact that you hold in one hand the four kings1 and in the other the four sevens 7really the disguised eights74 ,fold up the supposed sevens1 and place them on the pack4 ,fold up the kings1 and place them on the top of the supposed sevens4 ,as the real sevens were behind the last of the kings1 they are now on the top1 with the kings next1 though the audience are persuaded that the kings are uppermost1 and the sevens next following4 ,deal off1 slowly and carefully1 the four top cards1 saying1 8,i take off these four kings10 and lay them on the table1 requesting one of the spectators to place his hand firmly upon them4 ,do the same with the next four cards 7which are really the kings74 ,ask if the persons in charge of the cards are quite sure that they are still under their hands1 and1 upon receiving their assurance to that effect1 command the cards they hold to change places1 which they will be found to have done4 ,,four ,,packets ,,of ,,cards ,,having ,,been ,,formed ,,face ,,downwards ,,on ,,the ,,table1 ,,to ,,discover ,,the ,,total ,,value ,,of ,,the ,,undermost ,,cards4--,this trick must be performed with the piquet pack of thirty-two cards4 ,invite one of the spectators to privately select any four cards1 and to place them1 separately and face downwards1 on the table2 then1 counting an ace as eleven1 a court card as ten1 and any other card according to the number of its pips1 to place upon each of these four so many cards as1 added to its value thus estimated1 shall make fifteen4 7,it must be remembered that value is only to be taken into consideration as to the original four cards1 those placed on them counting as one each1 whatever they may happen to be47 ,you meanwhile retire4 ,when the four heaps are complete1 advance to the table1 and observe how many cards are left over and above the four heaps4 ,to this number mentally add thirty-two4 ,the total will give you the aggregate value of the four lowest cards1 calculated as above mentioned4 ,you should not let your audience perceive that you count the remaining cards1 or they will readily conjecture that the trick depends on some arithmetical principle4 ,you may say1 8,you will observe that ,i do not look even at one single card30 and1 so saying1 throw down the surplus cards with apparent carelessness upon the table1 when they are sure to fall sufficiently scattered to enable you to count them without attracting observation4 ,,to ,,name ,,all ,,the ,,cards ,,in ,,the ,,pack ,,in ,,succession4--,this is an old trick1 but a very good one4 ,to perform it1 you must arrange the cards of a whist pack beforehand1 according to a given formula1 which forms a sort of memoria technica4 ,there are several used1 but all are similar in effect4 ,the following is one of the simplest3-- 8,eight kings threatened to save ,ninety-five ladies for one sick knave40 ,these words suggest1 as you will readily see1 eight1 king1 three1 ten1 two1 seven1 nine1 five1 queen1 four1 ace1 six1 knave4 ,you must also have a determinate order for the suits1 which should be red and black alternately1 say1 diamonds1 clubs1 hearts1 spades4 ,sort the pack for convenience into the four suits1 and then arrange the cards as follows3 ,take in your left hand1 face upwards1 the eight of diamonds1 on this place the king of clubs1 on this the three of hearts1 then the ten of spades1 then the two of diamonds1 and so on1 till the whole of the cards are exhausted4 ,this arrangement must be made privately beforehand1 and you must either make this the first of your series of tricks1 or 7which is better1 as it negatives the idea of arrangement7 have two packs of the same pattern1 and secretly exchange the prepared pack1 at a suitable opportunity1 for that with which you have already been performing4 ,spread the cards 7which may previously be cut any number of times71 and offer them to a person to draw one4 ,while he is looking at the card1 glance quickly at the card next above that which he has drawn1 which we will suppose is the five of diamonds4 ,you will remember that in your memoria technica 8five0 is followed by 8ladies0 7queen74 ,you know then that the next card1 the one drawn1 was a queen4 ,you know also that clubs follow diamonds3 ergo1 the card drawn is the queen of clubs4 ,name it1 and request the drawer to replace it4 ,ask some one again to cut the cards1 and repeat the trick in the same form with another person1 but this time pass all the cards which were above the card drawn1 below the remainder of the pack4 ,this is equivalent to cutting the pack at that particular card4 ,after naming the card drawn1 ask if the company would like to know any more4 ,name the cards next following the card already drawn1 taking them one by one from the pack and laying them face upwards on the table1 to show that you have named them correctly4 ,after a little practice1 it will cost you but a very slight effort of memory to name in succession all the cards in the pack4 ,,the ,,cards ,,being ,,cut1 ,,to ,,tell ,,whether ,,the ,,number ,,cut ,,is ,,odd ,,or ,,even4--,this is another trick performed by the aid of the prepared pack last described1 and has the advantage of being little known1 even to those who are acquainted with other uses of the arranged pack4 ,notice whether the bottom card for the time being is red or black4 ,place the pack on the table1 and invite any person to cut1 announcing that you will tell by the weight of the cards cut whether the number is odd or even4 ,take the cut cards 7i4e41 the cards which before the cut were at the top of the pack71 and poising them carefully in your hand1 as though testing their weight1 glance slily at the bottom card4 ,if it is of the same colour as the bottom card of the other or lowest portion1 the cards cut are an even number2 if of a different colour1 they are odd4 ,,the ,,whist ,,trick4--,,to ,,deal ,,yourself ,,all ,,the ,,trumps4--,the cards being arranged as above mentioned1 you may challenge any of the company to play a hand at whist with you4 ,the cards are cut in the ordinary way 7not shuffled74 ,you yourself deal1 when1 of course1 the turn-up card falls to you4 ,on taking up the cards1 it will be found that each person has all the cards of one suit1 but your own suit being that of the turn-up card1 is1 of course1 trumps2 and having the whole thirteen1 you must necessarily win every trick4 ,the weak point of the feat is1 that the cards being regularly sorted into the four suits1 the audience can hardly help suspecting that the pack was pre-arranged beforehand4 ,there is another and better mode of performing the trick1 by which you still hold all the trumps1 but the three remaining players have the ordinary mixed hands4 ,this method1 however1 involves sleight-of-hand1 and would therefore be out of place in the present chapter4 ,,to ,,allow ,a ,,person ,,to ,,think ,,of ,a ,,card1 ,,and ,,to ,,make ,,that ,,card ,,appear ,,at ,,such ,,number ,,in ,,the ,,pack ,,as ,,another ,,person ,,shall ,,name4--,allow the pack to be shuffled and cut as freely as the company please4 ,when they are fully satisfied that the cards are well mixed1 offer the pack to any of the spectators1 and request him to look over the cards1 and think of any one1 and to remember the number at which it stands in the pack1 reckoning from the bottom card upwards4 ,you then remark1 8,ladies and gentlemen1 you will take particular notice that ,i have not asked a single question1 and yet ,i already know the card2 and if anyone will kindly indicate the place in the pack at which you desire it to appear1 ,i will at once cause it to take that position4 ,i must only ask that1 by arrangement between yourselves1 you will make the number at which the card is to appear higher than that which it originally held40 ,we will suppose that the audience decide that the card shall appear at number #bb4 ,carelessly remark1 8,it is not even necessary for me to see the cards40 ,so saying1 hold the pack under the table1 and rapidly count off twenty-two cards from the bottom of the pack1 and place them on the top4,c ,you then continue1 8,having already placed the card thought of in the desired position1 ,i may now1 without suspicion1 ask for the original number of the card1 as ,i shall commence my counting with that number40 ,we will suppose you are told the card was originally number #aj4 ,you begin to count from the top of the pack1 calling the first card #aj1 the next #aa1 and so on4 ,when you come to #bb1 the number appointed1 you say1 8,if ,i have kept my promise1 this should be the card you thought of4 ,to avoid the suspicion of confederacy1 will you please say1 before ,i turn it over1 what your card was40 ,the card being named1 you turn it up1 and show that it is the right one4 ,c ,when the number named is more than half the total number of the pack1 i4e41 more than #af in a piquet pack1 or more than #bf in a whist pack1 it is quicker1 and has precisely the same effect1 to count off the difference between that and the total number from the top1 and place them at the bottom4 ,thus1 in a piquet pack1 if the number called be #ab1 you would count off #ab from the bottom1 and place them on the top2 but if the number called were #bd you would achieve the same object by counting #h from the top1 and passing them to the bottom4 ,in all tricks which depend on the naming of a card drawn or thought of1 it adds greatly to the effect to have the card named before you turn it up4 ,this trick1 unlike most1 will bear repetition2 but it is well on a second performance to vary it a little4 ,thus you may on the second occasion say1 when the card has been thought of1 8,i will choose for myself this time2 your card will appear at number #cj40 ,it is desirable to name a number very near the total number of the pack 7which we are now supposing to be a piquet pack71 as the difference between that and the total number being very small1 it is easy to see at a glance the number of cards representing such difference1 and pass them to the bottom of the pack4 ,you take in this instance two cards only1 that being the difference between #cj and #cb1 and pass them to the bottom1 when the card will1 as you have announced1 be the thirtieth4 ,if you are able to make the pass1 you will1 of course1 avail yourself of it to transfer the requisite number of cards to the top or bottom of the pack4 ,,the ,,cards ,,revealed ,,by ,,the ,,looking-,,glass4--,this is rather a joke than a feat of magic1 but it will create some fun1 and may often be kept up for some time without being discovered4 ,take up your position on one side of the room1 facing a good-sized mirror or chimney-glass4 ,make your audience stand or sit facing you1 when they will1 of course1 have their backs to the glass4 ,offer the cards to be shuffled and cut4 ,take the top card and hold it high up1 with its back to you and its face to the audience4 ,as it will be reflected in the mirror opposite you1 you will have no difficulty in naming it1 or any other card in like manner1 till your audience either find you out1 or have had enough of the trick4 ,,to ,,guess ,,four ,,cards ,,thought ,,of ,,by ,,different ,,persons4--,offer the pack to be shuffled4 ,place it on the table1 and taking off the four top cards with the right hand1 offer them to any person1 and ask him to notice one of them1 shuffle them1 and return them to you4 ,when they are returned1 place them1 face downwards1 in your left hand4 ,take the next four cards1 and offer them to another person in like manner4 ,proceed in like manner with a third and fourth group of four4 ,when all the sixteen cards are returned1 deal them out in four heaps1 face upwards4 ,ask each person in which heap his card now is4 ,that of the first person will be the uppermost of his heap1 that of the second person second in his heap1 and so on4 ,it will sometimes occur that two of the cards chosen are in the same heap1 but the rule will still apply4 ,should there be three persons only to choose1 you should give them three cards each2 and deal in three heaps4 ,,the ,,pairs ,,re-,,paired4--,after performing the last trick1 you may continue1 8,as you have not yet found me out1 ,i will repeat the experiment1 but in a slightly altered form4 ,this time ,i will invite you to think of two cards each1 and all present may join if they please40 ,after giving the pack to be shuffled1 you deal out twenty cards1 face upwards1 but placing them in couples4 ,invite as many of the company as please to note any particular couple they think fit1 and to remember those two cards4 ,when they have done so1 gather up the cards1 picking them up here and there in any order you please1 taking care1 however1 that none of the pairs are separated4 ,you now deal them out again1 face upwards1 in rows of five1 according to the following formula3 ,mutus dedit nomen ,cocis1 which1 being interpreted1 signifies1 8,mutus gave a name to the ,coci10 a people as yet undiscovered4 ,on examining the sentence closely1 you will observe that it consists of ten letters only1 m1 u1 t1 s1 d1 e1 i1 n1 o1 c1 each twice repeated4 ,this gives you the clue to the arrangement of the cards1 which will be as follows3 ,m ,u ,t ,u ,s #a #b #c #b #d ,d ,e ,d ,i ,t #e #f #e #g #c ,n ,o ,m ,e ,n #h #i #a #f #h ,c ,o ,c ,i ,s #aj #i #aj #g #d ,you must imagine the four words printed as above upon your table4 ,you must deal your first card upon the imaginary ,m in ,,mutus1 and the second on the imaginary ,m in ,,nomen1 the two next cards on the two imaginary ,u's1 the two next on the two ,t's1 and so on4 ,you have now only to ask each person in which row his two cards now appear1 and you will at once know which they are4 ,thus1 if a person says his two cards are now in the second and fourth rows1 you will know that they must be the two cards representing the two ,i's1 that being the only letter common to those two rows4 ,if a person indicates the first and fourth rows1 you will know that his cards are those representing the two ,s's1 and so on4 ,,the ,,magic ,,triplets4--,this trick is precisely similar in principle to the last1 but twenty-four 7instead of twenty7 cards are used1 and they are dealt in triplets1 instead of pairs4 ,after the spectators have made their selection1 you take up the cards as directed for the last trick1 taking care to keep the respective triplets together4 ,you then deal them in rows of six1 the formula in this case being3 ,l ,i ,v ,i ,n ,i ,l ,a ,n ,a ,t ,a ,l ,e ,v ,e ,t ,e ,n ,o ,v ,o ,t ,o ,,another ,,mode ,,of ,,discovering ,a ,,card ,,thought ,,of4--,have the pack well shuffled4 ,then deal twenty-five cards1 in five rows of five cards each1 face upwards4 ,invite a person to think of a card1 and to tell you in which row it is4 ,note in your own mind the first or left-hand card of that row4 ,now pick up the cards in vertical rows1 i4e41 beginning at the last card of the last row1 placing that card face upwards on the last of the next row1 those two on the last of the next row1 and so on4 ,when you have picked up all the cards in this manner1 deal them out again in the same way as at first4 ,you will observe that those cards which at first formed the first cards of each row1 now themselves form the first row4 ,ask the person in which row his card now is4 ,when he has told you1 look to the top row for the first card of the original row1 when the card thought of will be found in a direct line below it4 ,as you have just been told in which lateral row it is1 you will not have the least difficulty in discovering it1 and by a slight effort of memory you may even allow several persons each to think of a card1 and name it4 ,a comparison of the subjoined tables1 showing the original and subsequent order of the cards1 will explain the principle of the trick4 ,first ,order4 #a #b #c #d #e #f #g #h #i #aj #aa #ab #ac #ad #ae #af #ag #ah #ai #bj #ba #bb #bc #bd #be ,second ,order4 #a #f #aa #af #ba #b #g #ab #ag #bb #c #h #ac #ah #bc #d #i #ad #ai #bd #e #aj #ae #bj #be ,thus we will suppose you are told that the card thought of is originally in the third line4 ,remember the first or key-card of that line1 designated in the table as #aa4 ,if the card is in the fourth line after the second deal1 you look to the top line for the key-card1 and on finding it you have only to observe which card in the fourth row is immediately beneath it1 to be sure that that card 7in this instance designated by the number #ad7 is the card thought of4 ,you may perform the trick with either sixteen1 twenty-five1 thirty-six1 or forty-nine cards1 either of those being a square number1 and thus making the number of cards in a row equal to the number of rows1 which is essential to the success of the trick4 ,,to ,,guess1 ,,by ,,the ,,aid ,,of ,a ,,passage ,,of ,,poetry ,,or ,,prose1 ,,such ,,one ,,of ,,sixteen ,,cards ,,as1 ,,in ,,the ,,performer',s ,,absence1 ,,has ,,been ,,touched ,,or ,,selected ,,by ,,the ,,company4--,this feat is performed by confederacy1 the assistance of the confederate being open and avowed1 but the mode in which the clue is given constituting the mystery4 ,you allow the pack to be shuffled1 and then deal sixteen cards1 the first that come to hand1 either face upwards or face downwards1 in four rows on the table4 ,the sole preparation on the part of yourself and your confederate is to commit to memory the following simple formula--animal1 vegetable1 mineral1 verb1 signifying respectively one1 two1 three and four4 ,you retire from the room while the card is chosen1 your confederate remaining4 ,upon your return your confederate selects and hands for your perusal a passage in any book which the audience may select1 only taking care that the first word in such passage which comes within either of the four categories above mentioned1 shall be such as to represent the number of the row in which the card is1 and that the second word which comes within either of those categories shall represent the number at which the card stands in that row4 ,we will suppose1 for instance1 that the passage handed to the performer is that portion of ,hamlet's soliloquy commencing1 8,oh1 that this too too solid flesh would melt40 ,here the first word which comes within either of the four categories is 8flesh10 which1 being clearly animal 7#a71 indicates that the chosen card is in the first row4 ,the second word coming within either of the categories is 8melt10 which1 being a verb 7#d71 indicates that the chosen card is the fourth of its row4 ,had the passage been 8,to be1 or not to be1 that is the question10 the two verbs would have indicated that the card was the fourth of the fourth row4 8,how doth the little busy bee10 etc41 would have indicated the first of the fourth row1 and so on4 ,with a little tact and ingenuity on the part of the operators1 this may be made an admirable trick1 and1 unlike most others1 will bear being repeated1 the mystery becoming deeper as passages of varying character and different length are employed4 ,,to ,,detect1 ,,without ,,confederacy1 ,,which ,,of ,,four ,,cards ,,has ,,been ,,turned ,,round ,,in ,,your ,,absence4--,it will be found upon examining a pack of cards1 that the white margin round the court cards almost invariably differs in width at the opposite ends4 ,the difference is frequently very trifling1 but is still sufficiently noticeable when pointed out1 and may be made available for a trick which1 though absurdly simple1 has puzzled many4 ,you place four court cards of the same rank1 say four queens1 in a row1 face upwards1 taking care that the wider margins of the cards are all one way4 ,you then leave the room1 and invite the company to turn round lengthways during your absence any one or more of the four cards4 ,on your return you can readily distinguish which card has been so turned1 as the wider margin of such card will now be where the narrower margin was originally1 and vice vers4 ,there is so little chance of the trick being discovered1 that you may1 contrary to the general rule1 repeat it if desired4 ,should you do so1 it is better not to replace the cards already turned1 as this might give a clue to the secret1 but carefully note in your own mind their present position1 by remembering which you can discover any card turned just as easily as at first4 ,,to ,,arrange ,,twelve ,,cards ,,in ,,rows1 ,,in ,,such ,a ,,manner ,,that ,,they ,,will ,,count ,,four ,,in ,,every ,,direction4--,this is rather a puzzle than a conjuring trick1 but may sometimes serve as an interlude to occupy the minds of your audience while you are preparing for some other feat4 ,the secret is to place nine of the twelve cards in three rows1 so as to form a square2 then place the remaining three cards as follows3 the first on the first card of the first row1 the second on the second card of the second row1 and the last on the third card of the last row4 ,illustration3 ,,fig4 #cb4 ,,to ,,place ,,the ,,aces ,,and ,,court ,,cards ,,in ,,four ,,rows1 ,,in ,,such ,a ,,manner ,,that ,,neither ,,horizontally ,,nor ,,perpendicularly ,,shall ,,there ,,be ,,in ,,either ,,row ,,two ,,cards ,,alike ,,either ,,in ,,suit ,,or ,,value4--,this also is a puzzle1 and a very good one4 ,the key to it is to begin by placing four cards of like value 7say four kings7 in a diagonal line from corner to corner of the intended square1 then four other cards of like value 7say the four aces7 to form the opposite diagonal4 ,it must be borne in mind1 that of whatever suit the two centre kings are1 the two aces must be of the opposite suits4 ,thus1 if the two centre kings are those of diamonds and hearts1 the two centre aces must be those of clubs and spades2 and in adding the two end aces1 you must be careful not to place at either end of the line an ace of the same suit as the king at the corresponding end of the opposite diagonal4 ,having got so far1 you will find it a very easy matter to fill in the remaining cards in accordance with the conditions of the puzzle4 ,the sixteen cards when complete will be as in ,fig4 #cb1 subject1 of course1 to variation according to the particular cards with which you commence your task4 ,,the ,,congress ,,of ,,court ,,cards4--,take the kings1 queens1 and knaves from the pack1 and place them face upwards on the table in three rows of four each1 avoiding as much as possible the appearance of arrangement1 but really taking care to place them in the following order3 ,in the first row you have only to remember not to have two of the same suit4 ,begin the second row with a card of the same suit with which you ended the first1 let the second card be of the same suit as the first of the first row1 the third of the same suit as the second of the first row1 and so on4 ,the third row will begin with the suit with which the second left off1 the second card will be of the same suit as the first of the second row1 and so on4 ,now pick up the cards in vertical rows1 beginning with the last card of the bottom row4 ,the cards may now be cut 7not shuffled7 any number of times1 but1 if dealt in four heaps1 the king1 queen1 and knave of each suit will come together4 ,,chapter ,,iv4 ,,tricks ,,involving ,,sleight-,,of-,,hand ,,or ,,the ,,use ,,of ,,specially ,,prepared ,,cards4 ,we have already explained the nature and use of the 8forcing0 pack of cards4 ,it may be well1 before we go further1 to give a short account of one or two other species of prepared cards4 ,,the ,,long ,,card4--,this is the technical name for a card longer or wider1 by about the thickness of a sixpence1 than the rest of the pack4 ,this card will naturally project to that extent beyond the general length or width of the other cards1 and the performer is thereby enabled to cut the pack at that particular card whenever he chooses to do so4 ,with the aid of such a card1 and a tolerable proficiency in 8forcing0 and 8making the pass10 many excellent tricks can be performed4 ,packs with a long card can be obtained at any of the conjuring depts4 ,the best plan1 however1 is to purchase two ordinary packs1 precisely alike1 and to have the edges of one of them shaved down by a bookbinder to the requisite extent1 when you can insert any card of the other pack at pleasure to form your long card1 and thus avoid the suspicion which would naturally arise from the performance of several tricks with the same card4 ,a still greater improvement upon the ordinary long-card pack is the biseaut or tapering pack1 in which1 though only one pack is used1 any card may in turn become the long card4 ,a biseaut pack consists of cards all of which are a shade wider 7say the thickness of a shilling7 at one end than the other4 7,see ,fig4 #cc1 in which1 however1 the actual difference of width is exaggerated1 in order to make the shape of the card clear to the eye47 ,illustration3 ,,fig4 #cc4 ,,fig4 #cd4 ,illustration3 ,,fig4 #ce4 ,when two cards shaped as above are placed one upon another1 but in opposite directions1 the effect is as in ,fig4 #cd4 ,if the whole pack is at the outset placed with all the cards alike 7i4e41 their ends tapering in the same direction71 by reversing any card and returning it to the pack1 its wide end is made to correspond with the narrow ends of the remaining cards1 thereby making it for the time being a 8long0 card4 ,by offering the pack for a person to draw a card1 and turning the pack round before the card is replaced1 the position of that card will thus be reversed1 and you will be able to find it again in an instant1 however thoroughly the cards may be shuffled4 ,by pre-arranging the pack beforehand1 with the narrow ends of all the red cards in one direction1 and those of the black cards in the other direction1 you may1 by grasping the pack between the finger and thumb at each end 7see ,fig4 #ce71 and1 drawing the hands apart1 separate the black cards from the red at a single stroke1 or1 by preparing the pack accordingly1 you may divide the court cards from the plain cards in like manner4 ,many other recreations may be performed with a pack of this kind1 which will be noticed in due course4 ,the long card and the biseaut pack have each their special advantages and disadvantages4 ,the long card is the more reliable1 as it can always be distinguished with certainty from the rest of the pack2 but it is very generally known1 and after having made use of it for one trick1 it is clear that you cannot immediately venture upon another with the same card4 ,it is further comparatively useless unless you are proficient in 8forcing40 ,the biseaut pack may be used without any knowledge of 8forcing10 and has the advantage that any card may in turn become the key card1 but it is treacherous4 ,the necessary turning of the pack is likely to attract observation1 and any little mistake1 such as allowing the card to be replaced in its original direction1 or a few of the cards getting turned round in shuffling1 will cause a breakdown4 ,notwithstanding these disadvantages1 both the long card and the biseaut pack will be found very useful to the amateur2 but it should be borne in mind that both these appliances are in reality only makeshifts or substitutes for sleight-of-hand4 ,professionals of the highest class discard them altogether1 and rely wholly on the more subtle magic of their own fingers4 ,we subjoin a few of the best of the feats which specially depend upon the use of a long card or the biseaut pack4 ,a ,,card ,,having ,,been ,,chosen ,,and ,,returned1 ,,and ,,the ,,pack ,,shuffled1 ,,to ,,produce ,,the ,,chosen ,,card ,,instantly ,,in ,,various ,,ways4--,request some person to draw a card1 spreading them before him for that purpose4 ,if you use a long-card pack you must force the long card2 if you are using a biseaut pack any card may be drawn1 the pack being reversed before the card is replaced4 ,the card being returned1 the pack may be shuffled to any extent1 but you will always be able to cut by feel at the card chosen4 ,you may vary the trick by taking the cards upright between the second finger and thumb of the right hand1 and requesting some one to say1 8,one1 two1 three60 at the word 8three0 drop all the cards save the card chosen1 which its projecting edge will enable you to retain when you relax the pressure upon the other cards4 ,another mode of finishing the trick is to request any one present to put the pack 7previously well shuffled7 in his pocket1 when you proceed1 with his permission1 to pick his pocket of the chosen card4 ,this is an effective trick1 and1 if you are proficient in sleight-of-hand1 may be also performed with an unprepared pack of cards4 ,in the latter case1 when the chosen card is returned to the pack1 you make the pass to bring it to the top1 palm it1 and immediately offer the cards to be shuffled4 7,see ,fig4 #ae47 ,the pack being returned1 you replace the chosen card on the top1 and when the pack is placed in the pocket you have only to draw out the top card4 ,the feat of cutting at the chosen card may also by similar means be performed with an ordinary pack4 ,for this purpose you must follow the directions last above given up to the time when1 the pack having been shuffled1 you replace the palmed card on the top4 ,then transfer the pack to the left hand1 and apparently cut with the right4 ,we say apparently1 for though to the eye of the spectator you merely cut the cards1 you really make the pass by sliding the lower half of the pack to the left1 the fingers of the left hand at the same moment opening a little to lift the upper packet1 and so give room for the upward passage of the lower packet4 ,the cards remaining after the pass in the left hand1 which the spectators take to be the bottom half of the pack1 are in reality the original upper half2 and on the uppermost of such cards being turned up1 it is found to be the one which was chosen4 ,another good mode of finishing the trick is to fling the pack in the air1 and catch the chosen card4 ,for this purpose1 after forcing the long card1 and after giving the pack to be shuffled1 you cut the pack at the long card as before1 but without showing it1 and place the original lower half of the pack on the top4 ,the chosen card will now be at the bottom4 ,take the pack face downwards upon the right hand1 and quickly transfer it to the left1 at the same time palming 7with the right hand7 the bottom card4 ,spread the cards a little1 and fling them into the air1 clutching at them with the right hand as they descend1 and at the same moment bring the chosen card to the tips of the fingers4 ,the effect to the spectators will be as if you actually caught it among the falling cards4 ,this feat also may be performed without the aid of a long card1 and without the necessity of forcing a card4 ,in this case1 as in the pocket-picking trick1 you make the pass as soon as the card is returned to the pack1 in order to bring it to the top1 and palm it2 then offer the pack to be shuffled4 ,when the cards are handed back1 place the chosen card for a moment on the top of the pack1 and endeavour to call attention--indirectly1 if possible--to the fact that you have no card concealed in your hand4 ,then again palming the card1 you may either yourself fling up the cards or request some other person to do so1 and terminate the trick as before4 ,a still more effective form of this trick1 in which the chosen card is caught upon the point of a sword1 will be found among the card tricks performed by the aid of special apparatus4 ,the following is a good long-card trick1 but demands considerable proficiency in sleight-of-hand4 ,you 8force0 the long card1 allowing it to be returned to any part of the pack1 and the whole to be well shuffled4 ,you then say1 8,you must be by this time pretty certain that1 even if ,i knew your card in the first instance1 ,i must have quite lost sight of it now4 ,if you do not feel quite certain1 please shuffle the cards once more40 ,every one being fully satisfied that the card is completely lost in the pack1 you continue1 8,let me assure you that ,i do not know1 any more than yourselves1 whereabouts in the pack your card is at this moment4 ,you can all see that ,i have no duplicate card concealed in my hands4 ,i will now take the top card1 whatever it may be1 or1 if you prefer it1 any one may draw a card from any part of the pack1 and ,i will at once change it to the card originally chosen40 ,the audience will probably prefer to draw a card1 which1 when they have done1 you continue1 8,i presume the card you have just drawn is not the one originally chosen4 ,will the gentleman who drew the first card look at it and see if it is his card80 ,the reply is pretty certain to be in the negative4 ,during the discussion you have taken the opportunity to slip the little finger of the left hand immediately above the long card 7which1 it will be remembered1 was that first drawn71 and to make the pass1 thereby bringing it to the top1 and enabling you to palm it4 ,you now ask the person holding the second card to place it on the top of the pack1 which you immediately transfer to the right hand1 thus bringing the palmed card upon it4 ,you then say1 8,to show you that this trick is not performed by sleight-of-hand1 or by any manipulation of the cards1 ,i will not even touch them1 but will place them here on the table in sight of all4 ,will the gentleman who drew the first card please to say what his card was80 ,the card being named1 you slowly and deliberately turn over the top card1 which will be found to be transformed into that first chosen4 ,the other card is now the next card on the top of the pack1 and1 as somebody may suspect this1 and by examining the pack gain a partial clue to the trick1 it will be well to take an early opportunity of removing this card1 either by shuffling1 or by making the pass to bring it to the centre of the pack4 ,if you make use of a biseaut pack1 there is1 of course1 no necessity for forcing the card in the first instance4 ,you may also reveal a chosen card with very good effect in the following manner3 ,a card having been freely drawn1 open the pack in such manner that it may be placed1 when returned1 immediately under the long card1 which1 by the way1 should in this instance really be a wide card1 though the term 8long card0 applies1 as already mentioned1 to both kinds of card4 ,the pack may be moderately shuffled1 with very little risk of the two cards being separated1 the greater width of the long card tending to shelter the card beneath it1 and making it very unlikely that that card will be displaced4 ,if after the shuffle the long card does not happen to be tolerably high up in the pack1 you should cut the cards in such manner as to make it so4 ,holding the cards in a horizontal position1 face downwards1 above the table1 the thumb being on one side and the fingers on the other side of the pack1 you say1 8,ladies and gentlemen1 ,i am now about to drop the cards1 a few at a time1 in a number of little heaps upon the table1 stopping when you tell me to do so4 ,it will be equally open to you to stop me when ,i have made one or two heaps only1 or not until ,i have made seven or eight1 but1 whenever it is1 the card at the top of the heap last made will be the identical card which was just now drawn1 and which has since1 as you have seen1 been thoroughly shuffled in the pack40 ,you now drop the cards1 four or five at a time1 on various parts of the table4 ,when the word 8stop0 is pronounced you let go all the remaining cards below the long card1 which1 from its greater width1 a very slight pressure suffices to retain4 ,the card chosen having been next below the long card1 is now at the top of the last heap4 ,you ask the person who drew to name his card1 and1 touching the back of the top card with your wand1 turn it over to show that it is the right one4 ,if you are tolerably expert in sleight-of-hand you may repeat the trick in a yet more striking manner4 ,proceed as before up to the moment when the word 8stop0 is pronounced4 ,having let fall as before all the cards below the long card1 lay down the remainder of the pack1 and take in the left hand the heap which you last dealt4 ,cover it with the right hand for an instant1 and1 sliding away the hand gently to the right1 palm the top card1 and immediately take by one corner the next card1 holding it face downwards until the drawer has named his card1 which was1 we will suppose1 the queen of hearts4 ,as soon as the card is named1 you turn towards the audience the face of the card you hold1 saying1 8,here is the card1 as before40 ,do not look at it yourself1 but at once replace it on the pack1 and1 covering the pack with the right hand1 leave the palmed card upon it4 ,you are by this time made aware by a murmur1 if not by a more decided manifestation on the part of the audience1 that something is wrong4 ,you ask what is the matter1 and are told that1 so far from showing the queen of hearts1 the card you produced was a totally different one1 say1 the seven of spades4 ,you pretend to look embarrassed1 and ask if they are quite sure4 8,it is very strange10 you remark1 8,i never failed in this trick before4 ,will you allow me to try again80 ,then1 appearing to recollect yourself1 8,oh1 of course60 you exclaim1 8,i forgot to touch the card with the magic wand40 ,you do so4 8,will some one be kind enough to look at the card now80 ,the card is examined1 and proves to be1 as it ought to have been originally1 the queen of hearts4 ,,to ,,teach ,,the ,,company ,a ,,trick ,,which ,,they ,,learn ,,without ,,difficulty2 ,,then ,,to ,,allow ,,them ,,to ,,succeed ,,or ,,to ,,cause ,,them ,,to ,,fail ,,at ,,your ,,pleasure4--,this surprising trick is performed with the piquet pack of thirty-two cards1 from which you must beforehand take away1 and secretly pocket1 one card of each suit1 the spectators1 however1 believing that you use the whole thirty-two cards4 ,you announce to the company that you will teach them a trick4 ,you deal the cards face upwards in rows of four1 according to the rules set forth in the trick already described under the title of 8,the ,congress of ,court ,cards10 i4e41 you place a card of each suit in the top row2 you commence each row with a card of the suit with which the row above ended2 you make the second of each row the same suit as the first of the row above1 and the third the same suit as the second of the row above1 and so on4 ,thus1 if your top row be club1 diamond1 heart1 spade1 your second will be spade1 club1 diamond1 heart2 your third1 heart1 spade1 club1 diamond2 your fourth1 diamond1 heart1 spade1 club2 your fifth1 club1 diamond1 heart1 spade2 your sixth1 spade1 club1 diamond1 heart2 and your seventh1 heart1 spade1 club1 diamond4 ,you now gather up the cards as directed in the trick already mentioned1 i4e41 in vertical rows1 from the bottom upwards1 commencing at the right-hand bottom corner4 ,the pack thus arranged may be cut any number of times1 but1 if dealt in four heaps1 all the cards of each suit will be found to be together4 ,so far1 the trick is ingenious rather than astonishing1 although1 the arrangement of the cards having reference only to the suits1 and not to individual cards1 the cards do not at first sight appear to be specially arranged2 and if you are rapid and apparently careless in placing them1 the spectators will in all probability believe that they are placed hap-hazard4 ,if you can induce this belief1 you will greatly heighten their surprise at finding the different suits regularly sorted after the deal4 ,but the trick is not yet finished4 ,you again place the cards as before1 remarking that the trick is simplicity itself when once the principle is known1 and on this occasion you draw special attention to the necessary arrangement of the cards4 ,having completed the trick for the second time1 you invite some of the audience to try their hands1 which they do1 and of course succeed1 there being really no difficulty in the matter4 ,when one or two have tried and succeeded1 they will probably disparage the trick1 as being absurdly easy4 8,pardon me10 you say1 8you have succeeded so far1 because it was my will and pleasure that you should do so4 ,you seem incredulous1 but ,i am perfectly serious4 ,to prove that ,i am so1 ,i give you warning that the next person who attempts the trick will fail4 ,come1 who accepts the challenge80 ,some one is sure to respond1 and in all probability to offer you a bet that he will succeed4 8,sir10 you reply1 8,i never bet on certainties1 or your money would be already lost4 ,i have said that you shall fail1 and you cannot1 therefore1 possibly succeed40 ,you have1 meanwhile1 secretly palmed the four cards which you pocketed before beginning the trick1 and have watched your opportunity to replace them on the table with the rest of the pack4 ,your opponent may now try as much as he pleases1 but he cannot possibly succeed1 the fact being that the process above described produces the desired effect with twenty-eight cards1 but will not do so with thirty-two4 ,the first thought of your audience is sure to be that you have abstracted some of the cards in order to make the trick fail1 but on counting they find the number correct4 ,not one in a hundred will suspect that the reverse is the case1 and that when you performed the trick the pack was incomplete4 ,by the time three or four of the company have tried and failed1 you will probably have found an opportunity of again pocketing a card of each suit2 and you may then announce that1 having sufficiently proved your power1 you will now graciously condescend to remove the prohibition1 and allow the next person who tries to succeed4 ,this1 of course1 he will do2 and the trick may very well end here1 with the satisfaction on your part that you have kept your secret1 and that1 even when removed from the sphere of your adverse influence1 your pupils will fail in performing the trick1 making the attempt1 as they naturally will1 with the full piquet pack4 ,but it is just possible that a contretemps may arise1 for which it will be well to be prepared4 ,some one of the audience1 more acute than the generality1 may suggest again counting the cards1 to see if all are there when the trick succeeds4 ,even in this case you need not be discomfitted4 ,at once offer yourself to count the cards1 and1 gathering them up for that purpose1 add to them the four which you removed1 which you should again have palmed in readiness4 ,count them deliberately on to the table1 and1 when every one is satisfied that the pack is complete1 announce that you will once more perform the trick1 in order to let every one see that you actually use no more and no less than thirty-two cards4 ,place the cards as before1 counting aloud as you do so1 till the whole thirty-two cards are placed4 ,so far you have not varied your method of proceeding1 but to succeed with the whole thirty-two cards you must secretly make a slight variation in the manner of picking up4 ,you will remember that the cards were picked up face upwards1 beginning from the bottom of the right hand row1 placing the cards of that row on those of the next row1 and so on4 ,now1 to perform the trick with thirty-two cards1 the bottom cards of each row must be gathered up all together1 and placed on the face of the pack4 ,thus1 if the bottom card of the first or left hand row be the knave of spades1 that of the second row the ten of diamonds1 that of the third row the ace of hearts1 and that of the fourth row the seven of clubs1 those four cards must be picked up as follows3 ,the knave of spades must be placed 7face upwards7 on the ten of diamonds1 the ten of diamonds on the ace of hearts1 and the ace of hearts on the seven of clubs1 which will occupy its own place on the face of the cards of the last or right-hand row4 ,for convenience of picking up1 it will be well to place the four rows very near together1 slightly converging at the bottom1 when it will be tolerably easy1 by a bold1 quick sweep of the left hand from left to right1 to slide the three other cards in due order1 on to the bottom card of the last row2 while the performer1 looking not at the cards but at his audience1 diverts their attention by any observations which may occur to him4 ,the trick in this form requires considerable address1 and the performer should not1 therefore1 venture upon it until1 by frequent practice1 he can be certain of placing the four cards neatly with his left hand1 and without looking at his hands1 which would infallibly draw the eyes of the audience in the same direction1 and thereby spoil the trick4 ,,to ,,distinguish ,,the ,,court ,,cards ,,by ,,touch4--,this trick is performed by means of a preliminary preparation of the court cards1 to be made as follows3 ,take each court card separately1 edge upwards1 and draw a tolerably sharp knife1 the blade held sloping backwards at an angle of about #de1 once or twice along the edge from left to right4 ,this will be found to turn the edge of the card1 so to speak1 and to leave on each side a minute ridge1 not noticeable by the eye1 but immediately perceptible1 if sought for1 to the touch4 ,prepare the opposite edge of the card in the same way1 and again mix the court cards with the pack1 which is now ready for use4 ,offer the prepared pack to be shuffled4 ,when the pack is returned to you1 you may either hold it above your head1 and1 showing the cards in succession1 call 8court card0 or 8plain card10 as the case may be1 or you may offer to deal the cards into two heaps1 consisting of court cards in one heap and plain cards in the other1 every now and then offering the cards to be again shuffled4 ,you can1 of course1 perform the trick blindfold with equal facility4 ,you should endeavour to conceal1 as much as possible1 the fact that you distinguish the court cards by the sense of touch1 and rather seek to make your audience believe that the trick is performed by means of some mathematical principle1 or by any other means remote from the true explanation4 ,this advice1 indeed1 applies more or less to all tricks4 ,thus your knowledge of a forced card depends1 of course1 on sleight-of-hand2 but you should by no means let this be suspected1 but rather claim credit for some clairvoyant faculty2 and vice vers1 when you perform a trick depending on a mathematical combination1 endeavour to lead your audience to believe that it is performed by means of some impossible piece of sleight-of-hand4 ,further1 endeavour to vary your modus operandi4 ,if you have just performed a trick depending purely on sleight-of-hand1 do not let the next be of the same character1 but rather one based on a mathematical principle1 or on the use of special apparatus4 ,,to ,,name ,,any ,,number ,,of ,,cards ,,in ,,succession ,,without ,,seeing ,,them4--,first ,method4--,this trick1 in its original form1 is so well known that it is really not worth performing2 but we describe it for the sake of completeness1 and for the better comprehension of the improved method4 ,the performer takes the pack1 and secretly notices the bottom card4 ,he then announces that he will name all the cards of the pack in succession without seeing them4 ,holding the pack behind him for an instant1 he turns the top card face outwards on the top of the pack2 then holding the pack with the bottom card towards the audience1 he names that card4 ,from the position in which he holds the pack1 the top card1 which he has turned1 is towards him1 and in full view4 ,again placing his hands behind him1 he transfers the last named to the bottom1 and turns the next1 and so on in like manner4 ,even in an audience of half-a-dozen only1 it is very likely that there will be some one acquainted with this form of the trick1 who will proclaim aloud his knowledge of 8how it is done40 ,we will suppose that you have performed the trick with this result4 ,passing your hands again behind you1 but this time merely passing the top card to the bottom1 without turning any other card1 you reply that you doubt his pretended knowledge1 and name the card as before4 ,he will naturally justify his assertion by explaining the mode of performing the trick4 ,you reply1 8,according to your theory1 there should be an exposed card at each end of the pack4 ,pray observe that there is nothing of the kind in this case0 7here you show the opposite side of the pack71 8but1 to give a still more conclusive proof1 ,i will for the future keep the whole of the pack behind me1 and name each card before ,i bring it forward4 ,perhaps1 to preclude any idea of arrangement of the cards1 some one will kindly shuffle them40 ,when the cards are returned1 you give them a slight additional shuffle yourself1 and remarking1 8,they are pretty well shuffled now1 ,i think10 continue the trick by the ,second ,method4--,glance1 as before1 at the bottom card4 ,place the cards behind you1 and name the card you have just seen4 ,passing the right hand behind you1 palm the top card1 and then taking hold of the bottom card 7the one you have just named7 face outwards1 with the two first fingers and thumb of the same hand1 bring it forward and throw it on the table4 ,pause for a moment before you throw it down1 as if asking the company to verify the correctness of your assertion1 and glance secretly at the card which is curled up in your palm4 ,again place your hands behind you1 call the name of the card you last palmed1 and palm another4 ,you can1 of course1 continue the trick as long as you please1 each time naming the card which you palmed at the last call4 ,you should take care to have a tolerably wide space between yourself and your audience1 in which case1 with a very little management on your part1 there is little fear of their discovering the secret of the palmed card4 ,you should not be in too great a hurry to name the card you have just seen1 or the audience may suspect that you gained your knowledge in the act of bringing forward the card you last named4 ,to negative this idea1 you should take care first to bring forward again the right hand1 manifestly empty1 and do your best to simulate thought and mental exertion before naming the next card4 ,,to ,,make ,,four ,,cards ,,change ,,from ,,eights ,,to ,,twos1 ,,from ,,black ,,to ,,red1 ,,etc4--,for this trick you require three specially prepared cards4 ,the backs should be similar to those of the pack which you have in ordinary use1 the faces being as depicted in ,fig4 #cf4 ,they may be purchased at any of the conjuring depts4 ,illustration3 ,,fig4 #cf4 ,illustration3 ,,fig4 #cg4 ,illustration3 ,,fig4 #ch4 ,illustration3 ,,fig4 #ci4 ,you place these three cards privately at the bottom of the pack4 ,you begin by remarking that you will show the company a good trick with the four eights and the two of diamonds4 7,if you use a piquet pack1 you must provide yourself with a special two of diamonds1 of similar pattern to the rest of the pack47 ,you take the pack1 and picking out the four genuine eights1 hand them for examination4 ,while they are being inspected1 you insert the little finger of your left hand between the three bottom cards 7the prepared cards7 and the rest of the pack4 ,when the eights are returned1 you place them with apparent carelessness on the top of the pack 7taking care1 however1 to have the eight of clubs uppermost71 and hand the two of diamonds for examination4 ,while this card is being examined1 you make the pass to bring the three prepared cards on the top4 ,the two of diamonds being returned1 you lay it on the table1 and taking off the four top cards1 which are now the three prepared cards and the eight of clubs1 you spread them fanwise1 when they will appear to be the four eights1 as in ,fig4 #cg4 ,the eight of clubs is alone completely visible1 one half of each of the other cards being covered by the card next preceding it4 ,the spectators naturally take the four cards to be the four ordinary eights which they have just examined4 ,insert the two of diamonds behind the eight of clubs1 and lay that card in turn on the table4 ,close the cards and again spread them1 but this time with the opposite ends outward1 when they will appear to be the four twos1 as in ,fig4 #ch4 ,again take in the eight of clubs in place of the two of diamonds1 and turn round the supposed two of hearts4 ,this you may do easily and naturally by remarking1 8,i must now touch something black2 my coat-sleeve will do4 ,i gently pass either card along it1 thus1 and replace it as before4 ,the cards are now all black cards10 which they actually appear to be4 7,see ,fig4 #ci47 ,again substitute the two of diamonds for the eight of clubs1 touch any red object1 and again turn and spread out the cards1 when they will appear to be all red cards1 as in ,fig4 #dj4 ,once more take in the eight of clubs in place of the two of diamonds1 and replace the four cards on the pack1 again making the pass in order to bring the three prepared cards to the bottom1 and to leave the genuine eights on the top4 ,illustration3 ,,fig4 #dj4 ,there is a more elaborate form of this trick procurable at the conjuring depts1 in which several groups of cards are used in succession1 and the changes are proportionately multiplied1 various colours and patterns being produced in the place of the ordinary figures on the cards4 ,in our own opinion1 the trick loses rather than gains by this greater elaboration1 as the more fanciful changes have the disadvantage of showing clearly 7which the simpler form of the trick does not7 that the cards used are not ordinary cards2 and this being once understood1 the magic of the trick is destroyed4 ,we have had occasion more than once to direct you to turn round the cards1 and it will be well for you to know how to do this neatly and without exciting suspicion4 ,hold the four cards fanwise in the left hand1 the fingers behind and the thumb in front of the cards4 ,having exhibited them1 turn their faces towards yourself1 and with the thumb and finger of the right hand close the fan1 and taking them by their upper ends lay them face downwards on the table4 ,their lower ends will now be away from you1 and when you desire again to exhibit the cards 7in a transformed condition71 you have only to turn them over sideways1 and pick them up by the ends which are now directed towards you4 ,this little artifice 7which is simplicity itself in practice1 though a little difficult to describe7 must be carefully studied1 as upon neat manipulation in this respect the illusion of the trick mainly depends4 ,a ,,card ,,having ,,been ,,drawn ,,and ,,returned1 ,,and ,,the ,,pack ,,shuffled1 ,,to ,,make ,,it ,,appear ,,at ,,such ,,number ,,as ,,the ,,company ,,choose4,d--,invite a person to draw a card4 ,spread out the pack that he may replace it1 and slip your little finger above it4 ,make the pass in order to bring the chosen card to the top2 palm it1 and offer the pack to be shuffled4 ,when the pack is returned to you1 replace the chosen card on the top1 and make the first of the false shuffles above described1 but commence by sliding off into the right hand the two top cards 7instead of the top card only71 so that the chosen card may1 after the shuffle1 be last but one from the bottom4 ,take the pack face downwards in the left hand1 and carelessly move about the pack so that the bottom card may be full in view of the audience4 ,inquire at what number the company would like the card to appear2 and when they have made their decision1 hold the pack face downwards1 and with the first and second fingers of the right hand draw away the cards from the bottom one by one1 throwing each on the table face upwards1 and counting aloud 8one10 8two10 8three10 and so on4 ,the first card which you draw is naturally the bottom one1 and the chosen card1 which is second1 would in the ordinary course come next2 but you 8draw back0 this card with the third finger of the left hand 7see page #cf7 and take the next instead1 continuing in like manner until you have reached one short of the number at which the card is to appear4 ,you now pause1 and say1 8,the next card should be the card you drew4 ,to avoid any mistake1 will you kindly say beforehand what it was80 at the same time placing the card face downwards on the table4 ,when the card is named1 you request the drawer or some other person to turn it up1 when it is found to be the right one4 ,d ,another form of this trick1 in which sleight-of-hand is not needed1 has been given at page #eb4 ,another ,method4--,the card having been drawn and replaced1 bring it to the top by the pass1 palm it1 have the pack shuffled1 and replace it on the top4 ,invite the audience to choose at what number it shall appear4 ,they choose1 we will suppose1 fifth4 8,very good10 you reply2 8permit me1 in the first place1 to show you that it is not there already40 ,deal out the first five cards1 face downwards1 and show that the fifth is not the chosen card4 ,replace the five cards1 in their present order on the pack1 when the card will be at the number named4 ,,several ,,persons ,,having ,,each ,,drawn ,,and ,,returned ,a ,,card1 ,,to ,,make ,,each ,,card ,,appear ,,at ,,such ,,number ,,in ,,the ,,pack ,,as ,,the ,,drawer ,,chooses4--,allow three or four persons each to draw a card4 ,when all have drawn1 make the pass in such manner as to bring the two halves of the pack face to face4 ,the pack should not1 however1 be equally divided4 ,the upper portion should only consist of about half-a-dozen cards1 and therefore in making the pass you should insert the finger only at that number of cards from the bottom4 ,receive back the drawn cards on the top of the pack1 8ruffling0 the cards 7see page #bg71 and saying 8,pass60 as each card is replaced4 ,you may casually remark1 8,your card has vanished2 did you see it go80 ,when all are returned1 you quickly 8turn over0 the pack 7see page #cg71 and1 taking off the top card1 say1 addressing yourself to the person who last returned a card1 8,you see your card has vanished1 as ,i told you4 ,at what number in the pack1 say from the first to the tenth1 would you like it to re-appear80 ,we will suppose the answer to be 8the sixth40 ,you deal five cards from the end of the pack that is now uppermost1 then pretending a momentary hesitation1 say1 8,i fancy ,i dealt two cards for one2 allow me to count them again40 ,this draws the general attention to the cards on the table1 and gives you the opportunity to again turn over the pack4 ,you continue1 after counting1 8,we have five1 this makes six2 then this should be your card4 ,will you say what the card was80 ,you place the card on the table1 face downwards1 and do not turn it till it is named1 this giving you the opportunity to again turn over the pack1 to be ready to repeat the operation with the next card4 ,you must be careful to invite the different persons to call for their cards in the reverse order to that in which they are replaced in the pack4 ,thus1 you first address the person who last returned his card1 and then the last but one1 and so on4 ,you must tax your ingenuity for devices to take off the attention of the spectators from the pack at the moment when it is necessary to turn it over2 and as each repetition of the process increases the chance of detection1 it is well not to allow more than three or four cards to be drawn4 ,if you have reason to fear that the cards left undealt will run short1 you may always replace any number of those already dealt upon the reverse end of the pack to that at which the chosen cards are4 ,,the 8,,three ,,card0 ,,trick4--,this well-known trick has long been banished from the rpertoire of the conjuror1 and is now used only by the itinerant sharpers who infest race-courses and country fairs4 ,we insert the explanation of it in this place as exemplifying one form of sleight-of-hand1 and also as a useful warning to the unwary4 ,in its primary form1 the trick is only an illustration of the well-known fact that the hand can move quicker than the eye can follow4 ,it is performed with three cards--a court card and two plain cards4 ,the operator holds them1 face downwards1 one between the second finger and thumb of the left hand1 and the other two 7of which the court card is one7 one between the first finger and thumb1 and the other between the second finger and thumb of the right hand1 the latter being the outermost4 ,bringing the hands quickly together and then quickly apart1 he drops the three cards in succession1 and challenges the bystanders to say which is the court card4 ,if the movement is quickly made1 it is almost impossible1 even for the keenest eye1 to decide with certainty whether the upper or lower card falls first from the hand1 and consequently which of the three cards1 as they lie1 is the court card4 ,this is the whole of the trick1 if fairly performed1 and so far it would be a fair subject for betting1 though the chances would be much against the person guessing2 but another element is introduced by the swindling fraternity1 which ensures the discomfiture of the unwary speculator4 ,the operator is aided by three or four confederates1 or 8bonnets10 whose business it is to start the betting1 and who1 of course1 are allowed to win4 ,after this has gone on for a little time1 and a sufficient ring of spectators has been got together1 the operator makes use of some plausible pretext to look aside from the cards for a moment4 ,while he does so one of the confederates1 with a wink at the bystanders1 slily bends up one corner of the court card1 ostensibly as a means of recognition4 ,the performer takes up the cards without apparently noticing the trick that has been played upon him1 but secretly 7that corner of the card being concealed by the third and fourth fingers of the right hand7 straightens the bent corner1 and at the same moment bends in like manner the corresponding corner of the other card in the same hand4 ,he then throws down the cards as before4 ,the bent corner is plainly visible1 and the spectators1 who do not suspect the change that has just been made1 are fully persuaded that the card so bent1 and no other1 is the court card4 ,speculating1 as they imagine1 on a certainty1 they are easily induced to bet that they will discover the court card1 and they naturally name the one with the bent corner4 ,when the card is turned1 they find1 to their disgust1 that they have been duped1 and that the dishonest advantage which they imagined they had obtained over the dealer was in reality a device for their confusion4 ,,to ,,nail ,a ,,chosen ,,card ,,to ,,the ,,wall4--,procure a sharp drawing pin1 and place it point upwards on the table1 mantelpiece1 or any other place where it will not attract the notice of the spectators1 and yet be so close to you that you can cover it with your hand without exciting suspicion4 ,ask any person to draw a card4 ,when he returns it to the pack1 make the pass to bring it to the top1 palm it1 and immediately offer the pack to be shuffled4 ,while this is being done1 place your right hand carelessly over the pin1 so as to bring the centre of the card as near as possible over it1 and then press gently on the card1 so as to make the point of the pin just penetrate it4 ,when the pack is returned1 place the palmed card upon the top1 and thus press home the pin1 which will project about a quarter of an inch through the back of the card4 ,request the audience to indicate any point upon the woodwork of the apartment at which they would like the chosen card to appear2 and when the spot is selected1 stand at two or three feet distance1 and fling the cards1 backs foremost1 heavily against it1 doing your best to make them strike as flat as possible1 when the other cards will fall to the ground1 but the selected one will remain firmly pinned to the woodwork4 ,some little practice will be necessary before you can make certain of throwing the pack so as to strike in the right position4 ,until you can be quite sure of doing this1 it is better to be content with merely striking the pack against the selected spot4 ,the result is the same1 though the effect is less surprising than when the cards are actually thrown from the hand4 ,,the ,,inseparable ,,sevens4--,place secretly beforehand three of the four eights at the bottom of the pack1 the fourth eight1 which is not wanted for the trick1 being left in whatever position it may happen to occupy4 7,the suit of this fourth eight must be borne in mind1 for a reason which will presently appear47 ,now select openly the four sevens from the pack1 and spread them on the table4 ,while the company are examining them1 privately slip the little finger of the left hand immediately above the three eights at the bottom1 so as to be in readiness to make the pass4 ,gather up the four sevens1 and place them on the top of the pack1 taking care that the seven of the same suit as the fourth eight is uppermost4 ,make a few remarks as to the affectionate disposition of the four sevens1 which1 however far apart they are placed in the pack1 will always come together2 and watch your opportunity to make the pass1 so as to bring the three eights1 originally at the bottom1 to the top4 ,if you are sufficiently expert1 you may make the pass at the very instant that you place the four sevens on the top of the pack2 but1 unless you are very adroit1 it is better to bide your time and make it an instant later1 when the attention of the audience is less attracted to your hands4 ,you then continue1 8,i shall now take these sevens 7you can see for yourselves that ,i have not removed them71 and place them in different parts of the pack40 ,at the words1 8,you can see for yourselves10 etc41 you take off the four top cards1 and show them fanwise4 ,in reality1 three of them are eights1 but the fourth and foremost card being actually a seven1 and the eighth pip of each of the other cards being concealed by the card before it1 and the audience having1 as they imagine1 already seen the same cards spread out fairly upon the table1 there is nothing to suggest a doubt that they are actually the sevens4 7,you will now see the reason why it is necessary to place uppermost the seven of the same suit as the absent eight4 ,if you had not done so the seven in question would have been of the same suit as one or other of the three sham sevens1 and the audience1 knowing that there could not be two sevens of the same suit1 would at once see through the trick47 ,again folding up the four cards you insert the top one a little above the bottom of the pack1 the second a little higher1 the third a little higher still1 and the fourth 7which is a genuine seven7 upon the top of the pack4 ,the four sevens1 which are apparently so well distributed throughout the pack1 are really together on the top1 and you have only to make the pass1 or1 if you prefer it1 simply cut the cards1 to cause them to be found together in the centre of the pack4 ,,the ,,inseparable ,,aces4--,this is really only another form of the last trick1 though it differs a good deal in effect4 ,you first pick out and exhibit on the table the four aces1 and request some one to replace them on the pack1 when you place three other cards secretly upon them4 ,this you may either do by bringing three cards from the bottom by the pass1 or you may1 while the company's attention is occupied in examining the aces1 palm three cards from the top in the right hand1 and1 after the aces are replaced on the top1 simply cover them with that hand1 thereby bringing the three palmed cards upon them4 ,you now say1 8,i am about to distribute these aces in different parts of the pack2 pray observe that ,i do so fairly40 ,as you say this1 you take off and hold up to the audience the four top cards1 being the three indifferent cards with an ace at the bottom4 ,you cannot1 of course1 exhibit them fanwise1 as in the last trick1 or the deception would be at once detected2 but the spectators1 seeing an ace at the bottom1 and having no particular reason for suspecting otherwise1 naturally believe that the cards you hold are really the four aces4 ,laying the four cards on the table1 you distribute them1 as in the last trick1 in different parts of the pack2 taking care1 however1 that the last card 7which is the genuine ace71 is placed among the three already at the top4 ,you now invite some one to cut4 ,when he has done so1 you take up the two halves1 in their transposed position1 in the left hand1 at the same time slipping the little finger of that hand between them4 ,the four aces are now1 of course1 upon the top of the lower packet4 ,you then announce1 8,i am now about to order the four aces1 which you have seen so well divided1 to come together again4 ,would you like them to appear on the top1 at the bottom1 or in the middle of the pack8 ,i should tell you that ,i know perfectly well beforehand which you will choose1 and indeed ,i have already placed them at that particular spot40 ,if the answer is1 8,in the middle10 you have only to withdraw the little finger1 and invite the company to examine the pack to see that they are already so placed4 ,if the answer is1 8,on the top10 you make the pass to bring them there4 ,to produce them at the bottom is rather more difficult1 and unless you are pretty confident as to your neatness of manipulation1 it will be well to limit the choice to 8top0 or 8middle40 ,in order to be able to bring the four aces to the bottom1 you must1 in picking up the cards after the cut1 push forward a little with the left thumb the four top cards of the lower packet1 and slip the little finger below and the third finger above them1 so as to be able to make the pass above or below those four cards as occasion may require4 ,if you are required to bring those four cards to the top1 you must withdraw the little finger 7thereby joining those cards to the upper cards of the lower packet7 and make the pass with the aid of the third finger instead of the fourth4 ,if1 on the contrary1 you desire to produce the four aces at the bottom1 you simply withdraw the third finger1 thereby leaving the aces at the bottom of the upper packet1 when the pass will bring them to the bottom of the pack4 ,we have described the trick as performed with the aces1 but the effect will1 of course1 be the same with four kings1 four queens1 or any other four similar cards4 ,,having ,,placed ,,the ,,four ,,aces ,,in ,,different ,,positions ,,in ,,the ,,pack1 ,,to ,,make ,,the ,,two ,,black ,,change ,,places ,,with ,,the ,,two ,,red ,,ones1 ,,and ,,finally ,,to ,,bring ,,all ,,four ,,together ,,in ,,the ,,middle ,,of ,,the ,,pack4--,this trick may immediately follow that last described4 ,again selecting the four aces 7or such other four cards as you used for the last trick71 and placing them on the table1 take the two red ones1 and opening the pack bookwise in the left hand1 ostentatiously place them in the middle1 at the same time secretly slipping your little finger between them4 ,ask the audience to particularly notice which of the aces are placed in the middle1 and which at top and bottom4 ,next place one of the black aces on the top1 and then turning over the pack by extending your left hand1 place the remaining black ace at the bottom4 ,as you again turn over the pack to its former position1 make the pass1 which the movement of the pack in turning over in the hand will be found to facilitate4 ,the two halves of the pack having now changed places1 the aces will1 naturally1 have changed their positions also1 the two black ones now being in the middle1 and the two red ones at top and bottom2 but it would be very indiscreet to allow the audience to know that this is already the case4 ,as has been already mentioned1 when a given change has taken or is about to take place1 you should always seek to mislead the spectators as to the time of the change1 as they are thereby the less likely to detect the mode in which it is effected4 ,in accordance with this principle1 you should endeavour in the present case to impress firmly upon the minds of your audience that the cards are as they have seen you place them2 and for that purpose it is well to ask some one to say over again1 for the general satisfaction1 in what parts of the pack the four aces are4 ,at this point a contretemps may arise1 for which it is well to be prepared4 ,the person interrogated may possibly forget the relative position of the two colours1 and may1 therefore1 ask to see again how the cards are placed2 or some person may have seen or suspected that you have already displaced them1 and may make a similar request for the purpose of embarrassing you4 ,in order to be prepared for such a contingency1 it is desirable1 after you make the pass as above mentioned1 not to allow the two halves of the pack to immediately coalesce1 but to keep them still separated by the little finger4 ,if you have done this1 and for any reason it becomes necessary to show the cards a second time in their original condition1 you have only to again make the pass1 in order to bring them back to the same position which they occupied at first1 making it a third time in order to effect the change4 ,we will suppose that the audience are at length fully satisfied that the two red aces are in the middle1 and the two black ones at the opposite ends of the pack4 ,you then say1 8,ladies and gentlemen1 ,i am about to command these aces to change places4 ,pray observe by what a very simple movement the transposition is effected40 ,making a quick upward movement with the right hand1 you ruffle the cards1 at the same moment saying1 8,pass60 ,turning the faces of the card to the audience1 you show them that the red aces are now at top and bottom1 and the black ones in the middle4 ,while exhibiting them1 take an opportunity to slip the little finger between these latter1 and in closing the cards 7while they are still face upwards71 again make the pass1 and place the pack face downwards on the table4 ,you then say1 8,i have now1 as you see1 made the aces change places4 ,i don't know whether you saw how ,i did it4 ,perhaps ,i was a little too quick for you4 ,this time ,i will do it as slowly as you please1 or1 if you prefer it1 ,i will not even touch the cards with my hands1 but merely place my wand upon the pack1 so4 ,pass6 ,will you please to examine the pack for yourselves1 when you will find that the aces have again changed places1 and have returned to their original positions40 ,this is found to be the case4 ,you continue1 8,you have not found me out yet8 ,well1 to reward your attention1 as this really is a very good trick1 ,i will show you how to do it for yourselves40 ,pick out the four aces1 and hand the two red ones to one person1 and the two black ones to another person4 ,then1 taking the pack in your left hand1 and addressing yourself first to the person on your right1 request him to place the two aces which he holds respectively at the top and bottom of the pack4 ,then1 turning to the other person1 request him to place the two other aces in the middle of the pack1 which you 7apparently7 open midway with the right hand for the purpose4 ,in reality1 instead of merely lifting up1 as you appear to do1 the top half of the pack1 you make the pass by sliding out the bottom half of the pack to the left4 ,this movement is completely lost in your quick half turn to the left as you address the second person1 which so covers the smaller movement of the cards as to make it absolutely imperceptible2 and it is in order to create the excuse for this useful half turn1 that we have recommended you to place the aces in the hands of two different persons1 and to begin with the person on your right4 ,when the second pair of aces are thus replaced in the middle of the pack they are in reality placed between the two others1 which the audience believe to be still at top and bottom4 ,you now hand the pack to a person to hold1 placing it face downwards in his palm1 and requesting him to hold it very tightly1 thus preventing any premature discovery of the top or bottom card4 ,you then say1 8,i have promised to show you how to perform this trick4 ,to make it still more striking1 we will have this time a little variation4 ,instead of merely changing places1 we will make all the four aces come together40 ,then1 addressing the person who holds the cards1 you continue1 8,the manner of performing this trick is simplicity itself1 though it looks so surprising4 ,will you take my wand in your right hand8 ,hold the cards very tightly1 and touch the back with this end of the wand4 ,quite right4 ,now say #8,pass6' ,it is very simple1 you see4 ,let us see whether you have succeeded4 ,look over the pack for yourself4 ,yes1 there are the aces all together1 as well as ,i could have done it myself4 ,you can try it again by yourself at your leisure1 but please don't tell any one else the secret1 or you will ruin my business40 ,the above delusive offer to show 8how it's done0 can be equally well adapted to many other tricks1 and never fails to create amusement4 ,a ,,card ,,having ,,been ,,thought ,,of1 ,,to ,,make ,,such ,,card ,,vanish ,,from ,,the ,,pack1 ,,and ,,be ,,discovered ,,wherever ,,the ,,performer ,,pleases4--,this trick should be performed with twenty-seven cards only4 ,you deal the cards1 face upwards1 in three packs1 requesting one of the company to note a card1 and to remember in which heap it is4 ,when you have dealt the three heaps1 you inquire in which heap the chosen card is1 and place the other two heaps1 face upwards as they lie1 upon that heap1 then turn over the cards1 and deal again in like manner4 ,you again inquire which heap the chosen card is now in1 place that heap undermost as before1 and deal again for the third time1 when the card thought of will be the first card dealt of one or other of the three heaps4 ,you have1 therefore1 only to bear in mind the first card of each heap to know1 when the proper heap is pointed out1 what the card is4 ,you do not1 however1 disclose your knowledge1 but gather up the cards as before1 with the designated heap undermost2 when the cards are turned over1 that heap naturally becomes uppermost1 and the chosen card1 being the first card of that heap1 is now the top card of the pack4 ,you palm this card1 and hand the remaining cards to be shuffled4 ,having now gained not only the knowledge1 but the actual possession1 of the chosen card1 you can finish the trick in a variety of ways4 ,you may1 when the pack is returned replace the card on the top1 and giving the pack1 face upwards1 to a person to hold1 strike out of his hand all but the chosen card 7see page #dd72 or you may1 if you prefer it1 name the chosen card1 and announce that it will now leave the pack1 and fly into a person's pocket1 or any other place you choose to name1 where1 it being already in your hand1 you can very easily find it4 ,a very effective finish is produced by taking haphazard any card from the pack1 and announcing that to be the chosen card1 and on being told that it is the wrong card1 apologizing for your mistake1 and forthwith 8changing0 it by the fifth method 7see page #cb7 to the right one4 ,some fun may also be created as follows3--,you name1 in the first instance1 a wrong card--say the seven of hearts4 ,on being told that that was not the card thought of1 you affect surprise1 and inquire what the card thought of was4 ,you are told1 let us say1 the king of hearts4 8,ah10 you remark1 8that settles it2 ,i felt sure you were mistaken4 ,you could not possibly have seen the king of hearts1 for you have been sitting on that card all the evening4 ,will you oblige me by standing up for a moment10 and1 on the request being complied with1 you apparently take the card 7which you have already palmed7 from off the chair on which the person has been sitting4 ,the more shrewd of the company may conjecture that you intentionally named a wrong card in order to heighten the effect of the trick2 but a fair proportion will always be found to credit your assertion1 and will believe that the victim had really1 by some glamour on your part1 been induced to imagine he saw a card which he was actually sitting on4 ,this trick is frequently performed with the whole thirty-two cards of the piquet pack4 ,the process and result are the same1 save that the card thought of must be one of the twenty-seven cards first dealt4 ,the chances are greatly against one of the last five cards being the card thought of1 but in such an event the trick would break down1 as it would in that case require four deals instead of three to bring the chosen card to the top of the pack4 ,it is a good plan to deal the five surplus cards in a row by themselves1 and after each deal1 turn up one of them1 and gravely study it1 as if these cards were in some way connected with the trick4 ,,to ,,cause ,a ,,number ,,of ,,cards ,,to ,,multiply ,,invisibly ,,in ,a ,,person',s ,,keeping4--,secretly count any number1 say a dozen1 of the top cards1 and slip the little finger of the left hand between those cards and the rest of the pack4 ,invite a person to take as many cards as he pleases1 at the same time putting into his hands all1 or nearly all1 of the separated cards4 ,if he does not take all1 you will be able to see at a glance1 by the number that remains above your little finger1 how many he has actually taken4 ,pretend to weigh in your hand the remaining cards1 and say 7we assume that you are using a piquet pack71 8,i should say by the weight that ,i have exactly twenty-two cards here1 so you must have taken ten4 ,will you see if ,i am right80 ,while he is counting the cards he has taken1 count off secretly from the pack1 and palm in the right hand1 four more4 ,when he has finished his counting1 you say1 8,now will you please gather these cards together1 and place your hand firmly upon them80 ,as you say this1 you push them towards him with your right hand4 ,this enables you to add to them1 without attracting notice1 the four cards in that hand4 ,continue1 8,now how many cards shall ,i add to those in your hand8 ,you must not be too extravagant1 say three or four40 ,the person addressed will probably select one or other of the numbers named1 but you must be prepared for the possibility of his naming a smaller number4 ,if he says 8,four10 you have only to ruffle the cards in your hand1 or make any other gesture which may ostensibly effect the transposition2 and he will find on examination that the cards under his hand are increased by four1 according to his desire4 ,if he says 8,three10 you say1 8,please give me back one card1 to show the others the way40 ,this makes the number right4 ,if 8two0 are asked for1 you may ask for two cards to show the way2 or you may say1 8,two1 very good6 ,shall ,i send a couple more for anybody else80 when some one or other is pretty sure to accept your offer4 ,if one only is asked for1 you must get two or three persons to take one each1 taking care always by one or the other expedient to make the number correspond with the number you have secretly added4 ,while the attention of the company is attracted by the counting of the cards1 to see if you have performed your undertaking1 again palm the same number of cards as was last selected 7suppose three71 and1 after the cards are counted1 gather them up1 and give them to some other person to hold1 adding to them the three just palmed2 then taking that number of cards from the top of the pack1 and again replacing them1 say1 8,i will now send these three cards into your hands in the same manner40 ,ruffle the cards1 as before1 and1 upon examination1 the number of cards in the person's hands will again be found to be increased by three4 ,,the ,,pack ,,being ,,divided ,,into ,,two ,,portions1 ,,placed ,,in ,,the ,,keeping ,,of ,,two ,,different ,,persons1 ,,to ,,make ,,three ,,cards ,,pass ,,invisibly ,,from ,,the ,,one ,,to ,,the ,,other4--,this trick is identical in principle with the one last described1 but the mise en scne is more elaborate1 and several circumstances concur to give it a surprising effect4 ,it was a special favourite with the late ,m4 ,robert-,houdin1 and we shall proceed to describe it as nearly as possible in the form in which it was presented by him4 ,the performer brings forward a pack of cards1 still in the official envelope4 ,these he hands to a spectator1 with a request that he will open and count them4 ,he does so1 and finds that they have the full complement 7of thirty-two or fifty-two1 as the case may be74 ,he is next requested to cut the pack into two portions1 pretty nearly equal1 and to choose one of the packets4 ,having made his selection1 he is further asked to count the cards in the packet chosen4 ,the general attention being1 meanwhile1 drawn away from the performer1 he has ample opportunity to get ready in his right hand1 duly palmed1 three cards of another pack1 but of similar pattern to those of the pack in use4 7,these may previously be placed either on the servante or in the performer's right-hand pochette2 or he may1 if he prefers it1 have them ready palmed in his right hand when he comes upon the stage to commence the trick47 ,the spectator1 having duly counted the chosen pack1 declares it to consist1 say1 of seventeen cards4 8,a capital number for the trick10 remarks the performer4 8,now1 sir1 will you be kind enough to take these seventeen cards in your own hands0 7here he pushes them carelessly towards him1 and joins the three palmed cards to them71 8and hold them well up above your head1 that every one may see them4 ,thank you4 ,now1 as your packet contains seventeen cards1 this other0 7we are supposing a piquet pack to be used7 8should contain fifteen4 ,let us see whether you have counted right40 ,the performer himself audibly counts the remaining packet1 card by card1 on the table3 immediately afterwards taking the heap in his left hand1 and squaring the cards together1 thus obtaining the opportunity to separate and palm in his right hand the three top cards4 ,he continues1 8,fifteen cards here--and--how many did you say1 sir8--yes1 seventeen1 which the gentleman holds1 make thirty-two4 ,quite right4 ,now will some one else oblige me by taking charge of these fifteen cards40 ,he hands the cards with the left hand1 and at the same moment drops the three palmed cards into the profonde on the right side1 immediately bringing up the hand1 that it may be seen empty4 8,now1 ladies and gentlemen1 ,i will show you a very curious phenomenon1 all the more astonishing because you will bear me witness that1 from the time the cards were counted1 they have not been even one moment in my possession1 but have remained in independent custody4 ,will you1 sir0 7addressing the person who holds the second packet71 8hold up the cards in such a manner that ,i can touch them with my wand4 ,i have but to strike the cards with my wand once1 twice1 thrice1 and at each touch a card will fly from the packet which you are now holding1 and go to join the seventeen cards in the other packet4 ,as this trick is performed by sheer force of will1 without the aid of apparatus or dexterity1 ,i shall be glad if you will all assist me by adding the force of your will to mine1 which will greatly lighten my labour4 ,at each touch of the wand1 then1 please1 all present1 mentally to command a card to pass in the manner ,i have mentioned4 ,are you all ready6 ,then we will make the experiment4 ,one1 two1 ,,three6 ,did you see the cards pass8 ,i saw them distinctly1 but possibly my eyes are quicker than yours4 ,will each of the gentlemen who hold the cards be good enough to count his packet80 ,this is done1 and it is found that the one holds twenty cards1 and the other twelve only4 ,it is obvious that the two packets now collectively contain duplicates of three cards1 while three others are missing2 but it is extremely unlikely that any one will suspect this1 or seek to verify the constitution of the pack4 ,,to ,,allow ,,several ,,persons ,,each ,,to ,,draw ,a ,,card1 ,,and ,,the ,,pack ,,having ,,been ,,shuffled1 ,,to ,,make ,,another ,,card ,,drawn ,,haphazard ,,change ,,successively ,,into ,,each ,,of ,,those ,,first ,,chosen4--,invite a person to draw a card4 ,this first card need not be forced1 as it is not essential for you to know what card it is1 so long as you afterward keep it in sight4 ,when the card is returned to the pack1 insert the little finger under it1 and make the pass in order to bring it to the bottom4 ,make the first of the false shuffles 7see page #bc71 and leave it at the bottom4 ,again make the pass to bring it to the middle of the pack1 and force the same card on a second and again on a third person1 each time making a false shuffle1 and leaving the chosen card1 which we will call a1 ultimately in the hands of the last person who drew4,e ,when you have concluded the last shuffle1 which 7the card not now being in the pack7 may be a genuine one1 you offer the pack to some person who has not yet drawn1 and allow him to draw any card he pleases1 which second card we will call b4 ,you open the pack1 and ask the persons holding the two cards to replace them one on the other2 that first chosen1 a1 being placed last--i4e41 uppermost4 ,you make the pass to bring them to the top1 and palm them1 and then immediately hand the pack to be shuffled by one of the company4 ,this being done1 you replace them on the top of the pack1 and1 spreading the cards1 and appearing to reflect a moment1 pick out by the backs as many cards as there have been persons who drew 7i4e41 four7 including among them the two cards a and b4 ,exhibiting the four cards1 you ask each drawer to say1 without naming his card1 whether his card is among them4 ,the reply is1 of course1 in the affirmative4 ,each person who drew1 seeing his own card among those shown1 naturally assumes that the remaining cards are those of the other drawers2 and the remainder of the audience1 finding the drawers satisfied1 are fully convinced that the cards shown are the four which were drawn4 ,you now replace the cards in different parts of the pack1 placing the two actually drawn in the middle1 and secretly make the pass to bring them to the top4 ,then1 spreading the cards1 you invite another person to draw1 which you allow him to do wherever he chooses4 ,when he has done so1 you request him to name aloud his card1 which we will call c4 ,holding the card aloft1 you ask each of the former drawers in succession1 8,is this your card80 ,to which each answers1 8,no40 ,after having received this answer for the last time1 you 8change0 the card by the first method 7see page #bh7 for the top card4 ,you now have the card a 7the one drawn several times7 in your hand1 while b has become the top card1 and c1 which you have just exhibited1 is at the bottom4 ,you continue1 before showing a1 8,you are all agreed that this is not your card2 you had better not be too sure4 ,i will ask you one by one4 ,you1 sir10 addressing the first drawer1 8are you quite sure this is not your card80 ,he is obliged to own that it now is his card4 8,pardon me10 you say1 breathing gently on the back of the card1 8it may have been so a moment ago1 but now it is this lady's10 exhibiting it to the second drawer1 who also acknowledges it as her card4 ,to the third person you say1 8,i think you drew a card1 did you not8 ,may ,i ask you to blow upon the back of this card6 ,it has changed again1 you see1 for now it is your card40 ,the card having been again recognized1 you continue1 8,there was no one else1 ,i think10 at the same moment again making the change by the first method1 so that a is now at bottom and b in your hand4 ,the person who drew b will1 no doubt1 remind you that you have not yet shown him his card4 ,you profess to have quite forgotten him1 and1 feigning to be a little embarrassed1 ask what his card was4 ,he names it accordingly1 upon which you ask him to blow upon the card you hold1 and1 turning it over1 show that it has now turned into that card4 ,then again making the change1 you remark1 8,everybody has certainly had his card now40 ,then1 yourself blowing upon the card you hold1 which is now an indifferent one1 you show it1 and remark1 8,you observe that now it is nobody's card40 ,e ,the different drawers should be persons tolerably far apart1 as it is essential that they should not discover that they have all drawn the same card4 ,in this trick1 as in every other which mainly depends upon forcing a given card1 there is always the possibility that some person may1 either by accident or from a malicious desire to embarrass you1 insist upon drawing some other card4 ,this1 however1 must not discourage you4 ,in the first place1 when you have once thoroughly acquired the knack of forcing1 the victim will1 nine times out of ten1 draw the card you desire1 even though doing his utmost to exercise1 as he supposes1 an absolutely free choice2 and the risk may be still further diminished by offering the cards to persons whose physiognomy designates them as likely to be good-naturedly easy in their selection4 ,but if such a contretemps should occur in the trick we have just described1 it is very easily met4 ,you will remember that the first card drawn is not forced1 but freely chosen4 ,it is well to make the most of this fact1 and for that purpose1 before beginning the trick1 to offer the cards to be shuffled by several persons in succession1 and specially to draw the attention of the audience to the fact that you cannot possibly have any card in view4 ,when the card is chosen1 offer to allow the drawer1 if he has the slightest suspicion that you know what it is1 to return it1 and take another4 ,he may or may not accept the offer1 but your evident indifference as to the card chosen will make the audience the less likely to suspect you afterwards of desiring to put forward any particular card4 ,if1 notwithstanding1 a wrong card is drawn the second time1 leave it in the hand of the drawer1 and at once offer the cards to another person1 and again endeavour to force the proper card1 a1 and let the wrong card take the place of b in the foregoing description4 ,in the very unlikely event of a second wrong card being drawn1 leave that also for the moment in the hands of the drawer1 and let that card take the place of c in the finish of the trick4 ,,to ,,make ,,four ,,aces ,,change ,,to ,,four ,,kings1 ,,and ,,four ,,kings ,,to ,,four ,,aces4--,this very effective trick is performed by the aid of four cards1 which are so prepared as to appear aces on the one side and kings on the other4 ,to make them1 take four ordinary aces and four ordinary kings1 and peel off half the thickness of each card4 ,this may be easily done by splitting one corner of the card with a sharp penknife1 when the remainder can be pulled apart without difficulty4 ,the cards being thus reduced in thickness1 paste back to back the king and ace of each suit1 placing them in a press or under a heavy weight1 that they may dry perfectly smooth and flat4 ,better still1 entrust the process to some person who is accustomed to mounting photographs1 when1 at a trifling cost1 you will have your double-faced cards thoroughly well made4 ,place these four cards beforehand in different parts of the pack1 the 8ace0 side downwards1 i4e41 in the same direction as the faces of the other cards4 ,place the genuine aces face downwards on the top of the pack1 which being thus disposed1 you are ready to begin the trick4 ,take the pack in your hand1 face uppermost4 ,remark1 8,for this trick ,i want the aces and kings10 and pick out1 one by one1 the real kings and the sham aces4 ,lay these cards on the table1 the kings face upwards1 and the prepared cards with the 8ace0 side uppermost4 ,draw the attention of the audience to these cards1 and meanwhile make the pass so as to bring the two halves of the pack face to face1 when the four genuine aces will 7unknown to the audience7 be at the lower end of the pack4 ,place the four kings ostentatiously upon the opposite end of the pack1 i4e41 that which is for the time being uppermost4 ,you now borrow a hat4 ,placing the pack for a moment on the table1 and taking the four false aces in one hand and the hat in the other1 place the aces on the table1 and cover them with the hat1 at the same moment turning them over4 ,then taking the pack in your hand1 once more show the kings1 and replacing them1 say1 8,i shall now order these four kings to pass under the hat1 and the four aces to return to the pack4 ,i have only to touch the cards with my wand1 and say1 #8,pass1' and the change is accomplished40 ,as you touch the cards with the wand1 turn over the pack 7see page #cg71 the bringing together of the hands and the gentle tap with the wand effectually covering the slight movement of the hand4 ,if you do not use the wand1 a semi-circular sweep of the hand which holds the cards in the direction of the hat1 as you say 8,pass10 will answer the same purpose4 ,having shown that the cards have changed according to command1 you may1 by repeating the process1 cause the cards to return to their original positions4 ,it is better not to carry the trick further than this1 or some of the audience may possibly ask to be allowed to examine the cards1 which would be embarrassing4 ,after the trick is over1 make the pass to bring the pack right again1 and then get the double-faced cards out of the way as soon as possible4 ,the best way to do this1 without exciting suspicion1 is to take them up in the right hand1 and apparently turn them over and leave them on the top of the pack1 but in reality palm them1 and slip them into your pocket1 or elsewhere out of sight4 ,after having done this1 you may safely leave the pack within reach of the audience1 who1 if they examine it1 finding none but ordinary cards1 will be more than ever puzzled as to your modus operandi4 ,,having ,,made ,,four ,,packets ,,of ,,cards ,,with ,,an ,,ace ,,at ,,the ,,bottom ,,of ,,each1 ,,to ,,bring ,,all ,,four ,,aces ,,into ,,whichever ,,packet ,,the ,,company ,,may ,,choose4--,take the four aces1 or any other four cards of equal value1 from the pack1 and throw them face upwards on the table4 ,while the company's attention is being drawn to them1 make the pass1 as in the last trick1 so as to bring the two halves of the pack face to face4 ,the company1 having satisfied themselves that the four cards shown are really the four aces1 and are without preparation1 take them up1 and replace them face downwards upon the top of the pack1 which you hold in the left hand1 remarking1 8,i am going to show you a trick with these four aces4 ,i shall first place them on the table1 and put three indifferent cards on each of them40 ,meanwhile1 get the thumb of the left hand in position for the 8turn over10 and the instant that you have drawn off the top card with the right hand1 turn over the pack1 which the movement of the hands in removing the top card will enable you to do without attracting notice4 ,this top card is really an ace1 and you may therefore show it1 as if by accident1 while placing it on the table4 ,lay it face downwards1 and then place three cards from the end you have just brought uppermost 7which the audience will believe to be the other three aces71 in a line with it on the table4 ,next place three more cards1 taken from the same end of the pack1 upon each of the three cards last dealt4 ,when you come to that first dealt 7the genuine ace71 before dealing the three cards upon it1 you must again turn over the pack1 thereby bringing the three aces on the top4 ,you thus have upon the table four packets of four cards each1 one packet consisting of aces only1 and the remaining three packets of indifferent cards2 but the audience imagine that the aces are divided1 and that there is one at the foot of each packet4 ,you now ask any one to touch two out of the four packets4 ,the two packets which he touches may include1 or may not include1 the one containing the four aces4 ,whichever be the case1 take up and put aside the two which do not include the packet of aces1 and remark1 8,we will place these aside10 an observation which will be equally appropriate whether those were the two touched or not4 ,next ask the same or another person to touch one of the two remaining packets1 and in like manner add that one which does not contain the aces to the two already set aside4 ,placing these three packets on the table1 request some one of the company to place his hand upon them1 and hold them tightly2 then1 taking the remaining packet yourself1 observe4 8,you have three aces1 and ,i have only one2 but by virtue of my magic power ,i shall compel those three aces to leave your hand1 and come to mine1 ,i just touch the back of your hand1 so0 7touching it with the cards you hold71 8and say1 #8,pass4' ,the change is already accomplished4 ,here are all four aces4 ,please to examine your own cards1 when you will find you have not a single ace left4 ,let me remind you that the audience chose1 and not ,i1 which of the four packets you should take1 and which one ,i should retain40,f ,f ,it will be observed that this trick is terminated after the manner described at page #de1 to which the reader is recommended to refer1 as the above description will be more clearly intelligible by the aid of the further explanations there given4 ,there is another method of performing this trick1 which dispenses with the necessity of 8turning over0 the pack4 ,in this case1 as you place the four aces on the top of the pack1 you insert the little finger of the left hand under the three uppermost1 and make the pass to bring these three to the bottom1 still1 however1 keeping the finger between them and the rest of the pack4 ,you deal out the four top cards 7supposed to be the four aces71 as above1 and three others on each of the three non-aces4 ,you next ask some person to draw any three cards 7taking care not to let him draw one of the three at the bottom71 and place them at the top of the pack4 ,the moment he has done so1 you again make the pass1 thus bringing the three aces upon them4 ,you then say1 taking off 7without showing7 the three top cards1 8,now ,i will take these three cards1 freely drawn from the middle of the pack1 and place them here on this last ace40 ,from this point the course of the trick is the same as already described4 ,,to ,,change ,,the ,,four ,,aces1 ,,held ,,tightly ,,by ,a ,,person1 ,,into ,,four ,,indifferent ,,cards4--,this is a most brilliant trick1 and puzzles even adepts in card-conjuring4 ,in combination with the 8,shower of ,aces10 which next follows1 it was one of the principal feats of the ,elder ,conus1 and subsequently of the celebrated ,comte4 ,the trick is performed as follows3--,you begin by announcing that you require the assistance of some gentleman who never believes anything that he is told4 ,the audience generally take this as a joke1 but for the purpose of this trick it is really rather an advantage to have the assistance of a person who will take nothing for granted1 and will be satisfied with nothing short of ocular demonstration of any fact which you desire him to concede4 ,some little fun may be made in the selection1 but a volunteer having at last been approved of1 you request him to step forward to your table4 ,selecting from the pack the four aces1 you ask him to say aloud what cards those are1 at the same time holding them up that all may see them4 ,then laying the aces face upwards on the table1 you hand him the remainder of the cards1 and ask him to ascertain and state to the company1 whether there is any peculiarity about the cards1 and whether1 in particular1 there are any other aces in the pack4 ,his reply is in the negative4 ,you then ask whether any other person would like to examine the pack4 ,all being satisfied1 you take the pack1 face downwards1 in your left hand1 and picking up the four aces with the right1 place them on the top1 at the same moment slightly ruffling the cards4 ,then taking the aces one by one 7without showing them7 you place them face downwards on the table4 ,addressing the person assisting you1 you say1 8,i place these four aces on the table4 ,you admit that they are the four aces40 ,your victim1 not having seen the faces of the cards since they were replaced on the pack1 and having noticed the slight sound produced by your ruffling the cards1 will1 in all probability1 say that he does not admit anything of the sort4 8,why10 you reply1 8you have only just seen them2 but ,i'll show them to you again1 if you like40 ,turning them face upwards1 you show that the four cards really are the aces1 and again replace them on the pack1 ruffle the cards1 and deal out the four aces face downwards as before4 ,you again ask your assistant whether he is certain this time that the four cards on the table are the aces4 ,he may possibly be still incredulous1 but if he professes himself satisfied1 you ask him what he will bet that these cards are really the aces1 and that you have not conjured them away already4 ,he will naturally be afraid to bet1 and you remark1 8,ah1 ,i could tell by the expression of your countenance that you were not quite satisfied4 ,i'm afraid you are sadly wanting in faith1 but as ,i can't perform the trick1 for the sake of my own reputation1 until you are thoroughly convinced1 ,i will show you the cards once more40 ,this you do1 and again replace them on the pack1 but before doing so1 slip the little finger of the left hand under the top card of the pack4 ,again take off the aces with the finger and thumb of the right hand1 carrying with them at the same time this top card4 ,then with a careless gesture of the right hand toward the audience1 so as to show them the face of the undermost card 7the one you have just added71 you continue1 8,i really can't imagine what makes you so incredulous4 ,here are the aces0 7you replace the five cards on the pack7--8,i take them one by one1 so1 and place them on the table4 ,surely there is no possibility of sleight-of-hand here4 ,are you all satisfied that these are really the aces now80 ,the audience having noted1 as you intended them to do1 that the fifth or bottom card was not an ace1 naturally conclude that other cards have been by some means substituted for the aces1 and when you ask the question for the last time1 you are met by a general shout of 8,no60 ,you say1 with an injured expression1 8,really1 ladies and gentlemen1 if you are all such unbelievers1 ,i may as well retire at once4 ,i should hope that1 at least1 you will have the grace to apologize for your unfounded suspicions40 ,then1 turning to the person assisting you1 you continue1 8,sir1 as every act of mine appears to be an object of suspicion1 perhaps you will kindly show the company that those are the aces1 and replace them yourself on the top of the pack40 ,this he does4 ,but during the course of the above little discussion1 you have taken the opportunity to count off1 and palm in your right hand1 the five top cards of the pack4 ,it is hardly necessary to observe that while doing this1 you must scrupulously refrain from looking at your hands4 ,the mode of counting is to push forward the cards one by one with the thumb1 and to check them with the third finger1 of the left hand4 ,a very little practice will enable you to count off any number of cards by feel1 in this manner1 with the greatest ease4 ,when the aces are replaced on the top of the pack1 you transfer the pack from the left to the right hand1 thus bringing the palmed cards above them1 then placing the whole pack on the table1 face downwards1 inquire1 8,will you be good enough to tell me where the aces are now80 ,the answer is generally very confident1 8,on the top of the pack40 ,without taking the pack in your hand1 you take off1 one by one1 the four top cards1 and lay them face downwards on the table1 as before2 then taking up the fifth card and exhibiting it to the company1 observe1 8,you see there are no more aces left1 but if you like you can look through the pack40 ,so saying1 you take up the cards1 and run them rapidly over with their faces towards the spectators1 taking care1 however1 not to expose either of the five at the top1 four of which are the genuine aces4 ,then1 addressing your assistant1 you say1 8,the company being at last satisfied1 perhaps you will be good enough to place your hand on those four cards1 and hold them as tightly as possible40 ,then1 holding the pack in the left hand1 you take between the first finger and thumb of the right hand the top card of the pack1 being the only one left of the five you palmed and placed over the aces1 and say1 8,now ,i am going to take four indifferent cards one after the other1 and exchange them for the four aces in this gentleman's hand4 ,observe the simplicity of the process4 ,i take the card that first comes to hand0 7here you show the face of the card that you hold1 which we will suppose to be the seven of diamonds71 8,i don't return it to the pack1 even for a moment1 but merely touch the hand with it1 and it becomes the ace of 7say7 spades0 7which you show it to be74 ,at the words 8return it to the pack10 you move the card with what is taken to be merely an indicative gesture1 towards the pack1 and at the same instant 8change0 it by the third method 7see page #cj7 for the top card of the pack1 which is one of the aces4 ,you now have the seven of diamonds at the top of the pack1 with the remaining three aces immediately following it4 ,you must not show this seven of diamonds a second time1 and it is therefore necessary to get it out of the way4 ,the neatest way of doing this is as follows3--,you remark1 8,to show you that ,i take the cards just as they come1 ,i will give them a shuffle10 which you do as indicated for the first of the 8false shuffles0 7see page #bc71 subject to the modification following4 ,pass into the right hand first the top card 7the seven of diamonds7 alone1 and upon this card pass the next three1 which are the three aces1 then the rest of the cards indifferently4 ,when all the cards are thus passed into the right hand1 shuffle them again anyhow1 but take care to conclude by bringing the four lowest cards to the top2 you will now have the three aces uppermost1 and the seven of diamonds in the fourth place4 ,taking off the top card1 and drawing it sharply over the hand of the person assisting1 you show that it also is an ace1 and in like manner with the next card1 making1 if you choose1 a false shuffle between4 ,after the third ace has been shown1 make a false shuffle1 and finally leave at the top the last ace1 with one card above it4 ,this may be effected by bringing up from the bottom in concluding the shuffle the two bottom cards1 instead of the last 7the ace7 only4 ,taking the top card between the thumb and first finger of the right hand1 and showing it with apparent carelessness1 so as to give the company the opportunity of remarking that it is not an ace1 you replace it on the pack for an instant1 saying1 8,we have had three aces1 ,i think4 ,which is it that is wanting80 ,here you glance down at the aces on the table4 8,oh6 the ace of diamonds4 ,then the card that ,i hold must change to the ace of diamonds40 ,you have meanwhile effected the change1 and turning up the card you hold1 you show that it is the ace of diamonds4 ,you may1 if you please1 use the first instead of the third method of making the 8change0 in performing this trick1 but the first method demands a higher degree of dexterity to make it equally deceptive2 and the movement used in the third method has in this instance the advantage of appearing to be the natural accompaniment of the words of the performer4 ,,the ,,shower ,,of ,,aces4--,this trick forms a very effective sequel to that last described1 or may with equal facility be made to follow many other card tricks4 ,to perform it1 the first essential is the possession of a pack of cards similar in size and pattern to that you have in general use1 but consisting of aces only4 ,you can purchase such a pack at most of the conjuring depts1 or you may1 without much difficulty1 manufacture one for yourself4 ,if you decide upon the latter course1 you must first procure thirty or forty blank cards backed with the requisite pattern4 ,these you can transform into aces in two ways4 ,the first is1 to split three or four ordinary cards of each suit1 and1 after peeling off1 as thin as possible1 the face of each1 carefully cut out the pips1 and paste one in the centre of each of your blank cards4 ,this process1 however1 takes a considerable time2 and1 when the sham aces are collected in a pack1 the extra thickness of the paper in the centre of each produces an objectionable bulge4 ,the better plan is to procure a stencil-plate representing the figures of a club1 heart1 and diamond1 which will enable you to produce any number of the aces of those suits1 using ,indian ink for the clubs1 and vermilion1 mixed with a little size1 for the hearts and diamonds4 ,the ace of spades you must dispense with1 but this is of little consequence to the effect of the trick4 ,you must have these cards close at hand1 in such a position as to enable you to add them instantly1 and without attracting observation1 to the pack you have been using4 ,if you use the regular conjuror's table1 before described1 you may place your pack of aces on the servante4 ,if you do not use such a table1 you may place them in one of your pochettes4 ,in either case1 you will have little difficulty in reaching them at the right moment1 and placing them on the top of the ordinary pack1 holding the whole in your left hand1 but keeping the little finger between4 ,having done this1 you say to the person who has been assisting you 7in continuation of the trick you have just performed71 8,you appear to be fond of aces1 sir4 ,how many would you like80 ,he is fully convinced1 having previously examined the pack1 that you have only the ordinary four but1 from a desire to put your powers to an extreme test1 he may possibly name a larger number--say1 seven4 8,seven60 you reply2 8that is rather unreasonable1 seeing there are only four in the pack4 ,however1 we will make some more4 ,do you know how to make aces8 ,no8 ,then ,i will show you4 ,like all these things1 it's simplicity itself1 when you once know it4 ,will you oblige me by blowing upon the pack80 which you hold just under his nose for that purpose4 ,he does so1 and you deliberately count off and give to him the seven top cards1 which all prove to be aces4 ,you then say1 8,perhaps you would like some more4 ,you have only to blow again4 ,come1 how many will you have80 ,he again blows on the pack1 and you give him the number desired4 ,while he is examining them1 you cover the pack for a moment with your right hand1 and palm a dozen or so of the remaining aces4 ,then remarking1 8,you blew a little too strongly that time4 ,you blew a lot of aces into your waistcoat10 you thrust your hand into the breast of his waistcoat1 and bring out three or four of the palmed cards1 leaving the remainder inside2 then pull out two or three more1 dropping them on the floor1 so as to scatter them about and make them appear as numerous as possible4 ,you then say1 8,there seem to be a good many more there yet4 ,perhaps you will take them out yourself40 ,while he is doing so1 you palm in the right hand all the remaining aces4 ,when he professes to have taken out all1 you say1 8,are you quite sure that you have no more aces about you8 ,you blew very hard1 you know4 ,i really think you must have some more4 ,will you allow me80 ,then1 standing on his right1 you place your right hand just below his eyes1 and spring the remaining aces from it1 in the manner indicated for springing the cards from hand to hand 7see page #cg71 the effect being exactly as if a shower of cards flew from his nose4 ,,several ,,persons ,,having ,,each ,,drawn ,,two ,,cards1 ,,which ,,have ,,been ,,returned ,,and ,,shuffled1 ,,to ,,make ,,each ,,couple ,,appear ,,in ,,succession1 ,,one ,,at ,,the ,,top ,,and ,,the ,,other ,,at ,,the ,,bottom ,,of ,,the ,,pack4--,this capital trick was also a great favourite with ,comte1 who christened it1 for reasons best known to himself1 by the poetical name of 8,the ,ladies' ,looking-glass40 ,the cards having been freely shuffled1 you invite a person to draw two cards1 allowing him free choice4 ,opening the pack in the middle1 you ask him to place his cards together in the opening4 ,you bring them to the top by the pass1 make the first of the false shuffles1 and conclude by leaving them on the top4 ,offer the cards to a second person to draw a couple1 but in opening the cards for him to return them1 make the pass1 so that they may be placed upon the pair already drawn1 which are thereby brought to the middle of the pack4 ,again make the pass1 so as to bring all four to the top4 ,make another false shuffle1 leaving those four on the top1 and offer the cards to a third and fourth person1 each time repeating the process4 ,make the false shuffle for the last time1 so as to leave all the drawn cards in a body on the top of the pack1 with one indifferent card above them4 ,the audience believe that they are thoroughly dispersed1 and your first care must be to strengthen that impression4 ,if you are expert in card-palming1 you may palm the nine cards1 and give the pack to be shuffled by one of the spectators2 but this is not absolutely necessary1 and there is some risk of the company noticing the absence of part of the pack4 ,you remark1 8,you have all seen the drawn cards placed in different parts of the pack1 and the whole have been since thoroughly shuffled4 ,the drawn cards are therefore at this moment scattered in different parts of the pack4 ,i can assure you that ,i do not myself know what the cards are0 7this is the only item of fact in the whole sentence72 8but yet1 by a very slight1 simple movement1 ,i shall make them appear1 in couples as they were drawn1 at top and bottom of the pack40 ,then1 showing the bottom card1 you ask1 8,is this anybody's card80 ,the reply is in the negative4 ,you next show the top card1 and make the same inquiry4 ,while you do so1 you slip the little finger under the next card1 and as you replace the card you have just shown1 make the pass1 thus bringing both cards to the bottom of the pack4 ,meanwhile1 you ask the last person who drew what his cards were4 ,when he names them1 you 8ruffle0 the cards1 and show him first the bottom and then the top card1 which will be the two he drew4 ,while exhibiting the top card1 take the opportunity to slip the little finger of the left hand immediately under the card next below it1 and as you replace the top one make the pass at that point4 ,you now have the third couple placed top and bottom4 ,make the drawer name them1 ruffle the cards1 and show them as before1 again making the pass to bring the card just shown at top1 with that next following1 to the bottom of the pack1 which will enable you to exhibit the second couple in like manner4 ,these directions sound a little complicated1 but if followed with the cards will be found simple enough4 ,you may1 by way of variation1 pretend to forget that a fourth person drew two cards1 and1 after making the pass as before1 appear to be about to proceed to another trick4 ,you will naturally be reminded that ,so-and-so drew two cards4 ,apologizing for the oversight1 you beg him to say what his cards were4 ,when he does so1 you say1 8,to tell you the truth ,i have quite lost sight of them2 but it is of no consequence1 ,i can easily find them again40 ,then nipping the upper end of the cards between the thumb and second finger of the right hand1 which should be slightly moistened1 you make the pack swing1 pendulum fashion1 a few inches backwards and forwards1 when the whole of the intermediate cards will fall out1 leaving the top and bottom card alone in your hand4 ,these you hand to the drawer1 who is compelled to acknowledge them as the cards he drew4 ,,to ,,make ,,two ,,cards1 ,,each ,,firmly ,,held ,,by ,a ,,different ,,person1 ,,change ,,places4--,for the purpose of this trick you must have a duplicate of some one of the cards1 say the knave of spades1 and you must arrange your pack beforehand as follows3 ,the bottom card must be a knave of spades2 the next to it an indifferent card1 say the nine of diamonds2 and next above that1 the second knave of spades4 ,you come forward carelessly shuffling the cards 7which you may do as freely as you please as to all above the three mentioned71 and finish by placing the undermost knave of spades on the top4 ,the bottom card will now be the nine of diamonds1 with a knave of spades next above it4 ,holding up the pack in your left hand1 in such a position as to be ready to 8draw back0 the bottom card 7see page #cf71 you say1 8,will you all be kind enough to notice and remember the bottom card1 which ,i will place on the table here1 so as to be in sight of everybody40 ,so saying1 you drop the pack to the horizontal position1 and draw out with the middle finger of the right hand apparently the bottom card1 but really slide back that card1 and take the one next to it 7the knave of spades71 which you lay face downwards on the table1 and ask some one to cover with his hand4 ,you then 7by the slip or pass7 bring the remaining knave of spades from the top to the bottom1 and shuffle again as before1 taking care not to displace the two bottom cards4 ,again ask the company to note the bottom card 7which is now the knave of spades71 and draw out1 as before1 apparently that card1 but really the nine of diamonds4 ,place that also face downwards on the table1 and request another person to cover it with his hand4 ,the company are persuaded that the first card thus drawn was the nine of diamonds1 and the second the knave of spades4 ,you now announce that you will compel the two cards to change places1 and after touching them with your wand1 or performing any other mystical ceremony which may serve to account for the transformation1 you request the person holding each to show his card1 when they will be found to have obeyed your commands4 ,the attention of the audience being naturally attracted to the two cards on the table1 you will have little difficulty in palming and pocketing the second knave of spades1 which is still at the bottom of the pack1 and which1 if discovered1 would spoil the effect of the trick4 ,,to ,,change ,,four ,,cards1 ,,drawn ,,haphazard1 ,,and ,,placed ,,on ,,the ,,table1 ,,into ,,cards ,,of ,,the ,,same ,,value ,,as ,a ,,single ,,card ,,subsequently ,,chosen ,,by ,,one ,,of ,,the ,,spectators4--,this trick is on the same principle as that last above described1 but is much more brilliant in effect4 ,to perform it1 it is necessary1 or at least desirable1 to possess a forcing pack consisting of one card several times repeated4 ,we will suppose your forcing pack to consist of queens of diamonds4 ,before commencing the trick1 you must secretly prepare your ordinary pack in the following manner3--,place at the bottom any indifferent card1 and on this a queen2 then another indifferent card1 then another queen2 another indifferent card1 then another queen2 another indifferent card1 and on it the fourth and last queen4 ,you thus have at the bottom the four queens1 each with an ordinary card next below it4 ,each indifferent card should be of the same suit as the queen next above it1 so that all of the four suits may be represented4 ,shuffle the cards1 taking care however1 not to disturb the eight cards above mentioned4 ,then say1 8,i am about to take four cards from the bottom1 and place them on the table4 ,will you please to remember what they are80 ,show the bottom card1 then1 dropping the pack to the horizontal position1 8draw back0 that card1 and take the next1 which is one of the queens1 and1 without showing it1 lay it face downwards on the table4 ,you now want to get rid of the card you have already shown1 which is still at the bottom4 ,to effect this without arousing suspicion1 the best and easiest plan is to shuffle each time after drawing a card1 not disturbing the arranged cards at the bottom1 but concluding the shuffle by placing the bottom card1 which is the one you desire to get rid of1 on the top of the pack4 ,thus after each shuffle you are enabled to show a fresh bottom card1 which1 however1 you slide back1 and draw the next card 7a queen7 instead4 ,repeat this four times1 when you will have all four queens on the table1 though the audience imagine them to be the four cards they have just seen4 ,in order to impress this more fully upon them1 ask some one to repeat the names of the four cards4 ,while the attention of the audience is thus occupied1 you secretly exchange the pack you have been using for your forcing pack1 and advancing to the audience say1 8,now ,i shall ask some one to draw a card2 and whatever card is drawn1 ,i will1 without even touching them1 transform the four cards on the table to cards of the same value4 ,thus1 if you draw a king they shall all become kings2 if you draw a ten1 they shall become tens1 and so on4 ,now1 choose your card1 as deliberately as you please40 ,you spread the cards before the drawer1 allowing him perfect freedom of choice1 as1 of course1 whatever card he draws must necessarily be a queen of diamonds4 ,you ask him to be good enough to say what the card he has drawn is1 and on being told that it is a queen1 you say1 8,then1 by virtue of my magic power1 ,i order that the four cards now on the table change to queens4 ,pray observe that ,i do not meddle with them in any way4 ,i merely touch each with my wand1 so6 ,will some one kindly step forward1 and bear witness that the change has really taken place40 ,if you do not possess a forcing pack1 but rely upon your own skill in forcing with an ordinary pack1 it is well to prepare this second beforehand by placing the four queens 7supposing that you desire a queen to be drawn7 at the bottom4 ,making the pass as you advance to the company1 you bring these to the middle and present the pack4 ,it is comparatively easy to insure one or other of four cards placed together being drawn4 ,,two ,,heaps ,,of ,,cards1 ,,unequal ,,in ,,number1 ,,being ,,placed ,,upon ,,the ,,table1 ,,to ,,predict ,,beforehand ,,which ,,of ,,the ,,two ,,the ,,company ,,will ,,choose4--,there is an old schoolboy trick1 which consists in placing on the table two heaps of cards1 one consisting of seven indifferent cards1 and the other of the four sevens4 ,the performer announces that he will predict beforehand 7either verbally or in writing7 which of the two heaps the company will choose2 and fulfils his undertaking by declaring that they will choose 8the seven heap40 ,this description will suit either heap1 being in the one case understood to apply to the number of cards in the heap1 in the other case to denote the value of the individual cards4 ,the trick in this form would not be worth noticing1 save as a prelude to a newer and really good method of performing the same feat4 ,you place on the table two heaps of cards1 each containing the same number1 say six cards1 which may be the first that come to hand1 the value of the cards being in this case of no consequence4 ,you announce that1 of the two heaps1 one contains an odd and the other an even number4 ,this is1 of course1 untrue2 but it is one of the postulates of a conjuror's performance that he may tell professionally as many fibs as he likes1 and that his most solemn asseverations are only to be taken in a ,pickwickian sense4 ,you continue1 8,i do not tell you which heap is odd and which is even1 but ,i will predict to you1 as many times as you like1 which heap you will choose4 ,observe1 ,i do not influence your choice in any way4 ,i may tell you that you will this time choose the heap containing the odd number40 ,while delivering this harangue1 you take the opportunity of palming in your right hand a single card from the top of the pack1 and place the remainder of the cards apart on the table4 ,when the audience have made their choice1 you pick up the chosen heap with the right hand1 thereby adding the palmed card to that heap1 and1 coming forward1 ask some one to verify your prediction4 ,the number is1 naturally1 found to be odd4 ,you then bring forward the second heap1 which is found to be even4 ,join the two heaps together1 and again separate them1 palming the top card of the odd heap1 replace the two heaps on the table1 and this time predict that the audience will choose the heap containing the even number4 ,when they have made their selection1 you have only to pick up the non-chosen heap with the hand containing the palmed card1 and the chosen heap with the empty hand4 ,you may with truth assure the audience that you could go on all the evening predicting their choice with equal certainty1 but it is best not to repeat the trick too often4 ,you will do wisely to pass on at once to the next trick1 which will enable you to display your powers of divination in a yet more surprising form4 ,a ,,row ,,of ,,cards ,,being ,,placed ,,face ,,downwards ,,on ,,the ,,table1 ,,to ,,indicate1 ,,by ,,turning ,,up ,,one ,,of ,,them1 ,,how ,,many ,,of ,,such ,,cards ,,have ,,during ,,your ,,absence ,,been ,,transferred ,,from ,,one ,,end ,,of ,,the ,,row ,,to ,,the ,,other4--,this trick is somewhat out of place in this chapter1 inasmuch as it involves no sleight-of-hand1 but we insert it here as forming an appropriate sequel to that last described4 ,it is thus performed3--,you deal from the top of the pack1 face downwards on the table1 a row of fifteen cards4 ,to all appearance1 you are quite indifferent what cards you take1 but1 in reality1 you have pre-arranged the first ten cards in the following manner3--,first a ten1 then a nine1 then an eight1 and so on down to the ace inclusive4 ,the suits are of no consequence4 ,the eleventh card should be a blank card1 if you have one of the same pattern as the pack2 if not1 a knave will do4 ,this card1 in the process which follows1 will stand for #j4 ,when the fifteen cards are dealt1 their arrangement will therefore be as follows3-- #aj1 #i1 #h1 #g1 #f1 #e1 #d1 #c1 #b1 #a1 #j1 991 991 991 991-- the four asterisks representing any four indifferent cards4 ,this special arrangement is1 of course1 unknown to the audience4 ,you now offer to leave the room1 and invite the audience1 during your absence1 to remove any number of the cards 7not exceeding ten7 from the right hand end of the row1 and place them1 in the same order1 at the other end of the row4 ,on your return1 you have only to turn up the eleventh card1 counting from the beginning or left hand end1 which will indicate by its points the number of cards removed4 ,a few examples will illustrate this fact4 ,thus1 suppose that two cards only have been removed from the right to the left hand end1 the row thus altered will be as follows3-- 991 991 #aj1 #i1 #h1 #g1 #f1 #e1 #d1 #c1 #b1 #a1 #j1 991 994 ,the eleventh card from the left will be a two1 being the number moved4 ,suppose that seven cards have been removed1 the new arrangement will be-- #b1 #a1 #j1 991 991 991 991 #aj1 #i1 #h1 #g1 #f1 #e1 #d1 #c1 and the card in the eleventh place will be a seven4 ,suppose the audience avail themselves of your permission to the fullest extent1 and remove ten cards1 the same result follows4 #e1 #d1 #c1 #b1 #a1 #j1 991 991 991 991 #aj1 #i1 #h1 #g1 #f4 ,if no card is moved1 the #j will remain the eleventh card1 as it was at first4 ,if you repeat the trick a second time1 you must replace the cards moved in their original positions4 ,do not1 if you can possibly help it1 allow the audience to perceive that you count the cards4 ,you are not necessarily restricted to fifteen cards1 but may increase the number up to twenty if you please1 making up the complement by increasing the number of the indifferent cards at the right hand of the original row4 ,the trick may be equally well performed with dominoes1 or with numbered pieces of paper1 as with playing cards4 ,,several ,,cards ,,having ,,been ,,freely ,,chosen ,,by ,,the ,,company1 ,,returned ,,and ,,shuffled1 ,,and ,,the ,,pack ,,placed ,,in ,a ,,person',s ,,pocket1 ,,to ,,make ,,such ,,person ,,draw ,,out ,,one ,,by ,,one ,,the ,,chosen ,,cards4--,this trick is an especial favourite of the well-known ,herrmann1 in whose hands it never fails to produce a brilliant effect4 ,the performer hands the pack to one of the company1 who is requested to shuffle it well1 and then to invite any four persons each to draw a card4 ,this having been done1 the pack is returned to the performer1 who then requests the same person to collect the chosen cards face downwards on his open palm4 ,the cards so collected are placed in the middle of the pack1 which is then handed to the person who collected them1 with a request that he will shuffle them thoroughly4 ,after he has done so1 the pack is placed by the performer in the volunteer assistant's breast-pocket4 ,the performer now asks one of the four persons who drew to name his card4 ,he next requests the person assisting him to touch the end of his wand1 and then as quickly as possible 7that the mystic influence may not have time to evaporate7 to put his hand in his pocket1 and draw out the card named4 ,he takes out one card accordingly1 which proves to be the very one called for4 ,a second and third card are named and drawn in the same manner1 to the astonishment of all1 and not least of the innocent assistant4 ,the fourth and last card1 which is1 say1 the ten of spades1 he is requested to look for in the pack1 but it proves to be missing1 and the performer thereupon offers to show him how to make a ten of spades4 ,to do so1 he requests him to blow into his pocket1 where the missing card is immediately found4 ,but he has1 unfortunately1 blown too strongly1 and has made not only a ten of spades1 but a host of other cards1 which the performer pulls out in quantities1 not only from his pocket1 but from the inside of his waistcoat--ultimately producing a final shower from his nose4 ,this trick1 which appears marvellous in execution1 is really very simple1 and depends for its effect1 not so much on any extraordinary degree of dexterity1 as on the manner and address of the performer4 ,when the four cards are replaced in the middle of the pack1 the performer makes the pass to bring them to the top1 and palms them4 ,he then hands the pack to be shuffled4 ,when it is returned1 he replaces them on the top1 and1 placing the person assisting him on his left hand1 and facing the audience1 places the pack in the left breast-pocket of such person1 taking care to place the top of the pack 7on which are the chosen cards7 outwards4 ,in asking the names of the drawn cards1 he puts the question first to the person who last replaced his card 7and whose card is therefore on the top71 and so on4 ,he is particular in impressing upon the person assisting him that he must draw out the card as quickly as possible1 thus giving him no time to select a card1 but compelling him1 so to speak1 to take that which is readiest to his hand1 which will always be the outermost1 or top card4 ,should he notwithstanding1 by accident or finesse1 draw out a card from the middle of the pack1 the performer at once says1 8,oh1 you were not half quick enough6 ,you must pull out the card as quick as thought1 or the magic influence will go off4 ,allow me60 then pulling out the outer card himself1 he shows that it is the right one4 ,when three cards have been thus produced1 he himself plunges his hand into the pocket1 and takes out the whole pack1 with the exception of the then top card1 which is the fourth of the cards drawn2 then1 pretending to recollect himself1 he says1 8,stay2 we had four cards drawn4 ,will you say what your card was1 madam80 ,we have supposed that it was the ten of spades4 ,he hands the pack to the person assisting him1 saying1 8,will you find the ten of spades1 and return it to the lady80 ,being in his pocket1 of course it cannot be found in the pack1 and on blowing into the pocket it is naturally discovered there4 ,the performer meanwhile has palmed about a third of the pack1 which he introduces into the pocket at the same moment that he places his hand therein to take out the supposed superfluous cards4 ,from this stage to the close the trick is merely a repetition of that already given under the title of the 8,shower of ,aces0 7see page #ig71 to which the reader is referred4 ,,the ,,cards ,,having ,,been ,,freely ,,shuffled1 ,,and ,,cut ,,into ,,three ,,or ,,four ,,heaps1 ,,to ,,name ,,the ,,top ,,card ,,of ,,each ,,heap4--,note the bottom card of the pack1 which we will suppose to be the nine of diamonds4 ,shuffle the cards1 so as to bring this card to the top1 and palm it4 ,then remark1 8,but perhaps you would rather shuffle for yourselves10 and hand the pack to some one of the company for that purpose4 ,when the pack is returned1 replace the card on the top1 and continue1 placing the pack on the table1 8,you observe that ,i do not meddle with the cards in any way4 ,now will some one be good enough to cut them into two1 three1 or four parts1 when ,i will at once name the top card of each40 ,to do this you must take especial notice where the upper part of the pack is placed1 as you know that the top card of this particular heap is the nine of diamonds4 ,placing your finger gravely1 not on this1 but on one of the other heaps1 you say1 appearing to reflect1 8,this is the nine of diamonds40 ,we will suppose that it is in reality the queen of spades4 ,you take it in your hand without allowing the audience to see it1 and1 noticing what it is1 at once touch the top card of another heap1 saying1 8,and this is the queen of spades40 ,glancing in like manner at this card1 which is1 say1 the seven of clubs1 you touch another card1 and say1 8,this is the seven of clubs40 ,we will suppose that this third card is really the ace of hearts4 ,you conclude1 taking up the card you have all along known 7the real nine of diamonds71 8,and this last is the ace of hearts40 ,then1 throwing all four on the table1 show that you have named them correctly4 ,this trick should be performed with considerable quickness and vivacity1 so as not to give the audience much time for thought as you name the cards4 ,it is further necessary that the spectators be well in front of you1 and so placed that they cannot see the faces of the cards as you pick them up4 ,,to ,,allow ,a ,,person ,,secretly ,,to ,,think ,,of ,a ,,card1 ,,and ,,dividing ,,the ,,pack ,,into ,,three ,,heaps1 ,,to ,,cause ,,the ,,card ,,thought ,,of ,,to ,,appear ,,in ,,whichever ,,heap ,,the ,,company ,,may ,,choose4--,hand the pack to the company1 with a request that they will well shuffle it4 ,when it is returned1 cut the pack into three heaps on the table1 and invite some one to secretly think of a card4 ,when he has done so1 say boldly1 8,the card you have thought of is in this heap10 touching one of them--say the middle one4 8,will you be kind enough to name it80 ,the person names1 say1 the queen of spades4 ,you continue1 8,your card1 as ,i have already told you1 is in this centre heap4 ,to satisfy you that it is so1 and that ,i do not now place it there by means of any sleight-of-hand1 ,i will1 in the first place1 show you that it is not in either of the other heaps40 ,gathering together the two heaps in question1 and turning them face upwards1 you come forward to the audience1 rapidly spreading and running over the cards the while in order to ascertain whether the queen of spades is among them4 ,if it is not1 the trick has so far succeeded without any trouble on your part2 and1 after showing that the card is not among those you hold1 you bring forward the remaining packet1 and show that you were correct in your assertion4 ,you then say1 8,i do not generally repeat a trick1 but on this occasion1 as you may possibly imagine that my success was a mere result of accident1 ,i will perform the trick once more1 and1 if you please1 you shall yourselves name beforehand the packet in which the card thought of shall appear40 ,the packet having been chosen1 you join the other two in your left hand1 and invite some one to think of a card4 ,when he has done so1 you come forward1 as before1 to show that it is not among the cards you hold4 ,luck may again favour you2 but if not1 and you see the card chosen among those you hold in your hand1 you quickly draw it1 by a rapid movement of the second finger of the right hand1 behind the rest of the pack1 and1 continuing your examination1 show the company1 to all appearance1 that the card is not there4 ,having done this1 you again turn the pack over 7when the card thought of will be on the top71 and1 covering the pack for a moment with the right hand1 palm that card4 ,then1 picking up with the same hand the heap remaining on the table1 you place the palmed card on the top1 and1 transferring the cards to the left hand1 you say1 8,you are welcome to watch me as closely as you please4 ,you will find that ,i shall cut these cards at the precise card you thought of40 ,to all appearance you merely cut the cards1 but really at the same moment make the pass 7by lifting away the lower instead of the upper half of the packet74 ,the upper part of the packet1 with the card on the top1 remains in the left hand4 ,you request some one to look at the top card1 which is found to be the card thought of4 ,should the card in the first instance prove to be among the non-designated cards1 you will proceed as last directed2 but do not in this case repeat the trick4 ,,to ,,allow ,a ,,person ,,secretly ,,to ,,think ,,of ,a ,,card1 ,,and1 ,,even ,,before ,,such ,,card ,,is ,,named1 ,,to ,,select ,,it ,,from ,,the ,,pack1 ,,and ,,place ,,it ,,singly ,,upon ,,the ,,table4--,this trick is on the same principle1 and performed in a great measure by the same means1 as that last described4 ,you invite a person to think of a card 7without naming it74 ,when he has done so1 you offer the pack to another person to shuffle1 and finally to a third person to cut4 ,then1 selecting any one card from the pack1 you walk to your table1 and1 without showing what it is1 place it face downwards on the table1 retaining the rest of the pack in your left hand4 ,then1 addressing the person who was requested to think of a card1 you say1 8,the card which ,i have just placed on the table is the one you thought of4 ,will you be good enough to name it80 ,we will suppose that the card thought of was the ace of spades4 ,you say1 as in the last trick1 8,allow me to show you1 in the first place1 that the ace of spades is no longer in the pack40 ,coming forward to the audience1 and rapidly running over the cards1 you catch sight of the ace of spades1 and slip it behind the rest4 ,having shown that it is1 apparently1 not in the pack1 you turn the cards over 7when the ace will1 of course1 be on the top71 and palm it4 ,leaving the pack with the audience1 you advance to your table1 and pick up the card on the table with the same hand in which the ace of spades is already palmed4 ,draw away the card towards the back of the table1 and1 as it reaches the edge1 drop it on the servante1 and produce the ace of spades as being the card just picked up4 ,the trick requires a little practice1 but1 if well executed1 the illusion is perfect4 ,the above directions are framed upon the assumption that you are performing with a proper conjuror's table1 which1 as already stated1 has a servante1 or hidden shelf1 at the back for the reception of objects which the performer may require to pick up or lay down without the knowledge of his audience4 ,the trick may1 however1 be performed without the aid of such a table1 but will1 in such case1 require some little variation4 ,if you are using an ordinary table1 the most effective mode of finishing the trick is as follows3--,walk boldly to the table1 and pick up with the right hand 7in which the card actually thought of is palmed7 the card lying on the table1 and1 without looking at it yourself1 hold it towards your audience1 remarking1 8,here it is1 you see1 the ace of spades40 ,the card being1 in truth1 a totally different one 7say the seven of diamonds71 the audience naturally imagine that the trick has broken down1 and a derisive murmur apprises you of the fact4 ,you thereupon glance at the card1 and affect some little surprise and embarrassment on finding that it is a wrong one4 ,however1 after a moment's pause1 you say1 taking the card face downwards between the thumb and second finger of the left hand1 8,well1 ,i really don't know how the mistake could have occurred4 ,however1 ,i can easily correct it40 ,change the card by the fifth method 7see page #cb71 and1 after a little byplay to heighten the effect of the transformation1 again show the card1 which this time proves to be the right one4 ,the audience will readily conclude that the supposed mistake was really a feint1 designed to heighten the effect of the trick4 ,a ,,card ,,having ,,been ,,secretly ,,thought ,,of ,,by ,,one ,,of ,,the ,,audience1 ,,to ,,place ,,two ,,indifferent ,,cards ,,upon ,,the ,,table1 ,,and ,,to ,,change ,,such ,,one ,,of ,,them ,,as ,,the ,,audience ,,may ,,select ,,into ,,the ,,card ,,thought ,,of4--,arrange your pack beforehand in such manner that among the fifteen or sixteen undermost cards there may be only one court card1 and note at what number from the bottom this card is4 ,advance to the company1 offering the cards face downwards in the ordinary way1 and requesting some person to draw a card4 ,then1 as if upon a second thought1 say1 before he has time to draw1 8,or1 if you prefer it1 you need not even touch the cards1 but merely think of one as ,i spread them before you40 ,so saying1 spread the cards one by one1 with their faces to the company1 beginning at the bottom4 ,the single court card being conspicuous among so many plain cards1 and there being nothing apparently to create a suspicion of design about the arrangement it is ten to one that the person will note that particular card1 which we will suppose to be the knave of hearts4 ,when you have run over twelve or fourteen cards in this way1 ask1 still moving on the cards1 8,have you thought of a card80 ,on receiving an answer in the affirmative1 you make the pass two cards below the court card 7which you know by the number at which it stands71 and forthwith make a false shuffle1 leaving the last three cards undisturbed1 so that the court card remains third from the bottom4 ,turning to the audience1 you remark1 8,i will now take the two bottom cards1 whatever they may happen to be1 and lay them on the table40 ,then1 holding up the pack in the left hand1 with the bottom card towards the audience1 you inquire1 8,that is not your card1 sir1 ,i suppose8 nor that80 each time lowering the cards in order to draw away with the moistened finger of the right hand1 and place face downwards on the table1 the card just shown4 ,the second time1 however1 you do not really draw the card you have shown1 but draw back that card and take the one next to it--viz41 the knave of hearts4 ,you then1 standing behind your table and facing the audience1 again repeat the question1 8,you are quite sure1 sir1 that neither of these two cards is the card you thought of8 ,which of them would you like me to transform into your card1 the right or the left80 ,whichever the answer is1 it may be taken in two ways1 and you interpret it as may best suit your purpose4 ,thus1 if you have placed the knave of hearts on your own right1 and the choice falls on the right-hand card1 you interpret it to mean the one on your own right hand4 ,if1 on the contrary1 the person chooses the card on the left1 you interpret him to mean the card on his left1 and therefore on your right2 so that in either case you make the choice fall on the knave of hearts4,g ,taking up the other card1 and holding it1 without apparent design1 so that the audience can see what it is1 you return it to the pack4 ,then say boldly1 8,this card upon the table will forthwith change to the card you thought of4 ,will you be good enough to name it80 ,if he names the knave of hearts1 you have nothing to do but to turn up1 or request some other person to turn up1 the card on the table1 and show that it is the right one4 ,g ,the reader should specially note this expedient1 as it is of constant use in conjuring4 ,it is1 however1 quite possible that the person1 by accident or design1 may have thought1 not of the knave of hearts1 but of some other card1 say the nine of diamonds4 ,even in this case you need not be at a loss1 although the card on the table is a wrong one4 ,when the card is named1 you say1 8,the nine of diamonds4 ,quite right6 ,let me show you1 in the first place1 that it is not here in the pack40 ,advancing to the audience1 and at the same time running over the cards1 as in the last trick1 you draw the nine of diamonds behind the other cards1 and show that1 apparently1 it is not among them4 ,on turning the pack over it will be at the top4 ,taking the pack in the left hand1 and1 returning to your table1 pick up 7with the right hand7 the knave of hearts1 and without looking at it yourself1 say1 8,here it is1 you see1 the nine of diamonds40 ,then1 with a careless gesture1 and making a half turn to the right or left to cover the movement1 8change0 the card by the third method 7see page #cj71 taking care not to show the card after the change4 ,the audience will naturally exclaim that the card you have just shown them is not the nine of diamonds4 ,you affect great surprise1 and ask1 8,indeed1 what card was it then80 ,they reply1 8,the knave of hearts40 8,the knave of hearts2 surely not60 you exclaim1 again showing the card in your hand1 which is now found to be the nine of diamonds4 8,indeed10 you continue1 8you could not possibly have seen the knave of hearts1 for that gentleman in the front row has had it in his pocket all the evening40 ,the knave of hearts was1 in truth1 left after the change on the top of the pack4 ,as you advance to the audience1 you palm it1 and are thereby enabled to find it without difficulty in the pocket of a spectator1 or in any other place which you may choose to designate4 ,it will be observed that the mode here indicated of changing a wrong card into a right one differs from that described in the last trick4 ,either method will be equally available1 but it will be well to practise both1 as it is a great desideratum to be able to vary the dnouement of a trick4 ,the course of action above directed in the event of an unexpected card being thought of1 may be made available as a means of escape from a break-down in many other cases4 ,thus1 for instance1 if you are using a biseaut pack1 and a chosen card has been replaced without the pack having been previously reversed1 or if you have from any other cause accidentally lost the means of discovering a card drawn1 you may still bring the trick to an effective termination as follows3--,give the pack to some one to shuffle1 and then1 drawing a card haphazard1 and placing it face downwards on the table1 announce boldly that the card drawn is now upon the table4 ,ask the person to name his card1 show apparently that it is not in the pack1 and finish the trick in one or other of the modes above described4 ,a ,,card ,,having ,,been ,,drawn ,,and ,,returned1 ,,and ,,the ,,pack ,,shuffled1 ,,to ,,divide ,,the ,,pack ,,into ,,several ,,heaps ,,on ,,the ,,table1 ,,and ,,to ,,cause ,,the ,,drawn ,,card ,,to ,,appear ,,in ,,such ,,heap ,,as ,,the ,,company ,,may ,,choose4--,invite a person to draw a card4 ,when it is returned1 make the pass to bring it to the top4 ,make a false shuffle1 and leave it still at the top4 ,if any of the audience requests to be allowed to shuffle1 palm the card1 and hand him the pack4 ,when it is returned1 again place the card on the top4 ,taking the cards in the right hand1 face downwards1 drop them1 in packets of four or five cards each1 on the table1 noting particularly where you place the last packet 7on the top of which is the chosen card74 ,ask the audience in which of the heaps they would like the chosen card to appear1 and when they have made their choice1 pick up all the other packets and place them in the left hand1 placing the packet on which is the chosen card at the top4 ,divide the chosen packet into two1 and bid the audience again choose between these1 placing the cards of the non-chosen packet below the pack in the left hand4 ,if the packet still remaining will admit of it1 divide it into two again1 but endeavour so to arrange matters that the packet ultimately chosen shall consist of two cards only1 concealing however from the audience the precise number of cards in the packet4 ,when you have reached this stage of the trick1 palm the drawn card1 which we will suppose to have been the ace of diamonds1 and picking up with the same hand the chosen packet1 secretly place that card on the top4 ,place the three cards face downwards side by side1 the ace of diamonds in the middle1 and ask the audience which of the three they desire to become the card originally drawn4 ,if they choose the middle card1 the trick is already done1 and after asking the person to name his card1 and showing that neither of the two outside ones is the card in question1 you turn up the ace of diamonds4 ,if the choice falls on either of the outside cards1 gather together all three1 without showing them 7the ace still being in the middle7 and ask some one to blow on them4 ,then deal them out again in apparently the same order as before1 but really deal the second for the first1 so as to bring that card into the place of the card indicated4 ,then1 after showing the two other cards as above directed1 finally turn up the ace of diamonds1 and show that it is the card originally chosen4 ,,to ,,change ,a ,,drawn ,,card ,,into ,,the ,,portraits ,,of ,,several ,,of ,,the ,,company ,,in ,,succession4--,for the purpose of this trick you will require a forcing pack of similar pattern to your ordinary pack1 but consisting throughout of a single card1 say the seven of clubs4 ,you must also have half-a-dozen or more sevens of clubs of the same pattern1 on the faces of which you must either draw or paste small caricature portraits1 after the manner of ,twelfth ,night characters2 which should be of such a kind as to excite laughter without causing offence4 ,you arrange your pack beforehand as follows3--,on the top place a fancy portrait1 say of a young lady2 then a seven of clubs1 then a fancy portrait of a gentleman1 then a seven of clubs2 another fancy portrait of a lady1 another seven of clubs1 and so on2 so that the first eight or ten cards of the pack shall consist of alternate portraits and sevens of clubs 7the top card of all being a lady's portrait71 and the rest of the pack of sevens of clubs only4 ,secretly exchange the prepared pack for that which you have been using4 ,invite a young lady to draw1 taking care to offer that part of the pack which consists of sevens of clubs only1 so that the card she draws will1 of necessity1 be a seven of clubs4 ,you then say1 when she has looked at the card1 8,will you now be kind enough to return that card to the pack1 when ,i will paint your portrait on it40 ,you open the cards bookwise1 about the middle of the pack1 for her to return the card1 and when she has done so1 request her to breathe on it4 ,as she does so1 you 8slip0 7see page #ce7 the top card of the pack on to that which she has just replaced1 and on examining that card 7which she takes to be the one she has just seen7 she is surprised to find that it is still a seven of clubs1 but adorned with a more or less flattering likeness of herself4 ,you continue1 after the portrait has been handed round and replaced1 8,i would willingly give you this portrait to take home1 but1 unfortunately1 being only a magical picture1 the likeness fades very quickly4 ,will you oblige me by breathing on it once more1 when you will find that the likeness will vanish1 and the card will again be as it was at first40 ,on her doing so1 you again slip the top card 7which is now an ordinary seven71 on to the portrait1 and on again examining1 the lady is compelled to admit that the card is again as she first drew it4 ,you then offer to paint on the same card a gentleman's likeness1 and proceed as before1 each time after taking a likeness changing it back again to an ordinary seven1 which adds greatly to the effect of the trick4 ,you may1 if you please1 use allegorical instead of caricature portraits2 e4g41 for a young lady1 a rose-bud2 for a conceited young man1 a poppy or dandelion1 or a donkey's head4 ,it is hardly necessary to observe that nothing short of very close intimacy would excuse the use of any portrait of a disparaging or satirical nature4 ,a ,,card ,,having ,,been ,,drawn ,,and ,,returned1 ,,and ,,the ,,pack ,,shuffled1 ,,to ,,place ,,on ,,the ,,table ,,six ,,rows ,,of ,,six ,,cards ,,each1 ,,and ,,to ,,discover ,,the ,,chosen ,,card ,,by ,a ,,throw ,,of ,,the ,,dice4--,the effect of this surprising trick is as follows3--,you invite a person to draw a card1 allowing him the utmost freedom of selection4 ,you allow the drawer to replace his card in any part of the pack he pleases1 and you thoroughly shuffle the cards1 finally inviting him to 8cut40 ,then dealing out six rows of six cards each1 face downwards on the table1 you offer the drawer a dice-box and a pair of dice1 and after he has thrown any number of times to satisfy himself that the dice are fair and unprepared1 you invite him to throw each singly1 the first to ascertain the row in which his card is1 and the second to discover at what number it stands in the row4 ,he throws1 say1 8six0 first1 and 8three0 afterwards1 and on examination the card he drew proves to be the third card of the sixth row4 ,the whole mystery consists in the use of a forcing pack1 all the cards of which are alike1 and which must not consist of a less number than thirty-six cards4 ,the dice are perfectly fair1 but as each card of each row is the same1 it is a matter of perfect indifference what numbers are thrown4 ,it is advisable to gather up all the other cards1 and to request the person to name his card1 before allowing the one designated by the dice to be turned up4 ,this will draw the attention of the company to the card on the table1 and will give you the opportunity to re-exchange the cards you have used for an ordinary pack 7from which1 by the way1 the card answering to the forced card should have been withdrawn74 ,this pack you may carelessly leave on the table2 so that in the event of suspicion attaching to the cards1 it will be at once negatived by an examination of the pack4 ,the trick may be varied by using a teetotum1 numbered from one to six1 instead of the dice2 or you may1 if you prefer it1 make the trick an illustration of second sight1 by pretending to mesmerize some person in the company1 and ordering him to write down beforehand1 while under the supposed mesmeric influence1 the row and number at which the drawn card shall be found4 ,the mode of conducting the trick will be in either case the same4 ,a ,,card ,,having ,,been ,,withdrawn ,,and ,,replaced1 ,,to ,,call ,,it ,,from ,,the ,,pack1 ,,and ,,to ,,make ,,it ,,come ,,to ,,you ,,of ,,its ,,own ,,accord4--,this is a very simple trick1 but1 if neatly executed1 will create a good deal of wonderment4 ,it is performed as follows3--,you must procure beforehand a long hair from a lady's head4 ,one end of this must be fastened by means of a bent pin1 or in any other way you find most convenient1 to the front of your waistcoat1 which should be a dark one4 ,at the other end of the hair fix a little round ball 7about half the size of a pepper-corn7 of bees'-wax4 ,press this little ball lightly against the lowest button of your waistcoat1 to which it will adhere4 ,you will thus always be able to find it at a moment's notice1 without groping or looking down for it1 which would be likely to draw the eyes of the spectator in the same direction4 ,request the audience to examine the cards1 that they may be sure that there is no preparation about them1 and as a further proof get two or three persons to shuffle them in succession4 ,when the cards are returned to you1 invite some person to draw one1 and1 while he is examining it1 drop your right hand carelessly to your waistband1 and remove the little ball of wax to the tip of your right thumb1 to which it will adhere without interfering with the movements of the hand4 ,when the card is returned1 make the pass to bring it to the top of the pack1 and press the little ball of wax upon the back of the card1 as near the edge as possible4 ,then shuffle the cards4 ,the shuffle may be a genuine one1 but you must take care to keep the lower edge of the chosen card half an inch or so below the remaining cards1 that the little ball of wax may not be disturbed4 ,the chosen card will1 after the shuffle1 be in the middle of the pack1 but attached to your waistcoat by the hair4 ,spread the cards face upwards on the table 7by which means the wax1 being on the back of the card1 will be out of sight71 taking care not to detach the hair4 ,you then address your audience to the following or some similar effect3--8,in the old style of conjuring1 ,i should merely have picked out your card1 and handed it to you2 and there was a time when people would have thought that a very good trick1 but nowadays we should regard that as a very lame conclusion4 ,i can assure you that ,i have not the smallest idea what your card was4 ,how do you suppose ,i intend to find out80 ,various guesses are hazarded1 but you shake your head at each4 8,no10 you continue1 8my process is much simpler than any you have suggested4 ,i shall merely order the card you chose to walk out of the pack1 and come to me40 ,pronounce any magic formula you like1 at the same time beckoning to the cards1 and gradually withdrawing yourself away from the table1 when the card must needs follow you4 ,as it reaches the edge of the table1 receive it in the left hand1 and then take it in the right1 drawing off with the first finger and thumb of the left hand the wax at the back4 ,ask the person who drew whether that was his card1 and again hand the card and the rest of the pack for examination4 ,this little trick1 though simple1 will require a good deal of practice to enable you to perform it neatly1 but the effect produced by it will well repay your trouble4 ,it may be well to mention1 once for all1 as bees'-wax is an article of frequent use in magical operations1 that if1 as sometimes happens1 the pure wax is found too hard1 or not sufficiently adhesive1 the addition of a small quantity 7say an eighth part7 of ,venice turpentine1 mixed with it in a melted condition1 will make it all that can be desired4 ,,the ,,whist ,,trick4,h ,,improved ,,method4 ,,to ,,deal ,,yourself ,,all ,,the ,,trumps1 ,,the ,,three ,,other ,,players ,,holding ,,the ,,usual ,,mixed ,,hands4--,having decided which suit 7suppose diamonds7 is to be the trump suit1 arrange the pack in such manner that every fourth card shall be of that suit1 the intervening cards being taken haphazard4 ,when about to perform the trick1 secretly exchange the pack you have hitherto been using for the prepared pack4 ,make the bridge 7see page #ci71 and then a false shuffle by the third method 7see page #bd74 ,invite some one to cut1 and make the pass at the bridge1 thus restoring the cards to their original condition4 ,deal in the usual manner1 when you will be found to hold all the trumps1 the remaining suits being distributed in the ordinary way among the other three players4 ,h ,for an inferior form of this trick1 in which sleight-of-hand is not employed1 see page #ea4 ,where in this or any other trick it is found necessary to change one pack for another1 the following will be found the neatest way of effecting that object4 ,have the prepared pack in the pochette on the left side4 ,hold the ordinary pack in the right hand1 and in moving from the audience to your table1 drop the left hand to the pochette1 seize the prepared pack1 bring the hands together1 and make the pass with the two packs1 when they will have changed hands4 ,drop the left hand1 and get rid of the ordinary pack into the profonde1 the prepared pack being left in the right hand4 ,any little clumsiness in making the pass is of small consequence1 the hands being covered by the body4 ,if1 however1 you find it impossible to make the pass with so large a bulk of cards1 the prepared pack may be placed under the waistband1 held in position by a strap of half-inch-wide elastic1 stitched to the inside of the vest2 the right hand in this case1 at the moment of the turn to the table1 transferring the ordinary pack to the left1 and immediately drawing down the prepared pack1 while the left hand1 as in the former case1 drops the ordinary pack into the profonde4 ,,chapter ,v4 ,,card ,,tricks ,,requiring ,,special ,,apparatus4 ,we propose to describe in this chapter such card tricks as require the aid of some mechanical appliance or apparatus1 but are still appropriate for a drawing-room performance4 ,there are some few tricks performed with cards 7such as the ,fairy ,star1 the ,demon's ,head1 and the like7 which necessitate the use of a mechanical table1 or other apparatus of an elaborate and costly character4 ,these will not be here noticed1 but will be given1 at the close of the work1 in the portion devoted to ,stage ,tricks4 ,we may here anticipate a not unlikely question on the part of the student--viz41 8,how can ,i best obtain the necessary apparatus80 ,in some instances1 an amateur with a mechanical turn may be able to manufacture his appliances for himself2 and where this is the case1 we would by no means discourage his doing so1 as he will thereby derive a double amusement from his study of the magic art4 ,but where the student has not the ability or inclination to do this1 we should strongly advise him not to attempt to have his apparatus made to order by persons unaccustomed to this class of work1 but to go direct to one or other of the regular depts4 ,magical apparatus requires so much precision in its details1 and so much attention to apparent trifles1 that the first attempt of any workman1 however skilful1 is almost sure to be a failure2 and by the time the defects are rectified1 the purchaser will find that he has paid more for a clumsy makeshift than he would have done for a thoroughly good article had he gone to the right quarter4 ,experience will quickly prove that inferior apparatus is dear at any price4 ,peck ,snyder1 #abd ,nassau ,street1 ,new ,york ,city1 are the largest manufacturers1 importers1 and dealers in sports1 pastimes1 and trick materials4 ,they will forward illustrated catalogues on application1 giving details of an infinite variety of ,optical1 ,chemical1 ,mechanical1 ,magnetical1 and ,magical ,experiments1 and ingenious deceptions4 ,supplementary sheets are issued from time to time1 giving descriptions of new novelties4 ,one peculiarity of their business is that every purchaser is taught1 by the very explicit instructions that accompany each article and by correspondence1 to perform whatever ,tricks he may buy1 so that he may exhibit them with ease and without fear of detection1 and no trouble is spared in order to make him perfect in what he purchases4 ,prices are generally low3 where a seemingly high price occurs the professor or skilled amateur will readily realize that it is occasioned by the elaborateness of the mechanism of the particular apparatus desired1 and the cost that such precision in manipulative manufacture involves4 ,the purchaser--we speak from personal experience--can always depend on receiving uniform courtesy1 good value1 and sound practical instruction4 ,the novice must be warned against imagining that1 when he has got into the region of apparatus1 the necessity for personal address and dexterity will be diminished4 ,on the contrary1 there is hardly a trick among those we are about to describe which does not demand more or less practical knowledge of sleight-of-hand4 ,we shall assume1 in the following pages1 that the reader has carefully followed and studied the directions already given1 in which case he will find little difficulty in this portion of the work4 ,,the ,,magic ,,sword4 ,a ,,card ,,being ,,drawn ,,and ,,replaced1 ,,and ,,the ,,pack ,,flung ,,in ,,the ,,air1 ,,to ,,catch ,,the ,,chosen ,,card ,,on ,,the ,,point ,,of ,,the ,,sword4--,we have already described a trick somewhat similar in effect1 in which1 the pack being flung in the air1 the chosen card is caught in the hand of the performer4 ,the trick in this form makes a very good prelude to the still more surprising one which we are about to describe4 ,illustration3 ,,fig4 #da4 ,,fig4 #db4 ,,fig4 #dc4 ,it will be remembered1 that1 in the trick above mentioned1 an ordinary pack is used1 and the spectator is allowed to draw whatever card he pleases4 ,the card1 when returned1 is brought to the top by the pass1 and palmed3 and1 though supposed to be caught amid the falling shower1 in reality never leaves the hand of the performer4 ,the audience may possibly have a suspicion of this1 and you may hear a faint murmur to the effect that 8he had the card in his hand60 and so on4 ,when this occurs1 it serves as a very natural introduction to the trick with the sword4 ,you say1 8,ah6 you fancy ,i had the card in my hand8 ,i will repeat the trick1 in order to show you that you are mistaken4 ,will some one be kind enough to draw another card8 ,thank you4 ,don't return the card to me1 but put it back in the pack yourself4 ,now be kind enough to shuffle thoroughly4 ,you cannot say ,i have the card in my hand this time1 at all events4 ,excuse me one instant1 while ,i fetch my magic sword40 ,you go behind your screen1 and return1 holding in your hand a drawn sword4 ,you place yourself in fencing attitude1 and1 addressing the person who holds the cards1 say1 8,i am going to give you the words1 one6 two6 three6 ,at the word #8three6' will you please throw the cards in the air1 so as to fall lightly on the point of my sword1 when ,i will pick out with the point the identical card you drew4 ,spread the cards a little in a fan shape before you throw them1 so that ,i may get a fair sight of them4 ,are you ready8 ,one1 two1 ,,three60 ,at the word three1 the cards are thrown1 the performer makes a lunge among them1 and a card is instantly seen fluttering on the point of the sword1 and1 on examination1 is found to be the very card which was drawn4 ,the secret of this surprising feat lies mainly in the sword4 ,this is an ordinary small-sword 7see ,fig4 #da71 with a three-sided rapier blade1 but altered in a particular way for the purpose of the trick4 ,the tip of the blade 7see ,fig4 #db7 is cut off at about a third of an inch distance from the extreme point1 and across the concave side of this tip1 and also across the corresponding part of the shortened blade1 are soldered minute cross-pieces of brass1 each bent outwards in the middle1 so as to form1 with the concavity of the blade1 a kind of eye just large enough to admit freely a piece of thin black elastic cord1 the other end of which is passed through a similar small hole in the guard of the hilt4 ,the elastic thus lies along the hollow side of the blade1 passing through the two 8eyes0 already mentioned1 and is kept in position by a knot at each end4 ,the tension of the elastic holds the moveable tip in its natural position at the end of the blade4 ,it may1 however1 be drawn away from it in any direction as far as the elastic will permit1 but1 when released1 immediately flies back to its old position4 ,on the same side of the hilt--viz41 the side farthest away from the palm of the hand when grasping the sword 7see ,fig4 #dc7--;is fixed a flat1 oblong piece of tin1 painted black1 with its longer edges folded over about half an inch on each side1 in such manner as to form a receptacle for a card4 ,unless you are tolerably expert in forcing1 you will also require some forcing cards of the same pattern as the ordinary pack you have in use4 ,these1 however1 need not be a full pack1 a dozen cards alike being amply sufficient for your purpose4 ,you commence your preparations by taking one of the cards of the forcing pack1 cut a small slit in its centre with a penknife1 and thrust completely through it the moveable tip of the sword 7taking care not to enlarge the hole more than absolutely necessary71 and place the sword thus prepared out of sight of the audience1 but so as to be easily got at when you want it4 ,have your forcing cards in your pocket1 or somewhere where you can lay your hand on them without attracting observation1 and your ordinary pack on the table4 ,you may begin by remarking1 8,let me ask you to take particular notice that ,i perform this trick with whatever card you choose1 not influencing your choice in any way4 ,to show you that ,i don't compel you to take any particular card1 ,i will just take a handful of cards from the top of the pack0 7as you say this you place your forcing cards1 which you have previously palmed1 for an instant on the top of the ordinary pack1 immediately taking them off again1 as if they had formed part of it1 and were the handful of cards you referred to1 and offer them to some one to draw74 8,take whichever you please--first card1 last card1 middle card1 it is precisely the same to me4 ,observe that ,i don't attempt to press upon you any particular card1 but hold the cards perfectly motionless while you make your choice40 ,as soon as a card is drawn1 without waiting for it to be replaced1 return to your table1 holding the remaining forcing cards in your left hand4 ,pick up the pack with your right hand4 ,place it on the cards in your left hand1 at the same moment making the pass to bring these cards to the top4 ,palm these 7with the right hand71 and1 dropping them into your profonde1 or elsewhere out of sight1 advance with the pack to the person who drew1 and request him to replace his card1 and shuffle thoroughly4 ,while he does so1 you retire to fetch your sword1 as before mentioned4 ,before returning to the audience1 you prepare it as follows3--,taking it in your right hand in the ordinary manner1 you draw down with the other hand the pierced card1 and slide the card endways into the receptacle on the hilt4 ,the elastic1 which is now stretched to double its ordinary length1 will pull at the card pretty tightly2 but you retain it in position by pressing on the face of the card with the second and third fingers of the hand that grasps the hilt4 ,having done this1 you return to the audience1 taking care so to stand that the back of the hand that holds the sword shall be towards them4 ,when the cards are flung in the air1 as already described1 you make a lunge among them1 and at the same moment relax the pressure of the fingers on the pierced card4 ,the elastic1 being thus released1 flies rapidly back to its original position1 and carries the moveable tip1 and with it the card1 to the end of the blade1 by which the card appears to be transfixed1 as in ,fig4 #da4 ,the movement of the sword in the lunge1 coupled with that of the falling cards1 completely covers the rapid flight of the pierced card from hilt to point4 ,to get the card off the sword1 pull it down the blade1 and tear it roughly off4 ,when you have taken off the card1 drop the point of the sword1 and hand the card at once to the drawer for examination4 ,this serves to divert attention1 not only from the sword itself1 but also from the cards scattered on the ground1 among which the one actually drawn still remains4 ,this trick is sometimes performed with three cards instead of one4 ,the working of the trick is the same1 save that you use a forcing pack consisting of three cards repeated1 and that in preparing the sword the two first cards which are threaded on the elastic are perforated with holes of such a size1 as to allow them1 when released1 to slide partially down the blade1 the first nearly to the hilt1 and the second about half way4 ,illustration3 ,,fig4 #dd4 ,,the ,,rising ,,cards 7,la ,houlette74--,,several ,,cards ,,having ,,been ,,drawn1 ,,returned1 ,,and ,,shuffled1 ,,to ,,make ,,them ,,rise ,,spontaneously ,,from ,,the ,,pack4--,this is one of the best of card tricks4 ,the performer advances1 pack in hand1 to the company4 ,he invites three persons each to draw a card4 ,the cards having been drawn1 they are replaced in different parts of the pack1 which is thoroughly shuffled4 ,the performer then places the pack in a tin box or case1 just large enough to hold it in an upright position4 ,this case is generally in the form of a lyre1 open in front and at the top1 and supported on a shaft or pillar1 twelve or fifteen inches high 7see ,fig4 #dd74 ,he then asks each person in succession to call for his card1 which is forthwith seen to rise slowly from the pack1 without any visible assistance1 the performer standing quite apart4 ,the ingenuity of different professors has added little embellishments of a humorous character4 ,for instance1 the performer may remark1 addressing one of the persons who drew1 8,i will not even ask the name of your card1 sir4 ,you have only to say1 #8,i command the card ,i drew to appear1' and you will be obeyed40 ,he does so1 but no effect is produced2 the cards remain obstinately motionless4 ,the command is repeated1 but with the same result4 ,the performer feigns embarrassment1 and says1 8,i must really apologize for the disobedience of the cards4 ,i cannot tell how it is2 they never behaved in this way before4 ,i am afraid ,i must ask you to name the card1 after all1 when ,i will try my own authority40 ,the card proves to have been a queen1 say the queen of spades4 8,oh10 the performer says1 8that quite explains it4 ,queens are not accustomed to be ordered about in such a peremptory manner4 ,if we try again in becoming language1 ,i dare say we shall be more successful4 ,let us try the experiment4 ,say1 #8,will your ,majesty oblige the company by appearing8'0 ,thus propitiated1 the card rises instantly4 ,occasionally a knave is one of the cards drawn1 and1 when summoned1 scandalizes the performer by appearing feet foremost4 ,he is appropriately rebuked1 and thrust down again by the professor1 upon which he immediately reappears in a proper attitude4 ,sometimes a card1 after coming up half way1 begins to retire again1 but at the command of the performer starts afresh1 and rises completely out of the pack4 ,these apparently surprising effects are produced by very simple means4 ,in the first place1 the cards which rise from the pack are not those actually drawn1 but duplicates of them1 arranged beforehand4 ,the performer ensures the corresponding cards being drawn by using a forcing pack1 made up of repetitions of the three cards in question1 which we will suppose to be the queen of spades1 the ten of hearts1 and the seven of diamonds1 with some other single card at the bottom4 ,the tin case1 in the original form of the trick1 has two compartments--the one to the front being large enough to hold a complete pack1 but the hinder one adapted to contain six or eight cards only4 ,in this hinder compartment are placed six cards1 three of them being those which are intended to rise1 and the other three indifferent cards4 ,a black silk thread is fastened to the upper edge of the partition between the two compartments1 and is thence brought under the foremost card 7which is1 say1 the queen of spades71 over the next 7an indifferent card71 under the third 7the ten of hearts71 over the fourth 7an indifferent card71 under the fifth 7the seven of diamonds71 over the sixth 7an indifferent card71 finally passing out through a minute hole at the bottom of the hinder compartment4 ,if the thread be pulled1 the three cards named will rise in succession1 beginning with the hindmost--viz41 the seven of diamonds4 ,the three indifferent cards are put in as partitions1 or fulcrums1 for the thread to run over4 ,if these partitions were omitted1 the three chosen cards would rise all together4 ,the thread may be drawn in various ways4 ,sometimes this is done by the performer himself1 standing behind or beside the table4 ,another plan is to have the thread attached to a small cylindrical weight within the pillar1 which is made hollow1 and filled with sand4 ,the weight rests on the sand until the operator desires the cards to rise1 when1 by moving a trigger at the foot of the pillar1 he opens a valve1 which allows the sand to trickle slowly down into a cavity at the base2 and the weight1 being thus deprived of its support1 gradually sinks down1 and pulls the thread4 7,the pillar in this case is made about two feet high1 as the weight must necessarily travel six times the length of a card47 ,others1 again1 draw the thread by means of a clockwork arrangement in the table1 or in the pillar itself1 answering the same purpose as the sand and weights4 ,the arrangement which we ourselves prefer1 where practicable1 is to have the thread drawn by an assistant1 who may either be placed behind a screen1 or may even stand in full view of the audience1 so long as he is at some little distance from the table4 ,the silk thread is quite invisible1 if only you have a tolerably dark background4 ,the only portion as to which you need feel any anxiety is that immediately connected with the cards4 ,to conceal this it is well1 if you use a special table1 to have a small hole bored in the top1 through which the thread may pass4 ,the card-stand being placed immediately in front of the hole1 the thread will pass perpendicularly downward for the first portion of its length1 and will thus be concealed behind the pillar4 ,in default of a hole1 a ring of bent wire attached to the table will answer the same purpose4 ,the great advantage of having the thread pulled by a living person instead of a mechanical power is1 that you can take your own time in the performance of the trick2 whereas1 if you use a weight or clockwork1 there is always a danger of a card beginning to rise before you have called for it1 or possibly not rising at all--either contingency being rather embarrassing4 ,in the latest and best form of the trick1 the second compartment of the case is dispensed with1 and the apparatus may be handed round for examination both before and after it is used4 ,in this case three cards are forced and returned as already mentioned2 but the performer1 as he reaches his table1 adroitly exchanges the forcing pack for another already prepared1 and placed on the servante if a regular conjuring-table is used1 or1 if not1 concealed behind some object on the table4 ,this pack is prepared as follows3--,the last six cards are arranged with the thread travelling in and out between them1 just as the six cards in the hinder compartment were in the older form of the trick4 ,a knot is made in the silk thread1 which is hitched into a notch an eighth of an inch deep1 made in the lower edge of the sixth card4 ,the knot prevents the thread from slipping1 but does not interfere with its being instantaneously detached when1 the trick being over1 you hand the whole apparatus1 cards and all1 to be examined4 ,some performers use no stand or pillar for the card-case1 but fix it by a short plug projecting for that purpose on its under side1 in a decanter of water on the table4 ,some1 again1 in order to exclude all apparent possibility of mechanical aid1 fasten it on the top of a common broomstick1 fixed in the floor of the stage1 and broken over the performer's knee at the conclusion of the trick4 ,to our own taste1 the trick is best performed without any special card-case whatever1 the pack being placed in an ordinary glass goblet with upright sides1 first handed round to the audience for inspection4 ,it is here absolutely self-evident that the glass can give no mechanical assistance2 and as the audience know nothing of the exchange of the packs1 the immediate rising of the cards at the word of command appears little short of miraculous4 ,it only remains to explain the modus operandi of the little variations before alluded to4 ,the offended dignity of the queen1 declining to appear when summoned in too cavalier a manner1 is accounted for by the fact that the performer or his assistant refrains from pulling the thread until the offender has adopted a more respectful tone4 ,the phenomenon of the knave first appearing feet foremost1 and then invisibly turning himself right end uppermost1 is produced by the use of two knaves1 the first 7i4e41 hindmost7 being placed upside down1 and the second 7with an indifferent card between7 in its proper position4 ,when the performer pushes the first knave down again1 with a request that it will rise in a more becoming attitude1 he thrusts it down1 not as he appears to do1 in the same place which it originally occupied1 but among the loose cards forming the front portion of the pack1 thus getting it out of the way1 and allowing the thread to act on the second knave4 ,it is hardly necessary to observe that1 for producing this particular effect1 the cards must be of the old-fashioned single-headed pattern4 ,the alternate ascent and descent of a given card is produced by using a card at whose lower edge1 between the back and front of the card1 is inserted a slip of lead-foil4 ,the card1 so weighted1 sinks down of itself as soon as the pull of the thread is relaxed1 and may be thus made to rise and fall alternately1 as often as the operator chooses1 and finally1 by a quick1 sharp jerk1 to jump right out of the pack4 ,another very telling incident is the transformation of an eight to a seven1 or a seven to a six4 ,a seven of spades1 say1 has been one of the drawn cards1 but when it is summoned an eight of spades appears4 ,the performer apologizes for the mistake1 and1 giving the card a touch of his wand1 shows it instantly transformed to a seven4 ,this is effected by sticking 7with a little bees'-wax7 a loose spade pip in the appropriate position on an ordinary seven of spades4 ,the performer takes out the supposed eight with one hand1 and thence transfers it to the other4 ,in so doing he draws off1 with the hand which first held the card1 the loose pip1 and1 holding the card face downwards1 touches it with the wand1 and shows that it has apparently changed to the card drawn4 ,illustration3 ,,fig4 #de4 ,there is a mode of performing the trick of the rising cards entirely without apparatus1 and without the necessity of forcing particular cards4 ,the performer in this case invites a person to draw a card1 and when it is returned makes the pass to bring it to the top of the pack4 ,he then makes a false shuffle1 leaving it on the top1 and offers the pack to a second person to draw4 ,when he has done so1 and before he replaces the card1 the performer makes the pass to bring the card first drawn to the middle1 so that the second card is placed upon it1 and then again makes the pass to bring both together to the top4 ,the process may be repeated with a third card4 ,the three cards are thus left at the top of the pack1 that last drawn being the outermost4 ,the performer now asks each person1 beginning with the last who drew1 to name his card1 and1 holding the pack upright in his right hand1 the thumb on one side1 and the third and fourth fingers on the other1 with the face of the pack to the audience 7see ,fig4 #de71 he causes the cards to rise one by one by pushing them up from the back by an alternate movement of the first and second fingers 7which should previously be slightly moistened74 ,if the face of the cards is held fairly to the spectators1 it will be impossible for them to discover that the cards do not rise from the middle of the pack4 ,we have been more prolix than we could have desired in the description of this trick1 but minute details are the very soul of conjuring4 ,the experience of ,horace1 8,brevis esse laboro1 obscurus fio10 applies with peculiar force to the magic art2 and if we occasionally irritate the reader of quick apprehension by too great minuteness1 he must remember that we have1 as far as we can1 to anticipate every possible question1 and that a single point left unexplained may render useless an otherwise careful description4 ,,the ,,jumping ,,cards4--,,two ,,or ,,three ,,cards ,,having ,,been ,,drawn1 ,,returned1 ,,and ,,shuffled ,,to ,,make ,,them ,,jump ,,out ,,of ,,the ,,pack4--,this trick is somewhat similar in working to that of the rising cards as performed in the hand1 which we have just described4 ,the course of the two tricks is precisely the same up to the point when1 the two or three cards having been drawn and returned1 you have got them all to the top of the pack4 ,here1 however1 the resemblance ceases4 ,in the present case you drop the whole pack into an open-mouthed box1 made for that purpose1 and announce that1 although the chosen cards have been replaced in different parts of the pack1 and the whole have since been thoroughly shuffled1 you have only to blow upon them in order to separate them visibly from the rest of the pack4 ,you blow upon the box accordingly1 when the chosen cards instantly fly out of the pack1 rising to a height of three or four feet1 and fall on the table4 ,illustration3 ,,fig4 #dg4 ,,fig4 #df4 ,,fig4 #dh4 ,the secret of the trick1 apart from the sleight-of-hand necessary to bring the chosen cards together at the top of the pack1 lies in the box4 ,it is in general appearance something like a miniature pedestal for a statue1 but hollow1 and open at the top1 the cavity being rather more than large enough to hold a pack of cards4 7,see ,fig4 #df47 ,it is divided longitudinally into two compartments1 the foremost being large enough to hold a whole pack1 the hindmost to hold only three or four cards1 the partition between the two coming about half way up the box4 ,the bottom of the larger compartment is level with the top of the plinth1 but the smaller is open to the whole depth1 save that across it is a steel spring about half an inch in width4 ,fig4 #dg represents a section of the apparatus1 ,a being the upper part1 of which a is the larger or front compartment1 and b the smaller compartment at the back4 ,b is the plinth4 ,a is so constructed as to slide forwards on1 or rather in1 ,b1 to the extent of about an eighth of an inch1 but is prevented doing so1 in the normal condition of the apparatus1 by the spring c1 which is screwed to the bottom of ,a1 its free end pressing against the side of the plinth4 ,if1 however1 the spring be pressed down from above1 so as to be below the level of the shoulder d 7for which purpose a thin slip of wood is supplied with the apparatus71 and ,a be at the same time pushed towards d1 it will slide forward to the position indicated in ,fig4 #dh1 and the spring c will be held down beneath the shoulder d4 ,this is the condition in which the apparatus is first exhibited to the audience4 ,after turning it over1 to show that there are no cards already concealed in it1 the performer places in it the pack1 first1 however1 slipping his little finger between the chosen cards 7which are on the top7 and the rest of the pack1 so as to enable him to drop the chosen cards into the smaller compartment at the back1 where they rest upon the bent spring4 7,see ,fig4 #dh47 ,standing behind the box1 and placing his hands around the plinth1 as if to hold it steady1 the fingers of each hand being in front1 and the thumb behind1 he blows smartly upon the box1 at the same moment pushing ,a forward with the thumbs to the position which it occupies in ,fig4 #dg4 ,the spring c1 being drawn back with it beyond the shoulder d1 is released1 and instantly flies up to its old position1 shooting out of the box the cards resting upon it4 ,this trick is sometimes1 like that of the rising cards1 worked with a forcing pack1 duplicates of the forced cards being placed beforehand in the hinder compartment4 ,this method1 however1 is very inferior to that above described1 and would hardly be adopted by any performer who had acquired a competent mastery of sleight-of-hand4 ,,to ,,make ,a ,,card ,,stand ,,upright ,,by ,,itself ,,on ,,the ,,table4--,this is a little trick of hardly sufficient importance to be performed by itself2 but as an incident introduced in the course of some more pretentious illusion1 produces a very good effect4 ,a great deal of the sparkle of a conjuring entertainment depends upon the performer's readiness in what may be called 8by-play10 consisting of a number of minor tricks not supposed to form part of the settled programme1 but merely introduced incidentally1 and used1 as it were1 as a garnish to the more important feats4 ,thus1 when a coin1 an egg1 or other small article1 is required for the purpose of a trick1 the performer may fetch it openly from behind the scenes1 or have it handed to him by his servant2 but this is a commonplace proceeding4 ,the higher class of performers prefer in such cases to produce the article from the hair1 whiskers1 or pocket of one of the audience2 and in like manner1 when the article has served its purpose1 to make it vanish by some magical process1 rather than by the prosaic methods of every-day life4 ,these little incidents serve to keep the audience on the qui vive1 and they further assist materially in keeping up the continuity of an entertainment4 ,in a thoroughly good performance the audience should have no time to think1 but should be led direct from one surprise to the contemplation of another4 ,the trick we are about to describe is of the class above alluded to4 ,in the course of one or other of your card tricks1 you have or make occasion to ask some person to go and place a given card on the table1 or to examine a card already placed there4 ,he does so1 and is about to return to his place2 but you check him4 8,no1 sir1 that won't do4 ,i want everybody to see what card it is4 ,will you be good enough to stand it up on end1 with its face to the company1 so that everybody can see it40 ,he looks foolish1 and finally says that he can't do it4 8,not do it80 you reply4 8,my dear sir1 it's the simplest thing in the world4 ,allow me60 and taking the card from him1 you place it upright on the table1 and leave it standing without any visible support4 ,taking it up again1 you hand it round1 to show that there is no preparation about it1 and on receiving it back1 again stand it upright1 but with the other end upwards2 or1 if challenged1 allow the audience themselves to choose a card1 which you cause to stand alone with equal facility4 ,illustration3 ,,fig4 #di4 ,the secret lies in the use of a very small and simple piece of apparatus1 being1 in fact1 merely a strip of tin or sheet brass1 an inch and a half in length1 and five-eighths of an inch in width1 bent at a shade less than a right angle--say #he2 its shorter arm being one-third of its length4 ,on the outer surface of the long arm is spread a thin layer of bees'-wax 7made more adhesive by the addition of a small portion of ,venice turpentine71 and to the inner surface of the shorter arm is soldered a small piece of lead1 about an eighth of an inch thick4 ,when you desire to perform the trick1 you have this little appliance concealed in your right hand1 the longer arm between the first and second fingers1 and the shorter arm pointing towards the little finger4 ,picking up the card with the left hand1 you transfer it to the right1 taking hold of it in such manner that the fingers shall be behind and the thumb in front of the card4 ,as you place the card on the table 7which1 by the way1 must be covered with a cloth71 you press against it 7see ,fig4 #di7 the waxed side of the slip of tin1 which will slightly adhere to it1 and thus form a prop or foot1 the little lump of lead acting as a counterpoise to the weight of the card4 ,you pick it up with the same hand1 and as you transfer it to the other1 you will find no difficulty in removing and secreting between the fingers the little prop4 ,if the wax is properly amalgamated1 it should leave no mark on the card4 ,illustration3 ,,fig4 #ej4 ,,changing ,,card-,,boxes1 ,,and ,,tricks ,,performed ,,with ,,them4--,the changing card-box in its simplest form is a small flat box in walnut or mahogany4 7,see ,fig4 #ej47 ,its outside measurement is four inches by three1 and not quite an inch deep4 ,inside it is just large enough to admit an ordinary-sized playing card4 ,the upper and lower portions of the box1 which are connected by hinges1 are exactly alike in depth1 and each is polished externally1 so that the box1 which1 when open1 lies flat like a book1 may be closed either way up2 and either portion will1 according as it is placed1 become box or lid in turn4 ,thus1 by using a card which1 unknown to the audience1 has two faces--e4g41 is an ace of hearts on the one side1 and an ace of spades on the other--and placing such card in one side of the open box1 you have only to close the box with that side uppermost1 or to turn over the box as you place it on the table1 to transform the card just shown into a different one4 ,there is nothing in the appearance of the box itself to indicate that it has been turned1 so to speak1 wrong side up1 and a very little practice will enable you to turn it over1 as you place it on the table1 without attracting observation4 ,there is a further appliance in connection with the box in question1 which1 however1 may be used with or without it1 as may best suit the trick in hand4 ,this is a loose slab1 a1 of the same wood of which the interior of the box is made1 of the thickness of cardboard1 and of such a size as to fit closely1 though not tightly1 in either half of the box4 ,when so placed1 it has the appearance of the inside top or bottom of the box4 ,when the box is closed in such manner that the part in which this slab is placed is uppermost1 the slab falls into the lower portion1 thus forming a false bottom on whichever side happens to be undermost4 ,if a card 7say the ace of hearts7 be secretly placed in either side of the box1 and this slab placed on it1 the box will appear empty4 ,if now another card 7say the knave of spades7 be openly placed in either side1 and the box closed in such manner that the portion containing the false bottom is undermost1 no change will take place2 but if1 either in closing the box or subsequently1 it is so placed that the side containing the false bottom becomes uppermost1 the false bottom will at once drop into the opposite division1 and on re-opening the box the ace of hearts will be revealed1 and the knave of spades will in its turn be concealed4 ,the effect to the spectators is as if the knave of spades had changed into the ace of hearts4 ,these card-boxes are frequently worked in pairs1 as follows3--,the boxes are prepared by placing a different card secretly in each1 say an ace of hearts in the one1 and a knave of spades in the other4 ,the performer brings them forward to the company1 each hanging wide open1 and held by one corner only1 with the first and second finger inside1 and the thumb outside the box1 taking care1 however1 to hold each by the side containing the false bottom1 which is thus kept in position by the pressure of the fingers4 ,so held1 the boxes appear absolutely empty4 ,having drawn attention to the entire absence of any preparation1 the performer lays them open upon the table1 and1 taking up a pack of cards1 requests two of the company each to draw one4 ,they1 of course1 imagine that they are making a free choice1 but in reality he forces 7either by sleight-of-hand1 or by means of a forcing pack7 the ace of hearts and the knave of spades4 ,again bringing forward the two boxes1 he requests each person to place his card in one of them1 taking care so to arrange that the person who has drawn the ace of hearts shall place it in the box already containing the concealed knave of spades1 and vice vers4 ,closing each box with the portion containing the false bottom uppermost1 he now announces that at his command the cards will change places1 which1 on re-opening the boxes1 they appear to have done4 ,by again turning over the boxes1 they may be made to return to their original quarters4 ,numerous other good tricks may be performed with the aid of these boxes1 which should form part of the collection of every conjuror4 ,by placing a given card beforehand beneath the false bottom and forcing a like card1 you may allow the card drawn to be torn into twenty pieces1 and yet1 by placing the fragments in the box1 or firing them at it from a pistol1 restore the card instantly1 as at first4 ,in like manner1 you may cause a given card to be found in the apparently empty box1 or may cause a card openly placed therein to vanish altogether4 ,the changing-box is also sometimes employed by those who are not proficient in sleight-of-hand1 as a substitute for forcing1 in the following manner3--,the performer requests some person to draw a card1 and1 without looking at it1 to place it face downwards in the box for supposed safe keeping4 ,the box is presently opened by the same or some other person1 who is requested to note what the card is4 ,he does so1 believing the card to be that which was drawn1 and which he had just before seen placed in the box2 whereas the card he now examines is1 in reality1 one concealed beforehand in the box by the performer to suit his purpose1 the card actually drawn being now hidden by the false bottom4 ,illustration3 ,,fig4 #ea4 ,,fig4 #eb4 ,,the ,,mechanical ,,card-,,box4--,this also is a piece of apparatus for changing a chosen card to another4 ,it is somewhat the same in principle as the card-boxes last described1 but differs from them a good deal in detail4 ,it is an oblong wooden box1 in external measurement about four and a half inches by three and a half1 and four inches high4 ,internally1 the measurement is so arranged that1 putting the lid out of the question1 the front of the box is of exactly equal area with the bottom4 ,against this front 7see ,fig4 #ea7 lies a slab of tin or zinc1 working on a cloth hinge along its lower edge1 thus rendering it capable of either lying flat on the bottom of the box 7which it exactly covers71 or of being folded up against the front1 the upper edge of which projects slightly inwards1 so as to aid in concealing it4 ,this flap1 like the whole inside of the box1 is painted black4 ,on one point of its upper surface is a little stud1 which1 when the flap is raised1 fits into a hole prepared for it in the lock1 across which passes the hinder end or tail of the bolt4 ,the box is prepared for use as follows3--,the key is turned1 as if locking the box 7which1 however1 is held open71 thus pushing forward the bolt of the lock1 and the flap is lifted up against the front1 the stud passing into the little hole before-mentioned4 ,the key is then again turned as if unlocking the box1 when the tail of the bolt catches the stud1 and secures the flap4 ,the box will in this condition bear any amount of examination1 but as soon as it is closed1 and the key turned to lock it1 the tail of the bolt1 being again shot forward1 no longer retains the stud1 and the flap falls4 ,when in actual use1 a card 7say the ace of spades7 is placed upon the flap1 and folded up with it against the front of the box4 ,the card to be changed 7suppose the nine of diamonds7 is in due course openly placed in the box1 which is then handed to some one with a request that he will himself lock it1 that there may be no possibility of deception4 ,the trick proceeds1 and when the box is again opened1 the card placed therein is found transformed to the ace of spades4 ,some card-boxes are so made1 that the flap1 instead of falling actually upon the bottom of the box1 falls parallel to it1 but at a distance of an inch or so above it1 leaving a hollow space beneath capable of containing a lady's handkerchief1 a canary1 or any other small article1 which1 being covered by the falling flap1 is thus apparently changed into a card4 ,the box in this case is somewhat taller in proportion than that above described4 ,,the 8,,card ,,and ,,bird0 ,,box4--,this is1 in form and general appearance1 similar to that form of the card-box last above described 7that which has an enclosed space beneath the flap71 but its working is precisely the converse--i4e41 the normal condition of the flap in this case is to lie folded against the back of the box1 against which it is pressed by the action of a spring4 ,it may1 however1 be folded down so as to lie parallel with the bottom1 a little catch projecting from the inner surface of the front1 holding it in that position4 7,see ,fig4 #eb47 ,the lock is in this case a mere sham1 having neither key nor keyhole1 but a little stud projecting from the lower edge of the lid1 and representing the 8staple0 of the lock1 presses1 when the box is closed1 upon an upright pin passing through the thickness of the wood up the front of the box1 and thereby withdraws the catch1 when the flap flies up1 concealing the card which has just been placed upon it1 and revealing the bird or other object which had previously been concealed beneath it4 ,the same principle is sometimes applied to the 8card-box10 the flap when 8set0 lying flat on the bottom of the box1 leaving no hollow space below4 ,,the ,,card ,,tripod4--,this is a miniature table1 standing five or six inches high4 ,it has a round top of about the same diameter1 supported on a tripod foot4 ,it is provided with an ornamental cover of tin or pasteboard1 shaped somewhat like the top of a coffee-pot1 just large enough to fit neatly over the top of the table1 and about an inch deep4 ,the table has a false top1 made of tin1 but japanned to match the real top1 and of such a size as to fit tightly within the cover4 ,if the false top be laid upon the true one1 and the cover placed over both1 the cover will1 on being again removed1 carry with it the false top1 and leave exposed the real one1 which1 however1 the audience take to be that which they have already seen4 ,the reader will already have perceived that the card-tripod is1 in effect1 very similar to the changing card-box4 ,like the card-box1 it may be used either singly or in pairs1 and the tricks performed by its aid will be nearly the same4 ,thus two forced cards drawn by the audience may be made to change places from one tripod to another1 a card drawn and destroyed may be reproduced from its own ashes1 or a card drawn and placed on the tripod may be made to vanish altogether1 the drawn card being in each case laid upon the false top1 that to which it is to be apparently transformed having been previously placed under the false and upon the true top4 ,a card once changed1 however1 cannot be restored to its original condition1 and the card-tripod is1 therefore1 in this respect inferior to the card-box4 ,,the 8,,torn ,,card40--,this is a very effective trick4 ,the performer requests some one of the company to draw a card1 and1 having done so1 to tear it up into any number of fragments4 ,he does so1 and hands them to the operator1 who returns one corner to him1 with a request that he will take particular care of it4 ,the performer announces that out of the torn fragments he will restore the card anew1 for which purpose he first burns the fragments on a plate or otherwise1 carefully preserving the ashes4 ,he then brings forward one of the changing card-boxes already described1 and1 after1 showing that it is empty1 closes it1 and places it on the table in view of all present4 ,he next takes the ashes of the torn card1 and1 loading a pistol with them1 fires at the box4 7,if he has not a pistol at hand1 placing the ashes on the box1 rubbing them on the lid1 or any other act which gets rid of them will answer the same purpose47 ,when the box is opened1 the card is found whole as at first1 with the exception of one corner1 being 7ostensibly7 that which was retained by the drawer4 ,taking this piece in his right hand1 and holding the card by one corner between the thumb and first finger of his left hand 7see ,fig4 #ec71 the performer makes a motion as if throwing the small piece towards it4 ,the small piece instantly vanishes from his hand1 and at the same moment the card is seen to be completely restored1 the torn corner being in its proper place4 ,some performers1 instead of giving the drawer the torn corner to take charge of in the first instance1 burn ostensibly the whole of the pieces1 and pretend surprise on finding that there is a corner missing when the card is restored4 ,directly afterwards1 however1 they pick up the missing fragment from the floor1 where they have just previously dropped it1 and the trick proceeds as already described4 ,illustration3 ,,fig4 #ec4 ,,fig4 #ed4 ,the reader will1 no doubt1 already have conjectured that the card drawn is a forced one1 and that the supposed restored card was concealed beforehand under the false bottom of the card-box4 ,this pretended restored card is1 in reality1 an ingenious though simple piece of apparatus1 constructed as follows3--,a piece of tin is cut to the exact size and shape of a card2 out of this1 at one of the corners1 is cut an oblong piece1 measuring about one inch by five-eighths4 ,this piece is attached by a spring hinge1 a a1 on one side of it1 to the larger piece of tin1 in such manner that it can be folded back 7see ,fig4 #ed7 flat against it2 the action of the spring1 however1 bringing it back again1 when released1 to its original position4 ,to this piece of tin is soldered lengthways a narrow tail-piece1 of such a length as to extend nearly to the opposite end of the larger piece of tin4 ,this tail-piece forms a kind of handle wherewith to bend back the smaller piece of tin on its hinge1 and at the same time acts as a check to prevent the action of the spring pressing the smaller piece beyond the plane of the larger one4 ,a playing card is split in two in order to reduce its thickness1 and the face of the card thus reduced is pasted on the front of the larger piece of tin4 ,previously1 however1 a piece1 somewhat smaller than the little moveable flap1 is torn out of one corner1 and pasted on the flap in such a manner that1 when the latter is released1 the torn piece will occupy its proper position with respect to the remainder of the card1 which will thus appear complete4 ,when1 however1 the moveable flap is folded back1 and so held by the pressure of the forefinger upon the tail-piece1 the torn portion of the card will be folded back with it1 as in ,fig4 #ed4 ,when the mechanical card is placed in the box1 it should be thus folded back1 and kept in position by a little bit of thin wire1 half an inch long1 and bent into a miniature staple or clip1 which1 slipped over the end of the tail-piece and the adjoining edge of tin1 will effectually hold the flap back1 and yet may be got rid of in an instant1 when the forefinger is ready to take its place4 ,you must take care so to place the card in the box as to be face uppermost when the box is opened1 as the audience must not1 of course1 see the back4 ,when you desire to make the card complete1 you have only to slip aside the forefinger1 and thus release the moveable flap4 ,there are torn cards now made entirely of pasteboard1 dispensing with the tin plate at the back4 ,this is a decided improvement4 ,as to the disappearance of the loose corner from your hand1 you will find little difficulty when you have learnt the art of coin-palming1 to be hereafter explained4 ,assuming that you have at present no knowledge on this subject1 you may proceed as follows3--,take the bit of card between the forefinger and thumb of your right hand1 and as you make the motion of throwing it towards the mechanical card1 push it with the ball of the thumb between the first or second joints of the first and middle fingers4 ,this releases the thumb1 and the inside of your hand being turned away from your audience1 you run little risk of discovery1 particularly as the same piece1 apparently1 is now seen in its proper place as part of the restored card4 ,we must not omit to mention that there is a mode of performing the 8torn card0 trick in which the use of the mechanical card is dispensed with4 ,in this case the performer secretly takes an ordinary card1 say the knave of spades1 and tears off one corner1 which he carefully preserves4 ,the card thus mutilated he places in a card-box1 or other similar piece of apparatus4 ,pack in hand1 he advances to the company1 and 8forces0 the knave of spades1 having1 meanwhile1 the little corner piece of the concealed card hidden between the second and third fingers of his right hand4 ,the card having been drawn1 he requests the drawer to tear it up1 and place the pieces on a plate1 which he hands him for that purpose4 ,having received the pieces1 he says carelessly1 8,you had better keep one piece for the purpose of identification20 and1 so saying1 hands him apparently one of the fragments of the card just torn1 but really the concealed corner piece1 which he drops from his hand on the plate for that purpose in the very act of picking up4 ,the trick then proceeds as already described up to the finding of the card partially restored1 in which condition it is handed to the drawer1 and its identity proved by showing that the torn edge exactly corresponds with the corner retained4 ,the trick may either end here1 or1 by using a second card-box1 card-tripod1 or the like1 the card and corner may be again changed for a complete card4 ,,mechanical ,,changing ,,cards4--,these are of two or three kinds1 but all have the same object--viz41 the apparent transformation of the card to a different one4 ,in some cases the change is from a court card of one suit to the same card of another suit--e4g41 a king of spades to a king of hearts1 involving merely the alteration of the pip in the corner4 ,this is effected by having the card made double1 that portion of the front card on which the pip should be being cut out4 ,the hindmost card1 which is pasted only round the extreme edge to the front one1 is a plain white card1 but with the appropriate pip1 say a spade1 neatly painted in the proper position1 to allow of its showing through the opening in the front card1 which thus has the appearance of an ordinary king of spades4 ,between the two cards is a moveable slip1 worked by a pin through a slip in the back1 on which is painted a heart pip4 ,by moving this slip1 the heart is in turn brought opposite the opening1 covering the spade pip1 so that the card now appears to be the king of hearts4 ,the card as above described is of the old single-headed pattern1 but the same principle may be applied to double-headed cards4 ,in this case both of the 8pip0 portions of the front card are cut away as in ,fig4 #ee1 while on the upper corresponding portion of the hinder card is painted 7say7 a spade1 and on the lower a heart1 as in ,fig4 #ef4 ,the moveable slip is of such a shape and size as to cover the one or the other1 according as it is drawn up or down2 and on the upper part of this 7see ,fig4 #eg7 is painted a heart1 and on the lower a spade4 ,when1 therefore1 the slip is pushed up1 the heart pip on the slip and the heart pip on the hindmost card are shown1 so that the card appears to be a king of hearts4 ,when1 on the other hand1 the slip is drawn down1 the spade pip of the hinder card is revealed1 and at the same time the slip covers over the heart pip of this latter1 and exhibits its own spade pip1 giving the card the appearance of a king of spades4 ,illustration3 ,,fig4 #ee4 ,,fig4 #ef4 ,,fig4 #eg4 ,these mechanical cards are used in various ways4 ,such a card may be introduced with good effect in the trick of the 8rising cards10 before described4 ,the king of spades1 we will suppose1 is one of the cards drawn4 ,the changing card is made one of those which rise from the pack1 but is so arranged as to appear as the king of hearts4 ,when the king of spades is called for1 this card rises4 ,the performer feigns to be taken by surprise1 and asks the person who drew the card whether he is sure he is not mistaken1 and that the card he drew was not the king of hearts4 ,the drawer naturally maintains the correctness of his own recollection1 while the performer as stoutly insists that the cards never deceive him1 and that1 if the king of spades had been drawn1 the king of spades would infallibly have risen when called4 ,at last1 as if tired of the dispute1 he says1 8,well1 ,i still maintain you were mistaken2 but as you insist that your card was the king of spades1 why1 we will make this into a king of spades40 ,so saying1 and holding up the card between his middle finger and thumb1 he touches its face with his wand1 and at the same moment with the first finger moves the slide1 when the card changes to the king of spades4 ,the little dispute as to the supposed mistake1 which the audience have hitherto believed to be genuine1 gives to the transformation an impromptu air which is very effective4 ,the performer may go on to say1 still holding up the card1 8,you are quite satisfied now1 ,i presume40 ,the drawer assents4 8,then if so1 as it would spoil my pack to have two kings of spades in it1 you will allow me1 before proceeding further1 to change the card back again4 ,change60 ,again he touches the card with his wand1 and it is seen to change back again to the king of hearts4 ,another mode of using the mechanical card is in conjunction with the changing card-boxes1 above described4 ,in this case the changing cards are used in pairs4 ,one of them1 arranged as the king of spades1 is secretly placed in the one box1 and the other1 arranged as the king of hearts1 in the other4 ,two of the spectators are requested each to draw a card1 and two genuine kings of the same respective suits are forced upon them4 ,taking the cards so drawn1 and showing the card boxes apparently empty1 the performer places one of the cards in each1 taking care to place the king of hearts in the box containing the ostensible king of spades1 and vice vers4 ,he now commands the two cards to change places1 and1 opening the boxes1 shows that his commands are obeyed4 ,he then remarks1 8,now1 ,i dare say you all think that the trick depends on the boxes4 ,to show you that it is not so1 ,i will again order the cards to change2 and this time ,i will not place them in the boxes1 but will merely take one in each hand1 so4 ,if your eyes are quick enough1 you will see the cards fly across from the one hand to the other4 ,observe1 the king of spades is in my right hand1 and the king of hearts in my left4 ,one1 two1 three--,change60 7with a stamp and a slight flourish of the cards74 8,did you see them fly8 ,here is the king of hearts in my right hand1 and the king of spades has passed to my left4 ,i will put them in the boxes once more40 ,you put each in the box which it before occupied1 in doing so again making the change1 but without closing the boxes4 ,you continue1 8,please to notice which ,i put in each box--the king of hearts in the right hand box1 and the king of spades in the left hand box4 ,is that right80 ,the audience reply in the affirmative4 8,excuse me10 you say1 8,i fear you are mistaken4 ,you did not notice1 perhaps1 that the cards had changed again40 ,you show that this is so1 and then close the boxes so as to bring the cards originally drawn uppermost4 ,opening them once more1 you show that the cards have again changed1 and then remark1 8,i have shown you that the secret does not lie in the boxes1 perhaps you would like to satisfy yourselves that there is no preparation about the cards10 which you accordingly hand for examination4 ,illustration3 ,,fig4 #eh4 ,another form of changing card is known as a 8flap card40 ,this is a card across whose centre is fixed a moveable flap of exactly half its size4 ,when the flap is folded one way1 it covers the upper half1 and when it is folded the other way the lower half of the card1 in each case revealing a different surface4 7,see ,fig4 #eh47 ,on one of such surfaces is pasted1 say1 a queen of clubs 7made thin by peeling off the back71 and on the other surface1 say1 a nine of diamonds1 prepared in like manner4 ,thus the card will appear1 according as the flap is folded1 alternately a queen of clubs or nine of diamonds4 ,an india-rubber spring tends to draw the flap down1 so that the normal condition of the card is to appear as1 say1 the nine of diamonds4 ,when exhibited to the company1 the flap is forced over in the opposite direction1 so that the card appears to be the queen of clubs4 ,the thumb and finger hold the flap down until the right moment1 when they relax their pressure1 and the flap flying up1 the card is instantly transformed to the nine of diamonds4 ,illustration ,,chapter ,,vi4 ,,principles ,,of ,,sleight-,,of-,,hand ,,more ,,especially ,,applicable ,,to ,,coin ,,tricks4 ,before attempting tricks with coin1 it will be necessary for the student to practise certain sleights and passes which more especially belong to this particular branch of the magic art1 though the sleight-of-hand used in 8coin tricks0 is more or less applicable to most other small objects4 ,the principles which we have given for card tricks will not here be of any direct assistance to the student2 but the readiness of hand and eye which he will have acquired1 if he has diligently put in practice the instructions already given1 will be of great value to him as a preliminary training1 and it may safely be predicted that any person who is a first-rate performer with cards will find little difficulty in any other branch of the art4 ,illustration3 ,,fig4 #ei4 ,,fig4 #fj4 ,the first faculty which the novice must seek to acquire is that of 8palming0--i4e41 secretly holding an object in the open hand by the contraction of the palm4 ,to acquire this power1 take a half-crown1 florin1 or penny 7these being the most convenient in point of size71 and lay it on the palm of the open hand4 7,see ,fig4 #ei47 ,now close the hand very slightly1 and if you have placed the coin on the right spot 7which a few trials will quickly indicate71 the contraction of the palm around its edges will hold it securely 7see ,fig4 #fj71 and you may move the hand and arm in any direction without fear of dropping it4 ,you should next accustom yourself to use the hand and fingers easily and naturally1 while still holding the coin as described4 ,a very little practice will enable you to do this4 ,you must bear in mind while practising always to keep the inside of the palm either downwards or towards your own body1 as any reverse movement would expose the concealed coin4 ,when you are able to hold the coin comfortably in the right hand1 practise in like manner with the left1 after which you may substitute for the coin a watch1 an egg1 or a small lemon--all these being articles of frequent use in conjuring4 ,being thoroughly master of this first lesson1 you may proceed to the study of the various 8passes40 ,all of the passes have the same object--viz41 the apparent transfer of an article from one hand to the other1 though such article really remains in the hand which it has apparently just quitted4 ,as the same movement frequently repeated would cause suspicion1 and possibly detection1 it is desirable to acquire different ways of effecting this object4 ,for facility of subsequent reference1 we shall denote the different passes described by numbers4,i ,i ,it should be here mentioned that the term 8palming10 which we have so far used as meaning simply the act of holding any article1 is also employed to signify the act of placing any article in the palm by one or other of the various passes4 ,the context will readily indicate in which of the two senses the term is used in any given passage4 ,it is hardly necessary to remark that the diagrams1 save where the letterpress indicates the contrary1 represent the hands of the performer as seen by himself4 ,,pass #a4--,take the coin in the right hand1 between the second and third fingers and the thumb 7see ,fig4 #fa71 letting it1 however1 really be supported by the fingers1 and only steadied by the thumb4 ,now move the thumb out of the way1 and close the second and third fingers1 with the coin balanced on them1 into the palm4 7,see ,fig4 #fb47 ,if the coin was placed right in the first instance1 you will find that this motion puts it precisely in the position above described as the proper one for palming2 and on again extending the fingers1 the coin is left palmed1 as in ,fig4 #fj4 ,when you can do this easily with the hand at rest1 you must practise doing the same thing with the right hand in motion toward the left1 which should meet it open1 but should close the moment that the fingers of the right hand touch its palm1 as though upon the coin1 which you have by this movement feigned to transfer to it4 ,the left hand must thenceforward remain closed1 as if holding the coin1 and the right hand hang loosely open1 as if empty4 ,illustration3 ,,fig4 #fa4 ,,fig4 #fb4 ,in the case of an article of larger size than a coin--as1 for instance1 a watch or an egg--you need not take the article with the fingers1 but may let it simply lie on the palm of the right hand1 slightly closing that hand as you move it towards the left4 ,the greater extent of surface in this case will give you plenty of hold1 without the necessity of pressing the article into the palm4 ,remember that1 in any case1 the two hands must work in harmony1 as in the genuine act of passing an article from the one hand to the other4 ,the left hand must therefore rise to meet the right1 but should not begin its journey until the right hand begins its own4 ,nothing looks more awkward or unnatural than to see the left hand extended with open palm1 before the right hand has begun to move towards it4 ,illustration3 ,,fig4 #fc4 ,,fig4 #fd4 ,,fig4 #fe4 ,after the pass is made1 a judicious use of the wand will materially assist in concealing the fact that the object still remains in the right hand4 ,for this purpose the performer should1 before commencing the pass1 carelessly place the wand under either arm1 as though merely to leave his hands free4 ,immediately that the pass is made the right hand should1 with a sort of back-handed movement1 which under the circumstances is perfectly natural1 grasp the wand1 draw it from under the arm1 and thenceforth retain it till an opportunity occurs of disposing of the coin as may be necessary4 ,the position of the fingers in the act of holding the wand is such as to effectually mask the concealed coin1 while yet the hand appears perfectly easy and natural4 ,the same expedient may be employed with equal advantage in the remaining passes4 ,,pass #b4--,this is somewhat easier than ,pass #a1 and may sometimes be usefully substituted for it4 ,take the coin edgeways between the first and third fingers of the right hand1 the sides of those fingers pressing against the edges of the coin1 and the middle finger steadying it from behind4 7,see ,fig4 #fc47 ,carry the right hand towards the left1 and at the same time move the thumb swiftly over the face of the coin till the top joint just passes its outer edge 7see ,fig4 #fd72 then bend the thumb1 and the coin will be found to be securely nipped between that joint and the junction of the thumb with the hand4 7,see ,fig4 #fe47 ,as in the last case1 the left hand must be closed the moment the right hand touches it2 and the right must thenceforth be held with the thumb bent slightly inwards towards the palm1 so that the coin may be shielded from the view of the spectators4 ,this is an especially quick mode of palming1 and if properly executed the illusion is perfect4 ,it is said to be a special favourite of the elder ,frikell4 ,,pass #c4--;,hold the left hand palm upwards1 with the coin in the position indicated in ,fig4 #ei4 ,move the right hand towards the left1 and let the fingers simulate the motion of picking up the coin1 and instantly close4 ,at the same moment slightly close the left hand1 so as to contract the palm around the coin1 as in ,fig4 #fj1 and drop the hand1 letting it hang loosely by your side4 ,illustration3 ,,fig4 #ff4 ,,pass #d4 7,le ,tourniquet74--,this 7sometimes known as the 8,french drop07 is an easy and yet most effective pass4 ,hold the left hand palm upwards1 with the coin as shown in ,fig4 #ff4 ,now move the right hand towards the left1 passing the thumb of the right hand under1 and the fingers over the coin1 closing them just as they pass it4 ,the effect is the same to the eye of the spectator as if you seized the coin with thumb and fingers1 but1 in reality1 at the moment when the coin is covered by the fingers of the right hand1 you let it drop quietly 7see ,fig4 #fg7 into the palm of the left4 ,illustration3 ,,fig4 #fg4 ,the right hand you should carry upwards and forwards after it leaves the left hand1 following it with your eyes1 and thereby drawing away the attention of the audience from the other hand4 7,see ,fig4 #fh47 ,do not be in too great a hurry to drop the left hand1 but turn the palm slightly towards you1 with the fingers a little bent1 and1 after a moment's pause1 let it fall gently to your side4 ,the hollow made by the bent fingers will be sufficient to hold the coin4 ,this pass is available even for a sixpence or threepenny piece1 which from their small size1 cannot readily be palmed by the ordinary means4 ,it is also very useful for 8ball0 conjuring4 ,illustration3 ,,fig4 #fh4 ,,pass #e4 7,la ,pincette74--,this is a modification of the pass last described4 ,the coin is held as in ,fig4 #fi1 between the thumb and first and second fingers of the left hand4 ,you then make the movement of taking it between the same fingers of the other hand1 which for that purpose makes a kind of 8swoop0 down upon it1 the back of the hand being kept towards the spectators4 ,at the moment when the coin is covered by the fingers of the right hand1 it is allowed to slip gently down into the palm of the left1 and the right is instantly elevated as if containing it4 ,illustration3 ,,fig4 #fi4 ,,pass #f4--,this pass is best adapted for use with three or four coins1 as the chink of the coins against one another materially assists the illusion4 ,having to get rid of1 say1 four pence or florins1 you take them in the right hand1 as indicated in ,fig4 #gj1 viz41 well back towards the wrist4 ,move the right hand sharply towards the left1 with the fingers foremost1 so that the finger-tips of the right hand may come smartly1 at about right angles1 against the palm of the left1 at the same time slightly bending the fingers4 ,the coins1 instead of being shot forward 7as to the eye and ear of the spectators they appear to be7 into the left hand1 are1 in reality1 retained in the hollow formed by the fingers of the right1 as in ,fig4 #ga4 ,they are turned completely over as the hands come in contact1 producing a loud chink4 ,the left hand is1 of course1 closed1 and the thumb of the right is allowed to sink gently on the coins1 so that when the hand falls by your side1 they may not make a second chink1 and so betray their presence in the wrong hand4 ,illustration3 ,,fig4 #gj4 ,,fig4 #ga4 ,,pass #g4 7,la ,coule74--,this pass is best adapted for a coin of large diameter1 like the ,french five-franc piece1 and is but little used by ,english conjurors4 ,if1 however1 the student has a very small hand 7a serious disadvantage in conjuring generally71 he may find it convenient to use the pass in question with a half-crown or penny4 ,take the coin in the right hand between the first and second fingers and the thumb1 and in the act of apparently transferring it to the left hand1 gently slide it with the ball of the thumb into the position shown in ,fig4 #gb1 where it is held by the pressure of the first and fourth fingers against its opposite edges1 the hand remaining completely open4 ,illustration3 ,,fig4 #gb4 ,illustration3 ,,fig4 #gc4 ,,pass #h4--,the peculiarity of this pass is1 that it is made while holding the wand in the hand1 a case in which none of the other passes are available4 ,holding the wand and coin in the right hand1 as indicated in ,fig4 #gc1 you strike the edge of the coin sharply against the palm of the left hand1 and instantly close that hand4 ,the effect of the movement is to drive back the coin 7which should be held very lightly7 into the position shown in ,fig4 #gd1 in which1 being behind the first three fingers1 it is completely hidden4 ,you should lose no time in relaxing the fingers of the right hand1 and gently closing them around the coin1 as their straightened position1 if continued1 might arouse suspicion4 ,you must1 however1 be careful that1 in doing so1 you do not allow the coin to chink against the wand1 as the sound would naturally draw attention to its whereabouts4 ,illustration3 ,,fig4 #gd4 ,it must not be imagined that all of the passes above given are in turn used by every performer4 ,almost every conjuror has his favourite pass or passes1 either selected from those above described1 or invented by himself4 ,any mode by which a coin can be held in the hand without indicating its presence may be worked up into a pass4 ,thus1 some performers will hold a coin by its edges between two of the fingers1 or between the thumb and the side of the hand4 ,others1 again1 hold the coin flat against the first or second joint of the second or third finger1 retaining it by slightly bending the finger4 ,the novice should experiment till he ascertains which method best suits the conformation of his own hand4 ,we have specified the hand to and from which each pass is generally used2 but if the student desires to attain special excellence1 he should practise until he is able to use each from left to right1 as well as from right to left4 ,in performing before a company of spectators1 and standing with the left side towards them1 it is well to use a pass which apparently transfers the coin from the right hand to the left1 and vice vers4 ,the coin is thus left in the hand farthest away from the spectators1 and the performer has the benefit of the cover of the body in dropping it into the pochette1 or otherwise disposing of it4 ,the student will here1 as in card conjuring1 find great advantage in practising before a looking-glass1 before which he should1 in the first place1 actually do that which he afterwards pretends to do1 and carefully notice the positions and motions of his hands in the first case1 which he should then do his best to simulate1 that there may be as little difference as possible between the pretence and the reality4 ,he should further accustom himself always to follow with his eyes the hand in which the object is supposed to be1 this being the most certain means of leading the eyes and the minds of his audience in the same direction4 ,when he is able to perform the passes neatly with a single florin or penny1 he should then practise with coins of smaller size1 with two coins at once1 and afterwards with three or four4 ,a word of caution may here be desirable4 ,these passes must by no means be regarded as being themselves tricks1 but only as processes to be used in the performance of tricks4 ,if the operator1 after pretending to pass the coin1 say1 from the right hand to the left1 and showing that it had vanished from the left hand1 were to allow his audience to discover that it had all along remained in his right hand1 they might admire the dexterity with which he had in this instance deceived their eyes1 but they would henceforth guess half the secret of any trick in which palming was employed4 ,if it is necessary immediately to reproduce the coin1 the performer should do so by appearing to find it in the hair or whiskers of a spectator1 or in any other place that may suit his purpose1 remembering always to indicate beforehand that it has passed to such a place1 thereby diverting the general attention from himself4 ,as the coin is already in his hand1 he has only to drop it to his finger-tips as the hand reaches the place he has named1 in order1 to all appearance1 to take it from thence4 ,illustration3 ,,fig4 #ge4 ,having given this little piece of advice as to the hand in which the coin actually is1 we must add a few words more as to the hand in which it is not4 ,whenever you have 7apparently7 placed any article either in the closed hand1 or in some piece of apparatus from which it is afterwards to disappear1 you should not1 as a rule1 show that the article has departed from the spot where you have apparently placed it1 without interposing some magical process1 however slight1 which may colourably account for its disappearance4 ,a mere nothing will suffice--a touch of the wand1 the pronouncing of a magic formula1 the pressure of a finger2 but in some form or other the ceremony should never be omitted4 ,thus1 to take a very simple example1 we will suppose that by means of ,pass #a you have apparently placed in the left hand a coin1 which really remains in the palm of the right4 ,if you at once open the left hand1 and show that the coin is not there1 the spectators will naturally jump to the correct explanation1 viz41 that you did not1 in reality1 put the coin there at all4 ,if1 however1 you delay opening the left hand for a minute or two1 so as to let the audience get accustomed to the idea that the coin is therein1 and then1 before opening it1 touch the hand mysteriously with your wand1 or even simply1 as you slowly open the left hand1 rub the ball of the wrist with the second and third fingers of the hand which holds the coin 7see ,fig4 #ge71 you not only give that hand an occupation apparently inconsistent with the fact of anything remaining concealed in it1 but you suggest to the audience that the gesture in question is the cause of the disappearance of the coin4 ,it is surprising what an effect even such a trifle as this has in misleading the judgment of a spectator4 ,he knows perfectly well1 in the abstract1 that touching the closed hand with the wand1 or rubbing it with a finger of the opposite hand1 is not an adequate cause for the disappearance of the coin2 but the fact being indisputable that the coin has disappeared1 the mind unconsciously accepts the explanation which is thus indirectly offered4 ,the advice here given becomes less important where1 before the hand is opened1 you are able to get rid of the object from that in which it originally appeared4 ,here the spectator is precluded from imagining that you retained it in the hand in which he first saw it1 as that hand also is shown to be empty1 and the absolute disappearance of the coin being a self-evident fact1 you may leave the spectator to account for it in his own manner4 ,the various passes may be employed not only to cause the disappearance of an article1 as above described1 but to secretly exchange it for a substitute of similar appearance4 ,these exchanges are of continual use in conjuring2 indeed1 we may almost say that three parts of its marvels depend on them4 ,such an exchange having been made1 the substitute is left in sight of the audience1 while the performer1 having thus secretly gained possession of the original1 disposes of it as may be necessary for the purpose of the trick4 ,we proceed to describe various forms of changes1 denoting them1 as in the case of the passes1 by numbers4 ,,change #a4--,you desire1 we will suppose1 to exchange--or1 in conjuror's parlance1 to 8ring0--a florin1 marked by the audience1 for another4 ,you have the latter1 which we will call the 8substitute10 ready palmed in your left hand1 of course taking care to keep the palm turned away from the audience4 ,taking the marked florin in the right hand1 you palm it in that hand by ,pass #a1 but instead of closing the left hand as the fingers of the right touch it1 keep that hand loosely open1 and show lying on its palm the substitute1 which the audience take to be the original just placed there by your right hand4 ,,change #b4--,this is the same as ,change #a1 save that you use with the right hand ,pass #b instead of ,pass #a4 ,,change #c4--;,here also you use ,pass #b1 but you have the substitute palmed in the right hand instead of the left4 ,taking up the marked florin with the same hand1 you make with it ,pass #b1 at the same instant dropping the substitute from its palm into the left hand4 ,this is a very neat and effective change4 ,some performers are expert enough to make this change by means of ,pass #a instead of ,pass #b1 the genuine coin taking the place of the substitute in the palm2 but this demands dexterity of a more than average order4 ,,change #d4--;,for this change you must have the substitute palmed in the right hand1 and take the marked coin between the thumb and second finger of the left4 ,then by ,pass #d appear to take it in the right hand1 and at the proper moment exhibit the substitute1 which you have already in that hand4 ,,change #e4--;,have the substitute palmed in your right hand1 and hold the marked coin openly on the palm of the left4 ,pick up the genuine coin with the right hand1 at the same moment releasing the palmed substitute1 which will accordingly fall into the left hand1 the fingers of which should be held slightly hollowed1 the better to conceal it4 ,show the marked coin in the right hand1 and say1 8,you have seen me take up this coin visibly1 ,i will make it return invisibly10 or make some other appropriate observation4 ,close the left hand1 make ,pass #a or #b with the right hand1 with a motion towards the left1 but without bringing the hands near together4 ,the marked coin will1 after the pass1 be concealed in your right palm4 ,immediately opening your left hand1 you show the substitute1 which the audience believe to be the original which they have just seen4 ,there are many other changes2 indeed1 they are almost too numerous to describe4 ,if you are able to palm and to make the various passes neatly1 you will readily invent methods of 8ringing0 for yourself2 in the meantime1 you will find that the above will answer every necessary purpose1 so far as coin tricks are concerned4 ,illustration ,,chapter ,,vii4 ,,tricks ,,with ,,coin ,,without ,,apparatus4 ,there is an immense variety of tricks with coin--some with apparatus1 some without2 some demanding a thorough mastery of sleight-of-hand2 some so simple as to be within the compass of the merest tyro4 ,the only classification which we shall attempt will be to divide them into such as do and such as do not require special apparatus4 ,a ,,florin ,,being ,,spun ,,upon ,,the ,,table1 ,,to ,,tell ,,blindfold ,,whether ,,it ,,falls ,,head ,,or ,,tail ,,upwards4--,you borrow a florin1 and spin it1 or invite some other person to spin it1 on the table 7which must be without a cloth74 ,you allow it to spin itself out1 and immediately announce1 without seeing it1 whether it has fallen head or tail upwards4 ,this may be repeated any number of times with the same result1 though you may be blindfolded1 and placed at the further end of the apartment4 ,the secret lies in the use of a florin of your own1 on one face of which 7say on the 8tail0 side7 you have cut at the extreme edge a little notch1 thereby causing a minute point or tooth of metal to project from that side of the coin4 ,if a coin so prepared be spun on the table1 and should chance to go down with the notched side upwards1 it will run down like an ordinary coin1 with a long continuous 8whirr10 the sound growing fainter and fainter till it finally ceases2 but if it should run down with the notched side downwards1 the friction of the point against the table will reduce this final whirr to half its ordinary length1 and the coin will finally go down with a sort of 8flop40 ,the difference of sound is not sufficiently marked to attract the notice of the spectators1 but is perfectly distinguishable by an attentive ear4 ,if1 therefore1 you have notched the coin on the 8tail0 side1 and it runs down slowly1 you will cry 8tail20 if quickly1 8head40 ,if you professedly use a borrowed florin1 you must adroitly change it for your own1 under pretence of showing how to spin it1 or the like4 ,you should not allow your audience to imagine that you are guided by the sound of the coin1 as1 if once they have the clue1 they will easily learn to distinguish the two sounds4 ,they are not1 however1 likely to discover the secret of the notch1 and if any one professes to have found out the trick1 you may1 by again substituting an unprepared florin1 safely challenge him to perform it4 ,,odd ,,or ,,even1 ,,or ,,the ,,mysterious ,,addition4--,this is a trick of almost childish simplicity1 depending upon an elementary arithmetical principle4 ,we have1 however1 known it to occasion great perplexity1 even to more than ordinarily acute persons4 ,you take a handful of coins or counters1 and invite another person to do the same1 and to ascertain privately whether the number he has taken is odd or even4 ,you request the company to observe that you have not asked him a single question1 but that you are able1 notwithstanding1 to divine and counteract his most secret intentions1 and that you will in proof of this1 yourself take a number of coins1 and add them to those he has taken1 when1 if his number was odd1 the total shall be even2 if his number was even1 the total shall be odd4 ,requesting him to drop the coins he holds into a hat1 held on high by one of the company1 you drop in a certain number on your own account4 ,he is now asked whether his number was odd or even2 and1 the coins being counted1 the total number proves to be1 as you stated1 exactly the reverse4 ,the experiment is tried again and again1 with different numbers1 but the result is the same4 ,the secret lies in the simple arithmetical fact1 that if you add an odd number to an even number the result will be odd2 if you add an odd number to an odd number the result will be even4 ,you have only to take care1 therefore1 that the number you yourself add1 whether large or small1 shall always be odd4 ,,to ,,change ,a ,,florin ,,into ,a ,,penny1 ,,back ,,again1 ,,and ,,then ,,to ,,pass ,,the ,,same ,,invisibly ,,into ,,the ,,pocket ,,of ,,the ,,owner4--,this is a trick of genuine sleight-of-hand1 and will test your expertness in two or three different passes4 ,having beforehand palmed a penny in your right hand1 you borrow from one of the company a florin 7or half-crown71 requesting the owner to mark it in such manner that he may be able to identify it4 ,make him stand up facing you1 your own right side and his left being towards the audience4 ,taking the marked florin between the fingers and thumb of the right hand 7the back of which1 from your position1 will be toward the spectators71 you ask him whether he is nervous1 whether he can hold fast1 and so on4 ,on receiving satisfactory replies1 you state that you are about to put him to the test1 and request him to hold out his right hand1 telling him that you are about to count three1 and that at the word 8three0 you will drop the florin into his hand1 which he is to close tightly upon it4 ,you accordingly count1 8,one6 two6 three60 each time making a motion as of dropping the florin into his hand1 and at the word 8three0 actually do drop it1 when he closes his hand upon it1 as directed2 but you are not satisfied4 8,that won't do1 my dear sir10 you exclaim2 8you are not half quick enough--you allow all the electric fluid to escape4 ,we'll try once more1 and pray be a little quicker in your movements4 ,oblige me with the coin again4 ,now1 then1 are you ready8--,one6 two66 ,,three6660 giving the words with great energy4 ,as you say 8three0 you stamp your foot1 and apparently again drop the florin1 but really drop the penny instead1 by ,change #c4 ,he is sure this time to close his hand very quickly1 and1 having no reason to the contrary1 naturally believes that it is the florin which he holds1 your previous feint1 when you did actually drop the florin1 being specially designed to lead him to that conclusion4 ,you next request him to hold the closed hand high1 that all may see it4 ,this draws the general attention to him1 and away from yourself1 and enables you to place in your palm the florin1 which was left1 after the change1 in the bend of your right thumb4 ,you continue1 8,you did better that time1 sir4 ,now1 what will you bet me that ,i cannot take that two-shilling-piece out of your hand without your knowing it80 ,whether he admits or defies your power1 the course of the trick is the same4 8,well10 you say at last1 8you seem so determined that ,i am almost afraid to take the whole of the two-shilling piece away from you1 ,i think ,i must be content with one-and-elevenpence4 ,allow me to touch your hand with my wand40 ,you do so1 and on opening his hand he discovers that the two-shilling piece has changed into a penny4 ,you thank him for his assistance1 hand him the penny1 and dismiss him to his seat4 ,naturally enough1 he objects to accept the penny in place of his florin4 ,you pretend at first not to understand him1 but1 as if suddenly enlightened1 you exclaim1 8,oh1 the florin1 you want the florin8 ,my dear sir10 indicating the penny1 8that is the florin4 ,at present it is under an electric influence1 but you have only to wait till that goes off 7it won't take more than three weeks or so71 when it will resume its former appearance4 ,you don't believe me1 ,i see2 but ,i can easily convince you by discharging the electric fluid1 when the change will take place at once4 ,observe60 ,you take the penny between the thumb and second finger of the left hand 7after the manner indicated in ,fig4 #ff71 and make ,change #d1 making a gentle rubbing movement with the fingers and thumb of the right hand before you open that hand and disclose the restored florin1 at the same time carelessly dropping your left hand to your side1 and letting fall the penny into your pochette on that side4 ,bring up the left hand again1 showing1 but without apparent design1 that it is empty2 and still holding the coin in the right hand1 make ,pass #a1 as if you transferred it to the left hand4 ,make a motion with the left hand1 as if handing the coin1 and say to the owner1 8,will you be good enough to examine the florin1 and see that it is the same you marked40 ,he naturally holds out his hand for the coin1 which he believes to be in your left hand1 and which you pretend to give him2 but it has vanished4 8,well10 you say1 8is it the same florin80 ,looking1 probably1 rather foolish1 he replies that he has not got it4 8,not got it60 you say2 8why ,i have just given it to you4 ,i passed it into your pocket4 ,look for yourself40 ,he forthwith begins to search his pockets4 8,you are trying the wrong one10 you say2 8this is the pocket40 ,as if desiring merely to assist his search1 you plunge into any pocket which he has not yet tried your right hand 7in the palm of which the coin was left after the pass71 and letting the coin drop to the finger ends1 take it out as if it were already in the pocket1 as nine-tenths of the audience will believe it to have been4 ,,to ,,make ,a ,,marked ,,florin ,,and ,,penny1 ,,wrapped ,,in ,,separate ,,handkerchiefs1 ,,change ,,places ,,at ,,command4--,borrow a florin 7or half-crown7 and a penny1 requesting the owners to mark them1 that they may be sure of knowing them again4 ,also borrow two pocket handkerchiefs4 ,it may be well to mention1 once for all1 that it is generally desirable to borrow from the audience1 when you can1 any indifferent article used in a trick 7e4g41 a hat1 a watch1 or a handkerchief71 as you thereby seem to give a guarantee for the absence of preparation4 ,articles so borrowed are taken upon trust1 so to speak1 and by making a secret exchange you may still use a prepared substitute1 which will escape the close scrutiny to which any article confessedly provided by yourself would be subjected4 ,while the articles above mentioned are being collected from the audience1 you secretly palm in your left hand a penny of your own4 ,receiving the borrowed coins in your right hand1 apparently transfer them to the left1 but really only transfer the florin1 the marked penny remaining in your right hand4 ,this may be effected by making ,pass #b with the marked penny1 at the same time allowing the marked florin to drop from the palm as directed in ,change #c4 ,take the earliest opportunity of transferring the marked penny to the palm of the right hand1 and showing the marked florin and the substitute penny 7which the spectators take to be the genuine one7 on the open left hand1 place them on your table1 begging the audience to observe that they do not for one moment leave their sight4 ,then picking up with the right hand the florin1 on which you may casually show the mark1 and throwing one of the borrowed handkerchiefs over the hand1 take hold 7through the handkerchief7 of apparently the florin which you have just shown1 but really of the marked penny1 and transfer the marked florin to the palm4 ,the shape of the coin1 which the audience take to be the florin1 will be distinctly seen through the handkerchief1 whose folds will fall down around it4 ,give the handkerchief containing the coin to some person1 requesting him to hold it tightly just below the coin1 and well above his head1 that all may see it4,j ,now take up the substitute penny1 and apparently wrap it1 in like manner1 in the second handkerchief1 really substituting as before the coin concealed in your palm4 ,the substitute penny1 which remains in your right hand1 you must drop into your pochette or profonde at the first available opportunity4 ,give the second handkerchief to another person to hold4 ,the first handkerchief now1 to all appearance1 contains the florin1 and the second the penny4 ,invite the two persons to stand face to face1 the hands holding the handkerchiefs just touching1 and after gravely cautioning them to hold very tight1 etc41 etc41 give their hands a gentle rap with your wand1 saying1 8,change60 ,upon examination1 the coins are found to have obeyed your commands4 ,j ,this takes it out of the range of his eyes1 and prevents his indulging any desire for a premature examination of the contents4 ,managed with neatness and address1 this is an admirable drawing-room trick2 the previous marking of the coins apparently precluding any possibility of using substitutes1 and allowing the spectator no alternative but to admit that by some mysterious means the identical coins have changed places4 ,a similar trick may be performed without the use of the handkerchief4 ,as before1 you borrow a marked florin and penny1 exchanging the latter for one of your own1 and palm the genuine one4 ,taking up the marked florin from the table1 you hand it to some one to hold1 substituting for it as you do so the genuine penny by ,change #c1 as indicated in the trick last described4 ,the florin is thus left in your right hand4 ,palm it1 and take up the substitute penny between the second finger and thumb of the left hand1 and pretend by ,pass #d to transfer it to the right1 which you immediately close4 ,drop the penny into your pochette on the left side1 and announce that by your magic power you will compel the penny which you hold to change places with the florin held by the spectator4 ,when the hands are opened1 the supposed change is found to be accomplished4 ,,to ,,make ,,two ,,marked ,,coins1 ,,wrapped ,,in ,,separate ,,handkerchiefs1 ,,come ,,together ,,in ,,one ,,of ,,them4--,the coins and handkerchiefs borrowed for the purpose of the last trick will again serve in this one4 ,palm in your right hand a penny of your own1 and throw over the same hand one of the borrowed handkerchiefs4 ,this will effectually conceal the substitute penny1 which you may now take between the finger and thumb4 ,holding the handkerchief spread out upon the open hand1 you take up with the left hand the marked penny and place it on the handkerchief1 as if to wrap it therein1 but at the same time with the third finger push a fold of the handkerchief under the substitute penny in your right hand4 ,you now invert the handkerchief over your left hand for a minute1 allowing the marked penny to drop back into that hand1 and at the same time twist the fold already mentioned around the substitute4 ,the audience see the shape of a coin wrapped up in the handkerchief1 and naturally believe that it is that of the marked penny which you have apparently placed inside it4 ,in reality1 it is that of your own penny1 wrapped merely in an outside fold4 ,you now hand the handkerchief to some one to hold1 requesting him to grasp the coin1 and hold tightly4 ,illustration3 ,,fig4 #gf4 ,the marked penny1 it will be remembered1 remains in your left hand1 and the marked florin on the table4 ,as you go to take up the latter1 you transfer the penny to your right hand1 and palm it2 then pick up the florin1 holding it at the tips of the fingers4 ,spread the second handkerchief on the open palm of the left hand4 ,bring the florin down smartly upon it1 and by the same movement let the penny fall from the palm on to the handkerchief4 ,the two coins will now be lying 7covered by the right hand7 on the handkerchief1 a couple of inches apart4 ,close the left hand on both coins1 and turn the hand over1 so that the edges of the handkerchief hang down4 ,with the right hand grasp the handkerchief five or six inches below the coins4 ,take one of these through the handkerchief between the finger and thumb of the left hand1 letting the other fall loose inside the handkerchief1 which you then invite some one to hold in like manner1 but in a horizontal position4 7,see ,fig4 #gf47 ,this position is adopted in order that the two coins may not1 by any accidental chink1 prematurely disclose the fact that both are already in the handkerchief4 ,illustration3 ,,fig4 #gg4 ,you now announce that you are about to make both coins pass into one handkerchief4 ,advancing to the person who holds the first handkerchief1 you request him1 still maintaining his hold1 to remove his hand four or five inches below the coin1 to give you room to operate4 ,first showing that your hand is empty1 you gently rub the substitute penny through the handkerchief between your finger and thumb1 when1 being only wrapped within a fold1 it quickly falls into your hand4 ,no one ever thinks of inquiring at this point whether it is the marked one or not4 ,taking it in the left hand1 in position for ,pass #d1 you say to the person holding the second handkerchief 8,having extracted this penny from the one handkerchief1 ,i will now pass it into the other4 ,i won't even touch the handkerchief1 but will simply take the coin in my hand1 and say1 #8,pass6' ,will you be good enough1 at the word #8pass1' to let go of the coin you are holding1 but still keep hold of the handkerchief with the other hand40 ,appearing1 by ,pass #d1 to take the penny in the right hand1 you open that hand with a quick motion towards the handkerchief1 saying1 8,pass60 ,the person holding the handkerchief looses his hold1 as directed1 when the two coins are heard to chink together1 as though the second coin had just arrived in the handkerchief1 and on examination they are1 of course1 found to be those marked4 ,we may here describe another and still neater mode 7the invention1 we believe1 of ,m4 ,robert-,houdin7 of apparently wrapping a coin securely in a handkerchief1 though really only covered by an outer fold4 ,illustration3 ,,fig4 #gh4 ,holding the coin upright between the fingers and thumb of the left hand1 throw the handkerchief fairly over it4 ,having shown that it is fairly covered1 remark1 8,but perhaps you may fancy ,i have changed the coin4 ,allow me to show you that ,i have not40 ,with the right hand1 palm upwards1 take the coin through the handkerchief1 7as shown in ,fig4 #gg71 between the first and second fingers of that hand4 ,for a moment let go with the left hand 7but without removing it from under the handkerchief74 ,turn over the right hand towards yourself1 and again seize the coin with the left hand2 but this time nip the opposite edge of the coin to that which it first held1 and through the double thickness of the handkerchief4 ,remove the right hand from the coin1 and with it raise the outer edge of the handkerchief and show the coin1 as in ,fig4 #gh4 ,then let the edges of the handkerchief fall4 ,apparently the coin is underneath1 and in the centre of the handkerchief2 but in reality it is outside1 lying in a slight fold on the side away from the spectators4 ,the above description sounds intricate1 but1 if carefully followed with the coin and handkerchief will be found perfectly simple in practice4 ,it is worth while taking some pains to acquire this sleight1 as it is of great value in coin tricks4 ,,to ,,pull ,,four ,,florins ,,or ,,half-,,crowns ,,through ,a ,,handkerchief4--,you begin by borrowing four marked half-crowns1 florins1 or penny-pieces1 and a silk or cambric handkerchief4 ,you then request the assistance of a very strong man4 ,this gives an opportunity for a little fun in the selection4 ,having at last found a volunteer to your liking1 you seat him on a chair facing the company4 ,spreading the handkerchief on your left palm1 and placing the four coins upon it1 you close your hand upon them through the handkerchief1 and hand them to him1 requesting him to hold them firmly4 ,then1 as if suddenly recollecting yourself1 you say1 8,pardon me1 ,i have omitted one little detail which is rather important4 ,oblige me with the handkerchief again for one moment1 if you please4 ,i ought to have shown the company that there are no holes in it40 7,the last sentence should not be pronounced until you have gained possession of the handkerchief1 as the company might possibly declare themselves satisfied of the fact without examination1 which would not answer your purpose474 ,the handkerchief being returned to you1 you spread it out to show that it is free from holes1 coming among the audience to do so1 and appearing to lay great stress upon the fact4 ,again spreading it over your left hand1 you count the coins one by one upon it2 then giving a glance round at the company1 you say1 as you quickly return to your platform1 8,you have all seen that the four coins are fairly wrapped in the handkerchief10 or make any other remark in order to draw the general attention1 as a sharp1 quick remark almost always will1 to your face and away from your hands4 ,at the same moment you move the left thumb over the face of the coins1 thereby covering them with a fold of the handkerchief1 and seize them1 through the fold thus made1 between the thumb and fingers of the right hand1 as indicated in ,fig4 #gi1 immediately withdrawing the left hand4 ,the coins will now be held in the right hand1 the handkerchief hanging down loosely around them4 ,to any one who has not watched your movements with more than ordinary vigilance1 it will appear that the coins are within and under the handkerchief1 though they are1 in reality1 wrapped in an external fold4 ,giving them a twist round in the handkerchief1 you hand it to the person assisting you1 asking him to say whether the money is still there1 to which he naturally replies in the affirmative4 ,you then tell him to grasp the handkerchief with both hands three or four inches below the coins1 and to hold as tightly as he possibly can4 ,placing your wand under your right arm1 and taking hold of the coins 7through the handkerchief7 with both hands1 the right hand undermost1 you begin to pull against him1 making a show of pulling with great force1 and remarking that you are very glad it is not your handkerchief1 that you should not have thought he was so strong1 etc4 ,meanwhile1 and while the company are enjoying the discomfiture of the owner of the handkerchief1 you untwist the latter1 and secretly get the money out of the fold into your right hand1 and palm it therein4 ,give one last pull with your left hand1 and let go smartly1 observing that you fear you must give it up1 and own yourself conquered4 ,take your wand in your right hand2 this will make it seem natural for you to keep that hand closed1 and will materially aid in concealing the fact that the money is therein4 ,your antagonist1 or the spectators for him1 will by this time have discovered that the money has vanished2 but you pretend to be unconscious of the fact1 and request him to give it back1 that you may return it to the owners4 ,he naturally declares that he has not got it4 ,with all the seriousness that you can command1 you insist that he has it1 and that he must restore it4 ,on his continued denial you suggest that he should search his pockets1 which you tap1 one after another1 with your wand1 each giving a metallic sound as if containing money2 but the coins are still not to be found4 ,at last1 after all his pockets have been tried in vain1 you1 as if upon a sudden thought1 tap the leg of his trousers1 the metallic chink still following every tap of the wand till you have nearly reached his feet1 when you exclaim1 8,yes1 there it is4 ,will you have the kindness to put your foot on that chair80 ,he does so1 and quickly transferring your wand to the left hand1 with the fingers of the right you turn up the edge of the trouser1 giving at the same time a slight shake1 when the four coins are seen to fall out1 to the great surprise of the victim4 ,illustration3 ,,fig4 #gi4 ,this effect is produced as follows3 ,the coins being in your right hand1 you introduce them with the second1 third1 and fourth fingers under the edge of the trouser2 then1 with the first finger and thumb which are left outside1 you nip them through the cloth1 and hold them an instant till you have withdrawn the remaining fingers1 when with a slight shake you let them fall4 ,the metallic chink on tapping the pockets may be produced in two ways4 ,one method is to use a hollow metal wand1 japanned to match the one you ordinarily use1 and containing throughout its length a loose piece of thick wire1 which1 striking against the sides of the tube1 exactly imitates the chink of money4 ,the other mode is to use merely the ordinary wand1 allowing the end which you hold to chink against the money held in the same hand4 ,with a little practice the effect is equally deceptive as with the special wand4 ,,to ,,pass ,a ,,marked ,,florin 7,,or ,,half-,,crown7 ,,into ,,the ,,centre ,,of ,,two ,,oranges ,,in ,,succession4--,for this excellent trick a little previous preparation is necessary4 ,a slit1 an inch and a half deep1 and just large enough to admit a florin1 is made in each of two oranges1 and in one of them a florin 7which for distinction we will call ,no4 #a7 is placed4 ,these must be put in readiness behind the scenes1 or so placed as to be out of sight of the audience4 ,the performer palms in either hand a second florin 7,no4 #b71 and advancing to his audience1 borrows from one of them a florin1 first marked by the owner4 7,this last we will call ,no4 #c74 ,he invites special attention to the fact that throughout the experiment he is about to perform1 the coin is never removed from their sight1 and he accordingly places it 7really substituting1 by one or other of the changes1 florin ,no4 #b7 in full view on his table4 ,he then goes out to fetch an orange1 and takes the opportunity of slipping the marked florin 7,no4 #c7 into the vacant one4 ,he brings forward this orange publicly1 and places it on his table at his right hand4 7,the other orange he has meanwhile placed in his secret pocket on the right side1 ready for palming at a moment's notice47 ,he then says1 8,i think1 by the way1 it would be as well to have two oranges4 ,can any gentleman oblige me with one80 ,no one responding1 he looks about him1 and presently stepping up to one of his audience1 pretends to take from his hair1 hat1 or handkerchief this second orange 7which contains1 it will be remembered1 florin ,no4 #a71 and places it on the left hand side of the table4 ,he now 7standing behind his table7 asks into which orange1 the right or the left1 he shall pass the florin4 ,as the right of the audience is his left1 he is at liberty to interpret the answer in whichever way he thinks proper1 and he does so in such manner as to designate the orange containing the non-marked florin1 ,no4 #a4 ,thus1 if the audience say 8the left10 he answers1 8,on my left8 ,very good60 ,if they choose 8the right10 he says1 8,on your right8 ,very good60 ,not one person in a thousand will detect the equivoque4 ,taking up florin ,no4 #b from the table1 and holding it in his left hand1 he pretends by the tourniquet to take it in his right1 and thence to pass it into the orange1 meanwhile dropping it from his left hand on to the servante1 or into the profonde4 ,showing his hands empty1 he cuts open the orange1 and exhibits the florin 7,no4 #a7 therein contained4 ,before giving the audience time to examine it for the mark1 he hears1 or pretends to hear1 a murmur among them to the effect that that was not the orange chosen4 8,pardon me10 he says1 8some of you seem to think that ,i had a special reason for preferring this particular orange4 ,i gave you absolute liberty to choose which you liked1 and ,i understood you to say that you chose this one4 ,however1 in order to satisfy everyone1 ,i will repeat the trick with the other orange40 ,taking up the second orange1 he thrusts the knife through it1 in the slit already made1 and gives the knife thus loaded to some one to hold4 ,then1 standing at some distance from it1 he takes up florin ,no4 #a1 and1 getting rid of it by one or other of the 8passes0 previously described1 he makes a motion as of throwing it towards the orange4 ,he now requests the person holding the orange himself to cut it open2 when the genuine florin1 ,no4 #c1 is found therein1 and duly identified4 ,the finding of the second orange in the possession of the company may1 if preferred1 be omitted1 and both oranges be brought forward openly in the first instance4 ,occasionally a refractory spectator may insist upon the wrong orange 7i4e41 that containing the genuine coin7 being cut open first4 ,as you have offered the audience the choice1 you cannot well resist this2 but it makes very little difference4 ,in accordance with the general desire1 you cut open the orange1 and show the coin 7,no4 #c71 drawing particular attention to the mark4 ,its identity being fully established1 you offer1 for the general satisfaction1 to pass the same coin into the second orange4 ,being satisfied that it was the genuine coin in the first case1 the audience will the more readily believe that it is so in the second2 but in this case you should cut open the second orange yourself1 as it will be necessary to again substitute the genuine florin before you hand the coin to be examined4 ,,the ,,flying ,,money4--,,to ,,make ,a ,,coin ,,pass ,,invisibly ,,from ,,the ,,one ,,hand ,,to ,,the ,,other1 ,,and ,,finally ,,through ,,the ,,table4--,have ready beforehand a florin or half-crown1 with a little wax on one side of it1 and take an opportunity of secretly sticking it1 by means of the wax1 against the under side of the table 7any ordinary table7 with which you intend to perform the trick4 ,have also a similar coin of your own palmed in your right hand4 ,borrow a marked florin from one of the company1 and lay it carelessly upon the table1 but in so doing exchange it for the one previously palmed4 ,you now have the substitute on the table1 and the marked coin palmed in its place4 ,turn up your sleeves1 to show that they have nothing to do with the trick1 and make a few introductory remarks about the extraordinary power of the mesmeric influence as applied to metallic substances2 then1 taking up the coin from the table between the fingers and thumb of the left hand1 which you hold with the palm towards the company1 so as to show incidentally that it is otherwise empty1 continue to the following effect3--8,here1 ladies and gentlemen1 is an ordinary coin1 a mere inert piece of silver4 ,if you take it in your hand1 there it will remain till you lay it down4 ,but let a person possessing the mesmeric gift only breathe upon it0 7you suit the action to the word71 8and it is at once endowed with hearing1 sense1 and motion1 and will fly from hand to hand at the mere word of command1 and that so rapidly1 that its flight is absolutely invisible4 ,see1 ,i take it so0 7taking it in the right hand74 8,one1 two1 three6 ,pass6 and it flies back into my left hand again4 ,in order to show that there has been no substitution1 perhaps the owner will kindly verify the mark40 ,the coin is examined1 and found to be the same4 ,this illusion is produced as follows3--,when you breathe upon the substitute coin1 you naturally turn the left hand palm upwards4 ,in the act of taking that coin in the right hand1 which you do with the hands in the position depicted in ,fig4 #fi1 you drop the genuine coin1 which was previously palmed in the right hand1 into the left1 the position of the hand concealing it from the audience4 ,after a momentary pause1 you close the left hand1 and hold it extended about level with your eyes4 ,at each of the words1 8,one1 two1 three10 you make a slight motion of the right hand towards it1 and at the word 8,pass10 palm the coin by means of ,pass #a1 at the same time making a half turn of your body to the left1 opening the left hand1 and pointing with the index finger of the right hand to the coin lying therein4 ,while it is being examined for the mark1 you drop the substitute1 which remains palmed in your right hand1 into the pochette on that side1 and bring up your hand empty4 ,having proceeded thus far1 borrow a second florin1 but without in this case suggesting that it should be marked1 breathe upon it1 and lay it with that first used upon the table4 ,now with your right hand take up one of the coins1 and by ,pass #a pretend to transfer it to the left1 really retaining it in the palm of the right hand4 ,then take up the second coin between the fingers and thumb of the right hand1 and announce that you are about to make the coins1 which you now hold in each hand1 come together4 ,holding your arms well apart1 you make a motion with the left hand as if throwing something towards the right1 at the same moment saying as before1 8,one1 two1 three6 ,pass60 and making the two coins in the right hand come together with an audible chink4 ,you then open the hand1 and show that the left is empty1 and that both of the coins are together in the right hand4 ,you continue1 8,you all think you know how that was done1 ,i dare say4 ,you imagine1 no doubt1 that the money was merely thrown from one hand to the other with extreme rapidity4 #8,the quickness of the hand deceives the eye1' as ,shakspeare 7or somebody else7 says4 ,i will therefore show you the same experiment in another form in which you will find that no such solution is admissible4 ,i will pass the money right through this table1 which is1 as you see1 pretty solid4 ,the quickness of the hand would not be of much use in this case4 ,i take one of the coins in the left hand1 as before40 ,here1 however1 you introduce a feint4 ,taking up the coin in the right hand1 you transfer it to the left1 but purposely do it with a pretended awkwardness1 and hold the right hand afterwards rather stiffly1 so as to lead the spectators to believe that you have really retained the coin in the right hand4 ,to do this cleverly will require considerable practice1 but it will by no means be labour lost1 as feints of this kind are of frequent use4 ,the spectators1 delighted to have1 as they imagine1 caught you tripping1 are sure to exclaim that the coin is still in your right hand4 8,surely1 ladies and gentlemen10 you say1 with an injured air1 8you don't think that ,i would avail myself of such a transparent artifice4 ,see for yourselves60 opening your hands4 8,i won't ask you to apologize1 but pray give me a little more credit for the future4 ,come2 we will have no mistake about it this time40 ,take the florin between the finger and thumb of the left hand1 and1 by means of the tourniquet or pincette1 appear to transfer it to the right4 ,pick up the second coin with the left hand1 and place that hand under the table1 holding the closed right hand above it4 ,say 8,pass601 open the right hand1 show it empty1 and at the same moment chink the two florins together in the left hand1 and bring them up for inspection4 ,looking around you1 you continue1 8,i am afraid you are only half convinced2 some of you look incredulous still4 ,come1 we will try the experiment once more1 and we will see whether you can find me out this time4 ,as before1 ,i take one coin in each hand40 ,this time you actually do so4 ,you again pass your left hand under the table1 detaching in its passage the third florin1 which you had previously stuck to the under side of the table1 but taking care that the two do not prematurely jingle together4 ,then1 holding the other florin with the fingers of the right hand1 which should be held palm downwards about a foot above the table1 make ,pass #a with that hand1 thus bringing the coin into its palm1 and at the same time chink the other two coins in the left hand1 and bring them up for examination4 ,one of them1 in this instance1 is a substitute1 and therefore1 in the unlikely event of the audience insisting that the trick should be performed with marked coins1 this last act must be omitted4 ,with a regular conjuring-table1 the trick might be made even more surprising1 from the facilities which the servante would afford for getting rid of and regaining the coin4 ,but even if you habitually use such a table1 it is better not to avail yourself of it for this purpose4 ,the trick is1 in any shape1 too minute for stage performance1 and in a drawing-room it is apt to draw special attention to the table1 which in the case of a trick-table is a little embarrassing4 ,,to ,,rub ,,one ,,sixpence ,,into ,,three4--,this is a simple little parlour trick1 but will sometimes occasion great wonderment4 ,procure three sixpences of the same issue and privately stick two of them 7as directed for the florin in the last trick7 with wax to the under side of a table1 at about half an inch from the edge1 and eight or ten inches apart4 ,announce to the company that you are about to teach them how to make money4 ,turn up your sleeves1 and take the third sixpence in your right hand1 drawing particular attention to its date and general appearance1 and indirectly to the fact that you have no other coin concealed in your hands4 ,turning back the table-cover1 rub the sixpence with the ball of the thumb backwards and forwards on the edge of the table4 ,in this position your fingers will naturally be below the edge4 ,after rubbing for a few seconds1 say1 8,it is nearly done1 for the sixpence is getting hot20 and1 after rubbing a moment or two longer with increased rapidity1 draw the hand away sharply1 carrying away with it one of the concealed sixpences1 which you exhibit as produced by the friction4 ,pocketing the waxed sixpence1 and again showing that you have but one coin in your hands1 repeat the operation with the remaining sixpence4 ,,the ,,multiplication ,,of ,,money4--,this is an old and favourite trick4 ,it may be performed with shillings1 pence1 or florins1 as may best suit your convenience4 ,whichever you use 7we will suppose florins71 you prepare for the trick by secretly palming in the right hand such number 7say three7 as you intend to magically add4 ,advancing to the audience1 you beg the loan of ten or a dozen florins 7the precise number is immaterial71 at the same time requesting some one of the company to collect them1 and bring them to you4 ,he collects1 we will suppose1 twelve4 ,you request him to count them openly upon the table1 that all may be able to verify their number4 ,this being done1 you invite a second person also to step forward and assist4 ,picking up from the table the same number of coins as you have concealed in your palm1 you give them to one of the two persons 7whom we will call ,a7 to hold4 ,then1 taking up the remaining coins1 you request the second person 7whom we will call ,b7 to take charge of them4 ,when he holds out his hand to receive them1 you let fall with them the palmed coins1 so that he really receives twelve1 though he believes that he has only nine4 ,you make him close his hand1 and hold it high above his head4 ,you then ask ,a for the coins you entrusted to him4 ,on his returning them to you1 you take them between the second finger and thumb of the left hand1 and pretend by the tourniquet to transfer them to the right1 really getting rid of them at the earliest opportunity on the servante1 or into one of your pochettes4 ,the audience believe that the three coins are in your closed right hand4 ,you announce that you are about to pass them invisibly into the hand of ,b1 and after the necessary amount of magical gesture1 you open your hand1 and show that they have vanished2 and ,b1 on examining his stock1 finds that the supposed nine have increased to twelve4 ,it is a very good plan1 in performing this trick1 for the performer himself to collect the coins from the company in a plate1 the coins to be added being held in the same hand which carries the plate1 when1 the thumb being naturally above and the fingers below1 the coins are effectually concealed4 ,after the coins have been counted1 the performer1 taking the plate in the other hand1 pours them from it into the hand which already holds the concealed coins1 thus bringing them together easily and naturally4 ,illustration3 ,,fig4 #hj4 ,a further improvement may be made in the trick by using1 in place of an ordinary plate1 a special plate or salver1 generally made of tin japanned1 but sometimes of crockery or china4 ,the speciality of this plate 7which is known as the 8money plate10 or 8multiplying salver07 consists in a flat space running along its bottom1 between its upper and under surface1 just wide enough and deep enough to hold concealed a row of coins 7florins or shillings1 as the case may be71 and closed at the one end1 but open at the other1 the opening being concealed by the edge of the plate4 7,see ,fig4 #hj47 ,you prepare the plate beforehand by placing in the concealed space three1 four1 or six coins1 and place it on your table4 ,when you first take it up1 you take hold of it near the opening1 when you may1 of course1 handle it as freely as you please1 as1 the mouth of the passage being upwards1 the coins cannot possibly fall out4 ,letting the plate hang downwards in a perpendicular position1 and passing it carelessly from hand to hand1 the audience cannot help observing that you have nothing concealed in your hands4 ,then collect 7or count out1 if already collected7 the money in the plate1 and1 after taking away and handing to ,a a number equal to the coins concealed1 pour the remainder direct from the plate into the hands of ,b1 first1 however1 so reversing the position of the plate 7which you may do by merely transferring it from the one hand to the other7 as to turn the opening of the passage away from you4 ,when you now slope the plate to pour the remaining coins into his hands1 the money in the concealed passage will naturally pour out with them 7see ,fig4 #hj71 thus making the required addition with hardly a possibility of detection4 ,it is a good plan to perform the trick first without1 and then to repeat it with1 the aid of the money plate1 making a great point in the second instance of the fact that you do not even touch the money1 and accounting for the use of the plate as designed to preclude all possibility of the use of sleight-of-hand1 or any other mechanical mode of deception4 ,the spectators1 having already seen you perform the trick without the aid of the plate1 are precluded from supposing that this latter has any special connection with the secret2 and seeing clearly that you have in this instance no coins concealed in your hands1 naturally conclude that the same was the case on the former occasion4 ,thus the repetition of the trick1 instead of assisting them to a solution1 rather increases the mystery4 ,the trick may be varied at pleasure so far as regards the manner of the disappearance of the coins which are supposed to be passed invisibly into the hands of the person holding the larger number4 ,one mode is to ask one of the company to wrap them up in a piece of stiff paper1 for which you forthwith secretly substitute a piece of similar paper1 in which a like number of coins have been wrapped1 but have been removed1 the paper1 however1 retaining the form of the coins4 ,taking this in the left hand1 you pretend to take from it1 invisibly1 with the finger and thumb of the right hand1 each coin in succession1 and to pass it in the same manner into the hand of the person holding the remaining coins1 finally tearing the paper in half to show that they have really passed away from it4 ,or you may1 if you prefer it1 place the coins in question on the 8vanishing plate10 to be hereafter described1 whence they mysteriously disappear as you take them off one by one4 ,this is a very effective mode4 ,or you may place them in the 8plug-box10 the 8,davenport cabinet10 or any other of the various appliances after-mentioned for vanishing money4 ,,to ,,make ,a ,,marked ,,sixpence ,,vanish ,,from ,a ,,handkerchief1 ,,and ,,be ,,found ,,in ,,the ,,centre ,,of ,,an ,,apple ,,or ,,orange ,,previously ,,examined4--,have ready1 concealed in either hand1 a sixpence of your own1 with a little wax smeared on one side of it4 ,roll another minute portion of wax into a round ball half the size of a peppercorn1 and press it lightly upon the lowest button of your waistcoat1 so that you may be able to find it instantly when wanted4 ,you must also have at hand an ordinary full-sized table-knife and a plate of oranges4 ,illustration3 ,,fig4 #ha4 ,you begin by borrowing a sixpence 7requesting the owner to mark it7 and a handkerchief4 ,you spread the handkerchief flat on the table1 with its sides square with those of the table4 ,then standing behind your table1 you place ostensibly the borrowed sixpence1 but really your own 7with the waxed side up71 in the centre of the handkerchief1 then fold over the corners1 one by one1 beginning with one of those nearest to yourself1 in such manner that each shall overlap the sixpence by about an inch1 gently pressing each corner as you fold it down4 ,ask some one to come forward1 and ascertain by feeling the handkerchief1 that the sixpence is really there4 ,then offer the knife for inspection1 and after all are satisfied that it is without preparation1 hand the plate of oranges to be examined in like manner1 requesting the audience to choose one for the purpose of the trick4 ,while they do so1 your fingers go in search of the little ball of wax1 and press it against one side of the marked sixpence1 which still remains in your hand4 ,press the sixpence against one side of the blade of the knife1 at about the middle of its length1 and lay the knife on the table1 the sixpence adhering to its under side4 ,then taking hold of the handkerchief1 as represented in ,fig4 #ha1 and blowing on its centre1 draw the hands quickly apart4 ,the two corners of the side next to you will thus be brought one into each hand1 and adhering to one of them 7the one which you first folded down71 will be the substitute sixpence1 which will thus appear to have vanished4 ,hand the handkerchief for examination1 that it may be seen that the coin has really disappeared1 and meanwhile get rid of the substitute into your pocket or elsewhere4 ,turn up your sleeves1 and show that your hands are empty4 ,then take up the knife 7taking care to keep the side on which the sixpence is away from the spectators71 and cut open the orange4 ,cut about half way down with the point1 and then finish the cut by drawing the whole length of the blade through the opening thus made4 ,this will detach the sixpence1 which will fall between the two halves of the orange1 as though it had all along been contained therein4 ,wipe it with the handkerchief to remove the juice of the orange from it1 and at the same time rub off any wax which may still adhere to it1 and hand it for identification4 ,the coin may1 if preferred1 be found in an egg instead of the orange1 the audience being invited to choose which shall be used4 ,this trick is sometimes performed by the aid of a knife made for this special purpose1 with a small spring lever1 after the manner of a flute key1 soldered against one side of the blade4 ,the coin is held in position by the short arm of the lever1 which answers the same purpose as the wax in the form of the trick above described4 ,the disadvantage of using this1 which is known as the 8fruit knife10 is1 that you cannot hand the knife for examination1 and this1 to our mind1 spoils the trick4 ,,the ,,travelling ,,counters4--,this is a very similar trick to that already described under the title of the 8,multiplication of ,money40 ,it is performed with twelve metal counters4 ,the performer begins by counting the twelve counters on the table2 then1 taking up four of them1 he hands them to a spectator to hold1 and taking the remainder in his own hand1 commands them to change places4 ,on examination1 his commands are found to be obeyed4 ,the spectator has eight1 while the performer has only four4 ,the spectator is now requested to take charge of the eight1 when the operator commands the four which he himself holds to rejoin them4 ,this1 also1 is found to be accomplished4 ,the operator now hands the twelve to a second spectator1 requesting him to hold them tightly4 ,after a moment's interval1 he is requested again to count them1 but finds that he has grasped them too tightly1 for they are now welded together into a solid mass4 ,the performer again takes them1 and by merely breathing on them1 restores them to their original state4 ,the student1 with the experience which he has by this time gained1 will naturally conjecture that the trick is in reality performed with sixteen loose counters1 and twelve soldered together2 that the performer commenced the trick with four counters palmed in his right hand1 which he secretly added to the four which he handed to the spectator2 that1 taking up the remaining eight1 and apparently transferring them from his right hand to his left1 he really transferred four only1 leaving the remainder in the right hand2 and that when he again handed the eight counters to the spectator1 he added these last to them4 ,that in apparently transferring the remaining four from hand to hand he palmed them1 forthwith dropping them into one of his pochettes1 and taking from the same place1 or from under his waistband1 the solid twelve1 which he finally handed to the second spectator in place of the twelve loose counters2 again substituting the loose ones1 as before1 when by breathing on them he professed to restore them to their primitive state4 ,as the student has so successfully guessed all this1 it would be an impertinence on our part to further explain the trick4 ,,the ,,wandering ,,sixpence4--,have ready two sixpences1 each slightly waxed on one side4 ,borrow a sixpence1 and secretly exchange it for one of the waxed ones1 laying the latter1 waxed side uppermost1 on the table4 ,let any one draw two cards from any ordinary pack4 ,take them in the left hand1 and1 transferring them to the right1 press the second waxed sixpence against the centre of the undermost1 to which it will adhere4 ,lay this card 7which we will call a7 on the table1 about eighteen inches from the sixpence which is already there1 and cover that sixpence with the other card1 b4 ,lift both cards a little way from the table1 to show that the sixpence is under card a1 and that there is apparently nothing under card b4 ,as you replace them1 press lightly on the centre of card a4 ,you may now make the sixpence appear under whichever card you like1 remembering that1 if you wish the sixpence not to adhere1 you must bend the card slightly upwards in taking it from the table2 if otherwise1 take it up without bending4 ,,chapter ,,viii4 ,,tricks ,,with ,,coin ,,requiring ,,special ,,apparatus4 ,,the 8,,heads ,,and ,,tails0 ,,trick4--,this is a pretty little trick1 of an unpretending nature1 but of very good effect1 especially if introduced in a casual and apparently extempore manner4 ,the performer borrows1 or produces from his own pocket1 four penny-pieces4 ,placing them upon the table1 he requests some one to make a pile of them1 all one way1 say 8tail0 upwards4 ,he next requests the same or another person to turn over the pile so made1 without disturbing the relative position of the coins1 and announces with an air of supernatural knowledge that they will now all be found 8head0 upwards4 ,this appears so ridiculously obvious1 that the audience naturally observe 7with more or less straightforwardness of expression7 that 8any fool could tell that40 8,pardon me10 says the performer1 8it is not quite such a simple matter as you think4 ,i very much doubt whether any of you could do as much4 ,i will place the coins again2 watch me as closely as you please4 ,i will place them as before--,tail1 tail1 tail1 tail4 ,is that fairly done8 ,now ,i will turn them over40 ,he does so1 letting the tips of his fingers rest upon them4 8,what are they now80 ,a general chorus replies1 8,all heads1 of course60 ,but on examination it is found that only three are 8heads10 and one a 8tail40 ,again he arranges them1 placing them this time alternately--head1 tail1 head1 tail4 ,he turns them over4 ,the natural order 7beginning from below7 would again be head1 tail1 head1 tail2 but they are found to be head1 tail1 tail1 tail4 ,again he places them1 tail1 tail1 tail1 head4 ,when turned over they should be tail1 head1 head1 head1 but are found to be tail1 head1 alternately4 ,the secret lies in the use of a prepared penny1 consisting of similar halves 7in the case above described two 8tails07 soldered together1 so as to be 8tail0 on either side4 ,this the performer palms in his right hand4 ,after first going through the operation with the genuine coins1 as above1 he picks them up with his left hand2 and apparently transferring them to the right1 really transfers three of them only4 ,he then performs the trick with these and the prepared coin1 when the apparently miraculous result above described becomes a matter of course4 ,it is best not to repeat the trick too often1 and a little practice is necessary in order to be able to return the three genuine coins neatly to the left hand 7in which the fourth borrowed coin must be retained throughout the trick71 at the same time secretly retaining your own4 ,it is a frequent occurrence for one or other of the company1 imagining that the seeming wonder is1 in some unexplained way1 a result of some natural principle1 to request to be allowed to try for himself4 ,it is obvious that1 under such circumstances1 it would not do to hand him the prepared coin1 and hence the necessity for some quick and natural method of again getting the four genuine coins together4 ,the trick may be brought to an effective conclusion as follows3 ,after you have got rid of the double-faced penny1 you may continue1 8,perhaps it is a little too complicated for you with four coins2 suppose we try it with one only1 and ,i won't even turn it over40 ,placing one of the genuine pence on the middle of the right palm1 which you hold out horizontally before you1 you draw special attention to the fact that the coin is 7say7 8tail0 upwards4 ,quickly covering it with the other hand1 you say1 8,what is it now80 8,tail10 is the reply4 8,wrong again60 you say1 and1 lifting up the hand1 show that the coin has this time vanished altogether4 ,this mysterious disappearance is effected as follows3 ,when you apparently cover the coin with the left hand1 you bring the hands together with a quick lateral motion as though sliding the one across the other4 ,this shoots the coin from the palm down the opposite sleeve1 the motion being so quick that the keenest eye cannot detect it4 ,this little sleight is by no means difficult1 and is well worthy of acquirement1 as it may be introduced with equal effect in many tricks4 ,,the ,,magic ,,cover ,,and ,,vanishing ,,halfpence4--,this is a very old trick1 but is still very popular with a juvenile audience4 ,the principal apparatus consists of half-a-dozen halfpence1 of which the centre portion has been cut out1 leaving each a mere rim of metal4 ,upon these is placed a complete halfpenny1 and the whole are connected together by a rivet running through the whole thickness of the pile4 ,when placed upon the table1 with the complete coin upwards1 they have all the appearance of a pile of ordinary halfpence1 the slight lateral play allowed by the rivet aiding the illusion4 ,a little leather cap 7shaped something like a fez1 with a little button on the top1 and of such a size as to fit loosely over the pile of halfpence71 with an ordinary die1 such as backgammon is played with1 complete the necessary requirements4 ,you begin by drawing attention to your magic cap and die1 late the property of the king of the fairies4 ,in order to exhibit their mystic powers1 you request the loan of half-a-dozen halfpence 7the number must1 of course1 correspond with that of your own pile71 and1 while they are being collected1 you take the opportunity to slip the little cap over your prepared pile1 which should be placed ready to hand behind some small object on the table1 so as to be unseen by the spectators4 ,pressing the side of the cap1 you lift the pile with it1 and place the whole together in full view1 in close proximity to the die4 ,the required halfpence having been now collected1 you beg all to observe that you place the leather cap 7which the spectators suppose to be empty7 fairly over the die4 ,taking the genuine coins in either hand1 you pretend1 by one or other of the passes1 to transfer them to the other4 ,holding the hand which is now supposed to contain the coins immediately above the cap1 you announce that they will at your command pass under the cap1 from which the die will disappear to make room for them4 ,saying1 8,one1 two1 three6 ,pass60 you open your hand1 and show that the coins have vanished4 ,if you use a regular table1 you may place them on the servante1 and show both hands empty2 and then1 lifting up the cap by the button1 you show the hollow pile1 covering the die1 and appearing to be the genuine coins4 ,once more covering the pile with the cap1 you announce that you will again extract the coins1 and replace the die2 and to make the trick still more extraordinary1 you will this time pass the coins right through the table4 ,placing the hand which holds the genuine coins beneath the table1 and once more saying1 8,one1 two1 three6 ,pass60 you chink the coins1 and1 bringing them up1 place them on the table4 ,again picking up the cap1 but this time pressing its sides1 you lift up the hollow pile with it1 and disclose the die4 ,quickly transfer the cap1 without the pile1 to the other hand1 and place it on the table1 to bear the brunt of examination1 while you get rid of the prepared coins4 ,the trick may be varied in many ways1 according to the ingenuity of the performer1 but it belongs at best to the 8juvenile0 school of conjuring1 and we have not thought it worth while to waste space in elaborating it4 ,,the ,,animated ,,coin1 ,,which ,,answers ,,questions1 ,,etc4--,this trick is performed in a variety of different ways1 some with apparatus1 some without4 ,the effect produced is as follows3--,the performer borrows a coin1 and1 after making a few mesmeric passes over it1 drops it into a glass upon the table1 where it immediately begins to jump about as if alive4 ,the performer then announces that the coin thus mesmerized has the power of fortune-telling1 naming chosen cards1 predicting the number that will be thrown by a pair of dice1 etc4 ,the coin answers 8,yes0 by jumping three times1 8,no0 by jumping once--according to the approved spiritualistic code of signals4 ,we shall not stay to discuss the questions asked1 which are of the same class as those which are generally put to the ,magic ,bell or ,drum1 but proceed at once to explain the various modes of producing the movement of the coin4 ,one plan is for the performer to have a coin of his own1 to which is attached a long black silk thread1 the other end of which is in the hand of an assistant behind the scenes1 or elsewhere out of sight of the audience4 ,this coin is placed on the table in readiness1 but concealed from the spectators by some larger object in front of it4 ,when the performer advances to the table with the borrowed coin1 he secretly picks up the prepared one1 and drops the latter into the glass as being that which he has borrowed4 ,a short1 quick jerk of the thread by the assistant will make the coin spring up and fall back again1 producing the required chink4 ,it is only necessary to be careful not to jerk the thread so violently as to make the coin fly out of the glass4 ,it is desirable1 where practicable1 to make the thread pass either through a hole in the top of the table1 or a ring fixed to its surface and placed immediately behind the glass4 ,this will keep that portion of the thread nearest to the glass perpendicular behind it1 in which position it will be completely hidden by the glass1 and so be invisible4 ,some performers prefer to use the actual coin borrowed4 ,the arrangements in this case are the same as above described1 save that the silk thread1 instead of having a substitute coin attached to it1 has merely a pellet of wax at its end4 ,the performer having handed round the glass for inspection1 and standing in front of the table with his left side turned towards the audience1 picks up a pellet of wax with his right hand at the same moment that1 holding the borrowed coin in his left hand1 he begs the spectators to take especial notice that he really uses the borrowed coin1 and no other4 ,having said this1 he transfers the coin1 by a perfectly natural movement1 to his right hand1 and pressing against it the waxen pellet1 drops it into the glass4 ,illustration3 ,,fig4 #hb4 ,the third and last mode of performing the trick is by means of a special glass1 with a hole drilled through its foot4 ,this is placed on a suitable pedestal 7see ,fig4 #hb71 in which works up and down a steel needle1 forming the upper portion of a kind of loose piston1 a4 ,the top of the pedestal is covered with green baize1 allowing free passage to the needle1 which when pushed upward strikes the coin from below1 with much the same effect as the thread pulling it from above4 ,this pedestal is only available with one of the mechanical tables which will be described in connection with 8stage tricks40 ,such tables contain1 among other contrivances1 what are called 8pistons10 being small metal rods1 which1 by pulling a string1 are made to rise vertically an inch or so above the surface of the table1 sinking down again as soon as the cord is released4 ,the pedestal is placed immediately above one of these1 whose movement is in turn communicated to the loose piston in the pedestal1 and thence to the coin4 ,it only remains to be stated how the necessary knowledge for the answers is communicated to the person who controls the movements of the piece4 ,with respect to chosen cards1 the cards are either indicated by the wording of the questions1 or are agreed on beforehand1 the performer taking care to 8force0 the right ones4 ,the assistant is enabled to predict the throw of the dice by the simple expedient of using a small boxwood vase1 in which there are two compartments1 in one of which a pair of dice 7apparently the same which have just been dropped in haphazard from the top7 have been arranged beforehand for the purpose of the trick4 ,the ordinary fortune-telling questions1 as to 8,which young lady will be married first80 8,which spends most time at her looking-glass80 8,which has most sweethearts80 and so on1 are either answered in accordance with previous arrangement1 or according to the fancy of the moment4 ,of course1 where a question of this kind is asked1 the performer takes care to follow up the question by designating a number of persons in succession1 so that a mere 8,yes0 or 8,no0 may be a sufficient answer4 99 99 99 99 99 ,we shall next proceed to describe three or four pieces of apparatus designed to cause a piece of money to disappear1 and therefore well adapted for commencing a coin trick4 ,there are other appliances1 more particularly adapted for re-producing a coin4 ,any of these will be available for the conclusion2 the particular combination being at the option of the performer4 ,,the ,,vanishing ,,halfpenny ,,box4 ,,to ,,make ,a ,,halfpenny ,,vanish ,,from ,,the ,,box1 ,,and ,,again ,,return ,,to ,,it4--,this is a little round box1 made of boxwood1 about an inch deep1 and of such diameter that its internal measurement exactly admits a halfpenny2 in other words1 that if a halfpenny be placed in it1 it exactly covers the bottom4 ,the top and bottom of the box are lined with some bright-coloured paper1 and with it is used a halfpenny1 one side of which is covered with similar paper4 ,if therefore this halfpenny be placed in the box with the papered side upwards1 the halfpenny is naturally taken to be the bottom of the box1 which thus appears empty4 ,the performer begins by tendering the box for examination1 keeping the while the prepared halfpenny palmed in his right hand4 ,when the box has been sufficiently inspected1 he borrows a halfpenny from the audience1 and secretly exchanges it for his own1 taking care that the spectators only see the unprepared side of the latter4 ,he then announces that this box1 apparently so simple1 has the singular faculty of causing the disappearance of any money entrusted to its keeping1 as they will perceive when he places in it the halfpenny he has just borrowed4 ,he places the halfpenny in it accordingly1 holding it with the uncovered side towards the audience1 but letting it so fall that it shall lie in the box with the papered side upwards4 ,he now puts the lid on1 and shakes the box up and down1 to show by the rattling of the coin that it is still there4 ,he desires the audience to say when they would wish the coin to leave the box1 and on receiving their commands1 touches the lid with his wand1 and again shakes the box4 ,this time1 however1 he shakes it laterally1 and as in this direction the coin exactly fits the box1 it has no room to rattle1 and is therefore silent4 ,he boldly asserts that the coin is gone1 and opening the box1 shows the inside to the spectators1 who seeing1 as they suppose1 the papered bottom1 are constrained to admit that it is empty4 ,once again he closes the box1 and touches it with the wand1 announcing that he will compel the coin to return4 ,shaking the box up and down1 it is again heard to rattle4 ,taking off the lid1 he turns the box upside down1 and drops the coin into his hand4 ,this brings it out with the papered side undermost1 and so hidden4 ,again handing the box to be examined1 he exchanges the prepared halfpenny for the one which was lent to him1 and which he now returns to the owner with thanks4 ,a variation may be introduced by causing the borrowed halfpenny to re-appear in some other apparatus1 after it has vanished from the box in question4 ,the borrowed coin may1 if desired1 be marked1 in order to heighten the effect of the trick4 ,,the ,,rattle ,,box4 ,,to ,,make ,a ,,coin ,,vanish ,,from ,,the ,,box1 ,,though ,,still ,,heard ,,to ,,rattle ,,within ,,it4--,this is a useful and ingenious little piece of apparatus4 ,it is an oblong mahogany box1 with a sliding lid4 ,its dimensions are about three inches by two1 and one inch in depth externally2 internally1 it is only half that depth1 and the end piece of the lid is of such a depth as to be flush with the bottom4 ,thus1 if a coin be placed in the box1 and the box held in such a position as to slant downwards to the opening1 the coin will of its own weight fall into the hand that holds the box 7see ,fig4 #hc71 thus giving the performer possession of it without the knowledge of the audience4 ,illustration3 ,,fig4 #hc4 ,between the true and the false bottom of the box is placed a slip of zinc1 which1 when the box is shaken laterally1 moves from side to side1 exactly simulating the sound of a coin shaken in the box4 ,in its normal condition1 however1 this slip of zinc is held fast 7and therefore kept silent7 by the action of a spring also placed between the two bottoms1 but is released for the time being by a pressure on a particular part of the outer bottom 7the part in contact with the fingers in ,fig4 #hc74 ,a casual inspection of the box suggests nothing1 save1 perhaps1 that its internal space is somewhat shallow in proportion to its external measurement4 ,the mode of using it is as follows3 ,the performer invites any person to mark a coin1 and to place it in the box1 which he holds for that purpose as represented in the figure2 and the coin is thus no sooner placed in the box than it falls into his hand4 ,transferring the box to the other hand1 and pressing the spring1 he shakes it to show by the sound that the coin is still there2 then1 leaving the box on the table1 he prepares for the next phase of the trick by secretly placing the coin1 which the audience believe to be still in the box1 in any other apparatus in which he desires it to be found1 or makes such other disposition of it as may be necessary4 ,having done this1 and having indicated the direction in which he is about to command the coin to pass1 he once more shakes the box to show that it is still in statu quo4 ,then1 with the mystic word 8,pass60 he opens the box1 which is found empty1 and shows that his commands have been obeyed4 ,illustration3 ,,fig4 #hd4 ,,fig4 #he4 ,,the ,,pepper-,,box1 for vanishing money4--,this is a small tin box1 of the pepper-box or flour-dredger shape1 standing three to four inches high4 7,see ,fig4 #hd47 ,the box portion 7as distinguished from the lid71 is made double1 consisting of two tin tubes sliding the one within the other1 the bottom being soldered to the inner one only4 ,by pulling the bottom downwards1 therefore1 you draw down with it the inner tube1 telescope fashion4 ,by so doing you bring into view a slit or opening at one side of the inner tube1 level with the bottom1 and of such a size as to let a coin1 say a two-shilling piece1 pass through it easily4 7,see ,fig4 #he47 ,the lid is also specially prepared4 ,it has an inner or false top1 and between the true and false top a loose bit of tin is introduced1 which rattles when the box is shaken1 unless you at the same time press a little point of wire projecting from one of the holes at the top1 and so render it1 for the time being1 silent4 ,the box is first exhibited with the inner tube pushed up into its place1 and the opening thereby concealed4 ,a marked coin is borrowed1 but either before or after the coin is placed therein1 as may best suit his purpose1 the performer secretly draws out the inner tube a quarter of an inch or so1 thus allowing the coin to slip through into his hand4 ,as he places the box on the table1 a very slight pressure suffices to force the tube up again into its original position1 and close the opening4 ,having made the necessary disposition of the coin1 the performer takes up the box1 and shakes it1 to show 7apparently7 that the coin is still there1 pressing on the little point above mentioned when he desires it to appear that it has departed1 and immediately opening the box to show that it is empty4 ,the pepper-box will not bear minute inspection1 and is in this particular inferior to the rattle-box4 ,illustration3 ,,fig4 #hf4 ,,fig4 #hg4 ,,the ,,brass ,,money-,,box1 for the same purpose4--,this is on a similar principle to that of the pepper-box1 but has no rattle movement1 and is not adapted for any coin of larger size than a shilling4 ,its shape will be best understood from an examination of the diagrams4 7,see ,figs4 #hf1 #hg47 ,it has no moveable lid1 but merely a slit in the top1 just large enough to admit the coin1 which1 when once dropped in1 cannot be got out again without a knowledge of the secret4 ,this1 like the pepper-box1 consists of two tubes one within the other2 but the inner tube is firmly soldered to the two end pieces1 a and b1 which are solid4 ,the only moveable portion is the outer tube c1 which is so arranged as to slide upwards 7within a7 for about an eighth of an inch1 thereby disclosing the opening of the inner tube1 and allowing the coin to slip through4 ,fig4 #hg represents the box with the slit open1 and ,fig4 #hf with it closed4 ,some little practice is required to use the money-box with dexterity4 ,the performer should hold it tightly by the middle between the finger and thumb of his right hand1 taking care that the side on which the secret opening is shall lie toward the inside of his hand4 ,as he drops the coin through the slit1 he should press lightly on the top with the fingers of the left hand1 and at the same time push c upwards with the right hand4 ,the coin will now slip through into his hand1 while a slight downward pressure as he replaces the box on the table will again push down c1 and make all close as before4 ,if the performer prefers to use one hand only1 he should press downwards on the top with the first finger1 at the same time pressing upwards with the second finger and thumb4 ,there are various ways of using this little apparatus4 ,it may either be used as above1 as a means of surreptitiously gaining possession of a coin1 to be afterwards produced in some other apparatus1 or it may be used by itself singly1 the coin being made apparently to fall through the bottom at the will of the performer4 ,it may also be used as a puzzle1 its secret being so well concealed that it will bear a very minute examination without discovery4 ,illustration3 ,,fig4 #hh4 ,,the ,,brass ,,box ,,for ,,money1 ,,known ,,as ,,the 8,,plug-,,box40--,this is a piece of apparatus so ingenious in construction1 and capable of being used in so many different ways1 that we should recommend the student of magic to make it one of his first investments4 ,it is about three inches in height1 and one and a half in diameter1 and is composed of four separate parts4 ,see ,fig4 #hh1 in which a represents the outside or body of the box1 being in reality a mere brass tube open at both ends1 with a moveable bottom1 b1 which fits tightly in the end of a1 appearing when in its place to be a fixture1 and to form with a one complete whole2 a has no lid1 properly so called1 but is closed by inserting in it what appears to be a solid brass plug or piston4 ,this plug1 however1 though in appearance solid1 also consists of two parts--the plug proper1 c1 which is really solid1 and a brass sheath1 d1 exactly fitting it as to its diameter1 but a quarter of an inch longer1 thus leaving1 when c is placed in d1 and pushed home1 a hollow space at the bottom of d capable of containing a florin or half-crown4 ,the sheath d is of precisely the same length as a1 and is so made as to fit easily upon c1 but tightly within a4 ,when the plug-box is exhibited to the audience1 the bottom1 b1 is in its proper place1 and c1 which is shown apart from a1 is covered with its sheath1 d4 ,there being nothing in its appearance to point to any other conclusion1 the spectators naturally believe that the apparatus consists of those two parts only4 ,if now the plug be placed within the box1 and pushed home1 the moveable bottom1 b1 will be pressed out1 and fall into the hand of the performer4 ,on again withdrawing the plug1 the sheath d1 which1 as already mentioned1 fits more tightly within a than upon c1 is left within a2 the bottom of d1 which comes exactly flush with the lower edge of a1 now appearing to be the bottom of the latter4 ,to the eyes of the audience1 the box is exactly as they saw it at first1 and it may even be examined pretty freely1 with little risk of its secret being discovered by any one4 ,the plug-box may be used in a variety of different ways--to vanish1 reproduce1 or exchange4 ,for the first purpose1 the coin to be got rid of is dropped into a4 ,when the plug is inserted1 and pressed home1 the coin falls1 with b1 into the hand of the performer2 and on the plug being again withdrawn1 nothing is seen but the interior of d1 which is of course empty4 ,where it is desired to use the box for the purpose of reproducing a coin1 such coin is placed beforehand within d4 ,the box is first shown empty1 but has only to be closed and re-opened1 and the coin is found within it4 ,for exchanges1 the substitute is placed in d1 and the genuine coin in a4 ,this latter falls out with the bottom1 and the substitute is in due course discovered4 ,a half-crown may thus be changed to a penny1 or a sovereign to a shilling4 ,but the chief use of the plug-box is as an auxiliary in those more important tricks in which the coin1 apparently remaining up to the last moment in the spectator's own possession1 is suddenly made to appear in some quarter to which 7if it had really so remained7 it could not possibly have been transported by natural means4 ,the performer in this case places a similar coin beforehand in d4 ,dropping1 or allowing the owner to drop1 the marked coin into a1 he closes the box1 which he shakes to prove that the coin is really there4 ,giving the box to some one to hold1 he is then enabled1 without exciting the smallest suspicion1 to retire1 and make what disposition he pleases of the marked coin1 which he has thus got into his own possession4 ,when he has completed his arrangements1 he again takes the box1 and1 opening it1 takes out the substitute1 which the audience naturally believe to be the genuine coin2 and getting rid of this by sleight-of-hand or otherwise1 passes the coin 7at that very moment1 so far as the audience can judge7 to the place where it is ultimately destined to be found4 ,a favourite mode of using the plug-box is as follows3--,a coin 7say a florin7 is wrapped in a small piece of paper1 after which the coin is taken out and the paper again folded in such a manner as to retain the impression of the coin1 and so to look1 as far as possible1 as if still containing it4 ,the paper thus folded is placed beforehand in d1 and the performer1 borrowing a florin1 requests the owner to wrap it carefully in a piece of paper1 which he hands him for the purpose1 and which is similar in size and general appearance to the folded piece4 ,the florin1 thus wrapped up1 is placed in a1 and the box closed1 the performer thus gaining possession of paper and coin4 ,the box is then handed to the owner of the money1 who is asked to open it and see for himself that his money is still there4 ,seeing the folded paper1 which he takes to be the same in which his money was wrapped1 he answers in the affirmative4 ,the box is again closed1 the coin1 meanwhile1 being disposed of according to the pleasure of the operator--the owner finding on a closer examination that his money has departed from the box1 though the paper in which it was wrapped 7as he imagines7 still remains4 ,,the ,,handkerchief ,,for ,,vanishing ,,money4--,this is another appliance for vanishing a coin4 ,it is an ordinary handkerchief of silk or cotton1 in one corner of which1 in a little pocket1 is sewn a coin1 say a florin or a penny1 or any substitute which1 felt through the substance of the handkerchief1 shall appear to be such a coin4 ,the mode of using it is very simple4 ,holding the handkerchief by the corner in which is the coin1 and letting it hang loosely down1 the performer borrows a similar coin1 and1 after carelessly shaking out the handkerchief1 to show that all is fair1 he places1 to all appearance1 the borrowed coin in the centre 7underneath71 and gives the handkerchief to some one to hold4 ,in reality1 he has only wrapped up the corner containing the substitute coin1 and retains the genuine one for his own purposes4 ,when it is desirable to make it appear that the coin has left the handkerchief1 he simply takes it from the person holding it1 and gives it a shake1 at the same moment rapidly running the edges of the handkerchief through his hands1 till the corner containing the coin comes into one or the other of them4 ,,the ,,demon ,,handkerchief 7,le ,mouchoir du ,diable74--,this is a recent improvement on the above1 and possesses a much wider range of utility1 inasmuch as it really does cause the disappearance of any article placed under it1 and is available to vanish not only coin1 but a card1 an egg1 a watch1 or any other article of moderate size4 ,it consists of two handkerchiefs1 of the same pattern1 stitched together all round the edges1 and with a slit of about four inches in length cut in the middle of one of them4 ,the whole space between the two handkerchiefs thus forms a kind of pocket1 of which the slit above mentioned is the only opening4 ,in shaking or otherwise manipulating the handkerchief1 the performer takes care always to keep the side with the slit away from the spectators1 to whom the handkerchief appears to be merely the ordinary article of everyday use4 ,when he desires by its means to cause the disappearance of anything1 he carelessly throws the handkerchief over the article1 at the same time secretly passing the latter through the slit in the under side1 and hands it thus covered to some one to hold4 ,then1 taking the handkerchief by one corner1 he requests him to let go1 when the object is retained in the space between the two handkerchiefs1 appearing to have vanished into empty air4 ,this1 like the plug-box1 is an appliance which no conjuror should be without4 ,it may be purchased ready-made at any of the depts for magical apparatus1 or may be of home-manufacture1 which in this case 7contrary to the general rule7 is not unlikely to produce the better article4 ,,the ,,davenport ,,cabinet4--,this little cabinet must by no means be confounded with the wardrobe in which the notorious ,brothers performed their mystic evolutions4 ,the cabinet now in question is but four inches high and two and a half square1 and consists of two parts1 an outer case1 or body1 covered at the top1 but otherwise open throughout1 and a drawer1 occupying the upper portion of its interior space4 7,see ,fig4 #hi47 ,when the drawer is removed1 the case1 which has no bottom1 may be examined throughout1 and will be found to be perfectly plain and unsophisticated2 save that a keen examiner might observe a little brass pin1 a quarter of an inch long1 projecting from the back of the cabinet on the inside1 just on a level with the bottom of the drawer when replaced in its proper position4 ,the drawer may also be examined1 and will be found to be perfectly plain1 with the bottom 7which is so thin as to preclude any suspicion of a concealed space71 covered within and without with black cloth4 ,on turning the drawer round1 and examining the back1 a minute hole may be discovered1 corresponding in situation with the brass pin already mentioned4 ,if a pin be thrust into this hole1 the purpose of the two is immediately manifest2 for the pressure of the pin releases a tiny catch1 and allows the bottom of the drawer1 which is in reality only supported by this catch at the back and a cloth hinge in the front1 to drop into the position indicated in ,fig4 #ij4 ,this is precisely what takes place when the drawer1 being restored to its proper position in the cabinet1 is duly closed4 ,the pressure of the brass pin at the back releases the catch1 and the bottom of the drawer falls as just described1 and allows any article which may have been placed therein to drop into the hand of the person holding the cabinet4 7,see ,fig4 #ia47 ,the act of pulling out the drawer again presses the bottom up to its proper place1 where it is secured by the catch until once more released by the pressure of the pin4 ,the strong point of this ingenious little apparatus is that it is absolutely self-acting1 and its secret can only be detected by examining the cabinet from below at the moment when the drawer is pushed home2 and this it is easy to prevent by the simple expedient of handing each portion separately for inspection4 ,illustration3 ,,fig4 #hi4 ,,fig4 #ij4 ,,fig4 #ia4 ,the performer begins by handing first the cabinet and then the drawer for examination4 ,then1 placing the cabinet on the palm of his hand1 he invites any one of the audience to deposit any small article1 a coin1 a ring1 a watch1 etc41 in the drawer1 and to replace the drawer in the cabinet4 ,as soon as the drawer is closed1 the article drops through into his hand4 ,taking hold of the cabinet with the other hand 7lifting it by the top only1 and with the very tips of his fingers1 so as to preclude all apparent possibility of deception71 he places it on the table or elsewhere1 in full view4 ,having thus gained possession of the borrowed article1 he concludes the trick by reproducing it in any manner he thinks proper4 99 99 99 99 99 ,we have thus far discussed pieces of apparatus more especially designed to cause the disappearance of a coin1 and thus adapted for use in the first stage of a trick4 ,we shall next consider such as are intended to reproduce1 under more or less surprising circumstances1 the coin thus got rid of1 such reproduction forming the second stage1 or dnouement4 ,,the ,,nest ,,of ,,boxes4--,this consists of a number1 generally six1 but sometimes more1 of circular wooden boxes1 one within the other1 the largest or outer box having much the appearance1 but being nearly double the size1 of an ordinary tooth-powder box1 and the smallest being just large enough to contain a shilling4 ,the series is so accurately made1 that by arranging the boxes in due order one within the other1 and the lids in like manner1 you may1 by simply putting on all the lids together1 close all the boxes at once1 though they can only be opened one by one4 ,these are placed1 the boxes together and the lids together1 anywhere so as to be just out of sight of the audience4 ,if on your table1 they may be hidden by any more bulky article4 ,having secretly obtained possession1 by either of the means before described1 of a coin which is ostensibly deposited in some other piece of apparatus1 e4g41 the ,davenport ,cabinet1 you seize your opportunity to drop it into the innermost box1 and to put on the united lids4 ,you then bring forward the nest of boxes 7which the spectators naturally take to be one box only71 and announce that the shilling will at your command pass from the place in which it has been deposited into the box which you hold in your hand1 and which you forthwith deliver to one of the audience for safe keeping4 ,touching both articles with the mystic wand1 you invite inspection of the first to show that the money has departed1 and then of the box1 wherein it is to be found4 ,the holder opens the box1 and finds another1 and then another1 and in the innermost of all the marked coin4 ,seeing how long the several boxes have taken to open1 the spectators naturally infer that they must take as long to close1 and 7apart from the other mysteries of the trick71 are utterly at a loss to imagine how1 with the mere moment of time at your command1 you could have managed to insert the coin1 and close so many boxes4 ,if you desire to use the nest for a coin larger than a shilling1 you can make it available for that purpose by removing beforehand the smallest box4 ,nests of square boxes1 with hinged lids and self-closing locks1 are made1 both in wood and in tin1 on the same principle4 ,these are designed for larger articles1 and greatly vary in size and price4 ,,the ,,ball ,,of ,,berlin ,,wool4--,an easy and effective mode of terminating a money trick is to pass the marked coin into the centre of a large ball of ,berlin wool or worsted1 the whole of which has to be unwound before the coin can be reached4 ,the modus operandi1 though perplexing to the uninitiated1 is absurdly simple when the secret is revealed4 ,the only apparatus necessary over and above the wool 7of which you must have enough for a good-sized ball71 is a flat tin tube1 three to four inches in length1 and just large enough to allow a florin or shilling 7whichever you intend to use for the trick7 to slip through it easily4 ,you prepare for the trick by winding the wool on one end of the tube1 in such manner that when the whole is wound in a ball1 an inch or so of the tube may project from it4 ,this you place in your pocket1 or anywhere out of sight of the audience4 ,you commence the trick by requesting some one to mark a coin1 which you forthwith exchange1 by one or other of the means already described1 for a substitute of your own1 and leave the latter in the possession or in view of the spectators1 while you retire to fetch your ball of wool1 or simply take it from your pocket4 ,before producing it1 you drop the genuine coin down the tube into the centre of the ball1 and withdraw the tube1 giving the ball a squeeze to remove all trace of an opening4 ,you then bring it forward1 and place it in a glass goblet or tumbler1 which you hand to a spectator to hold4 ,taking the substitute coin1 you announce that you will make it pass invisibly into the very centre of the ball of wool1 which you accordingly pretend to do1 getting rid of it by means of one or other of the ,passes described in ,chapter ,,vi4 ,you then request a second spectator to take the loose end of the wool1 and to unwind the ball1 which1 when he has done1 the coin falls out into the goblet4 ,the only drawback to the trick is the tediousness of the process of unwinding4 ,to obviate this1 some performers use a wheel made for the purpose1 which materially shortens the length of the operation4 ,,the ,,glass ,,goblet ,,and ,,cover4--,this apparatus consists of an ordinary glass goblet1 of rather large size1 with a japanned tin cover1 in shape not unlike the lid of a coffee-pot1 but of sufficient height to contain1 in an upright position1 a couple of florins or half-crowns4 ,these are placed side by side in a flat tube1 just large enough to admit them1 fixed in a slightly sloping position in the upper part of the cover1 and divided in two by a tin partition4 ,across the lower end of this tube is a tin slide1 which1 in its normal condition1 is kept closed by the action of a spring1 but is drawn back whenever a knob on the top of the cover is pressed down4 ,if a slight pressure be applied1 one coin only is released2 but if the knob be still further pressed down1 the second also falls4 ,the mechanism of the cover is concealed by a flat plate or lining1 also of tin1 soldered just within it1 with an oblong opening just large enough to admit of the passage of the coins4 ,the inside of the cover is japanned black1 the outside according to the taste of the maker4 ,you take care not to bring on the goblet and cover until you have1 by substitution1 gained possession of the two marked coins which you have borrowed for the purpose of the trick4 ,retiring to fetch the glass and cover1 you prepare the latter by inserting the marked coins4 ,this you do by holding the cover upside down1 pressing the knob 7thus drawing back the spring slide71 and dropping the coins into their receptacle4 ,on removing the pressure on the knob1 the slide returns to its normal position4 ,you then bring forward the goblet and cover1 and place them on the table4 ,holding the goblet upside down1 to show that it is empty1 you place the cover over it1 ostensibly to prevent anything being secretly passed into it1 and1 for still greater security1 throw a handkerchief1 borrowed for that purpose1 over the whole4 ,you now announce that1 notwithstanding the difficulties which you have voluntarily placed in the way1 you will pass the two marked coins through the handkerchief1 and through the metal cover into the glass4 ,taking in your right hand one of the substitutes1 which have all along remained in sight1 and which the audience take to be the genuine coins1 you pretend by ,pass #a to transfer it to your left1 and pressing gently on the knob with the last-mentioned hand1 cause one of the marked coins to drop from the cover1 at the same moment opening the hand to show that the coin has left it4 ,the audience hear1 though they do not see1 the fall of the coin4 ,with the second coin it is well to introduce an element of variety1 and you may therefore offer to dispense with the handkerchief1 that all may see as well as hear the coin arrive4 ,as a further variation1 you may use your wand as the conducting medium4 ,taking the substitute coin in the left hand1 you apparently1 by ,pass #d1 transfer it to your right4 ,then taking the wand in the left hand1 you hold it perpendicularly1 with its lower end resting upon the knob of the cover4 ,holding it with the thumb and second finger of the right hand1 one on each side of it1 you draw them smartly downwards1 at the same time pressing with the wand on the knob1 when the second coin will be seen and heard to fall into the glass4 ,taking off the cover1 and leaving it on the table1 you bring forward the glass1 and allow the owners to take out and identify the coins4 ,it is a great addition to have a second cover1 similar in appearance to the first1 but hollow throughout1 and without any mechanism4 ,you are thus enabled to hand both goblet and cover for examination before performing the trick4 ,as you return to your table1 your back being towards the spectators1 you have ample opportunity for substituting the mechanical cover1 the plain one being dropped either into one of your profondes1 or on to the servante of your table4 ,,the ,,glass ,,without ,,cover1 ,,for ,,money4--,this is of tumbler shape1 without foot1 and of green or other dark-coloured glass1 so that it is semi-opaque4 ,in this instance no cover is used1 and the borrowed coins are not seen1 but merely heard1 to drop into the glass1 where they are found in due course4 ,the secret of the glass lies in a false bottom of tin1 working on a hinge1 and held down by a catch worked by a pin through the bottom of the glass1 and flying up with a spring when released4 ,the performer1 having gained possession of three or four borrowed coins by either of the means before mentioned1 retires to fetch the glass1 and takes the opportunity to place the coins beneath the false bottom4 ,he then comes forward1 glass in hand4 ,he does not offer the glass for examination1 but turns it upside down1 and rattles his wand inside it1 showing1 ostensibly1 that it is empty4 ,having done this1 he places it on his table1 as near the back of the stage as possible1 at the same time moving the catch1 and so releasing the false bottom1 which naturally flies up1 and uncovers the concealed coins4 ,standing at a considerable distance from the glass1 he takes one by one the substitutes1 which to the eyes of the audience represent the genuine coins1 and gets rid of them by one or other of the various passes1 saying as each one apparently vanishes from his hand1 8,one1 two1 three--,pass60 ,at the same moment the sound of a falling coin is heard1 proceeding apparently from the glass1 but really from behind the scenes1 or any other available spot out of sight1 where an assistant1 placed as near to the glass as circumstances will admit1 drops another coin into another glass4 ,if the position of the assistant1 with reference to the audience1 is pretty nearly in a straight line with the glass which they see1 the illusion will be perfect4 ,when all the coins are supposed to have passed in this manner1 the performer1 advancing to the glass1 pours out1 either upon a tray or upon his open palm1 the borrowed coins1 and leaving the glass upon the table1 comes forward1 and requests the owners to identify them4 99 99 99 99 99 ,we have thus far described eight different contrivances for vanishing money1 and 7including the 8plug-box10 which may be used in both ways7 five for reproducing it4 ,it is obvious that either of the first may be used in combination with either of the second1 producing some fifty different effects4 ,by the use of sleight-of-hand in place of apparatus at either stage of the trick1 still more numerous variations may be produced1 and these may be still further multiplied by the use of other appliances to be hereafter described1 which1 though of less general utility1 may be occasionally introduced with excellent effect4 ,the apparatus which we shall next describe is one which is very frequently used in combination with that last mentioned4 ,it is known as ,,the ,,miraculous ,,casket4--,this is a neat leather- or velvet-covered box1 about three inches by two1 and two and a half high4 ,when opened1 it is seen to be filled with a velvet cushion or stuffing1 after the manner of a ring-case1 with four slits1 each just large enough to admit a half-crown or florin4 7,see ,fig4 #ib47 ,by an ingenious mechanical arrangement in the interior1 which it would take too much space to describe at length1 each time the box is closed one of the coins is made to drop down into the lower part1 and on the box being reopened is found to have vanished4 ,illustration3 ,,fig4 #ib4 ,the casket may be used in many tricks with good effect4 ,in combination with the magic glass1 last above described1 it is employed as follows3--,the four coins which have been substituted for the genuine ones are placed1 in sight of all1 in the magic casket1 which is then closed1 and handed to one of the audience to hold4 ,the performer then states that he is about to order the four coins now in the casket to pass one by one into the glass upon the table4 8,one60 he exclaims4 ,a coin is heard to fall into the glass4 ,the person who holds the casket is requested to open it2 three coins only are left4 ,it is again closed1 and the performer says1 8,two60 ,again the chink of the falling coin is heard1 and another coin is found to have disappeared from the casket4 ,the operation is repeated till all have vanished1 and the operator pours forth from the glass four coins1 which1 on examination1 are found to be the same which were originally borrowed1 and which the audience believe that they saw placed in the casket4 ,the casket may also be used with capital effect in conjunction with ,,the ,,half-,,crown 7,,or ,,florin7 ,,wand4--,this is a wand1 apparently of ebony1 but really of brass1 japanned black4 ,it is about twelve inches in length1 and five-eighths of an inch in diameter4 ,on one side of it1 and so placed as to be just under the ball of the thumb when the wand is held in the hand1 is a little stud1 which moves backwards and forwards for a short distance 7about an inch and a quarter71 like the sliding ring of a pencil-case4 ,when this stud is pressed forward1 a half-crown or florin1 as the case may be1 appears on the opposite end of the wand 7see ,fig4 #ic71 retiring within it when the stud is again drawn back4 ,the half-crown is a genuine one1 but is cut into three portions1 as indicated in ,fig4 #id1 which represents a transverse section of it at right angles to the actual cuts4 ,each of the three segments is attached to a piece of watch-spring1 and from the direction of the cuts it is obvious that1 when these pieces of watch-spring are pressed together 7as they naturally are when drawn back into the wand71 c will be drawn behind1 and a in front of b4 7,see ,fig4 #ie47 ,illustration3 ,,fig4 #ic4 ,,fig4 #id4 ,,fig4 #ie4 ,the wand is used as follows3--,the performer palms in his left hand as many half-crowns as he intends to produce4 ,then1 taking the wand in the right hand1 and lightly touching with it the spot whence he desires to 7apparently7 produce a half-crown1 he pushes forward the stud1 and the split coin appears on the opposite end of the wand4 ,he now draws the upper part of the wand through the left hand1 at the same moment pressing back the stud1 and causing the split coin to retire within the wand1 immediately handing for examination with the left hand one of the half-crowns already placed there1 and which by this gesture he appears to have just taken from the top of the wand4 ,this is again repeated1 and another half-crown exhibited1 till the stock in the left hand is exhausted4 ,it is desirable1 on each occasion of pressing forward or withdrawing the stud1 to place the opposite end of the wand in such a situation as to be a little shielded from the eyes of the spectators1 so that they may not see the actual appearance or disappearance of the coin4 ,a very slight 8cover0 will be sufficient4 ,the end of the wand may be placed within a person's open mouth 7and withdrawn with the half-crown thereon71 within a pocket1 or the like4 ,where no such cover is available1 a quick semi-circular sweep should be made with the wand as the coin is protruded or withdrawn4 ,with the aid of this wand the passage of the four half-crowns from the casket to the glass1 just described1 becomes still more effective4 ,the four substitute half-crowns having been placed in the casket1 and the latter closed1 the performer announces that he will withdraw them visibly1 one by one1 and will then invisibly pass them into the glass4 ,further1 to prove that the trick is not performed by any mechanical or physical means1 he will not even take the casket in his hand1 but will withdraw the coins one by one with his wand1 and thence pass them direct into the glass4 ,touching the casket with the wand1 he presses the stud1 and shows the half-crown on the end4 ,apparently taking off the coin with his left hand1 as before described 7the hand1 however1 being in this case empty71 he makes the motion of throwing the coin from the hand to the glass1 saying1 8,pass60 ,the sound of a falling coin is heard 7as already explained71 and he shows that his hand is empty1 the same process being repeated as to the remaining coins4 ,the wand may also be effectively introduced in the trick of the ,shower of ,money1 which next follows4 ,after having caught in the ordinary manner such number of coins as he thinks fit1 the performer perceives1 or pretends to perceive1 that the audience suspect that the coins are in some manner concealed in his right hand4 ,to show that this is not the case1 he offers to catch a few coins on the top of his wand instead of in his hand1 and finishes the trick by producing two or three on the wand accordingly4 ,wherever you can1 as in this instance1 produce the same result by two wholly different methods the effect on the audience is most bewildering4 ,their conjectures as to the explanation of the first method being inadmissible as to the second1 and vice vers1 the more they puzzle over the matter1 the further are they likely to be from a correct solution4 ,,the ,,shower ,,of ,,money4--,the magical phenomenon known under this name surpasses the philosopher's stone1 in the pursuit of which so many of the wise men of old expended their lives and fortunes4 ,the alchemist's secret aimed only at producing the raw material1 but the magician's quick eye and ready hand gather from space money ready coined4 ,unfortunately1 the experiment is subject to the same drawback as the more ancient process--viz41 that each twenty shillings produced cost precisely twenty shillings1 leaving hardly sufficient profit to make this form of money-making remunerative as a commercial undertaking4 ,the effect of the trick is as follows3--,the performer borrows a hat1 which he holds in his left hand4 ,turning up his sleeves1 he announces that he requires a certain number1 say ten1 of florins or half-crowns4 ,the spectators put their hands in their pockets with the idea of contributing to the supposed loan2 but the professor1 anticipating their intention1 says1 8,no1 thank you2 ,i won't trouble you this time4 ,there seems to be a good deal of money about tonight2 ,i think ,i will help myself4 ,see1 here is a half-crown hanging to the gaselier4 ,here is another climbing up the wall4 ,here is another just settling on this lady's hair4 ,excuse me1 sir1 but you have a half-crown in your whiskers4 ,permit me1 madam2 you have just placed your foot on another10 and so on4 ,at each supposed new discovery the performer takes with his right hand1 from some place where there clearly was nothing an instant before1 a half-crown1 which he drops into the hat held in his left hand1 finally turning over the hat1 and pouring the coins from it1 to show that there has been 8no deception40 ,the explanation is very simple1 the trick being merely a practical application of the art of 8palming10 though its effect depends on the manner and address of the operator even more than on his skill in sleight-of-hand4 ,the performer provides himself beforehand with ten half-crowns4 ,of these he palms two in his right hand1 and the remainder in his left4 ,when he takes the hat1 he holds it in the left hand1 with the fingers inside and the thumb outside1 in which position it is comparatively easy to drop the coins one by one from the hand into the hat4 ,when he pretends to see the first half-crown floating in the air1 he lets one of the coins in his right hand drop to his finger-tips1 and1 making a clutch at the air1 produces it as if just caught4 ,this first coin he really does drop into the hat1 taking care that all shall see clearly that he does so4 ,he then goes through a similar process with the second2 but when the time comes to drop it into the hat1 he merely pretends to do so1 palming the coin quickly in the right hand1 and at the same moment letting fall into the hat one of the coins concealed in his left hand4 ,the audience1 hearing the sound1 naturally believe it to be occasioned by the fall of the coin they have just seen4 ,the process is repeated until the coins in the left hand are exhausted4 ,once more the performer appears to clutch a coin from space1 and showing for the last time that which has all along been in his right hand1 tosses it into the air1 and catches it visibly in the hat4 ,pouring out the coins on a tray1 or into the lap of one of the company1 he requests that they may be counted1 when they are found to correspond with the number which he has apparently collected from the surrounding atmosphere4 ,some performers1 by way of bringing the trick to a smart conclusion1 after they have dropped in all the coins1 remark1 8,the hat begins to get heavy10 or make some similar observation1 at the same time dipping the right hand into the hat1 as if to gauge the quantity obtained2 and1 giving the money a shake1 bring up the hand with four or five of the coins clipped breadthwise against the lowest joints of the second and third fingers4 ,then pretend to catch in quick succession that number of coins1 each time sliding one of the coins with the thumb to the finger-tips1 and tossing it into the hat4 ,it is by no means uncommon to see a performer1 after having apparently dropped two or three coins into the hat in the ordinary way1 pretend to pass in one or more through the side or crown4 ,this produces a momentary effect1 but it is an effect purchased at the cost of enabling an acute spectator to infer1 with logical certainty1 that the coin seen in the right hand was not the same that was1 the moment afterwards1 heard to chink within the hat2 and this furnishes a distinct clue to the secret of the trick4 ,it is obvious that1 in the above form of the trick 7which so far should be classed among 8tricks without apparatus071 the performer cannot show the inside of his hands2 and it is not uncommon to find an acute observer 7particularly where the performer is guilty of the indiscretion we have just noted7 so far hit upon the true explanation1 as to express audibly a conjecture that the money which the performer catches is really the same coin over and over again4 ,there is1 however1 a mechanical appliance known as the 8money-slide10 which is designed to meet this difficulty1 and to enable the performer still to catch the coin1 though he has but a moment before shown that his hand is empty4 ,illustration3 ,,figs4 #if1 #ig4 ,the money-slide is a flat tin tube1 about eight inches in length1 an inch and a quarter in width1 and of just such depth as to allow a half-crown or florin 7whichever coin may be used7 to slip through it freely1 edgeways4 ,it is open at the top1 but is closed at the lower end by a lever1 acting like the lever of a shot-pouch4 7,see ,fig4 #if1 which shows the external appearance of the tube1 and ,fig4 #ig1 which represents1 on a somewhat larger scale1 a section of its essential portion47 ,the normal position of the lever 7which works on a pivot1 a7 is as shown in ,fig4 #ig1 being maintained in that position by a small spring4 ,under such circumstances1 the passage of the tube is barred by the pin d 7which works through a small hole in the face of the tube72 but if ac1 the longer arm of the lever1 be pressed down1 the pin d is withdrawn1 but the extreme lower end of the tube is for the moment barred by the bent end of ac4 ,the pressure being withdrawn1 the lever returns to its former condition4 ,when required for use1 four or five half-crowns are dropped into the tube from the upper end1 and the tube is fastened1 by a hook affixed to it for that purpose1 inside the waistcoat of the performer1 so that its lower end hangs just above the waistband1 the lever side of the tube being next the body4 ,if the tube be lightly pressed through the waistcoat1 the longer arm of the lever is thereby pressed down4 ,the pin d is lifted1 and the row of half-crowns slide down to the bottom of the tube1 where1 however1 they are arrested by the bent end of ac4 ,as soon as the pressure is removed1 the lever returns to its position4 ,the mouth of the tube is left open1 and the first of the half-crowns drops out1 and would be followed by the others1 but the pin1 d1 which at the same moment returns to its position across the tube1 stops their further progress4 ,thus each time the lever is pressed and again released1 one half-crown1 and one only1 drops out at the mouth of the tube4 ,the use of this appliance in the trick we have just described will be obvious4 ,the performer1 having turned up his sleeves to prove that they have no part in the matter1 shows that his right hand is absolutely empty4 ,continuing his observations1 his hand rests for a moment with a careless gesture against his waistcoat1 the ball of the wrist being above and the fingers below the waistband4 ,a momentary pressure causes a half-crown to fall into his hand4 ,this he palms1 and in due course proceeds to catch1 as already described4 ,as the capacity of the slide is limited1 and the same gestures frequently repeated would be likely to excite suspicion1 it is best to begin the trick in the ordinary manner1 and after having produced three or four coins in this way1 to overhear1 or pretend to overhear1 a suggestion that the coin is all the while in your hand4 ,ostentatiously throwing the coin with which you have so far worked1 into the hat1 you draw special attention 7not in words1 but by gesture7 to your empty hand 7the left hand is never suspected71 and then have recourse to the slide4 ,you throw the coin thus obtained into the hat1 and again show your hand empty4 ,you produce another coin from the slide1 and make this serve you for the next two or three catches1 and so on1 as circumstances may dictate4 ,the money magically caught as above may be used for the trick of the ,multiplication of ,money1 described at page #agf1 the two forming a natural and effective sequence4 ,,the ,,vanishing ,,plate1 ,,or ,,salver4--,this is a most useful and ingenious piece of apparatus4 ,in appearance it is an ordinary japanned tin tray1 of about ten inches in diameter2 but it has the faculty of causing money placed upon it to disappear in a most surprising manner4 ,a number of coins1 collected from the company1 are placed upon the salver4 ,the performer1 standing but a few feet from the spectators1 openly takes them off one by one1 but each1 as his fingers grasp it1 vanishes utterly4 ,his sleeves 7which in conjuring come in for a vast amount of undeserved suspicion7 may be rigorously examined2 but even though1 as a concession to popular prejudice1 he should bare his arm to the shoulder1 the result would still be the same4 ,illustration3 ,,fig4 #ih4 ,a closer inspection of the salver 7which the performer takes good care not to permit7 would reveal the fact1 that though apparently consisting1 like any other1 of only one thickness of metal1 it is in reality made double1 allowing sufficient space between its upper and under surface for the concealment of any number of coins laid singly4 ,the centre portion of the upper surface1 though apparently of a piece with the rest1 is in reality moveable1 though pressed upwards and kept in its place by the action of four small springs4 ,when the performer apparently picks up a coin 7which he takes care shall be on this centre portion71 he presses smartly upon it1 at the same moment drawing it sharply towards the outer rim4 ,the moveable portion of the salver yielding to the pressure1 the effect is as shown in the figure 7,fig4 #ih71 and the coin is shot under the outer rim1 between the upper and under surface of the salver1 the moveable portion rising again to its place as soon as the momentary pressure is removed4 ,the tray is japanned in such manner that the circular lines of the pattern correspond with the outline of the moveable portion1 and will bear any amount of mere ocular inspection1 so long as it is not permitted to be handled4 ,the vanishing salver may be introduced with good effect in many tricks1 as1 for instance1 that of the ,multiplication of ,money1 above referred to1 the coins to be magically added being placed upon the salver1 whence they are taken off one by one1 and commanded to pass into the hands of the person who holds the money4 ,it may also be advantageously used in conjunction with the glass described at page #bja1 each coin1 as it vanishes from the salver1 being heard to drop into the glass4 ,,the 8,,changing0 ,,plate4--,the student has already been made acquainted with various methods of exchanging a marked coin1 etc41 for a substitute4 ,there are still one or two appliances for this purpose remaining to be described1 all taking the form of metal plates or trays1 but greatly varying in their construction4 ,the first1 which we only mention for the sake of completeness1 as it is now superseded by later and better inventions1 consists of a small circular tin tray1 with a round hole or well in the centre1 of about an inch and a half in diameter and a quarter of an inch in depth4 ,the lines of the pattern are so arranged as to make this cavity as little noticeable as possible4 ,the well is moveable1 forming1 in fact1 a portion of a sliding piece below the tray1 in which sliding piece two such wells are excavated1 the one or the other in turn corresponding to the opening in the tray1 according as the sliding piece is pushed backwards or forwards4 ,when the tray is required for use1 the substitute coin is placed beforehand in one of the two wells1 which is then pushed out of sight1 and the other brought below the opening4 ,the borrowed coin is received on the plate1 and allowed to drop into the empty well4 ,as soon as this is done1 the operator1 with his forefinger1 which is naturally beneath the plate1 draws back the slide1 and brings the other coin in sight1 while the genuine one drops into his hand4 ,the construction of the plate1 though simple enough in itself1 is a little difficult to explain2 but as we only allude to it in order to counsel the student to avoid it1 any obscurity in our description is of little importance4 ,the instrument now used for the same purpose is known as the ,french changing-plate1 and may be described as a combination of the vanishing salver 7page #bji7 and the multiplying money-plate 7page #agg74 ,it is round1 and has beneath it a flat tube similar to that of the multiplying plate2 and it is in this tube that the substitute coins are placed4 ,the upper surface of the plate is similar in appearance to that of the vanishing plate2 but in this case the centre portion is divided across the middle1 and one half only is moveable1 sinking downwards to the depth of a quarter of an inch all along the dividing line1 whenever pressure is applied to a particular portion of the under surface of the plate4 ,the coins to be changed are received by the operator on this moveable portion1 and immediately handed to some person to hold1 the performer sloping the plate1 and 7apparently7 pouring the coins into the hands or hat held out to receive them4 ,in reality1 in the act of sloping the plate1 he depresses the moveable portion of the surface1 and1 as a natural consequence1 the coins1 instead of sliding1 as they appear to do1 right off the plate1 slip between the upper and under surface1 while the substitutes fall from the tube below into the hands of the person who is to take charge of them4 ,the whole movement is so rapid1 and the fall of the substituted coins coincides so exactly with the disappearance of the genuine ones1 that the eye is completely deceived4 ,the tray1 having apparently served its purpose1 is carried off by the magician or his servant1 with ample opportunity to make any necessary disposition of the genuine coins4 ,a still later improvement is that which is known as ,,the ,,tray ,,of ,,proteus4--,the tray to which the inventors 7,messrs4 ,hiam ,lane7 have given the above high-sounding title1 is the latest1 and not the least ingenious1 of the series of magical trays4 ,illustration3 ,,fig4 #ii4 ,,fig4 #ajj4 ,the tray in question will not only change1 but add1 subtract1 or vanish coins1 under the very eyes of the spectators4 ,in form it is an oblong octagon1 measuring eight inches by six1 and standing about three-quarters of an inch high4 7,see ,fig4 #ii47 ,it is divided across the centre1 and one half of the centre portion is moveable in the same manner as in the case of the tray last described1 save that in this instance the depth between the upper and under surface of the tray being greater1 this moveable portion is depressible to a proportionately greater depth4 ,the opposite or fixed side of the tray is divided horizontally 7see ,fig4 #ajj1 representing a longitudinal section7 into two levels or platforms1 a and b1 the lower1 b1 having a raised edge4 ,where the tray is to be used for the purpose of 8changing10 the coins to be substituted are placed in a row on the upper platform1 a4 ,the genuine coins are placed by the performer1 holding the tray as indicated in ,fig4 #ii1 on the moveable flap1 c4 ,slightly lowering the opposite end of the tray1 he presses the button d1 thus sloping the flap c1 and the coins naturally slide into b4 ,still keeping the flap open1 he now tilts up the opposite end of the tray4 ,the genuine coins cannot return1 by reason of the raised edge of b2 but the substitute coins in their turn slide out upon c1 which is then allowed to return to its original position4 ,the necessary movement1 though comparatively tedious in description1 is in skilful hands so rapid in execution that1 where coins of the same kind are substituted--e4g41 half-crowns for half-crowns--the most acute spectator cannot detect that any change has taken place4 ,a most startling effect is produced by substituting coins of a different kind1 as pence for half-crowns1 the coins appearing to be transformed by a mere shake into a different metal4 ,the change involving a double process--viz41 the disappearance of certain coins and the appearance of others--it is obvious that the tray will be equally available for either process singly4 ,thus coins placed upon the tray may be made to instantly vanish1 or1 by reversing the process1 coins may be made to appear where there was nothing a moment previously4 ,in like manner1 a given number of coins may be increased to a larger1 or decreased 7in this case really changed7 to a smaller number4 ,this tray has not1 like that last described1 any additional flat tube beneath the tray1 but one end of a and b is closed by a little slide1 hidden beneath the edge of the tray1 to allow of the money therein being extracted when necessary4 ,,chapter ,,ix4 ,,tricks ,,with ,,watches4 ,,to ,,indicate ,,on ,,the ,,dial ,,of ,a ,,watch ,,the ,,hour ,,secretly ,,thought ,,of ,,by ,,any ,,of ,,the ,,company4--,the performer1 taking a watch in the one hand1 and a pencil in the other1 proposes to give a specimen of his powers of divination4 ,for this purpose he requests any one present to write down1 or1 if preferred1 merely to think of1 any hour he pleases4 ,this having been done1 the performer1 without asking any questions1 proceeds to tap with the pencil different hours on the dial of the watch1 requesting the person who has thought of the hour to mentally count the taps1 beginning from the number of the hour he thought of4 7,thus1 if the hour he thought of were 8nine10 he must count the first tap as 8ten10 the second as 8eleven10 and so on47 ,when1 according to this mode of counting1 he reaches the number 8twenty10 he is to say 8,stop10 when the pencil of the performer will be found resting precisely upon that hour of the dial which he thought of4 ,this capital little trick depends upon a simple arithmetical principle2 but the secret is so well disguised that it is very rarely discovered4 ,all that the performer has to do is to count in his own mind the taps he gives1 calling the first 8one10 the second 8two10 and so on4 ,the first seven taps may be given upon any figures of the dial indifferently2 indeed1 they might equally well be given on the back of the watch1 or anywhere else1 without prejudice to the ultimate result4 ,but the eighth tap must be given invariably on the figure 8twelve0 of the dial1 and thenceforward the pencil must travel through the figures seriatim1 but in reverse order1 8eleven10 8ten10 8nine10 and so on4 ,by following this process it will be found that at the tap which1 counting from the number the spectator thought of1 will make twenty1 the pencil will have travelled back to that very number4 ,a few illustrations will make this clear4 ,let us suppose1 for instance1 that the hour the spectator thought of was twelve4 ,in this case he will count the first tap of the pencil as thirteen1 the second as fourteen1 and so on4 ,the eighth tap in this case will complete the twenty1 and the reader will remember that1 according to the directions we have given1 he is at the eighth tap always to let his pencil fall on the number twelve2 so that when the spectator1 having mentally reached the number twenty1 cries1 8,stop10 the pencil will be pointing to that number4 ,suppose1 again1 the number thought of was 8eleven40 ,here the first tap will be counted as 8twelve10 and the ninth 7at which1 according to the rule1 the pencil will be resting on eleven7 will make the twenty4 ,taking again the smallest number that can be thought of1 8one10 here the first tap will be counted by the spectator as 8two10 and the eighth1 at which the pencil reaches twelve1 will count as 8nine40 ,henceforth the pencil will travel regularly backward round the dial1 and at the nineteenth tap 7completing the twenty1 as counted by the spectator7 will have just reached the figure 8one40 ,the arithmetical reason for this curious result1 though simple enough in itself1 is somewhat difficult to explain on paper1 and we shall therefore leave it as an exercise for the ingenuity of our readers4 ,illustration3 ,,fig4 #aja4 ,,to ,,bend ,a ,,borrowed ,,watch ,,backwards ,,and ,,forwards4--,this little deception is hardly to be called a conjuring trick1 but it may be introduced with good effect in the course of any trick for which a watch has been borrowed4 ,looking intently at the watch1 as though you noticed something peculiar about it1 you remark to the owner1 8,this is a very curious watch1 sir2 it is quite soft40 ,then taking it 7as shown in ,fig4 #aja71 with the dial inwards towards your own body1 and holding it between two fingers of each hand on the back1 and the thumb of each hand on the face1 you bend the hands outwards1 at the same time bringing the points of the fingers nearer together1 immediately bringing them back to their former position4 ,the motion may be repeated any number of times4 ,by a curious optical illusion1 which we are not able to explain1 but which we assume to be produced in some way by the varying shadow of the fingers on the polished surface of the metal1 the watch appears1 to a spectator at a little distance1 to be bent nearly double by each outward movement of the hands4 ,the illusion is so perfect1 that great amusement is occasionally produced by the consternation of the owner1 who fancies that irreparable injury is being done to his favourite 8,waltham40 ,if1 however1 his faith in your supernatural powers is so great as to resist this ordeal1 you may test it even more severely by means of ,,the ,,watch-,,mortar ,,and ,,the ,,magic ,,pistol4--,the watch-mortar is an apparatus in the form of an ordinary mortar1 with a pestle to match4 ,suggesting to the owner of the borrowed timekeeper that it wants regulating1 you offer to undertake that duty for him4 ,he probably declines1 but you take no notice of his remonstrances1 and1 placing his watch in the mortar1 bring down the pestle with a heavy thump upon it4 ,a smash1 as of broken glass1 is heard1 and1 after sufficient pounding1 you empty the fragments of the watch into your hand1 to the horror of the owner4 ,you offer to return the fragments1 but he naturally objects to receive them1 and insists that you restore the watch in the same condition as when it was handed to you4 ,after a little discussion1 you agree to do so1 premising that you can only effect the object through the agency of fire4 ,fetching a loaf of bread1 you place it on the table in view of the company4 ,then wrapping the fragments of the watch in paper1 you place them in a pistol1 and1 aiming at the loaf1 request the owner of the watch to give the signal to fire4 ,the word is given1 8,one1 two1 three--,bang60 ,stepping up to the loaf1 you bring it forward to the spectators1 and tearing it asunder1 exhibit in its very centre the borrowed watch1 completely restored1 and bright as when it first left the maker's hands4 ,the seeming mystery is easily explained4 ,the mortar has a moveable bottom1 which allows the watch at the performer's pleasure to fall through into his hand4 ,there is a hollow space in the thick end of the pestle1 closed by a round piece of wood lightly screwed in1 which1 fitting tightly in the bottom part of the mortar1 is easily unscrewed by the performer1 or rather unscrews itself1 as he apparently grinds away at the ill-fated chronometer4 ,in the cavity are placed beforehand the fragments of a watch1 which1 thus released1 fall into the mortar1 and are poured out by the performer into his hand1 in order to show that there has been 8no deception40 ,when the performer goes to fetch the loaf1 he has already obtained possession of the watch1 which1 after giving it a rub upon his coat-sleeve or a bit of leather to increase its brightness1 he pushes into a slit already made in the side of the loaf4 ,when the loaf is torn asunder 7which the performer takes care to do from the side opposite to that in which the opening has been made71 the watch is naturally found imbedded therein4 ,if a regular conjuring-table is used1 the loaf may be placed in readiness on the servante4 ,the performer in this case1 having got possession of the watch1 and holding it secretly palmed1 borrows a hat4 ,walking carelessly behind his table1 he asks1 as if in doubt1 8,who lent me this hat80 holding it up with one hand1 that the spectators may see that it is empty4 ,while all eyes are thus drawn to the hat1 he with the other hand forces the watch into the loaf1 and then1 in bringing the hat down on the table1 introduces the loaf into it1 after the manner of the well-known 8cannon-ball0 trick1 to be described hereafter4 ,the hat is then placed on the table as if empty1 and the pistol fired at the hat4 ,this little addition heightens the effect of the trick1 but demands somewhat greater address on the part of the performer4 ,the pistol employed1 being of constant use in magical performances1 will demand a special explanation4 ,it consists of two parts1 viz41 an ordinary pocket-pistol1 and a conical tin funnel1 measuring about five inches across its widest diameter1 and tapering down to a tube of such a size as to fit easily over the barrel of the pistol4 ,this tube is continued inside the cone1 and affords a free passage for the charge1 which consists of powder only4 ,any object which is apparently to be fired from the pistol is pressed down between the outside of this tube and the inside of the tin cone1 where it remains wholly unaffected by the explosion4 ,the outside of the cone is japanned according to taste1 the tube and the rest of the interior being always black4 ,there are numerous other ways of finishing the trick1 with or without the use of the pistol4 ,the watch-mortar has discharged its duty when it has apparently reduced the borrowed watch to fragments1 and has placed it in reality in the hands of the performer4 ,the sequel of the trick1 with which the mortar has nothing to do1 will depend on the ingenuity of the performer and his command of other apparatus4 ,there is another form of watch-mortar1 which is frequently used1 though to our own taste it is very inferior to that above described4 ,it consists of a cylindrical tin box or case1 about four inches high and three in diameter1 open at the top1 standing on a broad flat foot4 ,within this fits loosely another similar cylinder1 of about an inch less in depth4 ,the upper edge of this latter is turned over all round1 giving the two the appearance of being both of a piece4 ,the whole is closed by an ornamental cardboard cover1 also cylindrical4 ,if this cover be lifted lightly--i4e41 without pressure--it will come off alone2 but if its sides are pressed1 they will clip the turned-over edge of the upper or moveable compartment1 and lift this with it4 ,in this form of the trick the borrowed watch is placed in a little bag1 and the two together deposited in the upper compartment4 ,in the mortar proper--i4e41 the space between the two compartments--is placed beforehand a similar little bag1 containing the broken fragments of a watch4 ,the cover being under some pretext put on1 the upper compartment is lifted off with it1 and the pounding consequently falls on the prepared fragments4 ,illustration3 ,,fig4 #ajb4 ,,the ,,snuff-,,box ,,vase4--,this is an apparatus of frequent use in ,watch ,tricks1 and it may be also made available with many other articles4 ,it is made of various sizes1 from five to eight inches in height1 and of the shape shown in ,fig4 #ajb4 ,it consists of three parts1 the cover a1 the vase proper c1 and a moveable portion b1 the latter being made with double sides1 so that it fits at once in and upon c4 ,if a is raised without pressing its sides1 it comes off alone2 but if its sides are pressed in removing it1 it lifts off b with it4 ,in this compartment b is placed a small round box of tin or cardboard 7from which the vase derives its name71 and another box1 exactly similar in appearance1 is placed underneath b1 inside the vase proper c4 ,whether1 therefore1 the cover is removed with or without b1 the audience see apparently the same box within4 ,the only circumstance that could possibly excite suspicion would be the greater depth of c as compared with b2 and this is obviated by making the bottom of c moveable1 resting on a spiral spring passing through the foot of the apparatus4 ,when b is in the vase1 the bottom of c sinks down to make way for it1 but again rises by the pressure of the spring as soon as b is removed4 ,to the eye of the spectator1 therefore1 the interior of the vase appears always of the same depth4 ,some vases are made with a 8clip0 action in the lid1 so that by slightly turning round the knob on the top three projecting teeth of metal are made to tighten upon b1 and thus attach it to a1 a reverse movement of the knob again releasing it4 ,in this form of the apparatus the cover may be lifted by the knob only1 without the necessity of pressing on the sides--a very decided improvement4 ,the snuff-box vase may be used to cause the appearance1 disappearance1 or transformation of any article small enough to be contained in one of the boxes within4 ,thus1 in the case of the last trick1 the performer1 having secretly obtained possession of the borrowed watch1 may1 instead of using the loaf1 conclude the trick with good effect as follows3--,retiring for an instant in order to fetch the vase1 he places the watch in the small box contained in c4 ,returning1 he removes the cover only1 thus exposing the interior of b1 and requests one of the audience to examine and replace the small box therein contained4 ,the box is seen by all to be empty1 and1 being replaced1 the vase is again covered4 ,the operator now fires at the vase4 ,having done so1 he again brings it forward1 but this time removes b along with the cover4 ,the other box1 which the audience take to be the same1 is now exposed1 and1 on being examined1 is found to contain the restored watch4 ,if you do not happen to possess the watch-mortar or the magic pistol1 you may make the trick equally effective without them1 by using in their place the 8,demon ,handkerchief10 described at page #aie4 ,having borrowed the watch1 you place a substitute 7which you must have ready palmed7 under the handkerchief1 and give it to some one to hold4 ,then fetching the snuff-box vase 7and concealing the watch in c71 you exhibit and replace the empty box in b1 as above1 and place the vase on the table4 ,taking a corner of the handkerchief1 you request the person holding it to drop it when you count 8three40 ,then saying1 8,one1 two1 three4 ,pass60 you wave the handkerchief1 which appears to be empty1 and advancing to the table and uncovering the vase1 show that the watch is now in the box4 ,it is obvious that the snuff-box vase may equally well be used to produce the opposite effect--i4e41 after having openly placed a watch or other article in either of the boxes1 you may1 by exposing in turn the other box1 cause it to apparently disappear1 or in like manner make it apparently change to any article previously placed in the second box4 ,,the ,,watch ,,box4--,this is an oblong mahogany box--size1 four inches by three1 and two and a half deep4 ,to the eye of the uninitiated1 it is a simple wooden box1 with lock and key1 and padded within at top and bottom4 ,in reality1 however1 one of its sides is moveable1 working on a pivot4 7,see ,figs4 #ajc1 #ajd47 ,in its normal position1 the side in question is held fast by a catch projecting from the corresponding edge of the bottom of the box4 ,to release it1 pressure in two places is required--a pressure on the bottom of the box so as to lift the catch1 and a simultaneous pressure on the upper part of the moveable side of the box1 thus forcing the lower part outwards1 and allowing the watch or other article placed in the box1 to fall into the hand of the performer4 ,for this purpose the box is held as shown in ,fig4 #ajc4 ,illustration3 ,,fig4 #ajc4 ,,fig4 #ajd4 ,the manner of using the box is as follows3 ,a borrowed watch is placed in it1 the owner being requested1 in order to ensure its safe keeping1 himself to lock it up and keep the key4 ,the performer places the box on his table1 in full view1 but avails himself of the moment during which his back is turned to the audience to extract the watch1 as shown in ,fig4 #ajc1 and to again close the secret opening4 ,having thus gained possession of the watch1 he can conclude the trick by causing it to re-appear in the snuff-box vase1 or in any other way that he thinks proper4 ,there is an improved watch box1 the invention of the late ,m4 ,robert-,houdin1 which contains1 concealed in the lid1 a mechanical arrangement producing a ticking sound1 which may be set in motion and again stopped at the pleasure of the performer4 ,by using this box1 the watch may be heard apparently ticking inside until the very moment when it is commanded by the operator to pass to some other apparatus4 ,,the ,,watch ,,target4--,this is in appearance an ordinary-looking round target1 of about twelve inches in diameter1 and supported on an upright pillar4 ,it is painted in concentric circles1 and on the bull's-eye is fixed a little hook4 ,its use is as follows3 ,a watch having been borrowed1 and smashed to pieces or made to disappear altogether1 as before explained1 the performer brings forward the target1 which is either held by the assistant or placed upon the magician's table4 ,producing the magic pistol1 the performer proceeds to load it 7visibly or invisibly1 according to the circumstances of the trick7 with the borrowed watch or the fragments thereof4 ,then1 taking careful aim1 he fires at the target1 when the borrowed watch is seen to alight on the little hook already mentioned1 whence it is removed and handed to the owner4 ,a closer inspection of the target1 which is sometimes of wood1 but more often of tin1 japanned1 would disclose the fact that the bull's-eye is moveable1 revolving perpendicularly on its own axis4 ,it is coloured alike on both sides1 and each side is provided with such a hook as already mentioned1 so that whichever side of the bull's-eye is for the time being level with the face of the target1 no difference is perceptible to the spectator4 ,there is a little projecting pin1 or stop1 at one point of the diameter of the bull's-eye1 which prevents its making more than a half revolution1 and a little spiral spring1 attached to one of the two pivots on which it moves1 compels it to turn1 when at liberty1 always in one particular direction until stopped by the pin1 so that its normal condition is to have one particular side1 which we will call1 for greater clearness1 side a1 always turned towards the face of the target4 ,the bull's-eye may1 however1 be turned round1 so that the opposite side1 b1 is towards the face of the target1 and there is a little catch which retains it as so turned2 but the instant the catch is withdrawn1 the action of the spring makes it fly round again to its old position4 ,the catch is released by means of a stiff wire passing through the pillar on which the target rests1 and terminating in a round disc of metal in the foot4 ,the mode of connection between the wire and the catch varies according to the fancy of the maker2 but1 whatever this may be1 the catch is invariably released by an upward pressure of the disc from below4 ,if the target is held in the hand of the assistant1 this is effected by the direct pressure of the fingers2 but in stage performances1 where the target is placed on a table1 this1 as indeed almost every other mechanical piece1 is set in motion by the upward movement of a wire rod 7known as a piston71 made1 by the pulling of a string1 to rise through the upper surface of the table4 ,when the target is required for use1 the bull's-eye is twisted round1 so that the side a is turned towards the back1 and in this position it is fixed by the catch4 ,the borrowed watch is then hooked on the same side of the bull's eye4 ,the assistant1 in bringing forward the target1 takes care to keep the face turned towards the spectators1 so that the watch1 being behind1 is unseen4 ,at the moment of firing the pistol the disc is pressed upwards1 and the catch being thus withdrawn1 the bull's-eye instantly spins round1 and the side a1 on which is the watch1 takes the place of side b on the face of the target4 ,the movement is so instantaneous that the quickest eye cannot follow it1 and the explosion of the pistol at the same moment aids still further to baffle the vigilance of the spectators1 to whom it appears as if the borrowed watch had really passed from the pistol to the face of the target4 ,this forms an effective conclusion to the ,watch-,mortar ,trick1 the fragments 7supposed to be those of the borrowed watch7 being placed in the pistol1 and remaining there4 ,where the watch-box1 above described1 is used1 you merely go through the motion of taking the watch out1 invisibly1 through the top of the box1 and in like manner placing it in the pistol4 ,,the ,,mesmerised ,,watch4 ,,to ,,make ,,any ,,watch ,a ,,repeater4--,this is a trick which may be incidentally introduced with advantage in the course of any illusion in which a borrowed watch is employed4 ,the performer1 addressing the owner1 asks carelessly1 8,is this watch a repeater80 ,the answer is in the negative1 and the performer resumes1 8,would you like it to become a repeater8 ,i have only to mesmerise it a little40 ,so saying1 he makes pretended mesmeric passes over the watch1 every now and then holding it to his ear4 ,at last he says1 8,i think it will do now4 ,let us try40 ,taking the chain between his finger and thumb1 he lets the watch hang down at full length in front of him4 8,come1 watch1 oblige me by telling us the hour that last struck40 7,we will suppose that the time is twenty minutes to nine47 ,to the astonishment of all1 the watch chimes eight successive strokes1 with a clear bell-like tone4 8,now the last quarter40 ,the watch chimes 8two0 and stops4 8,you see1 sir1 that under the mesmeric influence your watch becomes a capital repeater4 ,let us test its intelligence still further4 ,here is a pack of cards2 will you oblige me by drawing one4 ,now1 watch1 tell me what card this gentleman has taken2 and answer in the proper spiritualistic fashion1 by three strokes for #8yes1' and one for #8no4' ,do you know the card80 ,the watch chimes thrice4 8,very good4 ,is it a club80 ,the watch chimes once4 8,is it a spade80 ,the watch again strikes once4 8,is it a heart80 ,the watch chimes three times4 8,the card is a heart1 is it8 ,now1 will you tell us what heart80 ,the watch chimes seven1 and stops4 8,the watch declares that your card was the seven of hearts1 sir4 ,is that so80 ,the card is turned1 and shown to have been correctly named4 ,another card 7say the queen of hearts7 is now drawn4 ,the watch names the suit as before1 but when ordered to name the particular card1 remains silent1 and the performer therefore puts further questions4 8,is the card a plain card80 ,answer1 8,no40 8,it is a court card1 is it8 ,well1 is it the knave80 ,answer1 8,no40 8,is it the queen80 8,yes40 ,other questions may in like manner be put1 e4g41 as to the number thrown by a pair of dice4 ,the watch is at any moment handed for inspection1 and if any suggestion of special mechanism be made1 a second watch is borrowed1 and mesmerised with the like result4 ,illustration3 ,,fig4 #aje4 ,the secret lies in the use of an ingenious little piece of apparatus1 which is placed in the waistcoat pocket of the performer1 and from which the sound proceeds4 ,this apparatus1 which is represented in ,fig4 #aje1 consists of a short brass cylinder 7about an inch and a quarter in depth1 and two inches in diameter71 containing a small clock-bell1 with the necessary striking mechanism1 which is wound up beforehand with a key1 after the manner of a watch4 ,this mechanism is set in motion by pressure on the button a1 the hammer continuing to strike as long as the pressure is continued1 but ceasing as soon as the pressure is removed4 ,the cylinder1 which is perforated all round1 in order to give free passage to the sound1 is placed upright in the left pocket of the performer's waistcoat1 which should be just so tight around the ribs that the mere expansion of the chest shall cause the necessary pressure against the button a1 the pressure ceasing when the chest is again contracted4 7,the placing of a playing-card in the pocket for a to rest against will be found to facilitate the arrangement47 ,this is the whole of the secret4 ,in working the trick the performer has only to take care to hold the watch in a tolerably straight line between the pocket and the audience1 when1 the line in which the sound travels being the same as if it actually came from the watch1 it will be almost impossible to detect the deception4 ,some performers1 instead of placing the apparatus in the pocket1 as above described1 hold it in the right hand 7the wand being held in the same hand7 and cause it to strike by the pressure of the fingers4 ,this is in one sense less effective1 inasmuch as you cannot show the hands empty1 but it is a very much more easy and certain method1 so far as the striking is concerned4 ,the striking apparatus is generally made to give from fifty to sixty strokes4 ,the performer must be careful not to prolong the trick until the whole are expended1 or the unexpected silence of the watch may place him in an embarrassing position4 ,it is hardly necessary to remark that the drawn cards are forced4 ,where the watch is made to disclose the numbers thrown by a pair of dice1 the dice are either loaded1 and thus bound to indicate certain given numbers1 or a box is used in which a pair of previously-arranged dice take the place1 to the eyes of the audience1 of the pair just thrown4 ,illustration ,,chapter ,x4 ,,tricks ,,with ,,rings4 ,,the ,,flying ,,ring4--,the majority of ring tricks depend upon the substitution at some period of the trick of a dummy ring for a borrowed one1 which must be so nearly alike as not to be distinguishable by the eye of the spectator4 ,this desideratum is secured by using wedding-rings1 which1 being always made plain1 are all sufficiently alike for this purpose4 ,you may account for your preference of wedding-rings by remarking that they are found to be imbued with a mesmeric virtue which renders them peculiarly suitable for magical experiments2 or give any other reason1 however absurd1 so long as it is sufficiently remote from the true one4 ,as1 however1 many ladies have a sort of superstitious objection to remove their wedding-rings1 even for a temporary purpose1 it will be well to provide yourself with an extra one of your own1 so as to meet a possible failure in borrowing4 ,there is a little appliance1 exceedingly simple in its character1 which may be used with advantage in many ring tricks4 ,it consists of a plain gold or gilt ring1 attached to a short piece of white or grey sewing-silk4 ,this again is attached to a piece of cord elastic1 fastened to the inside of the coat-sleeve of the performer1 in such manner that1 when the arm is allowed to hang down1 the ring falls about a couple of inches short of the edge of the cuff4 ,some1 in place of the elastic1 use a watch barrel1 attached in like manner2 but the cheaper apparatus1 if properly arranged1 is equally effective4 ,it is obvious that if a ring so prepared be taken in the fingers of the hand to whose sleeve it is attached1 it will1 on being released1 instantly fly up the sleeve4 ,this renders it a useful auxiliary in any trick in which the sudden disappearance of such a ring is an element1 and a little ingenuity will discover numerous modes of making it so available4 ,one of the simplest modes of using it is as follows3 ,producing a small piece of paper1 to which you direct particular attention1 you state that a wedding-ring wrapped up therein cannot be again extracted without your permission4 ,a wedding-ring is borrowed in order to test your assertion1 and you meanwhile get in readiness the flying ring1 which is attached1 we will suppose1 to your left sleeve4 ,receiving the borrowed ring in your right hand1 you apparently transfer it to the other hand 7really palming it between the second and third fingers1 and at the same moment exhibiting your own ring71 and immediately afterwards drop the borrowed ring into the pochette on that side4 ,you must take care so to stand that the back of your left hand may be towards the spectators1 that the thread1 lying along the inside of your hand1 may not be seen4 ,spreading the paper on the table1 and placing the ring upon it1 you fold the paper over it1 beginning with the side away from you1 and pressing it so as to show the shape of the ring through it4 ,as you fold down a second angle of the paper you release the ring1 which forthwith flies up your sleeve4 ,you continue to fold the paper1 and repeating your assertion that no one can take the ring out without your permission1 hand it to a spectator1 in order that he may make the attempt4 ,on opening the paper he finds that you were very safe in asserting that he could not take the ring out of it1 inasmuch as the ring is no longer in it4 ,having gained possession of the borrowed ring1 you may reproduce it in a variety of different ways1 according to your own fancy and invention4 ,for instance1 you may1 retiring for a moment1 bring forward the 8snuff-box vase0 described at page #bag1 meanwhile wrapping the ring in a piece of paper similar to that you have already used1 and placing it in one of the boxes contained in the vase4 ,bringing the vase forward to the audience1 you open it in such manner as to exhibit the other box1 in which1 after it has been duly examined1 you request one of the audience to place the empty paper4 ,closing the vase1 and placing it on the table1 you fire your pistol at it1 or merely touch it with your wand1 and order the ring to return to the paper4 ,you now open the vase at the compartment containing the first box4 ,drawing particular attention to the fact that you have not even touched the box1 you again offer it for inspection4 ,the folded paper1 which the audience take to be the same1 is duly found therein1 and1 on being opened1 is shown to contain the borrowed ring4 ,a similar effect1 on a smaller scale1 may be produced by privately placing the paper containing the ring in the inner compartment of the 8plug-box0 7described at page #aib71 and requesting one of the audience to place the original folded paper in the outer compartment4 ,,to ,,pass ,a ,,ring ,,from ,,the ,,one ,,hand ,,to ,,either ,,finger ,,of ,,the ,,other ,,hand4--,this is a very old and simple trick1 but it has puzzled many1 and comes in appropriately in this place1 as affording another illustration of the use of the 8flying ring40 ,the only additional preparation consists of a little hook1 such as is used to fasten ladies' dresses1 sewn to the trouser of the performer just level with the fingers of his right hand when hanging by his side1 but a little behind the thigh1 so as to be covered by the coat-tail4 ,borrowing a wedding-ring1 the performer receives it in his right hand1 immediately transferring it in appearance 7as in the last trick7 to his left hand4 ,showing in place of it the flying ring1 which is already in his left hand1 he drops the right hand to his side1 and slips the borrowed ring on the little hook4 ,then remarking1 8,you all see this ring1 which ,i have just borrowed4 ,i will make it invisibly pass to my right hand1 and on to whichever finger of that hand you may please to select40 ,here he waves his right hand with an indicative gesture1 thus indirectly showing that he has nothing therein1 and again lets the hand fall carelessly by his side4 ,as soon as the finger is chosen1 he slips the borrowed ring upon the end of that particular finger1 immediately closing the hand so as to conceal it1 and holds out the hand at arm's length in front of him4 ,then saying1 8,one1 two1 three6 ,pass60 he releases the flying ring1 and1 opening both hands1 shows that the left is empty1 and that the borrowed ring has passed to the selected finger of the right hand4 ,the hook may1 if preferred1 be dispensed with1 the ring being simply dropped into the pochette on the right side1 and again taken from thence when required4 ,,to ,,pass ,a ,,ring ,,through ,a ,,pocket-,,handkerchief4--,this is but a juvenile trick1 but we insert it for the sake of completeness4 ,it is performed by the aid of a piece of wire1 sharpened to a point at each end1 and bent into the form of a ring4 ,the performer1 having this palmed in his right hand1 borrows a wedding-ring and a handkerchief 7silk for preference74 ,holding the borrowed ring between the fingers of his right hand1 he throws the handkerchief over it1 and immediately seizes with the left hand1 through the handkerchief1 apparently the borrowed ring1 but really the sham ring1 which he adroitly substitutes4 ,he now requests one of the spectators to take hold of the ring in like manner1 taking care to make him hold it in such a way that he may not be able to feel the opening between the points1 which would betray the secret4 ,the ring being thus held1 and the handkerchief hanging down around it1 a second spectator is requested1 for greater security1 to tie a piece of tape or string tightly round the handkerchief an inch or two below the ring4 ,the performer then takes the handkerchief into his own hand1 and1 throwing the loose part of the handkerchief over his right hand1 so as to conceal his mode of operation1 slightly straightens the sham ring1 and works one of the points through the handkerchief1 so getting it out1 and rubbing the handkerchief with his finger and thumb in order to obliterate the hole made by the wire in its passage4 ,he now palms the sham ring1 and produces the real one1 which has all along remained in his right hand1 requesting the person who tied the knot to ascertain for himself that it has not been tampered with4 ,,to ,,pass ,a ,,ring ,,through ,,the ,,table4--,this also is a juvenile trick1 but a very good one4 ,the necessary apparatus consists of an ordinary glass tumbler1 and a handkerchief to the middle of which is attached1 by means of a piece of sewing-silk about four inches in length1 a substitute ring of your own4 ,borrowing a ring from one of the company1 you announce that it will at your command pass through the table2 but as the process1 being magical1 is necessarily invisible1 you must first cover it over4 ,holding the handkerchief by two of the corners1 you carelessly shake it out 7taking care to keep the side on which is the suspended ring towards yourself71 and wrapping in it apparently the borrowed1 but really the suspended ring1 you hand it to one of the company1 requesting him to grasp the ring through the handkerchief1 and to hold it securely4 ,a word of caution may here be given1 which will be found more or less applicable to all magical performances4 ,have the room in which you perform as brilliantly lighted as you please1 but take care so to arrange the lights1 or so to place yourself1 that all the lights may be in front of you1 and none behind you4 ,the trick we are now describing affords a practical illustration of the necessity for this4 ,if you have any light behind you1 the handkerchief1 as you shake it to show that it is not prepared1 will appear semi-transparent1 and the spectators will be able to see the suspended ring dangling behind it4 ,for a similar reason1 you should always endeavour to have a dark background for your performances1 as any thread1 or the like1 which you may have occasion to secretly use will then be invisible at a short distance1 while against a light background--e4g41 a muslin curtain or white wall-paper--it would be instantly noticeable4 ,but to return to our trick3 we left one of the spectators tightly holding the suspended ring1 covered by the folds of the handkerchief4 ,your next step is to request the audience to choose at what particular spot in the table the ring shall pass through it4 ,when they have made the selection1 you place the tumbler upon the spot chosen1 and request the person having charge of the ring to hold his hand immediately over the glass1 around which you drape the folds of the handkerchief4 8,now10 you say1 8will you be kind enough1 sir1 to drop the ring in the glass40 ,he lets go1 and the ring falls with an audible 8ting0 into the glass4 8,are you all satisfied10 you ask1 8that the ring is now in the glass80 ,the reply will generally be in the affirmative2 but1 if any one is sceptical1 you invite him to shake the glass1 still covered by the handkerchief1 when the ring is heard to rattle within it4 ,your next step is to borrow a hat1 which you take in the hand which still retains the genuine ring1 holding it in such manner that the tips of the fingers are just inside the hat1 the ring being concealed beneath them4 ,in this condition you can freely exhibit the inside of the hat1 which is seen to be perfectly empty4 ,you now place the hat under the table1 mouth upwards1 relaxing as you do so the pressure of the fingers1 and allowing the ring to slide gently down into the crown4 ,leaving the hat under the table1 which should be so placed that the spectators cannot1 as they stand or sit1 see quite into the crown1 you take hold of the extreme edge of the handkerchief1 and saying1 8,one1 two1 three6 ,pass60 jerk it away1 and request some one to pick up the hat1 and return the borrowed ring to the owner4 ,we have given the trick in its simplest form1 but it is obvious that it is capable of any amount of variation as regards the circumstances under which the vanished ring is again found4 ,the 8plug-box0 7page #aib7 or the 8nest of boxes0 7page #aig7 may be here made available1 the performer placing the ring where it is to be afterwards found1 during his momentary absence in search of the necessary apparatus4 ,,to ,,pass ,a ,,ring ,,invisibly ,,upon ,,the ,,middle ,,of ,a ,,wooden ,,wand1 ,,the ,,ends ,,being ,,held ,,by ,,two ,,of ,,the ,,spectators4--,in this trick1 the handkerchief prepared 7with the ring attached7 for the purpose of the last illusion may be again employed1 though some use for the present purpose a handkerchief with a ring stitched in one corner4 ,in our own opinion1 the suspended ring is preferable1 and we shall describe the trick accordingly4 ,the only other requisite will be the magic wand1 or any short stick or rod of such diameter that a finger-ring may slip easily upon it4 ,having borrowed a ring1 you proceed to wrap it 7in reality the substitute7 in the handkerchief1 and hand it to some one to hold4 ,the borrowed ring1 of course1 remains in your hand4 ,picking up with your other hand your wand1 you transfer it to the hand containing the ring4 ,taking hold of it by the extreme end1 you pass the ring over it1 which a very little practice will enable you to do without the smallest difficulty4 ,you then say1 8,i am about to order the ring which ,mr4 ,so-and-so is holding1 to leave the handkerchief1 and pass on to this wand4 ,for greater security1 ,i will ask two of the gentlemen present to hold the ends4 ,will some one volunteer for the purpose80 ,two candidates having come forward1 you place yourself facing the person who is holding the ring in the handkerchief1 at the same time sliding your hand with the ring to the centre of the wand1 and holding the latter in a horizontal position across your body4 ,you now invite the two volunteers each to take hold of one end1 pretending to be very particular that the wand should be perfectly horizontal1 this giving you an excuse for keeping your hand upon it1 sliding it backwards and forwards1 and raising now one end1 now the other1 till the level is such as to satisfy your correct eye4 ,when at last you are satisfied1 you ask the person in charge of the ring to step forward1 so as to bring it immediately above the wand1 over which you immediately spread the pocket-handkerchief1 letting the edges fall on either side of the wand4 ,as soon as the wand is covered1 you can of course remove your hand4 ,then1 taking hold of one corner of the handkerchief1 you request the holder of the ring to let go at the word 8,three10 and saying1 8,one1 two1 three--,pass60 draw away the handkerchief sharply1 which1 brushing against the genuine ring1 will set it revolving rapidly1 as though it had just passed on to the wand4 ,some professors introduce the 8flying ring0 in the performance of this trick1 thus dispensing altogether with the handkerchief4 ,the slight variations in working thereby rendered necessary will readily suggest themselves without further explanation4 ,,the ,,magic ,,ball ,,and ,,rings4--,this is a recent improvement on the trick last described4 ,the performer borrows three rings1 which in this instance1 as the trick does not depend upon a substitution1 may be of any pattern4 ,they should not1 however1 be too large1 for which reason ladies' rings are preferable4 ,these he places1 or requests the owners to place1 in the 8,davenport cabinet0 7see page #aie71 the 8watch-box0 7see page #bai71 or any other apparatus which will enable him secretly to get possession of them4 ,he then brings in and hands for inspection an ebony ball1 an inch and a half to two inches in diameter 7through which is bored a hole of three-eighths of an inch in diameter71 and a brass rod about two feet in length1 with a knob at each end1 and of such a thickness as to pass freely through the ball4 ,both are closely scrutinized1 and admitted to be fair and solid4 ,in sight of all he unscrews one of the knobs1 and places the ball upon the rod1 throwing a handkerchief over it1 and requesting two of the audience to hold the ends4 ,passing his hand under the handkerchief1 he orders the ball to drop into his hand1 when his command is instantly obeyed4 ,he next orders the rings to pass from the cabinet1 and to take the place of the ball on the brass rod4 ,on removing the handkerchief1 the rings are seen on the rod1 and the cabinet1 on examination1 is found empty4 ,illustration3 ,,fig4 #ajf4 ,the secret consists in the use of two balls1 one of which 7that handed round for inspection7 has no speciality4 ,the other is divided into two parts1 the section being vertically through the bore4 7,see ,fig4 #ajf47 ,these two parts fit closely together1 and being 7as is also the solid ball7 carved in concentric circles parallel to the opening1 the division is not readily noticeable4 ,the two halves1 a and b1 are hollowed out to contain the rings1 each having three slots or mortices cut at right angles to the direction of the hole through the ball4 ,when the performer retires to fetch the ball and rod1 he places the borrowed rings in these slots4 ,when the two halves of the ball are brought together1 the rings will encircle the hole through the centre1 and the rod1 when passed through the ball1 will pass through the rings also4 ,the performer places the trick ball1 thus prepared1 under his waistband1 or in one of his pochettes1 and1 returning1 hands for inspection the brass rod and the solid ball4 ,while these are being examined1 he palms the trick ball1 and in passing over the rod apparently the ball which has just been examined1 adroitly substitutes that which contains the rings4 ,after having thrown the handkerchief over the rod1 he passes under it his hand1 still containing the solid ball4 ,it is an easy matter to pull asunder the hollow ball1 and this in turn is palmed1 and the solid ball passed to the end of the fingers1 before the performer1 again uncovering his hand1 which he brings out palm downward1 carelessly throws down the solid ball1 as being that which he has just taken off the rod4 ,this is the only part of the trick which requires any special dexterity1 and any difficulty which may be at first found will quickly disappear with a little practice4 ,when the ball comes apart1 the rings are1 of course1 left on the rod4 ,a further improvement may be made in the trick by using a sword with a rapier blade in place of the brass rod4 ,the trick is not only more effective in appearance1 as the sword appears to cut through the ball1 but the tapering shape of the blade makes the trick much easier to perform1 as you have only to draw the ball down towards the hilt1 when the swell of the blade will force the two halves of the ball apart1 leaving them naturally in your hand4 ,it is best in this case simultaneously to let the solid ball drop from your palm to the floor4 ,this draws all eyes downwards1 and gives you ample opportunity to drop the halves of the trick ball into your secret pocket4 ,in this form of the trick you1 of course1 hold the sword yourself in the ordinary manner1 and you may1 if you prefer it1 dispense with the handkerchief1 using your hand only to mask the operation1 at once stepping forward1 as the ball drops to the ground1 and saying1 8,will the owners be kind enough to identify their rings80 ,,to ,,pass ,a ,,borrowed ,,ring ,,into ,,an ,,egg4--,this is an effective conclusion to a ring trick4 ,the necessary apparatus consists of two wooden egg-cups1 inside one of which1 at the bottom1 is cut a mortice or slot just large enough to receive one-half the circumference of a lady's ring1 and to hold it in an upright position4 ,the second egg-cup has no speciality1 being1 in fact1 merely a dummy1 designed to be handed to the audience for inspection4 ,an ordinary button-hook1 or a piece of wire bent into the shape of a button-hook1 completes the preparations4 ,we will assume that the performer has1 in the course of one or other of the tricks already described1 secretly obtained possession of a borrowed ring1 which the audience believe still to remain in some place or apparatus in which they have seen it deposited4 ,the operator1 retiring for an instant1 returns with a plate of eggs in one hand1 and the dummy egg-cup in the other4 ,the special egg-cup1 with the ring already in the mortice1 is meanwhile placed either under his waistband1 or in one or other of his pochettes1 so as to be instantly get-at-able when required4 ,placing the eggs on the table1 he hands round the egg-cup for inspection1 that all may observe that it is wholly without preparation1 and in turning to place the egg-cup on the table1 he substitutes for it the one which contains the ring1 but which the audience naturally believe to be that which they have just examined4 ,bringing forward the plate of eggs1 the performer requests the company to choose whichever they please4 ,while they are making their selection1 he carefully turns back his sleeves1 showing indirectly that his hands are empty4 ,taking the chosen egg with the tips of his fingers1 and showing it on all sides1 to prove that there is no preparation about it1 he says1 8,now1 ladies and gentlemen1 you have seen me place the ring which this lady has kindly lent me in #8so-and-so'0 7according to the place where it is supposed to be74 8,you have selected1 of your own free choice1 this particular egg among half-a-dozen others4 ,i am about to command the ring to leave the place where it now is1 and to pass into the very centre of this egg4 ,if you think the egg is prepared in any way1 it is open to you even now to choose another4 ,you are all satisfied that the egg has not been tampered with8 ,well1 then1 just observe still that ,i have nothing in my hands4 ,i have merely to say1 #8,one1 two1 three6 ,pass6' ,the ring is now in the egg40 ,at the word1 8,pass10 the performer taps one end of the egg with his wand1 just hard enough to crack it slightly4 8,dear me10 he says2 8,i did not intend to hit quite so hard2 but it is of no consequence40 ,stepping to the table1 he places the egg1 with the cracked end downwards1 in the prepared egg-cup1 using just sufficient pressure to force the egg well down upon the ring1 the projecting portion of which is thereby forced into the egg4 ,the egg being already cracked1 a very slight pressure is sufficient4 ,bringing forward the egg in the cup1 the hook already mentioned1 and a table-napkin1 he taps the top of the egg smartly with his wand1 so as to crack it1 and1 offering the hook to the owner of the ring1 requests her to see whether her property is not in the egg4 ,the ring is immediately fished out1 and being wiped upon the napkin1 is recognized as that which was borrowed4 ,the apparatus in which it was originally placed is1 on being examined1 found empty4 ,,the ,,magic ,,rose4--,this little apparatus affords the means for a graceful termination of a ring trick4 ,a ring having been made to disappear in any of the modes before described1 the operator1 retiring for a moment1 returns with a rose-bud in his hand4 ,advancing to the owner of the ring1 he requests her to breathe on the flower4 ,as she does so1 the bud is seen slowly to open1 and in the centre of the new-blown flower is found the missing article4 ,the idea of the flower1 warmed into bloom under a fair lady's breath1 is so poetical that it seems quite a pity to be obliged to confess that the rose is an artificial one1 made chiefly of tin1 and that its petals1 normally held open by the action of a spring1 are1 when the flower is first brought on1 kept closed by a sliding ring or collar upon the stalk1 again re-opening as this collar is drawn back by the magician's fingers4 ,illustration ,,chapter ,,xi4 ,,tricks ,,with ,,handkerchiefs4 ,we have already discussed a good many tricks in which handkerchiefs are employed in one way or another4 ,the present chapter will be devoted to those feats in which the handkerchief forms the sole or principal object of the illusion4 ,where practicable1 the handkerchief used should always be a borrowed one 7so as to exclude the idea of preparation72 and in borrowing it will occasionally be necessary to use a little tact in order to make certain of getting the right article for your purpose1 without admitting1 by asking specially for any particular kind of handkerchief1 the limited extent of your powers4 ,thus1 whenever the trick depends upon the substitution of a handkerchief of your own1 it is necessary that the borrowed handkerchief should be of a plain white1 so as not to have too marked an individuality1 and of a small size1 so as to be easily palmed or otherwise concealed4 ,these desiderata you may secure1 without disclosing that they are desiderata1 by asking if a lady will oblige you with a handkerchief1 ladies' handkerchiefs being invariably white1 and of small size4 ,if a lace handkerchief 7which would be inconveniently distinguishable from your substitute7 is offered1 you may pretend to fear the risk of injuring the lace1 and on that account to prefer a less valuable article4 ,in 8knot0 tricks1 on the contrary1 you should1 if possible1 use a silk handkerchief1 which1 from its softer nature1 will be found more tractable than cambric4 ,we will begin by describing a couple of little 8flourishes10 which may be incidentally introduced in the performance of more ambitious tricks1 and which will sometimes be found useful in occupying the attention of the audience for a moment or two while some necessary arrangement is being made behind the scenes for the purpose of the principal illusion4 ,the first we will call-- ,illustration3 ,,fig4 #ajg4 ,,the ,,handkerchief ,,that ,,cannot ,,be ,,tied ,,in ,a ,,knot4--,the performer1 having borrowed a handkerchief1 pulls it this way and that1 as if to ascertain its fitness for the purpose of the trick4 ,finally twisting the handkerchief into a sort of loose rope1 he throws the two ends one over the other1 as in the ordinary mode of tying1 and pulls smartly2 but instead of a knot appearing1 as would naturally be expected1 in the middle of the handkerchief1 it is pulled out quite straight4 8,this is a very curious handkerchief10 he remarks2 8,i can't make a knot in it40 ,the process is again and again repeated1 but always with the same result4 ,the secret is as follows3--,the performer1 before pulling the knot tight1 slips his left thumb1 as shown in ,fig4 #ajg1 beneath such portion of the 8tie0 as is a continuation of the end held in the same hand4 ,the necessary arrangement of the hands and handkerchief1 though difficult to explain in writing1 will be found quite clear upon a careful examination of the figure4 ,,the ,,handkerchief ,,that ,,will ,,not ,,burn4--,this may be used either separately or in conjunction with the foregoing4 ,the performer1 taking the handkerchief1 asks if it will burn4 ,the owner naturally answers that she has no doubt it will4 8,suppose we try10 says the performer2 and taking the handkerchief by two of its corners1 he draws it three or four times obliquely upwards across the flame of a lighted candle1 without its receiving the slightest injury4 ,there is really no mystery whatever about this1 although1 to those who have never tried it1 it appears very surprising1 and the spectators are generally persuaded that you have somehow substituted another handkerchief1 made incombustible by chemical means4 ,the performer has only to take care not to allow the handkerchief to rest motionless while in contact with the flame4 ,in the act of drawing the handkerchief over the candle1 the contact of any given part with the flame is so momentary1 that it is barely warmed in its passage4 ,you must1 however1 take care not to attempt this trick with a handkerchief which has been scented1 as any remains of spirit about it would cause it to ignite instantly1 and place you in a rather awkward position4 ,where a substitute handkerchief has to be burnt in the course of a trick1 it is by no means a bad plan to exhibit with the substitute 7which the audience take to be the original7 this phenomenon of supposed incombustibility1 and appearing to grow careless from repeated success1 at last to allow the handkerchief to catch fire4 ,if you can by such means induce the audience to believe1 for the time being1 that the burning was an accident1 you will the more astonish them by the subsequent restoration4 ,,the ,,vanishing ,,knots4--,for this trick you must use a silk handkerchief4 ,twisting it rope-fashion1 and grasping it by the middle with both hands1 you request one of the spectators to tie the two ends together4 ,he does so1 but you tell him that he has not tied them half tight enough1 and you yourself pull them still tighter4 ,a second and a third knot are made in the same way1 the handkerchief being drawn tighter by yourself after each knot is made4 ,finally1 taking the handkerchief1 and covering the knots with the loose part1 you hand it to some one to hold4 ,breathing on it1 you request him to shake out the handkerchief1 when all the knots are found to have disappeared4 ,when the performer apparently tightens the knot1 he in reality only strains one end of the handkerchief1 grasping it above and below the knot4 ,this pulls that end of the handkerchief out of its twisted condition in the knot into a straight line1 round which the other end of the handkerchief remains twisted2 in other words1 converts the knot into a slip-knot4 ,after each successive knot he still straightens this same end of the handkerchief4 ,this end1 being thus made straight1 would naturally be left longer than the other which is twisted round and round it4 ,this tendency the performer counteracts by drawing it partially back through the slip-knot at each pretended tightening4 ,when he finally covers over the knots1 which he does with the left hand1 he holds the straightened portion of the handkerchief1 immediately behind the knots1 between the first finger and thumb of the right hand1 and therewith1 in the act of covering over the knots1 draws this straightened portion completely out of the slip-knot4 ,some performers 7among whom we may mention ,herrmann7 make this feat still more effective by borrowing half-a-dozen handkerchiefs1 and allowing them all to be tied end to end by the spectators4 ,after each knot the professor pretends to examine it1 asking1 8,what kind of a knot do you call this1 sir80 and meanwhile pulls it into the required condition4 ,the joined handkerchiefs are then placed one upon the other on a chair or in a hat1 and are immediately afterwards shown to be separate4 ,the student must be on his guard against one particular kind of knot1 which cannot be pulled into the condition above-named4 ,we allude to the very common mode of tying1 in which the two ends to be tied are placed side by side1 and tied simultaneously in a single knot4 ,the employment of this kind of knot may generally be avoided by holding the two ends to be tied at a tolerably wide angle1 so that they cannot very well be drawn parallel4 ,if1 however1 a spectator appears determined to tie this particular knot1 it is better to allow him to do so1 and then remark1 8,as the knots are tied by yourselves1 ladies and gentlemen1 you can have little doubt that they are all fair4 ,however1 for the greater satisfaction of all present1 ,i will ask some gentleman to be good enough to untie one of them1 which will give a fair criterion of the time it would take1 in a natural way1 to get rid of the remainder40 ,so saying1 you hand the knot in question to be untied1 and in subsequently giving the ends to be again joined1 select a more accommodating person to tie them4 ,as the tricks which follow mainly depend upon the substitution of a second handkerchief1 we shall in the first place describe two or three modes of effecting the necessary exchange1 with and without the aid of apparatus4 ,,to ,,exchange ,a ,,borrowed ,,handkerchief ,,for ,a ,,substitute4--,have the substitute handkerchief tucked under your waistcoat1 at the left side1 so as to be out of sight1 but within easy reach of your hand4 ,receive the borrowed handkerchief in your right hand1 and as you #8left wheel' to your table to place it thereon1 tuck it under your waistband on the right side1 and at the same moment pull out with the other hand the substitute1 and throw the latter on the table4 ,the substitute handkerchief 7which the audience take to be the real one7 being thus left in full view1 you may1 without exciting any suspicion1 retire with the genuine one1 and dispose of it as may be necessary for the purpose of your trick4 ,you may1 however1 sometimes desire merely to gain possession of a borrowed handkerchief1 or to place it within reach of your assistant1 without yourself leaving the apartment4 ,in this case the substitute may be placed as before1 but on your right side4 ,receiving the borrowed handkerchief in your right hand1 you hold it loosely hanging down between the second and third1 or third and fourth fingers4 ,this leaves the thumb and first finger free1 and with these you quickly pull down1 as you turn to go to your table1 the substitute4 ,you thus have both handkerchiefs held openly in the same hand2 but both being of like appearance1 the audience take them to be one only4 ,passing behind your table1 you let fall the borrowed handkerchief upon the servante1 and throw the substitute upon the table4 ,a very audacious and generally successful mode of effecting the change is as follows3 ,taking the handkerchief1 and pressing it into a moderately small compass1 the performer says1 8,now ,i am going to make this handkerchief disappear4 ,there are plenty of ways of doing it4 ,i'll show you one or two4 ,this is ,professor ,de ,jones's method4 ,he just turns round1 so1 to put the handkerchief on the table0 7performer turns accordingly71 8but meanwhile the handkerchief is gone4 ,ah1 you were too sharp for me6 ,you saw me poke it up my sleeve8 ,quite right1 here it is4 ,i see ,professor ,de ,jones's method wouldn't have any chance with you4 ,this is ,professor ,de ,smith's method40 ,he turns as before4 8,the handkerchief is gone again4 ,not far1 though1 for here it is0 7turning back breast of coat and showing handkerchief74 8,professor ,de ,robinson does it like this40 7,he turns away for an instant1 and tucks handkerchief under waistband47 8,here it is1 you see1 under the waistcoat40 7,pulls it out again47 8,now1 you may very well imagine that1 if ,i had intended to have used any of these methods myself1 ,i shouldn't have explained them4 ,you will find that my plan is quite a different one4 ,when ,i want to get rid of a handkerchief1 ,i just take it to the candle1 and set it on fire1 so0 7holds handkerchief over candle1 and sets light to it72 or1 8,i place it in such and such a piece of apparatus10 etc41 etc4 ,on the first two occasions of showing where the handkerchief is placed1 the performer really does exhibit the genuine article2 but at the third pretended feint1 though he really does tuck it under his waistband1 he pulls out again1 not the same handkerchief1 but a substitute1 placed there beforehand4 ,the action is so natural1 and so much in harmony with his previous acts1 that not one in a hundred will suspect that he has thereby really changed the handkerchief4 ,the mode of exchange last described1 ingenious as it is1 has one serious drawback--viz41 that it gives the audience a clue which it is better that they should not have1 and suggests suspicions and conjectures which1 but for such a clue1 they would never have thought of4 ,to an acute mind1 even such a slight hint as this will suggest enough to destroy half the effect of any subsequent trick in which a similar process of disappearance or exchange is employed1 and even in the case of less intelligent spectators it will tend to diminish the prestige of the performer1 by showing by what shallow artifices an illusion may be produced4 ,there are two or three pieces of apparatus for effecting the exchange of a handkerchief by mechanical means4 ,a very good one is that known as 8,the ,washerwoman's ,bottle10 in conjunction with which we will take the opportunity of describing the very effective trick known as ,,the ,,locked ,,and ,,corded ,,box4--,the 8,washerwoman's ,bottle0 is a simple and inexpensive piece of apparatus1 of frequent use in handkerchief tricks4 ,in appearance it is an ordinary black bottle1 save that it has a rather shorter neck and wider mouth than the generality of such vessels4 ,in reality it is made of tin1 japanned black1 and is divided by a vertical partition1 commencing just below the mouth1 into two compartments4 ,one of these has a bottom1 but the other has none1 forming1 in fact1 a mere passage through the bottle4 ,in the bottomed compartment is placed beforehand a piece of cambric1 or dummy handkerchief1 also about a glassful of port wine1 or some other liquor of similar colour4 ,the performer borrows a lady's handkerchief4 ,pretending that he is obliged to fetch some other article for the purpose of the trick1 he says1 as if struck by a sudden thought1 8,but ,i mustn't run away with the handkerchief1 or you might fancy that ,i had tampered with it in some way4 ,where shall ,i put it8 ,ah6 the very thing4 ,here's a bottle belonging to my washerwoman1 which she left behind her the last time she came4 ,it's sure to be clean1 for she is a most particular old lady4 ,we often hear of a lady carrying a bottle in her handkerchief1 why not a handkerchief in a bottle8 ,first1 madam1 please see that ,i have not exchanged the handkerchief4 ,right1 is it8 ,well1 then1 here goes for the bottle40 ,standing behind his table1 in full view of the spectators1 he stuffs the borrowed handkerchief into the bottle1 ramming it down with his wand4 ,in so doing1 he grasps the bottle with his left hand around its base1 which he rests on the edge of the table nearest to himself1 in such manner that about half the bottom projects over the edge4 ,when he places the handkerchief in the bottle1 he places it in the open compartment1 and pushes it with his wand right through the bottle into his left hand1 if he desires to obtain personal possession of it1 or lets it fall on the servante1 if it is to be carried off by his assistant4 ,we will assume1 for our present purpose1 that he simply pushes it into his left hand1 whence it is easy to get rid of it into the pochette on the same side4 ,he now places the bottle in the centre of the table1 but in doing so hears1 or pretends to hear1 a sound of liquid therein4 8,i hope the bottle was empty10 he remarks1 8,i never thought about that40 ,he shakes the bottle1 and the liquid therein is distinctly audible4 8,good gracious60 he exclaims1 8,i'm afraid ,i have ruined the handkerchief40 ,he now pours the liquid into a glass1 and then1 putting his fingers inside the bottle1 he pulls out the prepared piece of cambric1 which1 of course1 is wet and stained4 ,leaving it hanging from the neck of the bottle1 he advances to the owner1 and expresses his regret at the accident2 but the audience1 who begin to suspect that the pretended mistake is really a part of the trick1 insist that the handkerchief shall be restored in its original condition4 ,the performer feigns embarrassment1 but at last says1 8,well1 ladies and gentlemen1 ,i cannot dispute the justice of your observations4 ,the handkerchief certainly ought to be returned clean as at first1 and as my washerwoman has been the cause of the mischief1 she is the proper person to repair it4 ,will you excuse my stopping the entertainment for an hour or two1 while ,i go to fetch her8 ,you object to the delay8 ,well1 then1 ,i will bring her here by spiritualistic means1 la ,mrs4 ,guppy4 ,pardon me one moment40 ,he retires1 and returns with a square box and the magic pistol4 ,placing the box on the table1 and making a few mysterious passes over it with his wand1 he says1 in his deepest tones1 8,spirit of ,mrs4 ,tubbs1 ,i command you to pass into this box1 there to remain until you have repaired the damage which your carelessness has caused40 ,then taking the saturated cambric from the bottle1 he crams it into the pistol1 and1 retiring to the farthest portion of the stage1 fires at the box4 ,laying down the pistol1 and taking up the box1 he advances to the owner of the handkerchief1 and1 offering her the key1 begs her to unlock it4 ,she does so1 expecting to find her handkerchief1 but finds instead a second box4 ,this1 and four or five others in succession1 are opened1 and in the innermost is found the handkerchief1 folded and ironed1 as if newly returned from the wash4 ,with the reader's present knowledge1 it would be almost superfluous to tell him that the operator avails himself of his momentary absence to damp and fold the handkerchief1 and to press it with a cold iron4 7,if a hot one can be obtained1 so much the better1 but there is no absolute necessity for it47 ,having done this1 he places it in the square nest of boxes 7see page #aig71 and closing them returns to the audience4 ,the magic pistol has already been described 7page #baf74 ,where an assistant is employed1 the performer merely pushes the handkerchief through the bottle on to the servante1 as already mentioned1 and the assistant1 passing behind the table on some pretext or other1 carries it off1 and places it in the nest of boxes1 while the audience are occupied by the pretended discovery of wine in the bottle4 ,the trick in this form appears even more surprising1 inasmuch as the performer does not leave the stage at all1 and the box is brought in and placed on the table by a person who1 to all appearance1 has never had the handkerchief1 even for a moment1 in his possession4 ,in order still further to heighten the effect of the trick1 the handkerchief is sometimes caused to reappear in the innermost of a nest of boxes which has throughout the entertainment been hung up in full view of the audience1 and the outermost of which is carefully corded and sealed4 ,the performer in this case1 after firing at the supposed box 7for the audience are1 of course1 ignorant that there are more than one71 directs his assistant to take it down from its elevated position1 and to place it on the table4 ,cutting the cords1 and opening the box1 he produces from it another1 corded like the first4 ,from this second box1 he produces another smaller box1 of an ornamental character 7the square nest of boxes above mentioned74 ,this he hands to the owner of the handkerchief1 with a request that she will open it1 and the result is as already described4 ,the trick in this form is one of the very best exhibited on the stage1 and yet1 as indeed are most of the best feats1 it is performed by the simplest possible means4 ,the outer box is an ordinary deal box1 bon fide sealed and corded1 but the second1 though equally genuine in appearance1 has no bottom1 and the cord1 though apparently quite complete1 does not cross beneath the box1 which is1 in fact1 nothing more than a wooden shell1 or cover1 with a lid to it4 ,when the performer takes out this second box and places it on the table1 he tilts it forward for a moment1 and in that moment slips the nest of boxes 7which is placed in readiness on the servante71 underneath it1 immediately afterwards raising the lid1 and taking out the nest1 as if it had all along been contained therein4 ,it only remains to explain the mode by which the nest of boxes1 with the handkerchief therein1 is placed upon the servante4 ,some performers employ the rather too transparent expedient of making the assistant bring in1 then and there1 a small round table1 behind which1 on a servante of its own1 is placed the closed nest of boxes4 ,a better plan1 where the size of the nest permits1 is to have it placed open1 before the performance commences1 on the servante of the centre table4 ,it is then an easy matter for the performer or his assistant 7as the case may be7 to slip in the folded handkerchief1 and close the boxes1 the remainder of the trick proceeding as already described4 ,some performers use for the purpose of this trick a special mechanical table1 which1 by means of a lifting apparatus1 itself introduces the nest of boxes through a trap into the bottomless box1 without the necessity of tilting the latter4 ,illustration3 ,,fig4 #ajh4 ,,the ,,reversible ,,canister4--,this is another piece of apparatus more particularly designed for changing a handkerchief1 though equally available for many other exchanges4 ,in appearance it is an ordinary cylindrical canister1 closed with a cap1 and similar in shape to those in which tea is kept1 but of smaller size1 being only five to six inches in height4 ,in reality1 however1 that which appears to be the body of the canister is a mere tube1 within which slides up and down an inner canister1 which is made double-headed1 i4e41 like two shallow canisters placed bottom to bottom4 7,see ,fig4 #ajh47 ,the pattern of the outer tube is alike at top and bottom1 so that whether the combined canister is as shown in the figure1 with compartment a uppermost1 or turned upside down1 with compartment b pushed into view1 the appearance to the eye of the spectator is the same4 ,the canister is prepared by placing beforehand in one or other of the compartments1 say b1 a piece of cambric1 as much like a lady's handkerchief as possible4 ,compartment a is then pushed upwards1 as shown in the figure4 ,borrowing a handkerchief1 the performer requests the owner to place it for safe keeping in the canister1 which he brings forward for that purpose4 ,as he turns to replace it on the table1 he takes advantage of the moment during which his back is towards the spectators to push down a 7thus pushing out b at the opposite end of the tube71 and at the same time to turn over the canister1 which1 when placed on the table1 will still look as shown in the figure1 but will have1 in reality1 b uppermost4 ,presently taking out the prepared cambric1 which the spectators take to be the handkerchief1 he burns or otherwise disposes of it1 to be subsequently reproduced by the simple process of again reversing the canister4 ,this is a simple and inexpensive piece of apparatus1 but it will not bear examination1 and the process of reversing is a little awkward4 ,for these reasons it is rarely employed by professional performers1 who for the same purpose more generally use what is known as ,,the ,,burning ,,globe4--,this is a hollow brass globe of four to six inches in diameter1 mounted on a foot of about the same height1 and surmounted by a cap or lid1 so that it forms1 in fact1 a spherical canister4 ,a raised band1 also of brass1 passes horizontally round the globe2 and this1 which is apparently a mere ornament1 is really designed to conceal the fact that the globe is divided into two separate hemispheres1 revolving one upon the other4 ,within this external globe is an inner one1 divided into two compartments1 each having a separate opening1 and so contrived that each of these openings in turn is made to correspond with the opening of the external globe1 according as the upper hemisphere of the latter is moved round from right to left1 or vice vers4 ,the globe is1 like the canister1 prepared by placing a substitute handkerchief1 or piece of cambric1 in one or other of the inner compartments1 and then bringing the other compartment into correspondence with the external opening4 ,a borrowed handkerchief being openly placed in the empty compartment1 the performer1 by merely giving a half turn to the foot of the apparatus1 brings the compartment containing the substitute uppermost1 the action being so little noticeable that it may be used with impunity before the very eyes of the audience4 ,,the ,,transformed ,,handkerchief4--,this is one of ,herrmann's favourite tricks1 and affords a very good example of his style of working4 ,the performer comes forward1 requesting the loan of a lady's handkerchief4 ,while it is being procured1 he produces from the hair or whiskers of one of the spectators a lemon1 which he carelessly thrusts under somebody's nose in order to prove its genuineness4 7,this lemon1 which1 of course1 was palmed1 is a prepared one1 from which the pulp has been scooped out1 and which contains a substitute handkerchief1 so cannot be handed for examination47 ,turning for an instant towards the stage1 he tosses the lemon to his assistant1 who catches it1 and places it on the table4 ,the momentary turn from the audience enables him to get from under his waistband1 and to palm1 a little bundle of pieces of cambric1 each about four inches square4 ,taking the borrowed handkerchief1 he rolls it into a ball between his hands1 and hands it 7apparently7 to some one to hold1 in reality substituting the torn pieces of cambric4 ,he then turns1 and takes a few paces towards his table1 meanwhile tucking the handkerchief under his waistcoat1 and taking therefrom in place of it a strip of cambric1 about four or five feet long and four inches wide1 rolled up into a small compass4 ,this he palms4 ,suddenly turning back1 he exclaims1 8,my dear sir1 what are you doing with that handkerchief8 ,i never told you to do that60 ,the innocent holder looks up in astonishment1 but the performer continues1 8,will you have the kindness to open the handkerchief80 ,he does so1 and finds it in pieces4 ,after a little chaff about making him pay for the damage1 the performer says1 8,well1 ,i suppose ,i must show you how to restore it40 ,here he again takes the pieces1 and folds them together1 saying1 8,see1 you must take them as ,i do1 and rub them very gently with the left hand40 ,substituting the prepared slip1 he hands it to him2 but1 when he begins to rub1 exclaims again1 8,dear me1 dear me6 what are you doing now8 ,i told you the left hand4 ,you are making matters worse than ever40 ,the handkerchief is now found in a long strip4 ,the performer endeavours to induce the owner to accept it in this shape1 which he assures her is the newest style2 but she naturally objects1 and begs that it may be restored to its original condition4 ,for that purpose1 the performer1 rolling the slip into a ball1 places it in his magic pistol 7see page #bae71 and rams it down with his wand4 ,appearing to reflect for a moment1 he says1 8,where shall ,i fire it8 ,ah6 suppose ,i aim at that lemon on the table80 8,bang60 goes the pistol1 and the performer1 taking a knife1 cuts the lemon all round 7flinging the rind carelessly on the stage71 and produces the substitute handkerchief 7professedly the original74 ,he comes forward to the audience with it1 and1 after thanking the owner1 makes a gesture of returning it2 but1 as if struck by a sudden thought1 checks himself1 and says1 8,i'm afraid it smells rather strong of the lemon4 ,will you allow me to scent it for you8 ,i have some capital ,eau de ,cologne here40 ,going back to his table1 he places the handkerchief on a plate1 and pours scent on it1 turning as he does so to the owner1 and saying1 8,please tell me when you think there is enough40 ,while his back is turned1 the attendant1 who has been standing by holding a lighted candle1 with a mischievous wink at the company1 tilts the candle1 and sets the handkerchief on fire4 ,the performer apologizes for his assistant's stupidity1 but appeals to the company to bear witness that it was no fault of his1 and bringing forward the plate1 with the handkerchief still blazing1 offers it to the owner4 ,she1 of course1 declines to take it1 and the performer1 remarking1 8,you don't like it in this condition2 well1 then1 suppose ,i put it in paper for you10 places the plate on the floor1 telling the assistant to put it on the table1 and runs off to get the paper4 ,the attendant tries to lift off the plate1 but finds that it burns his fingers4 ,however1 after several attempts1 getting the plate a little nearer to the table at each1 he manages to place it on the table4 ,this little by-play amuses the audience1 and gives the performer the few moments which he requires for his preparations behind the scenes4 ,coming forward with a sheet of clean white paper1 he wraps therein the still blazing handkerchief1 crushing it together so as to extinguish the flames4 ,he offers the packet so made to the lady1 who1 believing that it contains nothing but ashes1 declines to receive it1 when the professor1 tearing the paper apart1 pulls out the handkerchief perfectly restored1 while the burnt fragments have vanished4 ,the effect last mentioned is produced by the use of a double paper1 pasted together round three of its sides1 and thus forming a kind of bag in the centre4 ,in this bag the performer1 during his momentary absence from the stage1 places the genuine handkerchief1 folded so as to occupy as little space as possible4 ,the handkerchief1 therefore1 lies between the two thicknesses of the paper1 and when the rolled up packet is torn open from outside1 may be removed without disturbing the burnt fragments1 which still remain inside the paper4 ,where it is necessary1 as for the purpose of this trick1 to introduce some article into a lemon1 the necessary preparation should be made as follows3--,a lemon with a thick hard rind should be selected1 and a plug-shaped piece1 about an inch and a half in diameter1 should be scooped with a sharp knife out of one end4 ,the pulp may now be removed1 leaving the rind a mere shell1 while the piece originally cut out will form a kind of stopper1 which may be secured in its place by thrusting a hair-pin or piece of wire through the fruit and plug from side to side1 and nipping off the ends flush with the outer surface4 ,when the performer exhibits the lemon1 he takes care to have the cut end inwards towards his palm2 so that the circular mark is concealed by the fingers1 and when he desires to produce the handkerchief he cuts the opposite end4 ,,the ,,handkerchief ,,cut ,,up1 ,,burnt1 ,,and ,,finally ,,found ,,in ,a ,,candle4--,we have already described one or two modes in which a handkerchief1 after being apparently cut up1 or burnt1 may be reproduced in its original condition4 ,this is another and very effective form of the same trick4 ,having borrowed a white handkerchief1 you exchange it1 by one or other of the means already described1 for a substitute of similar appearance1 and place the latter on the table4 ,you then remember that1 as you are about to burn the handkerchief1 you will want a candle4 ,you call to your attendant1 but he1 previously instructed1 does not answer1 and after a momentary pause you determine to fetch it yourself4 ,you have1 however1 no sooner left the stage1 than you meet the defaulter1 and angrily remarking1 in a stage whisper1 so that the audience may hear1 that he is never at hand when you want him1 or making some similar observation1 you order him to bring a lighted candle4 ,your absence is only momentary1 but it has enabled you to throw him the real handkerchief1 which he forthwith rolls up1 and places inside a candle made hollow for the purpose2 which he then places in a candlestick1 lights1 and brings on the stage4 ,you have meanwhile taken up the substitute handkerchief1 and advanced to the audience1 getting ready the while in your palm a small piece of cambric1 about six inches in diameter4 ,taking the handkerchief by the centre1 in the same hand1 you pull out between the first finger and thumb a portion of the piece of cambric1 which is naturally taken to be a part of the handkerchief4 ,handing to one of the spectators a pair of scissors1 you request him to cut off a small portion of the handkerchief4 ,he cuts off a piece of the cambric4 ,holding this piece in the one hand1 and taking the remainder1 with the substitute handkerchief hanging down below it1 in the other1 you offer to teach the company your patent method of mending handkerchiefs1 requiring neither thimble1 needle1 nor thread4 ,applying the cut edges to the candle1 you set them on fire1 rubbing them together4 ,finally1 blowing out the flame1 and throwing the handkerchief over the hand that holds the pieces1 you palm them1 and immediately afterwards show the handkerchief 7i4e41 the substitute7 completely restored4 ,the mode of procedure so far is pretty well known1 and it is highly probable that one or more of the audience will be acquainted with it4 ,accordingly1 you may safely expect to perceive in some quarter or other1 knowing glances1 or confidential communications as to 8how it's done40 ,noticing1 or pretending to notice this1 you say1 8,ah1 ,i see there is a gentleman there who thinks he has found me out4 ,you fancy1 no doubt1 sir1 that ,i have performed this trick in the old fashion1 by cutting a piece of cambric which does not form part of the handkerchief4 ,why1 my dear sir1 the trick in that form is as old as--your grandmother4 ,but it is my own fault2 ,i quite forgot to show you that the handkerchief was really cut4 ,it is my rule never to perform the same trick twice over1 but ,i feel so hurt at your unkind suspicion that ,i must break my rule for once1 and this time you shall cut the handkerchief yourself40 ,you offer him the scissors1 and holding up the handkerchief 7which the audience naturally believe to be the genuine one7 by the middle1 you allow him to cut a piece fairly out of it1 immediately afterwards spreading it out1 and showing that a large hole is made in the centre4 ,again1 you hold the edges to the candle1 but this time1 as if by accident1 you let the flames fairly catch hold of the handkerchief1 which you are compelled to drop upon a plate or tray1 and to let it burn itself out4 ,for a moment1 you feign to be embarrassed1 and the audience are half inclined to believe that you have made a mistake1 and your trick has failed2 but you quickly recover your confidence1 and remark1 8,this is not precisely what ,i intended1 ladies and gentlemen4 ,i am afraid ,i have made a little mistake1 but fortunately it is easily remedied4 ,the fact is1 ,i forgot to pronounce the magic word at the right moment1 and the handkerchief has in consequence stopped short at the first stage of transmigration4 ,to make it pass into the second stage1 that of renewed existence1 ,i must again employ the agency of fire4 ,see1 ,i place the ashes in my magic pistol1 and ram them down with the mystic wand4 ,now what shall ,i aim at8 ,ah6 the candle on the table6 ,a capital mark1 and as it has been before you throughout the trick1 you know that it cannot have undergone any preparation40 7,you fire1 aiming at the candle47 8,did you see it pass8 ,no4 ,it has done so1 nevertheless2 but ,i must have put in a little too much powder1 for it has gone right into the candle40 7,you bring the candle forward47 8,will some one oblige me by seeing if it is really in the candle40 ,the candle is broken in half1 and the handkerchief is found embedded therein4 ,the candle used for the purpose of the above trick is sometimes a genuine wax or composite candle1 but more often a mere pasteboard tube1 previously cut half asunder in the middle 7so as to break without difficulty71 and then covered with glazed white paper1 in imitation of a candle1 a genuine candle-end being inserted at the top4 ,if a candle of this latter description is used1 the performer must himself break it1 as a spectator doing so would at once discover that it was a prepared article4 ,before quitting the subject of handkerchiefs burnt and restored1 we may mention a little appliance called the 8handkerchief table10 which is designed for this purpose4 ,it is precisely the same in make and operation as the table or tripod1 described at page #aci1 for burning and restoring a card1 but a little larger4 ,to those acquainted with the card tripod1 the use and effect of the handkerchief table will be sufficiently obvious1 without any special explanation4 ,,the ,,shower ,,of ,,sweets4--,this is a trick which is sure to be well received by a juvenile audience4 ,the performer comes forward with an ordinary plate or salver1 which he hands for examination1 and then places on the table4 ,he next borrows a handkerchief4 ,laying it flat over the plate1 he lifts it up by nipping the middle with his finger and thumb1 letting the four corners hang down4 ,he then strokes down the handkerchief with the other hand1 under the pretence of mesmerising it1 when a shower of burnt almonds1 chocolate creams1 acidulated drops1 etc41 pours down upon the plate4 ,again he strokes the handkerchief1 and again the shower pours down2 and the plate1 being by this time full1 is handed round to the company to prove that in the quality of the sweets1 at any rate1 there is 8no deception40 ,the secret lies in the use of a small bag1 of cambric or fine calico1 shaped like an inverted letter ,v4 ,the edges are turned in at the mouth1 and through each hem is passed a straight piece of watch-spring or whalebone1 one a little longer than the other4 ,the natural tendency of these is to lie side by side1 keeping the mouth of the bag closed2 but if pressure be simultaneously applied to both ends of the springs1 the longer one assumes the shape of a semicircle1 thereby opening the bag4 ,through the opposite end of the bag is passed a pointed wire hook4 ,the bag is beforehand filled with nuts or bonbons1 and hung by the hook to the edge of the table on the side away from the spectators4 ,though the bag is mouth downwards1 the action of the spring keeps it closed1 and nothing can fall out4 ,when the operator1 standing behind the table1 draws the handkerchief over the plate1 he allows a portion of the hinder edge to hang over the edge of the table nearest to himself4 ,when he picks up the handkerchief1 which he does with his finger and thumb1 he takes hold1 through the handkerchief1 of the upper part of the bag4 ,the bag is thus lifted up within the handkerchief1 but is concealed by the folds of the latter hanging down around it4 ,the movement of the hand in stroking down the handkerchief presses the springs1 and the bag opens1 again closing as soon as the pressure is relaxed4 ,when all the contents have fallen1 the performer drops the handkerchief1 bag and all1 on the table1 while he advances to the audience with the results of the trick1 and1 on again picking up the handkerchief1 lets fall the empty bag upon the servante1 or slips it into his pocket4 ,illustration3 ,,fig4 #aji4 ,,fig4 #aaj4 ,it will be observed that1 in the form of the trick above described1 the use of both hands is necessary--one to hold the handkerchief1 while the other1 stroking it down1 presses the springs1 and causes the bag to open4 ,there is an improved form of the bag1 used1 and1 we believe1 invented by ,robert-,houdin1 which enables the performer1 holding the handkerchief at arm's length1 to perform the trick by mere word of command1 without using the left hand at all4 ,the bag is in this case of the form shown in ,fig4 #aji4 ,no springs are used1 but the bag1 when filled1 is closed by folding down the flap1 and hooking the little ring over the hook1 the bag thereby assuming the appearance shown in ,fig4 #aaj4 ,it is picked up within the handkerchief as described in the case of the spring bag2 but when it is desired to produce the sweets1 a slight inclination of the hook to the left 7effected by a barely perceptible movement of the thumb and finger7 causes the ring to slip off and the flap to fall down1 as in ,fig4 #aji1 releasing the whole contents of the bag4 ,the trick may be still further improved by having two similar bags stitched back to back1 each with its own ring and hook4 ,in this case an inclination to the left releases one hook1 and an inclination to the right the other4 ,the two bags may be filled with bonbons of different colours or descriptions1 or the one may be filled with bonbons and the other with grey peas4 ,in this case you may introduce the trick by some observations upon the singular effects of the human breath1 and how greatly such effects vary in different persons4 ,a handkerchief is borrowed1 and a lady and gentleman are requested each to hold a plate4 ,the lady is requested to breathe on the handkerchief1 and a shower of bonbons falls on her plate4 ,the gentleman breathes in his turn1 and retires1 amid derisive applause1 with a plate of peas4 ,illustration3 ,,fig4 #aaa4 ,while upon the subject of the mysterious production of sweets1 we may incidentally mention another piece of apparatus designed for this purpose4 ,this is a wand1 made to correspond in general appearance with that habitually used by the performer4 ,internally1 it is a hollow tube1 with a stiff wire running throughout its whole length4 ,one end of this wire is fixed to a moveable cap1 which covers the upper end of the wand1 while the other terminates in a sort of little wooden plug1 which closes the opening at the other end4 ,a spiral spring within the upper end of the wand tends to force the cap upwards1 and so to keep the opposite end closed2 but if pressure be applied to the cap1 the plug is forced outwards1 and the tube thereby opened4 ,see ,fig4 #aaa1 in which a represents the wand in its normal condition 7i4e41 closed71 while b represents it with the cap pressed downwards1 and the opposite end consequently open4 ,to prepare the wand for use1 the cap is pressed and the valve opened4 ,the wand is then filled with very minute sweetmeats1 of the description known among juveniles as 8hundreds and thousands20 after which the pressure on the cap is removed1 and the plug allowed to retire into its place4 ,the wand1 thus prepared1 is at the proper moment brought forward in place of the ordinary wand1 which in its present condition it exactly resembles4 ,the performer then declares his intention of passing a shower of sweets into the pocket of a spectator1 and1 having first shown it empty1 touches the inside with the wand1 at the same moment pressing the cap1 when the sweets within escape into the pocket4 ,,the ,,feathers ,,from ,,an ,,empty ,,handkerchief4--,this is a very simple illusion1 but has nevertheless been a favourite with many noted prestidigitateurs4 ,its effect is as follows3--,the performer comes forward with a large handkerchief1 or small shawl1 which he shakes about in all directions1 to show that it is empty4 ,throwing it over the left hand1 he with the other grasps it by the middle1 and removing the hand over which it was thrown1 lets it hang perpendicularly down4 ,to all appearance it is still empty2 but on being shaken it is seen to contain some solid object4 ,with a twist of the wrist1 the performer turns the handkerchief and its contents upwards4 ,the handkerchief naturally falls down over the coat-sleeve1 leaving exposed a handsome military plume4 ,the performer grasps1 with the left hand1 the stem of this plume and the centre of the handkerchief1 immediately drawing away the right arm from beneath it4 ,again the handkerchief on being waved about is seen to contain something1 which being held upright1 the handkerchief falls down as before1 and a second plume is revealed4 ,the operation is again and again repeated with a like result1 till fifteen or twenty plumes have been produced2 the handkerchief being at any moment handed for examination4 ,the explanation lies in the fact that the plumes1 which may be compressed into a very small compass1 are laid beforehand along the arms of the performer1 who puts on his coat over them4 ,the stems of the plumes are nearest to the hands4 ,when the handkerchief is thrown over either hand1 the other hand catches hold through it of the stem of one of the feathers4 ,this hand now remains stationary1 while the other arm is drawn from under the handkerchief4 ,the fact that the plumes come out of the sleeves is thus much less patent than if the opposite hand made the motion and drew the feather out4 ,the plumes on being drawn out expand considerably2 so much so1 indeed1 that it is hard to believe that the quantity with which the stage is strewn could possibly have been concealed about the person of the performer4 ,some performers have in addition a bundle of plumes fastened together by a thread1 and laid along the inside of the trousers and waistcoat1 in such manner that the stems are just within the breast of the latter4 ,after having exhausted his sleeves1 the operator1 holding the handkerchief 7by two of its corners7 across his chest1 to show that it is quite empty1 catches hold1 with the second and third fingers1 of the stem of the bundle within the waistcoat1 and moving the handkerchief with a quick sidelong motion from left to right1 or vice vers1 draws out the feathers behind it1 and immediately breaking the thread1 shakes them out in a shower on the stage4 ,there is another form of the same trick1 in which the handkerchief plays only a secondary part1 but1 from its near relation to that last described1 we insert it in this place4 ,it is generally called ,,the ,,flying ,,plume4--,for this trick you require two plumes1 as nearly as possible alike in appearance4 ,to the stem of each should be attached a loop of string or ribbon1 two or three inches in length4 ,you must also have a japanned tin tube1 of about twenty inches long1 and three in diameter4 ,on either end is fitted a cap1 of about two inches in depth4 ,one of these caps is perfectly plain1 but within the other is an inner cap1 made after the fashion of the middle compartment of the snuff-box vase 7see page #bag74 ,the relative tightness of the inner and outer caps is such that1 if in removing the outer one with the finger and thumb some slight degree of lateral pressure is exerted1 it nips the inner cap1 which comes off with it2 but if the outer cap is removed without pressure1 the inner cap remains on the tube1 forming a false top to it4 ,within this inner cap1 which is internally about an inch and a half deep1 is glued a short end of a third plume1 similar in colour and appearance to the two others4 ,the interior of the tube is divided into two parts by a longitudinal division1 also of tin1 running diagonally nearly from end to end4 ,the tube is thus divided into two wedge-shaped compartments1 the cap at one end giving access to the one1 and the cap at the other end to the other2 each being large enough to contain a plume4 7,see ,fig4 #aab1 representing a section of the entire tube1 and ,fig4 #aac1 giving a slightly enlarged view of the ends47 ,the tube is prepared beforehand by filling the compartment which is closed by the double cap with bonbons of various kinds2 the other compartment being left empty4 ,one of the plumes is concealed in the left sleeve of the performer1 as in the last trick4 ,illustration3 ,,fig4 #aab4 ,,fig4 #aac4 ,these preparations having been duly made beforehand1 you come forward with a small shawl1 or large handkerchief1 the tube1 and the second plume4 ,laying the tube and plume upon the table1 you request the audience to satisfy themselves that the shawl contains nothing4 ,you then ask some one to step forward and take care of the shawl1 which you meanwhile carelessly throw over your left hand1 immediately after taking hold of its centre with your right1 as before described1 and drawing the left arm away4 ,it is needless to remark1 to those who have followed the explanation of the last trick1 that the hidden plume is thereby brought under the shawl1 though1 being held by the loop of ribbon1 there is nothing to betray its presence4 ,you hand the shawl in this condition to the person who has volunteered to hold it1 requesting him to keep it at arm's length1 still hanging down4 ,next taking up the tube1 you open it at the plain or unprepared end1 and holding it mouth downwards1 show that it is 7apparently7 empty2 then ostentatiously place the plume therein1 and put the cap on4 ,in returning to your table you take the opportunity to reverse the tube1 and to lay it down in such a manner that the opposite end 7i4e41 that with the false top7 may be turned towards the audience4 ,some performers do this by letting the tube fall1 as if by accident1 but this is1 in our opinion1 a clumsy and inartistic proceeding4 ,by gesticulating a little with the tube1 in announcing what you are about to do1 so that the audience may1 little by little1 become less certain as to which end you have just opened1 and by carelessly transferring the tube from the one hand to the other just as you lay it on the table1 you may make the change with scarcely a chance of detection1 even by the keenest observer4 ,you then say1 8,i shall now1 ladies and gentlemen1 make the plume which you have just seen me place in this tube travel into the shawl which that gentleman is holding1 while the tube will be completely filled with objects of interest for the juvenile spectators40 ,here you may possibly hear1 or if not1 you pretend to hear1 a murmur to the effect that the feather has already left the tube4 8,pardon me10 you say1 8the plume has not yet left the tube1 neither will it do so until ,i give the command10 and so saying1 you take off the cap1 leaving on the false top4 ,the audience see the little bit of feather within1 which they naturally take to be the end of the genuine plume4 ,again you replace the cap2 and after going through some appropriate magical ceremony1 again remove it1 but this time carrying off the false top with it4 7,it should have been mentioned that the tube is japanned in such manner that the eye cannot detect any difference whether the false top is on or off47 ,placing the cap1 with the false top within it1 on the table1 you come forward and pour the sweets from the tube1 while the shawl is on examination found to contain the plume4 ,some performers1 for the purpose of this trick1 use a tube with a false top1 as above described1 but open from end to end1 without the diagonal partition above mentioned4 ,before placing the plume in the tube1 which they do standing behind the table1 they secretly remove the cap at the lower end1 and allow the plume to fall through on the servante1 where it remains4 ,in this case1 there is no production of sweets1 but the plume having been produced from the shawl1 the performer removes both caps1 and hands the empty tube for examination4 ,,the ,,magic ,,laundry4--,there is very little brilliancy1 either of invention or of manipulation1 in this trick1 but it is nevertheless generally very well received4 ,the performer requests the loan of half-a-dozen handkerchiefs1 taking care to accept white handkerchiefs only4 ,these he collects in a wooden box1 having somewhat the appearance of a good-sized tea caddy4 ,having got the required number1 he places the box upon his table1 and invites the attention of the audience to an ordinary tin or wooden pail4 ,this he fills with water1 and placing it in front of the stage1 takes the handkerchiefs out of the box1 and drops them in1 stirring them about with his wand2 and making as much fun as he can by his pretended anxiety that they shall be thoroughly washed4 ,having kept this up as long as the audience appear to be amused thereby1 he wrings out the handkerchiefs one by one1 and throws them into a little shallow metal tub or pan 7japanned1 and about four inches in depth71 which his assistant at this moment brings forward for that purpose1 together with a cover after the manner of a saucepan-lid1 and a pistol1 both of which he places carelessly on the table4 ,having placed the handkerchiefs in this little tub1 the performer announces that having washed them1 he will now proceed to dry them1 for which purpose he pours over them a little spirits of wine1 to which he sets fire4 ,after letting them blaze for a moment or two he claps on the cover4 8,your handkerchiefs are now dried1 ladies and gentlemen10 he says1 8but ,i have still to fold and iron them4 ,it does not take very long1 as you will see40 ,taking up the pistol1 he fires at the tub1 and immediately removing the cover1 comes forward to the audience1 and requests them to identify their handkerchiefs1 which are seen neatly folded1 and apparently just washed and ironed1 within it4 ,the intelligent reader will have already guessed that the trick depends upon a substitution of handkerchiefs4 ,the box in which the genuine handkerchiefs are received has within it a moveable flap1 between which and the back of the box the substitutes are placed4 ,when the required number has been collected1 this flap is let fall1 releasing the substitute handkerchiefs1 and at the same time covering the genuine ones4 ,the substitutes having been dropped into the pail of water1 the assistant carries off the box1 and behind the scenes damps and folds the borrowed handkerchiefs1 pressing them flat with a hot iron1 if available2 if not1 with a cold one4 ,the tub or pan which is used for the conclusion of the trick has an inner lining of such a size as to fit tightly within it1 but about an inch less in depth4 ,the lid again fits within this after the manner of a saucepan lid1 but not quite so tightly as the lining itself fits within the outer pan4 ,the folded handkerchiefs are placed within this lining1 and the lid placed on1 or rather in it--the two together as brought forward having the appearance of a lid only4 ,when the performer claps the lid on the pan1 the lining is thereby introduced1 but when he again removes it1 the lining is left in1 exposing the folded handkerchiefs1 while the substitutes remain concealed between the true and false bottoms of the pan4 ,the performer1 of necessity1 accepts white handkerchiefs only1 as a coloured one would betray the secret1 from the absence of its 8double0 among the substitutes4 ,some performers1 in order to obviate the suspicion which might be suggested by an evident preference of white handkerchiefs1 arrange that a coloured one1 of which they possess a duplicate1 shall be offered by a confederate among the audience4 ,this certainly heightens the effect of the trick1 as it seems to negative the idea of substitution1 and though in general we deprecate1 as belonging to a low class of art1 the employment of confederates1 this is just the case in which the use of such an expedient may for once be deemed admissible4 ,,the ,,egg ,,and ,,the ,,handkerchief4--,for this capital feat1 which is generally identified with the name of ,colonel ,stodare1 the following are the requirements3--,a glass goblet1 two small handkerchiefs 7generally of plain crimson silk1 and about sixteen inches square71 a larger silk handkerchief--to which is attached1 by a silk thread of about four inches in length1 a blown egg-shell--and a hollow metal egg made of zinc1 enamelled white1 with an oval opening on one side of it measuring about an inch and a half by one inch1 or a little more4 ,illustration3 ,,fig4 #aad4 ,the performer comes forward1 having in his right hand the goblet and one of the red silk handkerchiefs4 ,the larger silk handkerchief is thrown with apparent carelessness over the other hand1 and upon it rests the blown egg1 so placed that the thread may be out of sight1 while beneath the egg1 concealed in a fold of the handkerchief1 lies the second red handkerchief1 rolled up into as small a compass as possible4 ,the metal egg is1 meanwhile1 placed in the left-hand secret pocket of the performer1 who introduces the trick as follows3 8,i have here1 ladies and gentlemen1 a drinking-glass1 a couple of silk handkerchiefs1 and an egg1 all1 as you will perceive1 of the most ordinary description40 ,he passes quickly in front of the audience1 as though tendering the articles for examination 7taking care1 however1 to keep his right arm advanced towards the spectators1 so that the glass and small silk handkerchief may bear the brunt of inspection71 and finally places the glass and small handkerchief on a table or chair in full view4 8,pray observe10 he continues1 8that not one of the articles is removed from your sight1 even for one moment4 ,now1 please follow me closely4 ,i will place the egg in the glass1 and cover it over with this handkerchief40 ,this he does by one movement1 for as the egg is already lying on the handkerchief1 a mere turn of the wrist places the egg in the glass1 and at the same time lets fall the handkerchief over it2 and at the same time the smaller handkerchief1 which was concealed in the larger1 is released1 and falls into the glass with the egg4 8,you have all seen me place the egg in the glass0 7at the same time shaking the glass1 to show by the sound that the egg is still there71 8which ,i will not again touch4 ,i shall now take this small handkerchief0 7the one which has remained on the table71 8and standing as far as possible away1 ,i shall command the handkerchief to dissolve and pass into the glass1 and the egg which is now in the glass to come into my hands40 ,so saying1 he holds up the handkerchief1 in such manner as to show indirectly that he has nothing else in his hands4 ,taking a few steps1 as though merely to get further from the glass1 and holding the handkerchief hanging down between the finger and thumb of the right hand1 he drops the other hand to his side1 and secretly takes from his pocket the hollow egg1 which he palms1 keeping the opening outwards4 ,he then1 standing with his left side towards the spectators1 joins his open hands1 as in ,fig4 #aad1 the handkerchief hanging down between them4 ,requesting the audience to watch him narrowly1 that they may be quite sure that there is no deception1 he begins to wave his joined hands slowly up and down1 the second and third fingers of the right hand 7which1 it will be remembered1 is away from the audience7 meanwhile gradually working the handkerchief into the hollow of the egg4 ,he every now and then pauses to show that the handkerchief is gradually diminishing1 and at last when it is wholly worked into the egg1 opens his hands1 and shows the egg lying in his palm1 taking care1 of course1 that the opening is undermost4 ,to all appearance1 the handkerchief has changed into an egg4 8,here is the egg10 he remarks2 8let us see if the handkerchief also has obeyed my bidding40 ,so saying1 he lays the egg1 still with the opening downwards1 upon the table1 and taking hold with the finger and thumb of the handkerchief which covers the glass1 lifts it daintily up1 carrying with it1 concealed in its folds1 the egg-shell attached thereto1 and leaving the duplicate red handkerchief lying in the glass4 ,it may sometimes1 though not very often1 occur that one or other of the spectators1 suspecting some peculiarity about the egg1 may ask to be permitted to examine it4 ,this1 of course1 you cannot permit1 while to refuse would destroy half the prestige of the illusion4 ,fortunately1 there is a way out of the difficulty which absolutely enhances the effect of the trick4 8,you would like to see the egg10 you reply2 8by all means4 ,it is a special feature of my entertainment that all articles used therein will bear the strictest examination4 ,here is the egg40 ,during these few words1 you have taken up the sham egg with the fingers of your right hand1 taking care1 of course1 to keep the opening away from the audience1 and have thence apparently transferred it to your left1 with which hand you offer it to the too curious spectator4 ,it is hardly necessary to remark1 that in the apparent transfer of the egg to the left hand1 you have really palmed it in your right2 and as you extend the left hand to the spectator1 you quietly drop it from the right into the pochette on that side4 ,the inquirer holds out his hand to receive it4 8,pray examine it closely10 you say1 opening your empty hand over his own4 8,what6 you have not got it8 ,ah1 that is your fault2 you were not quick enough4 ,i always find that this experiment makes the egg excessively volatile40 ,this unexpected dnouement never fails to raise a laugh against the individual who has sought to embarrass you1 while the impromptu disappearance of the egg will be regarded by many as the most marvellous portion of the trick4 ,the same expedient will be equally available to prevent the examination1 at an awkward moment1 of other small articles4 ,there is another method1 in which the trick is performed with handkerchiefs borrowed from the audience4 ,in this case1 two metal eggs1 like that above described1 are used1 the blown egg being dispensed with4 ,the performer commences the trick by borrowing two handkerchiefs1 a lady's handkerchief1 and a larger one1 preferably of silk4 ,these he places on his table1 secretly exchanging the smaller one for a substitute of his own1 and retires for a moment to fetch a glass4 ,he takes advantage of his momentary absence to insert the handkerchief of which he has gained possession into one of the hollow eggs1 and returns with this egg lying 7the opening downwards7 on his left palm1 the other hand holding the glass1 while the second hollow egg is concealed in his left pochette4 ,coming forward to the audience1 he picks up1 in passing1 the larger handkerchief from the table1 and handing the glass1 as forming the principal portion of the apparatus1 for examination1 throws the handkerchief over the hand which holds the egg1 showing by its outline beneath the silk that it has not been removed1 and meanwhile drawing out with the finger and thumb of the concealed hand the handkerchief hidden therein2 which is thus ready to be placed in the glass along with the egg1 under cover of the larger handkerchief4 ,the rest of the trick proceeds as already described1 save that in this instance1 the egg not being attached to the outer handkerchief1 it is necessary to clip it with the fingers through the handkerchief when the latter is removed4 ,to do this easily and effectually1 it is well1 in placing the egg in the glass1 to place it with the opening upwards1 the edges of the opening giving a readier hold than the unbroken surface of the opposite side4 ,illustration3 ,,fig4 #aae4 ,,the ,,hand ,,box1 ,,for ,,vanishing ,a ,,handkerchief4--,while discussing the subject of handkerchief tricks1 we must not omit to mention the 8hand box10 a clever little contrivance for causing the disappearance of a handkerchief4 ,it consists of a little tin box1 of the size and shape of the heel of a gentleman's boot1 closed on all sides1 save that which answers to the front portion of the heel1 which is left open4 7,see ,fig4 #aae47 ,to one of its sides is riveted or soldered a steel spring1 about an inch in length4 ,the free end of this spring forms with the side of the box a sort of clip1 by means of which the box can be attached 7as shown in the ,figure7 to the fleshy part of the hand1 the opening being towards the fingers4 ,being within the hand1 it is of course unseen by the audience4 ,the manner of its use is much the same as that of the hollow egg described in the last trick1 save that the hand box is never exhibited4 ,as soon as the handkerchief is fairly worked in1 the left hand is closed1 as if containing it2 the effect being to the audience as if the handkerchief was merely rolled up and placed in the left hand4 ,on opening the hand1 the handkerchief is found to have disappeared1 the performer having meanwhile plenty of opportunity to drop the concealed handkerchief1 box and all1 into the pochette on his right-hand side4 ,the hand box may be made available in a variety of ways1 as follows3 ,the performer having borrowed a handkerchief1 secretly changes it for a substitute1 which he leaves in full view on the table4 ,having made what disposition he pleases of the original1 he returns1 meanwhile placing the hand box in position1 and causing by its means the disappearance of the substitute1 orders the borrowed article to be found in such place as he may think proper4 ,illustration ,,chapter ,,xii4 ,,tricks ,,with ,,dominoes ,,and ,,dice4 ,,to ,,arrange ,a ,,row ,,of ,,dominoes ,,face ,,downwards ,,on ,,the ,,table1 ,,and ,,on ,,returning ,,to ,,the ,,room ,,to ,,turn ,,up ,a ,,domino ,,whose ,,points ,,shall ,,indicate ,,how ,,many ,,have ,,been ,,moved ,,in ,,your ,,absence4--,this is a capital drawing-room feat4 ,you place a row of twenty dominoes face downwards upon the table1 avoiding as far as possible the appearance of any special arrangement1 but nevertheless taking care that the points of the first domino 7commencing from the left7 shall amount to twelve1 the points of the second to eleven1 and so on1 each decreasing by one point till you reach the thirteenth1 which will be the double-blank4 ,the points of the remaining seven are a matter of indifference4 ,you now propose to give the company a specimen of your powers of clairvoyance1 and for that purpose leave the room1 first requesting the company to remove during your absence any number of dominoes 7not exceeding twelve7 from the right to the left hand of the row1 in other respects retaining their order4 ,on your return you advance to the table1 and address the company to the following effect3 8,ladies and gentlemen1 as ,i have already told you1 ,i have the privilege of possessing the clairvoyant faculty1 and ,i am about to give you a specimen of my powers4 ,now it would seem at first sight sufficiently surprising that ,i should be able merely to tell you the number of dominoes which have been moved in my absence1 but that might be easily effected by confederacy1 or many other very simple expedients4 ,i propose to do much more than this1 and to show you not only that ,i know the number that you have just displaced1 but that ,i can read the dominoes before you as readily in their present position as though they were lying face upwards4 ,for instance1 this domino0 7touching one of the row with your finger or wand7 8represents the number which have been moved in my absence4 ,will some one please to say what that number was80 ,the answer is1 we will suppose1 8,seven40 8,seven10 you repeat1 turning over the domino you have touched4 8,you see that ,i was right4 ,would you like me to name some more8 ,they are all equally easy4 ,this1 let me see--yes1 this is a two2 this is a nine2 this is a double-six2 this is a double-blank20 turning over each domino to show that you have named it right4 ,this feat1 which appears perfectly miraculous to the uninitiated1 is performed by the simplest possible means4 ,all that you have to do is to count secretly the row of dominoes as far as the thirteenth from the left-hand end1 or 7which is the same thing7 the eighth from the right hand end1 the points of which will invariably be the same as the number moved from the right to the left of the row4 ,you do not know1 until the domino is turned up1 what that number actually was1 but you must by no means let the audience suspect this4 ,you must boldly assume to know the number1 and from that knowledge1 aided by some clairvoyant faculty1 to have selected a domino whose points shall represent that number4 ,thus1 having selected the proper domino1 you call upon the audience to state the number moved1 after which the turning up of the selected domino is regarded by the audience merely as a proof that you were correct in the previous knowledge for which they1 without the smallest foundation1 give you credit4 ,after this domino has been turned up1 it is easy1 knowing the original order of the thirteen of which it forms one1 to name two or three on either side of it4 ,in most instances you will only know the total figure of a given domino1 as two or three different combination of points will give the same total4 7,thus a total of seven may be represented by either six and one1 five and two1 or four and three47 ,but there are two or three dominoes of which1 if you know the total1 you know the points also4 ,thus a total 8twelve0 must be always 8double-six10 a 8blank0 always 8double-blank10 a 8one0 always 8blank one40 ,by naming one or two of these1 as if hap-hazard1 you will prevent the audience suspecting1 as they otherwise might1 that your knowledge is limited to the total of each domino4 ,it is obvious that this is a trick which cannot be repeated1 as the necessary rearrangement of the dominoes would at once attract attention4 ,you may1 however1 volunteer to repeat it in a still more surprising form1 really performing in its place the trick next following1 one of the best1 though also one of the simplest1 in the whole range of the magic art4 ,,to ,,allow ,,any ,,person ,,in ,,your ,,absence ,,to ,,arrange ,,the ,,dominoes ,,in ,a ,,row1 ,,face ,,downwards1 ,,and ,,on ,,your ,,return ,,to ,,name ,,blindfold1 ,,or ,,without ,,entering ,,the ,,room1 ,,the ,,end ,,numbers ,,of ,,the ,,row4--,you invite the audience to select any one of their number to arrange the whole of the dominoes face downwards upon the table4 ,this he may do in any manner he pleases1 the only restriction being that he is to arrange them after the fashion of the game of dominoes--viz41 so that a six shall be coupled with a six1 and a four with a four1 and so on4 ,while he does this1 you leave the room1 and1 on being recalled1 you at once pronounce1 either blindfold1 or 7if the audience prefer it7 without even entering the room1 that the extreme end numbers of the row are six and five1 five and two1 etc41 as the case may be4 ,this seeming marvel depends upon a very simple principle4 ,it will be found by experiment that a complete set of dominoes1 arranged in a row according to domino rules 7i4e41 like numbers together71 will invariably have the same number at each end4 ,thus if the final number at one end of the row be five1 that at the opposite end will be five also1 and so on2 so that the twenty-eight dominoes1 arranged as above1 form numerically an endless chain1 or circle4 ,if this circle be broken by the removal of any domino1 the numbers on either side of the gap thus made will be the same as those of the missing domino4 ,thus1 if you take away a 8five-three10 the chain thus broken will terminate at one end with a five1 and at the other with a three4 ,this is the whole secret of the trick3 the performer secretly abstracts one domino1 say the 8five-three20 this renders it a matter of certainty that the row to be formed with the remaining dominoes will terminate with a five at the one end and a three at the other1 and so on with any other domino of two unequal numbers4 ,the domino abstracted must not be a 8double10 or the trick will fail4 ,a little consideration will show why this is the case4 ,the removal of a double from the endless chain we have mentioned produces no break in the chain1 as the numbers on each side of the gap1 being alike1 will coalesce2 and a row formed with the remaining dominoes under such conditions may be made to terminate in any number1 such number being1 however1 alike at either end4 ,a domino of two different numbers1 on the other hand1 being removed1 8forces10 so to speak1 the series made with the remainder to terminate with those particular numbers4 ,illustration3 ,,fig4 #aaf4 ,,to ,,change1 ,,invisibly1 ,,the ,,numbers ,,shown ,,on ,,either ,,face ,,of ,a ,,pair ,,of ,,dice4--,take a pair of ordinary dice1 and so place them between the first finger and thumb of the right hand 7see ,fig4 #aaf71 that the uppermost shall show the 8one10 and the lowermost the 8three0 point1 while the 8one0 point of the latter and the 8three0 point of the former are at right angles to those first named1 and concealed by the ball of the thumb4 7,the enlargement at a in the figure shows clearly the proper position47 ,ask someone to name aloud the points which are in sight1 and to state particularly1 for the information of the company1 which point is uppermost4 ,this having been satisfactorily ascertained1 you announce that you are able1 by simply passing a finger over the faces of the dice1 to make the points change places4 ,so saying1 gently rub the exposed faces of the dice with the forefinger of the left hand1 and1 on again removing the finger1 the points are found to have changed places1 the 8three0 being now uppermost1 and the 8one0 undermost4 ,this effect is produced by a slight movement of the thumb and finger of the right hand in the act of bringing the hands together1 the thumb being moved slightly forward1 and the finger slightly back4 ,this causes the two dice to make a quarter-turn vertically on their own axis1 bringing into view the side which has hitherto been concealed by the ball of the thumb1 while the side previously in sight is in turn hidden by the middle finger4 ,a reverse movement1 of course1 replaces the dice in their original position4 ,the action of bringing the hands together1 for the supposed purpose of rubbing the dice with the opposite forefinger1 completely covers the smaller movement of the thumb and finger4 ,illustration3 ,,fig4 #aag4 ,after having exhibited the trick in this form once or twice1 you may vary your mode of operation4 ,for this purpose take the dice 7still retaining their relative position7 horizontally between the thumb and second finger1 in the manner depicted in ,fig4 #aag1 showing 8three-one0 on their upper face2 the corresponding 8three-one10 or rather 8one-three10 being now covered by the forefinger4 ,as the points on the opposite faces of a die invariably together amount to seven1 it is obvious that the points on the under side will now be 8four-six10 while the points next to the ball of the thumb will be 8six-four40 ,you show1 alternately raising and lowering the hand1 that the points above are 8three-one10 and those below 8six-four40 ,again going through the motion of rubbing the dice with the opposite forefinger1 you slightly raise the thumb and depress the middle finger1 which will bring the 8six-four0 uppermost1 and the 8three-one0 or 8one-three0 undermost4 ,this maybe repeated any number of times2 or you may1 by moving the thumb and finger accordingly1 produce either 8three-one0 or 8six-four0 apparently both above and below the dice4 ,the trick may1 of course1 be varied as regards the particular points1 but the dice must1 in any case1 be so placed as to have similar points on two adjoining faces4 ,,to ,,name1 ,,without ,,seeing ,,them1 ,,the ,,points ,,of ,a ,,pair ,,of ,,dice4--,this is a mere arithmetical recreation1 but it is so good that we cannot forbear to notice it4 ,you ask the person who threw the dice to choose which of them he likes1 multiply its points by two1 add five to the product1 multiply the sum so obtained by five1 and add the points of the remaining die4 ,on his telling you the result1 you mentally subtract twenty-five from it1 when the remainder will be a number of two figures1 each representing the points of one of the dice4 ,thus1 suppose the throws to be five1 two4 ,five multiplied by two are ten2 add five1 fifteen1 which1 multiplied by five1 is seventy-five1 to which two 7the points of the remaining die7 being added1 the total is seventy-seven4 ,if from this you mentally deduct twenty-five1 the remainder is fifty-two1 giving the points of the two dice--five and two4 ,but1 you will say1 suppose the person who threw had reversed the arithmetical process1 and had taken the points of the second die 7two7 as his multiplicand1 the result must have been different4 ,let us try the experiment4 ,twice two are four1 five added make nine1 which1 multiplied by five1 is forty-five1 and five 7the points of the other die7 being added to it1 bring the total up to fifty4 ,from this subtract twenty-five as before4 ,the remainder1 twenty-five1 again gives the points of the two dice1 but in the reverse order2 and the same result will follow1 whatever the throws may be4 ,illustration ,,chapter ,,xiii4 ,,the ,,cups ,,and ,,balls4 ,the subject of the present chapter may be said to be the groundwork of all legerdemain1 being1 we believe1 the very earliest form in which sleight-of-hand was exhibited4 ,at the present day it is not very often seen1 save in the bastard form known as 8thimble-rig10 and used as a means of fleecing the unwary upon race-courses and at country fairs4 ,it is1 however1 well worthy the attention of the student of modern magic1 not only as affording an excellent course of training in digital dexterity1 but as being1 in the hands of an adept1 most striking in effect4 ,it is by no means uncommon to find spectators who have received more elaborate feats with comparative indifference1 become interested1 and even enthusiastic1 over a brilliant manipulation of the cups and balls4 ,the prestige of the illusion is heightened by the simplicity of the appliances used1 consisting merely of three tin cups about three inches high1 each in the form of a truncated cone1 with a rim or shoulder round the base 7see ,fig4 #aah71 the ordinary wand1 four little cork balls1 three-quarters of an inch or a little less in diameter1 and blackened in the flame of a candle1 three larger balls of about an inch and a quarter in diameter1 and four more of such a size as to just fill the goblet4 ,these last are generally stuffed with hair1 and covered with cloth4 ,the number of balls may vary according to the particular 8passes0 which the performer desires to exhibit1 but the above will be found sufficient for most purposes4 ,the performers of the olden time were accustomed to use the gibecire1 or apron with pockets1 already mentioned1 and to perform at a table having no speciality1 save that it was a little higher than those in ordinary use2 but at the present day the gibecire is entirely discarded1 the servante of the table answering the same purpose4 ,the arrangement of the table and apparatus is shown in ,fig4 #aah4 ,the whole art of cup-and-ball conjuring resolves itself into two elements--7#a71 the exhibition of a ball under a cup where a moment previously there was nothing2 and 7#b7 the disappearance of a ball from beneath a cup under which the audience have just seen it 7or believe that they have seen it7 placed4 ,the routine is as follows3--,a cup is lifted1 to show that there is nothing beneath it1 and again replaced1 mouth downwards1 on the table4 ,a ball is taken in the right hand1 transferred to the left1 and thence ordered to pass under the cup4 ,the hand is opened1 the ball has vanished1 and1 on the cup being lifted1 is found beneath it4 ,again1 the ball1 first exhibited in the right hand1 is thence openly transferred1 either directly under the cup1 or first to the left hand1 and thence to the cup4 ,all having seen it placed beneath the cup1 it is now commanded to depart1 and on again lifting the cup1 it is found to have vanished4 ,it will hardly be believed1 until proved by experiment1 of what numerous and surprising combinations these simple elements are capable4 ,illustration3 ,,fig4 #aah4 ,the sleight-of-hand requisite for the cups and balls is technically divisible into four different acts or movements1 viz4--#a4 ,to 8palm0 the ball4 #b4 ,to reproduce the palmed ball at the end of the fingers4 #c4 ,to secretly introduce the palmed ball under the cup4 #d4 ,to simulate the action of placing the ball under the cup4 ,the modes of effecting these objects will be discussed in due order4 ,illustration3 ,,fig4 #aai4 ,illustration3 ,,fig4 #abj4 ,illustration3 ,,fig4 #aba4 #a4 ,,to ,,palm ,,the ,,ball4 ,first ,method4--,we use the generic term 8palm0 for the sake of convenience1 though in this first method1 which is that most generally used1 the ball is really concealed between the second and third fingers1 and not in the palm4 ,take the ball between the first finger and thumb of the right hand2 slightly bend the fingers 7see ,fig4 #aai71 and at the same moment roll the ball with the thumb across the first and second fingers1 till it rests between the second and third fingers 7see ,fig4 #abj71 which should slightly separate to receive it1 again closing as soon as it is safely lodged4 ,the ball will now be as shown in ,fig4 #aba1 and it will be found that the hand can be opened or closed with perfect freedom1 and1 indeed1 be used in any manner1 without being in the least hampered by its presence4 ,the student should practise palming the ball in this manner both in the act of 7apparently7 transferring the ball to the left hand1 and in that of 7apparently7 placing it under a cup lifted by the left hand for that purpose4 ,second ,method4--,the second method is to actually 8palm0 the ball1 in the same manner as a coin4 ,for this purpose the ball is1 as before1 taken between the first finger and thumb of the right hand1 but is thence made by the thumb to roll between the tips of the third and fourth fingers1 which immediately close into the palm1 and1 again opening1 leave the ball behind them4 ,with a little practice1 two balls in succession may be palmed in this way1 and then a third by the first method4 ,illustration3 ,,fig4 #abb4 ,third ,method4--,the third method is that which was adopted by the celebrated ,bosco1 a most accomplished performer with the cup and balls4 ,being accustomed to use balls of a larger size than those above described1 and therefore too bulky to palm by the first method1 he used to hold them by means of a slight contraction of the little finger4 7,see ,fig4 #abb47 ,the necessary movement of the fingers to place the ball in position is nearly the same as by the first method4 ,illustration3 ,,fig4 #abc4 #b4 ,,to ,,reproduce ,,the ,,palmed ,,ball ,,at ,,the ,,end ,,of ,,the ,,fingers4--,the mode of doing this will vary according to the method by which the ball is palmed4 ,if according to the first or third method1 the ball is simply rolled back to the finger-tips with the ball of the thumb1 exactly reversing the process by which it was palmed4 ,but if the ball was palmed by the second method1 it is1 for the time being1 not get-at-able by the ball of the thumb4 ,in this case the first step is to close the third and fourth fingers upon the ball 7see ,fig4 #abc71 and therewith roll it to the position shown in ,fig4 #abb1 when the thumb is enabled to reach it1 and to roll it to the finger-tips in the manner just described4 ,illustration3 ,,fig4 #abd4 #c4 ,,to ,,secretly ,,introduce ,,the ,,palmed ,,ball ,,under ,,the ,,cup4--,this is always done in the act of raising the cup 7with the right hand71 for the ostensible purpose of showing that there is nothing underneath it4 ,the chief thing to be attended to is the position of the right hand 7in which we are supposing a ball to be palmed by one or other of the methods above mentioned7 in raising the cup4 ,this should be done with the hand spread almost flat upon the table1 and grasping the cup as low down as possible1 between the thumb and the lowest joint of the forefinger4 ,in the act of raising the cup1 the fingers naturally assume the position shown in ,fig4 #abd1 whereby the ball is brought in close proximity to1 and slightly under1 the edge of the cup4 ,if the ball be palmed by the first method1 all that is necessary in order to release it is a slight backward movement of the second1 and a forward movement of the third finger1 made just before the cup again touches the table4 ,this will be found to drop the ball immediately under the cup4 ,if the ball be palmed by the third method1 its introduction under the cup is a still easier matter1 as by the act of raising the cup it is brought directly underneath it1 and is released by the mere act of straightening the third and fourth fingers4 ,if the ball is palmed by the second method1 it becomes necessary1 before taking hold of the cup1 to close the third and fourth fingers slightly 7see ,fig4 #abc71 and bring the ball to the position shown in ,fig4 #abb4 ,from this point the operation is the same as if the ball had been originally palmed by the third method4 ,illustration3 ,,fig4 #abe4 ,it is sometimes necessary to introduce a ball between two cups4 ,it will be remembered that each cup is made with a cylindrical rim or shoulder4 ,the purpose of this shoulder is that1 when two cups are placed one upon the other 7see ,fig4 #abe71 there may be a space between them sufficient to receive a ball or balls4 ,to further facilitate the introduction of the ball1 the top of each cup is made1 not flat1 but concave4 ,when it is desired to introduce a ball between two cups1 that object is effected as follows3--,having the ball ready palmed in the right hand1 the performer takes up a cup in the same hand1 and with it covers the second cup1 at the same moment introducing the ball beneath it in the ordinary manner1 but with the addition of a little upward jerk1 rather difficult to describe1 but easily acquired with a little practice4 ,the ball is thereby thrown to the top of the uppermost cup1 and1 in again falling1 is received by the concave top of the lowermost cup4 #d4 ,,to ,,simulate ,,the ,,action ,,of ,,placing ,a ,,ball ,,under ,a ,,cup4--,this may be done in two ways4 ,the first is to raise the cup with the left hand1 apparently placing the ball underneath it with the right1 but really palming it4 ,care must be taken that the edge of the cup shall touch the table at the very moment that the fingers of the right hand are removed4 ,the second and more common method is to apparently transfer the ball to the left hand1 palming it in the transit1 and then bringing the closed left hand close to the cup on the table1 raise the cup with the other hand1 and immediately replace it with a sort of scraping movement across the fingers of the now opening left hand4 ,when the student has thoroughly mastered the various operations above described1 he will have little to learn save the combination of the various ,passes1 a matter of memory only4 ,there are1 however1 one or two subordinate sleights with which he should make himself acquainted before proceeding publicly to exhibit his dexterity4 ,illustration3 ,,fig4 #abf4 ,,to ,,produce ,a ,,ball ,,from ,,the ,,wand4--,the wand is supposed to be the reservoir whence the magician produces his store of balls1 and into which they vanish when no longer needed4 ,the mode of production is as follows3--,the performer1 holding the wand in his left hand1 and drawing attention to it by some remark as to its mysterious power of production and absorption1 secretly takes with his right hand1 from the servante or elsewhere1 a ball1 which he immediately palms 7preferably by the first method74 ,daintily holding the wand by either end with the left hand1 in such manner as to show that the hand is otherwise empty1 he slides the thumb and fingers of the right hand 7the back of which is naturally towards the audience7 lightly to the opposite end1 at the same moment rolling the ball with the thumb to the ends of the fingers1 as already described4 7,see ,fig4 #abf47 ,the ball thus comes in sight just as the hand leaves the wand1 the effect to the eyes of the spectators being that the ball is1 by some mysterious process1 squeezed out of the wand4 ,,to ,,return ,a ,,ball ,,into ,,the ,,wand4--,this is the converse of the process last described4 ,taking the wand in the left hand1 as before1 and the ball between the thumb and second joint of the forefinger of the opposite hand1 the performer lays the end of the wand across the tips of the fingers1 and draws the hand gently downwards along it1 at the same time palming the ball by the first method4 ,,to ,,pass ,,one ,,cup ,,through ,,another4--,this is an effective sleight1 and by no means difficult of acquirement4 ,taking one of the cups1 mouth upwards1 in the left hand1 and holding another in a similar position in the right hand1 about a foot above it1 the performer drops the right hand cup smartly into that in the left hand 7which latter should be held very lightly74 ,if this is neatly done1 the lower cup will be knocked out of the hand by the concussion1 while the upper one will be caught and held in its place2 the effect to the eye of the spectator being as if the upper cup had passed through the other4 ,the lower cup may either be allowed to fall on the ground or table1 or may be caught by the right hand in its fall4 ,the successive appearances and disappearances of the balls underneath the cups are known by the name of 8,passes20 the particular combination of such passes being governed by the taste and invention of the performer4 ,the series most generally in use is derived from a work dating from the last century1 the ,rcrations ,mathmatiques et ,physiques of ,guyot2 and ,guyot1 we believe1 borrowed it from a ,german source4 ,the series given below1 which will be found very effective1 is derived mainly from that of ,guyot1 as improved by ,ponsin1 a later and very ingenious writer on the art of prestidigitation4 ,the cups and balls require1 even more than conjuring generally1 a running accompaniment of talk4 ,each ,pass should have its own 8boniment10 or 8patter10 carefully prepared and frequently rehearsed4 ,it would be impossible to give1 within any reasonable limits1 appropriate patter for each of the ,passes4 ,this each performer must arrange for himself1 so as to suit the style and character in which he performs2 as it is obvious that the low comedy style of a mountebank at a country fair would be utterly unsuitable in an aristocratic drawing-room1 and vice vers4 ,we shall1 however1 give a specimen or two in the course of the various ,passes4 ,the burlesque introduction next following is a paraphrase of a similar address quoted by ,robert-,houdin3-- ,introductory ,address4--8,ladies and ,gentlemen1--,in an age so enlightened as our own1 it is really surprising to see how many popular fallacies spring up from day to day1 and are accepted by the public mind as unchangeable laws of nature4 8,among these fallacies there is one which ,i propose at once to point out to you1 and which ,i flatter myself ,i shall very easily dispose of4 ,many people have asserted1 and1 among others1 the celebrated ,erasmus of ,rotterdam1 that a material object can only be in one place at one time4 ,now ,i maintain1 on the contrary1 that any object may be in several places at the same moment1 and that it is equally possible that it may be nowhere at all4 8,i must beg you to observe1 in the first place1 that ,i have nothing in my hands--except my fingers2 and that between my fingers there is nothing save a few atoms of the mysterious fluid which we call the atmosphere1 and through which our jolly old ,earth spins so merrily along4 ,but we must leave the common-place regions of astronomy1 and return to the mysteries of hermetic science4 8,i have before me1 as you will have noticed1 three little cups or goblets4 ,the metal of which these are composed is an amalgam of costly minerals1 unknown even to the most profound philosophers4 ,this mysterious composition1 which resembles silver in its solidity1 its colour1 and the clearness of its ring1 has over silver this great advantage1 that it will at pleasure become impalpable as air1 so that solid bodies pass through these goblets as easily as they would through empty space4 ,i will give you a curious illustration of this by making one goblet pass through another40 7,this the performer does in the manner already described1 and after a moment's pause1 continues1 taking up his wand in his left hand1 and secretly palming a ball in his right47 8,this little wand1 you are possibly aware1 ladies and gentlemen1 goes by the name of ,jacob's ,rod4 ,why it is so called ,i really don't know2 ,i only know that this simple-looking wand has the faculty of producing various articles at pleasure4 ,for instance1 ,i require for the purpose of my experiment a little ball4 ,my wand at once supplies me40 7,he produces a ball from the wand1 and lays it on the table47 ,with this or some similar introduction1 the performer proceeds to exhibit ,,pass ,i4 ,,having ,,placed ,a ,,ball ,,under ,,each ,,cup1 ,,to ,,draw ,,it ,,out ,,again ,,without ,,lifting ,,the ,,cup4--,having produced a ball from the wand as last described1 and having laid it on the table1 the operator continues1--8,allow me to show you once more that all the cups are empty0 7he raises them one by one1 and replaces them71 8and that ,i have nothing in either of my hands4 ,i take this little ball0 7he picks it up with the right hand1 and apparently transfers it to the left1 really palming it in the right71 8and place it under one of the cups40 ,here he raises the cup with the right hand1 and simulates the action of placing the ball under it with the left4 8,i draw another ball from my wand0 7this is really the same ball1 which remained palmed in the right hand71 8and place it in like manner under the second cup40 ,he goes through the motion of transferring it to the left hand and thence to the cup1 as before1 but this time actually does what on the former occasion he only pretended to do1 and leaves the ball under the middle cup4 8,i produce another ball0--7he half draws the wand through his fingers1 but checks himself half-way74 8,i think ,i heard some one assert that ,i have a ball already in my hand4 ,pray satisfy yourselves0 7showing the palms of his hands1 the fingers carelessly apart7 8that such is not the case4 ,a lady suggested just now1 by the way--it was only said in a whisper1 but ,i heard it--that ,i didn't really put the balls under the cup4 ,it was rather sharp on the part of the lady1 but you see she was wrong4 ,here are the balls40,k ,so saying1 the performer lifts up the middle cup with his left hand1 and picking up the ball with his right1 holds it up that all may see1 immediately replacing it under the same cup4 ,the last movement is simulated only1 the ball being in reality palmed in the supposed act of placing it under the cup4 8,we have now a ball under each of these two cups4 ,we only want one more1 and--here it is0--apparently producing a third ball 7really the same again7 from the wand4 8,we will place it under this last cup40 ,he actually does so4 8,now1 ladies and gentlemen1 we have three cups and three balls1 one under each cup4 ,so far1 ,i admit that ,i have not shown you anything very surprising1 but now comes the puzzle1 to take the balls from under the cups4 ,perhaps some of you sharp gentlemen will say there isn't much difficulty in that4 ,lift the cup1 and pick up the ball60 ,he suits the action to the word1 lifting up the third goblet with the left hand1 and picking up the ball with the right4 8,a very good solution1 but it doesn't happen to be the right one4 ,the problem is to draw out the balls without lifting the cups40 ,here he replaces the cup1 apparently placing the ball beneath it1 but really palming it1 as already described in the case of the middle cup1 and then returns to the first or furthest cup2 touching the top of the goblet1 he lets the palmed ball drop to his finger-tips1 and immediately exhibits it1 saying--8,this is the way ,i take the balls out of the cups4 ,the ball being no longer needed1 ,i return it into the wand40 ,this he does as described at page #bgg1 immediately afterwards1 if desired1 handing the wand for examination4 8,in like manner ,i draw out the second ball0 7he repeats the same process with the middle goblet71 8and pass that also into my wand4 ,i need not even handle the goblets4 ,see1 ,i merely touch this third goblet with my wand1 and the ball instantly appears on the top40 ,the company1 of course1 cannot see any ball on the end of the wand1 but a ball is nevertheless taken thence by the process already described1 of letting the palmed ball drop to the tips of the fingers1 as they come in contact with the wand4 8,i pass this also into my wand4 ,stay1 though1 on second thoughts1 ,i shall want a ball for my next experiment1 so ,i will leave it here on the table40 ,k ,the reader will understand that nobody has in fact made any such observation1 but the overhearing of an imaginary objection is often of great use1 as enabling the performer to do some necessary act1 which he could not well have done without such pretext4 ,thus in this instance1 the performer wants a plausible excuse--first1 for altering his apparent intention of immediately producing a second ball from the wand2 and1 secondly1 for lifting the middle cup1 and so regaining possession of the ball4 ,a conjuror thus addressing an imaginary objector is said in ,french 8parler la cantonade10 but the phrase has no precise equivalent among ,english performers4 ,we have given a somewhat elaborate description of this first ,pass1 in order to give the reader some idea of the various feints and artifices employed in relation to the cups and balls4 ,it would be impossible1 from considerations of space1 to do this as to each of the ,passes1 and the reader must therefore remember that the descriptions following give merely the essential outlines1 which must be worked up to dramatic effectiveness by the ingenuity of the individual performer4 ,where practicable1 we shall allow the few words put into the mouth of the performer to indicate the actions accompanying them1 only giving special 8stage directions0 in cases where the performer does not suit the action to the words4 ,for the sake of distinctness1 we shall indicate the goblets 7reckoning from the left hand of the performer7 as ,a1 ,b1 and ,c4 7,see ,fig4 #aah47 ,,pass ,,ii4 ,,to ,,make ,a ,,ball ,,travel ,,invisibly ,,from ,,cup ,,to ,,cup4--8,now1 ladies and gentlemen1 if you watch very closely1 you will be able to see the ball travel from one cup to another4 ,i take the ball0 7transfers it apparently to left hand7 8and place it under this cup 7,c74 ,you all see that there is nothing under this one0 7,b74 ,in raising ,b with the right hand he introduces under it the palmed ball4 8,i shall now command the ball which ,i have just placed under the first cup 7,c7 to travel under this one 7,b74 ,attention6 and you will see it pass40 ,he makes a motion of the wand from the one cup to the other4 8,there it goes6 ,this cup 7,c71 as you see1 is empty1 and under this one 7,b7 is the ball4 ,i will replace it under this same cup0 7,b74 ,he in reality palms it4 8,there is nothing under this cup0 7,a74 ,he secretly introduces the ball under ,a4 8,now observe again4 ,pass6 ,did you see it8 ,no8 well1 ,i don't much wonder at it1 for ,i can't always see it myself4 ,here it is1 however0 7lifts ,a71 8and this cup 7,b7 is empty40 ,he replaces the cups on the table1 and lays the ball beside them4 ,,pass ,,iii4 ,,having ,,placed ,a ,,ball ,,under ,,each ,,of ,,the ,,end ,,cups1 ,,to ,,make ,,them ,,pass ,,successively ,,under ,,the ,,middle ,,cup4--,before commencing this ,pass1 the performer1 while placing the goblets in line1 or otherwise engaging the attention of the audience with his left hand1 takes from the servante with his right1 and palms1 a second ball4 ,he continues1 8,for my next experiment1 ladies and gentlemen1 ,i shall require two balls4 ,i need hardly remark that ,i could instantly supply myself from the wand2 but there is a curious faculty about the balls themselves2 they have a constant tendency to increase and multiply4 ,for instance1 without having recourse to the wand1 ,i can instantly make this one ball into two0 7he takes up the ball on the table in his left hand1 taking care so to hold it that all may see that there is nothing else in his hand71 8and the most curious part of the matter is1 that though mathematicians insist that the whole is always greater than its part1 in this case each of the parts will be found precisely equal to the whole40 ,as he speaks1 he takes the ball from the left hand with the fingers of the right1 at the same time dropping the palmed ball into the left hand1 and now taking care to so hold his right hand as to show that it contains the one ball only4 ,he then again replaces this ball in the palm of the left hand1 where it lies side by side with the second ball4 ,rubbing the left palm with the second and third fingers of the right1 with a circular motion1 he gradually lifts the fingers1 and shows the single ball apparently transformed into two1 both of which he places on the table4 8,you will observe that there is nothing under this cup 7,c74 ,i will place under it this ball0 7he really palms it72 8neither is there anything under either of these two cups0 7,b and ,a74 ,he lifts the cups one with each hand1 and secretly introduces the palmed ball under ,b4 8,i take this second ball1 and place it under this cup0 7,a74 ,he really palms it4 8,we now have a ball under each of these two cups0 7,a and ,c74 8,i draw the ball out of this one0 7,c74 ,he touches the top of the cup1 and produces the ball last palmed at his finger-tips4 8,i order it to pass under this middle cup0 7,b74 ,he apparently transfers it to the left hand1 really palming it1 and then makes a motion with the left hand1 as if passing it into ,b4 8,it has passed1 you see60 ,he raises ,b with his right hand1 showing the ball under it1 and in replacing it secretly introduces the second palmed ball4 8,now ,i order the ball in this cup 7,a7 to pass in like manner40 ,he waves his wand from ,a to ,b1 and then lifts ,b4 8,here it is1 and these two outer cups0 7turning them over with the wand7 8are perfectly empty40 ,,pass ,,iv4 ,,having ,,placed ,,two ,,balls ,,under ,,the ,,middle ,,cup1 ,,to ,,make ,,them ,,pass ,,under ,,the ,,two ,,outer ,,ones4--8,you have just seen these two balls pass under the middle cup2 now1 by way of variety1 we will make them pass out of it4 ,i will take the two balls1 and place them under the middle cup40 ,he really so places one only1 palming the other4 8,you observe that there is nothing either under this 7,a71 nor under this 7,c740 ,here he secretly introduces the palmed ball beneath ,c4 8,now ,i order one of the balls under the middle cup to pass under one of the outer cups4 ,let us see if it has done so0 7lifts middle cup with left hand74 8,yes1 here is only one left40 ,he takes it up and shows it with right hand1 then makes the gesture of replacing1 but really palms it4 8,let us see where it has gone to0 7lifts ,a with right hand1 and in replacing it secretly introduces the palmed ball under it74 8,it is not under this one4 ,then it must be under this40 ,he lifts ,c4 8,yes1 here it is4 ,now ,i command the other ball in like manner to leave the middle cup1 and pass under the other 7,a74 ,pass6 ,here it is1 you see1 and this one 7,b7 is entirely empty40 ,,pass ,v4 ,,to ,,pass ,,three ,,balls ,,in ,,succession ,,under ,,one ,,cup4--8,so far1 ladies and gentlemen1 what ,i have shown you has been mere child's play40 ,he drops the right hand carelessly to the servante1 and picks up two more balls1 one of which he holds between the fingers1 and the other in the palm4 8,the real difficulty only begins when we begin to work with three balls4 ,now which of these two balls0 7taking up the two balls from the table7 8is the largest8 ,this one1 ,i fancy1 has the advantage1 so ,i will pinch a little piece off to make a third ball40 ,he goes through the motion of pinching the ball with the fingers of both hands1 at the same moment letting fall the ball in the palm to the tips of the fingers of the right hand4 8,yes1 this will do4 ,it isn't quite round1 but that is easily rectified40 ,he rolls it between the fingers4 8,that is better4 ,now watch me closely1 ladies and gentlemen40 ,he places the balls upon the table1 with the exception of the fourth1 which remains concealed between the fingers4 8,you see that there is nothing under either of the cups40 ,he raises all three1 and introduces the fourth ball under the middle one 7,b74 ,he then picks up one of the balls on the table1 and apparently transfers it to his left hand1 really palming it4 8,i command this ball to pass into the middle cup4 ,it has passed1 you see0 7raising the cup with the right hand1 and in replacing it1 introducing the ball now palmed74 ,the operation is repeated in like manner1 until three balls have been shown under the cup1 the fourth finally remaining palmed in the right hand4 ,,pass ,,vi4 ,,to ,,place ,,three ,,balls ,,one ,,after ,,the ,,other ,,upon ,,the ,,top ,,of ,,one ,,of ,,the ,,cups1 ,,and ,,to ,,make ,,them ,,fall ,,through ,,the ,,cup ,,on ,,to ,,the ,,table4--,at the conclusion of the last ,pass the performer had brought three balls under the centre cup ,b1 a fourth remaining concealed in his hand4 ,in lifting ,b to exhibit the three balls1 and in replacing it beside them1 he takes the opportunity of introducing beneath it this fourth ball4 ,he next takes one of the three balls thus exposed1 and placing it on the top of this same goblet 7,b71 covering it with a second goblet 7,a74 ,making any appropriate gesture he pleases1 he commands the ball to fall through the lower goblet on to the table4 ,he then overturns 7without separating7 the two goblets1 their mouths being towards the spectators1 when the ball which he had secretly introduced will be discovered1 and will appear to be that which the spectators have just seen placed on the top of the goblet 7and which really still remains between the two goblets71 and picks up the two goblets together1 mouth upwards1 with the left hand1 and with the right hand takes out that which is now uppermost 7,b74 ,he turns both the goblets down upon the table1 placing ,a over the ball which he has just shown4 ,if this is neatly done1 the other ball1 which has remained in ,a1 will not be discovered1 but will as it falls be covered by ,a1 which will now have beneath it two balls4 ,the performer now places one of the remaining balls on the top of ,a1 covering it with either of the other goblets1 and again goes through the same process till he has shown first two1 and then three balls under the cup1 the fourth remaining1 at the close of the ,pass1 between the two cups last used4 ,,pass ,,vii4 ,,to ,,pass ,,three ,,balls ,,in ,,succession ,,upwards ,,through ,,the ,,table ,,into ,,one ,,of ,,the ,,cups4--,you concluded the last ,pass 7we will suppose the reader to represent for the time being the performer7 by lifting two cups together to show three balls beneath the undermost4 ,holding two cups in the left hand1 you turn them over1 mouth upwards4 ,taking with the right hand that which is now uppermost1 you place it on the table in the ordinary position1 still retaining the other1 in which1 unknown to the spectators1 a fourth ball still remains4 ,you continue1 8,ladies and gentlemen1 you may possibly imagine that there is some trick or sleight-of-hand in what ,i have shown you1 but ,i am now about to perform an experiment in which that solution is clearly inadmissible4 ,i propose to pass these three balls1 one after the other1 through the solid table into this empty goblet4 ,pray watch me carefully4 ,i take away one of the balls0 7you take in the right hand one of the three on the table71 8and hold it beneath the table1 thus4 ,my left hand1 as you will observe1 is perfectly empty4 ,i have only to say1 #8,pass6'0 7,you palm the ball in the right hand1 at the same time giving a gentle tap with one finger against the under surface of the table1 and immediately bring up the hand1 taking care1 of course1 to keep its outer side towards the spectators2 then gently shake the cup which you hold in the left hand1 and turn the ball out upon the table47 8,here it is1 you see4 ,now ,i will put it back in the cup0 7you pick up the ball with the right hand1 and drop it into the cup1 secretly letting fall with it the palmed ball71 8and take another ball40 ,you repeat the process1 and show two balls in the cup2 then again 7each time dropping in the palmed ball71 and show three1 retaining the fourth ball1 still palmed1 in your right hand4 ,,pass ,,viii4 ,,to ,,pass ,,two ,,balls ,,in ,,succession ,,from ,,one ,,cup ,,to ,,another ,,without ,,touching ,,them4--,you again place the three cups in a row on the table1 secretly introducing under the right hand cup 7,c7 the ball which remained in your right hand at the close of the last ,pass1 and then openly place the three other balls on the tops of the three cups4 ,you then proceed1 8,i will take this ball0 7that which is on ,b71 8and place it under this same cup0 7,b74 ,you really palm it4 8,i take this other ball0 7that which is upon ,a71 8and place it under this cup0 7,a74 ,you secretly introduce with it the ball which you have just palmed4 8,i take this last0 7that upon ,c71 8and place it under this goblet 7,a72 or1 stay1 ,i will pass it invisibly to this one0 7,c7--really palming it4 8,it has passed1 you see40 ,you lift ,c1 and show the ball which is already there2 and in again covering the ball with the cup1 you secretly introduce that which you last palmed4 ,you now have in reality two balls under each of the end cups1 and none under the centre one2 but the spectators are persuaded that there is one ball under each cup4 8,we now have one ball under each cup4 ,now ,i shall command the ball that is under the centre cup to pass into either of the end ones at your pleasure4 ,which shall it be80 ,whichever is chosen1 suppose ,c1 you raise and show the two balls under it4 ,you then ostensibly replace the two balls under ,c1 but really replace the one only1 palming the other4 ,you then raise the middle cup 7,b71 to show that it is empty1 and1 in replacing it1 introduce the ball you have just palmed under it4 8,now ,i shall next order one of the two balls you have just seen under this cup 7,c7 to go and join the one which is already under this other 7,a74 ,pass6 ,here it is1 you observe40 ,you raise ,a to show that there are two balls under it4 ,you also raise ,c to show that it now only contains one ball1 and leave all three balls exposed on the table4 ,,pass ,,ix4 ,,to ,,make ,,three ,,balls ,,in ,,succession ,,pass ,,under ,,the ,,middle ,,cup4--,at the conclusion of the last ,pass1 three balls were left in view1 while a fourth1 unknown to the audience1 was hidden under the middle cup4 ,you proceed1 picking up a ball with the right hand1 8,i take this ball1 and place it under this cup0 7,c72 7in reality palming it74 8,i now order it to pass under the middle cup4 ,presto6 ,here it is1 you see40 ,you raise the middle cup to show that the ball has obeyed your command1 and1 in again covering the ball1 secretly introduce with it that which you have just palmed4 8,i take this one0 7you pick up another71 8and place it under this cup0 7,a7--here you palm it as before--8and order it also to pass under the middle cup40 ,you raise the middle cup1 and show that there are now two balls under it1 and1 in again covering them1 introduce the ball which you last palmed4 8,i take this last ball1 and place it under this cup0 7,c7--palming it--8whence ,i shall command it to again depart1 and join its companions under the middle cup4 ,this time it shall make the journey visibly40 ,you take your wand in the left hand1 and with it touch the cup ,c4 8,here it is1 you see1 on the end of my wand4 ,you don't see it8 ,why1 surely it is visible enough4 ,look40 ,you pretend to produce the palmed ball from the wand1 and exhibit it to the company4 8,you can all see it now40 ,you lay down the wand1 and go through the motion of transferring the ball to the left hand1 really palming it in its passage4 8,now1 then1 pray watch me closely1 and you will see it pass under the cup4 ,one1 two1 three60 ,you make the gesture of throwing it through the middle cup1 and open the hand to show it empty1 immediately turning over the goblets to show that there are three balls under the middle and none under the outer ones4 ,,pass ,x4 ,,the 8,,multiplication0 ,,pass4--,for the purpose of this ,pass it is necessary to borrow a hat1 which you hold in the left hand4 ,you then place the three balls in a row upon the table1 and cover each with one of the cups4 ,it will be remembered that a fourth ball remains palmed in your right hand4 ,you now lift up the right hand goblet 7,c71 and place it on the table close beside the ball which it lately covered1 and as you do so1 secretly introduce beneath it the palmed ball4 ,you pick up with the right hand the ball which you have thus uncovered1 and go through the motion of dropping it into the hat1 really palming it in the moment during which the hand is concealed inside the hat1 and at the same moment simulating1 by gentle tap against the inside1 the sound which the ball would make if actually dropped into the hat4 ,you next lift ,b in like manner1 introducing the ball just palmed beneath it1 and go through the motion of placing the second ball1 which is thereby left exposed1 in the hat4 ,you do the same with the third cup1 then return to the first 7which the spectators believe to be now empty1 and from which they are astonished to see you produce another ball71 continuing till you have raised each cup in succession eight or ten times1 and1 on each occasion of lifting a cup to uncover a ball1 introducing beneath it the ball which you had just previously palmed4 ,to the eyes of the spectators1 who believe that the balls are really dropped into the hat1 the effect will be exactly as if new balls1 by some mysterious process of reproduction1 came under the cups at each time of raising them4 ,when you think your audience are sufficiently astonished1 you remark1 8,i think we have about enough now2 the hat is getting rather heavy4 ,will some one hold a handkerchief to receive the balls80 ,when the handkerchief is spread out1 you carefully turn over the hat1 and the general astonishment will be intensified at discovering that it contains nothing4 ,there is1 of course1 a ball left under each of the cups1 and a fourth palmed in your right hand4 ,this latter will not again be wanted1 and you should therefore1 while attention is drawn to the hat1 drop it upon the servante1 or into one of your pochettes4 ,,pass ,,xi4 ,,to ,,transform ,,the ,,small ,,balls ,,to ,,larger ,,ones4--,while the attention of the spectators is still occupied by the unexpected dnouement of the last ,pass1 you should prepare for this one by secretly taking with your right hand from the servante1 and palming 7by either the second or third method1 the first being only available for the small balls7 one of the larger balls4 ,you then address the spectators to the following effect3--8,ladies and gentlemen1 you see that ,i have little difficulty in increasing the number of the balls to an unlimited extent4 ,i will now repeat the experiment in another form1 and show you that it is equally easy to make them increase in size4 ,you will observe that1 notwithstanding the number of balls which ,i have just produced from the cups1 there are still plenty more to come40 ,here you raise ,c1 and show that there is a ball still under it4 ,you replace it on the table at a few inches' distance1 and as you do so1 secretly introduce under it the larger ball which you have just palmed4 ,taking up the small ball in your right hand1 you say1 8,to make the experiment still more surprising1 ,i will pass the ball upwards through the table into the cup40 ,so saying1 you place the right hand under the table1 dropping as you do so the little ball which you hold on the servante1 and taking in its place another of the larger balls4 8,pass60 you exclaim1 at the same time giving a gentle rap on the under surface of the table4 ,you bring the hand up again as if empty4 ,you do not touch the first cup1 but repeat the operation with the second1 ,b1 and again with ,a2 on each occasion of passing the hand under the table exchanging a small ball for a larger one1 and immediately afterwards introducing the latter under the cup next in order4 ,the last time1 however1 you merely drop the small ball on the servante1 without bringing up any other in exchange4 ,you now have1 unknown to the audience1 one of the larger1 or medium-sized balls under each of the cups2 and if you were about to end with this ,pass1 you would merely lift the cups and show the balls1 thus apparently increased in size1 underneath4 ,we will assume1 however1 that you propose to exhibit the ,pass next following 7one of the most effective71 in which case the necessary preparation must be made in the act of raising the cups2 and we shall therefore proceed at once1 while the balls still remain covered1 to describe ,,pass ,,xii4 ,,to ,,again ,,transform ,,the ,,balls ,,to ,,still ,,larger ,,ones4--,the last ,pass having reached the stage we have just described1 i4e41 a large ball being under each cup1 but not yet exhibited to the audience1 you secretly take in your left hand from the servante one of the still larger balls4 ,these balls should be soft and elastic1 and of such a size that1 if pressed lightly into the cup1 they shall require a slight tap of the cup on the table to dislodge them4 ,having taken the ball in the left hand1 you hold it at the ends of the fingers behind the table1 as near the top as possible consistently with its being out of sight of the spectators4 ,then saying1 8,now1 ladies and gentlemen1 ,i must ask for your very closest attention10 you raise ,c with the right hand1 and with the same movement lower it for a moment behind the table1 and over the ball in the left hand1 which remains in the cup of its own accord4 ,all eyes go instinctively to the ball on the table1 whose increased size is a new phenomenon1 and not one in a hundred will1 in this first moment of surprise1 think of watching the cup1 which is naturally supposed to have1 for the moment1 concluded its share of the trick4 ,you replace the cup on the table lightly1 so as not to loosen the ball1 meanwhile getting ready another ball in the left hand1 and repeat the operation with ,b4 ,with ,a you make a slight variation in your mode of procedure4 ,taking a third ball in your left hand1 you hold it as before1 but1 as if through carelessness or clumsiness1 allow it to be seen for a moment above the edge of the table4 ,when you raise the third cup1 you move it behind the table as before1 and make a feint of introducing the ball which the spectators have just seen1 but really let it drop on the servante1 and replace the cup empty4 ,a murmur from the audience will quickly apprise you that they have1 as they imagine1 found you out4 ,looking as innocent as you can1 you inquire what is the matter1 and are informed that you were seen to introduce a ball into the cup4 8,i beg your pardon10 you reply1 lifting up1 however1 not ,a1 which you have just replaced1 but ,c1 which is the farthest remote from it4 ,there is really a ball in this cup1 but having been pressed in1 and fitting tightly1 it does not fall4 ,the audience1 seeing you raise the wrong cup1 are more and more confirmed in their suspicion4 8,not that one1 the other10 they exclaim4 ,you next raise ,b1 the ball in which also does not fall1 for the reason already stated4 8,no1 no10 the audience shout1 8the other cup1 the end one40 8,you are really very obstinate1 gentlemen10 you reply1 8but pray satisfy yourselves10 turning over ,a as you speak1 and showing the inside1 which is manifestly empty1 and your critics rapidly subside4 ,meanwhile1 you drop your left hand to the servante1 and secretly take from it two similar balls4 ,then1 addressing the audience1 you say1 8,surely1 gentlemen1 you don't imagine that1 if ,i wanted to place a ball under a cup1 ,i should set about it after such a clumsy fashion as this60 ,as you say this1 you place your left hand in your left pocket1 as if taking a ball from thence 7as it obviously would not do to give the audience cause to suspect the existence of a secret receptacle behind the table71 and bring out again the two balls1 but allow one only to be seen1 keeping the other concealed in the palm4 ,bringing the cup over the hand1 you squeeze in both balls as far as you can1 when the innermost will remain1 but the outermost1 not having sufficient space1 will drop out again on the table4 ,the audience1 not knowing that there are two balls1 believe the cup1 which you now replace on the table1 to be empty4 ,you continue1 8,no1 gentlemen2 when ,i pass a ball under a cup1 you may be sure that ,i don't let anybody see me do so40 ,as you speak1 you take the ball on the table in your right hand1 and make the movement of transferring it to your left1 really palming it by the second method1 and holding the left hand closed and high1 as if containing it1 and keeping your eyes fixed thereon1 you carelessly drop your right hand till the finger-tips rest on the table1 when you are able to let fall the ball upon the servante4 ,you continue1 8,i will now pass this ball under either of the cups which you like to name4 ,indeed1 ,i will do more2 ,i will cause this ball invisibly to multiply itself into three1 one of which shall pass under each of the cups4 ,first1 however1 let me show you that there is nothing under the cups at present40 ,you raise each in turn--8,nothing here1 nothing here1 and nothing here60 ,the balls still adhere to the sides of the cups1 which1 therefore1 appear to be empty1 but you replace each with a slight rap on the table1 and thereby loosen the ball within it4 8,now1 then60 ,you bring the two hands together1 and gently rub them over each cup in turn2 finally parting them and showing that both are empty1 and then lifting the cups1 show the three large balls underneath4 ,some performers1 in lifting each cup with the right hand1 introduce a fresh ball1 held in the left hand1 as already explained4 ,the effect is the same as in the 8,multiplication0 ,pass1 already described1 with this difference1 that on each occasion of uncovering a ball1 the ball remains on the table1 which thus becomes gradually covered with an ever-increasing number of balls4 ,some1 again1 conclude by apparently producing from the cups objects much larger than they could naturally contain1 e4g41 large apples1 ,spanish onions1 etc4 ,this is effected in the same manner as the introduction of the large balls just described1 save that in this case the object1 which cannot really go into the cup1 is merely held against its mouth with the third finger of the right hand1 and dropped with a slight shake1 as if there was a difficulty in getting it out4 ,there are many other cup-and-ball ,passes1 but the series above given will be found as effective as any4 ,if any reader desires to follow the subject further1 we would refer him to the ,rcrations ,mathmatiques et ,physiques of ,guyot1 already quoted1 or another old work1 under the same title1 by ,ozanam1 in which this branch of prestidigitation is treated at considerable length4 ,illustration ,,chapter ,,xiv4 ,,ball ,,tricks ,,requiring ,,special ,,apparatus4 ,before proceeding to the description of the tricks which form the subject of this ,chapter1 it may be well to mention one or two principles of sleight-of-hand1 not yet noticed1 which have a special application to ball tricks1 and are also useful with regard to oranges1 apples1 eggs1 etc4 ,the ,pass called the tourniquet1 or 8,french drop10 described already in relation to coin1 will be found equally applicable to balls up to a couple of inches in diameter1 but is not available for objects of larger size4 ,balls of larger diameter are best palmed by one or other of the methods following4 ,first ,method4--,taking the ball in either hand1 the performer tosses the ball from palm to palm 7at a few inches' distance7 four or five times1 finally making the motion of tossing it from the right hand to the left1 but really retaining it in the right by a slight contraction of the palm1 and at the same time closing and elevating the left hand1 and following it with the eyes1 as though it contained the ball4 ,it is obvious that a ball of the size now under consideration 7say of two to three inches in diameter7 would not admit of the hand containing it being perfectly closed2 and this must be borne in mind in the position of the left hand1 the fingers of which must not be tightly closed1 as they would if apparently containing a coin or other very small article1 but merely curved inward1 the palm1 of course1 being turned toward the performer's own body1 so as not to disclose the secret of its emptiness4 ,where the hand of the performer is small1 or the ball is of such a size as not to be readily retained in the right hand by the contraction of the palm1 the thumb may be used to assist in supporting it4 ,second ,method4--,taking the ball between his open hands1 the performer rolls it round and round between his palms1 as though it were a lump of clay which he was moulding into a spherical form2 and in so doing gradually turns his hands till the back of his right hand is undermost1 when1 with an inward movement of that hand towards himself1 he palms the ball therein1 at the same time closing and elevating the left hand1 as described for the last method4 ,,to ,,vanish ,a ,,large ,,ball ,,with ,,the ,,aid ,,of ,,the ,,table4--,first ,method4 ,standing behind his table1 the ball being some six or eight inches from its hinder edge1 the performer places both hands round it1 apparently picking it up and bringing it forward between his two hands1 from which1 however1 the ball is1 on examination1 found to have vanished4 ,its disappearance is effected as follows3--,at the moment when the performer encircles the ball with his hands1 he gives1 with the little finger of the hand which is innermost--and therefore unseen by the audience--a quick jerk to the ball1 which is thereby made to roll towards the hinder edge of the table1 and drop upon the servante1 on which there should be a padded box or basket to receive it4 ,the action is wholly concealed from the spectators by the hands1 which1 with the exception of the finger which does the work1 should remain motionless4 ,second ,method4--,standing behind his table1 as in the last case1 the performer tosses up the ball1 and catches it again three or four times1 keeping the hands low1 so as to be near the edge of the table4 ,the hands naturally sink in the act of catching the ball2 and after having caught it once or twice1 the performer1 as he lowers them1 drops it on the servante1 immediately raising them again with the action of throwing up the ball1 taking care to follow it with the eyes in its imaginary flight4 ,if this is done neatly1 the eyes of the spectators will instinctively travel in the same direction1 and the effect to them will be as if the ball vanished at the highest point of its upward flight1 instead of disappearing1 as it really does1 at the moment of reaching the hands in its fall4 ,this method may also be employed for objects other than of spherical shape4 ,third ,method4--,the performer1 standing behind his table as before1 and placing the ball thereon1 covers it with the right hand1 and rolls it round and round in circles1 each time bringing it nearer and nearer to the hinder edge of the table1 till it finally rolls over1 and drops upon the servante4 ,he continues the motion of the hand for two or three turns1 as though the ball was still under it1 gradually working back towards the centre of the table1 the effect to the spectator being as if the ball melted away under the operator's fingers4 ,fourth ,method4--,this is generally employed to apparently pass one object into another--say a small ball into a large one4 ,the performer1 standing a little behind his table1 with his right side slightly turned to the spectators1 takes in his right hand the small ball1 and in his left the large one4 ,the latter he holds about shoulder high1 keeping his eyes fixed upon it1 and remarking1 8,i shall now pass this small ball into this large one10 he draws back and lowers the right arm1 as though to give it impetus1 as one naturally does in the act of throwing4 ,this brings the right hand just over the padded box or basket on the servante1 and allows him to drop the small ball therein4 ,without any pause1 he brings the right hand smartly up to the left1 describing a tolerably wide arc in its transit1 and then1 separating his hands1 shows that the smaller ball has vanished1 having apparently passed into the large one4 ,this sleight is not confined to objects of spherical form1 but may be used with any article of convenient size4 ,with this introduction1 we shall now proceed to describe a few of the most popular 8ball tricks40 ,illustration3 ,,fig4 #abg4 ,,the ,,ball ,,box4--,the leading idea of most of the tricks which we are about to describe is the magical appearance or disappearance of a ball4 ,so far1 they resemble the cup-and-ball tricks described in the last ,chapter1 but with this difference1 that1 in the case of the present series1 the main effect is produced by mechanical means1 any sleight-of-hand employed being rather an accessory than the leading feature4 ,the oldest and simplest of the mechanical appliances for this purpose is that known as the 8ball-box10 consisting of a box two to six inches in height1 of the shape shown in ,fig4 #abg1 and containing a ball which just fills it4 ,the box consists of three portions--the lower portion1 or box proper a1 the lid c1 and an intermediate portion b1 being a hollow hemisphere coloured externally in imitation of the ball1 and so fitted with reference to the box and lid1 that it may be either lifted off with the lid1 leaving the box apparently empty1 or may be left upon the box when the lid is removed1 the effect to the eye being as if the ball had returned to the box4 ,the ball-box is generally of turned boxwood1 and is scored with concentric circles1 which serve to disguise its double opening4 ,simply stated1 its effect is as follows3--,the solid ball is first shown in the box1 and then openly taken from it1 and the box covered with the lid4 ,the ball is then got rid of in one or other of the modes before described1 and a pretence is made of passing it invisibly into the box4 ,the lid is removed without the intermediate portion b1 and the ball appears to have returned to the box4 ,again the lid is replaced1 and again removed2 but this time b is removed with it1 and the box again appears empty4 ,the trick in this form is to be found in every toy-shop1 and is so well known as to produce scarcely any illusion1 but its transparency may be considerably diminished by previously palming 7in the right hand7 the moveable shell b1 the convex side being inwards1 and then handing round the remaining portions and the solid ball for inspection4 ,when they are returned1 the performer apparently places the ball in the box1 but really makes a secret exchange1 and places b in the box instead4 ,upon again removing the lid1 and with it b1 the ball has disappeared2 and as the audience have1 as they believe1 inspected the whole apparatus1 the mode of its disappearance is not quite so obvious as in the first case4 ,at best1 however1 the ball-box1 in this its pristine form1 is a clumsy and inartistic contrivance1 and has long been relegated to the juvenile and country-fair school of conjuring4 ,there is1 however1 an improved apparatus for producing a similar effect1 which is generally worked in couples1 under the name of ,illustration3 ,,fig4 #abh4 ,,the ,,red-,,and-,,black-,,ball ,,vases4--,the receptacle for the ball is in this case made in the form of a neat vase1 and without any of those tell-tale grooves which disfigure the older ball-box4 7,see ,fig4 #abh47 ,like its prototype1 it is in three parts1 which we will distinguish as before by the letters a1 b1 and c4 ,the portion b1 however1 in this case goes completely within the lid c1 within which it fits just tightly enough to be lifted off with it4 ,when1 however1 the performer desires to leave b upon a1 he presses down1 in the act of lifting off the cover1 a moveable button or stud at the top4 ,this pushes out the shell b from the cover1 and1 when the latter is lifted1 leaves it upon a4 ,when used in pairs1 the ball-vases are usually made with one red and one black ball1 the shells b of each vase being also one black and one red4 ,the balls are first offered for examination1 after which the red ball is placed in the vase containing the black shell1 and the black ball in that which contains the red shell4 ,the vases are then covered1 and on the covers being again removed1 leaving the hollow shells upon the vases1 the red ball being covered by the black shell1 and the black ball by the red shell1 the effect to the spectator is as if the two balls had changed places4 ,by leaving alternately the one or the other shell over its respective vase1 the ball in the opposite vase being left uncovered1 the vases may be made to appear as if both containing red balls or both black balls1 the genuine balls being finally again exhibited as at first4 ,illustration3 ,,fig4 #abi4 ,there is yet another form of ball-box1 also frequently worked in pairs1 and designed to simulate the apparent passage of a ball from the one box to the other4 ,the vase in this case consists of two parts only1 the vase proper a1 and the cover b1 but the latter is of such a height as to completely contain the ball1 and of such a size internally1 that1 if the ball be jerked up into the cover1 it will not again fall1 unless a slight shake be used to displace it4 7,see ,fig4 #abi47 ,each vase has its own ball1 and the mode of use is as follows3--,one of the vases is prepared beforehand by jerking up the ball into the cover1 which may then be removed1 showing the vase apparently empty2 or both may be first shown empty1 and the ball then introduced secretly under the cover1 after the manner of the cups and balls4 ,the remaining vase and ball are offered for inspection1 and when they are returned1 the ball is placed within and covered over1 after which the closed vase is placed upon the table2 but in the act of doing this the performer gives the apparatus a slight upward jerk1 thereby causing the ball therein to rise into the cover1 where it remains4 ,the second vase is once more shown empty2 but in replacing it on the table1 the performer puts it down sharply1 thereby causing the ball to drop from the cover into the cup4 ,he now orders the ball1 which the company have seen placed in the first vase1 to pass invisibly into the second2 and on again opening the two1 this transposition will appear to have taken place1 and by a repetition of the process the ball may be made to travel backwards and forwards from one vase to the other4 ,,morison',s ,,pill-,,box4--,in this trick 7called by ,french conjurors ,la ,pilule du ,diable7 the device of the 8shell0 is carried still further4 ,the box in this case is spherical1 standing upon a thin stem 7see ,fig4 #acj71 and each part 7box proper and lid7 contains a half shell1 the edge of one having a rebate or shoulder1 so as to fit into the other1 the conjoined having the appearance of a solid ball4 ,the genuine ball is of such a size as just to fill the hollow shells when thus joined4 ,the lower shell fits loosely in the box1 the upper one a little more tightly1 so as not to fall out unless pressed down by the button on the top of the lid1 which not only loosens it from the lid1 but presses it into union with the lower shell4 ,illustration3 ,,fig4 #acj4 ,the mode of using the apparatus is as follows3--,it is first brought forward with the one half shell in the box1 and the other in the lid1 the true ball1 which is of the same colour as the shell 7generally black7 being placed within the lower shell4 ,the ball is ostentatiously removed1 and the box closed4 ,the ball is then either placed in some piece of apparatus adapted to cause its disappearance1 or is made to vanish by sleight-of-hand in one or other of the modes already described4 ,the ball is now ordered to return to the box1 which1 for greater certainty1 is once more shown empty4 ,the performer again closes it1 pressing as he does so the button on the top of the lid1 thus compelling the two half shells to coalesce2 and on again re-opening the box1 the ball has1 to all appearance1 returned as commanded4 ,the ball-box now under consideration has this great advantage over the single-shell vases1 that the sham ball can be completely removed from the box1 and shown on all sides1 thus 7apparently7 negativing the possibility of its being a shell only4 ,the trick may be also worked very effectively by using a genuine ball of a different colour to the shell1 with the addition of a duplicate of each4 ,thus1 if the shell be black1 you must be provided with a solid ball of the same colour1 and two red balls4 ,one of the latter1 as also the solid black ball1 should be of such a size as to go inside the shell1 the remaining red ball being of the same size as the shell in its complete condition4 ,the half shells being in their place in the box1 the performer brings it forward1 together with the smaller red and black ball1 keeping the remaining red ball concealed in his palm4 ,borrowing a handkerchief1 he wraps 7apparently7 the black ball therein1 and gives it to some one to hold 7really substituting the palmed red ball1 and getting rid of the black ball as soon as he can into one of his secret pockets74 ,he then places the remaining red ball in the box1 and having covered it over1 commands the black ball in the handkerchief to change places with the red one in the box4 ,upon examination1 the change has apparently taken place1 the red ball in the box being now enclosed within the hollow shell1 and thus having all the appearance of the solid black ball4 ,,the ,,ball ,,which ,,changes ,,to ,a ,,rose4--,this is little more than an enlarged edition of the apparatus just described1 the ball in ,morison's pill-box being generally of about an inch and a half in diameter1 while in the present case the ball is nearly double that size4 7,see ,fig4 #aca47 ,the only other difference is the addition of a short pin1 about a sixteenth of an inch in length1 projecting from the bottom of the cup1 and fitting into a corresponding hole in the lower shell4 ,the addition of this pin enables the performer1 after having pressed the stud at top1 and thus caused the ball to appear in the previously empty box1 to again cause its disappearance4 ,this is effected by opening the box with a slight lateral pressure1 when the pin acts as a stop or check to hold back the lower shell2 and the shells which are in this instance made to fit rather more loosely together1 are thus forced to separate again1 the lower being left in the cup and the upper in the lid1 as before4 ,illustration3 ,,fig4 #aca4 ,this apparatus is generally used with a solid black ball and a couple of artificial rose-buds1 as nearly alike as possible4 ,the apparatus is brought forward empty1 and with the solid ball and one of the rose-buds1 is handed to the audience for inspection4 ,the two half shells1 joined together so as to form a hollow ball1 with the second rose-bud within1 are placed ready to hand in one of the pochettes of the performer4 ,the audience having duly examined the apparatus1 the performer returns to his table1 secretly exchanging as he does so the solid for the hollow ball4 ,this latter he places openly in the cup1 taking care that the hole in the lower shell duly corresponds with the pin at bottom1 and puts on the cover4 ,he now announces that the ball which he has just placed in the cup will at command fly away1 and that the rose-bud which he holds shall take its place4 ,the disappearance of the visible rose-bud is effected in any way that the invention or the appliances at command of the performer may suggest2 and on the box being opened1 so as to part the two shells1 the ball has apparently disappeared1 and the rose has taken its place4 ,by again closing the box1 and this time pressing the stud on the top1 the flower may again be made to vanish1 and the ball to reappear in its original position4 ,the popular trick of the 8flower in the button-hole10 which will be described under the head of ,miscellaneous ,tricks1 may be used in conjunction with this apparatus1 the ball being found in the place of the flower1 while the latter is made to appear in the button-hole4 ,a similar apparatus to the above is sometimes made in metal1 and of a size sufficient to enclose a cannon-ball1 which being made to disappear1 its place is supplied by a variety of articles which have been otherwise disposed of at an earlier period4 ,,the ,,obedient ,,ball4--,this trick is of ,japanese origin1 and from that circumstance is sometimes known as the ,japanese ,ball4 ,it is performed with a large black wooden ball1 about five inches in diameter1 with a hole bored through it from side to side4 ,a piece of stout rope1 four or five feet in length1 with a knot at one end1 completes the apparatus4 ,the performer commences by passing the rope through the ball1 and hands both for examination4 ,the ball is found to run loosely upon the rope1 and both are manifestly quite free from mechanism or preparation4 ,the articles being returned1 the performer places his foot upon the knotted end of the rope1 and taking the other end in his right hand1 holds it in a perpendicular position4 ,the ball is raised as far as the length of the rope will admit1 and1 on being again released1 immediately runs down again1 as would naturally be expected4 ,the performer now announces that1 in obedience to his will1 the laws of gravity will be in this particular instance suspended4 ,accordingly1 on his again raising the ball to any portion of the rope1 it remains stationary at that height until released by his command1 when it instantly runs down4 ,other persons are invited to come forward1 and to place the ball at any height they please1 the ball again remaining stationary until released by the word of the operator1 when it slowly descends1 stopping1 however1 in its course1 and remaining fixed whenever commanded by the performer to do so4 ,the secret lies in the fact that the hole in the ball is not made straight from end to end1 but curved1 with an angle or break in the middle4 7,see ,fig4 #acb47 ,so long as the rope is slack1 it runs through easily enough1 but as soon as it is drawn taut1 and thus forced into a straight line1 it is clipped by the opposite angles a1 b1 and c1 creating an amount of friction which would support a much greater weight than that of the ball4 ,the performer has1 therefore1 only to draw the rope taut when he desires the ball to remain stationary1 and to slacken when he desires it to run down4 ,illustration3 ,,fig4 #acb4 ,,fig4 #acc4 ,there is another form of the ,obedient ,ball1 designed for drawing-room use4 ,the ball in this case is about two and a half inches in diameter1 and the bore is straight1 but tapering from a quarter of an inch at the one opening to about half an inch at the other4 ,the cord used is a thin piece of whipcord1 and the ball therefore runs quite loosely upon it4 ,there is1 however1 in this case an additional element in the apparatus1 consisting of a little black wooden plug1 about an inch in length1 and tapering so as to fit midway in the bore of the ball4 7,see ,fig4 #acc1 in which a represents a nearly full-sized view of the plug in question47 ,the plug is bored after the manner of the large ball1 the hole being of such a size as to just allow the cord to run through it4 ,this plug is secretly threaded upon the cord before commencing the trick2 the cord1 which in this case has a tassel instead of a knot at one end1 being passed through it from the larger end4 ,this plug is kept concealed in the hand of the performer1 the string being allowed to dangle down on each side of it4 ,the ball is handed round for examination1 and1 when returned1 the cord is passed through it from the side which has the larger opening4 ,the ball is then allowed to drop quickly to the full extent of the cord4 ,as it runs down1 it encounters the plug1 which is thereby placed in position within the ball1 and both run down together until stopped by the tassel4 ,from this point the working of the trick is the same as with the larger ball4 ,illustration ,,chapter ,,xv4 ,,hat ,,tricks4 ,the present ,chapter will be devoted to those tricks in which a hat plays a special or prominent part4 ,borrowed hats have been used in the course of many of the tricks already described1 but the part played by the hat has been of an incidental and subordinate character4 ,in the tricks next following the hat is the principal article employed4 ,the majority of hat tricks are different modifications of the same broad idea1 viz41 the production from a borrowed and apparently empty hat of various articles1 in size and number much exceeding what any hat could in the natural way contain4 ,one of the best is that of ,,the ,,cannon-,,balls ,,in ,,the ,,hat4--,the earliest and simplest form of this trick is limited to the production of a solid wooden globe1 blacked to resemble a cannon-ball4 ,the introduction of the ball into the hat is effected as follows3--,the ball1 which has a hole of about two inches in depth by one in diameter bored in it towards its centre1 is placed on the servante of the performer's table in such manner that the hole above-mentioned shall slant upwards and outwards1 at an angle of about #de4 ,to keep the ball steady1 and to prevent its rolling off1 some performers have a slight circular hollow scooped in the surface of the servante itself4 ,a more convenient plan1 however1 is to use an india-rubber ring 7such as is given to infants teething74 ,this may be placed on any part of the servante1 and makes a capital rest or bed for the ball4 ,a bit of half-inch rope1 with the ends joined so as to form a ring1 will answer the same purpose4 ,illustration3 ,,fig4 #acd4 ,illustration3 ,,fig4 #ace4 ,when the performer desires to introduce the ball into the hat1 which we will suppose to have been borrowed for the purpose of some previous trick just completed1 he takes the hat with his thumb outside and his fingers inside the brim1 and holds it up with its mouth towards the spectators1 so as to show indirectly that it is empty 7see ,fig4 #acd74 ,carelessly lowering his hand1 he brings the hat mouth downwards on the table1 and1 drawing it towards him1 slips the second finger into the hole in the ball 7see ,fig4 #ace71 when the mere action of crooking the finger brings the ball into the hat4 ,he then1 still holding the ball supported by the finger1 walks away from the table towards the owner of the hat1 with the apparent intention of returning it4 ,just before reaching him1 however1 he pretends to notice that it is somewhat heavy1 and looking into it1 says1 8,dear me1 sir1 there is something rather peculiar about this hat4 ,are you aware that there is something in it80 ,the owner naturally professes ignorance of the fact2 and the performer1 after keeping the audience in suspense for a moment or two1 turns the hat over1 and lets the ball fall out upon the stage4 ,illustration3 ,,fig4 #acf4 ,the performer may in some degree heighten the effect of the trick by making it appear that the ball is wedged very tightly in the hat1 as the difficulty of introducing it becomes thereby presumably the greater4 ,this is managed by holding the hat with both hands1 as shown in ,fig4 #acf1 when the extended finger-tips will prevent the ball from falling as long as may be desired1 however much the hat may be shaken4 ,illustration3 ,,figs4 #acg1 #ach4 ,the trick1 as above described1 is of very short duration4 ,in order to lengthen1 and at the same time to diversify it1 a second ball is sometimes employed1 of similar appearance1 but of different construction4 ,this second ball 7see ,figs4 #acg1 #ach1 the latter representing a section of the ball7 is a strongly made hollow sphere of tin or zinc1 with a circular opening of about three and a half inches across1 closed by a sort of sliding door1 a1 also circular1 working on two curved arms1 b b1 which move on two pivots1 c c1 at opposite sides of the ball on the inside4 ,in this door is a hole an inch in diameter1 answering the same purpose as the hole bored in the solid ball4 ,the ball is filled beforehand with bonbons1 small toys1 or any other articles suitable for production4 ,thus 8loaded10 it is placed upon the servante1 and introduced into the hat as above described4 ,the performer goes through the ceremony of pretending to discover something in the hat1 but does not1 as in the last case1 at once produce the ball4 ,slipping back the sliding door1 he brings out1 one by one1 the articles contained in the ball1 not hurriedly1 but with deliberation1 as he thereby produces the effect of greater quantity4 ,having emptied the ball1 he again closes the circular slide1 remarking that the hat is now quite empty4 ,as a proof that it is so1 he turns the hat mouth downwards as above directed1 preventing the ball from falling with the tips of his fingers4 ,again he moves towards the owner1 as if to return the hat1 and again pretends to find something in it4 ,this time1 however1 he does not allow the ball to fall on the ground1 as1 being hollow1 it will not bear rough usage1 but lifts it out with his left hand1 taking care that the 8door0 side shall be downwards1 next his palm4 ,observing that he will have the ball packed up for the owner of the hat to take home with him1 he returns to his table1 and places it thereon4 ,as the ball was in his left hand1 the right is still holding the hat1 and this gives him the opportunity to introduce the second 7i4e41 the solid7 cannon-ball1 which should be placed in readiness at the opposite corner of the servante4 ,this also is produced in due course1 and1 being manifestly solid1 naturally leads the audience to infer that the other was so also4 ,illustration3 ,,fig4 #aci4 ,what are known as 8multiplying balls0 are frequently used in conjunction with the cannon-balls4 ,these are cloth-covered balls of about two and a half inches in diameter4 ,in appearance they are solid1 but in reality are mere outer coverings of cloth1 kept distended by spiral skeletons of wire 7see ,fig4 #aci71 and may be pressed quite flat1 in which condition they occupy an exceedingly small space1 though they immediately regain their shape on being released4 ,a large number of these may be packed in the hollow cannon-ball1 and when taken out1 produce a pile extending far above the mouth of the hat1 the cannon-ball lying hidden beneath them4 ,the hollow ball may also be filled with soft feathers1 of which what will seem an incredible quantity when spread out may be compressed into a very small space4 ,feathers are1 however1 objectionable in a drawing-room1 from the difficulty of collecting them from the carpet4 ,,the 8,,hundred ,,goblets0 ,,from ,a ,,hat4--,the goblets used for this purpose are of polished tin1 about four inches in depth1 and made without ornament or projection of any kind4 ,being all of the same size1 and slightly tapering1 a large number of them may be fitted one within the other1 and yet occupy little more space than a single one4 ,the goblets thus packed are placed in a bag of black alpaca1 just large enough to receive them1 and concealed on the servante1 or in one of the profondes of the performer4 ,when it is desired to introduce them into the hat1 they are grasped in either hand1 the back of the hand being turned towards the audience1 and thus covering them4 ,the hand is now carelessly placed in the hat1 as though to take something out4 ,once introduced1 the goblets are produced one by one1 and placed mouth downward on the table1 their number giving an appearance of bulk which seems to exclude the possibility of their having been all contained within so small a space4 ,two or three parcels of goblets may be introduced successively1 and brought out one by one1 with little difficulty4 ,we may here mention a little expedient which will be found of great assistance where the performer desires to introduce into a hat a bundle of goblets 7or any similar article7 from either of his secret pockets4 ,we will suppose that the article in question is in the right-hand profonde4 ,taking the empty hat in the opposite hand 7the left71 he stoops a little1 and holding it down near the floor1 with its mouth toward the company1 gently moves it round and round in circles1 gazing at it intently1 as though anticipating some important result4 ,this draws all eyes to the hat1 and enables him to drop his right hand to the profonde1 and bring out1 under cover of the hand and wrist1 the article to be introduced4 ,continuing the motion1 he gradually brings the mouth of the hat upwards1 so that the company can no longer see into it1 and suddenly plunges his right hand into it1 as though merely to take out the article or articles which he1 in fact1 thereby introduces4 ,this may be repeated from the profonde on the opposite side2 and thus two successive packets of articles may be produced without even going near the table4 ,illustration3 ,,fig4 #adj4 ,a ,,dozen ,,babies ,,from ,a ,,hat4--,among the various objects available for production1 may be enumerated dolls1 of which a dozen1 each eight or nine inches in height1 may be produced from a borrowed hat4 ,the dolls for this purpose are of coloured muslin1 stretched over a framework or skeleton of spiral wire1 after the fashion of the multiplying balls 7see ,fig4 #adj71 and may be compressed vertically to a thickness of about three-quarters of an inch4 ,a dozen of them may be packed within the hollow cannon-ball1 described above1 resuming their shape as soon as they are released4 ,illustration3 ,,fig4 #ada4 ,,the ,,magic ,,reticules4--,this is one of the most modern hat tricks4 ,the reticules1 which are of cardboard covered with leather1 are1 when expanded1 as shown in ,fig4 #ada4 ,they are1 however1 constructed so as to fold into a very small compass1 in manner following4 ,the ends1 a a1 are only attached to the reticule at their lower edges 7which form a kind of leather hinge71 and may be folded inwards flat upon the bottom of the reticule4 7,see ,fig4 #adb47 ,the ends of the ribbon b1 which forms the sling or handle of the reticule1 run freely through two holes c c in the upper side of the reticule1 and are attached to the ends a a at the points d d4 ,the ends being folded down1 as in ,fig4 #adb1 the reticule becomes a hollow oblong1 open from end to end1 as in ,fig4 #adc4 ,the angles1 being made of soft leather1 are flexible1 and by pressing the sides in the direction indicated by the dotted lines 7see ,fig4 #adc71 the reticule is brought into the condition shown in ,fig4 #add1 and1 on being again folded1 into that shown in ,fig4 #ade1 in which condition it is little larger than a pocket-book4 ,half-a-dozen reticules thus folded1 and packed in a bag of black alpaca1 or held together by an india-rubber ring1 form a small and compact parcel1 and are easily introduced into the hat4 ,the performer having got them out of the bag1 has only to unfold each1 so as to bring it into the condition shown in ,fig4 #add1 when the mere act of lifting the reticule out of the bag by the ribbon b raises the sides and ends1 and restores it to the shape shown in ,fig4 #ada4 ,illustration3 ,,fig4 #adb4 ,,fig4 #adc4 ,illustration3 ,,fig4 #add4 ,,fig4 #ade4 ,,the ,,drums ,,from ,,the ,,hat4--,in this trick the performer generally begins by producing from the hat a number of the multiplying balls described at page #cjg4 ,he next produces a miniature drum1 prettily ornamented1 then another1 then a third and a fourth1 each being a shade larger than its predecessor1 and the last of such a size as barely to be containable within the hat4 ,with the reader's present knowledge1 he will readily conjecture that the drums are so constructed as to fit one within the other1 the multiplying balls being packed within the smallest of the four4 ,one end of each drum is loose1 and falls inwards upon the opposite end1 upon which it lies flat1 thus giving space for the introduction of another drum1 a size smaller4 ,across the loose end1 and parallel to it1 is fixed a wire1 forming a handle whereby the performer may lift the drum out of the hat1 the act of doing so raising the end into its proper position1 and a wire rim round the inside of each drum preventing the loose end being drawn out altogether4 ,each drum is taken out with the loose end upwards2 but the performer1 in placing it on the table1 turns it over1 thus bringing the solid end up4 ,in default of this precaution1 the loose end would fall back again to its old position1 and so betray the secret4 ,the drums are usually made oval1 rather than round1 as they are thus better suited to the shape of a hat4 ,,the ,,birdcages ,,from ,,the ,,hat4--,not content with cannon-balls1 drums1 and ladies' reticules1 the public of the present day requires that birdcages and living birds should be produced from an empty hat4 ,illustration3 ,,fig4 #adf4 ,,fig4 #adg4 ,illustration3 ,,fig4 #adh4 ,the birdcages used vary in their construction4 ,some are made to fit one within the other1 after the fashion of the drums just described1 save that the birdcages1 unlike the drums1 are lifted out by the solid and not the loose ends1 which fall down of their own accord4 ,those in most general use1 however1 are of the shape shown in ,fig4 #adf1 and are alike in size1 measuring about six inches in height1 by five in breadth and depth4 ,the bottom is made to slide upwards on the upright wires which form the sides4 ,when it is desired to prepare the cage for use1 a canary is first placed therein1 and the bottom is then pushed up as far as it will go 7see ,fig4 #adg71 the sides1 which work on hinges at a a a a1 being folded one by one upon the bottom1 the cage finally assuming the shape shown in ,fig4 #adh4 ,it is in this condition that the cages1 generally three in number1 are introduced into the hat1 either from the servante or from inside the vest of the performer2 and in the act of lifting out 7which is done by the wire loop at top71 the sides and bottom falling down1 the cage again becomes as in ,fig4 #adf4 ,illustration3 ,,fig4 #adi4 ,,the ,,cake 7,,or ,,pudding7 ,,in ,,the ,,hat4--,this is an old and favourite hat trick4 ,the necessary apparatus consists of two parts--first1 a round tin pan a 7see ,fig4 #adi71 four inches in depth1 and tapering from five inches at its greatest to four and a half inches at its smallest diameter4 ,it is open at each end1 but is divided into two parts by a horizontal partition at about two-thirds of its depth4 ,second1 a larger tin b1 japanned to taste1 five and a half inches in depth1 and so shaped as to fit somewhat tightly over the smaller tin4 ,in the larger end of the latter is placed a hot cake or pudding1 and in this condition it is placed on the servante of the table1 projecting a little over the edge4 ,the performer borrows a hat1 and in passing behind his table1 tips cake and tin together into it4 ,the chances are that the tin will fall small end upwards 7the opposite end being the heaviest72 but if not1 the performer turns the tin1 so as to bring it into that position4 ,placing the hat mouth upwards upon the table1 he announces his intention of making a cake in it2 for which purpose he takes1 one by one1 and mixes in the tin b1 a quantity of flour1 raisins1 eggs1 sugar1 and the other ingredients for a cake1 adding water enough to make the mixture into a thick batter4 ,this he pours into the hat1 holding the tin with both hands1 at first high above it1 but gradually bringing it lower and lower1 till at last1 as if draining the last drop of the mixture1 he lowers the mouth of the tin right into the hat1 and brings it well down over the smaller tin4 ,on being again raised1 it brings away within it the smaller tin and its liquid contents1 the cake being left in the hat4 ,he next proceeds to bake the cake1 by moving the hat backwards and forwards at a short distance over the flame of a candle1 and1 after a sufficient interval1 exhibits the result1 which is cut up and handed round to the company for their approval4 ,as the batter round the sides of b is apt to cause a to stick pretty tightly into it1 a folding ring is generally fixed inside a1 in order to facilitate its removal after the close of the trick4 ,,the ,,welsh ,,rabbit4--,this is a trick of a comic character1 and in the hands of a spirited performer is sure to be received with applause1 particularly by the younger members of the audience4 ,its effect is as follows3--,the performer brings in in one hand a saucepan1 fancifully decorated1 and in the other a plate1 with bread1 cheese1 pepper1 etc4 ,with these ingredients he proposes to make a ,welsh ,rabbit1 and to give the audience1 without extra charge1 a lesson in cookery4 ,chopping the bread and cheese together in a burlesque fashion1 and seasoning with pepper and salt to a degree which no palate short of a salamander's could possibly stand1 he shovels all into the saucepan1 and claps the lid on4 ,for a moment he is at a loss for a fire1 but this difficulty is quickly conquered4 ,borrowing a gentleman's hat1 and a lady's pocket-handkerchief1 he requests permission to use them for the purpose of the experiment4 ,this is readily accorded1 but the respective owners look on with consternation when the performer proceeds to set fire to the handkerchief1 and1 dropping it still blazing into the hat1 to cook the ,welsh ,rabbit by moving the saucepan to and fro over the flames4 ,having done this for a minute or two1 he extinguishes the flames by lowering the saucepan for a moment into the hat4 ,then again removing it1 and taking off the lid1 he brings it forward to the company1 and exhibits1 not the expected ,welsh ,rabbit1 or 8rare-bit10 but a genuine live rabbit1 every vestige of the cheese and other ingredients having disappeared4 ,illustration3 ,,fig4 #aej4 ,the secret of this ingenious trick lies mainly in the construction of the saucepan1 which consists of four parts1 designated in the diagram 7,fig4 #aej7 by the letters a1 b1 c1 and d2 a is the lid1 which has no speciality1 save that the rim round it is rather deeper than usual2 b is a shallow tray or lining1 of the same depth as the lid1 fitting easily within the top of the saucepan2 a1 on the contrary1 fits tightly within b2 c is the body of the saucepan1 and has no speciality2 d is an outer sheet or covering1 loosely fitting the lower part of the saucepan1 and1 like it1 is japanned plain black1 the upper part and lid being generally of an ornamental pattern4 7,for our own part1 we much prefer either plain black or polished tin throughout1 as savouring less of mechanism or preparation47 ,the presence or absence of d does not alter the general appearance of the saucepan1 and cannot1 therefore1 be detected by the eye4 ,it should be mentioned that d is so made1 that between its bottom and the bottom of the saucepan is a space of about half an inch in depth1 and in this space1 before the apparatus is brought forward1 is placed a substitute handkerchief1 sprinkled with a few drops of spirits of wine or eau de ,cologne1 to render it more inflammable2 within the saucepan is placed a small live rabbit1 after which b is put in its place1 and pressed down4 ,illustration3 ,,fig4 #aea4 ,the performer is now ready to begin the trick4 ,he brings forward the saucepan1 holding it as in ,fig4 #aea1 in which position the pressure of the first and second fingers on d prevents it falling off1 as1 being loose1 it would otherwise do4 ,placing it on the table1 he mixes the bread1 cheese1 etc41 on the plate1 and then pours all into the saucepan1 where1 of course1 they fall into b4 ,as b is comparatively shallow1 it is well to place the saucepan in some tolerably elevated situation1 so that the audience may not be able to see into it1 or they may perceive that the bread1 etc41 do not fall to the bottom4 ,the lid is next placed on the saucepan4 ,the hat and handkerchief are borrowed1 the latter1 which is to serve as fuel1 being dropped into the hat4 ,the performer1 as if bethinking himself of a possible difficulty1 carelessly remarks1 8,we mustn't have the stove too small for the saucepan20 and so saying1 lifts the latter1 as shown in ,fig4 #aea1 and lowers it for a moment into the hat1 as though testing their relative sizes4 ,in that moment1 however1 he relaxes the pressure of his fingers on d1 and so leaves it within the hat1 placing the saucepan on the table beside it4 ,when he again takes out the 7supposed7 handkerchief1 and sets light to it1 it is1 of course1 the substitute that is actually burnt1 the genuine handkerchief meanwhile remaining hidden beneath d in the crown4 ,the effect of the flames rising from the hat1 in which the audience cannot suppose any preparation1 is very startling1 and yet1 unless the substitute handkerchief is unusually large1 or the spirit has been applied with a too liberal hand1 there is no real danger of injuring the hat4 ,the performer moves about the saucepan above the blaze at such a distance as not to inconvenience the animal within1 and1 after a moment or two1 brings the saucepan sharply down into the hat1 for the ostensible purpose of extinguishing the flames1 but in again lifting it out he brings with it d1 and places all together on the table4 ,nothing is now left in the hat but the borrowed handkerchief1 which may be restored in any manner which the performer's fancy may suggest4 ,when the lid of the saucepan is removed1 as it fits more tightly within b than the latter fits within the saucepan1 it naturally carries b with it1 thus causing the disappearance of the bread1 cheese1 etc41 and revealing in its place the live rabbit4 ,some fun may be created by selecting beforehand an assistant from the juvenile portion of the audience1 and dressing him up with a pocket-handkerchief round his head1 and another by way of apron1 to act as assistant cook4 ,a guinea-pig or small kitten may be substituted for the rabbit1 the performer accounting for the wrong animal being produced by supposing that he must have made some mistake in mixing the ingredients4 ,illustration ,,chapter ,,xvi4 ,,miscellaneous ,,tricks4 ,under this head we propose to describe such tricks as do not come within either of the preceding categories4 ,we shall make no attempt at classifying them1 save that we shall1 as far as practicable1 describe the best known and simplest feats first1 and thence proceed to the more complicated4 ,stage tricks1 i4e41 tricks adapted to the stage only1 will be treated in the ,chapter next following4 ,we will begin with ,,the ,,cut ,,string ,,restored4--,this is a trick of such venerable antiquity1 that we should not have ventured to allude to it1 were it not that the mode of working which we are about to describe1 though old in principle1 is new in detail1 and much superior in neatness to the generally known methods4 ,illustration3 ,,fig4 #aeb4 ,after having offered the string1 which should be about four feet in length1 for examination1 the performer takes the ends 7pointing upwards7 between the first and second finger and thumb of the left hand1 and the first finger and thumb of the right hand1 letting the remainder of the string hang down in a loop between them4 ,now bringing the right hand close to the left1 he draws that portion of the string which is held in the right hand towards himself between the first and second fingers of the left hand 7thus crossing at right angles that end of the cord which is held in the left hand71 continuing to pull until half the length of the string has passed the left hand1 and at the same time slipping the third finger of the left hand between the two parts of the string1 which will thus be as shown in ,fig4 #aeb1 in which1 for convenience of reference1 the three lines in which the string now hangs are marked a1 b1 and c1 and one-half of the string is shown black1 and the other half white1 though of course there would be no such difference of colour in the original4,l ,the first finger and thumb of the right hand1 still retaining the end which they already hold1 seize the portion b at the point marked with that letter1 the third finger of the left hand at the same time drawing back the portion a towards the palm of the hand4 ,the string will thus be brought into the position shown in ,figs4 #aec and #aed1 7in the latter of which1 for the sake of clearness1 the thumbs are made transparent71 the part now held horizontally between the two hands1 which appears to be the middle of the string1 really being only the immediate continuation of the end held in the left hand4 ,the whole operation of arranging the string in proper position1 though tedious to describe1 does not take half a second in practice4 ,l ,it should be mentioned that1 in order to economize space in the diagrams1 the actual length of the string is represented as much shortened4 ,illustration3 ,,fig4 #aec4 ,the performer next requests some person to cut the string1 thus arranged1 in half1 and this being 7apparently7 done1 he transfers the string altogether to the right hand1 keeping the point of junction of the crossed pieces hidden between the finger and thumb4 7,see ,fig4 #aee47 ,he now gives either end to some one to hold1 and1 placing his open left hand near to the end thus held1 winds the string rapidly round it1 sliding off as he does so the short piece1 which1 as soon as it is clear of the longer portion1 he presses with his thumb between the second and third fingers of the same hand4 ,on again unwinding the string from the left hand1 it is found apparently whole as at first4 ,illustration3 ,,fig4 #aed4 ,,fig4 #aee4 ,,fig4 #aef4 ,the principle of the trick being very generally known1 you will frequently find some one of the audience proclaim his acquaintance with it1 and declare that you have merely cut a short piece off the end of the string4 8,pardon me10 you reply1 8my dear sir2 that method of performing the trick has long since been exploded4 ,i will at once show you that ,i do not make use of any such shabby expedient4 ,of course1 if a piece was1 as you suggest1 cut off the end1 the string would be that much shorter after the operation4 ,will some one be kind enough to measure it80 ,while this is being done1 you secretly double in a loop the little piece which was cut off on the former occasion1 and which has still remained in your right hand4 ,when the string is returned to you1 you double it in half1 and allow it to hang down between the first finger and thumb of the right hand1 drawing up immediately above it the little loop you have just formed4 7,see ,fig4 #aef47 ,you now ask some one again to cut the string1 which he apparently does1 in reality merely dividing the little loop4 ,you go through any magical gesticulations you please1 and ultimately again conceal the cut ends between the fingers1 and produce the string once more restored4 ,on being measured1 it is found to have lost nothing of its length4 ,the trick in this second form being performed by wholly different means1 the repetition will puzzle even those who knew1 or believed they knew1 the modus operandi in the first case4 ,illustration3 ,,fig4 #aeg4 ,,my ,,grandmother',s ,,necklace4--,the trick which bears this title is also a very old one1 but is little known in the improved form we are about to describe4 ,in its older shape it is performed with three perforated wooden balls or beads1 threaded on a couple of tapes1 whose ends are held securely by two of the spectators4 ,the problem is to detach the beads without breaking the tapes1 and this is effected as follows3--,the tapes1 which should be from four to six feet in length1 are beforehand doubled in the middle1 and slightly joined at the bend of each with fine cotton or silk of the same colour4 ,the tapes are thus really middle to middle1 though to a casual observer they appear to be merely laid side by side4 ,the performer comes forward with the tapes1 thus prepared1 thrown over his left arm 7taking care that the point of junction shall be on the side towards his body1 and therefore concealed71 and with the beads in his hands4 ,these latter1 which are mere wooden balls1 from one to two inches in diameter1 perforated so as to freely admit the tapes1 he hands for examination4 ,when they are returned1 he threads them one after another upon the tapes1 holding the latter in a loop1 so that the balls may sink down to the middle1 and so cover the point of junction4 ,he next requests two of the company to come forward and hold the tapes1 and hands two ends to the one and two to the other4 ,each person believes that he holds one end of each tape1 though1 in reality1 each has both ends of the same tape4 ,the performer now takes from each one of the ends which he holds1 and crossing the tapes in the manner shown in ,fig4 #aeg1 gives to each the end which the other previously held4 ,holding a hat below the balls1 he requests each person to pull smartly at the word 8three40 ,the word of command is given1 8,one1 two1 ,three60 and the thread breaking1 the balls fall into the hat1 though the ends of the tapes still remain in the hands of the holders4 ,the improvement to which we have alluded consists in the use of six balls1 three red and three black4 ,the red balls having been first threaded on the tapes1 and the two ends having been crossed and returned to the holders in manner already described1 the black balls are in turn threaded on the tapes at either end1 and the performer1 holding the hat beneath1 and addressing one of the persons who hold the tapes1 says1 8,which will you have1 sir1 the red balls or the black80 ,whichever the answer1 the result is the same1 for the red balls only can come off the tapes1 the black remaining still upon them2 but in either case the performer is able to satisfy the choice which has been made4 ,if the red balls have been chosen1 he says on their falling1 8,you chose the red1 ,i think4 ,you see that your commands are at once obeyed40 ,if1 on the other hand1 the black are chosen1 the performer says1 8,you prefer the black8 ,then ,i will take the red10 which he does accordingly4 ,the audience1 having heard the choice freely offered1 and not being aware of the subterfuge by which the implied undertaking is fulfilled1 naturally believe that the performer was able to take off or leave on the tape whichever group of balls he pleased4 ,,the 8,,bonus ,,genius10 ,,or ,,vanishing ,,doll4--,while upon the subject of old-fashioned tricks1 we may briefly notice that known under the name of the ,bonus ,genius1 which has puzzled many generations of our forefathers1 and1 though now rarely exhibited by professional performers1 is still a great favourite with juvenile audiences4 ,the ,bonus ,genius is a little wooden figure of a man1 four to six inches in height1 and more or less grotesque in colour and design4 ,a little cloak1 made small above and full below1 like the skirt of a doll's dress1 and with no opening save where the head of the figure passes through1 completes the apparatus4 ,there are1 however1 two points about the doll and his cloak which are unknown to the spectators4 ,first1 the head of the doll is moveable1 a wooden peg forming the neck1 and fitting1 somewhat tightly1 into a corresponding hole in the body2 secondly1 there is stitched on the inside of the cloak1 just below the opening for the neck1 a little pocket1 of the description known among tailors as a 8patch0 pocket1 and of such a size as to contain the head easily4 ,the performer1 holding up the figure1 and introducing it to the company as his flying messenger1 warranted to outstrip the electric telegraph1 covers it with the cloak1 so that nothing but the head is seen4 ,grasping the figure under the cloak with his right hand1 the performer holds a burlesque conversation with him1 finally entrusting him with a message to be immediately delivered to the ,president of the ,united ,states1 the ,shah1 or any other individual at a distance4 ,the figure does not move4 8,well1 sir1 are you not going80 asks the performer4 ,the figure shakes his head from side to side1 an effect easily produced by turning the body backwards and forwards under the cloak4 8,you won't1 eh8 ,why not1 ,i should like to know8 ,oh6 ,i see what you mean4 ,i haven't given you your travelling expenses40 ,as he says the last words1 he grasps the figure and cloak from the outside round the neck with the left hand1 and draws away the right from beneath the cloak1 secretly carrying with it the body1 and putting his hand in his pocket1 as though in search of money4 ,he leaves the body of the figure in his pocket1 and brings out the hand again empty1 but in the position of holding a coin between the finger and thumb4 8,there1 sir10 he says1 8there is a shilling for you10 making the gesture of giving it4 8,you don't see the coin1 ladies and gentlemen2 but the fact is1 what ,i have just given him is fairy money2 the weight of the ordinary coinage would interfere with the rapidity of his flight4 ,now1 sir1 make haste2 you have nothing to wait for now40 ,the performer has1 meanwhile1 again put the right hand under the cloak1 and with two fingers holds the little pocket open for the reception of the head4 ,as he says the last words1 he gives the head a sharp downward rap with the fingers of the left hand1 and lets it fall into the little pocket1 the effect being as if the figure had suddenly vanished4 ,the performer shakes the cloak1 and turns it inside out to show that it is empty1 taking care always to grasp it by that part which contains the head1 when all other portions of the cloak may be shown freely2 and as the audience are not aware that the figure is divisible1 and supposing it to be indivisible1 it would be clearly much too large to be concealed in the closed hand1 there is nothing to lead them to guess the secret4 ,if it is desired to make the doll reappear1 the head is pushed up again through the opening of the cloak1 the hand beneath supporting it by the peg which forms the neck1 and it may thus be made to vanish and return any number of times4 ,with tolerable skill in 8palming10 the little pocket may be dispensed with1 the head being simply held in the hand4 ,this mode of working is1 in our own opinion1 to be preferred1 as the cloak may then be handed for examination without giving even the infinitesimal clue which the pocket might suggest4 ,some performers1 to still further hoodwink the spectators1 make use of two figures--the first1 which is handed round for inspection1 being solid1 and being afterwards secretly changed for its counterpart with the moveable head4 ,others again use only one figure1 which is solid throughout1 but are provided with a separate head 7whose existence is1 of course1 not suspected by the spectators71 and having handed round the solid figure for examination1 conceal this1 and work the trick with the head only4 ,,the ,,dancing ,,sailor4--,the ,dancing ,sailor is a figure cut out of cardboard1 eight or nine inches in height1 and with its arms and legs cut out separately1 and attached to the trunk with thread in such a manner as to hang perfectly free4 ,the mode of exhibiting it is as follows3--,the performer1 taking a seat facing the company1 with his legs slightly apart1 places the figure on the ground between them4 ,as might be expected1 it falls flat and lifeless1 but after a few mesmeric passes it is induced to stand upright1 though without visible support1 and on a lively piece of music being played1 dances to it1 keeping time1 and ceasing as soon as the music ceases4 ,illustration3 ,,fig4 #aeh4 ,the secret lies in the fact that1 from leg to leg of the performer1 at about the height of the figure from the ground1 is fixed 7generally by means of a couple of bent pins71 a fine black silk thread1 of eighteen or twenty inches in length4 ,this allows him to move about without any hindrance4 ,on each side of the head of the figure is a little slanting cut1 tending in a perpendicular direction1 and about half an inch in length4 ,the divided portions of the cardboard are bent back a little1 thus forming two 8hooks10 so to speak1 at the sides of the head4 ,when the performer takes his seat as before mentioned1 the separation of his legs draws the silk comparatively taut1 though1 against a moderately dark background1 it remains wholly invisible4 ,when he first places the figure on the ground1 he does so simply1 and the figure naturally falls4 ,he makes a few sham mesmeric passes over it1 but still it falls4 ,at the third or fourth attempt1 however1 he places it so that the little hooks already mentioned just catch the thread 7see ,fig4 #aeh1 showing the arrangement of the head71 and the figure is thus kept upright4 ,when the music commences1 the smallest motion1 or pretence of keeping time with the feet1 is enough to start the sailor in a vigorous hornpipe4 ,,the ,,bottle ,,imps4--,these are miniature black bottles1 about two inches in height1 with rounded bottoms1 and so weighted that1 like 8tumbler0 dolls1 they rise of their own accord to the perpendicular1 and will not rest in any other position4 ,the proprietor1 however1 has a charm by which he is able to conquer their obstinate uprightness4 ,for him1 and for him only1 they will consent to be laid down1 and even to stand at an angle of #de1 though they again rebel if any other person attempts to make them do the same4 ,the little bottles are made of papier mach1 or some other very light material1 varnished black1 the bottom of each being a half bullet1 spherical side downwards4 ,the centre of gravity is therefore at the bottom of the bottle1 which is thus compelled always to stand upright4 ,the performer1 however1 is provided with one or two little pieces of iron wire1 of such a size and length as just to slip easily into the bottle4 ,one of these being held concealed between the finger and thumb1 it is a very easy matter1 in picking up the bottle1 to slip it in1 and this slight additional weight neutralizing the effect of the half bullet at the foot1 causes the bottle to lie still in any position4 ,having shown that the bottle is obedient to the word of command1 the performer again picks it up with the neck between the first and second fingers and thumb1 carelessly turning it bottom upwards1 and thus allowing the bit of wire to slip out again into the palm of his hand1 when he is able to again tender the bottle for experiment4 ,partaking of the nature of a puzzle as well as a conjuring trick1 this little toy has amused thousands1 and if neatly manipulated1 may be repeatedly exhibited1 even before the same spectators1 with little fear of detection4 ,,the ,,vanishing ,,gloves4--,this is a capital trick with which to commence an entertainment2 when coming1 as it should do1 unannounced1 and before the performance proper has commenced1 it has an air of improvisation which greatly enhances its effect1 and at once awakens the attention of the audience4 ,the performer comes forward in full evening dress4 ,while saying a few words by way of introduction to his entertainment1 he begins to take off his gloves1 commencing with that on his right hand4 ,as soon as it is fairly off1 he takes it in the right hand1 waves the hand with a careless gesture1 and the glove is gone4 ,he begins to take off the other1 walking as he does so behind his table1 whereon his wand is laid4 ,the left hand glove being removed1 is rolled up into a ball1 and transferred from the right hand to the left1 which is immediately closed4 ,the right hand picks up the wand1 and with it touches the left1 which being slowly opened1 the second glove is found to have also disappeared4 ,the disappearance of the first glove is effected by means of a piece of cord elastic1 attached to the back of the waistcoat1 and thence passing down the sleeve4 ,this should be of such a length as to allow the glove to be drawn down and put on the hand1 and yet to pull it smartly up the sleeve and out of sight when released4 ,it is desirable to have a hem round the wrist of the glove1 and to pass the elastic through this like the cord of a bag1 as it thereby draws the wrist portion of the glove together1 and causes it to offer less hindrance to its passage up the sleeve4 ,upon taking off the glove1 the performer retains it in his hand1 and lets it go when he pleases4 ,he must1 however1 take care to straighten his arm before letting it slip1 as otherwise the elastic will remain comparatively slack1 and the glove will1 instead of disappearing with a flash1 dangle ignominiously from the coat-cuff4 ,the left hand glove is got rid of by palming4 ,the performer1 standing behind his table as already mentioned1 rolling the glove between his hands1 and quickly twisting the fingers inside1 so as to bring it into more manageable form1 pretends to place it in his left hand1 but really palms it in his right4 ,he now lowers the right hand to pick up his wand1 and as the hand reaches the table1 drops the glove on the servante4 ,he now touches the left hand with the wand1 in due course opening the hand and showing that the glove has departed4 ,some performers vanish both gloves by means of elastic1 one up the right sleeve1 the other up the left1 but in doing so they offend against one of the cardinal precepts of the art1 viz41 never to perform the same trick twice in succession by the same means4 ,the audience having seen the manner of the first disappearance1 are all on the alert1 and are not unlikely on the second occasion to guess the means employed4 ,if1 on the other hand1 the performer adopts the plan indicated above1 the two modes of producing the effect being different1 each renders it more difficult to discover the secret of the other4 ,,the ,,egg-,,bag4--,this is a very old-fashioned trick1 but1 if performed with address1 is by no means ineffective4 ,it was exhibited in a modified form by the ,japanese jugglers who visited ,london a few years ago4 ,we shall first describe it in the simple form adopted by them1 and shall then proceed to explain the older and more elaborate version4 ,the ,japanese egg-bag is about eight inches in depth and six in breadth1 and made of alpaca1 tammy1 or some similar opaque material4 ,its only peculiarity is that one of its sides is double1 the stuff being folded down inwards from the mouth of the bag to about two-thirds of its depth1 and stitched at the sides1 but left open at its lower edge4 ,the effect of this arrangement is to make a sort of pocket1 mouth downwards1 inside the bag4 ,if any small article1 such as an egg1 be placed within the bag1 and the bag be turned upside down1 the article will not fall out1 but will fall into the pocket1 which1 in the reversed position of the bag1 will be mouth upwards4 ,this will enable you to conceal the presence of any article in the bag1 as you may turn it upside down1 and even inside out1 without any fear of the article falling2 and so long as you take care to keep the 8pocket0 side of the bag towards yourself1 the spectators have not the least reason for suspecting that the bag is otherwise than empty4 ,the uses to which this little bag may be put are various4 ,amongst others1 it is available either to produce or cause the disappearance of an egg1 and may thus1 in combination with other apparatus1 be made useful for many tricks4 ,we shall content ourselves with describing one only of the modes of using it4 ,the performer comes forward1 having in his hand the bag1 in which is beforehand placed a small egg4 ,he turns the bag upside down and inside out1 thus proving1 to all appearance1 that it is perfectly empty4 ,holding the bag for a moment with his teeth1 he pulls back his coat cuffs1 to prove that he has nothing concealed in that quarter1 taking care as he does so to show clearly that his hands are empty4 ,taking the bag in his left hand1 and imitating 7if he can7 the clucking of a hen1 he dips his right hand into it1 and produces an egg 7or rather the egg74 ,this he places in his mouth1 letting all see that he does so1 then making a gesture of swallowing1 he again dips his hand in the bag1 and produces a second egg1 of which he disposes in the same way1 repeating the operation until a dozen or more have been apparently produced and swallowed4 ,with the reader's present knowledge1 it is hardly necessary to suggest to him that the egg1 though fairly placed in the mouth1 is1 under cover of the hand1 instantly pushed out again with the tongue1 and palmed1 rendering it a very simple matter to produce 7apparently7 another egg from the bag4 ,although so absurdly simple1 the trick is effective1 and if neatly performed1 produces a complete illusion4 ,the bag which is more generally known as the 8egg-bag0 is a much larger affair1 measuring eighteen to twenty inches in width1 by fourteen or fifteen in depth4 ,in its most approved form1 one side of the bag is made double1 the double side being stitched all round1 save for about four inches at one corner of the bottom of the bag4 ,the little opening thus left affords therefore the sole access to the space between the double sides4 ,between these double sides1 and immediately below their upper edge1 is stitched a broad band1 with a row of a dozen or more little pockets1 each capable of holding an egg1 end upwards4 ,each pocket covers about two-thirds of the egg1 which is prevented from falling out spontaneously by a little piece of elastic round the edge of the pocket1 though it will slip out and fall into the space between the double sides on the slightest pressure being applied to it4 ,the bag is prepared for use by placing an egg in each of the little pockets we have mentioned4 ,the eggs used are either blown shells or imitation eggs of wood or tin1 with one real one for the performer to break as a specimen1 and so lead the audience to the belief that all are equally genuine4 ,the bag being brought forward is turned upside down--of course nothing falling from it4 ,the performer then1 thrusting his arms down to the bottom1 and seizing the bag by the corners inside1 turns it inside out1 taking care1 however1 to keep the double side towards himself4 ,having thus conclusively proved its emptiness1 he again brings back the bag to its normal condition1 and in the act of doing so1 squeezes with his finger and thumb 7through the stuff7 the genuine egg out of its pocket4 ,it falls into the space between the double sides1 and by gently sloping the bag downwards in the direction of the opening at the corner1 he brings the egg into the outer bag1 whence he produces it1 and breaks it to show its genuineness1 as already mentioned4 ,again he turns the bag inside out1 shaking and twisting it1 and again produces an egg from it as before1 repeating the operation until the supply of eggs is exhausted4 ,sometimes he varies his proceedings by trampling or jumping on the bag1 which he lays for that purpose on the floor1 with its lower edge towards the audience4 ,the eggs are thus on the side remote from the spectators1 and in trampling on the bag it is very easy for the performer to avoid the particular line in which he knows them to be4 ,it was formerly the fashion1 after bringing out a number of eggs as above described1 to finish by producing the hen which is supposed to have laid them4 ,this was done by an adroit exchange of the bag just used for another containing a hen1 hung in readiness behind a chair1 or some other convenient cover4 ,this latter bag having no double side1 or other preparation1 might safely be abandoned to the inspection of the most curious spectator4 ,where it is not intended to produce the bird1 it will still be well to have the second bag1 so as to be able to make an exchange1 and to hand the bag for inspection4 ,it is a great improvement to the egg-bag to have the lower portion1 say the last three inches of its depth1 made of network1 so that the spectators can at once see each egg as it falls to the bottom of the bag4 ,it is hardly necessary to observe that in this case the inner lining of the double side must terminate where the network commences4 ,,to ,,produce ,,eggs ,,from ,a ,,person',s ,,mouth4--,while upon the subject of eggs1 we may notice this1 though it has always appeared to us a rather disagreeable trick4 ,it is rarely exhibited as a separate feat1 but generally as a prelude to some other illusion1 for the performance of which three or four eggs are necessary4 ,the performer1 requiring eggs1 sends his assistant to fetch a plate4 ,on his return1 he places him1 holding the plate with both hands in front of him1 facing the company4 ,the performer standing beside him1 and gently patting him on the head1 an egg is seen to appear between his lips4 ,this is taken from him1 and placed on the plate4 ,the performer1 passing behind him1 now stands on his other side1 and again patting his head1 another egg is produced in like manner4 ,this is repeated until the requisite number of eggs is procured1 the assistant1 as each fresh one is produced1 simulating increasing difficulty1 as though the eggs were forced up from the stomach by a powerful muscular effort4 ,this effect is produced as follows3 ,we will suppose that five eggs are to be produced4 ,one is placed beforehand in the mouth of the assistant1 and four more are placed in the pochettes1 or tucked under the waistband of the performer1 two on each side4 ,having placed his assistant in position1 the performer secretly takes one of these latter into his right hand1 and palms it4 ,patting the assistant on the head with his left hand1 he waits until the egg appears between the teeth1 and immediately on its appearance1 raises his right hand as if to receive it1 thus bringing up the palmed egg opposite the mouth1 while the egg that is already in the mouth slips back1 under cover of the hand1 out of sight4 ,the palmed egg is laid on the plate1 and the performer1 in the act of passing behind his assistant1 palms a second egg in his left hand4 ,the same pantomime is again gone through1 save that in this case the right hand pats the head1 and the left hand is held to the mouth to receive the egg4 ,after four eggs have been produced in this manner1 the fifth1 which has been all along in the mouth1 is produced apparently in like manner1 but the performer takes care that in this instance it shall be seen beyond a doubt that the egg really does come from the mouth2 which being manifestly the case in this instance1 the audience are pretty sure to jump to the conclusion that all were produced in an equally bon fide manner4 ,illustration3 ,,fig4 #aei4 ,,fig4 #afj4 ,,the ,,pillars ,,of ,,solomon1 ,,and ,,the ,,magic ,,bradawl4--,there is a very old-fashioned apparatus1 sometimes called the ,pillars of ,solomon1 for apparently uniting a piece of cut string4 ,it consists of two slips of wood1 each about four inches in length by five-eighths of an inch square1 laid side by side4 ,at about an inch from one end of each1 a transverse hole is bored1 and through this1 passing through both slips1 a string is passed1 and may be drawn backwards and forwards from side to side4 7,see ,fig4 #aei47 ,the apparatus having been shown in this condition1 the performer passes a knife between the two slips1 thus apparently dividing the string2 but the string is notwithstanding still drawn backward and forwards through the holes1 as sound as ever4 ,the secret lies in the fact that the string does not1 in reality1 go straight through the two slips of wood from side to side4 ,a glance at ,fig4 #afj will enlighten the reader as to its real course4 ,instead of passing straight through from a to d1 as it appears to do when the two pillars are laid side by side 7which is the condition in which they are first exhibited to the spectators71 it passes down the length of the first pillar from a to b1 out at b1 and into the second pillar at c1 whence it passes upwards1 and emerges at d4 ,the passing of the knife between the two points a and d does not therefore affect the string in the least4 ,illustration3 ,,fig4 #afa4 ,,fig4 #afb4 ,it is obvious that in this form of the apparatus the two pillars1 being joined by the cords at the points b c1 cannot be completely separated1 and the fact of their always being kept close together at the lower end is quite sufficient to betray to an acute observer the principle of the trick4 ,there is1 however1 an improved form of the same apparatus1 in which1 after the apparent cutting of the cord1 the two pillars are held wide apart1 one in each hand of the performer1 and yet1 when they are again placed side by side1 the string runs backwards and forwards merrily as ever4 ,the pillars are1 in this instance1 of the form shown in ,fig4 #afa4 ,they are about six inches in length1 of light and elegant shape1 having at each end a ball or knob of about an inch and a quarter in diameter1 flattened on one face to allow of the pillars being laid closely side by side4 ,the cord1 as in the former case1 passes down the first pillar from a to b1 but instead of passing out at b1 it is rolled round a little pulley working in the lower knob of that pillar4 7,see ,fig4 #afb1 which gives a sectional view of the lower portion of each pillar47 ,a similar cord is passed down from d in the second pillar to c1 and is there rolled round a second pulley1 but in the opposite direction to that of the first cord2 so that1 if both pulleys move in the same direction1 the cord on the one will be wound1 and the cord on the other unwound4 ,each pulley is of one piece with its axis1 the axis of the one terminating in a little square tenon or nut1 and that of the other in a corresponding mortice or hollow1 so that when the two pillars are placed side by side1 their axes fit the one into the other1 and whichever of the two pulleys is set in motion1 the like movement is communicated to the other4 ,the effect of this is as follows3 ,if the cord at a be pulled1 it unwinds that portion of the cord which is wound on the pulley at b1 and by the same movement winds up the cord on the other pulley2 and vice vers4 ,we have omitted to mention that there is glued into a little hole on the flat side of each of the upper knobs1 exactly opposite the points a and b1 a very minute piece1 say an eighth of an inch in length1 of similar cord2 these greatly heightening the appearance of reality upon the apparent cutting of the cord4 ,the pillars are brought forward side by side1 the nut of the one pulley fitting strictly into the hollow of the other4 ,the performer shows1 by drawing the cord backwards and forwards1 that it fairly traverses the two pillars from side to side4 ,taking a knife1 he passes it between the two pillars1 and to all appearance cuts the cord1 immediately taking the pillars one in each hand1 and showing the cut ends 7really the short bits on the inside7 to prove that it is fairly cut through4 ,again bringing the pillars together1 taking care that the mortice and the nut correspond as before1 he commands the cord to be restored1 and again pulls it backwards and forwards as at first4 ,some little fun may be created by placing the upper knobs of the pillars pincer-fashion1 one on each side of a person's nose1 the cord being thus apparently made to run right through the nose4 ,an air of greater probability may be given to this curious effect by first piercing the nose with the magic bradawl4 ,this is in appearance an ordinary bradawl1 but the blade is so arranged as to recede into the handle on the slightest pressure1 again reappearing 7being1 in fact1 forced forward by a spiral spring in the handle7 as soon as the pressure is removed4 ,a duplicate bradawl of ordinary make is first handed round for examination1 and the trick bradawl being adroitly substituted1 the performer proceeds therewith to bore a hole through the nose of any juvenile volunteer who will submit to the operation4 ,holding a piece of cork on one side of the nose1 he apparently thrusts the awl through the nose1 the sinking of the blade into the handle exactly simulating the effect of a genuine perforation4 7,some performers make use of a sponge moistened with some liquid resembling blood1 which by a little pressure is made to trickle down from the imaginary wound2 but this is a piece of realism which we think is better omitted47 ,the nose being thus apparently pierced1 the imagination of the spectators is in a measure prepared to accept the phenomenon of the restored cord running through it as already described4 ,illustration3 ,,fig4 #afc4 ,,the ,,magic ,,coffers4--,these are round tin boxes1 japanned to taste1 and made generally about five inches in depth by three in diameter1 though they are sometimes larger4 7,see ,fig4 #afc47 ,the only speciality about them is a moveable portion a1 which may either be removed with the lid or left upon the box1 according as the lid is lifted with or without lateral pressure4 ,this moveable portion is bottomed with a grating of parallel wires1 an eighth of an inch apart4 ,the coffers are generally worked in pairs1 the effect produced by them being the apparent transmission of the contents of the one to the other1 and vice vers4 ,they may be worked with various articles4 ,for our present purpose we will suppose that the performer desires to change white haricot beans to coffee-berries1 both of which suit the apparatus very well4 ,he beforehand fills the one coffer with beans1 and the moveable compartment belonging to it with coffee-berries1 doing exactly the reverse as to the second coffer4 ,the coffers are now brought forward1 and the performer1 removing the lids 7with the moveable compartments71 allows the spectators to satisfy themselves that each coffer is full to the bottom1 and that the contents are nothing more or less than what they appear to be4 ,this being established1 he returns to his table1 and again puts the lids on the coffers1 taking care that that which contains the beans shall be placed on the coffer containing the coffee-berries1 and vice vers4 ,he now requests two of the younger spectators to step forward1 and assist him with the trick4 ,a couple of volunteers having been procured1 they are made to salute the audience1 and are then seated upon chairs at each side of the stage1 each being entrusted with one of the coffers1 which1 that all may see1 they are requested to hold with both hands above their heads4 ,the performer1 standing between them1 says1 8,now1 young gentlemen1 ,i must caution you to hold tight1 or the electrical forces which are rapidly generating in these magic coffers will carry them clean away1 and possibly you along with them4 ,now1 first please tell me1 just to start fair1 which coffer is it that you have got1 sir1 the one with the beans1 or the one with the coffee-berries80 ,the chances are ten to one against the extempore assistants remembering which was which1 and the majority of the audience will be equally uncertain4 ,the professor pretends surprise and disappointment4 8,ladies and gentlemen1 you cannot possibly appreciate the beauty of these philosophical experiments unless you follow them carefully from the commencement4 ,i will open the coffers once more40 ,so saying1 he opens first the one coffer and then the other1 taking care1 however1 to lift the lids only1 so that the one which really contains the coffee-berries shows the layer of beans1 and that which contains the beans the layer of coffee-berries4 ,in each case he takes up a handful1 and lets them flow back from his hand into the coffer1 the better to impress upon the audience the contents of each1 finally placing a bean in the hands of the youth who holds the supposed coffer of beans1 and a berry in the hands of the holder of the supposed coffee-berries4 ,again closing the lids1 he requests the person holding the bean to throw it into the closed coffer held by the other4 ,the juvenile1 looking foolish1 replies that it can't be done2 and a similar reply is received from the youth holding the other coffer4 ,the performer1 addressing the company1 asks some one else to make the attempt1 but equally without success4 ,he continues1 8,gentlemen1 among this large and brilliant audience not one person can be found who will undertake to throw this little bean into one of those coffers4 ,imagine1 then1 the difficulty of passing the whole of the beans which this coffer contains into the other1 not dropping even one on the way1 and at the same moment transferring the whole of the berries in this coffer into that which1 a moment before1 was full to the brim with the beans4 ,but it must be done4 ,young gentlemen1 will you be kind enough to repeat with me1 ,one1 two1 three6 ,at the word #8three1' by the way1 you had better close your eyes1 or they might possibly be injured by the shower of beans and berries4 ,are you ready1 ,mr4 ,beans8 ,are you ready1 ,mr4 ,berries8 ,now1 then1 ,one6 two6 three666 ,did you feel them pass8 ,i hope they did not hurt you4 ,now let us once more open the coffers4 ,i have kept my word1 you see--,mr4 ,beans has the coffee-berries1 and ,mr4 ,berries has the beans4 ,will you please step forward1 and show the company that the coffers are1 as at first1 full to the very bottom40 ,the lids1 containing the moveable compartments1 he meanwhile places carelessly upon his table4 ,some performers make the change more than once1 and it is obvious that the contents of the coffers may be made to apparently change places any number of times4 ,if this is done1 however1 the secret of the false tops is apt to be suspected2 whereas1 in the method above described1 the audience have1 as they believe1 proved the coffers full to the bottom1 both before and after the trick2 and this greatly increases the difficulty of accounting for the transposition4 ,the object of having the false tops bottomed with open wirework1 instead of with tin1 is to be prepared for the expression of a suspicion on the part of the audience as to the existence of a false top4 ,in such case the performer1 borrowing a penknife1 passes it well down through the upper layer of beans1 etc41 and through the wirework1 thus proving 7apparently7 that the coffer is open to the bottom4 ,in the trick as above described1 however1 the expression of such a suspicion is a very remote contingency4 ,the trick is sometimes performed with sweetmeats in one or both of the coffers1 and in this form has an added charm for a juvenile audience1 who complete the trick by swallowing that portion of the apparatus4 ,,the ,,bran ,,and ,,orange ,,trick4--,this trick is performed with a single coffer1 in appearance very similar to those used in the last trick1 but slightly different in construction4 ,the false top is1 in this case1 bottomed with plain tin4 ,the bottom of the coffer is moveable1 being soldered to a circular rim or shoulder of tin about a quarter of an inch in depth1 over which the coffer fits pretty tightly1 though the projecting edge of the bottom enables the performer to remove it without difficulty4 ,the performer must also be provided with an ordinary oblong wooden box4 ,its precise dimensions are unimportant1 save that it should be a good deal larger than the coffer1 but about an inch or so less in height4 ,this box is filled with bran1 as also is the false top of the coffer4 ,a couple of oranges1 as much alike as possible1 must also be provided4 ,one only of these is produced to the audience1 the other being beforehand placed on the servante of the table4 ,the performer begins by placing upon the table the coffer and the box of bran4 ,removing the lid 7with the false top71 he brings forward the coffer1 and shows that it is perfectly empty4 ,in returning to his table1 he loosens 7though without removing7 the moveable bottom1 and replaces the coffer on the table4 ,he next brings forward the box of bran1 showing that there is no preparation about it1 and in replacing it on the table1 places it in front of the coffer1 which1 however1 being the taller1 remains visible behind it4 ,he next introduces the orange1 either palming it 7from one of his pochettes71 and magically producing it from some person's nose or whiskers1 or by the more prosaic method of having it brought in by his assistant4 ,he now returns to his table1 and1 standing behind it1 proceeds to fill the coffer with bran4 ,this he does by placing the coffer upright in the box1 holding it with one hand and ostentatiously pouring in bran with the other until it is full4 ,in placing the coffer in the box1 however1 he takes it up quite without the bottom1 so that he is1 in reality1 only filling an open tube4 ,meanwhile1 he secretly picks up1 with his disengaged hand1 the second orange from the servante1 and places it upon the bottom1 which remains behind the box4 ,having filled the coffer1 and remarking1 8,pray observe that it is quite full10 he 7before removing it from the box7 covers it with the lid1 and then lifting it out1 again places it behind the box in such manner as to go neatly over the bottom and the orange upon it4 7,of course1 in the act of lifting the coffer1 all the contents run back again into the box47 ,having now got the second orange within the coffer1 and having1 by a gentle pressure1 again settled the bottom in its place1 the performer places the coffer on a second table or a chair close in front of the audience4 ,he then says1 8,i am about to order the bran with which this coffer is filled0 7here he raises the lid without the false top1 and the coffer therefore appears full of bran7 8to pass back again into the box from which it was taken1 and this orange0 7here he passes behind his table1 and holding up the orange1 replaces it six or eight inches from the hinder edge7 8to pass into the coffer in place of it4 ,now1 first for the bran4 ,one1 two1 three6 ,pass6 ,did you see it fly from the coffer into the box8 ,you didn't8 ,well1 at any rate1 you shall see the orange pass4 ,i take it up so0 7here he places his two hands round it1 and rolls it on to the servante in manner described at page #bid1 coming forward with the hands together1 as though still containing it1 and holding them over the coffer at a few inches' distance71 8and squeeze it smaller and smaller1 in this manner1 till it becomes small enough to pass right into the coffer1 as you see40 ,here he separates his hands1 showing them empty1 and immediately taking off the cover with the false top1 rolls out the orange1 and shows that the coffer is otherwise empty4 ,the trick as above described is susceptible of a good many variations4 ,if the performer uses a trap-table1 the orange may be made to pass through a trap instead of being rolled off at the back of the table1 though the latter method1 if neatly executed1 can hardly be surpassed in illusive effect4 ,a more substantial improvement may be made by causing the bran1 instead of simply disappearing as above mentioned1 to reappear in some other quarter4 ,there are many pieces of apparatus which may be used for this purpose1 perhaps as good as any being the improved sweet-bag 7see page #bdh74 ,this should be previously filled with bran1 and hooked to the back of the table4 ,the performer in this case borrows a handkerchief1 which he carelessly spreads on the table1 and a gentleman's hat1 which he places mouth upwards beside it4 ,instead of announcing that the bran will return from the coffer to the box from whence it was taken1 he states that it will1 at command1 pass into the handkerchief which he holds1 and which as he speaks he picks up1 with the bag beneath it1 holding it1 without apparent intention1 just above the hat4 ,at the word 8,pass60 he slightly turns his wrist1 thereby releasing the flap of the bag1 and a shower of bran is instantly seen to pour down into the hat4 ,this little addition greatly enhances the effect of the trick4 ,,the ,,rice ,,and ,,orange ,,trick4--,in this feat rice and an orange are made to change places1 but by wholly different means from those last above described4 ,illustration3 ,,fig4 #afd4 ,illustration3 ,,fig4 #afe4 ,the apparatus in this case consists of three japanned tin cones1 about ten inches in height by five at the base1 and each having a brass knob at the top--and an ornamental vase of tin or zinc1 standing about the same height as the cones1 and having a simple metal cover1 or top4 ,of the cones 7all of which are open at the bottom71 two are hollow throughout1 but the third has a flap or moveable partition halfway down1 inclosing the upper half of the internal space4 ,this flap works on a hinge1 and is kept shut by a little catch1 which is withdrawn by pressure on a little button outside the cone1 when the flap drops down1 and lets fall whatever has been placed in the enclosed space4 7,see ,fig4 #afd47 ,the cone is prepared for the trick by filling this space with rice1 and closing the flap2 and the three cones are then placed in a row on the performer's table1 the prepared one being in the middle4 ,the vase 7see ,fig4 #afe7 is constructed as follows3--,its depth inside is less by about an inch than its depth outside1 leaving1 therefore1 between its true and false bottoms1 an empty space1 a4 ,a circular hole is cut in the inner or false bottom1 but this hole1 in the normal condition of the vase1 is kept closed by a circular disc of metal1 b1 exactly fitting it4 ,this disc is soldered upon an upright wire rod1 passing through the foot of the apparatus1 and terminating in another disc1 c1 somewhat smaller in size4 ,round this rod is a spiral spring1 whose action tends to press it down1 and thereby to keep the disc or valve normally closed1 though it rises1 and thereby opens the valve 7as shown by the dotted lines in the figure71 whenever upward pressure is applied to c4 ,the face of the upper disc1 b1 is slightly concave1 corresponding with the rest of the interior of the vase4 ,the vase is prepared for the trick by placing an orange in it1 and in this condition it is brought forward and placed on the table by the performer or his assistant4 ,a small paper bag full of rice is brought in at the same time1 and completes the preparations4 ,with this introduction1 we proceed to describe the trick as worked by ,herrmann4 ,the performer begins by borrowing two hats1 and places them one on the other1 the mouths together1 on a chair or table4 ,he then 7by palming7 produces an orange from the hair or whiskers of a spectator1 and places this on another table4 ,he next brings forward and exhibits the vase1 filling it as he advances with rice from the paper bag1 and thus concealing the orange which is already placed therein4 ,he calls attention to the genuineness of the rice and the simplicity of the cover1 and finally putting on the latter1 places the vase on the ground1 or elsewhere1 in view of the audience4 ,he pretends a momentary hesitation as to where to place it1 and in the slight interval during which he is making up his mind he presses up the button within the foot4 ,this opens the valve1 allowing the rice to escape into the space a1 and leaving the orange again uncovered4 ,the audience is1 of course1 unaware that such a change has taken place4 ,leaving the vase for the moment1 he requests the audience to choose one or other of the three cones on the table4 ,the choice almost always falls on the middle one 7which1 it will be remembered1 contains the concealed rice74 ,this he places on the top of the upper hat4 ,he next asks the audience to select one or other of the remaining cones1 and places this over the orange upon the table1 showing by rattling his wand within it that it is hollow throughout1 and1 if desired1 handing round the remaining one for inspection4 ,at this point we hasten to anticipate an objection which will probably occur to the reader4 ,we have said that the audience1 when called upon to choose one of the three cones1 almost always select the middle one1 and we have proceeded on the assumption that they do so4 8,but suppose10 says the acute reader1 8that they don't choose the middle one1 but select one of the end ones2 the trick is spoilt1 as neither of the others will produce the rice40 ,by no means1 ,o acute reader6 ,if we had requested the audience to choose which of the cones should be placed upon the hat1 there might have been a little difficulty1 no doubt2 but we did nothing of the kind4 ,we merely asked them to choose one of the cones4 ,if their first choice falls on one of the end ones1 we hand it round for examination1 and finally place it over the orange4 ,then1 standing behind the table1 we ask the audience to make their choice between the two remaining cones1 right or left4 ,whichever is chosen1 we are safe2 for as we have already had occasion to explain in connection with the trick of the half-crown in the orange 7see page #aga71 the right of the audience is our left1 and vice vers1 so that by taking their reply in the sense which suits our purpose we are certain to be right4 ,we therefore1 in any case1 take the cone containing the rice as being the one designated1 and place this on the hat1 sending round the other for inspection4 ,as the audience have1 to all appearance1 been allowed perfect freedom of choice1 and have actually examined two out of the three cones1 they are very unlikely to suspect any preparation about the remaining one4 ,the trick is now all but complete4 ,once more the performer raises the cone placed on the hat1 to show that there is nothing underneath it2 and as he replaces it presses the button1 thereby letting the flap fall1 and the rice pour out upon the hat1 though it remains still concealed by the cone4 ,he next lifts up the cone under which is the orange1 and holding the latter up1 replaces it1 but in again covering it with the cone1 makes a feint of removing and slipping it into his pocket4 ,then noticing1 or pretending to notice1 a murmur on the part of the company1 he says1 8,oh1 you think ,i took away the orange1 but ,i assure you ,i did not40 ,the company being still incredulous1 he again lifts the cone and shows the orange4 8,here it is1 you see1 but as you are so suspicious1 ,i won't use the cover at all1 but leave the orange here in full view on the table40 ,he again lays the orange on the table1 but this time on what is called a 8wrist trap40 ,leaving it for the moment1 he advances to the vase1 and holding his hands together cup-fashion over it1 but without touching it1 he says1 8,i take out the rice1 so1 and pass it under this cover0 7walking towards the cone on the hat1 and making a motion of passing something into it74 8,let us see whether it has passed40 ,he raises the cover1 and the rice is seen4 8,perhaps you think1 as you did not see it1 that ,i did not actually pass the rice from the vase to the cover4 ,at any rate1 you will not be able to say the same about the orange4 ,i take it up1 before your eyes1 so60 ,he places his hands round it on the table1 and at the same moment presses the lever of the trap1 which opens1 and lets it fall through into the table1 closing again instantly4 ,keeping his hands together1 as though containing the orange1 he advances to the vase1 and holding his hands over it1 says1 8,here is the orange which has not left your sight even for a single moment4 ,i gently press it1 so0 7bringing the hands closer and closer together7 8and make it smaller and smaller1 till it is reduced to an invisible powder1 in which state it passes into the vase40 ,he separates his hands1 and shows them empty1 and then opening the vase1 rolls out the orange1 and shows the vase empty1 all the rice having disappeared4 ,the mechanism of the ,wrist ,trap will be explained in the next ,chapter4 ,if the performer does not possess a trap table1 he can cause the orange to disappear in the manner referred to at page #ccg4 ,illustration3 ,,fig4 #aff4 ,,the ,,magic ,,whistle4--,the student will not have proceeded far in his magical experience before he meets with an often-recurring nuisance1 in the person of some individual1 old or young1 who knows1 or pretends to know1 the secret of all his tricks1 and whose greatest delight it is1 by some mal--propos question or suggestion1 to cause the performer embarrassment4 ,the magic whistle is specially designed to punish1 and1 if possible1 to silence1 an individual of this kind4 ,it is of turned boxwood1 and of the shape shown in ,fig4 #aff1 and yields a shrill and piercing note4 ,the performer1 bringing it forward and blowing through it1 announces that this little whistle1 so simple in appearance1 has the singular faculty of obeying his will1 and of sounding or not sounding at his command alone4 ,the loquacious gentleman is pretty sure to question the fact1 or is on some pretence selected to make trial of its truth4 ,the performer places him directly facing the audience1 and after himself once more sounding the whistle1 hands it to him in order to try his skill4 ,he blows vigorously1 but in vain2 not a sound can he produce1 but his mouth and lips gradually become obscured with a white or black dust4 ,he finally retires to his seat amid the laughter of the audience1 and generally much less disposed to make himself prominent during the remainder of the evening4 ,the secret lies in the fact that there are two whistles--one is a perfectly ordinary instrument1 but the other1 though similar in appearance1 does not sound1 but is perforated round the inner side of the head 7see the ,figure7 with a number of small holes4 ,the head unscrews1 and is beforehand filled with finely powdered chalk or charcoal1 which1 when the whistle is blown1 is forced through the holes1 and settles round the mouth of the victim4 ,with the present knowledge of the reader1 the necessary exchange of the two whistles will not be regarded as offering any difficulty4 ,there is a larger appliance for the same purpose in the shape of a flageolet4 ,another apparatus of like effect1 though differing a little in detail1 is called ,illustration3 ,,fig4 #afg4 ,,fig4 #afh4 ,,the ,,magic ,,mill4--,this is a little ,mill of the form shown in ,fig4 #afg1 and five or six inches in height4 ,it is made of zinc or tin1 and consists of two portions--the upper part ,a1 and the base ,b 7see ,fig4 #afh71 the former sliding over the latter 7as shown by the dotted lines in ,fig4 #afg71 and fitting easily upon it4 ,a is hollow throughout2 a and b b are hollow tubes open at each end1 a third little tube c springing at right angles from a4 ,the base1 ,b1 is a hollow chamber1 closed on all sides save at the openings d and e e4 ,this chamber is beforehand fitted with powdered chalk or charcoal2 after which ,a is placed in position over it4 ,if1 under these circumstances1 any person blows smartly through the tube a1 the effect will vary according to the position of ,b within ,a4 ,if ,b be so turned that the three holes d and e e correspond with the tubes a and b b1 the breath entering at d will force out the contents of ,b through the tubes b b1 and powder the lips of the person blowing1 as in the case of the magic whistle4 ,but if1 on the contrary1 ,b be turned ever so little to the right or left1 the three openings in ,b no longer corresponding with the tubes1 the latter will be closed1 and the breath having no other outlet1 will be forced upwards through the upright tube c1 thereby setting the little vane f in rapid motion4 ,the latter is the condition in which the apparatus is brought forward by the performer4 ,blowing through a1 he sets the mill in motion1 and invites others to do likewise1 in which1 of course1 they succeed without difficulty2 but when the turn of the intended victim arrives1 the performer gives ,a a slight twist round1 in such manner as to bring the openings of ,b in correspondence with the three tubes1 with the result already explained4 ,we have omitted to mention that there is on the under surface of ,b a little raised point1 corresponding in position with the opening d1 so that the performer is able to tell instantly by feel whether ,b is or is not in the required position4 ,as a matter of convenience1 we shall1 before proceeding further with the explanation of individual tricks1 describe two or three pieces of apparatus of general utility1 to one or other of which we shall have frequent occasion to subsequently refer4 ,,the ,,drawer-,,box4--,this is a piece of apparatus of very frequent use in the magic art4 ,in appearance it is an ordinary drawer1 with an outer box or case of walnut or mahogany 7see ,fig4 #afi71 and is made of various dimensions1 according to the size of the articles with which it is intended to be used1 and which may range from a pack of cards to a live rabbit4 ,its use is to produce or to cause the disappearance of a given article2 the drawer having the faculty of appearing full or empty at pleasure4 ,illustration3 ,,fig4 #afi4 ,,fig4 #agj4 ,illustration3 ,,fig4 #aga4 ,the first step towards the comprehension of the apparatus will be to completely take out the drawer1 which1 however1 even when removed1 does not at first sight indicate any speciality4 ,on a closer examination1 it will be found that the drawer is in reality double 7see ,fig4 #agj71 consisting of two parts1 a and b1 the latter sliding backwards and forwards freely within the former1 which is1 in fact1 a mere case or shell1 open at one end4 ,if any object1 suppose an orange1 be placed in b1 and a and b together be placed in the outer case1 it is obvious that1 upon drawing out a1 b will come with it1 and the orange will be seen2 but if b be held back1 a will be drawn out alone1 and the apparatus will be apparently empty4 ,for the means of retaining a at pleasure1 it will be necessary to examine the outer case1 which will be found to have a groove or mortice cut in its under surface 7see ,fig4 #aga71 along which lies a spring or tongue of wood1 fixed by a screw at one end1 the other1 or free end1 being provided with a catch or stud c1 which1 upon pressure1 is forced through an opening in the bottom of the outer case1 and made to sink into a little hole or notch in the bottom of b1 being again withdrawn by the action of the spring as soon as the pressure is removed4 ,the bottom of the outer case is covered with velvet1 ostensibly as a finish1 but really to conceal the wooden tongue4 ,when it is desired to draw out a without b1 the apparatus is held as shown in ,fig4 #aga1 and a gentle pressure applied by the finger through the velvet upon the free end of the wooden tongue1 thus forcing the catch upwards1 and keeping b back4 ,if a be drawn out without this pressure1 b will come with it4 ,the upper edge of a is turned over all round1 so that a casual observer is not likely to detect any difference in the thickness of the sides of the drawer1 whether it is drawn out with or without its inner casing4 ,illustration3 ,,fig4 #agb4 ,,fig4 #agc4 ,some drawer-boxes have a different arrangement for holding back the inner drawer1 consisting of a little wire bolt lying loosely in a cylindrical cavity in the hinder end of b1 corresponding with a similar cavity in the side of the outer case4 ,as long as the drawer-box is kept in its normal position1 this pin offers no obstacle to the withdrawal of b with a2 but if the box be turned over on the side in which is the bolt1 the latter drops partially into the hole in the outer case1 thus bolting b to it1 until1 by again turning over the apparatus1 the bolt is made to drop back again into its original position4 ,the arrangement is rather difficult to explain in writing1 but will become quite clear upon an examination of ,figs4 #agb and #agc1 both representing a section of the hinder end of the drawer-box1 the one in its upright and the one in its turned-over position4 ,the necessary turning over of the box is plausibly accounted for by the performer's desire that the audience shall1 for greater fairness1 have a full view of the top of the apparatus4 ,illustration3 ,,fig4 #agd4 ,,fig4 #age4 ,there is an ingenious addition sometimes found in drawer-boxes of ,french make1 whereby b may be at pleasure bolted to a1 and the two may thus be handed for examination1 with little chance of their secret being detected4 ,the bolting and unbolting is effected by a slight movement up or down of the knob in front1 thereby raising or depressing a kind of hook of bent tin1 working in the thickness of the front of a4 ,fig4 #agd shows this hook in its raised or unhooked1 and ,fig4 #age in its depressed or hooked condition4 ,the drawer-box1 as above described1 is available to produce or disappear1 but not to change articles4 ,with a slight modification1 however1 it may be made available for changing also4 ,the inner drawer b is in this case made only half the depth of a1 or even less2 and thus1 when closed1 there is left between the bottom of b and that of a a considerable space1 so that a and b may in this case each be made to hold a given object1 and an apparent transformation be effected4 ,thus1 for instance1 b may be filled with bran1 and any small article1 such as a borrowed pocket-handkerchief1 be placed in a4 ,the drawer is first pulled out with b1 and shown filled to the brim with bran2 but on being closed and again opened 7without b71 the bran is apparently transformed into the handkerchief4 ,another modification of the drawer-box is known as ,illustration3 ,,fig4 #agf4 ,,the ,,dissecting ,,drawer-,,box4--,this is1 in general appearance1 not unlike the ordinary drawer-box already described1 but with this difference1 that the outer case has a raised top1 somewhat of a sarcophagus shape4 7,see ,fig4 #agf74 ,the drawer is partially drawn out to show that it is empty1 is again closed1 and on being once more drawn out1 proves to be full to the brim with flowers4 ,these having been distributed1 the performer1 to prove the perfect emptiness of the apparatus1 not only takes the drawer completely out1 but takes the outer case 7which is constructed accordingly1 the sides1 top1 and bottom being hinged to the back7 apart1 as shown in ,fig4 #agg4 ,notwithstanding this1 upon again reconstructing the case1 and replacing and reopening the drawer1 it is once more found filled with flowers4 ,illustration3 ,,fig4 #agg4 ,the reader1 being acquainted with the ordinary drawer-box1 will have no difficulty in accounting for the first harvest of flowers1 but the second may possibly puzzle him a little4 ,the secret lies in the top of the outer case1 which1 as we have already mentioned1 is slightly pyramidal in form1 allowing a considerable space between its inner and outer surface1 and in this space is packed the second supply of flowers4 ,this space is closed on its under side by a flat wooden slab a1 of the same area as the inside of the drawer1 held in position by a thin wooden slip or bead at either end4 ,the hindmost of these beads1 b1 is so arranged as to yield to pressure1 and1 when the drawer is pushed slightly in1 gives way just enough to release the slab before mentioned1 which thereupon falls flat upon the bottom of the drawer1 and upon it the hitherto concealed flowers1 which1 spreading as they fall1 completely fill the drawer4 ,,the ,,changing ,,card-,,drawer4--,this is a smaller variety of the drawer-box1 designed specially for use in card tricks4 ,the inner drawer is just large enough to contain a pack of cards1 which may thus be produced or vanished by its means4 ,between the bottoms of the true and false or outer drawer1 is a space of about an eighth of an inch4 ,this makes the apparatus available not only to produce or vanish as above mentioned1 but to transform one card into another4 ,the card to be changed is for this purpose placed in the outer drawer1 which1 when closed1 carries it under the bottom of the inner drawer1 and in this latter is placed the card for which it is to be changed1 or vice vers4 ,there is an improved form of the card-drawer1 with a double change1 effected on the principle of the dissecting drawer-box4 ,this is just as above described1 with the addition that when the two drawers are pressed smartly home1 the action releases a thin slab of wood forming apparently part of the inner surface of the case1 and exactly equal in area to the bottom of the inner drawer1 into which it falls4 ,when required for use1 a card is placed above this slab1 which1 falling when required1 covers the card already in the box1 and exhibits instead that which had been concealed above it1 as in the case of the changing card-boxes1 described in the chapter devoted to card tricks4 ,the uses of such an apparatus will be obvious2 but we will describe1 by way of illustration1 one very good trick which may be performed with it4 ,the apparatus is prepared beforehand by placing a given card 7say the knave of spades7 above the moveable slab1 and another 7say the eight of diamonds7 in the outer drawer4 ,the performer invites two persons to each draw a card1 and 8forces0 upon them the knave of spades and eight of diamonds4 ,the cards being replaced in the pack1 he1 if he has used an ordinary pack1 brings them to the top by the 8pass10 and palms them1 or if he has used a forcing pack1 exchanges that pack for an ordinary one from which those two cards have been removed4 ,leaving the pack on the table1 he exhibits the card-drawer1 taking out both drawers together1 and showing1 apparently1 that case and drawer are absolutely empty4 ,closing the drawer1 he announces that he will make the drawn cards leave the pack1 and pass into the drawer4 ,one of the cards 7the eight of diamonds7 is named1 and pulling out this time the outer drawer only1 he shows that it contains that card1 which is taken out1 and handed to the person who drew it4 ,again the drawer is closed1 being this time pushed sharply home4 ,the second card1 the knave1 being now named1 the drawer is again opened1 and this card shown2 the drawer being again taken wholly out1 and the drawer and case turned in all directions for inspection1 as before1 the operator only taking care to hold the drawer with one finger inside1 that the moveable slab may not1 by falling out1 betray its presence4 ,illustration3 ,,fig4 #agh4 ,,changing ,,caddies4--,these are of various kinds4 ,we will begin with the simplest1 thence proceeding to the more complicated4 ,the conjurors caddy1 in its most elementary form1 is an oblong box1 about six inches in length by five in height and four in width4 7,see ,fig4 #agh47 ,one-half of its interior1 which is divided into two compartments by a transverse bar across the top1 is occupied by a drawer1 or moveable compartment1 so arranged as to slide freely backwards and forwards from end to end1 according as the caddy is allowed to slope in the one direction or the other4 7,see ,figs4 #agi and #ahj47 ,each compartment has its own lid1 the caddy sometimes1 but not always1 having an outer lid in addition4 ,illustration3 ,,fig4 #agi4 ,,fig4 #ahj4 ,we will suppose that it is desired to produce any article from the caddy1 first shown empty4 ,the article in question 7say an egg1 hard-boiled for safety7 is beforehand placed in the moveable compartment1 which we will suppose to occupy for the time being the space under lid a1 as shown in ,fig4 #agi4 ,the performer takes off the opposite lid b1 and shows the space beneath empty4 ,before removing the second lid1 he slopes the caddy in the opposite direction1 so as to bring the moveable compartment under lid b 7see ,fig4 #ahj71 and thus is enabled to show the space under a also empty4 ,he then proceeds with the trick1 and at the right moment produces the article from the caddy4 ,illustration3 ,,fig4 #aha4 ,it is obvious that the caddy above described is only available for appearances and disappearances1 and not for transformations4 ,to obviate this defect1 the majority of caddies are now made with three compartments 7see ,fig4 #aha71 with a sliding drawer occupying two of them4 ,the caddy in this form may be used to 8change0 objects in manner following3--,the sliding drawer being as shown in ,fig4 #aha1 the article to be ultimately produced 7say an orange7 is placed in b4 ,the three compartments are now shown empty1 beginning with c1 and allowing the sliding drawer to assume the position shown in ,fig4 #ahb1 before in turn uncovering a and b4 ,the article to be changed 7say a watch7 is now placed openly in compartment b4 ,the performer closes the lid1 and1 after a moment's interval1 reopens it1 but in that interval slopes the caddy so as to again bring the sliding drawer into the position shown in ,fig4 #aha1 when the orange is again brought under b1 and1 on removing the lid1 is disclosed4 ,to show that the watch has really disappeared1 the caddy may again be shown 7apparently7 empty1 in the same manner as at first4 ,illustration3 ,,fig4 #ahb4 ,there are a good many varieties of caddies made4 ,one is known as the 8skeleton0 caddy1 from the fact that the bottom is made to take out1 so that the company can look through all three compartments4 ,the sliding drawer in this case is bottomless1 and is so arranged as only to slide when the performer releases it by pressing upon a particular spot in the ornamental moulding round the bottom of the caddy4 ,this pressure withdraws a little pin1 which normally rests in a little hole in the side of the sliding drawer1 and thus renders it for the time being a fixture4 ,in some caddies1 again1 the sliding drawer does not run up and down by its own weight1 but is moved backwards and forwards from below by means of a projecting pin passing through a slit in the bottom of the caddy4 ,the caddy in this case does not require to be inclined one way or the other1 and is on this account preferred by many to the other make4 ,the trick next described will introduce to the reader a changing caddy of another and special construction4 ,illustration3 ,,fig4 #ahc4 ,,the ,,magic ,,vase ,,and ,,caddy4 7,to make peas change places with a handkerchief47--,for this trick two special pieces of apparatus are necessary4 ,the first is a tin vase1 of the shape shown in ,fig4 #ahc1 and generally of about ten inches in height4 ,it consists of three parts1 the vase proper a1 the cover b1 and a moveable compartment or well1 c1 which is constructed upon a principle which we have had frequent occasion to notice1 the cylindrical portion of a passing between the inner and outer wall of this moveable compartment4 ,it is coloured exactly similar to that portion of a which it covers1 which therefore looks exactly the same to the ordinary spectator1 whether c be in its place or removed4 ,the internal depth1 however1 of c is little more than half as deep as that of the actual vase1 a4 ,the cover b exactly fits over c1 and by means of a little appliance called a 8bayonet-catch10 will either lift c with it when removed1 or release c and leave it upon a4 ,illustration3 ,,fig4 #ahd4 ,as this 8bayonet-catch0 is of constant use in magical apparatus1 it will be desirable to describe it somewhat minutely4 ,a rectangular cut or slit 7see the enlarged view in ,fig4 #ahd7 is made in the lower edge of the cover b4 ,its perpendicular arm is about a quarter of an inch in length1 and its width about an eighth of an inch4 ,a small pin or stud1 about an eighth of an inch in length1 projects perpendicularly from the lower edge of c1 at such a height that when b is placed over c1 the upper or horizontal arm of the slit shall be just level with it4 ,if the upright arm of the slit be brought immediately over this pin1 the latter will1 as the cover sinks down1 travel upward along the opening as far as the junction with the transverse portion of the slit4 ,if the cover be now again lifted1 the pin will1 of course1 offer no obstruction to its removal2 but if the cover be first slightly turned to the right1 the pin will become engaged in the transverse portion of the slit1 and upon then lifting the cover1 it will carry with it the pin1 and all connected with it4 ,when it is desired to lift off the cover alone1 it will only be necessary to turn the cover a little to the left1 thus bringing the pin again over the upright portion of the slit4 ,illustration3 ,,fig4 #ahe4 ,the second piece of apparatus is a caddy 7,fig4 #ahe71 in appearance not unlike an ordinary tea caddy1 with three equal-sized compartments1 each having its own lid4 ,upon close inspection it will be discovered that the internal depth of these compartments is somewhat shallow in comparison with the external measurement of the caddy1 leaving a space about an inch deep between the inner and outer bottoms4 ,a sliding drawer1 working from end to end of the caddy1 as already explained1 occupies the space of two compartments4 ,supposing this for the moment removed1 it would be found that the external caddy1 in the space occupied by the two end compartments1 a and c1 has a false bottom covering the hollow space we have already mentioned1 but that the space occupied by the middle compartment b has none4 ,of the two moveable compartments1 which together constitute the sliding tray already mentioned 7see ,fig4 #ahf71 the one d has a bottom1 the other e has not4 ,illustration3 ,,fig4 #ahf4 ,when the sliding drawer is in its proper position in the caddy1 and is pushed as far as it will go towards the one or the other end1 the result is as follows3--,if it is pushed to the right1 the bottomless compartment e occupies the space at that end1 under lid c1 while the opening in the false bottom of the caddy is1 for the time being1 closed by the bottom of d1 which now occupies the middle space4 ,if the sliding tray is pushed to the opposite end 7i4e41 to the left71 d will occupy the space a at that end1 while the bottomless compartment e1 being over the opening1 gives access to the space beneath4 ,the caddy is prepared for the purpose of the trick by placing in the space between the true and false bottoms a white handkerchief1 and the sliding tray is then pushed to the right1 so as to bring compartment d to the middle1 and thus close the opening4 ,the vase is prepared by filling both divisions with peas4 ,the two pieces of apparatus having been placed on the table by the assistant1 the performer opens the caddy1 and taking off the lids of the three divisions1 and holding it with his fingers inside the right hand end 7thereby preventing any possibility of the tray shifting71 brings it forward to the audience1 and passing rapidly in front of them1 begs to introduce to their notice an old tea caddy1 in which he has accidentally discovered some curious magical properties4 ,in the present condition of the caddy all three compartments appear exactly alike1 and of equal depth2 and the interior being of a dead black1 the spectators are not likely to notice that they are somewhat shallow4 ,again closing the lids1 and replacing the caddy on the table1 he next draws attention to the vase4 ,taking off the cover without the moveable compartment1 and holding it upside down1 he pours the peas contained in the upper compartment 7which should not be quite full7 into the cover1 and back again two or three times1 finally offering a handful for inspection4 ,he then borrows a lady's handkerchief1 which should as nearly as possible resemble the substitute hidden in the caddy4 ,he asks permission to place it1 for the purpose of the trick1 in the vase4 ,this is1 of course1 readily granted1 but the peas are in the way4 ,after a moment's pretended hesitation1 he says1 8,well1 ,i will put them in the caddy4 ,pray observe that ,i really do so40 ,so saying1 he pours them into d 7which1 it will be remembered1 is for the time being the centre compartment71 leaving that compartment uncovered1 so that they may remain visible to all4 ,he then places the handkerchief in the apparently empty vase1 which he closes and places on the table4 ,he continues1 8,you have all seen me place the handkerchief in the vase1 and the peas in the caddy4 ,now ,i will show you a very curious experiment4 ,perhaps some scientific gentleman among the audience will explain how the effect is produced2 for ,i confess that though ,i have performed this trick some scores of times1 ,i am not quite certain myself as to the reason of the phenomenon4 ,let me beg you once more to assure yourselves that these are genuine peas1 real common-place peas at twopence a pint1 with no nonsense about them40 ,as he says this1 he passes along the front rank of the spectators1 exhibiting the peas in the caddy1 and occasionally taking out a handful1 and offering them for closer inspection4 ,as he reaches the end of the line1 he says1 8,you are all thoroughly satisfied that these are genuine peas1 and that the lady's handkerchief is in the vase upon the table4 ,quite right4 ,now observe1 ,i don't even touch the vase1 and yet1 at the word of command1 the handkerchief will pass into the caddy which ,i hold in my hand4 ,pass60 ,during the last few words1 and holding the caddy for an instant with the lid towards the audience1 so as to screen his hand1 he has pushed the sliding tray to the left1 so that d1 containing the peas1 now occupies the end space1 while the bottomless compartment e has taken its place in the middle4 ,dipping down through this compartment into the hollow space beneath1 he takes out the substitute handkerchief4 8,my commands are obeyed4 ,here is the handkerchief4 ,but where are the peas8 ,probably1 as the handkerchief has taken the place of the peas1 the peas have taken the place of the handkerchief4 ,let us see40 ,he uncovers the vase1 lifting this time with the cover the moveable compartment containing the real handkerchief4 8,yes1 here are the peas1 right enough10 shaking the vase1 and taking them up by handfuls to show them4 ,he continues1 8,now ,i dare say this seems very surprising to you1 but in truth it is comparatively simple4 ,the real difficulty begins when you try to make the handkerchief and the peas travel back again to their original situation4 ,this part of the experiment is so difficult1 that ,i always feel a little nervous over it1 but ,i must make the attempt40 ,pushing the substitute handkerchief openly down to the position it originally occupied1 he takes the opportunity1 in carrying the caddy back to the table1 to slide back the tray as at first1 and1 after a little more talk1 shows that the peas have returned to the caddy1 and lifting the cover alone from the vase1 produces therefrom the genuine handkerchief4 ,illustration3 ,,fig4 #ahg4 ,,the ,,cover1 ,,to ,,pick ,,up ,,any ,,article4--,this 7called in ,french 8ramasse-tout07 is a brass cover of six to ten inches in height1 and of the shape shown in ,fig4 #ahg4 ,within it works backwards and forwards on a spring hinge1 a kind of scoop1 pressing1 when at rest1 against the side of the cover1 as in ,fig4 #ahh1 but moving into the position shown in ,fig4 #ahi whenever pressure is applied to the button a1 again returning to its original position when such pressure is removed4 ,the manner of using it is as follows3--,the performer1 we will suppose1 desires to cause the disappearance of an orange1 in order that it 7or a counterpart7 may be subsequently produced in some other quarter4 ,placing the orange upon the table1 he places the cover over it1 pressing1 as he does so1 the button a1 so as to draw back the scoop4 ,as his hand quits the cover1 the pressure being removed1 the return of the spring causes the scoop to clip the orange tightly against the side of the cover2 and if the cover be now lifted without pressing the button1 it will carry the orange with it4 ,if it is desired again to produce the orange1 the button is pressed in the act of lifting the cover1 which then leaves the orange on the table4 ,it is hardly necessary to observe that the cover is always lifted perpendicularly1 so that the spectator cannot see the interior4 ,illustration3 ,,fig4 #ahh4 ,,fig4 #ahi4 ,it is well to be provided with a second cover similar in external appearance1 but without any mechanism4 ,this may be handed round for inspection1 and afterwards secretly exchanged for the mechanical cover4 ,,the ,,changing ,,cover4--,this cover is available not only1 as in the last case1 to produce or vanish1 but also to change one article for another4 ,it is somewhat of the pattern of an ordinary round dish cover1 with a metal knob on the top4 7,see ,fig4 #aij47 ,it is divided by a vertical tin partition a 7see ,fig4 #aia71 into two equal compartments1 b and c4 ,the lower1 or open side of each of these compartments is of course semicircular4 ,a flat tin plate1 d1 also semicircular1 works on an upright axis1 e1 passing upwards through the centre of the cover1 and terminating in the knob on the top4 ,by turning1 therefore1 this knob halfway round to the right or left1 the performer is enabled to close whichever of the compartments happens for the time being to be open1 at the same time opening that which was previously shut4 ,there is a little point or stop on the upper side of the semicircular plate1 which meeting resistance from the vertical partition1 prevents the plate making more than the necessary half-turn either way4 ,illustration3 ,,fig4 #aij4 ,,fig4 #aia4 ,the apparatus is prepared by placing the article representing the result of the supposed transformation 7say an apple7 in either compartment1 and turning the knob so as to close that compartment1 and open the other4 ,the article to be changed 7say an orange7 is placed upon the table1 and the performer places the cover upon it1 taking care that the open compartment for the time being shall come fairly over it4 ,he then gives a half turn to the knob1 thereby closing the compartment which has hitherto been open1 and securing the orange within it1 and at the same time releasing the apple1 into which1 on the cover being again raised1 the orange appears to be transformed4 ,in this case1 as in the last1 it is well to have a plain counterpart cover to hand round for inspection if necessary4 ,the uses to which the changing cover may be put are very numerous4 ,the following is an instance of a rather original application of it1 which produces a capital effect4 ,we will suppose that the performer has executed a trick in which he has availed himself of the assistance of some juvenile member of the audience1 and that an apple has been one of the 8properties0 of the trick4 ,the trick being concluded1 the professor asks his temporary assistant whether he would like to have the apple1 and is of course eagerly answered in the affirmative4 8,very well10 says the professor1 8you shall have it2 but you must first earn it by a little display of dexterity4 ,i will put it under this cover40 ,he suits the action to the word4 8,now ,i am going to say1 ,one1 two1 three6 ,at the word #8,three' ,i shall raise the cover1 and you must try to snatch the apple before ,i replace it4 ,if you can catch the apple in this manner three times in succession1 it is yours2 but on one further condition1 that you eat it at once here upon the stage40 ,the conditions are readily accepted4 8,one1 two1 three60 cries the professor1 raising the cover and disclosing the apple1 which is instantly snatched up4 ,a second time the process is gone through1 with a like result4 8,you mean to win1 ,i can see10 remarks the performer4 8,now1 once more1 and the apple will be yours2 but ,i warn you ,i shall be rather quicker this time4 ,one6 two66 three6660 ,the eager boy springs forward1 and clutches--not the apple1 but a ,spanish onion1 which had been placed in the second compartment of the cover4 8,you have won1 sir10 says the professor1 pretending not to notice the change2 8but don't forget the second part of your bargain4 ,you are to eat it at once1 before leaving the stage40 ,we will leave to the imagination of the reader the discomfiture of the victim1 and the amusement of the spectators2 also the subsequent magical processes by which the transformed apple may be restored to its original and more fragrant condition4 ,illustration3 ,,figs4 #aib1 #aic1 #aid4 ,,the ,,changing ,,ladle4--,this is a piece of apparatus designed for secretly obtaining possession of a chosen card or piece of writing4 ,the bowl1 so to speak1 of the ladle is in the form of a segment of a cylinder 7see ,fig4 #aib71 the size of its opening being about four inches by two and a half1 and its depth three inches4 ,it is made of tin1 with a thin1 cylindrical handle4 ,the edges of the bowl are turned inwards all round to the extent of about a sixteenth of an inch1 thereby serving to disguise a moveable slab of tin1 a1 which moves backwards and forwards like the leaf of a book within the ladle1 working upon a hinge at its lower edge4 ,this is made to work backwards and forwards by a wire rod passing through the whole length of the handle1 and terminating in a little knob or cap at its outer end4 ,the normal position of a is to lie against the inner or handle side of the bowl 7see ,fig4 #aic71 being retained in that position by the effect of a spiral spring in the handle1 which draws the wire back4 ,if1 however1 pressure be applied to the knob or cap at the end of the handle1 the wire is forced downwards1 thereby bringing the moveable leaf a against the outer side of the bowl1 as shown in ,fig4 #aid4 ,there are various modes in which the changing ladle may be made useful4 ,for example1 it may be used to burn and restore a card4 ,for this purpose1 the ladle is prepared by placing in it beforehand any indifferent card of similar pattern to the pack in use1 and is in this condition placed on the performer's table1 in such manner that the spectators may not observe that there is already a card in it4 ,the performer then comes forward and hands to one of the company a pack of cards1 with a request that he will select any one he pleases4 ,while he is making his selection1 the performer or his assistant places on the table and sets fire to some spirits of wine on a bowl or plate4 ,a card having been chosen1 the performer requests the drawer to return it to him1 and1 in order to exclude the possibility of any exchange or sleight-of-hand1 volunteers to receive it at arm's length in the ladle1 which he brings forward for that purpose1 holding it by the extreme end of the handle1 and pressing with his palm the knob at the top1 thereby bringing the moveable leaf into the position shown in ,fig4 #aid1 with the card already in it pressed flat against the outer side of the bowl1 and thus completely hidden4 ,the chosen card being placed in the ladle1 the performer1 in returning to his table1 relaxes the pressure of his palm1 thereby bringing the moveable leaf back into the position of ,fig4 #aic1 releasing the dummy card1 and concealing that chosen against the inner side of the bowl4 ,he then drops apparently the chosen1 but really the substitute1 card into the flames1 taking care as he does so not to turn the face of the card toward the audience4 ,the ladle1 with the genuine card in it1 is carried off by the assistant as having served its purpose1 and the chosen card is subsequently restored after any fashion which the fancy of the operator may dictate4 ,the ladle may also be used to apparently burn and restore a paper on which one of the company has written any words or figures4 ,in this case a blank half-sheet of note-paper1 folded in four1 is beforehand placed in the ladle1 and a piece of paper folded in the same way is handed to one of the audience1 with a request that he will write what he pleases upon it1 again fold it1 and place it in the ladle4 ,it is then either apparently burnt 7as in the case of the card71 or placed in some other apparatus1 the operator making a great point of the fact that he does not touch the paper4 ,as the genuine paper remains in the ladle1 it is1 of course1 very easy for the performer to ascertain what is written upon it1 and having displayed his knowledge1 to ultimately reproduce the paper under any circumstance which he thinks fit4 ,sometimes the trick is varied by requesting a spectator to write a question upon the paper1 which is subsequently reproduced with an appropriate answer written beneath the question4 ,illustration3 ,,fig4 #aie4 ,illustration3 ,,fig4 #aif4 ,,the ,,cone1 ,,or ,,skittle4 7,la quille74--,this is a block of polished boxwood1 of the shape shown in ,fig4 #aie1 with a thin shell of the same material exactly covering it1 and so closely resembling it in appearance1 that the solid block and the hollow shell1 seen apart1 cannot be distinguished the one from the other4 ,the cone is made in various sizes1 from three inches in height by one and a half at the base1 to seven inches in height by three at the base4 ,it is worked with a paper cover1 consisting of an open tube of cartridge paper about double the height of the cone1 and tapering in such manner that its larger end shall fit loosely over the cone4 ,the performer brings forward this paper tube in his right hand1 and the cone 7with the hollow shell upon it7 in his left1 taking care to hold his fingers beneath it in such manner that the solid cone cannot fall out4 ,he first calls attention to the paper tube1 which the audience are allowed to examine at pleasure4 ,when it is returned to him1 he says1 8,you are now quite satisfied that there is no preparation about this tube1 which is1 in fact1 simply a cover for this block of wood40 ,as if merely suiting the action to the word1 he covers the block with the tube1 immediately removing it again1 and carelessly laying the cover on the table4 ,in removing it1 however1 he grasps it with a gentle pressure1 and so takes off with it the hollow shell 7see ,fig4 #aif71 of whose existence the audience have no suspicion4 ,he continues1 8,perhaps you would also like to examine the block1 which you will find to be a plain1 solid piece of wood1 without mechanism or preparation of any kind40 ,the block having been duly examined1 the supposed empty cover is placed upright upon the table2 and the solid block having been disposed of by any means in the performer's power1 is ordered to pass invisibly under the cover1 which being raised1 the hollow shell is seen1 appearing to the eye of the audience to be the block itself1 and to have found its way there in obedience to the performer's command4 ,the above is the working of the 8cone0 in its simplest and barest form1 but no skilled performer would dream of presenting the illusion in such a common-place way4 ,to make the trick effective1 it should be so arranged as to make the cone apparently change places with some other article4 ,there are many combinations which might be suggested1 but we shall content ourselves with describing one or two of those in most general use4 ,the smaller sized cones may be worked in conjunction with a goblet and ball 7the same as those used for the ,cups and ,balls71 in manner following3--,having tendered for inspection the cone and cover as already described1 and placed them on the table1 the performer offers the goblet and ball in like manner for inspection4 ,when they are returned1 he places them also upon the table1 a little distance apart1 and meanwhile palms a second ball1 which should be in readiness either on the servante1 or in one of his pochettes4 ,he now places the paper cover 7which1 it will be remembered1 contains the hollow shell7 over the first ball on the table4 8,pray observe10 he remarks1 8that ,i have fairly covered over the ball0 7here he raises and replaces the cover1 pressing so as to lift the shell with it1 and showing that the ball is still there74 8,the goblet1 as you have seen1 is perfectly empty40 7,here he raises the goblet1 and1 in replacing it1 introduces the second ball under it1 as described in the chapter devoted to the ,cups and ,balls47 8,i shall now order the ball to pass from the cover under the goblet40 ,he waves his wand from the one to the other4 8,presto6 ,prestissimo6 ,pass60 7,he raises the goblet1 and shows that the ball has 7apparently7 passed under it47 ,the first ball still remaining under the paper tube1 he cannot at present raise it1 so proceeds rapidly to the next stage of the trick1 that the omission may not be noticed4 8,so far10 he remarks1 8the trick is mere child's play4 ,the real difficulty is to pass the cone under the cover in place of the ball4 ,however1 ,i will make the attempt40 ,so saying1 he picks up the cone with his right hand1 and apparently transfers it to his left1 really palming it1 and immediately afterwards dropping his right hand to his side1 and getting rid of the cone into the profonde4 ,then1 taking two or three steps away from the table1 still holding the left hand as if containing the cone1 and looking towards the cover1 he says1 8,one1 two1 three1 ,pass60 with a motion of the hand as if throwing something2 immediately showing the hands empty1 and lifting up the cover 7but this time by the top1 so as not to exert any pressure against its sides71 and showing the hollow shell1 which now conceals the ball1 and is taken by the spectators to be the genuine cone4 8,we have succeeded pretty well so far1 ladies and gentlemen10 he remarks2 8it remains to be seen whether ,i shall be equally successful in bringing back the cone and ball to their original positions4 ,i dare say you would all like to know how the trick is done1 and therefore this time ,i will vary the mode of operation1 and make the transposition visibly40 7,here he drops his right hand to the profonde1 and secretly palms the solid cone47 8,first the cone0 7he passes his right hand1 keeping the back towards the audience1 upwards along the cover1 and1 as it reaches the top1 brings the cone into view74 8,pray once more assure yourselves that it is fair and solid4 ,now for the ball40 ,he picks up the ball with the left hand1 and holding it between the finger and thumb1 apparently transfers it1 by the pass called the tourniquet 7see page #aej71 to the right1 forthwith getting rid of it into the profonde on the left side4 8,pray observe that it does not leave your sight even for a moment40 ,then holding his hand high above the paper cover1 he makes a 8crumbling0 movement with it1 immediately showing it empty1 and lifting the cover with a slight pressure1 so as to carry the shell with it1 shows the ball beneath4 ,the attention of the spectators being naturally attracted to the ball1 it is an easy matter to let the hollow shell slip out of the paper cover upon the servante1 and again to hand the cover for examination4 ,some performers1 instead of using the goblet1 work the small cone with the 8ball-box0 7see page #bif74 ,it is obvious that the directions above given will apply only where the cone is of a size so small as to be readily palmed1 in which case it is hardly conspicuous enough to be used before a large audience4 ,where a cone of larger dimensions is employed1 it is necessary to vary the mode of operation4 ,we shall therefore proceed to describe the trick in its stage form1 as worked by ,herrmann and other public performers4 ,the cone in this case is about seven inches high1 and is worked in conjunction with a 8drawer-box0 of such a size as to contain it easily4 ,having handed round for inspection the cover and cone1 as already described1 the performer suddenly remembers that he requires an orange1 which he forthwith produces from his wand4 7,it is hardly necessary to observe that the orange is beforehand placed in readiness in one of the pochettes1 and is produced from the wand in the manner described for producing a ball4 ,see page #bgf74 ,laying down the orange on the table1 he next exhibits the drawer-box1 taking the drawer completely out1 and1 after showing it on all sides1 replacing it4 ,he then covers the orange on the table with the paper cover 7containing the hollow shell71 and places the solid cone in the drawer-box1 which being of the kind described at page #cde1 he turns upon its side1 with its top toward the audience4 ,he meanwhile palms in his right hand1 from his pocket or the servante1 a second orange4 ,he now announces that he is about to take the orange back again1 which he does by passing his wand up the side of the cover1 and immediately producing therefrom the second orange4 ,he places this upon another table at a little distance1 and covers it with a borrowed hat1 making as he does so a feint of removing it1 and slipping it into his tail pocket4 ,he hears1 or pretends to hear1 some one remark that he took away the orange1 and answers accordingly4 8,oh6 you think ,i took away the orange4 ,allow me to assure you that ,i did nothing of the kind40 7,he lifts up the hat1 and shows the orange in its place47 8,i will cover it again2 or1 still better1 to prove that ,i do not take it away1 ,i won't cover it at all1 but leave it here in full view on the table40 ,he replaces it on the table1 but this time places it on what is called a 8wrist-trap10 in readiness for a subsequent disappearance4 8,having taken the orange from under the cover10 he continues1 8,i have now to make the solid block vanish from the drawer1 and take its place2 but ,i shall do it this time invisibly4 ,see1 ,i have only to wave my wand from the one to the other1 and the thing is done4 ,the drawer is empty0 7pulling out the false drawer only71 8and here is the block0 7he lifts the paper cover1 and shows the hollow shell74 8,now ,i come to the most difficult part of the trick1 which is to bring both articles back to their original position4 ,first1 ,i will take the block of wood40 ,he covers the shell with the paper tube1 and makes a movement of his wand from the cover to the drawer4 8,pass6 ,let us see whether it has obeyed40 ,he this time pulls the drawer completely out1 and lets the block fall heavily on the stage4 8,now for the orange40 ,he places both hands round it1 as if picking it up between them1 and presses as he does so the spring of the trap1 which opening1 lets the orange fall through into the table4 ,bringing the hands1 still together1 immediately above the paper cover1 he rubs them together as if compressing the orange1 finally separating them and showing them empty1 and immediately afterwards lifting the cover with the hollow shell1 and showing the first orange beneath it4 ,it will be observed that the trick above described is1 in some of its parts1 very similar to that described at page #ccg4 ,the mechanism of the wrist-trap will be found explained in the next chapter4 ,in the meantime the student may produce the same effect without using a trap at all1 by means of the sleight described at page #bid4 ,illustration3 ,,fig4 #aig4 ,illustration3 ,,fig4 #aih4 ,,the ,,cone ,,and ,,bouquet4--,this is another form of the cone trick1 involving the use of rather more elaborate apparatus4 ,the cone in this case is about five inches in height by three at the base1 and tapers very slightly4 ,it may be either of boxwood1 as in the trick last described1 or the block may be of any hard wood1 and the hollow shell of tin to fit1 each blacked and polished1 so as to look exactly alike4 ,it is used in conjunction with a paper cover as before1 and two little bunches of flowers1 exactly alike1 and of such a size as to be just covered by the hollow shell4 ,each of these little bouquets is made upon a tin framework1 consisting of a wire arch springing from a flat saucer-like base4 7,see ,fig4 #aig47 ,a pedestal and cover complete the apparatus4 ,the pedestal a 7see ,fig4 #aih7 is cylindrical2 and about six inches in height1 by four across the top4 ,its upper surface consists of a circular plate of tin1 working up and down piston-wise in the pedestal4 ,this is forced upwards by a spiral spring1 but yields to pressure1 sinking vertically to a depth of four or five inches when necessary4 ,the upper edge of the pedestal is slightly turned in all round1 so that the top may not be pressed out altogether by the force of the spring4 ,an outer casing of tin1 b1 fits over a1 just so tightly as to resist the upward pressure of the spring when forced down by any object between the pedestal and this casing4 ,the cover1 c1 is about double the height of a1 and by means of a bayonet catch 7see page #ceb7 may be lifted off either with or without b at pleasure4 ,illustration3 ,,fig4 #aii4 ,illustration3 ,,fig4 #bjj4 ,the pedestal is prepared for use by removing b1 and placing one of the little bouquets on the top of a2 then again putting on b1 and forcing it down into its place1 when the condition of the apparatus will be as shown 7in section7 in ,fig4 #aii4 ,the wire arch prevents the flowers being crushed out of shape by the pressure of the spring4 ,the pedestal and cover are now brought forward and placed on the table2 also the cone 7with the shell on71 the paper tube to cover it1 and the remaining bunch of flowers4 ,the paper tube is first exhibited1 placed over the cone1 and removed with the hollow cone within it1 as in the last trick4 ,the solid cone is then offered for examination1 and having been duly inspected1 is placed upon the pedestal4 ,the performer makes a movement as if about to place over it the cover c1 but checks himself in the act1 and shows that this cover is empty and hollow throughout4 ,he then puts on the cover1 and reverting to the bunch of flowers on the table1 covers it with the paper tube4 ,he next announces that in obedience to his command1 the block and the bunch of flowers will change places4 ,he raises the paper tube1 holding it by the top1 and thus leaves behind the hollow shell1 covering and concealing the bunch of flowers4 ,he next takes off the cover of the pedestal1 first1 however1 turning the bayonet catch1 so as to lift off with the cover the casing b4 ,the solid cone is carried off between the casing and the cover 7see ,fig4 #bjj71 while the action of the spring1 the casing being removed1 brings the concealed bunch of flowers to the top of the pedestal1 in the position lately occupied by the cone4 ,having shown that the cone and the flowers have changed places1 the performer next undertakes to bring them back to their original situation1 which1 by reversing the process1 he does without difficulty4 ,the pedestal above described is a very useful piece of apparatus1 being available either to produce1 change1 or vanish any article of appropriate size4 ,a very effective trick may be performed therewith by causing an empty tumbler to appear full1 or vice vers4 ,in this case1 however1 it should by no means be admitted that an exchange takes place1 as the supposed filling of an empty glass with water by covering it with an evidently unsophisticated cover1 is rather the more surprising phenomenon4 ,,the ,,flying ,,glass ,,of ,,water4--,this capital trick was1 we believe1 first introduced to the public by ,colonel ,stodare1 to whom the profession is indebted for many first-class illusions4 ,the necessary apparatus consists of a couple of ordinary glass tumblers1 exactly alike1 with an india-rubber cover just fitting the mouth of one of them1 and a coloured handkerchief of silk or cotton made double 7i4e41 consisting of two similar handkerchiefs sewn together at the edges71 with a wire ring 7of the size of the rim of one of the tumblers1 or a fraction larger7 stitched loosely between them1 in such manner that when the handkerchief is spread out the ring shall be in the middle4 ,illustration3 ,,fig4 #bja4 ,illustration3 ,,fig4 #bjb4 ,the performer1 beforehand1 nearly fills one of the tumblers with water1 and then puts on the india-rubber cover1 which1 fitting closely all round the edge1 effectually prevents the water escaping 7see ,fig4 #bja74 ,the glass1 thus prepared1 he places in the profonde on his right side4 ,he then brings forward the other glass and a decanter of water1 and the prepared handkerchief1 and in full view of the audience fills the glass with water up to the same height as he has already filled the one in his pocket1 and hands round glass and water for inspection4 ,when they are returned1 he places the glass upon the table1 a few inches from its hinder edge1 and standing behind it1 covers it with the handkerchief1 first spreading out and showing both sides of the latter1 proving1 to all appearance1 that there is no preparation about it4 ,in placing the handkerchief over the glass1 he draws it across in such manner as to bring the hidden ring as exactly as possible over the top of the glass4 ,then placing the left hand over the handkerchief1 as shown in ,fig4 #bjb1 he raises1 apparently1 the glass within the handkerchief1 but really the empty handkerchief only1 which is kept distended by the ring1 and1 at the same time1 under cover of the handkerchief1 gently lowers the glass of water with the other hand on to the servante4 ,this is by no means difficult1 as the pretended carefulness of the operator not to spill the water allows him to make the upward movement of the left hand as deliberate as he pleases4 ,all that is really necessary is to take care to follow with his eyes the movement of the left hand1 which will infallibly draw the eyes and the minds of the audience in the same direction4 ,having raised the supposed tumbler to a height of about two feet from the table1 the performer brings it forward to the audience1 and requests that some gentleman with a steady hand will favour him with his assistance4 ,a volunteer having been found1 and having given satisfactory replies as to the steadiness of his nerves1 and the strength of his constitution generally1 is requested to place his hand under the handkerchief and take the glass4 ,as he proceeds to obey1 the performer lets go of the handkerchief with the left hand1 still retaining one corner with the right1 and lets the right arm with the handkerchief drop to his side4 ,pretending to believe that the gentleman has taken the glass1 and not to notice its disappearance1 he turns carelessly aside1 and brings forward a small table or chair1 saying1 8,put it here1 please40 ,looking1 generally1 somewhat foolish1 the victim replies that he has not got it4 ,if the performer is a good actor1 he may here make some fun by pretending to believe that the victim has concealed the glass1 and pressing him to return it4 ,at last he says1 8,well1 if you won't give it to me1 ,i must find it for myself10 and he proceeds to tap with his wand the sleeves and pockets of the unfortunate individual1 but without success1 till1 on touching him between the shoulders1 he pretends to tell by the sound that the glass is there4 8,yes1 here it is10 he remarks4 8,i am sorry to be obliged to ask you to turn your back on the company1 but to show them that there is no deception on my part1 ,i am compelled to do so4 ,will you please turn round for one minute40 ,on his doing so1 the performer1 again shaking out the handkerchief1 and showing both sides of it to prove it empty1 spreads it over the back of the victim4 ,again he taps with his wand1 which1 striking the ring through the handkerchief1 causes an unmistakeable hard sound to be heard2 and then grasping the ring as before through the handkerchief1 he deliberately raises it up in a horizontal position1 the effect being as if the glass had again returned to the handkerchief4 ,he then says1 8,i don't think ,i will trouble this gentleman again2 he is too much of a conjuror himself20 then turning rapidly to the audience1 he says1 8,catch1 ladies and gentlemen10 and 8flicks0 the handkerchief quickly towards the spectators1 who duck their heads in expectation of a shower4 8,pardon me1 ladies1 ,i fear ,i alarmed you2 but you need not have been afraid2 ,i never miss my aim4 ,that gentleman has the glass0 7designating anyone he pleases74 8,may ,i trouble you to step forward one moment1 sir80 ,on the person indicated doing so1 the performer places him facing the audience1 and under cover of his body takes the second glass out of the profonde1 and throws the handkerchief over it1 remarking1 8,yes1 ladies and gentlemen1 here it is1 in this gentleman's tail pocket40 ,then taking hold of the glass with the left hand beneath the handkerchief1 he clips with the first finger and thumb1 through the handkerchief1 the edge of the india-rubber cover1 and thus drawing off the cover inside the handkerchief1 hands round the glass and water for inspection4 ,illustration3 ,,fig4 #bjc4 ,two improvements have recently been made in this trick1 which1 though trifles in themselves1 greatly heighten the effect4 ,upon a performance of the trick as already described1 it is not uncommon to find some person1 more acute than the average1 guess that there is a ring in the handkerchief4 ,the first of the improvements we have mentioned is designed to make the ring no longer a fixture1 and yet to insure bringing it into the right position when necessary4 ,this is effected by stitching the two handkerchiefs together1 not only round the edge1 as already explained1 but also as shown by the dotted line in ,fig4 #bjc4 ,this confines the ring to the triangular enclosure1 a e d1 within which1 however1 it is allowed to move freely1 not being attached to the handkerchief in any way4 ,if the handkerchief is held by the two corners a d 7which should be distinguished by a mark of coloured silk or worsted1 so as to be readily identified by the performer7 the ring will take its proper place in the middle1 as shown in the figure4 ,if1 on the other hand1 the handkerchief be held by either the corners a b or c d1 the ring will forthwith run into the angle a d e or d a e1 as the case may be1 and the handkerchief1 if grasped a little below this particular corner1 may be twisted or pulled through the hands ropewise1 proving1 with apparent conclusiveness1 that there is no ring or shape concealed in it4 ,the second improvement is to have ready on the servante a small piece of sponge1 recently dipped in water4 ,this is picked up by the right hand of the performer as he places the genuine glass on the servante4 ,when he has moved away from his table1 at the moment of requesting his volunteer assistant to take the glass1 he places the right hand for a moment under cover of the handkerchief1 and squeezes the sponge1 the water that immediately pours from it being1 apparently1 accidentally spilt1 and so negativing any possible doubt on the part of the spectators that the glass is really in the handkerchief4 ,with these two additions the trick is one of the most effective that can possibly be performed1 whether in a drawing-room or on the public stage4 ,,the ,,bowls ,,of ,,water ,,and ,,bowls ,,of ,,fire ,,produced ,,from ,a ,,shawl4--,after the explanation of the last trick1 the reader will form a tolerably good guess at the means of performing this1 which has puzzled thousands1 and is still one of the most popular feats in the rpertoire of the conjuror4 ,the performer comes forward with a shawl in his hand1 which he spreads out and exhibits on both sides1 to show 7as is really the fact7 that there is no preparation about it4 ,the spectators being satisfied on this point1 and the orchestra playing the 8,ghost ,melody0 or other appropriate accompaniment1 he swings the shawl about in time to the music1 finally throwing it over his left shoulder and arm1 the arm being held square before him4 ,the arm now gradually sinks down1 and the form of some solid object is seen defined beneath the shawl1 which1 being removed1 reveals a glass bowl brimming with water1 and with gold fish swimming about in it4 ,this is repeated a second and a third time1 the performer sometimes discarding the shawl1 and borrowing a pocket-handkerchief among the audience for the production of the last bowl4 ,the bowls used are saucer-shaped1 measuring six to eight inches in diameter1 and one and a half to two inches in depth4 ,each is closed by an india-rubber cover1 after the manner of the tumbler in the last trick4 ,thus secured1 they are concealed about the person of the performer4 ,the precise mode of concealment varies a little4 ,where three bowls are to be produced1 one is generally carried beneath the coat-tails1 in a sort of bag open at the sides1 suspended from the waist1 and the other two in pockets1 opening perpendicularly1 inside the breast of the coat or waistcoat1 one on each side4 ,sometimes1 by way of variation1 bowls of fire are produced4 ,the bowls are in this case of thin brass4 ,they have no covers1 but the inflammable material 7tow moistened with spirits of wine7 is kept in position by wires crossing the bowl at about half its depth1 and is ignited by a wax match1 struck against the inside of the bowl under cover of the shawl and immediately dropped into the bowl1 when the contents instantly burst into a blaze4 ,some bowls have a mechanical arrangement for igniting the tow1 but we ourselves much prefer the simple bowls above described4 ,it was originally the practice to throw the shawl over a small round table1 immediately removing it1 and exhibiting the bowl upon the table4 ,modern performers discard the table1 and produce the bowls in the midst of the audience4 ,,the ,,bowl ,,of ,,ink ,,changed ,,to ,,clear ,,water1 ,,with ,,gold ,,fish ,,swimming ,,in ,,it4--,the performer brings forward a goblet-shaped glass vase1 six or eight inches in height1 nearly full of ink4 ,to prove that the ink is genuine1 he dips a playing-card into it1 and brings it up with the lower half stained a deep black4 ,next1 taking a ladle1 he ladles out a portion of the liquid1 and pours it on a plate1 which is handed round for inspection4 ,he next borrows a handkerchief from one of the audience1 and covering the vase with it1 announces that1 by the exercise of his magic power1 he will transform the ink in the vase to water4 ,on removing the handkerchief1 this transformation is found to be accomplished1 while a couple of gold fish1 placidly swimming about in the bowl1 sufficiently prove that the trick is not performed1 as might be imagined1 by means of some chemical reagent4 ,the explanation1 though by no means obvious1 is very simple4 ,the liquid in the vase is plain water2 but a bottomless black silk lining1 fitting the vase1 and kept in shape by a wire ring round its upper edge1 gives it the appearance of ink to a spectator at a little distance4 ,in removing the handkerchief1 the performer clips with it the wire ring1 bringing away the lining within the handkerchief1 and revealing the clear water in the glass4 ,but the reader will naturally inquire1 8,how1 then1 are the blackened card and the genuine ink ladled out on the plate accounted for80 ,illustration3 ,,fig4 #bjd4 ,the blackened card1 though apparently an ordinary one1 has the same figure1 say a knave of diamonds1 on both its sides2 but the lower half of the one side is beforehand stained with ink4 ,the performer dips it in with the unsoiled side toward the audience2 but giving it a half-turn as he removes it1 thereby brings the blackened side in front4 ,the ink poured on the plate is accounted for with equal simplicity4 ,the ladle 7see ,fig4 #bjd7 is of tin1 having a hollow handle of the same metal1 with a minute hole opening therefrom into the bowl4 ,there is a similar small hole near to the top of the handle4 ,the bowl is beforehand filled with ink1 which is thence allowed to run into the handle2 after which the upper hole is stopped with a little pellet of wax1 or a small piece of paper is pasted over it4 ,by reason of a well-known natural law1 the liquid will not run out of the lower hole until the upper one is opened4 ,as the performer dips the ladle apparently into the ink in the bowl1 he scrapes off with his nail the wax or paper with which the upper hole is stopped1 and the ink immediately runs into the bowl1 whence it is poured upon the plate4 ,illustration3 ,,fig4 #bje4 ,,the ,,inexhaustible ,,bottle4--,the same natural principle which prevents the ink from flowing into the bowl of the ladle until the upper hole is opened1 is the basis of this old but still popular trick4 ,the inexhaustible bottle1 though in appearance an ordinary glass bottle1 is in reality of tin1 japanned black4 ,internally it is divided into three1 four1 or five separate compartments1 ranged round a central space1 and each tapering to a narrow-mouthed tube1 which terminates about an inch within the neck of the bottle4 ,a small pinhole is drilled through the outer surface of the bottle into each compartment1 the holes being so placed that when the bottle is grasped by the hand in the ordinary way 7see ,fig4 #bje71 each hole may be covered by one or other of the fingers or thumb4 ,the central space is left empty1 but the surrounding compartments are filled1 by means of a funnel with a very tapering nozzle1 with the wines or liquids expected to be most in demand1 or to which it is intended to limit the spectators' choice4 ,a tray full of glasses1 made specially of very thick glass1 so as to contain in reality much less than they appear to do1 completes the apparatus4 ,the performer comes forward with the magic bottle1 followed by an attendant bearing the tray of glasses4 ,he commences by openly pouring water into the bottle1 and out again1 so as indirectly to raise the inference that the bottle must be perfectly empty4 ,the water1 in truth1 really passes into the centre space only1 and thence runs out again as soon as the bottle is tilted4 ,the fingers1 meanwhile1 are tightly pressed on the different holes1 and thus excluding the air1 effectually prevent any premature flow of wine from the various compartments4 ,the performer1 still holding the bottle mouth downwards1 says1 8,you observe1 ladies and gentlemen1 that the bottle is now perfectly empty1 and yet1 by my magic art1 ,i shall compel it to refill itself for your benefit40 ,he then1 addressing various individuals1 asks each whether he prefers port1 sherry1 gin1 etc41 and when the answer is given1 has only to raise the finger stopping the air-hole of that particular compartment to cause the liquid named to flow from the bottle1 stopping as soon as the finger is again pressed on the hole4 ,it is a good plan1 in order to prevent confusion1 to place the liquors in the bottle in alphabetical order1 commencing from the hole stopped by the thumb4 ,some performers increase the variety of the liquors produced1 by placing beforehand in certain of the glasses a few drops of various flavouring essences4 ,by this means a compartment filled with plain spirits of wine may be made to do duty for brandy1 whiskey1 etc41 at pleasure1 according to the glass into which the liquid is poured4 ,illustration3 ,,fig4 #bjf4 ,the trick is sometimes elaborated by the performer1 by way of conclusion1 apparently breaking the bottle1 and producing therefrom a borrowed handkerchief or other article which has been made to disappear in some previous trick4 ,this is effected by means of an additional speciality in the construction of the bottle4 ,the compartments containing the liquids in this case terminate a couple of inches above the bottom of the bottle1 and the part below this1 which has a wavy edge1 like fractured glass1 is made to slip on and off4 7,see ,fig4 #bjf47 ,the performer1 having produced the wines1 pretends to crack the bottle all round by rapping it with his wand1 and1 having apparently cracked it1 pulls the bottom off1 and exhibits the handkerchief1 which was beforehand placed in readiness therein4 ,the two parts of the bottle joining with great nicety1 there is little fear that the pretended crack will prematurely attract attention4 ,where the trick is performed before a very large audience1 a single bottle would not contain sufficient liquor to answer all the demands upon it4 ,in this case it is necessary to change the bottle1 sometimes more than once in the course of the trick4 ,this is most frequently done under cover of a chair or table2 but where the trick is performed on the stage1 a more elaborate expedient is sometimes employed4 ,the bottle used has in this case an outer shell or casing of tin1 open at the bottom1 the actual receptacle for the liquids being within this4 ,when the bottle is exhausted1 the performer with apparent carelessness places it upon a small table1 standing against the side scene1 pending the arrival of more glasses1 or under any other convenient pretext4 ,the bottle is1 in truth1 placed immediately over a small round trap1 the performer being guided as to its proper position by a couple of small pins projecting upwards from the surface of the table1 against which pins he pushes the bottle4 ,the moment it is so placed1 the assistant behind the scenes1 who has his eye to a hole in the partition1 and his arm extended within the table1 opens the trap1 pulls down the empty interior of the bottle1 and instantly replaces it with a full one1 which he holds in readiness1 and at the moment when the performer again grasps the bottle to continue the trick 7and thereby furnishes the necessary resistance71 pushes it sharply up into its place4 ,illustration3 ,,fig4 #bjg4 ,,fig4 #bjh4 ,,the ,,bottle ,,and ,,ribbons4--,this is another favourite bottle trick4 ,the bottle is in this case also of tin1 with an enclosed space round the sides to contain wine1 commencing about an inch and a half from the lower end1 and terminating just within the mouth4 7,see ,fig4 #bjg47 ,the bottle has no bottom1 and there is thus a passage1 in the shape of an inverted funnel1 extending through its whole length4 ,a cylindrical base or stopper 7see ,fig4 #bjh7 just fits into the space at the bottom of the bottle1 and on this are fixed six or eight small reels or bobbins4 ,on each of these is wound a yard or so of ribbon1 each of a different colour4 ,an upright wire rod springs from the centre of this base1 terminating just within the neck of the bottle in a little flat piece of metal1 perforated with as many holes as there are ribbons2 and one end of each of the ribbons is brought up through one of these holes1 and a little knot made upon it to prevent its slipping back again4 ,the ribbons being in position1 and the space in the bottle duly filled with wine1 the performer brings it forward1 and1 after pouring out a glass or two1 asks some lady present which is her favourite colour1 and on receiving an answer1 gently taps the bottle with his wand1 and immediately draws out with the tip of his forefinger from the neck1 and presents to her1 a ribbon of the desired colour4 ,more wine is produced1 alternately with fresh ribbons1 until all are exhausted4 ,the above is the drawing-room form of the trick4 ,upon the stage1 it is slightly varied4 ,the same kind of bottle is used1 but the internal provision of reels and ribbons is removed1 so that the bottle remains a simple tin bottle1 open at the bottom1 with the funnel-shaped passage already mentioned extending through its entire length4 ,the performer1 having poured out a glass or two of wine1 places the bottle on a stool or table1 through the pillar of which is a hole or passage communicating with a corresponding hole in the stage4 ,beneath this is stationed the performer's assistant1 who is provided with a large number of various coloured ribbons1 and a thin rod of three or four feet in length1 with a small point or blunt pin at the top4 ,the performer takes care always to repeat in an audible voice the name of the colour called for4 ,this is a signal to the assistant to hitch one end of the ribbon in question on the top of the rod1 and hold it in readiness beneath the stage4 ,he does not1 however1 push it up through the bottle until warned by the sound of the tap of the wand on the bottle that the performer is ready to receive it4 ,the performer1 on his part1 takes care1 before tapping the bottle1 to place his thumb upon the mouth1 so as to prevent the rod passing too far4 ,sometimes a combination of colours is asked for1 as1 for instance1 the tricolour1 or any other national group of colours4 ,alter having produced a reasonable number of ribbons1 an effective finish may be made as follows3--,a last colour or combination of colours having been demanded1 the performer does not draw the ribbons1 as hitherto1 completely out of the bottle1 but leaves them hanging down loosely on each side of it4 ,he now announces that1 at the word of command1 the ribbons shall1 of their own accord1 return into the bottle4 ,the assistant takes his cue accordingly1 and at the third tap of the wand draws the ribbons smartly down again2 their instantaneous disappearance within the bottle being exceedingly effective4 ,,the ,,new ,,pyramids ,,of ,,egypt1 ,,or ,,the ,,wine ,,and ,,water ,,trick4--,this trick may be very well worked in conjunction with either of the bottle tricks already described1 and we therefore notice it in this place4 ,its effect is as follows3--,the performer pours out a glass of wine and a glass of water1 finally transferring both to a small decanter4 ,placing the decanter on a small round stand1 and the empty glasses on similar stands on either side of it1 he covers each with a pyramidal cover1 and announces that at his command the mixed wine and water will again separate1 and pass into the empty glasses1 the spectators being allowed to choose into which of the glasses each element shall pass4 ,the choice having been made1 he fastens a tape or ribbon to the centre pyramid1 and thence to each of the side ones1 giving the audience to understand that1 by a mysterious kind of capillary attraction1 the wine and water will travel along this ribbon to their respective destinations4 ,a few moments having elapsed1 the ribbons are untied and the covers removed4 ,the decanter is found to be empty1 and the wine and water to have respectively returned to the glasses designated by the audience4 ,illustration3 ,,fig4 #bji4 ,the glasses used have no speciality1 but the decanter has a small hole in its under side4 ,this is plugged with a pellet of wax1 which1 however1 is instantly removeable at pleasure4 ,of the three stands1 two 7those on which the glasses stand7 have no preparation1 being mere raised shapes of tin4 ,the third is similar in appearance1 but is1 in fact1 a hollow box1 with three or four little holes drilled in its upper side1 for a purpose that will presently appear4 ,of the three covers1 the centre one is hollow throughout1 but the other two have each its upper portion occupied by a hollow chamber or reservoir1 divided in two by a vertical partition1 and tapering down to a tube with a very small opening4 ,each of these compartments has an air-hole at the top4 7,see ,fig4 #bji47 ,these two covers are beforehand prepared for the trick by filling the two compartments of each1 one with wine1 and the other with water4 ,the air-holes are stopped with pellets of wax1 but for the sake of distinction the 8wine0 compartment of each is plugged with red wax1 and the 8water0 compartment with white wax4 ,any other distinguishing mark is1 of course1 equally good4 ,so long as the air-holes are thus stopped1 there is no fear of the liquid running out4 ,the performer1 having filled the glasses as already described1 mixes the contents in the decanter1 and in placing the latter on the stand1 removes the wax plug from the bottom1 thus allowing the wine to run out1 and to percolate through the above-mentioned holes into the stand1 where it remains4 ,he next places the empty glasses on their respective stands1 and places the covers over them4 ,he then asks the audience into which of the glasses they desire that the wine shall travel1 and into which the water4 ,when they have made their decision1 he has only to remove the red pellet from the cover which is over the glass into which the wine is to pass1 and the white pellet from the opposite cover4 ,the tying of the tape from cover to cover is merely designed to give time for the liquids to reach their respective destinations1 and is1 indeed1 altogether dispensed with by many performers4 ,the air-holes may be stopped by means of tinfoil pasted over them1 instead of the wax1 if preferred4 ,the foil is instantly removeable by scraping with the nail4 ,illustration3 ,,fig4 #baj4 ,,the ,,mysterious ,,funnel4--,this is a little appliance on the same principle1 which may be incidentally introduced with good effect in the course of a wine trick4 ,it is a tin funnel1 made double throughout1 with a space of half-an-inch or so between its inner and outer sides4 ,it is1 in fact1 a funnel within a funnel1 joined at the upper edges4 7,see ,fig4 #baj47 ,it has an air-hole1 a1 generally on the under side of the handle4 ,when required for use1 the hidden space is filled with wine4 ,the simplest way of doing this is to stop the spout of the funnel with the finger1 and then to fill it with wine1 which1 seeking its own level1 will gradually rise to the same height in the outer space as it stands at inside the funnel4 ,this must1 of course1 be done with the air-hole open4 ,when the space is filled1 the air-hole is stopped1 and the wine remaining inside the funnel allowed to run out4 ,the funnel will now appear perfectly empty1 and may be used as a funnel in the ordinary way4 ,the mode of using the funnel is somewhat after the following manner1 subject1 of course1 to variation1 according to the taste and invention of the performer3-- ,a juvenile is invited to take a glass of wine1 the produce of either of the preceding tricks4 ,when he has imbibed it1 the performer asks a second juvenile whether he would like a glass also4 ,the reply is pretty sure to be in the affirmative1 but the performer pretends to find1 when about to oblige him1 that his store is exhausted4 ,he begins to apologize for the supposed disappointment1 but as if suddenly bethinking himself1 says1 8,however1 you shan't be disappointed4 ,if ,i can't supply you in the natural way1 ,i must do so in a supernatural way4 ,suppose we take back the wine this young gentleman has just drunk4 ,i don't suppose it will be any the worse4 ,let me see1 where is my magic funnel4 ,oh1 here it is4 ,let us make sure first that it is quite clean40 ,he pours water through it1 and then holds it up to the light in such a manner that the audience can see right through1 thus indirectly showing them that it is empty4 8,now1 sir0 7addressing the youngster who has drunk the glass of wine71 8,i am going to take back that glass of wine4 ,be kind enough to bend your elbow1 and hold it over the mouth of the funnel1 so4 ,and you1 sir0 7addressing the expectant71 8perhaps you will be kind enough to take this young gentleman's other arm1 and work it gently up and down4 ,in fact1 we are going to transform him into a pump4 ,now1 sir40 ,the performer holds the glass under the funnel1 and as soon as the pretended pumping begins1 opens the air-hole1 when the wine runs into the glass1 and is handed to the second young gentleman as a reward for his exertions4 ,acted with spirit1 this little interlude is sure of an uproarious reception from the juvenile portion of the audience1 particularly if the operator possesses the magic bradawl described at page #ccb1 and makes use of it to bore a small hole in the victim's elbow before beginning to pump the wine from it4 ,illustration3 ,,fig4 #baa4 ,,the ,,box ,,of ,,bran ,,transformed ,,to ,a ,,bottle ,,of ,,wine4--,while upon the subject of wine tricks we may mention this1 which is by no means the least surprising of the illusions to which 8the bottle0 gives birth4 ,the necessary apparatus consists of four pieces4 ,first1 a plain cylindrical tin box ,a 7see ,fig4 #baa71 japanned to taste1 and about six inches high by three in diameter4 ,secondly1 ,b1 a similar box1 so far as external appearance is concerned1 but materially different in its internal construction4 ,this latter is bottomless1 but has a horizontal tin partition at about three-quarters of an inch from the top4 ,these two boxes have but one lid1 which fits either indifferently4 ,the third article is a cylindrical pasteboard cover 7,fig4 #bab71 closed at the top1 and of such a size as to fit loosely over ,b1 but an inch or two taller4 ,the fourth item is a bottle1 made of tin1 japanned black1 and of somewhat peculiar construction4 7,see ,fig4 #bac47 ,as a measure of capacity1 it terminates just below the shoulder1 the remainder1 or body of the bottle1 being1 in fact1 merely a tube closed at the bottom1 in which this upper portion works4 ,a spiral spring within the body presses the neck portion upward into its proper position2 but if pressure be applied1 the neck portion will sink downward into the body1 as shown in ,fig4 #bad1 in which condition it just fits into ,b4 ,a small point projects from the lower part of the bottle1 and corresponds with a bayonet catch at the bottom of ,b1 which is in fact designed as a case or cover for the bottle4 ,illustration3 ,,fig4 #bab4 ,illustration3 ,,fig4 #bac4 ,illustration3 ,,fig4 #bad4 ,for the performance of the trick the operator will require1 in addition to the apparatus above mentioned1 an oblong deal box1 half full of bran4 7,rice is sometimes used1 but is not so good47 ,any box will answer the purpose1 so long as it is not less than fifteen inches or so in length1 and nine in breadth and depth4 ,in preparing for the trick1 the first step is to fill the bottle1 or the 8fillable0 portion thereof1 with wine or some other liquid4 ,the bottle is then corked2 ,b is placed over it and pressed down1 and the bayonet-catch fastened4 ,in this condition1 but without a lid1 ,b is placed in the deal box1 and buried in the bran4 ,the box of bran being now brought forward and placed on the table1 the performer is ready to begin the trick4 ,he first draws attention to ,a1 which he hands round for inspection1 as also the pasteboard cover4 ,when they are returned1 he brings forward the box of bran1 moving his hand backwards and forwards in it1 and distributing a few handfuls to show its genuineness4 ,replacing the box on the table1 he proceeds to fill ,a with bran4 ,this he does by dipping ,a completely in the box1 and scooping up the necessary quantity4 ,as if to show all fair1 he pours the bran out again into the box1 and then makes a second dip to refill it4 ,this time1 however1 he makes an exchange1 and instead of bringing up ,a1 brings up ,b1 filling as he does so the shallow space at the top of the latter1 which thus appears to be full to the brim4 ,placing it on the table1 and putting the lid on1 he places the pasteboard cover over it1 and1 addressing the company1 volunteers to teach them how to extract wine from bran1 and wine bottles from tin boxes4 ,after a moment's pause1 and the orthodox touch with the wand1 he removes the cover1 giving it at the same time a slight twist1 thus releasing the catch1 and removing ,b within the cover4 ,the spring within the bottle now meeting no resistance1 presses the neck portion upwards into its proper position1 with all the appearance of a genuine bottle2 and as it1 in its present condition1 is considerably taller than ,b1 it can hardly be suspected that it was a moment ago concealed in the latter1 particularly as the performer immediately proceeds to give a further proof of its genuineness by pouring a glass of wine from it4 ,in connection with the above trick we may describe another useful piece of apparatus1 known as ,,the ,,bran ,,bottle4--,this is a bottle1 which1 being covered over for an instant1 vanishes1 leaving in its place a heap of bran4 ,the bottle is1 like that last described1 of tin1 with a false bottom or partition1 about an inch below the shoulder1 so that it holds about a glassful of wine4 ,the place of the ordinary bottom is supplied by a disc of tin1 with a raised shoulder round it1 fitting loosely within the bottle1 so as to drop out by its own weight1 unless kept in place by some external pressure4 ,the cover is a mere cylinder of pasteboard1 closed at the top4 ,the bottle is prepared for use by filling the lower portion with bran1 and putting the bottom in place 7where it is retained by the pressure of the fingers71 then filling the upper part with wine4 ,the performer first pours wine from the bottle1 and then places it on a plate1 ostensibly to show that it does not pass through any opening in the table1 but really for a reason which will presently appear4 ,he now places the cover over the bottle1 and on again lifting it presses the sides slightly1 and so lifts the bottle with it4 ,the loose bottom1 having no longer anything to hold it1 remains on the plate1 concealed by the bran which pours from the bottle1 and into which the bottle is apparently transformed4 ,meanwhile1 all eyes being drawn to the heap of bran1 the performer lowers his hand1 containing the cover1 for an instant behind the table1 and relaxing the pressure of his fingers1 lets the bottle slip out on the servante1 immediately coming forward with the cover1 and carelessly showing that it is empty4 ,in combination with the ,bran ,bottle1 the trick last above described is greatly heightened in effect1 the bottle appearing under the cover which has just been placed over the tin box--the bran from the latter being found under the cover which a moment previously concealed the bottle1 and the tin box being found to have passed into the large box of bran4 ,the ,bran ,bottle may also be worked with great effect in combination with the trick of the 8,bran and ,orange10 described at page #cce4 ,illustration3 ,,fig4 #bae4 ,illustration3 ,,fig4 #baf4 ,,the ,,bran ,,glass4--,this is an ingenious and very useful piece of apparatus4 ,it is made in all sizes1 from that of an ordinary wine-glass to a goblet large enough to hold a rabbit4 ,its effect is as follows3--,the glass is brought forward apparently filled with bran to the brim4 ,the performer proves its genuineness by taking up a handful of it1 and scattering it over the stage4 ,a brass cover is now placed over the glass1 and instantly removed1 when every particle of bran is found to have disappeared1 and in place of it is found some article which had been conjured away at some earlier period of the trick4 ,the explanation is very simple4 ,the glass is shaped as shown in ,fig4 #bae1 with straight sides1 tapering outwards4 ,the supposed bran is really a hollow shape of tin1 a1 closed at the top1 but open at the bottom1 with bran gummed all over it1 and a handful of loose bran spread on the top4 ,at each side of its upper edge is a little wire point1 just overpassing the edge of the glass4 ,the cover 7see ,fig4 #baf71 which is of such a size as to cover the glass as far as the upper part of its stem1 has no speciality about it1 save a shallow groove running round its upper edge on the inside1 as shown by the dotted line4 ,when the cover is placed on the glass1 and pressed smartly down1 the two points already mentioned are forced into this groove1 which thus grips the tin shape1 and when again removed1 lifts it out of the glass1 leaving behind whatever article may have been beforehand placed within4 ,where the bran glass is of large size1 the metal cover is indispensable2 but for glasses not exceeding the ordinary tumbler size1 it is preferable to cover the glass with a borrowed handkerchief only1 the hollow shape being in this case made1 not of tin1 but of thin cardboard4 ,the two points are dispensed with1 but in place of them there should be a piece of thread1 in length about double the diameter of the glass1 fastened from side to side of the shape4 ,this1 hanging down on the side of the glass which is toward the performer1 is caught hold of through the handkerchief1 and thus handkerchief and shape are lifted together4 ,the ,bran ,glass may be made available in a variety of ways2 the trick next following will afford a good practical illustration of its use4 ,illustration3 ,,fig4 #bag4 ,,to ,,fire ,,borrowed ,,rings ,,from ,a ,,pistol1 ,,and ,,make ,,them ,,pass ,,into ,a ,,goblet ,,filled ,,with ,,bran ,,and ,,covered ,,with ,a ,,handkerchief1 ,,the ,,bran ,,disappearing1 ,,and ,,being ,,found ,,elsewhere4--,the glass used in this instance is of ordinary tumbler size4 ,it is not brought forward as above1 with the bran shape already in place1 but empty1 and may therefore be freely offered for inspection4 ,with it is brought forward a wooden box1 of any size and shape1 filled with bran1 and in this1 ready to hand1 is concealed the bran shape4 ,we have already had occasion to describe the magic pistol1 or rather pistol tube2 but the tube used in this instance 7see ,fig4 #bag7 has an additional peculiarity4 ,it is of comparatively small size1 being about two inches wide at the mouth4 ,within this mouth fits easily a tin cup1 a1 about an inch and three-quarters in depth1 and having its edge turned over outwards all round1 so as to afford a ready grip to the palm when it may be necessary to remove it4 ,the pistol is beforehand loaded with powder1 and the cup above described is placed in the mouth of the tube4 ,the performer begins by asking the loan of three rings1 to be fired from his magic pistol4 ,to preclude the possibility of their being exchanged1 he requests the owners to drop them into the pistol themselves4 ,first1 however1 by way of wad1 he takes a small piece of white paper1 and presses its centre portion into the mouth of the pistol tube1 its edges projecting all round1 and forming a sort of cup to receive the rings4 ,three rings having been offered1 and dropped into the pistol1 the performer closes over the edges of the paper1 and presses them down with his wand1 the effect being as if the rings were fairly rammed down into the pistol1 though they really remain in the cup1 just within the mouth4 ,he now hands the pistol to one of the spectators1 requesting him to hold it muzzle upwards above his head4 ,in handing it to him1 he places for a moment his own right hand over the mouth of the tube1 his palm being flat upon it1 and in again removing the hand lifts out and palms the cup 7which the projecting edge enables him to do with perfect ease74 ,he has thus obtained possession of the rings4 7,as the holder of the pistol has been instructed to hold it above his head1 he is not very likely to look into it2 but lest he should do so1 and discover that the rings are already removed1 it is well to place in the tube beforehand a piece of crumpled white paper1 to represent that which contained the rings47 ,the performer now hands round the glass for examination1 and subsequently draws attention to the box of bran4 ,while doing this he has little difficulty in getting the rings out of the cup and paper into his right hand4 ,he then1 holding the glass in his left hand1 dips it into the box1 and fills it with bran1 which he forthwith pours slowly back again to prove its genuineness4 ,meanwhile1 his right hand is engaged in fishing up the bran shape among the bran1 placing it mouth upwards in the box1 and dropping the rings into it4 ,when he again dips the glass into the box1 he slips it mouth downwards over the shape1 immediately turning it into the natural position1 and bringing it up1 to all appearance1 full of bran4 ,as the rings were in the shape1 they are1 of course1 now in the glass4 ,he brushes the loose bran off the top1 and then covers the glass with a borrowed handkerchief1 taking particular notice on which side hangs the loop of thread4 ,the person holding the pistol is now requested to take good aim1 and fire at the glass4 ,he does so1 and the performer1 lifting the handkerchief with the shape within it1 lets the latter drop on the servante1 and advancing with the glass1 requests the owners to identify their rings4 ,the trick may either end here1 upon the supposition that the bran has been blown away altogether by the explosion1 or the bran may be shown to have passed to some other place4 ,there are numerous methods of effecting this latter transposition4 ,for instance1 the pea vase 7see page #cea71 first shown empty1 may be used1 or the bran may be made to fall out of a second borrowed handkerchief1 by means of the bag shown at page #bdh1 or may be found in the apparatus next described4 ,illustration3 ,,fig4 #bah4 ,illustration3 ,,fig4 #bai4 ,,the 8,,domino-,,box0 7,,sometimes ,,called ,,the 8,,glove-,,box074--,this is a little oblong box of walnut or rosewood1 measuring about four inches in length by two inches in width1 and an inch and a quarter in depth4 ,it has a sliding lid1 drawing out in the ordinary manner1 but the whole box has a tightly-fitting inner lining1 which may be pulled out1 drawer fashion1 with the lid4 7,see ,fig4 #bah47 ,it is used as follows3--,any small article1 say a glove or a lady's handkerchief1 is secretly placed inside this inner lining4 ,the performer exhibits the box to the company1 and to show that it is empty1 turns it over towards them1 and draws the lid nearly out1 drawing out with it at the same time the inner lining or drawer also4 7,see ,fig4 #bai47 ,from the position of the box1 the drawer is1 at a very short distance1 completely hidden by the lid4 ,the box is1 of course1 seen to be perfectly empty4 ,the performer now closes it1 and turning its right side upwards1 places it on the table4 ,he then proceeds with the next stage of the trick1 and at the right moment again opens the box1 or invites some one else to do so4 ,this time the lid alone is drawn out1 and the hidden article is found in the box4 ,illustration3 ,,fig4 #bbj4 ,there is another speciality about the ,domino-box1 which renders it available to cause the disappearance of a coin placed in it2 though1 as in the case of the 8,rattle-box10 described in the chapter devoted to coin tricks1 the coin is heard to rattle within it till the very moment of its disappearance4 ,this is effected as follows3--,between the bottom of the drawer and that of the box proper is a very small space1 just large enough to allow a shilling to lie between the true and false bottom4 ,on the under side of the drawer1 however 7see ,fig4 #bbj1 showing the under side of the drawer portion71 are glued two thin slips of wood1 gradually approaching each other1 and thereby narrowing this space to a width of about half an inch4 ,if when the lid is withdrawn with the drawer1 as already explained1 a shilling or sovereign is dropped into the box1 and the box again closed1 the coin will have plenty of room to rattle about as long as it remains at the end a1 but if shaken down with a sharp jerk in the direction of the end b1 it will become caught in the narrower portion of the opening1 and will thenceforth be silent1 unless it may suit the purpose of the performer to release it again1 which he can do by a sharp downward jerk in the direction of a4 ,of course1 as the coin is below the false bottom1 it will appear to have vanished when the box is opened in the ordinary way4 ,the ,domino-box is sometimes used to change a sovereign to its equivalent in silver1 the 8change0 being beforehand wrapped in paper1 and concealed in the drawer4 ,it is sometimes also caused to fill itself with bonbons1 in place of a coin deposited in it4 ,these boxes are usually made in pairs1 alike in appearance1 but the one is a simple box without any speciality1 and may therefore be handed round for examination1 the mechanical box being adroitly substituted at the right moment4 ,the fact that two boxes are used is1 of course1 carefully concealed4 ,illustration3 ,,fig4 #bba4 ,,the ,,coffee ,,trick4 7,,coffee ,,berries ,,changed ,,to ,,hot ,,coffee1 ,,white ,,beans ,,to ,,sugar1 ,,and ,,bran ,,to ,,hot ,,milk74--,the pieces of apparatus used in this trick are of brass or japanned tin1 and are three in number1 two being tall cylindrical vases1 standing eighteen to twenty inches in height1 the third a goblet-shaped vase1 of about half that height4 ,the latter is made upon the principle of the 8bran glass10 above described1 consisting of three portions 7see ,fig4 #bba71 the goblet a1 the cover c1 and a shallow tray b1 which fits into the goblet1 and which1 if the cover is pressed down smartly1 and again removed1 is lifted off with it4 ,it differs1 however1 from the 8bran shape0 in the fact that b is open at top instead of at bottom1 and is only about one-fifth the depth of the goblet1 leaving therefore considerable space below it4 ,this portion of the apparatus is prepared for use by placing in the goblet a quantity of hot milk1 putting b in position above it1 and finally filling b with loose bran4 ,illustration3 ,,fig4 #bbb4 ,the construction of the other two vases will be quickly understood upon an inspection of ,figs4 #bbb1 #bbc4 a is the vase1 and c the cover fitting loosely over it1 but between these two is a well1 b1 made double1 so as to fit at once into and outside of a1 after a mode of construction which we have more than once had occasion to notice4 ,there is a bayonet-catch at the lower edge of c1 corresponding with a pin or stud at the lower edge of b1 so that c may be lifted off either with or without b4 ,there is a similar catch at the lower edge of b1 corresponding with a stud at the bottom of a1 but cut in the opposite direction to the other catch1 so that the action of unlocking a from b locks b to c1 and vice vers4 ,illustration3 ,,fig4 #bbc4 ,the vase a requires a special description4 ,a shallow saucer of tin1 d1 just fits the interior of the vase1 working up and down therein piston-fashion1 but prevented from coming out altogether by the fact that the upper edge of a is slightly turned inwards all round4 ,below d is a spiral spring1 whose action tends to force d to the top of the vase1 as shown in ,fig4 #bbb4 ,from the centre of d1 however1 there extends downwards through the spiral spring a piece of stiff wire e1 with a crook1 f1 at the end4 ,the foot of the vase is hollow throughout4 ,if the saucer d is forced down by pressure from within1 this wire1 as soon as it reaches the position shown in ,fig4 #bbc1 will hook itself within the foot of the vase1 and so keep down d1 until the crook is again released1 when the whole will instantly return to the condition shown in ,fig4 #bbb4 ,the bottom of the foot is open1 so that the fingers can without difficulty find and release the crook when necessary4 ,the vases are prepared by pressing down d in each as shown by the dotted lines in ,fig4 #bbc1 and filling the well of the one with hot coffee1 and that of the other with loaf-sugar4 ,their respective covers are then placed over them4 ,the attention of the audience is first directed to a couple of wooden boxes1 each about half as long again as the vases1 and ten or twelve inches in depth1 one of which is filled with coffee-berries1 and the other with white haricot beans4 ,the performer now uncovers the vase which contains the coffee1 first turning the bayonet-catch so as to lift off the well b with the cover1 and shows1 by holding the vase upside down and rattling his wand within it1 that it is perfectly empty4 ,he now fills it with coffee-berries1 laying it down in the box to do so1 and holding it by the foot with one hand while he shovels the berries into it with the other4 ,having completely filled it with the berries1 he holds it aloft1 and1 to show that there is 8no deception10 tilts it1 and lets them run back again into the box4 ,again he dips it into the box1 but1 as he does so1 releases the crook 7which the fingers of the hand holding the vase are just in position to do71 and thus lets d fly up to the top of the vase4 ,again he brings up the vase1 apparently full as before1 but really having only a mere layer of berries1 of the depth of d1 at the top4 ,he now puts on the cover1 the well in which again forces d and the superposed layer of coffee-berries down to make way for it1 and causes the crook again to catch beneath the hollow of the foot4 ,the same operation is now gone through with the vase whose well contains the sugar1 and the box of white beans4 ,the performer lastly takes from the third vase a handful of bran1 which he scatters to show its genuineness1 and then places the cover over it4 ,the trick is now really completed4 ,on removing the respective covers 7taking care of course1 first to turn the bayonet-catches in the right direction71 the wells are released from the covers and locked to the vases1 which are thus found full respectively of hot coffee and sugar1 and1 on removing the cover of the third vase1 the bran is lifted off with it1 and the milk is revealed4 ,illustration3 ,,fig4 #bbd4 ,,fig4 #bbe4 ,some coffee vases1 and more particularly those of ,french make1 dispense with the bayonet-catch1 replacing it by a peculiar arrangement inside the top of the cover4 ,the upper edge of the well is slightly turned in all round1 and the turning of the knob at the top of the cover causes three flat bolts or catches to shoot out circularly from the edges of a hollow disc1 soldered to the top of the cover inside1 and insert themselves under this projecting edge4 7,see ,figs4 #bbd1 #bbe47 ,the mechanical arrangement by which this is effected is almost impossible to explain in writing1 though it becomes readily intelligible upon an actual inspection of the apparatus1 and will be understood without much difficulty after a slight study of the above diagrams1 the arrow in each case indicating the direction in which the knob must be turned1 in order to bring the bolts into the condition shown in the opposite diagram4 ,,the ,,inexhaustible ,,box4--,the inexhaustible box is1 to all outward appearance1 a plain wooden box1 of walnut1 mahogany1 or rosewood1 in length from twelve to twenty inches1 and in depth and width from nine to fifteen inches4 ,whatever its dimensions1 its width and depth1 exclusive of the lid1 must be alike4 ,to prove that it is without preparation within1 the performer turns it over on the table towards the spectators1 and1 lifting the lid1 shows that it is perfectly empty4 ,again he closes it1 and1 turning it right side upwards1 opens it once more1 and instantly proceeds to take from it a variety of different articles4 ,at any moment the box is again turned over towards the audience1 and shown to be empty2 but it is no sooner replaced1 than the performer recommences taking from it toys1 bonbons1 etc41 the supply being many times larger than could possibly be contained at one time in the box4 ,illustration3 ,,fig4 #bbf4 ,the bottom a b of the box 7see ,fig4 #bbf7 is moveable1 working on a hinge b extending along its front4 ,when the box is turned over to the front1 this bottom piece does not turn over with it1 but remains flat upon the table as before4 ,a piece of wood b c1 of exactly similar size and shape1 is glued to a b at right angles4 ,when the box stands right side upwards1 this piece lies flat against the front of the box1 whose upper edge is made with a slight 8return10 so as to conceal it4 ,when the box is turned over to the front1 this piece1 like the bottom1 retains its position1 while any object which had previously been placed in the box remains undisturbed1 but hidden by this latter piece4 7,see ,figs4 #bbf1 #bbg47 ,it is1 of course1 necessary that such object should be of such a size as not to overpass the arc which the edge of the box describes in its change of position1 and the length from b to c must be exactly the same as that from a to b4 ,the mode of using the box will require little explanation4 ,any number of objects1 not overpassing the limits we have mentioned1 may be placed in the box1 which1 being then turned over1 can be shown apparently empty4 ,the box being replaced in its normal position1 the articles are again within it1 and can be produced at pleasure4 ,the effect of 8inexhaustibility0 is produced as follows3--,each time that the performer turns over the box to show that it is empty1 he takes from the servante1 or from his pockets1 and places upon a b1 a fresh supply of articles1 to be produced as soon as the box is again right side upwards4 ,illustration3 ,,fig4 #bbg4 ,it should be mentioned that the hinge at b is made to act freely1 so that the bottom may by its own weight retain its position when the box is turned over1 and not turn over with the box4 ,some boxes are made with a catch or pin at some part of a1 so as to prevent a b falling prematurely while the box is being placed on the table1 or while the performer carries round the box1 and shows that1 inside and out1 it is without preparation4 ,this1 however1 the performer may safely do1 even without the use of any catch or fastening1 by taking care to grasp the box1 when carrying it1 by its front edge1 with his fingers inside it4 ,the fingers will thus press b c closely against the front of the box1 and will thereby effectually prevent a b from shifting its position4 ,the box is1 of course1 in the case supposed1 really empty4 ,the performer has therefore to make an opportunity for introducing what may be needful into it2 this he may do by remarking as he replaces it on his table1 8,you are by this time1 ladies and gentlemen1 tolerably well satisfied that there is nothing in this box2 but for the greater satisfaction of those who may not have been able to see the interior as ,i carried it round1 ,i will once more show you that it is absolutely empty40 ,so saying1 he turns it over1 and once more shows the interior1 at the same time placing on a b whatever article he designs to produce4 ,illustration3 ,,fig4 #bbh4 ,,the ,,japanese ,,inexhaustible ,,boxes4--,this is a form of the same apparatus1 in which an additional element of mystery is produced by the use of a box within a box4 ,the inner box is an ordinary inexhaustible box1 as last described1 but made with a flat wooden lid1 instead of the hollow or 8box0 lid used in the older form of the trick4 ,the outer box just fits over the inner1 and is1 in fact1 a mere cover for it1 being an ordinary wooden box1 save that it has no front4 ,the two are brought on one within the other4 ,the performer begins by taking the smaller box 7which is ready filled with the objects to be produced7 completely out of the larger1 and shows that the latter is absolutely empty4 ,he then places the two boxes together1 as shown in ,fig4 #bbh1 turning over the smaller box to show its interior1 as already described4 ,after this has been done1 the smaller box is tilted back to its normal position within the larger1 the lid of the latter being slightly lifted to allow it to pass1 and then both lids being opened together1 the production of the contents commences4 ,the function of the larger box is1 in fact1 merely to act as a screen to the hinder part of the smaller1 when turned over towards the audience4 ,the only advantage of the ,japanese over the ordinary box is that it may be worked on any table1 and with spectators on all sides1 but this advantage is counterbalanced by the drawback that nothing can be produced save what was originally in the box1 neither can the smaller box be carried round1 and shown empty4 ,this1 however1 may be met by beginning the trick with the two boxes together1 and then1 after having brought to light the whole of the original contents1 offering 7for the pretended purpose of heightening the effect7 to continue the trick without the aid of the outer box4 ,the inner box may thenceforth be replenished from behind in the same way as the ordinary ,inexhaustible ,box4 ,the ,inexhaustible ,box is frequently made the vehicle for those distributions of bonbons1 toys1 etc41 which to the juvenile mind form by no means the least attractive feature of a magical performance4 ,it is also available for the production of flowers1 multiplying balls 7see page #cjg71 goblets1 bird-cages1 and the miscellaneous assortment of articles generally associated with 8hat0 tricks4 ,one of the most effective modes of using it is in connection with the very pretty trick next following4 ,,the ,,feast ,,of ,,lanterns4--,the performer1 having exhibited the box empty1 as already described1 turns it over again1 and instantly produces from it a paper lantern of many colours1 with a lighted candle in it4 ,this he hands to his assistant or one of the company to hang up at some convenient part of the stage or room1 and returning to the box produces another1 and yet another1 till ten or twelve1 or even a larger number1 have been produced1 the box being every now and then turned over to prove it empty4 ,the effect of a number of lanterns thus mysteriously produced from an empty box1 and hung about the stage in all directions1 is most brilliant4 ,as the candles do not burn very long1 and there may be some risk of the lanterns catching fire1 it is well to make this trick the finale of the entertainment1 and to allow the curtain to fall before the illumination has had time to lose its effect4 ,illustration3 ,,fig4 #bbi4 ,illustration3 ,,fig4 #bcj4 ,a great part of the effect of the trick lies in the very considerable bulk of the lanterns1 three or four of which would apparently be more than sufficient to fill a box from which a dozen or so are produced4 ,this arises from the construction of the lanterns themselves1 which are of the kind used for ,christmas-trees and illuminations1 and when open offer a considerable cylindrical surface 7see ,fig4 #bbi71 though when closed they are little more than flat discs 7see ,fig4 #bcj74 ,they are placed in the box in the condition shown in the last-mentioned figure2 but when lifted out by the wire at top1 at once expand1 concertina-fashion1 and assume the shape shown in ,fig4 #bbi4 ,they are lighted in sundry ways1 one method being as follows3--,each lantern contains about three-quarters of an inch of candle1 from which the wick has been removed1 and a wax match inserted in its stead4 ,against the front of the box1 or rather against the wooden flap b c 7see ,fig4 #bbg71 is glued a tablet d of sandpaper upon which to strike the match1 and a gentle rub against this instantly lights the candle1 when the lantern is immediately lifted out1 as already explained4 ,there is1 however1 an improvement whereby the lanterns are not only made to occupy much less space1 but may be lighted simultaneously4 ,in this case the little cylinder which forms the socket for the candle1 and which should be about half an inch in diameter1 instead of occupying the middle of the space at the bottom of the lantern1 is placed at one side of such space4 ,one of the lanterns1 viz41 that which is to be undermost when they are grouped together1 has no further preparation2 but the second1 by the side of its own socket1 has a round hole in the bottom1 just large enough to give room for the socket of the first4 ,the next1 or third lantern1 has two holes1 allowing the passage of the sockets of the first and second4 ,the fourth has three holes1 the fifth four1 the sixth five1 the seventh six1 and the eighth seven1 so that when the lanterns are placed one upon another in proper order1 the sockets of the lower lanterns come up in a circle through the holes in the bottom of the uppermost one4 ,the tops and bottoms are made of tin1 which is not only safe from catching fire1 but occupies very little space4 ,in this case the original wicks of the candles are retained1 but are slightly moistened with turpentine to render them instantly inflammable1 and are lighted by a lucifer or wax match struck in the ordinary way1 the merest touch sufficing to ignite them4 ,they may then be lifted out in rapid succession with great effect4 ,a group of six or eight lanterns thus prepared may be produced from a borrowed hat1 being previously concealed in the breast or tail-pocket of the performer1 and 8loaded0 into the hat at any convenient opportunity4 ,it is desirable in this case to have a friction tablet glued upon the top of the uppermost lantern to strike the match upon1 as the hat lining is hardly adapted for that purpose4 ,illustration3 ,,fig4 #bca4 ,,fig4 #bcb4 ,the lanterns above described are the most generally used1 and are by much the easiest to manipulate4 ,there is1 however1 a spherical lantern also obtainable at the toy-shops1 which has a decidedly prettier effect4 ,this form of lantern is1 when shut up1 as shown in ,fig4 #bca4 ,to develop it1 the wires a and b are each made to describe a semi-circle1 as shown by the dotted line1 bringing the whole into the condition shown in ,fig4 #bcb1 in which condition it is maintained by slipping the loop of a under b4 ,the best plan for lighting in this case is to have a separate small piece of candle1 prepared with a match wick1 as above-mentioned1 placed in readiness on the servante1 and a small pin or sharp nail projecting upwards from the bottom of the box to act as a candlestick4 ,the candles in the lantern will in this case need no special preparation4 ,the performer first lights the prepared candle by rubbing it against the tablet1 and then presses it down upon the upright pin we have mentioned4 ,the other candles are in turn lighted from this1 each lantern being put into shape before being lifted out of the box1 which must in this case be of tolerable size1 in order to admit of their ready development4 ,,the ,,butterfly ,,trick4--,this is a trick of ,japanese origin1 which became very popular two or three years since4 ,in effect it is as follows3--,the performer brings forward an ordinary fan1 and a couple of bits of tissue-paper1 each torn into a fanciful likeness of a butterfly4 ,taking these upon his hand1 he gently fans them1 the motion of the air speedily causing them to rise above his head4 ,still gently fanning them1 he causes them to hover1 now high1 now low1 now fluttering along the wall1 now descending into a gentleman's hat1 whence they presently emerge to again flutter hither and thither at his pleasure4 ,the point that most strikes an attentive observer is the fact that1 whether they fly high or low1 the butterflies always keep together4 ,sometimes they may be a couple of feet apart1 sometimes only a few inches1 but they never exceed the above limit2 and the spectator naturally concludes that an extraordinary degree of dexterity must be necessary to enable the performer to keep them from diverging more widely4 ,here1 however1 in truth lies the secret of the trick1 which is1 that the so-called butterflies are connected by a piece of very fine silk a couple of feet in length1 which1 when the butterflies are in motion1 is absolutely invisible to the spectators4 ,the remainder of the trick is a matter of practice1 though it is less difficult than would be imagined by any one who had never attempted it4 ,some performers have the silk thread attached to one of the buttons of the coat4 ,this arrangement will be found greatly to facilitate the working of the trick4 ,the paper for the butterflies is better torn than cut1 and should be as nearly as possible of the shape of a ,st4 ,george's cross1 and about two inches square4 ,,the ,,wizard',s ,,omelet4 7,,borrowed ,,rings ,,and ,,live ,,doves ,,produced ,,from ,,an ,,omelet47--,this is a trick which always produces a great sensation1 whether performed upon the stage or in the drawing-room4 ,its effect is as follows3 ,the performer produces either naturally or magically 7e4g41 from the egg-bag1 or from the mouth of his assistant1 as described at page #cbi7 three eggs1 which he hands round for examination4 ,his assistant next borrows from the audience three ladies' rings1 receiving them1 in order to prove that he does not tamper with them in any way1 on the performer's wand instead of in his hands4 ,the wand1 with the rings still upon it1 is laid upon the table4 ,the assistant next brings in an omelet pan1 and places it1 with its lid beside it1 on the table4 ,the performer breaks the eggs into it1 dropping in shells and all--then pours some spirits over it1 to which he sets fire1 and while it is still blazing drops the rings from the wand into it4 ,he brings it forward to show that the rings are really in the flames2 and on returning to his table1 claps the cover on the pan1 and fires a pistol 7any ordinary pistol7 over it4 ,without a moment's interval1 he again removes the cover4 ,all traces of the omelet and egg-shells have vanished1 but in their place are found three live doves1 each with a ribbon round its neck1 to which is attached one of the borrowed rings4 ,the explanation of this surprising result is simplicity itself4 ,the reader1 with his present knowledge1 will readily conjecture that1 as to the rings1 a substitution is effected2 but he may not so easily guess the manner of such substitution4 ,it will be remembered that the rings were collected by the assistant on the performer's wand4 ,this arrangement1 which is ostensibly adopted to prevent1 in reality facilitates an exchange4 ,the assistant makes his collection with three dummy rings placed beforehand on the lower end of the wand1 and concealed by the hand in which he holds it2 which1 we will suppose1 is the right hand4 ,in returning to the stage1 he takes hold with the left hand of the opposite end of the wand1 and allows the borrowed rings to run down into that hand1 at the same moment releasing the dummy rings from the right hand1 and allowing them to run upon the middle of the wand in place of the others4 ,he now has the borrowed rings in his left hand1 and 7laying the wand with the substitutes on the table7 carries them off with him to prepare for the dnouement of the trick4 ,illustration3 ,,fig4 #bcc4 ,the only other matter which will require explanation is the construction of the omelet pan4 ,this is a shallow pan of brass or tin1 about ten inches in diameter1 by two and a half in depth4 ,within this is an inner pan1 also of brass or tin1 fitting tightly within it1 but about half an inch less in depth4 ,the lid is made with a very deep rim or shoulder all round1 and just fits within the lining1 though less tightly than the latter fits within the pan4 7,see ,fig4 #bcc1 in which a represents the pan1 b the lining1 and c the lid47 ,the assistant1 as soon as he gets behind the scenes1 loops the borrowed rings to the ribbons1 which are already tied round the necks of the three doves1 and places the latter in b1 immediately putting on c 7the two together having the appearance of a simple cover71 and brings forward the pan and cover4 ,the performer now makes his omelet1 and drops the substitute rings into it4 ,in bringing forward the pan to show that the rings are really there1 he takes care to avoid the owners of them1 who would alone be likely to detect the substitution4 ,when he claps on the cover1 the trick is really done1 the firing of the pistol being merely for effect4 ,when the cover is again removed1 the lining remains in the pan1 concealing the omelet beneath it1 and revealing the doves1 with the rings attached to their necks4 ,,the ,,rose ,,in ,,the ,,glass ,,vase4--,the ingenious piece of apparatus which we are about to describe was1 we believe1 the invention of ,robert-,houdin4 ,it consists of a glass vase1 on a foot1 and with a glass lid1 standing altogether eight to ten inches in height4 ,this is placed on a square box-like plinth or pedestal1 of wood covered with morocco1 and measuring about eight inches square by six in height4 ,the lid is placed upon the vase1 which1 being transparent1 is clearly seen to be empty4 ,a borrowed handkerchief is for a moment thrown over the whole1 and again removed1 when a handsome rose 7natural or artificial7 is seen to have mysteriously found its way into the vase2 whence it is removed1 and handed to the company for inspection4 ,illustration3 ,,fig4 #bcd4 ,the secret of this mysterious appearance is twofold1 lying partly in the vase and partly in the pedestal4 ,the vase1 which at a little distance appears as simple and commonplace as any in a confectioner's window1 has a segment cut off one side1 leaving an opening of about five inches in height by three and a half in width4 7,see ,fig4 #bcd47 ,this opening is kept turned away from the audience4 ,the pedestal1 like the vase1 is closed on every side except the side remote from the spectators1 which is open4 ,a curved wire arm1 with a 8clip0 at the end to receive the stalk of the rose1 works up and down1 describing a quarter of a circle1 in this open space4 ,a spring hinge1 on which this arm works1 impels it to assume the position shown in the figure1 thus lifting the rose through the opening into the vase4 ,the apparatus is set by forcing down the arm with the rose into the position indicated by the dotted lines1 in which position it is retained by a little catch1 until the performer1 in the act of covering the vase with the handkerchief1 presses a stud at the upper side of the pedestal4 ,this withdraws the catch1 and allows the rose to rise into the vase4 ,of course1 the performer in taking out the flower does so from the top1 and with proper precautions not to disclose the existence of the opening at the back of the vase4 ,the ingenuity of the reader will probably suggest to him combinations to make the trick more effective4 ,to those who have not such ready invention1 we may remark that the trick may be very effectively combined with that of the ball that changes to a rose1 and vice vers 7see page #cjj71 or a duplicate rose may be placed in the mouchoir du diable 7described at page #aie71 and thence ordered to pass to the vase4 ,illustration3 ,,fig4 #bce4 ,,the ,,chinese ,,rings4--,these are rings of brass or steel1 in diameter from five to nine inches1 and in thickness varying from a quarter to three-eighths of an inch4 ,the effect of the trick to the spectator is as follows3--,the rings are given for examination1 and found to be solid and separate2 but at the will of the operator they are linked together in chains of two1 three1 or more1 becoming connected and disconnected in a moment1 and being continually offered for examination4 ,finally1 after the rings have become involved in an apparently inextricable mass1 a slight shake suffices to disentangle them1 and to cause them to fall singly upon the stage4 ,illustration3 ,,fig4 #bcf4 ,the sets of rings sold at the conjuring depts vary in number1 ranging from six to twelve4 ,the set of eight1 which is perhaps the most usual number1 consists of one 8key0 ring1 two single rings1 a set of two linked together1 and a set of three linked together4 ,the 8key0 ring 7see ,fig4 #bce71 in which lies the secret of the trick1 is simply a ring with a cut or opening1 a1 in it4 ,for use upon a public stage1 where the performer is at a considerable distance from his audience1 there may be a gap of an eighth of an inch between the ends1 but for drawing-room use1 they should just touch each other4 ,some rings are made to 8clip0 like an ear-ring1 and some have the opening cut diagonally instead of square1 but the simple square cut is1 in our own opinion1 the best4 ,illustration3 ,,fig4 #bcg4 ,we shall1 in the first place1 describe the trick as performed with the set of eight rings above mentioned1 afterwards noticing the more elaborate performance with twelve4 ,we must premise1 however1 that the manipulation of the rings admits of almost infinite variation1 and that the practice of performers differs greatly as to the mode of working them4 ,illustration3 ,,fig4 #bch4 ,illustration3 ,,fig4 #bci4 ,illustration3 ,,fig4 #bdj4 ,illustration3 ,,fig4 #bda4 ,the performer comes forward holding the eight rings in his left hand1 arranged as follows4 ,first 7i4e41 innermost71 comes the set of three2 then the 8key0 ring 7the opening uppermost in the hand71 then the set of two2 and1 lastly1 the two single rings4 ,taking the first of these1 he hands it to a spectator for examination2 passing it when returned to another person1 and carelessly handing a second ring to be examined in like manner4 ,this should be done without any appearance of haste1 and with an air of being perfectly indifferent as to how many of the rings are examined4 ,the two 8singles0 having been duly inspected1 the performer requests one of the spectators to take them both in his right hand1 at the same time taking in his own right hand the next two rings1 which1 it will be remembered1 are the set of two1 though the audience naturally believe them to be1 like the first1 separate4 8,now1 sir10 the professor continues1 8will you be good enough to link one of the rings which you hold into the other40 ,the person addressed looks more or less foolish1 and finally 8gives it up40 8,you can't80 says the performer1 in pretended surprise4 8,my dear sir1 nothing is easier4 ,you have only to do as ,i do4 ,see60 ,laying down the rest of the rings1 he holds the two as in ,fig4 #bcf1 and makes a gentle rubbing motion with the thumb upon the rings1 and then lets fall one of them1 which naturally drops to the position shown in ,fig4 #bcg4 ,he now hands these two rings for examination4 ,the spectators seek for some joint or opening1 but none is found2 and meanwhile the performer transfers the next ring 7the 8key07 to his right hand1 keeping the opening under the thumb4 ,he now takes back with the left hand the two single rings1 immediately transferring one of them to the right hand1 and with the ball of the thumb presses it through the opening in the key ring1 into which it falls1 with exactly the same effect as the apparent joining of the two linked rings a moment before4 ,again he separates and again joins the two rings4 ,the second single ring is now made to pass through in like manner1 making the combination shown in ,fig4 #bch4 ,the performer remarks1 8,we now have three joined together4 ,here are three more1 as you see 7shaking those in the left hand71 all solid and separate1 and yet at my will they will join like the others40 ,making a rubbing motion with the thumb as before1 he drops two of the three1 one by one1 from the hand1 when they will appear as a chain of three4 ,these he hands for examination1 taking back the set of two1 and linking them one after the other into the key ring1 to which now four rings are attached4 ,again taking back the set of three1 he links these also one by one into the key ring1 which thus has seven rings inserted in it4 7,see ,fig4 #bci47 ,using both hands1 but always keeping the opening of the key ring under one or the other thumb1 he now takes off these seven rings1 commencing with the two single ones1 and again offering them for examination2 then taking off the set of two4 ,last of all1 he unlinks the set of three1 and then1 holding them at length in his left hand1 joins the upper one to the key ring1 thus making a chain of four1 of which the key ring is the uppermost4 ,he next takes the lowermost ring of the four1 and links that into the key ring1 bringing the four rings into a diamond shape1 as shown in ,fig4 #bdj4 ,again unlinking the lower ring1 he takes up the set of two1 and connects them with the key ring1 holding them up above it1 thus making a chain of six1 the key ring being third from the top4 7,see ,fig4 #bda47 ,taking the upper ring between his teeth1 he links the two single rings into the key ring on either side1 making the figure of a cross1 as shown in ,fig4 #bdb4 ,as the hands are now occupied in holding the single rings forming the arms of the cross1 he can no longer keep the opening of the key ring concealed by the thumb1 but it is extremely unlikely that among so many rings1 so slight a mark in one of them will attract notice4 ,regaining possession of the key ring1 he links all one by one into it1 so as again to bring them into the condition depicted in ,fig4 #bci4 ,then1 holding the key ring with both hands1 and with the opening downwards1 about a couple of feet from the floor 7see ,fig4 #bdc71 he shakes the rings violently1 at the same time gently straining open the key ring1 when the seven rings will all in succession drop through the slit1 and scatter themselves about the floor1 the general impression being that they all fall separate1 though the grouped sets1 of course1 remain still united4 ,it is not an uncommon thing to see a performer commit the gaucherie of handing all the rings1 save only the key ring1 to be examined in the first instance2 the key ring being hidden under the breast or under the tail of the coat1 and being added to the set in returning to the table4 ,the spectators are thus needlessly made acquainted with the fact that certain of the rings are already linked together1 and this once admitted1 the trick loses nine-tenths of its effect4 ,illustration3 ,,fig4 #bdb4 ,illustration3 ,,fig4 #bdc4 ,the set of twelve rings is less frequently seen1 and is rather more complicated to manage1 though in good hands it is capable of much more brilliant effects than the smaller number4 ,the set consists of five single rings1 a group of two1 a group of three1 and two key rings4 ,these are held in the hands of the performer in the following order4 ,first 7i4e41 innermost7 a key ring1 then the group of three1 then the second key ring1 then the group of two1 and lastly the five single rings4 ,the latter are distributed for examination4 ,while they are still in the possession of the audience1 the performer requests one of the spectators to link two of them together1 and himself taking in his right hand the group of two1 pretends to link the latter1 as already described1 and hands them for examination4 ,the performer meanwhile takes in his right hand one of the key rings1 and collects the single rings in his left4 ,as soon as the group of two are handed back1 he links one of them to the key ring in his right hand1 thus forming a chain of three1 with the key ring uppermost4 ,next linking the lowest ring into the key ring1 he forms ,fig4 #bch1 which1 by holding the two lower rings apart1 assumes the shape of a triangle4 ,again disengaging the lower ring1 passing one of the single rings from the left hand to the right1 and laying down on the table all the rings remaining in that hand 7the group of three uppermost7 he joins the single ring to the key ring1 thus making a chain of four1 of which the key ring is second from the top4 ,these he lays1 still linked1 upon the table1 and takes up from the heap already lying there the three uppermost 7which1 it will be remembered1 are the group of three71 and holding them for a moment together in the hand1 lets them fall one by one to form a second chain of three4 ,taking the next ring of the heap 7the second key ring7 in his disengaged hand1 he steps forward1 and requests some one to take hold of either of the three rings1 and to pull against him1 in order to prove their solidity4 ,this ascertained1 he passes the upper ring of the three into the hand which already holds the key ring1 and links it into the key ring1 thus forming a second chain of four1 of which in this case the key is the uppermost4 ,linking the lowermost into the key ring1 he shows the rings as in ,fig4 #bdj4 ,once more unlinking the lower ring1 so that the four again appear as a single chain1 he proceeds 7apparently7 to link all the twelve together4 ,this is effected as follows3-- ,taking two of the single rings1 the performer links them into the key ring of the chain which he holds4 ,he next links one of these same single rings into the key ring of the other chain1 thus linking the two chains together at a distance of one ring from the end of the chain4 ,he thus has ten rings joined4 ,he now takes the two chains one in each hand by the ends remotest from the point of juncture1 immediately after picking up and holding 7one in each hand7 the two remaining single rings4 ,these1 of course1 he does not and cannot link with the rings adjoining them1 but the audience seeing that all the rest are linked together1 readily believe that these also form part of the chain4 ,the precise arrangement of the rings will be readily understood from an inspection of ,fig4 #bdd4,m ,m ,the numbers #a1 #b1 #c1 in the centre of the various rings in ,figs4 #bdj-bdd1 indicate whether the ring in question is a 8single0 or forms part of the group of two or of three1 as the case may be4 ,illustration3 ,,fig4 #bdd4 ,the feat may either end here1 the rings1 still linked1 being gathered together and carried off by the assistant1 or the performer may link all one by one into either of the key rings1 and then shake them out and scatter them on the floor in the manner already described as to the eight rings4 ,the performance may be elaborated to any extent1 the two key rings giving a wonderful facility of combination1 but whatever be the passes adopted they should not be too numerous1 as the trick1 however skilfully worked1 consists only of repetitions of the same primary elements1 and the interest of the spectators will quickly diminish4 ,the performer should1 in manipulating the rings1 study neatness and lightness1 rather than rapidity4 ,the effect should be as though the rings melted into and out of one another1 and the smallest appearance of force or exertion should be avoided4 ,it has a very good effect in disengaging the rings one from another1 to hold them together for a moment or two after they are actually disconnected1 and then holding them parallel to each other1 to draw them very slowly apart4 ,the precise moment of their separation is thus left uncertain1 the illusion being thereby materially heightened4 ,a single ring may in this way be drawn along a chain of three or four1 the effect being as if the disengaged ring passed through the whole length of the chain4 ,,the ,,charmed ,,bullet4--,as a rule1 people object to being shot at1 and the least nervous person might fairly demur at facing the muzzle of a loaded pistol at six paces' distance2 but the magician is superior to such weakness1 and will face a bullet with as little compunction as he would stop a ball at cricket4 ,neither must it be imagined that there is any 8deception10 at any rate in the quality of the articles employed4 ,the pistol is a real pistol1 the powder is genuine powder1 and the bullet--an ordinary leaden bullet--is chosen and marked by one of the audience1 fairly placed in the pistol1 and fairly rammed home4 ,the pistol is fired with deliberate aim by a disinterested spectator2 but no sooner has the smoke cleared away than the performer is seen standing unharmed1 with the marked bullet caught between his teeth4 ,so much for the effect of the trick2 now for the explanation4 ,the pistol 7see ,fig4 #bde7 is1 as already stated1 an ordinary weapon1 and the only speciality of the bullets is that they are a size or two smaller than the bore of the pistol4 ,the ramrod1 b1 is a plain cylinder of wood or metal1 tapering very slightly at each end4 ,the secret lies in the use of a little metal tube a1 about two inches in length1 open at one end1 but closed at the other4 ,this tube1 which is of such a size as to fit loosely within the barrel of the pistol1 but tightly upon either end of the ramrod1 is placed in the right-hand pochette of the performer1 and a small bag of bullets in the pochette on the other side4 ,illustration3 ,,fig4 #bde4 ,the performer comes forward with the pistol in one hand and the ramrod in the other1 and having a small charge of gunpowder1 screwed up in a bit of soft paper1 concealed between the second and third fingers of his right hand4 ,he hands the pistol and ramrod for inspection4 ,while they are under examination1 he asks1 8,can any lady or gentleman oblige me with a little gunpowder80 ,nobody answers1 and he continues1 addressing some mild elderly gentleman1 8,perhaps you can accommodate me1 sir80 ,the elderly gentleman naturally replies that he is not in the habit of carrying gunpowder about with him4 8,excuse me10 says the performer1 8but ,i fancy you have a small packet of powder under your coat-collar4 ,permit me60 and drawing his hand gently down beneath the collar1 he produces the little packet4 ,this he hands to the person who is holding the pistol1 with a request that he will load it4 ,while he puts in the powder1 the performer drops his left hand to the pochette1 and palms the little bag of bullets1 which he forthwith produces from a gentleman's hat1 or a lady's muff4,n ,from among the bullets he requests the person who put in the powder to select and mark one4 ,while this is done1 he himself takes the pistol in his left hand1 holding it muzzle upwards1 and in the act of transferring it with apparent carelessness to the other hand1 secretly drops into it the little tube1 the open end upwards4 ,the spectator having chosen and marked the bullet1 is requested1 for greater certainty1 to place it in the pistol himself4 ,a very minute portion of paper is added by way of wad1 and the performer then takes the pistol1 and rams it down4 ,the bullet1 of course1 has fallen into the little tube1 and as the ramrod fits tightly within the latter1 it naturally1 when withdrawn1 brings out tube and ball with it4 ,the tube and ramrod are made to match 7generally black1 but sometimes of brass or silver-plated72 and therefore the tube1 when on the rod1 even if exposed1 would not be likely to attract attention4 ,the performer1 however1 prevents the possibility of its doing so1 by holding the rod by that end1 thereby concealing the tube with his hand4 ,he now hands the pistol to a spectator1 requesting him1 for fear of accidents1 to hold it muzzle upwards until the word to fire is given4 ,the performer now takes up his position at the furthest part of the stage1 and during his short journey gains possession of the bullet4 ,this is effected by sharply drawing away the ramrod with the left hand1 thereby leaving the tube open in the right1 and allowing the ball to roll out into the palm4 ,the tube1 having served its purpose1 is got rid of into the profonde1 and the ball is either slipped into the mouth or retained in the hand1 according to the mode in which it is intended to be produced4 ,n ,a muff1 being open at each end1 is an excellent thing whence to produce any small article--e4g41 a borrowed watch1 a ball1 etc4 ,for this purpose the performer should take hold of one end of the muff with the hand in which is palmed the article in question1 which is immediately allowed to slide gently through the muff1 and is stopped by the other hand4 ,if this is neatly done1 the keenest eye cannot detect the deception4 ,some performers use several small bullets4 ,in our own opinion1 a single ball of tolerable size is not only more manageable1 but more effective4 ,the mode of producing the bullet also varies4 ,some1 instead of producing it in the mouth1 hold up a china plate by way of target1 the bullet being held under the two first fingers against the front of the plate4 ,when the pistol is fired1 the plate is turned horizontally1 and the bullet released from the fingers4 ,this plan is sometimes to be preferred1 inasmuch as it creates an excuse for leaving the stage for a moment to fetch the plate1 an opportunity which is valuable in the event1 which sometimes happens1 of the ball1 from an excess of wadding or any other cause1 not dropping readily from the tube into the hand4 ,to meet this possible difficulty1 some tubes have 7to use an ,irishism7 a small hole through the closed end1 so that the performer1 on leaving the stage1 can1 by pushing a piece of wire through the hole1 instantly force out the bullet4 ,illustration3 ,,fig4 #bdf4 ,,the ,,birth ,,of ,,flowers4--,there are two or three different tricks which go by this name4 ,of one of them we may dispose in a very few words4 ,it is purely a mechanical trick1 having neither ingenuity of construction nor dexterity of manipulation to recommend it4 ,the apparatus consists of a cover a 7see ,fig4 #bdf71 a base c1 and an intermediate portion b1 connected with a by means of a bayonet-catch2 c is beforehand partially filled with earth1 and in b1 the top of which is perforated with small holes1 is inserted a natural or artificial plant1 or bouquet of flowers4 ,the cover a is placed over b1 and the apparatus is ready4 ,the performer1 drawing attention to c1 pretends to sow some magic seed therein4 ,he then places a over it1 and pretending to warm it with his hands1 commands the seeds to germinate4 ,releasing the bayonet-catch1 he removes the cover1 and shows the flowers apparently just springing from the earth in c4 ,in some of the smaller sizes of this apparatus the bayonet-catch is dispensed with1 the mere pressure of the fingers on the sides of a being sufficient to lift off b with it4 ,the trick which we are about to describe under the same title is one of a composite nature1 and one which1 proceeding from marvel to marvel1 produces in good hands a great effect4 ,it is divided into three portions--first1 the production of a single flower1 then of a handsome bouquet1 and lastly1 of a large basket of flowers4 ,the performer comes forward with his wand in one hand1 and in the other a little box1 in reality quite empty1 but containing1 as he asserts1 magic seeds1 capable of producing on the instant the choicest flowers4 8,i will first show you1 ladies and gentlemen1 their effect in the simplest form4 ,in the hurry of coming here this evening1 ,i omitted to provide a flower for my button-hole4 ,you will see how easily1 by the aid of the magic seed1 ,i can supply the deficiency4 ,what shall it be8 ,clematis1 rose1 geranium8 ,suppose we say a rose4 ,i take a single seed from my box--ah1 here is a rose-seed--and place it in my button-hole40 7,he applies the supposed seed to the button-hole47 8,i breathe on it to supply the necessary warmth4 ,i wave my wand--,once6 twice6 thrice6 ,the seed has blossomed1 you see1 into a handsome rose40 ,the explanation of this pretty little trick is exceedingly simple4 ,the preliminary preparation is made as follows3--,through the centre of an artificial rose1 without stalk1 a short piece 7about ten inches7 of thin black elastic is passed1 and secured by a knot on the inside of the flower4 ,the other end is passed through the button-hole 7from the outside71 and thence through an eyelet-hole made for the purpose in the breast of the coat1 immediately under the button-hole4 ,the extreme end is looped over a button sewn on the waistcoat about the region of the waistband4 ,the tension of the elastic naturally draws the flower close against the button-hole1 while yet allowing it1 when necessary1 to be drawn away from it to a distance of several inches4 ,the performer1 before coming forward to perform the trick1 draws the rose away from the button-hole1 and places it under the left armpit1 whence1 so long as the arm is kept close to the side1 it cannot escape4 ,when he waves his wand1 with the words1 8,once1 twice1 thrice60 he makes the first motion facing to the right1 the second fronting the audience1 and the third facing slightly to the left1 at the same time striking the button-hole with the wand1 and throwing up the left arm1 when the flower1 released1 instantly springs to the button-hole1 the slight turn to the left completely covering the manner of its appearance4 ,illustration3 ,,fig4 #bdg4 ,but the trick is not yet over4 8,you see1 ladies and gentlemen1 that ,i am not dependent on ,covent ,garden for a rose for my button-hole2 but you will naturally say1 #8,ah6 the magic seed may be all very well for a single flower1 but what if you wanted a complete bouquet8' ,i hasten to show you that this is equally within my power4 ,will some one oblige me with the loan of a hat by way of hothouse8 ,thank you4 ,here2 you observe1 is an ordinary drinking-glass0 7this has1 meanwhile1 been placed on the table by the assistant71 8in which ,i will drop1 haphazard1 a pinch of the magic seed40 ,this he does with the left hand1 the right being occupied with the hat1 and then1 with the glass in the left hand and the hat in the right1 comes forward to the audience1 requesting a lady spectator to breathe upon the glass1 which he immediately afterwards covers with the hat4 ,he now requests the same or another spectator to count ten1 to allow the mesmeric influence time to operate1 and then1 removing the hat1 shows a handsome bouquet 7natural or artificial7 in the glass4 ,returning the hat1 and handing the glass and flowers for inspection1 he borrows a silk pocket-handkerchief1 or1 in default of procuring one from the audience1 uses one of his own1 brought forward by the assistant4 ,drawing it ropewise through his hands to show that it is empty1 he spreads it before him1 holding it by two of its corners4 ,having exhibited one side of it1 he spreads the other1 when the shape of something solid is seen to define itself beneath it1 and the handkerchief being removed1 a large round basket of flowers 7see ,fig4 #bdg71 ten or more inches in diameter by two deep1 is revealed4 ,the reader1 with his present knowledge1 will probably have already conjectured the mode in which the bouquet is brought into the glass4 ,it is beforehand placed at the left hand corner of the servante1 the stem slanting upwards at an angle of about #de4 ,when the performer1 standing at the left hand side of the table1 drops the imaginary seed into the glass with his left hand1 his right1 holding the hat1 drops for a moment to the level of the table1 and clips between the second and third fingers the stem of the bouquet1 when1 by simply bending the fingers1 the bouquet is brought into the hat after the manner of the cannon-ball4 7,see page #cje47 ,when the hat is placed over the glass1 the bouquet is naturally brought into the latter4 ,we may here mention that there are bouquets of a special and rather ingenious construction1 enabling the performer1 in the act of producing the bouquet from a hat in the above or any similar trick1 to cause it suddenly to expand to three or four times its original size4 ,the bouquet is in this case made of artificial flowers1 stitched on a framework forming a kind of miniature parasol1 with a very short handle4 ,the bouquet1 when introduced into the hat1 has a slightly conical shape1 but the performer in withdrawing it puts up the parasol1 so to speak1 thereby spreading it to twelve or fourteen inches' diameter4 ,illustration3 ,,fig4 #bdh4 ,illustration3 ,,fig4 #bdi4 ,the production of the basket of flowers from the handkerchief is produced by wholly different means1 and will require a somewhat minute explanation4 ,in the first place1 the flowers are secured to the sides of the baskets by silk or wires1 so that they cannot fall out1 in whatever position the basket is placed4 ,to the basket are attached two black silk threads4 ,the one 7which we will call a7 is about eighteen inches in length1 and is attached to a button on the performer's waistband1 immediately above the front of the left thigh4 ,obviously1 therefore1 the basket1 if fastened by this thread alone1 would hang down loosely in front of the performer's left knee4 ,the second thread 7which we will call b1 and which is attached to the edge of the basket at a few inches' distance from the first7 is only three or four inches in length1 and serves to suspend the basket behind the back of the performer 7concealed by his coat7 until the proper moment for its appearance4 ,for this purpose it has a small loop or ring at the loose end1 and this is attached by means of a strong short needle1 after the manner shown in ,figs4 #bdh and #bdi 7the latter representing a slightly enlarged view of the attachment71 to the waistband of the performer4 ,the needle carries a third thread c1 which1 passing through the cloth of the trousers1 is brought round and attached to the centre button of the waistband1 being concealed by the edge of the waistcoat4 ,the modus operandi will now be easily understood4 ,the basket is in the first instance suspended by the thread b4 ,the performer1 while spreading the handkerchief before him1 ostensibly to show that it is empty1 crooks the little finger under the edge of his waistcoat1 and pulls c1 thereby withdrawing the needle1 and detaching b4 ,the basket1 being no longer held back by b1 falls1 but is compelled by a to swing round in front of the performer1 who1 while lifting it1 still covered by the handkerchief1 breaks a1 and thus altogether releases it4 ,the object of passing the needle through the cloth of the trousers is that it may not fall forward and be seen when c is pulled4 ,the contrivance last above described is the invention of ,robert-,houdin1 slightly simplified1 however1 inasmuch as he employed1 in place of the needle1 a little wire bolt working on a metal plate attached to the back of the waistcoat2 but the principle in either case is precisely the same4 ,illustration3 ,,fig4 #bej4 ,,the ,,mysterious ,,salver4--,this is a tin tray 7see ,fig4 #bej71 ornamentally japanned1 and of about twelve inches in diameter4 ,there is a space of about three-quarters of an inch between the upper and under surfaces of the tray1 at one side of which1 under cover of the curled rim1 is an opening of about three inches in width4 ,within this opening1 so placed as to be within easy reach of the fingers of any person holding the tray1 are two wire hooks1 marked a and b in the figure4 ,on gently pulling hook a1 a little hammer c rises up at right angles to the surface of the tray1 again falling back by the action of a spring as soon as the pull is relaxed4 ,on pulling b1 a similar movement is communicated to a sort of ladle d1 sunk in the surface of the tray1 and rising up in a direction parallel to that of the little hammer already mentioned4 ,this ladle has a flat tin cover1 hinged very loosely upon its outer edge 7so as to open of its own accord when the ladle passes the perpendicular position71 and japanned in such manner as to represent one of a circle of medallions forming part of the pattern of the tray1 and therefore little likely to attract attention4 ,if any small article be beforehand placed in the ladle1 and b be pulled1 the article will naturally be flung out upon the surface of the tray4 ,in practice1 however1 the salver is always used in conjunction with a little glass tumbler1 about three inches in height1 which1 being placed upon the medallion opposite to that which forms the cover of the ladle1 the contents of the latter fall into the glass instead of upon the tray4 ,the salver is generally used somewhat after the following fashion3--,a little round brass box1 say an inch and a half in diameter and an inch deep1 is handed to the audience1 with a request that they will place any small article 7such as a coin1 a ring1 a watch-key7 in it4 ,all necessary precautions are taken to prevent the performer knowing what the articles in question are1 and the box is1 for still greater security on this point1 wrapped by the performer in a handkerchief1 and handed to one of the audience to hold4 ,the reader1 with his present knowledge of the little faith that is to be put in the acts of magicians1 however apparently straightforward1 will readily conjecture that at this point there is a substitution4 ,the performer1 apparently wrapping up the box which has just been handed to him1 really substitutes another of similar appearance1 sewn in one corner of the handkerchief4 ,this latter1 which contains two or three metal buttons1 or other objects adapted to cause a rattling when shaken1 is so arranged that when the lid is pushed home a piece of cork within is pressed down upon the buttons1 and they are made silent2 but if the lid be raised ever so little1 and the box shaken1 they rattle4 ,this latter is the condition in which the box is wrapped in the handkerchief4 ,the performer1 leaving the dummy box1 wrapped up as above1 with the spectator1 retires for a moment in order to fetch the salver4 ,this gives him the opportunity to take the articles out of the box1 to note what they are 7we will suppose a ring1 a florin1 and a locket71 and place them in the 8ladle0 of the salver4 ,the empty box he places in one of his pochettes4 ,he now brings forward the glass and salver1 together with a paper lamp-shade 7similar to those placed over the lights of a billiard table71 wherewith to cover the salver while the supposed flight of the objects takes place4 ,he first shows that there is nothing in his hands1 on the salver1 or in the glass1 and then places the latter in its proper position1 and covers the whole with the paper shade4 ,his assistant holds the salver1 using both hands1 with his right in such a position as to have control of the hooks a and b4 ,the performer requests the person holding the box to shake it1 in order to show that the articles are still there4 ,he then addresses the company to the following effect3--8,ladies and gentlemen1 allow me to remind you of the position of affairs4 ,some articles1 unknown to me1 have been placed by yourselves in a box4 ,that box has not been in my possession1 even for a moment1 but has remained ever since in the hands of the gentleman who is now holding it4 ,here1 as you see1 is a little glass0 7he raises the shade with the left hand71 8perfectly empty4 ,i shall now1 by virtue of my magic power1 order the articles in the box1 whatever they may be1 to leave the box1 and fall into this little glass1 and ,i will tell you by the sound of each as it falls what the article is4 ,let us try the experiment4 ,first article1 pass60 ,the assistant pulls a1 and the little hammer c forthwith strikes the glass1 simulating to some extent the sound of a small article falling therein4 8,that1 by the sound1 should be a coin1 ,i should say a florin4 ,hold tight1 sir1 please4 ,second article1 pass60 ,again the assistant causes the hammer to strike the glass4 8,that1 ladies and gentlemen1 is a ring4 ,you must hold tighter yet1 sir1 if you mean to defy my power4 ,third article1 pass60 ,this time the assistant pulls b1 causing the ladle d to rise1 and to shoot out the three articles together into the glass4 8,that1 ,i should say1 was a lady's locket4 ,fourth article1 pass60 7,this is a mere blind1 and elicits no response47 8,ladies and gentlemen1 there were three articles placed in the box1 a ring1 a florin1 and a locket1 and you will find that they have now all passed into the glass40 7,he removes the shade1 and shows that they have done so47 8,may ,i trouble you once more to shake the box80 ,the repeated injunctions to hold tighter have naturally caused the holder to press the lid home1 and the box is therefore silent1 corroborating the assertion that the articles have departed4 8,now1 ladies and gentlemen1 having conjured away the contents1 ,i shall now proceed to conjure away the box2 but this time1 by way of variety1 ,i will do it visibly4 ,attention60 ,he takes one corner of the handkerchief with his right hand4 8,now1 sir1 when ,i say #8,three1' will you please drop the handkerchief4 ,one1 two1 three60 ,the performer shakes the handkerchief and pulls it rapidly through his hands till the corner containing the box comes into the left hand1 the box having apparently vanished4 8,the box has gone1 you see1 but where8 that is the question4 ,pardon me1 sir1 you have it in your pocket1 ,i think10 addressing some elderly gentleman of innocent aspect4 ,with the handkerchief still dangling from his left hand1 the performer thrusts the other hand into the waistcoat or breast-pocket of the individual in question1 and produces from thence the missing box1 which he has a moment previously palmed from the pochette4 ,the weak point of the trick1 as above performed1 is the sound of the hammer on the glass1 which is but a poor imitation of that of coins1 or the like1 falling into it4 ,in some trays the hammer is altogether dispensed with1 the performer himself holding the tray1 and the necessary sound being produced by the assistant actually dropping a coin into a glass behind the scenes1 as near the standing place of the performer as possible4 ,this latter plan is much to be preferred4 ,a further improvement consists in the use1 in place of the salver1 of a small round table1 or guridon1 made on the same principle 7without the hammer71 and worked by pulling a string from behind the scenes4 ,with a little dexterity1 the articles may be introduced into the 8ladle10 while in the act of placing the glass upon the table1 or of moving the latter to the front of the stage1 though it is more usual to do this behind the scenes1 and then to bring the table forward1 as described in the case of the salver4 ,the trick may be varied by borrowing four half-crowns or florins1 duly marked1 which1 being exchanged1 and their substitutes placed in the half-crown casket 7see page #bjb71 are thence made to pass one by one into the glass4 ,,the ,,vanishing ,,die4--,the effect of this trick1 in its simplest shape1 is merely to make a die1 some three inches square1 pass through the crown of a hat1 and be found inside4 ,the trick in this form is but a poor and transparent affair1 but it is sometimes useful as affording a pretext for borrowing a hat which you design to make use of for some other purpose2 and it furnishes the germ of two or three really effective illusions4 ,the apparatus consists of three portions--a solid wooden die1 generally painted black with white spots1 a tin counterpart thereof1--fitting loosely over it1 and exactly similar in appearance1 but with one side open1--and an ornamental cover of thin pasteboard 7sometimes this also is of tin71 fitting in like manner over the hollow die4 ,the trick is worked very much after the manner of the 8cone10 recently described4 ,the performer comes forward1 having the solid die in the one hand1 and the cover1 with the tin counterpart within it1 in the other4 ,placing these on the table1 he borrows two hats1 which he likewise places on the table1 mouth upwards4 8,ladies and gentlemen10 he commences1 8,i have here a block of wood0 7he lets it fall on the floor1 the sound sufficiently indicating its solidity1 and again picks it up71 8and a cover of simple pasteboard40 ,he places the cover over it1 as if merely suiting the action to the word1 and in again removing it1 leaves the tin die over the solid one4 8,if any one would like to examine it1 he is perfectly welcome to do so4 ,i have here also two hats1 borrowed haphazard from the audience1 and1 as you can all see1 perfectly empty1 and not prepared in any way4 ,now ,i propose to make this solid die0 7he tosses it carelessly into one of the hats1 and again apparently takes it out1 but really takes out the hollow shell only7 8pass right through the crown of one of these hats1 and fall into the other40 ,he places the hats one upon the other1 mouth to mouth1 and the tin shell1 with the opening downwards1 upon the uppermost4 8,here is the die1 which ,i cover1 thus4 ,now1 at my command it shall pass downwards through the hat4 ,one1 two1 three6 ,pass6 ,see1 the cover is empty0 7taking it up with gentle pressure1 so as to lift the shell with it1 and placing both on the end of his wand1 proving1 apparently1 that the cover is empty71 8and here1 in the lower hat1 is the die4 ,let us try the experiment again4 ,i will replace the die in the lower hat4 ,one1 two1 three6 ,pass60 ,he lifts the cover1 without pressure1 leaving the hollow die on the upper hat4 8,it has obeyed1 you see4 ,once more4 ,one1 two1 three6 ,pass60 ,again the cover is empty1 and again the die has passed into the lower hat4 ,,the ,,die ,,dissolving ,,in ,a ,,pocket ,,handkerchief4--,the trick last described has two drawbacks--first1 that it is very generally known1 and1 second1 that the principle is rather too obvious1 the secret being very easily guessed1 even by persons not endowed with special sagacity4 ,there is1 however1 an improved form of the same trick1 in which an additional element is introduced1 whereby these disadvantages are1 to a great extent1 removed4 ,illustration3 ,,fig4 #bea4 ,the apparatus used is the same as in the last case1 with the addition of a coloured handkerchief1 prepared as follows3 ,five square pieces of stout pasteboard1 each a shade larger than one side of the solid die1 are joined together with hinges of tape or cloth1 in the form shown by the dotted lines in ,fig4 #bea4 ,the centre piece1 a1 is attached to the middle of the handkerchief1 the others being allowed to hang loose upon their respective hinges4 ,a second handkerchief of similar pattern is then laid upon the first1 and the edges of the two are stitched together all round4 ,illustration3 ,,fig4 #beb4 ,the performer having exhibited the solid die and cover1 as already explained1 and having removed the latter 7with the hollow die within it71 places it upon the table4 ,spreading the prepared handkerchief beside it1 he places the solid die upon the centre of the handkerchief1 and gathering up the four corners of the latter1 lifts it1 bag-fashion1 with his left hand1 the four loose flaps of pasteboard naturally folding themselves up around the die4 ,he now takes it with his right hand1 clipping the solid die within the pasteboard1 and turns the whole over as in ,fig4 #beb1 thus bringing the die uppermost1 with the folds of the handkerchief hanging down around it4 ,he next takes in the left hand a borrowed hat1 holding it up for a moment1 to show that it is empty4 ,then1 turning it mouth upwards1 he remarks1 8,i will place the die here in the hat40 ,suiting the action to the word1 he lowers his hand into the hat1 but1 as if suddenly bethinking himself1 he says1 8,no6 ,i won't use the hat at all4 ,perhaps some one will kindly hold the die40 ,in withdrawing his hand1 however1 he relaxes the pressure of his fingers1 thereby leaving the solid die in the hat1 though as the folded pasteboard retains its cubical shape1 the handkerchief still appears to contain the die4 ,grasping it immediately below the folded shape1 he gives the handkerchief in charge to one of the spectators1 who is directed to hold it in like manner4 ,the hat he places carelessly upon the table4 ,he now once more lifts the cover with the hollow die1 rattling his wand within it to show that it is empty4 ,again replacing it1 he commands the die to pass from the handkerchief under the cover4 ,the person holding the handkerchief is asked if he felt it depart1 but he naturally maintains that it is still in the handkerchief4 8,you are mistaken10 says the professor2 8what you see is merely the ghost of the die still clinging to the handkerchief4 ,allow me60 and taking one corner he requests the owner to drop the handkerchief1 which he then shakes out1 exhibiting both sides to show that the die has vanished4 ,he then lifts the cover1 and shows the hollow die1 which the spectators take to be the genuine one1 and concludes the trick by finally commanding the die thus shown to pass into the hat2 which1 on being turned over1 is found to contain the solid die1 while the hollow die is again raised with the cover1 and the latter shown apparently empty4 ,,the ,,die ,,and ,,orange4--,the die in this instance is about three and a half inches square4 ,it has the usual ornamental tin or pasteboard cover1 but there is an additional item of apparatus employed1 a square wooden box1 with hinged lid1 and of such a size as just to contain the die4 ,the effect of the trick is as follows3--,the die is brought forward in the box1 the performer holding the square cover in his other hand4 ,the die being then taken out of the box1 and placed on the table1 the box is shown empty1 and the cover placed over the die4 ,the performer1 having mysteriously procured an orange from the hair or whiskers of a spectator1 drops it into the box1 which is then closed4 ,he now asks the spectators1 in order to impress the facts on their memory1 where they suppose the two articles to be4 ,they naturally answer that they are where they have just seen them placed2 or1 if they venture to question this1 the performer raises the cover and opens the box1 and shows that die and orange both remain in statu quo4 ,he now commands the two articles to change places4 ,lifting the cover1 the die is found to have disappeared1 the orange having taken its place1 and1 on opening the box1 it is seen to contain the die1 which is taken out1 and exhibited on all sides to the company4 ,the die and orange1 being again covered over1 at command change places as often as the company please4 ,the reader will doubtless have conjectured that there are in reality two dice and two oranges4 ,the box when first brought forward contains in reality two hollow dice1 one within the other4 ,the smaller and innermost 7the one which is afterwards taken out and placed under the cover7 is placed in the box with its open side towards the hinges1 and contains an orange4 ,the performer takes it out1 taking care1 of course1 that the orange does not fall out1 and places it 7open side downwards7 upon the table4 ,the cover is now placed over it1 and1 if lifted with pressure1 lifts the hollow die with it1 and reveals the orange2 but if lifted by the button on top1 so that the sides are not pressed1 it leaves the die covering the orange4 ,we now return to the box4 ,this contains a second hollow die1 so placed that the open side is upwards1 and the box therefore appears to be empty4 ,the lid1 however1 contains a sixth side1 exactly fitting the open space1 and thus making the die complete4 ,this moveable side is alternately made to form a lining to the lid or to form part of the die1 according as a little button on the lid is moved in one or another direction4 ,both the true lid and this moveable portion of it are lined with looking-glass1 so as to show no difference of appearance1 whether the box is exhibited empty or as containing the die4 ,when the sixth side is made to form part of the die1 the latter may be completely removed from the box1 and shown on all its sides without betraying the secret1 the orange for the time being remaining enclosed within it4 ,it is a good plan to have a solid die matching those used in the trick1 to be1 if necessary1 substituted and handed round for inspection4 ,if the performer uses a trap-table1 it has a very good effect to conclude the trick by causing the orange under the cover to fall through the trap1 and then1 lifting the cover and hollow die together1 to show by rattling the wand within1 that both die and orange have altogether vanished4 ,illustration3 ,,fig4 #bec4 ,,the ,,vanishing ,,canary ,,bird ,,and ,,cage4--,this is another favourite die trick4 ,the performer exhibits a canary bird in a little oblong brass cage1 measuring six inches by four4 ,he next exhibits a die three inches square1 showing all sides to prove that it is solid4 ,this he places upon a tray1 which is held by the assistant1 and covers it with a fancy cover as already described4 ,he now throws a handkerchief over the cage4 ,bringing it forward thus covered to the company1 he orders the cage to vanish1 the die to pass into a borrowed hat1 and the bird to appear upon the tray in place of the die4 ,no sooner said than done2 he waves the handkerchief1 which is seen to be empty1 and on raising the cover the bird is found under it2 while1 on turning over the hat1 out falls the die4 ,illustration3 ,,fig4 #bed4 ,the disappearance of the cage1 which is of the form shown in ,fig4 #bec1 will be readily understood by any reader who has followed the description of the 8flying glass of water0 described at page #cfg4 ,the handkerchief used is double1 and contains in its centre1 stitched between the two surfaces1 an oblong wire frame1 in size and shape exactly corresponding with the top of the cage4 ,when the performer throws the handkerchief over the cage on the table1 he takes care to bring this wire shape immediately over the cage4 ,when he apparently lifts the cage under the handkerchief1 which he does standing behind his table1 he really lifts the handkerchief only1 distended by the hidden wire1 and with the other hand he gently lowers the cage out of sight upon the servante4 ,illustration3 ,,fig4 #bee4 ,so much for the disappearance of the cage2 but it yet remains to be explained how the bird comes to be found under the cover in place of the die4 ,this is effected as follows3--,there are two dice1 the one solid1 the other of hollow tin1 and having one side wanting1 but capable of being closed at pleasure by means of a sliding lid1 also of tin1 which supplies the missing side1 and is painted accordingly4 ,the outer edge of this lid is folded over outwards in a semicircular form4 7,see ,fig4 #bed74 ,the tray used 7see ,fig4 #bee7 is of tin1 japanned1 and of ordinary appearance1 but has a square piece of tin1 of the same size as one of the sides of the die1 soldered upon its centre at about one-sixteenth of an inch above the surface4 ,three of its sides are soldered to the tray1 the fourth being left open4 ,the centre of the tray is ornamentally japanned1 in such manner as to conceal this special arrangement4 ,illustration3 ,,fig4 #bef4 ,a duplicate bird is beforehand placed in the hollow die1 which is then closed1 and placed either upon the servante or in one of the secret pockets of the performer1 who1 having borrowed a hat1 secretly slips the hollow die into it1 and places it on the table mouth upwards4 ,he now brings forward and offers for inspection the solid die1 the cover1 and the birdcage1 placing the latter when returned upon his table1 rather towards the hinder edge4 8,the die10 he carelessly remarks1 8,i will place in this hat0 7suiting the action to the word72 8or1 better still1 ,i will place it upon this tray1 so that you may be able to keep sight of it throughout the trick40 ,so saying1 he again takes out apparently the same1 but really the hollow die1 and places it on the tray with the moveable side downwards1 in such manner as to hook the turned-over portion of that side into the open edge of the corresponding square upon the tray1 and places the cover over it4 ,handing the tray to his assistant1 he proceeds to cause the disappearance of the birdcage from the handkerchief1 as already described4 ,this done1 he advances to the tray1 and lifts the cover with the hollow die within it1 first1 however1 sliding away cover and die together towards the opposite end of the tray 7see ,fig4 #bef71 and thereby leaving behind upon the centre of the tray the moveable slide1 the interior of which is japanned so as to correspond with the centre pattern of the tray1 and thus does not attract any attention4 ,the solid die1 having remained in the hat1 may readily be produced when required4 ,,the ,,decanter ,,and ,,the ,,crystal ,,balls4--,the routine of this trick1 as practised by different performers1 varies a good deal4 ,we propose to describe it in two forms1 the first being as nearly as possible that which was adopted by ,robert-,houdin4 ,first ,method4--,the apparatus in this case consists of four glass balls 7two of plain glass an inch and a half in diameter1 one of ruby-coloured glass of the same size1 and one of plain glass1 three-quarters of an inch in diameter7 and a decanter of clear glass1 with a hollow or 8kick0 underneath it just large enough to admit one of the larger balls4 ,the decanter is two-thirds filled with port or claret1 and is brought forward with the red ball beneath it1 in the hollow we have mentioned1 and is placed on the performer's table4 ,the remaining balls are disposed as follows3 the two large balls in the performer's left pochette1 and the small one in the pochette on the other side4 ,thus provided1 the performer comes forward1 wand in hand4 ,taking the wand carelessly in his right hand1 he says1 8,ladies and gentlemen1 ,i have already given you some proofs of the singular powers of this wand1 but ,i do not know whether ,i have drawn your attention to one remarkable faculty which it possesses1 viz41 that if ,i strike anything with it1 at the same time mentally calling for any object1 that object is instantly produced from the article touched4 ,let us put it to the test40 7,he pulls back his coat-sleeves1 showing indirectly1 by a careless gesture1 that his hands are empty47 8,for the purpose of the trick ,i am about to show you1 ,i require a crystal ball4 ,now1 observe1 ,i give but one gentle touch1 not here upon the table0 7he raps the table with his wand71 8where you might suspect some mechanism or preparation1 but here in my empty hand1 and instantly1 you see1 a ball appears at my bidding40 ,as he touches the table with the wand1 thereby drawing the eyes of the spectators in that direction1 he carelessly drops his left hand to his side1 and takes from the pochette and palms one of the plain glass balls1 which as soon as the wand reaches his hand he produces at the finger-tips4 8,the ball1 as you see1 ladies and gentlemen1 is of solid crystal1 without crack or flaw0 7he takes it in the right hand1 tosses it up1 and catches it again74 8,the hardest steel would fail to chip it1 and yet1 by my magic power1 ,i am able instantly to divide it into two equal portions1 each round and true as the original40 ,at the moment of tossing the ball in the air1 all eyes are naturally attracted to it1 and the performer has ample opportunity to again drop the left hand to his side1 and palm the second ball4 ,keeping this in the palm of the left hand1 he transfers the first ball to the finger-tips of the same hand4 ,drawing the wand across it1 he allows it to drop into the palm1 and to strike against the ball already there4 ,rubbing his palms together1 as if to mould the divided ball into shape1 he shows the two balls1 professedly the divided portions of the first4 ,taking one in each hand1 he continues1 8,i undertook to make the divided portions exactly equal1 but ,i have not succeeded so well as usual4 ,it seems to me that this one is rather the larger1 what say you1 ladies and gentlemen80 ,he places the two balls on the table1 side by side1 as if for comparison1 and carelessly dropping the right hand to his side1 palms between the second and third fingers 7see page #bgc71 the small ball4 8,yes1 this one is certainly the larger1 but ,i can easily rectify the mistake by pinching a little piece off40 ,taking the ball in the left hand1 he pretends to pinch off a portion from it with the right1 at the same time letting the little ball fall to the finger-tips of the latter4 ,he replaces the large ball on the table1 rolling the little ball between the fingers1 as though to give it roundness4 8,no1 that one is still the biggest1 ,i haven't taken quite enough yet4 ,i must take a little more2 or1 better still1 ,i will add this little piece to the smaller one40 ,taking the supposed smaller ball in the left hand1 he pretends to squeeze the little one into it1 presently letting the latter fall behind it into the palm of the left hand1 and replacing the two larger balls side by side on the table1 dropping the little ball at the first opportunity into the pochette4 ,he continues1 8,i think they are now about right4 ,the reason why ,i have been so particular about it is that ,i am about to pass one of these balls into the other1 which ,i could not have done unless they had been of exactly the same size4 ,now which of them shall ,i pass into the other8 ,it is for you to decide40 ,he has meanwhile moved so as to be behind his table1 standing sideways1 with his right side to the table4 ,whichever ball the company decides is to be passed into the other1 he takes in his right hand1 immediately afterwards taking the other in the left hand1 which he holds aloft1 following it with his eyes4 ,stretching back the right arm1 as though to give an impetus to the ball1 he drops it into a padded box1 or basket1 placed upon the servante to receive it1 immediately afterwards bringing the right hand with a semicircular sweep upon the left1 and rolling the ball the latter contains between the palms1 as though to press the one ball into the other2 and presently showing that the hands now contain one ball only4 ,illustration3 ,,fig4 #beg4 ,the same effect may be produced without the aid of the table1 as follows3--,taking both the balls in his right hand1 as in ,fig4 #beg1 the performer covers them with the left hand1 retaining as he does so ball a with the thumb1 but allowing ball b to roll down the left sleeve1 which1 with a little practice1 will be found by no means difficult4 ,he now rubs the palms together1 as if rubbing the one ball into the other1 and then separating them shows that the two balls have become transformed into one only4 ,this he exhibits in the right hand1 and while the eyes of the company are attracted to the ball1 lowers the left arm1 allowing the ball to run down the sleeve into the hand1 whence it is immediately dropped into the pochette on that side4 ,the next step is the supposed colouring of the ball4 ,the performer continues1 8,ladies and gentlemen1 having proved to you my perfect control over the ball in respect of size1 ,i propose to show you that ,i have equal mastery over it in respect of colour4 ,this ,i shall do by passing it into this bottle of wine1 which being red1 the ball will become red also4 ,had the bottle contained a blue liquid1 you would have found the ball become blue1 and so on4 ,the ball0 7he takes it in his left hand1 and apparently transfers it to his right by the tourniquet1 keeping the right hand closed as if containing it1 and dropping it from the left into the pochette on that side7 8is considerably larger than the neck of the bottle4 ,this1 in a natural way1 would be rather a difficulty1 but to a magician it will give very little trouble4 ,i have only to squeeze the ball a little0 7he lifts the bottle with the left hand1 at the same time slipping the little finger underneath it1 to prevent the red ball beneath it falling1 and holding the right hand an inch or two above it1 works the hand as if compressing the ball71 8and it gradually becomes smaller and smaller1 till it melts completely into the bottle40 ,he opens the right hand1 and shows it empty1 immediately afterwards shaking the bottle1 and allowing the ball beneath to rattle slightly4 8,the ball is now in the bottle1 as you see2 the next step is to get it out1 and it is rather difficult to do this without at the same time allowing the wine to escape4 ,however1 we will try4 ,i have no doubt that by a strong effort of will ,i shall be able to manage it40 ,he now takes the bottle between his hands1 holding it so that the two little fingers are beneath1 and after a little shaking1 allows the ball to drop1 as if through the bottle4 ,this may be varied by holding the bottle with the left hand only1 and striking the mouth with the palm of the other1 allowing the ball to drop at the third stroke1 professedly expelled by the compression of the air4 ,illustration3 ,,fig4 #beh4 ,second ,method4--,the balls used in this instance are five in number1 two large1 one of each colour2 two small1 one of each colour1 and one 7a trifle larger than these latter71 of which one half is red1 and one half white4 ,the decanter is replaced by an ordinary wine bottle 7see ,fig4 #beh71 prepared as follows3--,a tin tube1 a1 three inches in length1 closed at the bottom1 but open at the top1 is made to fit within the neck 7just so tightly1 that it cannot fall out of its own accord71 its upper edge being turned over all round1 and japanned black1 so that when placed in the bottle it may be undistinguishable from the actual neck4 ,the cavity at the bottom of the bottle is filled with a resinous cement1 in such manner as only to leave room for one of the larger balls4 ,the tube is beforehand filled with port or claret1 and placed in the neck4 ,the bottle itself1 which1 if not naturally opaque1 must be rendered so by an interior coating of black japan1 should be nearly filled with water4 ,thus prepared1 it is brought forward and placed on the table4 ,the balls are disposed as follows3 the two white ones in the left pochette of the performer1 the two red ones and the parti-coloured ball in the pochette on the other side4 ,coming forward to the audience1 the performer produces the large white ball1 either as described in the first form of the trick1 or from his wand in manner described at page #bgf4 ,while showing it in his left hand1 he drops the right hand to his side1 and palms the large red ball4 ,laying the white ball on his table1 he remarks1 8,i have here a bottle of wine4 ,we will begin by testing its genuineness40 ,he lifts the bottle by the neck with the left hand1 immediately transferring it to the right 7which grasps it round the bottom71 and introduces beneath it the red ball1 which is thenceforth kept in position by the little finger4 ,taking in the other hand a wine-glass 7which should be of such a size as just to contain the contents of the tube71 he fills it with wine1 and hands it to one of the company4 ,in returning to his table1 he secretly withdraws the tube4 7,this is easily done by grasping the bottle round the neck with the left hand1 and gently drawing it downwards with the right1 the turned over portion of the tube being clipped by the finger and thumb of the left hand1 in which it naturally remains47 ,as the performer passes behind the table1 he gets rid of the tube by dropping it on the servante4 ,in placing the bottle on the table1 he is of course careful not to expose the red ball underneath it4 ,taking the white ball in his left hand1 he proposes to turn it red1 and for that purpose to pass it into the bottle4 ,pretending to transfer it to the right hand by the tourniquet1 he drops it from the left hand into the padded tray on the servante1 and then apparently passes it into the bottle1 as above4 ,the routine of getting it out of the bottle again is the same as above described in relation to the first method4 ,we may1 however1 here note a variation in practice4 ,some performers1 instead of introducing the red ball under the bottle at the outset of the trick1 as above described1 make no attempt to bring it under the bottle until after the white ball is supposed to have been passed into the wine1 when the performer1 raising the bottle with the left hand1 transfers it to the right1 and brings the ball under it1 retaining it there with the little finger until he thinks fit to allow it to drop1 pretending to squeeze the bottom of the bottle as if to force it out4 ,after having produced the red ball1 the performer remarks1 8,perhaps1 ladies and gentlemen1 you imagine that ,i have not really passed the ball through the bottle1 and that the effect is1 in reality1 produced by the substitution of a different coloured ball4 ,let me assure you that so truly is the wine in the bottle1 and nothing else1 the cause of the change of colour1 that you will find on examination that every particle of colour has left the wine1 its whole virtue having been absorbed by the ball4 ,supposing for a moment that ,i could have exchanged the ball1 you will hardly imagine that ,i could exchange the liquid in the bottle1 which has been proved to be good old wine4 ,will the same gentleman who tried it before be good enough to taste it now80 ,taking another glass1 he fills it from the bottle1 which is now found to contain nothing but water4 ,the performer1 meanwhile1 has again palmed the white ball1 which he next produces1 as being a new one1 from his wand4 ,comparing the red and the white together1 he pretends to discover that the red is the largest1 and therefore pinches from it a small portion 7the small red ball74 ,he now discovers that he has taken too much1 and that the red ball is now the smaller4 ,he therefore pinches a second piece 7the small white ball7 from the white one1 and finally rolls the two little balls thus obtained into one1 producing the parti-coloured ball4 ,the mode of producing these last effects will present no difficulty to any one who has attentively studied the description of the first form of the trick4 ,,the ,,flags ,,of ,,all ,,nations4--,this is1 in good hands1 a very pretty and effective trick1 but requires considerable neatness of manipulation4 ,its effect is as follows3--,the performer comes forward with a couple of miniature silk flags1 measuring1 say1 three inches by two4 ,taking one in each hand1 he brings the hands together1 and begins to wave them backwards and forwards1 when the flags are seen to multiply1 the two being suddenly transformed into a dozen1 quickly increasing to a still larger number4 ,not only do the flags increase in number1 but in size also1 until perhaps a couple of hundred have been produced1 ranging in dimensions from one or two inches square to a foot or even larger1 and of six or eight different colours4 ,this seeming marvel rests on a very slight foundation4 ,the flags to be produced are of coloured tissue-paper1 with flagstaffs made of wire1 or of the 8bass0 of which scrubbing-brooms are made1 so as to occupy very little space4 ,these are rolled up together in little parcels1 like with like1 according to size4 ,thus arranged1 they are placed1 the smaller ones in the sleeve of the performer1 and the larger ones about his person1 with the ends just inside the breast of his waistcoat4 ,while waving the first two flags backwards and forwards1 he gets one of the parcels from the sleeve into his hands1 immediately unrolling and developing it1 when the two flags appear to have multiplied into fifty4 ,under cover of these1 he draws down from the sleeve another parcel1 which he develops in like manner1 and after the sleeves are exhausted has recourse to the fresh store within the waistcoat4 ,he all along takes care to retain in his hands a large and widespread bundle of the flags1 which1 being kept moving backwards and forwards1 materially aids in covering the mode of production of the remainder4 ,,the ,,umbrella ,,trick4--,the performer comes forward with an umbrella1 which may be either the common-place article of every-day life1 or a brilliant fancy production1 akin to ,joseph's coat of many colours4 ,this he hands for inspection1 and meanwhile borrows a lady's handkerchief4 ,the latter1 for safe keeping1 he places in an empty vase1 which is left in full view of the company4 ,the umbrella1 duly examined1 he places in a case1 which may be either the ordinary glazed oilskin case1 or a special apparatus prepared for the purpose4 ,whichever it be1 the result is the same4 ,on again uncovering the vase1 the handkerchief has vanished1 and in its place is found the silk covering of the umbrella4 ,on removing the umbrella from its case1 it is found to have lost its covering2 but the handkerchief1 torn in several pieces1 is found fastened to its naked ribs1 one piece to each4 ,these are removed4 ,again the vase is covered1 and the umbrella restored to the case4 ,the torn fragments of the handkerchief are burnt1 and their ashes invisibly passed into the vase2 and on a new examination the two articles are found uninjured as at first4 ,with reference to the transformation of the handkerchief in the vase1 it will be only necessary to state that the vase employed is either the burning globe 7see page #bdf71 or the 8pea vase0 described at page #cea4 ,in either case a duplicate umbrella cover is placed in the second compartment1 and thus the vase may be shown to contain either the handkerchief or the umbrella cover at pleasure4 ,illustration3 ,,fig4 #bei4 ,illustration3 ,,fig4 #bfj4 ,with regard to the umbrella1 the reader will readily conjecture that an exchange is effected1 but the mode of effecting it varies4 ,if the ordinary glazed case is used1 the umbrella is exchanged bodily for another1 similarly encased1 placed beforehand on the servante4 ,this1 however1 requires some little dexterity1 as an umbrella1 from its length1 is an awkward article to exchange2 and this has led to the employment of cases specially constructed to effect the change4 ,that most frequently used is an upright pillar of zinc or tin1 oval in form1 and open at the top1 and so constructed as to stand upright without support 7see ,fig4 #bei74 ,it is divided vertically into two compartments1 in one of which is placed beforehand the second umbrella4 ,of course no one can be permitted to examine or even look into the case1 which is a serious drawback to the effect of the trick4 ,there is1 however1 another form of case sometimes employed1 which is a trifle less objectionable4 ,this is a wooden tube1 about three feet long1 and three and a half inches square4 7,see ,fig4 #bfj47 ,like the case already described1 it is closed at the bottom and open at the top1 and divided vertically into two compartments1 a and b4 ,one or other of these1 however1 is always closed by the flap c1 which by virtue of a spring is normally compelled to take the position shown in the figure1 thus closing compartment b4 ,when required for use1 the second umbrella is placed in compartment a1 and the flap c drawn back 7as shown by the dotted line7 so as to close a1 in which position it is held by a little catch4 ,the performer hands the genuine umbrella for inspection to one of the spectators1 with a request that he will himself place it in the case4 ,as soon as he has done so1 the performer by a movement of his forefinger draws back the catch1 and releases c1 which flying back to the opposite position1 shuts in the genuine umbrella1 and reveals the substitute4 ,when this apparatus is employed1 the supposed restoration of the umbrella is omitted4 ,some performers dispense with the use of the vase1 and vanish and reproduce the borrowed handkerchief by sleight-of-hand1 after one or other of the modes described in relation to handkerchief tricks4 ,,the 8,,passe-,,passe0 ,,trick4--,the trick which is specially designated by this name 7which would appear to be equally applicable to about three parts of the tricks we have described7 is as follows3-- ,the performer brings forward a bottle and a small tumbler1 which he places side by side upon the table4 ,producing a couple of tin or pasteboard covers1 ornamentally japanned1 of a size to just go over the bottle1 he places one of them over the bottle1 and another over the glass4 ,he now commands the two articles to change places1 and on again removing the covers the glass and bottle are found to be transposed4 ,again he covers them1 and again the change takes place2 and this he repeats as often as he pleases1 occasionally pouring out wine or other liquor1 to show that the bottle is a genuine one1 and not a mere make-believe4 ,the reader will already have anticipated that there are in reality two bottles and two glasses4 ,the bottles are of tin1 japanned to resemble the ordinary black bottle1 but with the bottom only about a couple of inches below the neck1 leaving an open space beneath for the reception of the glass4 ,each bottle has near the bottom1 at the side which is kept away from the audience1 an oval opening or finger-hole1 measuring about an inch and a half by one inch4 ,when it is desired to lift the glass with the bottle1 the middle finger is made to press on the glass through this opening1 thereby lifting both together with perfect safety4 ,the outer cover just fits easily over the bottles1 and if lifted lightly leaves the bottle on the table1 but if grasped with some little pressure1 carries the bottle with it4 ,the mode of working the trick will now be readily understood4 ,the bottle which is brought forward has a second glass concealed within it1 kept in position1 while the bottle is brought in1 by the pressure of the finger4 ,the cover which is placed over this bottle is empty4 ,the other cover1 which is placed over the glass1 contains the second bottle1 which1 being hollow below1 enables the performer to rattle his wand within it1 and thus 7apparently7 to prove the cover empty4 ,having covered the glass and bottle1 he raises the cover of the first very lightly1 leaving the glass concealed by the second bottle1 but lifts the other with pressure1 so carrying the bottle with it1 and revealing the glass which has hitherto been concealed within it4 ,by reversing the process1 the bottle and glass are again made to appear1 each under its original cover4 ,where it is desired to pour wine from either bottle1 the performer takes care1 in lifting it1 to press the glass through the finger-hole1 and thus lifts both together4 ,for obvious reasons the glass into which the wine is poured should be a third glass1 and not either of the two which play the principal part in the trick4 ,illustration ,,chapter ,,xvii4 ,,stage ,,tricks4 ,the present ,chapter will be devoted to such tricks as by reason of the cumbrousness or costliness of the apparatus required for them1 are1 as a rule1 exhibited only upon the public stage4 ,the stage performer may1 if he pleases1 avail himself of the aid of mechanical tables1 electrical appliances1 etc41 which enable him to execute a class of tricks which are beyond the scope of an ordinary drawing-room performance1 though the wealthy amateur will find no difficulty in converting his own drawing-room into a quasi-stage1 and qualifying it for the presentation of the most elaborate illusions4 ,the leading items of apparatus in stage magic are mechanical tables4 ,these are of various kinds1 many being specially designed to assist in the performance of some one particular trick4 ,putting aside these1 which will be separately noticed1 stage tables may be broadly divided into three classes--trap tables1 piston tables1 and electrical tables4 ,in practice1 these classes are somewhat intermingled1 for it is rather the rule than the exception for a stage table to be fitted with both traps and pistons1 while either or both of these may be found in conjunction with electrical appliances4 ,trap tables are such as are provided with one or more 8traps10 their object being1 at the will of the operator1 to cause the disappearance of a given article into the interior of the table1 or sometimes to produce or apparently change an article4 ,the traps most generally used may be described as follows3-- ,illustration3 ,,fig4 #bfa4 ,illustration3 ,,fig4 #bfb4 #a4 ,the ,plain ,trap4--,this consists of a thin plate of metal1 generally zinc1 screwed down flush with the top of the table4 ,in this1 which we will call the surface plate1 is cut a hole1 generally circular1 and from two to four inches in diameter1 closed by a flap or door1 which by the action of a spring hinge is pressed up level with the rest of the trap1 though it instantly yields to pressure from above1 again rising as soon as such pressure is removed4 ,figs4 #bfa and #bfb represent the trap as seen detached from the table1 ,fig4 #bfa exhibiting its under side4 a is the circular flap1 b b the spring hinge1 c a little bolt by means of which the trap may be fastened at pleasure1 and which is worked by a pin projecting upwards through a slot in the surface plate1 and through the cloth which covers the table2 d is a small flat piece of metal1 screwed to the under side of the flap a1 and acting as a 8stop0 to prevent the flap being forced by the action of the spring above the level of the surface-plate4 ,the 8mountings0 of the trap are generally brass1 and attached to the zinc by screws4 ,a brass eyelet1 e1 is sometimes soldered to the centre of the under side of the flap4 ,to this is attached a cord1 which may hang down ready to the performer's hand at the back of the table1 or may be carried down a groove in one of the hinder legs1 and either terminate in a pedal 7to be pressed by the foot of the performer71 or be continued behind the scenes within reach of the hand of the assistant4 ,the mode of working the trap is as follows3--,any small article1 being placed on it1 is covered over 7either with an ornamental cover or with a simple handkerchief74 ,the cord being gently pulled by either of the means above mentioned1 the trap opens1 and the article falls into the body of the table4 ,as soon as the pull is relaxed1 the flap again rises and closes the opening4 ,where a cord is not used1 the performer gets rid of the article by direct pressure on the trap1 or the article upon it1 with the one hand1 while with the other he veils the opening in the table4 ,illustration3 ,,fig4 #bfc4 ,,fig4 #bfd4 ,illustration3 ,,fig4 #bfe4 ,illustration3 ,,fig4 #bff4 #b4 ,the 8,wrist0 or 8,pressure0 ,trap4--,with this form of trap the use of a cord is unnecessary1 the trap being worked from the surface of the table1 by pressure upon a particular spot4 ,the manner of its construction will become clear upon an inspection of ,figs4 #bfc1 #bfd4 ,fig4 #bfc represents the under side of the trap2 a is the flap1 working upon a spring hinge b b1 as already explained in the case of the plain trap2 c c is an oblong piece of metal1 cut out of and lying flush with the surface-plate1 and working upon an ordinary hinge at d4 ,when c is pressed down1 the crosspiece e1 which is soldered to it1 presses down the lever f1 and this in turn acting upon the shorter lever g1 which is fixed at right angles to the rod upon which the flap a is hinged1 causes the latter to open4 ,the mode of using the wrist trap is as follows3--,the performer has occasion1 we will suppose1 to cause the disappearance of an orange1 as for instance1 in the 8,bran and ,orange0 trick1 described at page #cce4 ,placing the orange upon the flap a1 he places both hands round it as though to pick it up between them4 7,see ,fig4 #bfe47 ,in this position the under side of the hand furthest from the audience 7see ,fig4 #bff1 showing the right hand removed71 is just over c1 and pressing gently upon it1 causes the flap to open1 and the orange to fall through2 the position of the hands completely veiling the operation4 ,the operator now leaves the table1 still holding his hands as though having the orange between them1 and after a due interval1 brings them closer and closer together1 at last showing that it has vanished4 ,illustration3 ,,fig4 #bfg4 ,the wrist trap is generally worked by the performer standing at the side of the table1 and the traps are therefore made right-handed and left-handed1 according to the end at which they are intended to be placed1 the rule being that c must be so placed with reference to a1 as to be when in use under the hand furthest from the spectators4 ,fig4 #bfg illustrates this difference of make1 to suit the one or the other end of the table4 ,illustration3 ,,fig4 #bfh4 #c4 ,the 8,rabbit0 or 8,dove0 ,trap4--,this1 as its name indicates1 is a trap for causing the disappearance of a rabbit or pigeon4 ,the opening is in this case oval1 measuring about eight inches by six1 and closed by a double flap1 divided down the middle 7see ,fig4 #bfh1 representing the under side of the trap47 ,it has no string1 the animal being simply pushed down through the trap under cover either of a second rabbit1 or of a piece of paper in which the victim is supposed to be wrapped4 ,as the rabbit trap requires considerable space1 and1 moreover1 involves the necessity of some sort of an inclosure within the table to prevent an unexpected reappearance of the animal1 it is a convenient plan to devote to it a small special table4 ,this should be circular2 about thirty-two inches in height1 and sixteen to eighteen in diameter4 ,the upper part of the table must form a circular wooden box1 about eight inches in depth1 with an opening behind to get out the rabbit4 ,the table may1 like the principal table1 have a servante behind it1 which will greatly increase its utility4 ,the depth of the upper part may be concealed by a hanging fringe2 the general appearance of the table 7seen from the back7 being as shown in ,fig4 #bfi4 ,a table of this class makes a very pretty side table1 and may be balanced on the opposite side of the stage by another of similar appearance1 but designed for some different purpose4 ,the interior of the table should be well padded with wadding or hay1 that the animal may not be hurt by its sudden descent4 ,illustration3 ,,fig4 #bfi4 ,each of the traps above-mentioned should be so made as to be capable of being secured1 when necessary1 by a bolt1 or there would be considerable risk of a trap giving way unexpectedly under any article carelessly placed on it4 ,the mode of bolting1 however1 varies considerably4 ,some traps are fastened by little bolts on the under side1 which1 being only get-at-able from the inside of the table1 must be bolted or unbolted for good before the curtain rises1 occasioning considerable embarrassment in the case of a slip of the memory4 ,others again are secured by means of long bolts1 or wire rods extending across the under surface of the top of the table1 each terminating in a hook at the back1 within reach of the performer's hand4 ,a third1 and1 we think1 the best1 plan is to have the bolt 7as shown in ,figs4 #bfa and #bfb1 and therein marked c7 worked backwards and forwards by means of a little pin projecting upwards through the surface plate and the cloth of the table4 ,by the adoption of this plan the performer is enabled to draw back the bolt with the finger-tip in the very act of placing the article upon the trap4 ,it will readily suggest itself to the reader that some provision must be made within the table for making the various articles drop noiselessly through the traps4 ,the best plan of effecting this is to use what is called a 8railway40 ,this is a wooden frame just large enough to lie within the table1 with a piece of black serge or alpaca stretched all over its under side4 ,this is so placed within the table1 as to slope gently down to the level of the servante1 with a fall of three or four inches4 ,any article dropped through a trap will not only fall noiselessly upon the surface of the stretched alpaca1 but will immediately roll down the incline towards the servante1 so that it is instantly get-at-able1 should the performer have occasion to reproduce the same article at a later stage of the trick4 #d4 8,changing0 ,traps4--,the traps which we have hitherto discussed have only had the faculty of causing the disappearance of a given article4 ,those which we are about to describe will not only do this1 but will1 moreover1 produce an article on the surface of the table where a moment previously there was nothing1 or will replace a given object by another4 ,illustration3 ,,fig4 #bgj4 ,illustration3 ,,fig4 #bga4 ,the trap for this purpose is a somewhat complicated arrangement1 of the appearance shown in ,figs4 #bgj and #bga4 ,the surface-plate1 a a a a1 is oblong1 measuring about twelve inches by six1 with a circular opening b b in the centre4 ,below it are fixed vertically two brass cylinders c and d1 which are so arranged as to work backwards and forwards on a kind of railway e f e f1 in the direction of the length of the surface-plate1 just so far in either direction as to bring c or d in turn immediately under b4 ,the two cylinders are soldered together1 so that the one cannot move without the other4 ,if1 therefore1 the cylinders are drawn back to the utmost by means of one of the bent iron rods or handles g h1 the cylinder c will be below the opening b1 as in ,fig4 #bgb4 ,if1 on the contrary1 they be pushed forward1 d will in turn be below the opening1 as in ,fig4 #bgc4 ,each cylinder contains a brass piston1 faced with zinc on its upper surface1 and moved up and down by a lever attached at right angles to one or other of the iron handles g h already mentioned1 and working through a vertical slot in the side of the cylinder4 ,a piece of clock-spring1 attached to the iron handle at the point of junction1 gives the piston a gentle upward tendency1 which is so regulated1 that if either of the cylinders be brought under the opening b1 the piston belonging to that cylinder is made to rise into the opening1 its upper surface resting just flush with that of a a a a4 ,the piston of the forward cylinder c is made to work very easily within it1 so as to rise spontaneously by the action of the spring2 but that of the hinder cylinder1 d1 for a reason which will presently appear1 works a little more stiffly1 so as to require a little assistance from the lever to make it rise into its proper position4 ,the action of the handles g h is outwards1 in the direction of the arrows in ,fig4 #bgd1 the movement of either handle in the direction so indicated drawing down the piston to which it belongs4 ,illustration3 ,,fig4 #bgb4 ,,fig4 #bgc4 ,illustration3 ,,fig4 #bgd4 ,the handles further serve1 as already mentioned1 to move the cylinders backwards and forwards as may be required4 ,it should1 however1 be noted that no backward or forward movement can take place so long as either of the pistons stops the opening b2 but as soon as the piston is1 by turning the proper handle1 depressed ever so little below the level of the surface-plate1 it no longer forms any obstacle to the movement4 ,the trap is fixed in the table in such manner that the handles g h shall be just within the opening at the back of the table 7see ,fig4 #bgd71 and thus be within easy reach of the performer's hands when standing behind it4 ,we will suppose1 for the sake of illustration1 that the performer desires to change an empty tumbler 7of small size7 to a full one4 ,the trap is beforehand prepared by bringing the foremost cylinder c under the opening b4 ,the full glass is then placed on the top of the piston1 which is then lowered gently downwards by means of the proper handle1 the glass sinking into the cylinder4 ,the cylinders are now pushed forward1 so that d in turn comes under b1 the piston being then moved up into its proper place1 and so closing the opening4 ,this is1 of course1 arranged before the curtain rises4 ,when the performer desires to perform the trick1 he places the empty glass upon b1 and conceals it with a cover of any kind4 ,standing carelessly behind the table1 and keeping the attention of the audience occupied by any observations he may deem most appropriate for that purpose1 he takes hold with his right hand of the handle h1 and turns it outward1 thereby lowering the empty glass into d4 ,as soon as he feels that it will sink no further1 he shifts his hand to the handle a1 and therewith draws the cylinders back so as to bring c under b1 and then1 by turning g1 gently raises the full glass of water up through b to the surface of the table4 ,the reader will now perceive the reason why1 as already mentioned1 the piston in d is made a little tight1 so as to require the assistance of the handle to raise it into its position4 ,it is necessary that this piston1 when once depressed with the object to be changed1 shall remain down while the hand is shifted from handle h to handle g4 ,if it were not made to work somewhat stiffly1 the moment the handle h was released the piston would instantly fly up again with the object upon it1 thus neutralizing what had been already done4 ,the cylinder c1 which is to produce the substitute object1 is not brought under b until the hand of the performer is already on the handle belonging to it1 and can thereby check its upward ascent as may be necessary4 ,it is obvious that the changing trap will be equally available to produce an object under an empty cover4 ,the object to be produced will be placed in c as above1 the piston in d going down empty1 and that in c rising with the object upon it4 ,illustration3 ,,fig4 #bge4 ,illustration3 ,,fig4 #bgf4 ,the above are the traps in most frequent use1 but there are others designed for special purposes4 ,thus there is a trap for causing the disappearance of six or eight half-crowns 7as1 for instance1 in the well-known trick of the 8crystal cash-box10 which will be described in the course of the present chapter74 ,of course the coins could be made to disappear through an ordinary trap1 but they would cause a suggestive 8chink0 in their fall4 ,the trap to which we are now referring 7see ,figs4 #bge and #bgf7 is designed to prevent this tell-tale sound1 and to cause the half-crowns to disappear in perfect silence4 ,the opening in the surface plate is an inch and three-quarters in diameter1 and is closed by a circular piston of brass or zinc1 a1 working up and down in a small brass cylinder b1 and so arranged as to drop by its own weight to the bottom of the cylinder1 save when kept up by a little lever catch at the side of the cylinder4 ,a short pin d attached to this catch projects upwards through a slot in the surface plate1 and stands up very slightly above the cloth of the table4 ,the disc a being raised level with the surface plate1 and secured by means of the catch1 six or eight half-crowns or florins are placed on a4 ,the performer1 in making the motion of picking up the coins 7with one hand71 with the tip of the third finger pulls the pin d towards him4 ,this withdraws the catch1 and a instantly drops down to the bottom of the cylinder1 carrying the coins with it4 ,as soon as a reaches its lowest point1 it draws down the pin e1 thereby releasing a similar disc f1 which1 working laterally on a spring pivot at the edge of the opening1 describes a semicircle1 and assumes the position previously occupied by a1 a portion of one side of the cylinder1 at the top1 being cut away to allow of its passage4 ,fig4 #bge shows the trap in its first1 and ,fig4 #bgf in its second condition1 the latter being1 for greater clearness1 drawn in section4 ,the apparatus is rather complicated1 and it is almost hopeless to endeavour to render it clearly intelligible by description only4 ,in the absence of this special trap1 the same object may be nearly as well effected with an ordinary trap by using half-crowns 7be it remembered that it is always substitute coins which are made to disappear in this manner7 which have been beeswaxed on both sides4 ,a very slight pressure will cause a number of coins thus prepared to adhere together1 and form for the time being a solid mass1 which will fall through the trap without causing any 8clink40 ,we next come to-- ,illustration3 ,,fig4 #bgg4 ,,fig4 #bgh4 ,illustration3 ,,fig4 #bgi4 ,pistons4--,these are appliances for working pieces of mechanical apparatus--as1 for example1 the ,watch ,target1 the ,card ,star1 the ,demon's ,head1 etc41 etc4 ,a piston 7see ,figs4 #bgg1 #bgh7 consists of a brass tube a1 about five inches in length by five-eighths of an inch in diameter1 with a collar at one end pierced with screw-holes for affixing it to the under surface of the table4 ,within this tube works a wire rod1 b1 three-sixteenths of an inch thick1 and terminating in a small round disc of brass c1 just large enough to work freely up and down the tube4 ,a spiral spring1 also of brass1 keeps the rod down1 unless when forced upwards by pulling a piece of whipcord1 which is attached to the disc c1 and thence passes up the tube1 and over a small pulley d1 which is soldered to the collar already mentioned4 ,when this cord is pulled1 b is forced to rise1 which it does to the extent of about two inches above the surface of the table 7see ,fig4 #bgh71 again sinking under the pressure of the spring1 as soon as the pull is relaxed4 ,each piston is screwed to the under surface of the top of the table1 in which a small hole is bored1 in order to allow of the upward passage of the piston rod4 ,where complicated mechanical pieces have to be worked1 three1 four1 or more of these pistons are placed side by side4 ,the cords are carried behind the scenes1 either directly from the back of the table1 or down grooves in the legs1 and through holes in the stage to the hiding-place of the assistant4 ,where a single piston only is required1 it may be made to work in the central pillar of a light guridon1 or fancy table1 such as shown in ,fig4 #bgi1 the lightness and simplicity of the table1 and the thinness of its top1 apparently precluding all possibility of the presence of concealed mechanism4 ,the cord may be made to pass down the centre pillar1 so as to be quite invisible to the audience4 ,illustration3 ,,fig4 #bhj4 ,the mechanical pieces worked by the agency of these pistons vary greatly in construction1 but they are alike in one particular1 viz41 that they are set in motion by one or more vertical rods passing up the shaft or column on which they stand1 and each terminating in a flat metal disc1 or pedal1 which receives the upward pressure of the piston4 ,fig4 #bhj shows the arrangement of the foot of a mechanical piece worked by one such rod only4 ,another specimen will have been observed in the case of the pedestal for the animated money4 7,see page #ahf47 ,where three or four pedals are necessary1 they are generally enclosed in a square wooden base1 as in the case of the 8,demon's ,head10 described at page #deh4 ,before quitting the subject of the tables used upon the stage1 we must not omit to say a few words as to what is called the 8bellows0 table1 though it is now comparatively little used4 ,it was formerly 7say forty or fifty years ago7 the fashion among conjurors to use tables with drapery hanging to within a few inches of the floor4 ,the table being1 say1 two feet seven inches high1 this gave room for a box-like arrangement1 of two feet deep1 or thereabouts1 within the body of the table4 ,in this box1 which was open at the back1 was hidden an assistant1 who worked the pistons1 managed the traps1 effected necessary substitutions1 etc41 etc4 ,conjuring under such circumstances was very easy work4 ,in #ahde1 however1 ,robert-,houdin gave his first public performance1 and one of the earliest of his reforms in the magic art was the suppression of the too suggestive drapery1 and the substitution of tables of light and elegant form1 allowing no possible room for the concealment of an assistant4 ,a reaction set in in favour of the new fashion1 which has ever since maintained its ground4 ,the 8bellows0 table combines the apparent simplicity of the undraped table with the internal capacity of the old-fashioned draped article4 ,there is a trick1 formerly very popular as the wind-up of an entertainment1 which consists of the magical disappearance of a youthful assistant1 male or female4 ,the subject of the trick1 generally dressed in a page's costume1 is made to mount upon a table1 and is covered by a wicker cone1 which being almost instantly removed1 he or she has vanished4 ,the table in this case is draped to within a few inches of the ground1 but to show that no hidden receptacle is thereby concealed1 the performer before commencing the trick lifts up the table-cloth1 and shows that the top of the table is at most not more than two or three inches in thickness4 ,the drapery is then again allowed to fall into position1 and the trick proceeds4 ,the table used in this trick is a bellows table2 i4e41 it has a double top1 or rather two tops1 one above the other4 ,the upper one is a fixture1 with a large wooden trap 7opening upwards7 in it1 to allow of the passage of the person to be conjured away4 ,the under top is moveable1 being in its normal condition pressed against the upper one by the action of four spiral springs 7one in each leg of the table71 but sinking down to nearly the depth of the cover under the weight of a person stepping upon it1 and thus affording the requisite hiding-place1 in which the person remains until the fall of the curtain enables him or her to come forth with safety4 ,cloth is nailed round three sides of the upper and lower boards1 folding between the two when closed1 after the manner of the leather of a bellows2 and from this circumstance the table derives its name4 ,illustration3 ,,fig4 #bha4 ,small round tables 7for the disappearance of a rabbit1 or the like7 are sometimes made on the same principle4 ,the following will be found a simple and convenient arrangement3--,let the table be of the form shown in ,fig4 #bha1 and two feet seven inches high4 ,let the uppermost eight inches of the pillar be a plain cylinder a a1 an inch and a half in diameter4 ,below this the pillar may increase in size1 and may be of an ornamental character4 ,take two circular boards of deal or mahogany1 each eighteen to twenty inches in diameter1 and five-eighths of an inch thick4 ,in the centre of one of them1 b1 cut a circular hole an inch and three-quarters in diameter4 ,this will form the under side of the 8bellows10 the object being to allow the board to slide freely up and down on a a4 ,the other board1 which we will call c1 is screwed firmly on to the pillar1 to form the top of the table4 ,next take a strip of black alpaca1 ten inches in width1 and nail its opposite edges round b and c1 leaving a small space at one side to give access to the interior4 ,tie a piece of cord elastic round the centre of the alpaca1 tightly enough to exercise a considerable degree of tension4 ,fix such traps as may be desired in c1 and glue over it a fancy-patterned cloth1 with a fringe or border hanging down nine or ten inches round the sides4 ,the performer1 before executing any trick with this table1 may pointedly draw attention to the fact that it contains no drawer or other place of concealment4 ,in doing this 7see ,fig4 #bhb7 he with one hand raises the lower board level with the upper 7the action of the elastic drawing in the alpaca between the two71 while with the other hand he raises the fringe1 and shows1 apparently1 that the top of the table is but a single board4 ,illustration3 ,,fig4 #bhb4 ,the top of every conjuring table should be covered with woollen cloth1 not only to prevent the clatter which would be occasioned by the placing of objects upon the bare wood1 but to conceal the presence of the traps and pistons4 ,the cloth used should1 for this latter reason1 be of two colours1 and of a tolerably intricate pattern1 as the outline of the traps will be thereby rendered much less perceptible2 indeed1 if the pattern of the cloth be a favourable one for the purpose1 the traps should be1 by gas-light1 absolutely invisible4 ,the cloth should be glued over the top of the table after the manner of a card-table2 the upper surface of the traps being first roughed slightly1 to make the glue adhere to the metal4 ,when the glue is thoroughly dry 7but not until then7 the cloth may be cut along the outline of the traps with a very sharp penknife1 and small holes bored to allow of the upward passage of the piston rods4 ,as it is necessary in placing a mechanical piece upon the table1 to do so exactly over the pistons1 it is well to have a couple of wire points projecting upwards a quarter of an inch or so from the surface of the table1 in such positions that if the piece of apparatus rests firmly against these 7which the performer can tell instantly by feel7 it must necessarily be in proper position4 ,where 8wrist0 traps are used1 the cloth need not be cut out round the little oblong slab marked c in ,figs4 #bfc1 #bfd1 but the cloth should be without glue over this particular spot1 and for half an inch round it on either side4 ,the cloth will by this arrangement be found1 without cutting1 to stretch sufficiently over c to allow of the proper working of the trap4 ,assuming that our stage appliances are complete1 we will proceed to-- ,,the ,,rabbit ,,trick4--,the performer comes forward to the audience1 and borrows a hat4 ,he asks whether it is empty1 and is answered that it is2 but he1 notwithstanding1 finds something in it1 which the owner is requested to take out4 ,the article in question proves to be an egg4 ,no sooner has this been removed1 than the performer discovers that there is still something in the hat1 and immediately produces therefrom a live rabbit1 quickly followed by a second4 ,not knowing what other use to make of these1 he proposes to pass one of them into the other4 ,the audience decide which is to be the victim1 and the performer1 placing them side by side on the table1 proceeds to roll them together1 when one is found to have vanished1 nobody knows when or how2 but the theory is that it has been swallowed by the remaining rabbit1 to the 7imaginary7 increased fatness of which the performer draws special attention4 ,having thus passed one rabbit into the other1 the next step is to get it out again4 ,to do this the performer calls for some bran1 and his assistant immediately brings forward1 and places on a table or chair1 a huge glass goblet1 twelve inches or thereabouts in height1 filled to the brim with that commodity4 ,the performer takes the borrowed hat1 and 7after showing that it is empty7 places it mouth upwards upon another table1 so as to be at some considerable distance from the goblet of bran4 ,he then places a brass cover over the glass1 first1 however1 taking up and scattering a handful of the bran to prove its genuineness4 ,taking the surviving rabbit1 and holding it by the ears above the covered goblet1 he orders the one swallowed to pass from it into the glass1 at the same time stroking it down with the disengaged hand1 as though to facilitate the process4 ,he remarks1 8,you must excuse the comparative slowness of the operation1 ladies and gentlemen1 but the fact is1 the second rabbit passes downwards in an impalpable powder1 and1 if ,i were not to take sufficient time1 we might find that a leg or an ear had been omitted in the process1 and the restored rabbit would be a cripple for life4 ,i think we are pretty safe by this time1 however4 ,thank you1 ,bunny2 ,i need not trouble you any more40 ,so saying1 he releases the visible rabbit1 and on taking off the cover the bran is found to have disappeared1 and the missing rabbit to have taken its place in the goblet2 while on turning over the borrowed hat the vanished bran pours from it4 ,the reader who has duly followed our descriptions of the appliances employed in the magic art will have little difficulty in solving the riddle of this trick4 ,the performer first comes forward with an egg palmed in one hand1 and with a small rabbit in an inner breast-pocket on each side of his coat 7see page #i74 ,the first step is the pretended finding of something 7it is not stated what7 in the hat4 ,the owner is requested to take it out1 and while all eyes are naturally turned to see what the article may prove to be1 the performer1 without apparent intention1 presses the mouth of the hat with both hands to his breast1 and tilts one of the rabbits into it4 ,this is next produced1 and in placing it on the ground at his feet1 the performer brings the second rabbit in the same manner into the hat4 ,when he undertakes to pass the one rabbit into the other1 he places both upon the table which contains the rabbit-trap1 and1 standing sideways to the audience1 pushes the hindmost1 under cover of the other1 through the trap4 ,this particular rabbit is not again produced1 the rabbit in the 8bran glass10 which has already been explained 7see page #chc71 being another as much like it as possible4 ,it only remains to explain how the bran comes into the borrowed hat4 ,this is effected by having a black alpaca bag filled with bran in one of the profondes or under the waistcoat of the performer4 ,this bag is introduced into the hat after the manner of the goblets 7see page #cjh71 and the bran having been allowed to run out1 the bag is rolled up in the palm1 and so removed1 the bran remaining1 to be produced in due course4 ,it is obvious that the trick may be varied in many ways4 ,the following is an effective modification3--,a rabbit having been produced by natural or supernatural means1 is placed on the principal table 7close to the hinder edge71 and temporarily covered with a borrowed hat1 while the performer goes in search of a sheet of paper1 which when obtained1 he spreads upon a small side table4 ,lifting the hat slightly1 he takes out the rabbit1 and walking with it to the side table1 rolls it up in the paper1 making a somewhat bulky parcel4 ,coming forward with this to the audience1 he turns toward the principal table1 and saying1 8,now1 ladies and gentlemen1 if you watch me very closely1 you will see the rabbit fly out of the paper1 and back to the hat40 ,he crushes the paper together between his hands1 and tearing it1 shows it empty1 while on lifting the hat the rabbit is again found safely ensconced beneath it4 ,the ingenious reader will readily guess that duplicate rabbits are employed4 ,one of them is placed under the hat1 and remains there throughout the trick4 ,a second1 of similar appearance1 is placed in a box or basket on the servante1 immediately behind the hat4 ,this box has no lid1 but is pushed until wanted just within the interior of the table1 the top of which prevents the rabbit making a premature appearance4 ,the performer1 slightly raising the hat1 as though to take the rabbit from under it1 lifts up this second rabbit1 which the spectators naturally believe to be the same which they have already seen1 and in apparently wrapping it in paper on the side table1 presses it1 under cover of the paper1 through the rabbit trap1 and screws up the ends of the paper 7which should be rather stiff7 in such manner as to make it appear that the animal is still inside it4 ,the same trick may be performed with a pigeon with equally good effect1 and considerably less difficulty4 ,,the ,,fairy ,,star4--,this is one of the most telling of stage card tricks4 ,the performer1 coming forward with a pack of cards1 allows six to be chosen4 ,his assistant meanwhile brings forward and places on a table a handsome gilt 8star0 on a stand4 ,the performer1 collecting the chosen cards1 places them in his pistol1 and fires them at the star1 when1 at the moment of the explosion1 they are seen to attach themselves one to each of its points1 as in ,fig4 #bhc4 ,illustration3 ,,fig4 #bhc4 ,,fig4 #bhd4 ,the principal point to be explained is the construction of the star4 ,behind each 8ray0 is a moveable arm1 working on a spring hinge at about two inches' distance from the point1 and carrying a spring clip at its outer end wherein to insert a card4 7,see ,fig4 #bhd1 representing a back view of the apparatus47 ,a card being placed in each of the clips1 the six arms1 with the cards attached to them1 are folded down one by one behind the centre of the star1 which is just large enough to conceal them4 ,each card1 as folded1 holds down the one which has preceded it4 ,when the last card is folded down1 the free end of a moveable button or lever at the top of the pillar on which the star rests is so turned as to press upon the arm which holds the card last folded1 and thus to keep it and the five other cards preceding it in place4 ,this button1 however1 is so arranged as to be instantly withdrawn upon an upward movement being communicated to a wire rod which passes up the centre of the pillar1 and terminates in a flat disc of metal at its foot4 ,the apparatus1 thus prepared1 is placed immediately over one of the pistons of the table4 ,at the moment of firing the pistol the cord of the piston is pulled4 ,the piston rises1 pressing up the disc and wire rod1 the button is withdrawn1 and the arms1 being thereby released1 revert to their natural position1 exhibiting a card upon each point of the star4 ,there are many little differences of detail between the 8stars0 of rival manufacturers1 but the foregoing may be taken to represent the general principle of all4 ,some have the addition of a rose in the centre1 which opens simultaneously with the appearance of the cards1 and discloses a watch1 borrowed a moment previously from one of the spectators4 ,the mode of working the trick varies a good deal in the hands of different performers4 ,the most legitimate method is to 8force0 cards corresponding to those already folded behind the star1 and this method has the advantage of allowing the star to be brought in and placed upon the table before commencing the trick2 and as it is not again touched by the performer or his assistant1 the appearance on its points of 7apparently7 the identical cards just chosen seems really miraculous4 ,to be able1 however1 to force six cards in succession with ease and certainty1 demands a more than average degree of dexterity on the part of the performer2 and a 8forcing pack0 7see page #bc7 is hardly available where more than three1 or at most four cards have to be forced4 ,various expedients have been adopted to get over this difficulty4 ,some professors simply collect1 or allow their assistant to collect1 the cards which have been drawn1 and forthwith secretly exchange them for the same number of others4 ,these latter are laid upon the table1 and subsequently placed in the pistol1 while the originals are carried off by the assistant behind the scenes1 and there attached to the star1 which is then for the first time brought forward4 ,others1 again1 use what are called 8longs and shorts0--i4e41 two packs of cards1 one of which has had a small portion shaved off its length or breadth4 ,the performer offers the uncut pack for the company to draw from1 letting each person retain his card1 and then secretly exchanging the pack for the shortened pack1 he requests each of the drawers 7singly7 to replace his card1 and to shuffle freely4 ,the substituted pack being a shade smaller than the returned card1 the latter becomes a 8long0 card 7see page #fj72 and therefore1 however well the cards are shuffled1 the performer is able1 with absolute certainty1 to cut at that particular card4 8,here is your card10 he remarks1 8the knave of diamonds40 ,as he names the card1 the assistant1 behind the scenes1 takes the cue1 and attaches a corresponding card to the star4 ,the card named is removed from the pack and laid upon the table1 in order to be subsequently placed in the pistol1 and a second drawn card is returned and shuffled with the like result4 ,the star may1 in the absence of a mechanical table1 be placed on the hand1 the disc being pushed up by the fingers4 ,some stars have a moveable stud at the side of the pillar1 connected with the rod within1 to facilitate this mode of working the trick4 ,illustration3 ,,fig4 #bhe4 ,,the ,,card ,,bouquet4--,this is a trick very similar in effect to that last described1 though differing a little as to the manner of the appearance of the cards4 ,six cards are drawn1 and placed in a pistol1 as in the last case4 ,a vase 7apparently of china1 but really of tin1 japanned71 containing a handsome bouquet1 is placed upon the table1 and1 at the instant of firing1 the six cards appear ranged in a semicircle above the flowers in the bouquet4 7,see ,fig4 #bhe47 ,in this instance1 the cards are attached to the branches of a sort of fan1 so constructed as to open of its own accord1 unless forcibly kept closed4 ,the cards having been duly placed in position1 this fan is shut1 and pressed downwards through a narrow opening in the lower part of the vase1 the pressure of whose sides keeps it1 for the time being1 closed4 ,when pressed upwards by the action of a piston1 the fan rises above the level of the flowers1 and at the same time opens and exhibits the six cards4 ,the vase is sometimes made with a second pedal1 to produce a second series of six cards4 ,in this case twelve cards are drawn2 six of these first appear1 and then1 at the command of the performer1 these six suddenly change to the other six4 ,this is effected as follows3--,the twelve cards are pasted back to back in couples4 ,each of the six arms which hold the cards is so arranged as to be capable of being turned half round 7after the manner of the centre of the 8watch target071 in which position it is retained by a catch1 flying back however to its old position as soon as the catch is released4 ,the six arms are each turned round in this manner1 bringing what are naturally the hindmost cards in front4 ,the movement of the first lever exhibits these cards2 that of the second lever releases the six catches1 when the arms instantly fly round and reveal the other six cards1 into which those first exhibited appear to have changed4 ,,the ,,demon',s ,,head4--,this is a large and effective piece of apparatus1 standing about twenty-eight inches from the table4 ,it consists of a grotesque papier mach head1 representing that of a demon or satyr1 and painted according to taste4 ,it is supported by an ornamental brass column1 about an inch in diameter1 springing from a velvet-covered base1 nine inches square and four and a half high4 7,see ,fig4 #bhf47 ,at the will of the operator1 the head rolls its eyes and opens its mouth1 and is sometimes made available in this way to answer questions2 the rolling of the eyes being taken to signify a negative1 and the opening of the mouth an affirmative4 ,in addition to these accomplishments1 the demon will indicate chosen cards in the following manner3 ,five cards having been selected1 are returned to the pack1 which1 after being duly shuffled1 is placed in the demon's mouth4 ,the performer now orders him to produce the chosen cards1 when two of them fly from his mouth1 and the other two spring up between his horns4 ,illustration3 ,,fig4 #bhf4 ,illustration3 ,,fig4 #bhg4 ,the head owes its movements to the action of three different sets of levers1 each terminating in a disc or pedal immediately over a circular hole in the under side of the base4 ,the apparatus is so placed upon the table that these openings correspond in position with the same number of pistons4 ,fig4 #bhg is a general view of the internal mechanism1 the back of the head being removed 7as in fact it may be in the original7 to give access thereto4 ,fig4 #bhh exhibits 7as seen from the rear7 the action of the left-hand group of levers1 producing the movement of the eyes4 ,when an upward pressure is applied to the foot of the lever a1 it causes the upper arm c d of the elbow piece b c d to describe an arc of about a quarter of an inch from left to right1 thereby communicating a corresponding movement to the pair of levers e e1 working on the pivots f f2 and1 as a necessary consequence1 a reverse movement to the opposite ends of such levers1 on which are fixed the eyes g g4 ,as soon as the upward pressure is removed1 the spring h1 a spiral coil of fine brass wire1 draws back the levers e e1 and with them the eyes1 to their original position4 ,to produce a continuous rolling1 the pressure of the piston is applied and relaxed alternately1 the effect to the spectator being as if the figure looked first to the left and then to the right1 although as already explained1 the active movement of the levers is in the one direction only1 the normal position of the eyes being in the other direction4 ,illustration3 ,,fig4 #bhh4 ,illustration3 ,,fig4 #bhi4 ,fig4 #bhi shows the action of the second or middle group of levers1 serving to produce the opening of the mouth4 ,the chin of the figure consists of a solid block of wood i1 working on a pivot j in each cheek1 and so counterweighted that its normal position is as in ,fig4 #bhi1 thus keeping the mouth closed4 ,when1 however1 the shaft k is raised by pressure from below1 the lever l rises with it1 and proportionately depresses the opposite end of the block i1 thereby opening the mouth4 ,as soon as the pressure is removed1 the block falls back into its original position1 and the mouth closes4 ,illustration3 ,,fig4 #bij4 ,illustration3 ,,fig4 #bia4 ,the third or right-hand set of levers is a little more complex in its operation1 inasmuch as it has to perform a double office1 the expulsion of two cards from the mouth1 and the elevation of two others at the top of the head4 ,the cards to be shot from the mouth are placed beforehand 7from the front7 in the receptacle indicated in ,fig4 #bhi by the letters m m1 and a 8plan0 of which is given in ,fig4 #bij1 and a back view in ,fig4 #bia4 m m is a flat piece of tin1 its edges folded over so as to form a receptacle or platform just capable of holding easily a couple of cards2 n is a spring1 which1 when the cards are put in position1 is 8set0 by being drawn back into the notch of the catch o4 ,when an upward pressure is exerted by the shaft p p on the elbow-piece q q q1 the latter pressing against r draws back this catch1 and releases the spring1 which forthwith shoots out the two cards from the mouth4 ,the other two cards are inserted in the clip s 7see ,fig4 #bia71 consisting of two small pieces of sheet brass soldered to the end of the rod t1 which works up and down piston-wise in the tube u u4 ,within the tube is a spiral spring which impels s upwards level with the top of the head1 across which a slit or opening is made to allow of the passage of the cards4 ,this portion of the apparatus is set by placing the two cards in the clip1 and then drawing down the piston-rod by the cross-piece v1 which is riveted thereto1 and hitching such cross-piece under the catch w4 ,the upward movement of the shaft p1 at the same time that it draws back the catch o1 also draws back the catch w1 thereby releasing v1 and allowing the clip s and the two cards therein to spring upward1 and appear at the top of the head4 ,it is hardly necessary to remark that the cards chosen by the audience are 8forced0 cards1 of which duplicates have beforehand been placed in the head4 ,illustration3 ,,fig4 #bib4 ,,the ,,magic ,,picture ,,frame4--,the performer1 always borrowing1 borrows this time a lady's handkerchief1 and any small articles--say a watch and a glove4 ,these latter he rolls up in the handkerchief1 and places the ball or bundle thus made upon the table4 ,he looks about in search of his magic pistol1 which is immediately afterwards brought in by the assistant4 ,the performer places the handkerchief1 etc41 in the pistol1 the assistant meanwhile bringing forward and placing on the table a handsome picture-frame1 mounted on a stand4 ,it contains no picture1 the space which the picture should occupy being filled by a board covered with black cloth4 ,the performer1 standing at the farthest available distance from the frame1 takes aim at it1 and fires1 when the borrowed articles are seen instantly to attach themselves to the black background1 whence1 being removed1 they are handed to the owners for identification4 ,illustration3 ,,fig4 #bic4 ,,fig4 #bid4 ,the picture-frame1 which is of the appearance shown in ,fig4 #bib1 and stands altogether about two feet high1 is backed by a sort of wooden box1 an inch and a half in depth1 and a little smaller than the external measurement of the frame4 ,the inside of this box is covered with black cloth1 and in fact forms the true back of the frame2 and it is upon this that the borrowed objects are fastened by means of small sharp hooks1 the back opening on hinges to facilitate the doing so4 ,an ordinary spring roller-blind1 also of black cloth1 works up and down just behind the opening of the frame4 ,we have said an ordinary spring blind1 but1 in truth1 the usual check at the side is wanting1 and the blind therefore1 if drawn down1 instantly flies up again1 unless held down from below4 ,the blind terminates at bottom in a square lath1 five-eighths of an inch in length by three-eighths in thickness1 with a wire pin1 half-an-inch in length1 projecting at right angles from its hinder side4 ,the ends of this lath1 when the blind is drawn down1 sink into two upright grooves1 one at each side of the frame1 thereby keeping the latter square1 and the pin in a horizontal position4 ,the catch a 7an enlarged view of which is shown in ,figs4 #bic1 #bid7 is now hooked over the pin1 as in ,fig4 #bic1 thus holding the blind down4 ,a wire rod1 attached to this catch1 passes down the column on which the frame stands1 and terminates in the usual disc or pedal at bottom4 ,when an upward pressure is applied to this1 the catch assumes the position shown in ,fig4 #bid1 thereby releasing the pin1 and allowing the blind to fly up4 ,the blind is represented in ,fig4 #bib in the act of flying up1 but1 in truth1 its rise is so rapid as to be practically invisible4 ,the sudden appearance of the articles in the frame is thus sufficiently accounted for1 but it remains to be explained in what manner they were placed there1 as they have 7apparently7 never been removed from the sight of the audience4 ,it will be remembered that the smaller articles were rolled up in the handkerchief1 which was then placed on the table4 ,in truth1 what is placed upon the table is a substitute handkerchief1 similarly rolled up1 while the original is dropped on the servante1 and carried off by the assistant when he brings in the pistol4 ,having thus obtained possession of the articles1 he quickly places them in the frame1 and draws down and fastens the blind4 ,this done1 he closes the door at the back1 and brings forward the frame1 taking care to place it immediately over one of the pistons of the table4 ,as the pistol is fired he pulls the cord1 the blind flies up1 and the articles are revealed4 ,illustration3 ,,fig4 #bie4 ,,the ,,flying ,,watches ,,and ,,the ,,broken ,,plate4--,this is a rather more elaborate form of the trick last described4 ,the performer collects three or four watches from the company1 the assistant1 meanwhile1 being sent to fetch a plate4 ,on his return1 the watches are laid one by one on the plate1 and he is ordered to place them on the table4 ,in attempting to do so he trips and falls1 the watches being scattered in all directions1 and the plate being smashed to pieces4 ,the performer reprimands the offender for his carelessness1 and picking up the watches1 finds that they are injured in various ways4 ,after a momentary hesitation1 he hits on a way of repairing the damage4 ,calling for his pistol1 he drops the battered watches and the fragments of the plate into it1 keeping all down with a wad of newspaper4 ,the assistant now brings in the picture-frame1 as in the last trick1 and the performer1 taking good aim1 fires at it4 ,at the instant of firing1 the plate is seen restored in the centre of the frame1 with the borrowed watches encircling it4 ,the performer advances to remove and return them to the owners1 but is 7or appears to be7 thunderstruck at perceiving that the restoration is incomplete1 a large piece being missing from the plate4 7,see ,fig4 #bie47 ,after a moment's reflection1 he discovers the cause of the defect1 for1 looking about upon the stage1 he finds and picks up a fragment which he had overlooked when he put the rest in the pistol1 and which consequently is wanting in the restored plate4 ,he apologizes for the oversight1 and proceeds to remedy it4 ,standing at the furthest portion of the stage1 he makes the motion of throwing the recovered fragment towards the frame4 ,it is seen to vanish from his hand1 and the plate at the same moment appears whole as at first4 ,the plate is removed1 and with the restored watches handed to the audience for examination1 when the closest inspection fails to discover any trace of fracture4 ,the first point to be explained is the mode in which the assistant obtains possession of the borrowed watches1 in order to place them in the frame4 ,the watches are collected by the performer in a changing apparatus 7say one of the changing caddies described at page #cdh1 or a drawer-box with a shallow inner drawer1 as described at page #cdf74 ,in this is placed beforehand a like number of dummy watches1 and it is these latter which are placed on the plate1 and meet the pre-destined downfall4 ,the apparatus being left apparently empty1 no suspicion is excited by the fact that the assistant1 when sent to fetch the pistol or the frame1 carries it off as no longer needed4 ,the sudden restoration of the piece apparently wanting in the plate1 though marvellous to the uninitiated1 is really effected by very simple means4 ,the restored plate is throughout whole and unbroken1 but the effect of a piece wanting is produced by covering one portion of its outer rim with an angular piece of black velvet or alpaca1 similar to that which covers the back of the frame4 ,the illusive effect is perfect4 ,the frame is provided with two pedals1 the first releasing the black blind in front of the plate and watches1 and the second serving to withdraw the angular piece of cloth already mentioned1 and thus 7apparently7 effecting the complete restoration of the plate4 ,the pretended disappearance of the broken piece from the hand at the moment of throwing is effected by taking it first in the left hand1 and thence apparently transferring it to the right by the tourniquet1 so that when the right hand is opened in the act of throwing1 it is naturally found empty4 ,,the ,,magic ,,picture ,,and ,,the ,,chosen ,,cards4--,we notice this trick in this place as having a very close affinity1 in effect1 to the two last described4 ,it is1 however1 wholly independent of stage appliances1 and is equally well adapted for the drawing-room as for the platform4 ,the performer1 taking an ordinary pack of cards1 allows three to be chosen4 ,these are returned to the pack1 and the pack shuffled4 ,he then brings forward a small picture in a frame1 and measuring1 say1 fourteen inches by twelve4 ,having exhibited both front and back1 he entrusts the picture to a spectator to hold1 and taking the pack of cards1 throws them smartly against the glass1 when in an instant the three chosen cards appear in front of the picture1 but under the glass4 ,the back of the frame is next taken out1 and picture1 back1 frame1 and glass are separately handed for inspection2 but the closest scrutiny of the audience cannot discover any mechanism or special arrangement to account for the effect above described4 ,the reader will already have anticipated that the three cards are 8forced40 ,the picture is on the principle of the frames last above described1 with a slight variation4 ,there are1 in fact1 two pictures exactly alike4 ,one of these is pasted upon the wooden back of the frame1 and upon this are fastened duplicates of the cards to be chosen4 ,the second picture is mounted on cloth1 and works on a spring roller artfully concealed in the upper part of the frame1 taking1 in fact1 the place of the black blind in the other frames4 ,this is kept down by a pin at the lower side of the frame1 and is so arranged as to be released by the smallest pressure against the glass4 ,the pack of cards1 smartly thrown1 supplies this pressure4 ,the foremost picture flies up1 and reveals apparently the same1 but really a similar picture1 with the chosen cards between it and the glass4 ,,the ,,magic ,,portfolio4--,the performer comes forward with a large portfolio1 such as is used to contain engravings1 and barely an inch in thickness4 ,this he places sideways to the audience1 upon a stand or trestle1 thereby raising it to a convenient height1 and at the same time negativing the possibility of its having any communication with the floor of the stage4 ,standing behind it1 he proceeds to take from it a number of large engravings1 then a couple of lady's bonnets of the latest fashion1 and showing no sign of creasing or compression4 ,these are followed by a large bird-cage1 containing a number of living birds2 and finally by three brass stew-pans1 one containing haricot beans2 a second1 water2 and a third1 fire4 ,other articles are sometimes produced1 but the above are those most generally used4 ,this really surprising trick is performed by the simplest possible means4 ,the bonnets and the bird-cage are made to fold nearly flat1 on the principle of the reticules and bird-cages described at pages #cji and #caa4 ,in this flattened condition they are placed in the portfolio1 which being turned sideways to the audience1 and the performer standing behind it1 the side which is towards the spectators naturally forms a cover for the operator1 and gives him every facility for developing the folded articles4 ,the stew-pans1 however1 cannot be made thus compressible1 and consequently a different plan is adopted in respect of them4 ,these have india-rubber covers1 after the manner of the bowls of gold-fish1 and1 like them1 are concealed about the person of the performer1 who1 producing them under cover of the portfolio1 appears to take them out of it4 ,the pan for the fire contains a little spirits of wine1 which the performer1 still behind the portfolio1 ignites with a wax match before producing this particular pan4 ,where it is desired to produce a child1 or other specially bulky object1 the portfolio is for a moment placed on the table1 behind which such object is placed4 ,the object having been introduced into the portfolio1 the latter is then transferred to the proper stand4 ,,the ,,glove ,,column4--,this is an ornamental column1 sometimes of brass1 sometimes of glass1 on a massive foot and standing about two and a half feet high4 ,it is surmounted by a metal cup1 about an inch and a half in depth and two inches in diameter4 ,the mode of using the column is as follows3--,three or four rings are borrowed1 also a white kid glove1 and the whole are placed in the magic pistol4 ,the column is then brought in1 and placed upon the table4 ,the magician takes aim at it1 and fires4 ,at the instant of his doing so1 the glove1 expanded as though containing a living hand1 appears at the top of the pillar1 with one of the borrowed rings on each of its fingers4 ,the glove and rings1 as the reader will probably conjecture1 are exchanged at an early period of the trick4 ,there are plenty of ways of effecting this exchange4 ,perhaps1 as regards the rings1 the expedient of having them collected on the performer's wand by the assistant 7see page #cii7 is as good as any4 ,the assistant1 having thus gained possession of the borrowed articles1 arranges them as follows3--,the glove is placed upon the end of a tube1 which runs through the whole length of the column1 terminating just within the cup at top1 and is kept in position by an india-rubber ring slipped over it1 and holding it tight to the tube4 ,one of the borrowed rings is now placed over each of the fingers1 and the glove thus prepared is pressed down into the cup1 so as not to show above the rim4 ,the column is now placed upon the table in such manner that the lower opening of the tube shall correspond with a small hole in the table1 communicating by means of an india-rubber tube with a hollow ball of the same material1 filled with air1 and so placed as to be within reach of the hand or foot of the assistant4 ,at the moment of firing a smart pressure is applied to the ball1 thus causing a rush of air through the tube1 and inflating the glove1 which instantly springs up into a perpendicular position1 with the rings upon it4 ,the articles are now returned to the owners1 and are identified as those which were borrowed4 ,some columns have a large hollow black or gilt ball at the top1 divided vertically into two parts1 and so arranged as to fall apart at the moment of the inflation of the glove4 ,,the ,,vanishing ,,pocket ,,handkerchief1 ,,found ,,in ,a ,,candle4--,this was a favourite trick of ,robert-,houdin1 by whom1 we believe1 it was invented4 ,the performer borrows a lady's handkerchief1 drawing particular attention to the fact that he takes the first handkerchief which may be offered1 and that it is wholly free from preparation4 ,fixing upon some gentleman among the audience1 he asks him if he thinks he could set fire to the handkerchief4 ,the person addressed naturally expresses his belief that he could4 ,the performer ventures to doubt it1 and at once fetches a lighted candle to enable him to try the experiment1 meanwhile spreading the borrowed handkerchief over the top of a small round table1 or guridon1 where it remains in full view of the spectators1 showing clearly that it is not tampered with in any way4 ,returning with the candle1 the performer hands it to the gentleman1 and requests him to go and set fire to the handkerchief4 ,hardly1 however1 has he taken the first step to do so1 when the handkerchief suddenly vanishes1 its disappearance being so rapid that the spectators cannot even decide in which direction it travelled4 ,the performer accuses the gentleman1 who is still holding the candlestick1 of having the handkerchief about him4 ,this he naturally denies4 ,the professor insists1 and after keeping up the dispute as long as the audience are amused by it1 offers to prove his assertion1 and taking the candle from the candlestick1 breaks it in half1 and produces from it the borrowed handkerchief1 which is immediately identified by the owner4 ,this capital trick requires the aid of a special table4 ,the top is thin1 and without fringe or ornament of any kind1 allowing no apparent space for the concealment of even the smallest article4 ,the centre pillar1 however1 is a hollow tube1 and it is into this that the handkerchief is made to vanish4 ,the first step in the trick is to exchange the handkerchief for a substitute4 7,see page #bdj47 ,this substitute is spread over the top of the table4 ,the real handkerchief the performer carries with him when he leaves the stage under the pretence of fetching the candle1 and utilizes his momentary absence in placing it inside the candle1 which is hollow1 and of the description mentioned at page #bea4 ,when the gentleman advances to set fire to the handkerchief1 the pulling of a string by the assistant causes a clip to rise up in the centre of the table1 and nip the middle of the handkerchief1 which is instantly drawn down within the tube through a small trap at its upper extremity4 ,,the ,,sphinx4--,few tricks have of late years caused so great a sensation as this now well-known illusion1 which was first introduced to the ,london public by the late ,colonel ,stodare1 in #ahfe4 ,we cannot better preface the explanation of the trick than by quoting a portion of the ,times notice on the subject1 of ,october #ai1 #ahfe3-- 8444 ,most intricate is the problem proposed by ,colonel ,stodare1 when1 in addition to his admirable feats of ventriloquism and legerdemain1 he presents to his patrons a novel illusion called the #8,sphinx4' ,placing upon an uncovered table a chest similar in size to the cases commonly occupied by stuffed dogs or foxes1 he removes the side facing the spectators1 and reveals a head attired after the fashion of an ,egyptian ,sphinx4 ,to avoid the suspicion of ventriloquism1 he retires to a distance from the figure supposed to be too great for the practice of that art1 taking his position on the borderline of the stalls and the area1 while the chest is on the stage4 ,thus stationed1 he calls upon the ,sphinx to open its eyes1 which it does--to smile1 which it does also1 though the habitual expression of its countenance is most melancholy1 and to make a speech1 which it does also1 this being the miraculous part of the exhibition4 ,not only with perspicuity1 but with something like eloquence1 does it utter some twenty lines of verse2 and while its countenance is animated and expressive1 the movement of the lips1 in which there is nothing mechanical1 exactly corresponds to the sounds articulated4 8,this is certainly one of the most extraordinary illusions ever presented to the public4 ,that the speech is spoken by a human voice there is no doubt2 but how is a head to be contrived which1 being detached from anything like a body1 confined in a case1 which it completely fills1 and placed on a bare-legged table1 will accompany a speech1 that apparently proceeds from its lips1 with a strictly appropriate movement of the mouth1 and a play of the countenance that is the reverse of mechanical8 ,eels1 as we all know1 can wriggle about after they have been chopped into half-a-dozen pieces2 but a head that1 like that of the ,physician ,douban1 in the ,arabian tales1 pursues its eloquence after it has been severed from its body1 scarcely comes within the reach of possibilities2 unless1 indeed1 the old-fashioned assertion that #8,king ,charles walked and talked half-an-hour after his head was cut off1' is to be received1 not as an illustration of defective punctuation1 but as a positive historical statement4 8,davus might have solved the #8,anthropoglossus1' but ,colonel ,stodare presents us with a ,sphinx that is really worthy of an dipus40 ,for the benefit of those who have never seen this illusion presented upon the stage1 we will describe its effect a little more minutely4 ,the ,sphinx is always made a separate portion of the entertainment1 as it is necessary to lower the curtain for a few moments before and after its appearance1 in order to arrange and remove the necessary preparations4 ,the curtain rises1 and reveals a round or oval table1 supported upon three slender legs1 and utterly devoid of drapery4 ,this stands in a curtained recess of ten or twelve feet square1 open on the side towards the audience4 ,the performer comes forward bearing a cloth-covered box1 fifteen to twenty inches square1 and places it upon the table already mentioned4 ,he then unlocks the box1 the front of which drops down1 so as to give a perfect view of the interior1 in which is seen a head of ,egyptian fashion1 and coloured in perfect imitation of life4 7,see ,frontispiece47 ,the performer now retires to a position in the very midst of the audience1 and raising his wand1 says in a tone of command1 8,sphinx1 awake60 ,the ,sphinx slowly opens its eyes1 looking first to the front with a strong gaze2 then1 as if gradually gaining consciousness1 to the one side and the other1 the head moving slightly with the eyes4 ,questions are put by the performer to the head1 and are answered by it1 the play of the mouth and features being in perfect harmony with the sounds uttered4 ,finally1 in answer to a query of the operator1 the ,sphinx declaims a neatly turned oracle in verse4 ,this concludes the exhibition1 and the performer closes the box4 ,should the audience call for an encore1 the performer addresses them to the following or some similar effect3--8,ladies and gentlemen1 ,i am glad that the ,sphinx has afforded you satisfaction1 and ,i should be only too pleased to be able to indulge the desire which you kindly testify of seeing it again4 ,unfortunately1 this is not possible4 ,the charm by which ,i am enabled1 as you have seen1 to revivify for a space the ashes of an ancient ,egyptian1 who lived and died some centuries ago1 lasts but for fifteen minutes4 ,that time has now expired1 and the head which has astonished you with its mysterious eloquence has again returned to its original dust40 ,as he speaks the last words1 he again opens the box1 and the head is found to have disappeared1 leaving in its place a handful of ashes4 ,illustration3 ,,fig4 #bif4 ,,fig4 #big4 ,this singular illusion depends upon the well-known principle1 common to optics as to mechanics1 that 8the angle of reflection is equal to the angle of incidence40 ,thus1 if a person standing at the point a1 in ,fig4 #bif1 look into a mirror placed in the position indicated by the line b c1 he will see reflected1 not himself1 but whatever object may be placed at the point d4 ,by an ingenious application of this principle a looking-glass may be used to conceal a given object behind it1 while at the same time an image reflected in the glass may be made to represent what would be presumably seen if no glass were there1 and thus prevent the presence of the mirror from being suspected4 ,this is the secret of the ,sphinx4 ,the table1 as already mentioned1 has three legs1 one in front1 and one at each side4 ,between these legs the spectator sees apparently the curtains at the back of the recess1 but really a reflection of the curtains at the sides4 ,the space between the middle leg and that on either side is occupied by pieces of looking-glass 7see ,fig4 #big1 which represents a ground plan of the arrangement71 extending from a to b1 and a to c4 ,the glass extends quite down to the floor1 which is covered with cloth of the same material and colour as the surrounding curtains4 ,the spectators1 therefore1 looking towards the table1 see above it the curtains at the back1 and below it the reflection of the curtains at the sides2 which1 however1 if the relative angles are properly arranged1 appears to be simply the continuation or lower portion of the curtains at the back4 ,the illusion is perfect1 and the spectator1 from the position assigned to him1 cannot possibly discover1 by the evidence of his senses1 that he is looking at any other than an ordinary bare-legged table1 with the background visible in the usual way4 ,the rest is a very simple matter4 ,the person who is to represent the ,sphinx is beforehand placed1 duly attired1 underneath the table4 ,there is a trap in the table through which he can pass his head at the proper moment4 ,this trap is a round piece of wood1 covered to match the surface of the table1 and working on a hinge on the side nearest to the audience4 ,it has no spring1 but is kept closed by means of a button on the opposite side1 and when released hangs down perpendicularly4 ,it must be large enough to allow the passage of the somewhat elaborate headpiece of the ,sphinx1 and would therefore leave an open space visible round the neck4 ,this difficulty is met by the expedient of having a wooden collar1 whose upper surface is a facsimile in size and pattern of the trap1 fastened round the neck of the representative of the ,sphinx4 ,when he lifts his head up through the trap1 this collar exactly fills the opening1 and thus shows no break in the surface of the table4 ,the box is bottomless1 and when brought forward by the performer is empty4 ,a little caution has to be observed in placing it upon the table1 for1 if the performer were to approach the table from the side1 his legs would be reflected in the glass1 and would thereby betray the secret4 ,he must therefore make his appearance from some quarter outside of the curtained recess1 and advance to a position well in front of1 and at some little distance from the table1 when1 by moving in a straight line from the audience towards the middle leg a1 he prevents this inconvenient reflection4 ,the placing the box upon the table1 and the unlocking it1 allow time for the representative of the ,sphinx to get his head into position within it4 ,this done1 the box is opened1 and the rest depends on the dramatic talent of the performer and his assistant4 ,the performance being concluded1 the box is again locked1 and the head withdrawn1 a handful of ashes being introduced on the trap in its stead4 ,the angle at which the two mirrors should be set cannot be determined absolutely1 but will vary according to the distance and position of the surrounding drapery4 ,some performers use a shawl or a screen of cardboard in place of the box1 but we doubt whether any method is more effective than that above described4 ,the ghastly illusion of the so-called 8,decapitated ,head10 which drew crowds to the ,polytechnic some few years since1 was merely the 8,sphinx0 in a less pleasant form4 ,illustration3 ,,fig4 #bih4 ,,the ,,cabinet ,,of ,,proteus4--,this is another adaptation of the principle on which the ,sphinx illusion is founded4 ,it is the joint invention of ,messrs4 ,pepper and ,tobin1 by whom it was patented in #ahfe4 ,the first steps towards a patent for the ,sphinx were also taken in the same year1 but the latter invention never proceeded beyond provisional protection4 ,the ,cabinet of ,proteus is a wooden closet1 seven to eight feet in height by four or five feet square1 supported on short legs1 so as to exclude the idea of any communication with the floor4 7,see ,fig4 #bih47 ,it has folding doors1 and an upright pillar extends from top to bottom of the interior1 at about the centre of the cabinet4 ,at the top of this pillar1 in front1 is fixed a lamp1 so that the whole of the interior is brightly illuminated4 ,illustration3 ,,fig4 #bii4 ,the cabinet may be used in various ways4 ,one of the most striking is as follows3--,the folding doors are opened1 disclosing the interior perfectly empty4 7,see ,fig4 #bii47 ,the exhibitor directs his assistant to walk into the cabinet4 ,he does so1 and the doors are closed4 ,meanwhile1 a couple of gentlemen1 selected by the audience1 are invited to stand behind or beside the cabinet1 and see that no one obtains ingress or egress by any secret opening4 ,notwithstanding these precautions1 when the doors are again opened1 the assistant is found to have vanished1 and another person1 different in dress1 in stature1 and in complexion1 is found in his place4 ,this person steps forth1 makes his bow1 and retires4 ,again the cabinet1 now empty1 is closed1 and after an interval of a few moments1 again opened4 ,this time a human skeleton is found to occupy the vacant space4 ,this ghastly object having been removed1 and the door having been once more closed and opened1 another person1 say a lady1 appears4 ,this person having retired1 the doors are again closed2 and when they are again opened1 the person who first entered is once more found within4 ,a committee from the audience are now invited to examine the cabinet within and without1 out all their scrutiny cannot detect any hidden space1 even sufficient to conceal a mouse4 ,illustration3 ,,fig4 #cjj4 ,an examination of ,fig4 #cjj1 representing a ground plan of the cabinet1 will make plain the seeming mystery4 ,a moveable flap a b1 working on hinges at b1 extends from top to bottom of each side1 resting when thrown open against the post c in the middle1 and thus enclosing a triangular space at the back of the cabinet4 ,the outer surfaces of these flaps 7i4e41 the surfaces exposed when they are folded back against the sides of the cabinet7 are1 like the rest of the interior1 covered with wall paper1 of a crimson or other dark colour4 ,the opposite sides of the flaps are of looking-glass1 and when the flaps are folded back against the posts1 reflect the surfaces against which they previously rested1 and which are covered with paper of the same pattern as the rest4 ,the effect to the eye of the spectator is that of a perfectly empty chamber1 though1 as we have seen1 there is in reality an enclosed triangular space behind the post4 ,this is capable of containing two or three persons1 and here it is that the persons and things intended to appear in succession are concealed4 ,the assistant1 entering in sight of the audience1 changes places1 as soon as the door is closed1 with one of the other persons4 ,this person having retired1 and the door being again closed1 those who are still within place the skeleton in position in front of the post1 and again retire to their hiding-place4 ,when all the rest have appeared1 the person who first entered presses the flaps against the sides of the cabinet1 against which they are retained by a spring lock on each side1 and the public may then safely be admitted1 as their closest inspection cannot possibly discover the secret4 ,,the ,,indian ,,basket ,,trick4--,this is another of the sensational feats identified with the name of ,colonel ,stodare1 and is imitated from a similar illusion performed by the ,indian conjurors4 ,it is not a pleasant trick to witness1 but1 like the 8,decapitated ,head10 it drew immense crowds1 its fictitious horror being apparently its chief attraction4 ,its effect1 as the trick was originally presented by ,stodare1 is as follows3--,a large oblong basket1 say five feet by two1 and as deep as wide1 is brought in1 and placed on a low stand or bench1 so as to be raised clear of the stage4 ,the performer comes forward with a drawn sword in his right hand1 and leading with the other hand a young lady1 dressed in a closely-fitting robe of black velvet4 ,reproaching her upon some pretended ground of complaint1 he declares that she must be punished1 and forthwith begins to blindfold her eyes4 ,she simulates terror1 begging for mercy1 and finally escaping from him1 runs off the stage4 ,he follows her1 and instantly reappears1 dragging her by the wrist4 ,regardless of her sobs and cries1 he compels her to enter the basket1 in which she lies down1 and the lid is closed4 ,simulating an access of fury1 he thrusts the sword through the basket 7from the front7 in various places4 ,piercing screams are heard from the interior1 and the sword when withdrawn is seen to be red with blood4 ,the screams gradually subside1 and all is still4 ,a thrill of horror runs through the audience1 who are half inclined to call in the police1 and hand over the professor to the nearest magistrate4 ,for a moment there is a pause1 and then the performer1 calmly wiping the bloody sword on a white pocket-handkerchief1 says1 8,ladies and gentlemen1 ,i fear you imagine that ,i have hurt the lady who was the subject of this experiment4 ,pray disabuse yourselves of such an idea4 ,she had disobeyed me1 and ,i therefore determined to punish her by giving her a little fright2 but nothing more4 ,the fact is1 she had left the basket some time before ,i thrust the sword into it4 ,you don't believe me1 ,i see4 ,allow me to show you1 in the first place1 that the basket is empty40 ,he turns over the basket accordingly1 and shows that the lady has vanished4 8,should you desire further proof1 the lady will answer for herself40 ,the lady at this moment comes forward from a different portion of the room1 and having made her bow1 retires4 ,this startling illusion is performed as follows3--,to begin with1 there are two ladies employed1 in figure and general appearance as nearly alike as possible4 ,their dress is also exactly similar4 ,the little dramatic scene with which the trick commences is designed to impress upon the audience the features of the lady who first appears4 ,when she is blindfolded1 she1 as already mentioned1 runs off the stage4 ,the performer runs after her1 and apparently bringing her back1 really brings back in her place the second lady1 who is standing in readiness1 blindfolded in precisely the same way1 behind the scenes4 ,as the bandage covers the greater part of her features1 there is little fear of the spectators detecting the substitution that has taken place4 ,the substitute lady now enters the basket1 where she lies1 compressing herself into as small a compass as possible1 along the back4 ,knowing the position which she occupies1 it is not a very difficult matter for the operator so to direct the thrusts of the sword as to avoid any risk of injuring her4 ,the chief thing to be attended to for this purpose is to thrust always in an upward direction4 ,the appearance of blood on the sword may be produced either by the lady in the basket drawing along the blade1 as it is withdrawn after each thrust1 a sponge saturated with some crimson fluid1 or by a mechanical arrangement in the hilt1 causing the supposed blood1 on pressure1 to trickle down the blade4 ,illustration3 ,,fig4 #cja4 ,the only point that remains to be explained is the difficulty which will probably already have suggested itself to the reader1 viz41 8,how does the performer manage to show the basket empty at the close of the trick80 ,simply by having the basket made on the principle of the 8inexhaustible box10 described at page #cia4 ,the performer takes care to tilt the basket over to the front before he raises the lid4 ,this leaves the lady lying on the true bottom of the basket 7see ,fig4 #cjb71 while a moveable flap1 fixed at right angles to the bottom1 and lying in its normal position flat against the front of the basket1 for the time being represents the bottom to the eyes of the audience4 ,while the basket is thus shown apparently empty1 the lady who first appeared in the trick comes forward1 and is immediately recognized by the audience2 and as they are fully persuaded that she was the person placed in the basket1 the inference that she has escaped from it by some quasi-supernatural means seems inevitable4 ,the above is the form in which the trick was first introduced to the ,london public1 but another modus operandi has since been adopted by some performers4 ,the low table or bench on which the basket is placed is in this case constructed on the principle of the ,sphinx-table1 with looking-glass between the legs1 and with a large trap in the top4 ,the basket used is not made like the inexhaustible box1 but the bottom is moveable1 and hinged against the front1 so as to lift up flat against it when required4 ,one lady only is employed4 ,when she is about to step into the basket1 the bottom is pushed up from below1 and she thus steps through the basket and the table1 and thence passes1 through a trap-door1 beneath the stage4 ,the basket is then closed1 and the bottom allowed to fall back into its place4 ,as the basket is left in this case empty1 the performer may thrust into it in any direction at pleasure1 the screams being uttered by the lady from her safe quarters below4 ,at the proper moment the performer lifts the basket bodily off the table1 and shows it really empty1 while the lady1 as in the former case1 reappears in some other quarter4 ,,electrical ,,tricks4--,some of the most mysterious of the stage tricks are performed by means of electricity1 or1 to speak more correctly1 of electro-magnetism4 ,in describing these1 which are nearly all attributable to the inventive genius of ,robert-,houdin1 it may be desirable1 in the first place1 to explain in a few words what electro-magnetism is1 and how it operates4 ,every school-boy is acquainted with the ordinary steel horseshoe magnet1 and knows that if the accompanying small iron bar1 or 8keeper10 is placed within a short distance from its ends or 8poles10 it will be sharply attracted to them4 ,in the case of the ordinary magnet this attractive force is permanent1 but in that of the electro-magnet it may be produced or destroyed at pleasure4 ,the electro-magnet consists of a short piece of soft iron1 7either straight1 or bent into a horseshoe form71 with copper wire 7covered with silk or cotton7 wound round and round it nearly to the ends4 ,if a current of electricity from a galvanic battery is made to pass through this wire1 the iron core becomes powerfully magnetic1 the attractive force1 however1 ceasing as soon as the current is interrupted4 ,illustration3 ,,fig4 #cjb4 ,illustration3 ,,fig4 #cjc4 ,almost any kind of battery may be used to produce the necessary current1 but for magical purposes one of the most convenient is the ,bichromate ,bottle ,battery1 depicted in ,fig4 #cjb4 ,this consists of a plate of zinc and a plate of carbon 7or sometimes two plates of carbon7 immersed in an exciting fluid1 consisting of two ounces and a half of bichromate of potash dissolved in a pint of water1 with the addition of one-third of an ounce of sulphuric acid4 ,the bottle is only filled to the top of the spherical portion1 and the zinc is so arranged that it can be drawn up into the neck1 and so out of the solution1 when it is desired to suspend the action of the battery4 ,the wires for conducting the current should be of copper covered with silk or cotton1 and one of them must be connected with the zinc plate1 and the other with the carbon plate of the battery1 which has 8binding screws0 affixed for this purpose4 ,for the purpose of instantly completing or disconnecting the electric circuit1 the wires are affixed to the opposite sides of what is called a connecting stud 7see ,fig4 #cjc71 being a circular disc of wood or porcelain1 with a moveable stud or button in the centre4 ,on pressing this stud with the finger1 the ends of the two wires are brought in contact1 and the circuit is completed2 but as soon as the pressure is removed1 the stud rises by the action of a spring1 and the circuit is again broken4 ,among the conjuring tricks depending upon the principle of electro-magnetic attraction1 the simplest is that of ,,the ,,light ,,and ,,heavy ,,chest4--,this is a small brass-bound box1 with the ordinary handle at top4 ,the performer shows that it is empty1 and without mechanism or preparation4 ,having been duly inspected1 it is placed upon a small pedestal fixed to the stage1 when the performer requests that some gentleman of considerable personal strength will step forward4 ,a volunteer having been found1 the magician asks him whether he thinks he can lift the little box before him4 ,he naturally answers that he can1 and proves his assertion by lifting it accordingly1 which1 as the box only weighs a few pounds1 it is not very difficult to do4 8,wait a bit10 says the professor1 8you were able to lift it then1 because it was my will and pleasure that you should do so4 ,it now weighs0 7say7 8six pounds4 ,i have only to breathe on it thus1 and it will instantly weigh two tons4 ,try if you can lift it now40 ,again he tries1 but the chest is as if glued to the pedestal1 and the most violent efforts cannot dislodge it4 ,once more the performer breathes upon it1 and it may be lifted with one finger4 ,the explanation may be given in half-a-dozen lines4 ,the bottom of the box is an iron plate4 ,the top of the pedestal is also an iron plate1 and within it is contained a powerful electro-magnet1 the poles being in contact with the plate1 and the wires to convey the current passing beneath the stage to the hiding-place of the assistant4 ,the latter1 on receiving his cue from the expressions of the performer1 presses the connecting stud and completes the circuit1 thereby bringing the magnetic force into operation4 ,upon again receiving an agreed signal from the performer1 he ceases to press the stud1 the circuit is broken1 and the iron ceases to possess any magnetic force4 ,this may be repeated as often as desired4 ,the above trick is cited by ,robert-,houdin in illustration of the great difference which there may be1 in point of effect1 between two modes of presenting the same illusion4 ,the reader may possibly be aware that ,robert-,houdin was employed by the ,french ,government1 at one period of his career1 in a mission to ,algeria1 with the object of destroying1 if possible1 the popular belief in the pretended miracles of the ,marabouts1 whereby these latter had obtained an extraordinary ascendency over the minds of the ignorant ,arabs4 ,the plan adopted was to show1 first1 that a ,european could perform still greater marvels1 and then to explain that these seeming mysteries were mere matters of science and dexterity1 and wholly independent of supernatural assistance4 ,the 8,light and ,heavy ,chest0 was one of the prominent features of the programme1 but if presented under that name it would have produced but very little effect4 ,the fact that the chest became immoveable at command would only have been attributed by the ,arabs to some ingenious mechanical arrangement1 beyond their comprehension1 but exciting only a momentary wonder4 ,with great tact1 ,robert-,houdin contrived to turn the attention of his audience from the object to the subject of the trick1 professing1 not to make the chest light or heavy1 but to make the person who volunteered weak or strong at his pleasure4 ,thus presented1 the trick had the appearance no longer of a mere achievement of mechanical or scientific skill1 but of a manifestation of supernatural power4 ,we will tell the rest of the story as nearly as possible in ,robert-,houdin's own words1 as related in the story of his life3-- 8,an ,arab of middle stature1 but well-knit1 wiry1 and muscular2 the very type of an ,arab ,hercules1 came forward1 with plenty of self-confidence1 and stood by my side4 8#8,are you very strong8' ,i inquired1 eyeing him from head to foot4 8#8,yes1' he replied1 carelessly4 8#8,are you sure that you will always remain so8' 8#8,perfectly4' 8#8,you are mistaken2 for in one moment ,i shall take away all your strength1 and leave you as weak as a little child4' 8,the ,arab smiled scornfully1 in token of disbelief4 8#8,here1' ,i said1 #8lift up this chest4' 8,the ,arab stooped1 lifted the chest1 and said disdainfully1 #8,is that all8' 8#8,wait a bit1' ,i replied4 ,then1 with the solemnity appropriate to my assumed character1 ,i made a gesture of command1 and gravely said-- 8#8,you are weaker than a woman4 ,try now to lift that box4' 8,the strong man1 perfectly indifferent about my magic spell1 again catches hold of the box by the handle1 and gives a vigorous pull to lift it2 this time1 however1 the chest resists1 and in spite of the most determined efforts1 remains absolutely immoveable4 8,the ,arab wastes in vain over the unlucky chest an amount of force which would have lifted an enormous weight2 till at last1 exhausted1 panting1 and burning with shame1 he ceases1 looks dumfounded1 and begins to appreciate the power of the magic art4 ,he has half a mind to give up the attempt2 but to give up would be to acknowledge himself conquered1 and to admit his weakness2 and after having been famed for his muscular strength1 to sink to the level of a child4 ,the bare idea makes him furious4 ,gathering new strength from the encouragement which his friends offer him by word and look1 he casts towards them a glance which seems to say1 #8,you shall see what the son of the desert can do4' ,once more he bends over the chest1 his nervous hands grip the handle1 and his legs1 planted one on each side of the chest like two columns of bronze1 serve as a fulcrum for the mighty effort which he is about to make4 ,it seems almost impossible but that under such a strain the box must fly to pieces4 ,strange6 this ,hercules1 a moment ago so strong and self-confident1 now bends his head2 his arms1 riveted to the box1 are drawn by a violent muscular contraction against his chest2 his legs quiver1 and he falls on his knees with a cry of agony4 8,an electric shock1 produced by an induction coil1 had just been communicated1 at a signal from me1 from behind the scenes to the handle of the chest4 ,thence the contortions of the unlucky ,arab4 ,to prolong his agony would have been inhuman4 ,i gave a second signal1 and the electric current was cut off4 ,my athletic friend1 released from his terrible bondage1 raised his hands above his head4 #8,allah6 ,allah6' he cried1 shaking with fright1 then wrapping himself hastily in the folds of his burnous1 as though to hide his disgrace1 he rushed through the spectators1 and made his way to the door of the hall40 ,to describe completely the 8induction coil10 above referred to1 would be beyond the scope of the present treatise4 ,it may1 however1 be summarily described as consisting of a coil of insulated copper wire1 wound round a small bundle of straight iron wires1 say five or six inches in length1 and an inch in diameter4 ,this is called the 8primary0 coil4 ,round this is again wound a quantity of much finer wire1 also insulated4 ,this constitutes the 8secondary0 coil4 ,the ends of each coil are kept free4 ,if a current of electricity be made to circulate through the wire of the primary coil1 an independent current of great intensity is found to be thereby produced1 by a mysterious process called induction1 in the secondary coil4 ,this current is strongest at the moment of first completing the circuit in the primary wire1 and if a person is grasping the ends of the secondary wire1 or any conducting substance in connection with it1 at the moment when the circuit is completed1 he will receive a very severe shock4 ,a contrivance is attached to the coil1 whereby the circuit is made and broken alternately with great rapidity1 thereby producing a continuous shock1 of such power that the victim loses for the time being the faculty of relaxing his muscles1 and is compelled1 after the manner of the unfortunate ,arab1 to grip1 tighter and tighter1 the cause of his pain1 until released by the final severing of the circuit4 ,any reader who desires a more complete acquaintance with the induction coil1 should purchase a little shilling manual1 entitled1 8,intensity ,coils1 ,how ,made and ,how ,used10 by 8,dyer0 7,suter1 ,alexander1 and ,co41 ,cheapside71 where he will find an excellent account of this interesting subject4 ,illustration3 ,,fig4 #cjd4 ,illustration3 ,,fig4 #cje4 ,,spirit-,,rapping4--,this deception is frequently performed by the aid of electro-magnetism1 although the raps may be1 and in most instances are1 produced by much simpler methods4 ,we will suppose that a table is to be the instrument of the raps4 ,the top being removed1 a hollow is made in the 8frame0 which supports it1 and in the cavity thus made is fixed an electro-magnet1 of the fashion shown in ,figs4 #cjd1 #cje4 ,upon one side of the horseshoe1 at the centre of the curve1 is screwed a brass spring a1 to the opposite end of which is attached the keeper b4 ,the effect of the spring is to hold the keeper about a quarter of an inch away from the poles of the magnet1 save when a current of electricity is made to pass through the wire1 when the horseshoe becoming magnetic1 the keeper1 in spite of the resistance of the spring1 is brought down sharply into contact with the poles1 and so remains until the circuit is again severed1 when it flies back again to its former position4 ,the little metal knob or hammer c1 which is to produce the raps1 is screwed to the under side of the keeper1 and points between the two arms or poles of the magnet4 ,if1 therefore1 the magnet be fastened to a piece of wood1 or other hard surface1 and an electric current be sent through the wire1 the keeper is instantly drawn down to the poles of the magnet1 and the hammer1 moving with it1 strikes the wood between the poles1 and produces the rap4 ,as soon as the circuit is broken1 the keeper and hammer are raised by the spring1 in readiness for another rap2 and each time that connection with the battery is made1 a rap is produced4 ,the wires from the concealed magnet are made to pass down the leg of the table1 and beneath the floor or carpet to the hiding-place of the assistant1 who can thus summon spirits 8from the vasty deep0 or elsewhere1 at his pleasure4 ,it will be found a very convenient arrangement to have the magnet enclosed in a little mahogany box1 as shown in the diagrams1 in which condition it can readily be fixed in any required position4 ,,the ,,magic ,,bell4--,precisely the same in principle1 though differing somewhat in detail1 is the magic bell4 ,the bell1 which is of glass1 and of the form shown in ,fig4 #cjf1 is hung up above the stage by two silk or woollen cords1 and thus apparently placed wholly out of the reach of human influence4 ,nevertheless1 at the command of the magician1 it becomes endowed with seeming vitality4 ,the hammer strikes any number of times at command1 answers questions 7with three raps for 8yes10 and one for 8no10 after the approved spiritualistic manner71 indicates chosen cards1 and generally displays a remarkable amount of intelligence4 ,illustration3 ,,fig4 #cjf4 ,the reader who has followed our description of the spirit-rapping magnet will hardly require an explanation of the magic bell4 ,the brass cap1 from which the hammer projects1 contains a small electro-magnet1 the wire which carries the hammer being fixed to the keeper1 and bringing the hammer down smartly on the glass whenever the electric circuit is made complete4 8,but10 says the sagacious reader1 8how is the circuit made complete8 ,in the former case there were hidden wires1 passing through the legs of the table1 to convey the electric current1 but in this instance the bell is suspended in mid-air by a couple of ordinary cords4 ,how can the electric fluid therefore be conveyed to the bell80 ,the answer lies in the fact that the cords are not quite ordinary cords4 ,in appearance they are two pieces of common cord1 with a brass hook at each end1 for the purpose of first attaching them to corresponding hooks in the ceiling1 and1 secondly1 attaching the bell to their opposite ends4 ,but on a closer examination it will be found that a fine copper wire extends from hook to hook through the centre of the cord1 making it a perfect conductor1 while yet not diminishing in the least its perfect flexibility4 ,the hooks in the ceiling communicate with hidden wires1 and these with the electric battery behind the scenes4 ,,the ,,crystal ,,cash-,,box4--,this is a mahogany box with glass top and bottom1 the wooden portion of it being lined with velvet4 7,see ,fig4 #cjg47 ,in dimensions it is about eight inches long1 by six wide1 and three and a half deep1 and it has a brass ring at either end4 ,illustration3 ,,fig4 #cjg4 ,the performer commences by borrowing 7say7 eight half-crowns1 the owner of each being requested to mark it for the purpose of identification4 ,with these the performer exhibits any trick whose leading feature is the passage of the coin from some one place to another4 ,the trick having been performed1 and the money identified1 the operator1 still retaining it1 returns to the stage1 and placing the coins upon the table1 addresses the audience to the following effect3 8,ladies and gentlemen1 ,i have given you a slight specimen of the certainty and speed with which ,i can make money travel4 ,who would go to the trouble and expense of ,post-office orders when by simply taking the money in his hand1 and saying1 #8,pass1' he might make it fly direct into the pocket of his correspondent8 ,but ,i will give you another and a still more surprising illustration40 7,here the assistant brings in the crystal cash-box47 8,here is a wooden box1 closed on all sides1 but with glass top and bottom1 so that you may see for yourselves that there is no mechanism or preparation about it4 ,now ,i propose to pass these eight half-crowns1 the identical half-crowns marked by yourselves1 into this closed box4 ,where shall ,i place the box1 so as to be at a distance from me1 and at the same time in full view of all present8 ,perhaps the best thing ,i can do with it will be to fasten it to these two silk cords hanging from the ceiling4 ,i will set the box swinging0 7he does so71 8so that you can all see that it is empty4 ,now ,i will take the money1 and stand in any part of the room you like40 7,he walks to the chosen spot47 8,will some one oblige me by counting three in a distinct voice40 ,one of the spectators does so1 and the performer at the last word makes the motion of throwing the money towards the cash-box1 in which it is instantly seen and heard to fall1 his hand at the same moment appearing empty4 ,the cash-box is taken down1 and the money returned to the owners1 who identify it as that which they had marked4 ,as the reader will doubtless have anticipated1 the coins are already in the cash-box when the latter is hung to the cords4 ,they are concealed by a moveable flap lying close against one of the wooden sides1 in which position it is maintained by a spring1 until an electric current is despatched along the cords4 ,this brings into action an electro-magnet1 hidden in the thickness of the box1 thereby causing the flap to be momentarily lifted1 and the coins to escape into the interior of the box4 ,when the performer1 having exhibited the preliminary trick with the borrowed coins1 places them apparently upon the table1 he in reality exchanges them1 and places the substitutes on the 8money-trap0 described at page #ddf1 leaving the genuine coins within reach of his assistant1 who forthwith carries them off behind the scenes1 and places them in readiness under the flap of the cash-box4 ,the performer having attached the box to the cords1 and set it in motion1 apparently picks up the heap of coins1 which really sink into the table4,o ,when the word 8,three0 is spoken1 he opens the right hand1 which is seen empty1 and the assistant behind the scenes1 taking the same word as a signal1 presses the connecting stud1 and completes the circuit4 ,the flap is momentarily lifted1 and the borrowed coins are heard and seen to fall within the box4 ,o ,if his table is not provided with the money-trap1 the performer may really pick up the coins with his left hand1 and thence1 by the tourniquet1 apparently take them in the right1 keeping the right hand closed as if containing them4 ,while the attention of the spectators is thus drawn to the right hand1 the left may fall carelessly to the side1 and deposit the coins in the pochette4 ,illustration3 ,,fig4 #cjh4 ,there is another box 7the invention of ,robert-,houdin7 which goes by the same name1 and with still better title1 inasmuch as not only the top and bottom1 but the sides and ends1 are of glass1 held together by a light metal framework4 ,in appearance it is as shown in ,fig4 #cjh1 and1 being transparent throughout1 it appears physically impossible that any object should be concealed in it2 and yet1 when the box is suspended1 and set swinging1 the operator has only to take the 7supposed7 borrowed coins in his hand1 and to pronounce the mystic 8,pass10 when the eight half-crowns are seen and heard to fall into the box1 and may be taken from thence by the owners themselves1 without even this near inspection of the apparatus revealing the secret of their appearance4 ,as in the trick we have just described1 electricity is the motive agent2 but in this instance it operates1 not by its magnetic influence1 but by another of its mysterious properties4 ,if a tolerably powerful current be made to pass at some point in its circuit through a short length 7say half an inch7 of fine platinum wire1 platinum being a bad conductor1 the wire will1 at the moment of completing the circuit1 be heated to a white heat1 or1 if the current be very powerful1 will even be fused altogether4 ,a very few words will show how this simple scientific fact is made available to produce the desired result4 ,illustration3 ,,fig4 #cji4 ,illustration3 ,,fig4 #caj4 ,the box measures about ten inches in length1 by five in breadth and five in depth1 so that its back1 front1 top1 and bottom are of exactly the same size4 ,on the top1 which slides out1 in order to give access to the interior1 is an ornamental design1 measuring about four inches by three4 ,this renders this particular portion of the top or lid opaque1 and it is beneath this portion that the half-crowns are placed4 ,slips of glass are cemented to the under side of the lid 7see ,fig4 #cji71 so as to inclose a space just large enough to allow eight half-crowns to be placed1 in two layers of four each1 within it4 ,the slips of glass serve to keep the coins in position laterally4 ,vertically1 they are supported as follows3--,the front of the box 7i4e41 the side which1 when the box is suspended1 is nearest to the spectators7 is made double4 ,the outer portion is a fixture1 but the inner is attached by hinges a a to the upper edge of the box1 and may therefore be folded at pleasure against the top1 though when released it falls back to its normal position against the front1 in which position it is secured by a spring catch until again raised4 ,it is upon this moveable side1 thus folded up against the top1 that the eight half-crowns are supported4 ,the opposite edge of the top of the box is arranged as follows3 b b is a metal tube1 with an opening of about half-an-inch in length between d d2 c c are two metal hooks or rings by which the apparatus is suspended1 and through which the current passes4 ,each of these communicates with a piece of insulated copper wire1 extending from c to d4 ,the space between d d is filled up by a round plug or pencil of wood 7see enlarged view in ,fig4 #caj71 along which lies a small piece of very fine platinum wire e e1 connecting the ends of the two copper wires4 ,the moveable glass flap is held up against the top by means of a little piece of black cotton f1 which1 passing through a minute hole in the outer edge of the flap1 is made to pass round the wooden plug1 and thus to cross the platinum wire at right angles1 and in immediate contact with it4 ,the practical application of the scientific principle to which we have alluded will now be obvious4 ,at the moment of completing the circuit1 the platinum1 becoming red-hot1 instantly severs the cotton1 when down falls the flap1 not altering in the least the general appearance of the box1 but allowing the half-crowns to fall loose into its interior4 ,in order to prepare the apparatus for use1 it is necessary first to remove the sliding lid1 to place the moveable flap in position1 and to fasten it with cotton as already described4 ,the lid should then be turned upside down1 and the half-crowns placed in position1 after which the box also is turned upside down1 and the lid allowed to slide gently into its place4 ,the half-crowns are now secure1 and the box may be brought forward and set swinging1 without any danger of their making a premature appearance4 ,in some boxes the double flap is omitted1 the front being single1 but moveable1 and working as already explained4 ,in this case the box1 when first brought forward1 has the glass of the side towards the audience missing1 but at a little distance its absence cannot be detected4 ,,the ,,magic ,,drum4--,this is in appearance an ordinary side-drum1 but being hung up by cords from the ceiling1 it will forthwith1 without any visible drumsticks1 give either a single rap or a roll1 or keep time to any piece of music4 ,it will further answer questions and tell fortunes1 indicate chosen cards1 etc41 after the manner of the magic bell4 ,these mysterious effects are produced by two hammers or drumsticks1 fixed against one end of the drum on the inside4 ,each of these is attached to the keeper of an electro-magnet1 but there is a difference in the mode of their working4 ,one works after the manner of the bell1 giving a single tap whenever contact is made1 but thenceforward remaining silent until the circuit is again broken and again completed4 ,in other words1 each pressure of the connecting stud produces one rap1 and no more4 ,the second hammer is differently arranged4 ,by means of what is called a 8contact-breaker10 the movement of the keeper1 when attracted by the magnet1 of itself breaks the circuit4 ,the circuit being broken1 the iron is no longer magnetic1 and the keeper flies back to its old position1 thereby once more completing the circuit4 ,as long as the pressure on the stud continues1 therefore1 the circuit is alternately made and broken in rapid succession1 involving a corresponding movement of the keeper and hammer1 and producing a 8roll0 of the drum4 ,the use of the two hammers involves the necessity of two electrical circuits and two connecting studs1 and of three cords to suspend the drum 7one being common to both circuits74 ,with a little practice in the management of the two studs1 the single rapper may be made to beat time to a tune1 while the other stud brings in the roll at appropriate intervals4 ,there are some drums 7of an inferior character7 made with one hammer only2 such hammer being arranged for the roll4 ,where it is desired to give a single rap1 this may be effected by pressing and instantly releasing the stud with a light1 quick touch2 but some little dexterity is required4 ,in the case of all these appliances for magically answering questions1 it is necessary that the assistant who has the control of the apparatus should be in such a position as to distinctly hear the questions asked4 ,in fortune-telling matters the answer may generally be left to his own discretion2 but for indicating what card is chosen1 etc41 it is necessary either that an agreed card be forced1 or that a carefully arranged code of verbal signals should be employed1 whereby the form of the question may itself indicate the proper answer4,p ,considerable fun may be caused by the magician selecting an evidently 8engaged0 couple1 and after asking how many months it will be before they are married1 etc41 inquiring1 in a stage whisper1 how many children they are destined to be blest with4 ,the drum raps steadily up to 7say7 five1 and this is accepted as the answer1 when1 after a moment's pause1 two more raps are heard in quick succession4 ,this alarming omen is received with general laughter1 amid which the drum gives another rap1 and then another1 continuing until the performer1 scandalized at its behaviour1 unhooks it from the cords1 and carries it1 still rapping1 off the stage4 ,this last effect is wholly independent of electricity1 being produced by the performer tapping with his fingers that end of the drum which for the time being is farthest from the audience4 ,p ,this is the principle of the well-known 8second sight0 trick1 a detailed explanation of which we are compelled from considerations of space to omit1 the system1 as perfected by ,robert-,houdin and others1 being so elaborate1 that an independent treatise would be needed to do it justice4 ,an admirable account of the system1 as applied to the ,french language1 will be found in a work by ,f4 ,a4 ,gandon1 8,la seconde vue dvoile10 published in ,paris in #ahdi4 ,there are some few other tricks performed by the aid of electricity1 but any one who understands the principle of those above described may make a very shrewd guess at the working of the remainder4 ,all tricks of this class1 though ingenious and effective1 are open to one or two serious objections4 ,in the first place1 the apparatus is very costly1 and1 secondly1 they are unpleasantly liable1 from the nicety of their mechanism and the absolute necessity of perfect electrical connection in all their parts1 to hang fire at the critical moment1 and leave the operator in a very embarrassing position4 ,imagine the feelings of a performer who1 having just introduced his wonderful drum1 which is to display unheard-of oracular powers1 finds that the instrument remains as mute as the celebrated harp in ,tara's halls1 and refuses to bear out1 in the smallest degree1 his grandiloquent assertions4 ,yet this unpleasant result may occur at any time from the simple breaking of a wire1 or some even slighter cause4 ,this1 it appears to us1 is a serious drawback to electrical tricks1 though where they are exhibited at their best no illusions are more beautiful1 or have more of genuine magic about them4 ,illustration3 ,,fig4 #caa4 ,we should mention1 before quitting the subject of these tricks1 that in order to avoid the trouble and expense of fixing the necessary conducting wires in a building not specially appropriated to magical performances1 an upright brass rod 7which may be detached at pleasure7 is sometimes fitted on each side of the performer's table 7see ,fig4 #caa71 and the apparatus in use 7drum1 bell1 cash-box1 etc47 is suspended by appropriate cords between these rods4 ,the conducting wires are connected within the table with the lower ends of the brass uprights1 and thence pass down its hinder legs to the battery behind the scenes4 ,there are many considerations of convenience in favour of this arrangement1 but the tricks performed are less effective than where the apparatus is hung fairly from the ceiling1 and apparently out of all possible reach of mechanical influence4 ,,the ,a,,rial ,,suspension4--,this is a very old trick1 performed originally by the ,indian jugglers1 who kept the modus operandi a profound secret4 ,the ingenuity1 however1 of ,robert-,houdin penetrated the mystery1 and in #ahdi made it a special feature of his sances fantastiques4 ,at that time the public mind was much interested in the ansthetic qualities of ether1 which had then recently been discovered4 ,robert-,houdin manipulated this fact into a valuable advertisement4 ,he gave out that he had discovered in the popular ansthetic a still more marvellous property1 viz41 that when inhaled under certain conditions1 it neutralized the attraction of gravitation in the person inhaling it1 who became1 for the time being1 light as air4 ,in proof of this1 he brought forward his youngest son1 then a child of ten or thereabouts1 and after having made him smell at a small phial1 really empty1 but supposed to contain ether1 caused him to recline in mid-air1 with no other support than that afforded by1 to all appearance1 an ordinary walking-stick1 placed in a vertical position under his right elbow4 ,it is characteristic of ,robert-,houdin's minute attention to the mise en scne of a trick1 that while his son sniffed at the empty bottle1 his assistant1 behind the scenes1 poured genuine ether upon a hot shovel1 so that the fumes1 reaching the nostrils of the audience1 might prove1 indirectly but convincingly1 that ether was really employed4 ,after the retirement of ,robert-,houdin from the stage1 the trick fell comparatively out of notice1 till it was revived in a new form by the ,fakir of ,oolu 7,professor ,sylvester7 in ,england1 and contemporaneously by ,de ,vere on the ,continent4 ,a full-grown young lady was in this case the subject of the illusion1 and was made1 while still suspended in air1 to assume various costumes and characters4 ,the illusion1 in this new form1 took the fancy of the public1 and brought forth a host of imitators2 but few have presented it with the same completeness as the two performers named4 ,for a time it produced quite a marked sensation1 equal crowds thronging to see ,sylvester in ,london1 and ,de ,vere in ,paris1 ,st4 ,petersburg1 ,brussels1 ,pesth1 ,dresden1 ,strasburg1 and other continental cities4 ,recent mechanical improvements1 to which the last-named ,professor has materially contributed1 have greatly heightened the effect of the trick--the lady being made to rise spontaneously from the perpendicular to the horizontal position1 and to continue to float in the air after her last ostensible support has been removed4 ,illustration3 ,,fig4 #cab4 ,apart from these special mysteries1 which we are not at liberty to reveal1 the trick is as follows3--,the performer brings forward the girl or boy who is to be the subject of the illusion1 and who is dressed in some fancy costume4 ,a low bench or table1 say five feet in length by two in width1 and on legs about six inches in height1 is brought forward1 and shown to be wholly disconnected from the floor or stage4 ,on this is placed a small stool1 on which the subject of the experiment 7whom1 in the present instance1 we will suppose to be a young lady7 mounts4 ,she extends her arms1 and under each is placed a stout rod or pole of appropriate length4 7,see ,fig4 #cab47 ,the performer makes pretended mesmeric passes over her1 and in a minute or two her head is seen to droop1 and after a few more passes her eyes close1 and she is1 to all external appearance1 in a mesmeric sleep4 ,the operator now takes the stool from under her feet1 when she hangs suspended between the two rods4 ,again a few more passes1 and the operator removes the rod that supports the left arm1 and gently mesmerises the arm down to the side4 ,still the girl hangs motionless1 with no other support than the single upright rod on which her right arm rests4 7,see ,fig4 #cac47 ,the operator now drapes her in various costumes1 still keeping up from time to time the supposed mesmeric passes4 ,bending her right arm so as to support her head1 he next lifts her gently to an angle of #de to the upright rod 7as shown by the dotted line in ,fig4 #cac71 and finally raises her to a horizontal position1 as in ,fig4 #cad4 ,illustration3 ,,fig4 #cac4 ,illustration3 ,,fig4 #cad4 ,illustration3 ,,fig4 #cae4 ,illustration3 ,,fig4 #caf4 ,an inspection of the diagrams will already have furnished the clue to the mystery4 ,of the two upright rods1 one 7that placed under the left arm7 is wholly without preparation1 and may be freely handed for examination4 ,the other1 ,a1 is either of iron throughout 7this was the case with the pretended walking-stick used by ,robert-,houdin7 or of well-seasoned wood with an iron core1 and capable of bearing a very heavy weight4 ,the lower end of this sinks into a socket in the low board or table already mentioned1 and thus becomes1 for the time being1 a fixture4 ,in the upper end is hollowed out a small space1 about an inch in depth1 for a purpose which will presently appear4 ,the subject of the experiment wears1 underneath her page's costume1 a sort of iron corset1 or framework1 similar to that shown in ,figs4 #cac and #cad1 and more in detail in ,fig4 #cae4 ,an iron girdle1 a a1 passes nearly round the waist1 the circle being completed by a leather strap4 ,at right angles to this1 on the right side1 is fixed an iron upright1 b b1 extending from just below the armpit nearly to the knee1 but with a joint c 7working backwards and forwards only7 at the hip1 a strap d1 round the leg1 keeping it in position1 so as to allow of bending the thigh4 ,from the back of the iron girdle1 in the centre1 proceeds a crutch e1 also of iron1 passing between the legs1 and connected by a strap to the front of the girdle4 ,a fourth strap f1 connected with the girdle in front and rear1 passes over the left shoulder1 and prevents any risk of the apparatus slipping downwards4 ,to the upper part of the upright1 b b1 immediately below the armpit1 is riveted a short flat piece of iron1 g1 working freely upon it4 ,the end of g1 which forms the joint shown enlarged in ,fig4 #caf1 is welded into a semicircular ratchet1 with three teeth corresponding with a check h1 lying parallel with b b1 and which1 in its normal position1 is pressed up close into the teeth of the ratchet by a spring1 but may be withdrawn by a downward pressure on the hook i4 ,the opposite end of g has projecting from its under side1 at right angles1 an iron plug j1 which just fits into the cavity before mentioned in the top of the rod ,a4 ,there is an opening in the under part of the sleeve1 to give passage to this plug1 which1 when inserted in the corresponding cavity of ,a1 makes g1 relatively to it1 a fixture4 ,the remainder of the iron framework 7and with it the lady7 remains moveable1 to the extent that1 by means of the joint at g1 it can be made to describe an arc of #ij to the upright rod4 ,the mode of operation will now be clear4 ,when the young lady mounts on the stool1 and extends her arms1 the performer1 in placing the upright beneath them1 takes care to let the lower end of ,a sink properly into the socket1 and to adapt the plug j to the cavity at top4 ,the apparatus is now in the position shown in ,fig4 #cac1 and when the stool is removed1 the lady is left apparently resting only on ,a1 but in reality comfortably seated in her iron cage1 the different parts of which are all carefully padded1 so as to occasion her no discomfort4 ,her legs and arms1 being quite free1 may be placed in any position that the performer chooses2 and when presently he lifts her into a slanting position1 as shown by the dotted line in ,fig4 #cac1 the check h drops into the second tooth of the ratchet1 and thus maintains her in that position4 ,after a short interval she is lifted into the horizontal position1 as in ,fig4 #cad1 when the check drops into the third tooth of the ratchet1 and so maintains her1 apparently sleeping upon an arial couch4 ,as the support terminates above the right knee1 the legs are kept extended by muscular power4 ,this attitude is therefore very fatiguing1 and for that reason cannot be continued more than a few moments4 ,to replace the lady in the upright position1 the performer places both hands under the recumbent figure1 the left hand easily finding 7through the tunic7 and drawing down the hook i1 thereby withdrawing the check1 and allowing the lady to sink down gently to the perpendicular4 ,the stool is again placed under her feet1 and the second upright under her left arm1 before the operator begins to demesmerise her1 which he does after the orthodox fashion with reverse passes1 the lady simulating as best she may the bewildered and half-scared expression of one newly awakened from a mesmeric trance4 ,illustration ,,chapter ,,xviii4 ,,concluding ,,observations4 ,it now only remains to give the neophyte a few parting hints of general application4 ,in getting up any trick1 even the simplest1 the first task of the student should be to carefully read and consider the instructions given1 and to make quite certain that he perfectly comprehends their meaning4 ,this being ascertained1 the next point will be to see whether the trick involves any principle of sleight-of-hand in which he is not thoroughly proficient2 and if it does1 to set to work and practise diligently1 till the difficulty is conquered4 ,having thus mastered the elements of the trick1 he should next attack it as a whole1 and in like manner practise1 practise1 practise1 till from beginning to end he can work each successive step of the process with ease and finish4 ,having achieved this much1 he may perhaps consider that his task is at an end4 ,by no means4 ,being perfect in the mechanical portion of the illusion1 he must now devote himself to its dramatic element1 which1 as regards the effect upon the spectator1 is by far the more important portion4 ,the performer should always bear in mind that he fills the character of a person possessing supernatural powers1 and should endeavour1 in every word and gesture1 to enter into the spirit of his part4 ,as the true actor1 playing ,hamlet1 will endeavour actually to be ,hamlet for the time1 so the soi-disant magician must1 in the first place1 learn to believe in himself4 ,when he steps upon the stage he should1 for the time being1 persuade himself that his fictitious power is a reality1 and that the wand he holds is not only the emblem1 but the actual implement of his power4 ,every time he pronounces the mystic 8,pass60 or touches an object with his wand to effect some pretended transformation1 he should force himself to forget the commonplace expedients by which the result is really attained1 and to believe that the effect is produced by a genuine magical process4 ,when he goes through the motion of passing a coin from the right hand to the left1 he should have imagination enough to persuade himself1 for the moment1 that the coin has really been transferred as it appears to be4 ,if a performer has sufficient imaginative faculty to do this--if he can so enter into the spirit of his part1 as himself to believe in the marvels he professes1 he will achieve an almost unlimited mastery over the imaginations of his audience4 ,as we have already intimated1 each individual illusion should have its appropriate words and gestures--in technical language1 its 8patter10 or 8boniment0--carefully arranged and rehearsed1 so as to produce the maximum of effect4 ,these are1 in truth1 the very life of the trick4 ,how much depends on mise en scne is forcibly illustrated by the account which we quoted in the last chapter from the life of ,robert-,houdin1 of his exhibition in ,algeria of the 8,light and ,heavy ,chest40 ,we will borrow from the same high authority another illustration1 purposely selecting one of the simplest of card tricks1 the well-known feat of picking out a chosen card from the pack1 placed in a person's pocket4 ,the trick has already been described in outline1 but we will recapitulate its effect in a few words4 ,the performer offers the pack to a spectator1 and requests him to draw a card4 7,this card may or may not be 8forced407 ,the card having been drawn and replaced in the pack1 the performer makes the pass to bring it to the top1 and palms it1 immediately handing the pack to be shuffled4 ,if the card was forced1 he already knows it2 if not1 he takes the opportunity to glance at it while the cards are being shuffled4 ,the pack being returned1 the drawn card is placed on the top1 and the pack placed in the pocket of a second spectator4 ,the performer now announces that he not only already knows the card1 but that he is able to pick it out without seeing it from the remainder of the pack1 which he does accordingly4 ,presented in this barren form1 the trick would attract only the most passing notice4 ,we will now proceed to describe it1 quoting again from ,robert-,houdin1 as it should actually be presented4 8,ladies and gentlemen1 ,i shall commence my performance with an experiment which is wholly independent of dexterity4 ,i propose simply to show you the extreme degree of sensibility which may be acquired by the sense of touch4 ,we possess1 as you all know1 five senses--sight1 hearing1 smell1 touch1 and taste4 ,in the ordinary way1 each of these senses enjoys one faculty only2 but when the mysterious influences of magic are brought to bear1 the case is altered4 ,all five of the senses may be exercised through the instrumentality of one--#8touch1' for example2 so that we can not only touch1 but hear1 see1 smell1 and taste with the tips of the fingers4 ,you smile1 gentlemen1 but ,i assure you that ,i am serious2 and ,i venture to think that in a few minutes you will be fully convinced of the reality of the singular fact which ,i have mentioned4 8,here is a pack of cards4 ,madam1 will you be kind enough to take whichever card you please2 hold it for a moment between your hands1 so as to impregnate it with the mesmeric influence of your touch1 and then replace it in the middle of the pack4 8,in order to exclude all possibility of sleight-of-hand1 we will now thoroughly shuffle the cards2 after which1 for still greater certainty1 ,i will show you that the card is neither at top nor bottom1 whence you may be persuaded that it is placed just where chance has chosen to put it40 7,for the purpose of showing that the card is neither at top nor bottom1 it may either be left second from the top after the shuffle1 if executed by the performer himself1 or being actually placed on the top1 the second card may be drawn instead of the first by means of a filage47 8,will some gentleman now have the kindness to empty his breast-pocket1 and allow me to place the pack in it40 7,this is done47 8,now that the cards are placed in perfect darkness1 ,i will endeavour1 by virtue of that five-fold sensibility of touch which ,i have just mentioned1 to discover1 by the aid of my fingers only1 the card which this lady drew4 ,to make my task still more difficult1 ,i will undertake to draw the card at such number as you yourselves may choose4 ,what number shall it be80 7,we will suppose that the reply is 8,seventh407 8,seventh1 be it so4 ,then six times in succession ,i must avoid taking the drawn card1 and produce it on the seventh occasion only4 ,one1 two1 three1 four1 five1 six40 7,he exhibits six cards one by one1 taking them from the bottom of the pack47 8,now to find the lady's card6 ,yes1 ,i think ,i have it4 ,before taking it out1 ,i will read it with my little finger1 which is the cleverest of the five4 ,yes6 ,it is not a small card2 it is not a club1 nor a spade1 nor yet a diamond4 ,it is the king of ----0 7,he draws out the card1 and places it face downwards47 8,will you be good enough1 madam1 to finish naming the card before ,i turn it over1 and we shall see whether my little finger has been correct in its assertions40 7,the lady names the king of hearts1 which the performer forthwith turns up47 8,my little finger was right1 you see4 ,will you be good enough1 sir1 to take the remainder of the cards out of your pocket1 and testify that the experiment has really been performed exactly as ,i have stated40 ,the above example will show how1 by the exercise of a little tact and ingenuity1 a simple piece of parlour magic may be elevated to the dignity of a stage trick4 ,the great secret is the directing of the minds of the audience into such a channel1 that the dnouement for the moment seems to be a natural result of the causes artfully suggested by the performer4 ,this may1 to a considerable extent1 be effected1 as in the example above given1 by the language and gesture of the performer in the individual trick2 but still more may be done by the artistic grouping of one trick with another1 a comparatively simple feat being employed to prepare the minds of the spectators for the greater marvel to follow4 ,thus1 in the recent performances of the ,fakir of ,oolu1 the arial suspension1 which formed the staple of his programme1 was preceded by the exhibition of a wooden rod or wand which 7by means of certain projecting wire points1 so minute as to be imperceptible at a very short distance71 was made to defy the laws of gravity by clinging to his finger-tips in various positions without visible support4 ,this minor illusion1 being somewhat similar in effect 7though wholly different as to the means employed71 prepared the minds of the audience to receive the greater marvel of a living woman made to recline in mid-air4 ,in like manner1 the trick of the 8,flying ,money0 7see page #agb7 forms an apt preparation for the introduction of the 8,crystal ,cash-box0 7page #dhg74 ,the series of tricks described under the title of the 8,birth of ,flowers0 7page #daa71 affords another instance of the artistic combination of two or three different tricks in such manner as to enhance the effect of the whole2 but1 in truth1 examples might be multiplied ad infinitum4 ,in arranging an entertainment1 the performer should continually bear this principle in mind4 ,the programme should consist not of a number of absolutely unconnected tricks1 but of a series of ten or a dozen groups of tricks4 ,as compared with each other1 the groups should have as much diversity as possible2 but1 individually1 each should consist of the same or a similar effect repeated in a more and more striking form 7though produced by different means71 or else of a string of tricks united by some natural sequence1 as in the case of the production of the two rabbits from the hat1 followed by the rolling of the one into the other1 and terminating with the reproduction of the vanished animal in another quarter4 ,in order to make our meaning clearer1 we subjoin a specimen working programme1 arranged on the principles we have stated4 ,,programme 7for performer's own use74 #a4 ,vanishing gloves 7page #cbe74 ,transformed handkerchief 7page #bdf74 ,handkerchief ultimately found in candle 7page #bdi74 #b4 ,borrowed half-crown1 changed to penny1 and back again 7page #afa72 made to pass into centre of two oranges in succession 7page #agj74 ,three more half-crowns borrowed1 and all four made to pass invisibly from performer's hand to goblet at a distance 7page #bjj71 and finally into crystal cash-box 7page #dhg74 #c4 ,shower of sweets produced from borrowed handkerchief 7page #bea71 followed by bird-cages 7page #caa74 ,then bowls of gold-fish from shawl 7page #cga74 #d4 ,eggs produced from mouth of assistant 7page #cbi74 ,wizard's omelet 7page #cih74 ,dove wrapped in paper1 and vanished 7page #deb74 #e4 ,chosen card picked out of pack placed in a spectator's pocket 7page #ajf74 ,chosen card caught on sword 7page #aba74 ,the rising cards 7page #abe74 #f4 ,borrowed watch1 made to bend backwards and forwards 7page #bad74 ,made to strike the hour as a repeater 7page #bbb74 ,placed in pistol1 and fired at target 7page #bbj74 #g4 ,the ,chinese rings 7page #dja74 #h4 ,rabbits produced from borrowed hat2 one rolled into the other1 and subsequently found in bran-glass 7page #deb74 ,multiplying balls and cannon-balls produced from hat 7page #cjd74 #i4 ,inexhaustible box 7page #cia71 producing toys1 reticules 7page #cji71 and finally ,chinese lanterns 7page #cie74 ,the above1 with proper mise en scne1 will be found an ample programme for a two hours' entertainment4 ,it is hardly necessary to observe that the programme of the same entertainment for distribution among the audience would be of a very different character4 ,this is always drawn up in the vaguest possible terms1 so as not to reveal beforehand the actual effect of the different tricks4 ,thus the tricks in question would be described somewhat as follows3-- ,,programme 7for distribution74 #a4 ,the ,enchanted ,handkerchief4 #b4 ,the ,flying ,coins4 #c4 ,a ,succession of ,surprises4 #d4 ,the ,fairy ,omelet4 #e4 ,the ,cabalistic ,cards4 #f4 ,the ,mesmerised ,watch4 #g4 ,the ,chinese ,rings4 #h4 ,the ,bewitched ,hat4 #i4 ,the ,feast of ,lanterns4 ,between each of the items above-mentioned1 there should be an interval of one or two minutes 7filled up by music71 while the operator leaves the stage1 and makes the necessary preparation for the next trick4 ,it will further be found an advantage1 where practicable1 to divide the entertainment into two parts1 with an interval of ten minutes or so between them1 the curtain being let down during such interval4 ,the few minutes' break is always acceptable to the audience 7who are apt to become fatigued by too long protracted attention71 and is especially valuable to the performer1 as enabling him to re-arrange his servante1 removing articles that have served their purpose1 and replacing them by such as may be needed for the tricks to come4 ,an overcrowded servante is a fertile source of annoyance and failure1 as an article accidentally falling from it reveals the existence of a receptacle behind the table1 and thereby deprives the performance of half its effect4 ,when a re-arrangement of the servante between the parts of the performance is impracticable1 it is well1 if any tricks involving the production of articles from this quarter are included in the programme1 to introduce such tricks as early as possible1 so that the servante may be relieved of such articles1 and left clear for its second use of getting rid of articles upon it4 ,we have known a professor1 performing the 8flying glass of water0 trick1 and in placing the glass on the servante1 knock down a cannon-ball1 placed there to be introduced1 later on1 into a hat4 ,that cannon-ball weighed on the professor's mind for the rest of the evening1 and the performance was practically spoilt4 ,having arranged his programme1 and the appropriate 8patter0 for each group of tricks1 the performer should conclude his practice by a series of three or four 8dress rehearsals10 with an intelligent friend to play the part of audience1 and who should be invited to criticise with the utmost freedom4 ,at these rehearsals there should be no 8make believe10 but each trick should be worked throughout with the same completeness in every particular with which it is afterwards to be exhibited in public4 ,in the course of these final rehearsals the performer should tax his invention to see what amount of 8incidents10 or byplay1 he can introduce in the course of the different tricks4 ,thus at the commencement of his entertainment1 the trick of the 8,flower in the ,button-hole10 or that of the 8,vanishing ,gloves0 may be introduced--not professedly as an item of the programme1 but as a little preliminary flourish4 ,again1 if the performer has occasion for an egg or lemon in the course of a trick1 it greatly enhances the effect1 if instead of having the necessary article brought in by his assistant1 he produces it himself from a lady's muff1 or from the whiskers of a male spectator4 ,these little matters1 though small in themselves1 tend to keep alive the attention of the audience1 and to create a sort of magical atmosphere1 which will aid materially in disposing the spectators to receive with due respect the occult pretensions of the performer4 ,with respect to stage arrangements1 the professional1 performing evening after evening1 with full provision of stage appliances1 will quickly learn by experience how best to arrange those appliances for the purpose of his entertainment2 but the amateur1 performing only occasionally1 and in places not specially adapted for magical purposes1 may be glad of some little practical counsel in this particular4 ,illustration3 ,,fig4 #cag4 ,we will suppose1 for instance1 that he is called upon to give a magical sance in a private drawing-room4 ,the first point is to decide which part of the room is to form the 8stage40 ,having settled this1 the seats for the spectators should be arranged at the opposite end of the room1 leaving as wide a space between as can well be obtained1 as many 8changes10 etc41 are effected during the journey from the audience to the table1 and the longer this journey is1 the more time is available for the necessary manipulations4 ,at the stage end1 the 8table0 will be the principal feature1 and either behind or beside this1 should be placed a screen of not less than six feet in height1 and four or five wide1 to serve as 8behind the scenes10 and to afford the cover necessary for the various preparations4 ,supposing a regular screen is not available1 one must be extemporized4 ,a large clothes-horse1 with a curtain thrown over it1 will answer the purpose very well4 ,if1 however1 the drawing-room be of the regular ,london fashion1 i4e41 consisting of a large front and a small back room1 connected by folding doors1 the screen may be dispensed with1 and the rooms arranged as in ,fig4 #cag1 which represents a ground plan of two such rooms1 with the adjoining staircase and landing4 ,the larger room1 ,a1 will form the auditorium1 and the smaller1 ,b1 the stage2 a and b representing the doors leading to the landing1 and c c the folding doors between the two rooms4 ,the folding doors 7which act as curtain7 being first closed1 the spectators are marshalled into ,a1 and requested to take their seats1 and the door b is then closed1 to remain so throughout the entertainment4 ,the room ,b is arranged as follows3--,the 8table0 d is placed in the centre1 towards the back1 with its servante properly arranged4 ,this may either stand alone1 or may be supplemented by a couple of side tables1 e e4 ,an ordinary table1 f1 should be placed outside the door1 and upon this will be laid in due order the various pieces of apparatus and other articles which will be required in the course of the entertainment4 ,a working programme should be kept on this table for the use of the performer and his assistant1 with a note of the articles required for the purpose of each trick4 ,this will enable them to have everything ready at the right moment1 without delay or confusion4 ,the door a should be kept open1 so that the assistant1 from his place by the table f1 can instantly see and hear what is wanted4 ,when the performer has made his bow to his audience1 there are still one or two little points that he will do well to bear in mind4 ,they may be summarized as follows3-- #a4 ,don't be nervous4 7,the reader may possibly consider that this is a matter in which he has no choice2 but nothing could be a greater mistake47 ,a little diffidence is excusable on the first presentation of a new programme1 but never afterwards4 #b4 ,take your time4 ,deliver your boniment like an actor playing his part1 and not like a school-boy repeating his lesson4 ,further1 give your audience time to see and appreciate your movements4 ,young performers are very apt to exhibit the second phase of a transformation without having sufficiently indicated the first to the spectators4 ,the change of1 say1 an orange to an apple1 falls decidedly flat if nobody noticed that the article was an orange in the first instance4 #c4 ,don't make any parade of dexterity1 and don't affect any unusual quickness in your movements4 ,if you are about to vanish a coin1 don't play shuttlecock with it from hand to hand as a preliminary2 but make the necessary 8pass0 as quietly and deliberately as you possibly can4 ,don't talk about 8the quickness of the hand deceiving the eye10 and still less do anything to support such an idea4 ,the perfection of conjuring lies in the ars artem celandi--in sending away the spectators persuaded that sleight-of-hand has not been employed at all1 and unable to suggest any solution of the wonders they have seen4 #d4 ,don't force yourself to be funny4 ,if you are naturally humorous1 so much the better2 but in any case perform in your natural character4 #e4 ,avoid personalities4 ,we except the case of the often recurring nuisance1 the gentleman who professes to know how everything is done1 and whose special endeavour it is to embarrass the performer4 ,when you can make a person of this kind look like a fool 7by no means a difficult task7 by all means do so4 #f4 ,never plead guilty to a failure4 ,keep your wits about you1 and if anything goes wrong1 try to save your credit by bringing the trick to some sort of a conclusion1 even though it be a comparatively weak one4 ,if you are so unfortunate as to experience a complete and unmistakeable break-down1 smile cheerfully1 and ascribe the fiasco to the moon being in a wrong quarter1 to a little misunderstanding between two of your 8controlling spirits10 or any other burlesque reason1 so long as it be sufficiently remote from the true one4 ,bearing in mind these parting counsels1 and thus armed against failure as well as prepared for success1 you may safely ring up the curtain1 and begin to 8witch the world0 with the marvels and mysteries of ,,modern ,,magic4 ,,appendix4 ,,containing ,,explanations ,,of ,,some ,,of ,,the ,,best ,,known ,,specialties ,,of ,,messrs4 ,,maskelyne ,,and ,,cooke4 ,,by ,,arprey ,,vere4 ,,ancient ,,and ,,modern ,,magic4 ,,chapter ,i4 ,,introduction4 ,the wonder excited by the marvellous automatons of ,messrs4 ,maskelyne and ,cooke has caused many inquiries into the art of mechanical conjuring4 ,although the productions of those gentleman at the ,egyptian ,hall have been thought by the general public to be unprecedented1 we shall see that their marvels have been produced in ages long gone by1 and that the art of conjuring1 or producing apparently unaccountable and magical results by means of mechanism1 was an art brought to great perfection hundreds of years ago1 and long before 8,psycho0 astonished the metropolis4 ,my readers will perceive that the automatic figures of these caterers of wonders are neither original nor novel4 ,i hope that1 as the art of magic is so very popular1 a brief exposition of the subject will be found interesting to many readers4 ,it is my intention in this and the following chapters to give a brief summary of the history of mechanical magic in ancient and modern times1 and then to furnish a full explanation of how the apparently marvellous results of sleight of hand1 second sight1 and the mysterious movements of automata of the present day1 are attained2 and my readers will no doubt reap a harvest of information on the subject1 and will be able not only to perform many of the numerous tricks at which they have before been astonished1 but will also be in a position to explain to the uninitiated 8,how it is done40 ,passing over the ancient oracles which have been shown so frequently as being worked by the simple law of mechanics1 ,i would merely mention that ,plato and ,aristotle both speak of certain statues made by ,ddalus which could not only walk1 but which it was necessary to bind in order to prevent them from moving4 ,the latter speaks of a wonderful ,venus of this kind1 and all we are told of the motive power is that ,ddalus made it move by means of quicksilver4 ,aulus ,gellius mentions a wooden pigeon which possessed the power of flying1 but the only fault of this piece of mechanism was that when the pigeon once settled1 it could not renew its arial flight4 ,cassiodorus1 who lived in the sixth century1 gives a concise and graphic description of certain machines invented by ,bthius4 ,he says 8the birds of ,diomedes 7a mechanician of that date7 trumpet in brass1 the brazen serpent hisses1 counterfeit swallows chatter1 and such as have no proper note send forth from brass harmonious music40 ,accounts of the heads said to have been constructed by ,roger ,bacon and ,albertus ,magnus1 are so mixed up with fables that we cannot rely upon their veracity2 and yet our experience has shown us that they could have been produced4 ,they are said not only to have moved1 but spoken1 and their heads were used as oracles4 ,perhaps it will be remembered that some years ago a similar head1 with the same power of imitating the human voice1 was exhibited at the ,egyptian ,hall1 ,london4 ,john ,muller1 known as ,regiomontanus1 was one of the cleverest mechanicians of the fifteenth century--that is1 if we can rely on the testimony of ,peter ,ramus1 who did not flourish until a hundred years afterward4 ,we must take ,peter's account cum grano salis4 ,regiomontanus is stated to have constructed an eagle which1 upon the approach of the ,emperor ,maximilian to ,nuremberg1 in ,june1 #adgj1 perched upon the town gate1 stretched forth its wings1 and saluted him by an inclination of the body4 ,he is also said to have manufactured an iron fly4 ,at dinner one day1 when surrounded by his friends1 he produced it for their amusement1 and caused the insect to fly from his hand1 take a circle round the room1 and return again to its maker4 ,charles ,v4 after his abdication entered with zest into the study of mechanism4 ,he engaged the services of ,torriano1 said to be a very eminent artist1 who accompanied him to the ,monastery of ,juste4 ,here they worked together4 ,strada tells us that his ,majesty frequently introduced puppets upon the table1 some of which beat drums1 some blew trumpets1 others charged each other with couched spears1 and with a ferocity almost human4 ,he made wooden sparrows1 which1 by their flight1 terrified and scared the superstitious monks1 who thought him a magician and an accomplice of his infernal majesty4 ,he is said to have made a mill which moved of itself1 and which was so small that a monk could put it up his sleeve1 and yet we are told that it was powerful enough to grind in a single day grain sufficient for the consumption of eight men6 ,hans ,bullman1 a padlock-maker of ,nuremberg1 who lived in the middle of the sixteenth century1 made figures of men and women which promenaded backward and forward1 beat drums1 and played upon the lute4 ,the motive power in this case was known to be clockwork4 ,in the volume of 8,mmoires de l',acadmie des ,sciences10 of #agbi1 we find an account of a most extraordinary piece of mechanism invented by one ,pre ,truchet1 made solely for the amusement of ,louis ,,xiv4 when a child4 ,it consisted of a number of moving pictures1 representing an opera in five acts1 which the little figures enacted--of course1 in pantomime4 ,camus constructed with the same object a small carriage1 drawn by two horses1 which contained a little lady1 with her coachman driving1 and a footman and page holding on behind4 ,when placed upon the floor of the table1 the horses galloped along1 and the coachman smacked his whip in quite a professional manner4 ,when the carriage stopped1 the page got down1 opened the door1 the lady stepped out1 and with a curtsey bowed and presented a petition to the young king4 ,she again bowed1 entered the carriage1 the page mounted1 the coachman flogged his horses1 the carriage glided on1 while the footman ran behind1 and at last jumped upon the box4 ,in #agch1 there were exhibited in ,paris1 by ,m4 ,vaucanson1 three automata1 which have been reproduced in modern times3 one represented a flute player in a sitting posture1 which performed twelve distinct tunes2 the second was a standing figure1 which discoursed harmony on a shepherd's flute1 held in his left hand1 while with his right he beat on a tabor2 the third was a life-size duck1 which flapped its wings1 quacked1 drank water1 ate corn1 and even performed other functions of nature that made it more closely resemble its natural prototype4 ,some idea may be formed of the modus operandi of the cornet player of ,messrs4 ,maskelyne and ,cooke1 by the information afforded by ,vaucanson himself1 which was published in #agch1 and which purports to give a full explanation of the method of working the automaton flute player4 ,the figure was five feet and a half high2 it was seated upon a rock1 which was supported by a pedestal four feet high1 by three and a half broad4 ,within the pedestal were eight pair of bellows1 which were set in motion by clockwork4 ,the wind was forced into these tubes1 which ascended through its trunk1 and terminated in a single reservoir connected with the cavity of the mouth4 ,another piece of clockwork within the pedestal was applied to execute the necessary motions of the fingers1 lips1 and tongue4 ,a revolving cylinder1 with various pegs inserted in it1 raised or depressed several levers1 on the principle of a barrel organ and in this manner1 it was said1 music was produced very little inferior1 if not equal1 to the performance of a skilful flute player of flesh and blood4 ,one of the most ingenious inventors of mechanical figures was ,mons4 ,maillardet1 a ,swiss4 ,he exhibited in ,london a beautiful figure which performed eighteen tunes on the piano1 while imitating at the same time all the motions of the human player4 ,from a description given we learn that the bosom heaved1 the eyes followed the motions of the fingers1 and at the commencement and conclusion of an air the figure turned to the audience and made a graceful salute4 ,mons4 ,maillardet also constructed the figure of a boy kneeling that held in the right hand a pencil with which he executed some capital drawings and pieces of writing4 ,another marvel produced by the ,swiss was a magician1 who answered any question put to him from twenty different medals4 ,the medal was placed in a drawer1 and1 after much cogitation and reference to his books1 he1 with a solemn wave of his wand1 touched the drawer1 which opened and displayed the required answer4 ,the celebrated automaton ,chess ,player will be well remembered4 ,the history of this wonderful piece of mechanism is as follows3 ,m4 ,wolfgang de ,kempelen1 a ,hungarian gentleman1 devoted himself from an early age to the study of mechanics4 ,in #agfi he paid a visit to ,vienna on business of his office of ,aulic ,counsellor to the ,royal ,chamber of the domains of the ,emperor of ,germany in ,hungary4 ,he received an invitation from the ,empress ,maria ,theresa to be present at certain magnetical experiments exhibited by a ,french gentleman of the name of ,pelletier4 ,while in conversation with the ,empress during its exhibition1 ,mons4 ,kempelen asserted that he felt himself competent to construct a piece of mechanism far more surprising than those which they were witnessing4 ,the ,empress took him at his word1 and bound him to keep or attempt to keep his promise4 ,he kept it1 and in six months he produced the famous ,chess ,player4 ,when shown in ,vienna1 it caused the greatest excitement and admiration4 ,it was the talk of society4 ,the inventor1 in spite of its success1 persistently refused to exhibit it in public4 ,he put it aside1 and even took it to pieces1 and for several years it was not used4 ,it was not until the visit of the ,grand ,duke ,paul of ,russia1 and his consort1 to the ,court of ,vienna1 that the chess player was again brought to light1 and exhibited by the wish of the ,empress4 ,the royal visitors were so delighted with its marvellous performance that they urged ,kempelen to permit its public exhibition4 ,he complied1 and it was shown in various parts of ,germany and ,france1 and in #aghe it was brought to ,england4 ,when ,kempelen died1 about #ahjc1 the figure was sold by his son to ,mons4 ,marlzel1 and in #ahai that gentleman brought it again to the metropolis4 ,that figure1 exhibited some time ago in the ,crystal ,palace1 was an improvement upon ,kempelen's ,chess ,player4 ,the following is a description of the original ,chess ,player3 ,the room in which it was exhibited had an inner apartment1 within which appeared the figure of a ,turk of the natural size1 sitting behind a chest #c ft4 #b in4 breadth and #b ft4 in height4 ,to this was attached the wooden shelf on which the figure sat4 ,the chest was movable on casters1 and could be moved to any part of the room4 ,on its top1 in the centre of the chest1 was an immovable chessboard1 upon which the eyes of the figure were always fixed4 ,its right hand and arm were extended on the chest1 while the left1 slightly raised1 held a long pipe4 ,two doors in front and two doors in the back of the chest were opened1 and a drawer in the bottom of it1 containing the chess-men and a cushion whereon to place the arm of the automaton1 was pulled out4 ,two smaller doors were also opened in the body of the figure1 and a lighted candle was held within the openings thus displayed4 ,this was repeated at the conclusion of the game1 if the spectators so wished4 ,the chest appeared divided by a partition into two unequal chambers1 that on the right being the narrowest1 and occupying one third of the whole4 ,it was full of small wheels1 and cylinders and levers4 ,that to the left contained wheels1 barrels with springs1 and two quadrants placed horizontally4 ,the door and drawer having been closed1 the exhibitor wound up the works with a key inserted in a small opening in the side of the chest1 placed a cushion beneath the arm of the figure1 and then challenged any one of the company present to play a game with it4 ,it was observed that in playing the automaton always selected the white pieces1 and had the first move4 ,owing to a curious mistake of the inventor1 the figure moved the men with his left hand4 ,the error1 when found out1 could not afterward be rectified4 ,its hands and fingers opened1 and then grasped a piece1 which it conveyed to the proper square4 ,in taking a piece1 the same motion was made by the arm and hand as before2 it1 however1 conveyed the piece off the board1 and then placed its own piece upon the vacant square4 ,while and after his opponent made a move1 the figure paused for a few moments as though contemplating its own4 ,it intimated with a nod of the head when it gave check to the king4 ,during the time the arm was in motion1 a low sound of clockwork running down was distinctly heard4 ,the works were wound up at intervals by the exhibitor1 who otherwise did nothing but walk up and down the room4 ,as we find that the automaton both lost and won--in ,kempelen's time it very seldom lost--and that each game was different to the others1 it necessarily follows that these phenomena are inconsistent with the sole effects of mechanism4 ,various conjectures have been offered as to the mode of communication between the figure and the intelligence which directed it4 ,a plausible and probable explanation was given in #ahba in a pamphlet called1 8,an ,attempt to ,analyze the ,automaton ,chess ,player40 ,in this brochure it is shown that in spite of the apparent display of the interior of the chest and the figure1 there yet was ample space left unopened for the concealment of a person of ordinary size behind a false back to the narrowest division only4 ,this is shown in the accompanying illustrations4 ,the basis for this elucidation of what was a profound mystery to the many was as follows3 ,illustration ,the machinery was ostentatiously displayed when at rest2 but carefully secluded from view while in motion4 ,by this means the spectator could not form any judgment as to whether the machinery was in any way connected with the automaton4 ,there never was any variation in the method of opening the several doors4 ,when winding up the clockwork1 the key always made a certain number of revolutions1 whether the motions of the figure1 owing to the exigencies of the game1 were more varied or protracted than usual4 ,it was noticed that sixty-three moves were at one time made without the machinery being wound up1 while at another time the machinery was wound up with the intervention of a single move4 ,whether or not the action of the automaton was produced by the agency of a concealed person ,i do not care to pronounce1 but the illustration given proves clearly1 ,i think1 that it might have been so produced4 ,mons4 ,kempelen is said to have invented a still more extraordinary exhibition of his great mechanical genius--namely1 a speaking automaton4 ,how this figure became possessed of a voice1 ,i will show in another chapter4 ,illustration ,,chapter ,,ii4 ,,kempelen4 ,kempelen's ,speaking ,machine has been thus described4 ,it was of simple structure1 and consisted only of five parts--viz41 the reed1 representing the human glottis2 an air-chest1 with internal valves2 the bellows or lungs2 a mouth with its appurtenances1 and nostrils formed to resemble those of the human body4 ,the reed was not cylindrical1 but formed to imitate the reed of a bagpipe drone4 ,the hollow portion1 however1 was square1 and the tongue of the reed1 which vibrated1 consisted of a thin ivory slip resting upon it horizontally4 ,this hollow tube was inserted into the chest1 and the discharge of air occasioning a vibration of the ivory1 the requisite sound was produced4 ,to soften its vibration1 the part supporting the slip was covered with leather1 and a movable spring shifting along the upper side of the slip brought the sound of the reed to the proper pitch4 ,the sound was more acute as the spring was moved forward to the outer extremity1 because the vibrations then became quicker1 and when shifted farther from the anterior extremity1 the sound became more grave1 as the vibrations were then slower4 ,a slight curvature of the ivory slip arose from the pressure of the spring1 which was enough for the object desired4 ,one end of the air-chest1 which was of an oblong figure1 received this voice-pipe1 containing the reed2 and into the opposite end was inserted the mouth of the bellows4 ,both the apertures were guarded by leather1 to prevent unnecessary waste of air3 two smaller air-chests were then put into it1 each having a valve above closed by the pressure of a spring1 and each having a round aperture adapted to receive through the side of the large air-chest a tin funnel1 and a round wooden tube for producing hissing sounds--as1 s1 z1 sch1 j4 ,the voice-pipe was placed in the large air-chest1 so as to be between the smaller air-chests4 ,when all these parts were fitted to the air-chest1 the operation of one lever raising the valve of the first smaller chest connected with the tin funnel produced the sound s2 while the operation of another1 raising the valve of the second smaller chest connected with the wooden tube1 produced the sound of sch4 ,but it is proper further to explain that instead of being a simple tunnel1 it was1 in fact1 a tin box1 with a square hole in the outer end1 nearly covered by a slip of pasteboard2 and the wooden tube was merely the mouth-piece of a common flute1 closed at the lower extremity1 and with the air-hole modified and contracted3 the letter r was produced by the rapid vibration of the ivory slip1 owing to a strong discharge of air4 ,mons4 ,kempelen's bellows1 which were formed to supply the place of lungs1 had no peculiarities4 ,he found that his machine required six times the quantity of air used by a man in speaking4 ,the muzzle1 as ,i have observed1 was inserted into the large air-chest1 and the air which it discharged was also received by the small air-chest4 ,with regard to the mouth1 it consisted of a funnel1 or rather bell-shaped piece of elastic gum1 applied to the air-chest1 and so adapted that the sound of the reed issued from it4 ,elastic gum was selected for this purpose as more nearly approaching to the natural softness and flexibility of the human organs4 ,independent of its communications with the reed producing the sound required1 a tin tube connected it with the air-chest1 by means of which it might be kept constantly full of air4 ,this ,mons4 ,kempelen considered a very essential1 and even an indispensable part of the machine4 ,besides these there were small additional bellows1 for the purpose of aiding the production of such sounds as p1 k1 t1 which needed a greater emission of air4 ,the nose consisted of two tin tubes1 communicating with the mouth4 ,when the mouth-piece was closed1 and both tubes remained open1 a perfect m was heard2 when one was closed1 but the other open1 n was sounded4 ,by the combined means of all these contrivances ,mons4 ,kempelen could make his figure repeat such sentences as ,vous tes mon ami1 ,je vous aime1 etc4 ,upon ,kempelen's machinery all succeeding talking figures have been based4 ,the most noted person who succeeded ,kempelen in the art of magical automata was ,robert ,houdin4 ,he not only improved upon the production of his predecessors1 but applied the basis of their materials to works comparatively original and unique4 ,his automata certainly place him in the highest rank of modern illusionists1 and in giving in detail the principal of his inventions1 ,i shall at the same time be affording a solution of the working of many surprising and ingenious automatic tricks1 which have been exhibited in recent days4 ,one of his best productions was a ,talking ,figure1 similar1 but in many respects far superior1 to that of ,kempelen1 the mechanism of which ,i have described above4 ,it has been asserted that ,houdin first turned his attention to the construction of automata through the following trivial circumstance3 ,illustration ,being in company one day with a travelling showman1 his assistance was asked to repair one of the figures the showman had accidentally broken4 ,having seen the performance of the figure1 which was none other than the well-known ,dancing ,harlequin1 he was struck with the marvellous and apparently magical effects which could be produced by the simplest laws of mechanism4 ,he became so infatuated with the discovery the showman permitted him to make in the construction of the box and figure1 that he1 from that time1 devoted all his thoughts and energies to the construction of automata4 ,the magic harlequin is worth description1 not only because it takes so prominent a place among mechanical figures1 but more because1 in disclosing its mechanism1 ,i shall be explaining the construction of a whole class of automata1 which have been constructed on the same principle4 ,as will be seen by the illustration given above1 a box was placed upon a table1 and at word of command the box opened and a harlequin was discovered therein4 ,at a sign from the conjurer the figure leaped from the box1 and then1 apparently without being attached in any way to the box1 it performed a variety of movements1 imitating the action of the human pantomimist4 ,it further smoked a pipe or cigar1 and blew a whistle4 ,such was the figure which opened the eyes of ,houdin to the marvels which the application of the simple laws of mechanics might produce2 and his great mechanical genius enabled him to succeed even better than he hoped when first he began his investigations of the automata that had already been exhibited4 ,illustration ,the mechanism of the ,magic ,harlequin is extremely simple2 in fact1 it will be found that the most marvellous and astounding effects are produced by the simplest contrivances4 ,the box containing the figure was grooved in the back in nine places1 each groove terminating in a hole pierced through the bottom of the box4 ,corresponding exactly with these holes were nine holes in the table upon which the figure performed4 ,below these holes at the back of the table1 which was always placed close up to the curtains at the back of the stage1 and behind which the person who manuvred the figure was concealed1 were nine spring pistons worked by nine different strings passing over pulleys1 each of which performed a different function1 and were attached to that point in the figure which each was designed to move4 ,the figure of the harlequin1 as the reader will perceive by the annexed illustration1 was attached by means of two rods to a revolving bar fixed from side to side of the box1 and so near the front that it was concealed from the eyes of the audience4 ,when the harlequin was out of the box1 the rods connecting it with the bar were hidden by the drapery of the figure4 ,the first string worked the opening and shutting of the lid of the box4 ,the second string1 passing under a pulley immediately beneath the bar1 passed over the shoulders of the figure1 and by a sharp movement turned the bar and jerked the figure--which was reversed when in the box--out on to the table1 the figure1 of course1 maintaining a standing posture1 and being held up by means of the rods attached to the revolving bar4 ,the shoulders were made to revolve on the two rods1 so that the jerking motion would be easily produced4 ,the third string passed through the body1 and was attached to the legs1 and produced a motion to imitate the stretching of the legs1 known as the 8splits40 ,another string closed the legs and simultaneously turned the head right and left4 ,another string lifted the legs and imitated the movements of a dance4 ,another string turned the figure back again into the box4 ,in the corner of the box was a bellows1 through the medium of which1 and by means of a tube passing through the arm1 and ending in the mouth1 the concealed person1 by manipulating the nine pistons which worked the bellows1 was enabled to produce the effects of smoking and whistling4 ,it is upon this system of mechanism that very many modern tricks have been based--notably1 the great rope acrobatic figure of ,theodin4 ,in this case1 what was thought by the audience to be a rope was really a tube made to imitate a rope1 and the strings passed through this tube and worked from the side of the stage1 the rope serving the same purpose as the bar stretched across the box in the harlequin automaton4 ,houdin was said to be the inventor of the well-known ,magic ,clock4 ,this was a glass dial plate with hands1 but with no visible works4 ,this clever invention has within the last year or two been reproduced1 and exhibited in many jewelers' windows4 ,his chief automatic figures1 besides the talking one ,i have already mentioned1 were two performing ,french ,clowns and the ,cook of the ,palais ,royal4 ,the clowns were shown one sitting on a chair1 and the other standing beside it4 ,at the request of the exhibitor1 the standing clown raised the chair1 with its occupant1 above his head1 while the latter went through a number of acrobatic performances that would have done honor to a living gymnast4 ,these capital figures were worked precisely on the same system as the ,magic ,harlequin1 the strings1 pistons1 and machinery being necessarily of stronger make1 and worked from beneath1 instead of behind the stage4 ,this was considered by the public1 and ,houdin himself looked upon it1 as his chef d'uvre1 and a masterpiece in automatic figures it certainly was4 ,the ,cook of the ,palais ,royal was a very amusing piece of mechanical application4 ,it consisted of a faithful representation of a detached villa4 ,houdin handed round a list of wines and liquors1 requesting his audience to select which they liked best on the bill of fare4 ,when one was mentioned1 a figure of a young maid emerged from the doorway1 descended the steps1 and brought forward on a tray a glass of the desired wine4 ,when the person at whose order the wine was brought removed the glass from the tray1 the figure turned and glided back into the house1 again emerging with another glass of wine1 and so on until the list was exhausted or the bibulous propensities of the audience were fully satisfied4 ,the same basis of machinery used in the ,magic ,harlequin was also employed in the ,cook of the ,palais ,royal1 each piston working a tap containing one kind of wine4 ,the operator at the back of the stage could hear the wine asked for1 and thus knew which string to pull1 and which tap to open1 when the figure1 which was made to pass under every tap1 re-entered the house4 ,houdin's ,orange ,tree was a capital trick1 and1 although exceedingly simple in its mechanism1 produced the most startling effects4 ,houdin borrowed a handkerchief1 which he burnt1 or rather which he led the audience to think he burnt1 at the sacrifice of a duplicate1 in front of a plant placed in a box upon a table1 which1 at word of command1 gradually began to bloom4 ,white blossoms were seen to emerge from four or five different shoots4 ,these disappeared1 giving place to oranges1 which ,houdin removed from the tree and distributed among his audience1 with the exception of one1 which he left on4 ,this one opened1 and out from it sprang two butterflies1 and in the middle of the orange was found the burnt handkerchief4 ,in this trick also the spring pistons of the ,magic ,harlequin were used4 ,the real oranges were fixed on pins and hidden by the leaves4 ,a string or wire opened the leaves1 gradually disclosing the oranges1 which appeared at a distance to grow in size as the leaves spread wider4 ,another set of wires1 worked by another string1 pushed the blossoms up fine tubes1 and as the paper emerged from the tube the separate parts spread out1 giving the appearance of growing blossoms4 ,as soon as the two halves of the sham orange in the centre were released1 the butterflies1 attached by wires to the stalk1 and fixed upon delicate spiral springs1 sprang out of their own accord1 and presented the appearance of fluttering on the wing4 ,the bona fide handkerchief was pushed into the halves of the orange through a hole in the back while ,houdin was taking off the real oranges4 ,a rose-tree1 similar in its effects1 was also exhibited by ,houdin4 ,this clever mechanician was1 ,i believe1 the inventor of the ,electric ,bell1 or1 to be more precise1 he produced it as a magical trick1 long before the electric bell came into use4 ,the ,magic ,drum1 swung from the ceiling by means of wires looking like cords1 of which ,houdin was the first exhibitor1 was constructed on precisely the same principles as the modern continuous electric bell1 only worked with a much stronger battery and a more powerfully made electro-magnet4 ,illustration ,mr4 ,houdin was the first person to introduce the famous 8,suspension in the ,air0 trick1 centuries ago made so famous by the ,fakir of ,oolu1 performed by the ,hindoos4 ,the lady selected for the trick is generally slight in figure4 ,previous to coming on the stage she binds close to her body a framework specially made to fit her4 ,this frame consists of an iron bar1 with front and back plate fitting on the hip by means of straps fastened round the body4 ,the iron bar reaches as far as the armpit1 where it is joined to another bar reaching from the armpit to the elbow by a movable circular plate indented in three places4 ,at the end of the arm bar and immediately below the elbow is a pin of iron1 which is made to fit into the hollow iron bar upon which the exhibitor rests the lady4 ,at the top of the body bar is a spring stop1 made to glide into the indentations of the movable circular hinge1 and thus keep the whole framework in the position it is placed4 ,the annexed illustration will more clearly show this single piece of machinery4 ,a is the iron bar1 and ,b the hip plate4 ,d is a spring stop fitting into the teeth of the joint ,f4 ,f is the arm bar1 and ,g is the pin fitting into the hollow tube ,h1 which is fixed into a socket in the platform4 ,the frame is fastened to the body by means of the leather straps ,k4 ,when the body is raised to the position of ,l1 the spring stop ,d slips into the middle indentation1 and thus keeps the frame and the lady borne upon the frame in that position4 ,when the body is raised to a horizontal position1 ,m1 the spring stop catches in the first indentation1 and keeps the body perfectly straight4 ,in commencing the trick the performer rests the figure upon two poles and then knocks one away4 ,this is done to make the audience believe that the two poles are similar4 ,i need scarcely say that the putting of the lady into a mesmeric trance is only a piece of acting2 it1 however1 adds very much to the effect of the trick1 as the reader no doubt has thought up till now4 ,it will be remembered1 notably in the case of the ,fakir of ,oolu1 that sometimes when the trick was performed both poles were taken away4 ,what1 then1 you will ask1 becomes of all my machinery8 ,the two poles were seemingly taken away4 ,the poles used consisted of brass bars4 ,the limelight beamed upon the figure of the sleeping lady1 while the rest of the stage was comparatively dark4 ,thus1 when the conjuror apparently took away the only support the figure had1 the audience did not and could not perceive that he really took away the brass case of the second pole1 leaving another1 the actual pole on which the framework was fixed1 and which was of the same color as the drapery of the stage4 ,it was for the purpose of deceiving the eyes of the audience that the pole was encased in a brass shell in the first instance4 ,he refixed the case before the stage was relit1 and the lady woke up from her sham mesmeric trance4 ,illustration ,,chapter ,,iii4 ,,theodin4 ,contemporary with ,houdin were ,theodin1 ,robin1 ,professor ,anderson1 and a whole host of minor stars1 at whom ,i shall just take a passing glance1 and then ,i will enter at once into the subject of modern automata1 second sight or clairvoyance1 optical illusions1 and the other branches of the art of magic and conjuring4 ,the principal production of ,mons4 ,theodin was the rope acrobat1 which ,i have fully explained in a preceding chapter4 ,mons4 ,robin also exhibited a very ingenious and interesting piece of automata1 well known as the ,magic ,windmill4 ,upon a table a large-sized windmill was placed4 ,the exhibitor tapped at the door1 when the miller's head was seen at the window for a moment1 as if he desired to know who was knocking1 and then a few seconds after the door opened1 and the miller appeared in full person1 candle in hand and pipe in mouth4 ,mons4 ,robin desired the miller to kindly grind a small sack of corn which he gave him2 the miller nodded assent1 took the corn and entered the mill1 the door closing upon him4 ,shortly afterward the sails of the mill went gaily round1 and after a brief interval the miller opened his door and handed ,mons4 ,robin the sack back1 with the ground bran and corn mixed4 ,this he was desired to separate1 when he again entered the mill1 and after a brief interval returned with the task duly performed4 ,the door of the mill being closed1 and the miller supposed to have retired to bed after his labors1 ,mons4 ,robin selected five cards1 or1 rather1 made his audience believe they selected them2 he tore them up1 and loaded a pistol with the pieces4 ,he then fired at the windmill1 when lo6 presto6 one of the torn cards was perceived upon each sail of the mill1 and one upon the door6 ,but this was not all4 ,the firing of the pistol set the mill on fire1 and the blaze was seen emerging from the top4 ,i need scarcely say that ,mons4 ,robin's ,windmill was highly successful4 ,the whole of the effects obtained by this clever conjuror from this one piece of automata was caused by precisely the same means as those of the magic ,harlequin and the ,cook of the ,palais ,royal4 ,the same system of levers1 valves1 and pulleys was employed1 and the whole was worked by a person off the stage4 ,the only automaton of ,professor ,anderson was1 compared with that of his predecessors1 extremely weak1 and scarcely deserving of notice4 ,it consisted of an old man1 who nodded1 shook his head1 and raised his arm to ring a bell4 ,the reader of these articles will know exactly how this was done4 ,the head was worked beneath the stage2 one string causing the head to nod1 another to turn from side to side1 and a third raising its arm and letting its hand fall upon a bell4 ,by these three simple movements it answered various questions put to it4 ,illustration ,before proceeding further1 ,i may as well state that ,i have necessarily passed by a large number of automata which were exhibited by numerous other professors of the 8black art0 whom ,i have not even named4 ,this was absolutely unavoidable1 inasmuch as the space and time that would be required to give a full history of automatic conjuring is not at my disposal4 ,but ,i have endeavored to give the principal wonders of mechanical art as applied to conjuring1 those which ,i have omitted to mention being weak imitations of the great masterpieces1 and therefore of no note4 ,but1 following up the sequence of events in the history of conjuring1 ,i must make mention of ,colonel ,stodare's ,living ,head1 especially as this will open up quite a new subject4 ,stodare placed upon a table1 supported by legs1 and beneath which the audience apparently saw the back of the stage1 an empty box with folding doors in front4 ,having closed the doors of the box for a few minutes1 he reopened them1 when a living head1 dressed to represent the head of a sphinx1 was seen within the box4 ,to all appearance there could not possibly be any connection of that head with a body4 ,there was the head in a box of such a size as only to be capable of admitting a head4 ,the audience saw that the body could not be placed beneath the table1 for they perceived the curtains at the back of the stage1 between the legs1 while the table itself was at some distance from the curtains at the back1 and the space between could plainly be seen4 ,the audience1 however1 could not see through the legs of the table1 but what they saw was a reflection of the sides of the stage1 which were made to correspond exactly with the back4 ,this was effected by means of two plate-glass mirrors fixed so as to closely fit into the space between the three legs facing the audience4 ,the floor was covered with green baize1 which was reflected in the glasses1 and seemed to be a continuation of the floor4 ,the living body belonging to the animate head was in reality beneath the table1 concealed from view by the mirrors4 ,the annexed illustration will show the position of the body during the performance4 ,in order that the reader may more clearly understand how this great optical illusion was produced1 ,i will give a full explanation of an improvement upon this apparently wonderful phenomenon--the ,fatima illusion--when the reader will more clearly comprehend the solution of what must have hitherto been to him or her a profound mystery4 ,but before doing so ,i may mention that simultaneously with the appearance of ,colonel ,stodare's ,talking ,head there was produced by ,messrs4 ,pepper and ,tobin an optical illusion founded upon precisely the same mechanical arrangement4 ,it was called 8,proteus2 or1 ,we're here and not here40 ,a cabinet #c ft4 #f in4 wide by #f ft4 high1 standing upon four small feet so that the audience could see beneath it1 was brought upon the stage4 ,it was then opened1 and inside was seen a pillar in the centre from floor to top1 on the point of which was hung a lamp4 ,the cabinet was seen to be empty4 ,a person entered it1 closing the door after him4 ,in a few seconds1 when the door was reopened1 it was found to be empty4 ,this was repeated with three different persons4 ,a fourth went in1 and on the door being opened the four persons were seen inside1 and emerged from the cabinet4 ,of course1 where these men concealed themselves was the cause of a great deal of surmise and conjecture2 but the reader who has seen this trick1 after ,i have explained the mystery1 will marvel at the ease with which he was deceived and hoodwinked4 ,illustration ,from the preceding ground plan of the cabinet1 it will at once be seen by the simple laws of optics how our very eyes may be made to cheat the other senses3 ,a ,b1 ,c ,d1 is the floor plan of the cabinet4 ,a ,b1 ,b ,d1 ,d ,c1 and ,c ,a1 representing the four sides4 ,e is the pillar from floor to roof4 ,attached to the sides ,a ,c and ,b ,d1 are two plate-glass sides fitting exactly1 so as to form two sides to the cabinet1 ,a ,e1 ,b ,e1 terminating in the pillar ,e4 ,these plate glasses are movable on hinges in the direction indicated by the arrows1 and could be moved close to the sides of the cabinet4 ,the backs of the plate-glass doors are painted or papered to resemble exactly the sides of the cabinet1 so that when closed the plate-glass sides appear to be bona fide sides of the cabinet4 ,thus1 when a man stepped into the cabinet he merely opened the plate-glass sides1 and stood behind them when the cabinet was opened4 ,the glass reflecting the sides of the cabinet1 which were exactly like the back1 made it appear that the box was empty1 the lamp being so placed that it was not reflected by the glass sides4 ,from this it will be seen that as many persons as the space inclosed by the folding glass sides could hold1 might easily enter the cabinet1 and yet not seem to be in it4 ,this and the ,living ,head of ,stodare were such good optical illusions1 and so safe for the exhibitor to work upon1 that succeeding conjurors have improved upon the trick1 and produced one of the prettiest and most marvellous effects1 that of a lady being seen on the table1 without any lower limbs whatever1 and yet able to talk and sing4 ,no doubt many of my readers will remember to have seen ,fatima when exhibited some little time ago in ,lime ,street1 ,liverpool4 ,a description of this optical illusion1 as seen by the public1 will be scarcely necessary4 ,illustration ,it will be remembered that to all appearance a half body was resting upon a small table standing on legs1 which again rested upon a larger table likewise upon four legs1 and that the space beneath the table was seen4 ,in point of fact1 the space beneath the table was not seen1 for the remaining portion of the visible body actually stood in the space beneath the table4 ,the table was really upon three legs placed at right angles4 ,between the middle and two other legs were two plate-glass mirrors1 fitted closely to the legs and the top of the table4 ,the pattern of the carpet was always of a square character1 and the table was so placed that the reflection in the glass formed a continuation of the pattern1 thus giving an appearance of space and a continuity of surroundings4 ,the fourth leg of the table was produced by a very simple contrivance4 ,a single leg1 carved similarly to the legs of the table1 was concealed behind each of the small screens which bore a lamp1 and on each leg was a placard bearing the letters composing the name of ,fatima1 but written thus--,,amitaf1 so that1 as seen in the glass1 they appeared ,,fatima4 ,these legs were so placed that they threw their reflections in such a way as to continue and form one leg1 the fourth leg of the table4 ,the ground plan1 as given here1 will at once show the position of the table and the separate legs4 ,a ,b ,c are the three legs of table1 ,a ,b and ,b ,c being the two plates of glass4 ,d ,d are the two screens concealing the single legs ,e ,e4 ,according to the laws of reflection the legs ,e ,e will be reflected in the point ,f1 and thus present the appearance of four legs4 ,upon each of the legs is placed the placard bearing the name written backward1 and the reflection so deceives the spectator that he fully believes he is looking at a fourth substantial leg4 ,of course the upper table upon which the visible portion of the body appears to rest is likewise made of three legs with looking-glass in between4 ,the invisible portion of the body is concealed by the looking-glasses4 ,the pattern of the floorcloth being of a cubic shape1 the reflection in the glasses seems to be a continuation of the pattern4 ,it was by these simple combinations of mechanics and optical contrivances that thousands upon thousands of persons were mystified and completely cheated of their senses4 ,illustration ,,chapter ,,iv4 ,,automata3 ,,psycho4 ,we now come to our own time1 and to a description of the various automatic exhibitions of the present day4 ,the most notable and successful1 because the most original1 exhibitors and inventors of automatic figures at the present day are ,messrs4 ,maskelyne and ,cooke1 now located at that old 8home of mystery10 the ,egyptian ,hall1 ,london4 ,their first and1 in my opinion1 their best piece of mechanism was ,psycho1 the celebrated ,whist ,player1 which they produced in #ahfe4 ,a description of this interesting figure is scarcely needed4 ,for years they contrived to keep the motive power and mechanical arrangements of this automaton an entire secret1 while the public1 the press1 and the scientific world1 saw1 wondered1 and were puzzled4 ,many and various were the solutions offered to account for the working of the ,whist ,player2 but the secret of the sinews and muscles1 so to speak1 of ,psycho mystified every one4 ,so thoroughly successful was the figure that1 as a natural consequence1 mechanicians set about producing something similar4 ,one of these imitations was exhibited under the name of ,hankey4 ,this was but a poor and clumsy representation of the original4 ,it consisted of a rudely-constructed figure of a man seated on an octagonally shaped box1 in which a boy was concealed1 who worked the arms and head4 ,the exhibitor was compelled to indicate the cards to be played by certain signs and motions1 which often led to complications and mistakes4 ,this revival of ,psycho eventually came into the possession of ,signor ,boz1 and was exhibited in ,liverpool and various other towns under the new name of ,yorick4 ,professor ,pepper likewise constructed an imitation of ,psycho1 under the nom de thtre of ,scynthia4 ,this figure1 though very ingeniously contrived1 did not confessedly fulfil all the conditions of ,psycho4 ,cremer also introduced a whist player1 which was a huge1 complicated mass of wheels1 levers1 and elaborate mechanical contrivances1 and necessitated a most careful supervision for a successful exhibition4 ,it could never be relied on for a smooth and uninterrupted performance4 ,illustration3 ,,fig4 #cba4 ,a ,french firm also constructed a whist player for ,mr4 ,everett1 and this eventually went to ,america4 ,in this figure the boy was much better concealed than in the one ,i mentioned before4 ,one very ingenious solution of the construction of ,psycho was offered in ,november1 #ahgg4 ,i partly reproduce it--not because it is a solution1 but because it will enable the practical and ingenious reader to construct a figure something similar1 although not at all equal1 to the ,whist ,player of ,messrs4 ,maskelyne and ,cooke4 ,in ,figs4 #cba;a and #cba;b 7elevation and plan71 the wheels ,e and ,m have each a train of clockwork left out for the sake of clearness1 which would cause them to spin round if unchecked4 ,m1 however1 has two pins1 p p1 which catch on a projection on the lever1 ,n4 ,e is a crown-wheel escapement--like that in a bottle roasting-jack--which turns ,a alternately to the left and right1 thus causing the hand to traverse the thirteen cards4 ,a little higher up on ,a will be seen a quadrant1 ,b 7see plan71 near the edge of which are set thirteen little pins4 ,the end of the lever1 ,n1 drops between any two of them1 thus causing the hand to stop at any desired card4 ,the lever being pivoted at c1 it is obvious that by depressing the end1 ,n1 ,b will be set at liberty1 and the hand will move along the cards2 by slightly raising it this motion will be arrested2 by raising it still more the pin1 p1 is released1 and ,m commences to revolve1 and by again depressing ,n this wheel will1 in its turn1 be stopped4 ,near the bottom of the apparatus is a bellows1 ,o1 which contains a spring tending to keep the lever1 ,n1 with which it is connected by a rod1 ,x1 in the position shown4 ,this is connected with the tubular support1 which may be connected by a tube through leg of stool1 and another tube beneath stage1 with an assistant behind the scenes4 ,by compressing or exhausting air through this tube it is obvious that the lever1 ,n1 will be raised or depressed1 and the clockwork set going accordingly4 a is a crank-pin set in ,m1 and connected with the head by catgut1 ,t1 and with the thumb by ,s4 ,at ,r and ,r are two pulleys connected by gut4 ,thus if the hand moves round1 the head appears to follow its motions1 and when raised by pulling ,s1 the head rises also by means of ,t4 ,further explanation seems almost unnecessary2 l is a stop to prevent elbow moving too far1 and b b spiral springs1 to keep thumb open and head forward respectively4 ,when ,n is raised1 ,m pulls ,t and ,s1 the latter closing thumb1 and then raising arm by pulley ,h4 ,if the lever is allowed to drop1 p will catch and keep arm up4 ,on again raising ,n1 the arm will descend4 ,illustration3 ,,fig4 #cbb4 ,illustration3 ,,fig4 #cbc4 ,illustration3 ,,fig4 #cbd4 ,in addition to the above contrivance1 we have in ,figs4 #cbb and #cbc another and simpler arrangement1 in which only one train of clockwork is used4 ,on the same axle as ,h is fixed a lever and weight1 ,w1 to balance the arm4 ,a vertical rod1 ,x1 having a projection1 ,z1 slides up and down in guides1 ,y ,y1 and carries the catgut1 ,s and ,t4 ,the quadrant1 ,b1 has cogs cut1 between which ,z slides and stops the motion of ,a1 which is moved1 as before1 by clockwork4 ,the lower part of ,x is connected direct with ,o4 ,when ,x is slightly raised1 as shown1 ,a is free to move1 but on exhausting air and drawing ,x down1 ,z enters the cogs and stops the hand over a card2 continuing to exhaust1 the thumb closes and the card is lifted up4 ,the details of the clockwork the originator of this solution omits to give4 ,he says there should be a fan on each train to regulate the speed4 ,the figure should be so placed that an assistant can see the cards in the semi-circular rack ,fig4 #cbd4 ,illustration ,the next remarkable automatic figure exhibited by the dual mystifiers at the ,egyptian ,hall is that called ,zoe4 ,it represents a female figure seated upon a stand4 ,before her is placed a semicircular drawing board1 which is attached to the seat upon which the figure rests4 ,zoe writes figures and draws portraits of popular characters4 ,to all appearance there is no motive power off the stage1 and the exhibitor has no physical connection with the figure1 whose movements and skill are apparently spontaneous4 ,this is one of the most simple mechanical contrivances of the kind that has ever been produced4 ,a thin steel rod runs through the seat in which the figure is fixed4 ,the body and the arms of ,zoe are above the stage1 beneath which another arm and drawing-board are placed exactly in the same position as those above the platform4 ,the mechanism is made to work so that the hand above is moved precisely as the hand below is guided by the artist4 ,thus1 when ,zoe is told to draw a portrait1 say1 of the ,earl of ,beaconsfield1 the artist below guides the unseen hand1 while the hand above follows the movements of its guide below4 ,the reader may see from the annexed plan at a glance the principles of the movement2 but it must be understood that this is not the only mechanism employed4 ,it will1 however1 fully explain the principles of its motion4 ,it will be seen that whatever movement be given to the arm at ,b1 the arm at ,a must have the same movement simultaneously4 ,as the figure is brought on to the stage1 and then fixed on to the seat1 all suspicion of complicity with persons below the stage is removed2 but a rod is pushed through the pedestal and secured through the upper half while the exhibitor is seating the figure4 ,another1 and ,i think the latest production of note--no pun is here intended--brought before the public by ,messrs4 ,maskelyne and ,cooke is ,fanfare1 the cornet player4 ,this is the figure of a gentleman dressed in modern costume1 holding in his hand a cornet1 which he places to his mouth and plays in the most professional manner4 ,the whole performance of this mechanical marvel1 however bewildering it may appear to the observer1 consists of nothing more or less than remarkable clever 8lipping0 on the part of a living musician1 who really plays the instrument in the lonely solitude of the regions beneath the stage4 ,the sound emitted from a brass instrument is altered in tone and pitch1 according to the length and breadth of the tubes through which the wind is blown4 ,for a bass tone wide and long tubes must be used1 while for a treble tone much shorter and narrower tubes must be employed4 ,the principles of construction are exactly similar in the cornet as in the euphonium and saxehorn1 the difference of tone being produced merely by the different dimensions of the tubes4 ,the direction of the tubes--that is1 whether they be twisted or straight1 or in different folds--makes very slight1 if any1 difference in the tone of the instrument4 ,a cornet could be so constructed as to admit a much longer and straighter tube immediately in front of the piston tubes1 and still have the tone of an ordinary cornet4 ,it must have been this principle which first suggested to the minds of ,messrs4 ,maskelyne and ,cooke the construction of an automaton cornet player4 ,the extra long tube of which ,i have made mention passes through the body of the figure into its mouth1 where it meets the mouth of the cornet when it is placed against the lips4 ,this tube is passed through one of the legs of the chair on which the cornet player is seated1 and thence beneath the stage1 where a living cornet player manipulates the instrument in the hands of the figure by means of three strings or wires attached to the fingers of the figure4 ,thus while he is blowing through the tube he has the string of the first piston on his forefinger1 that of the middle piston on the middle finger1 and that of the third piston on the third finger4 ,as he mouths his instrument he moves his fingers in precisely the same manner as he would had he an instrument instead of only a tube to play upon2 and as he moves his fingers so he pulls the wires joined to the three fingers of the figure1 and thus produces the change of notes which the exigencies of the tune require4 ,illustration ,,chapter ,v4 ,,marionettes4 ,in perusing these articles the reader must have observed1 ere this1 that a great deal of the success of mechanical1 and1 in fact1 all kinds of conjuring1 consists as much in the credulity and ignorance of the audience as in the perfection of the trick itself4 ,it is not at all surprising that1 centuries ago1 the performer of a few juggling tricks1 or the man slightly in advance of his age in science1 should have been looked upon by the vulgar crowd as a person having dealings with another world1 and that his ,infernal ,majesty himself should have been called in to father all his supernatural tricks and wonders4 ,happily1 we have reached an age when enlightenment has driven superstition almost entirely away2 and while we marvel and wonder at the cleverness of such men as ,maskelyne and ,cooke1 ,dr4 ,lynn1 and many others1 even the most ignorant of persons would never think that these gentlemen had any diabolical contract with such an uncanny gentleman as ,mephistopheles4 ,i make these remarks because the tricks ,i shall shortly describe have been performed1 perhaps in a slightly different manner to what they are now1 centuries ago1 in the distant ages of ,egyptian might1 the earlier days of the ,hindoos1 and long before civilization had reached the west of ,europe4 ,a venerable and oft-repeated magical delusion is that of dismembering a living person4 ,dr4 ,lynn relies upon this worn-out pantomime trick for the staple of his performance2 but it must be confessed that his method of manipulation and neatness of execution saves1 what would be in a clumsy person's hand1 a very sorry exhibition4 ,illustration ,a man is brought upon the stage1 and is told that his limbs are going to be amputated4 ,the victim makes a rush behind the curtains1 no doubt frightened that the threat would be duly executed1 but is brought out and made to stand still while the exhibitor coolly cuts off an arm and then a leg4 ,the frightened1 trembling subject of the professor's carving operations is an assistant1 who takes good care to be the first on the stage when a person among the audience is requested to step up and be carved4 ,when he rushes off behind the curtains1 it is to affix to one shoulder and thigh a dummy arm and leg1 while his real limbs remain behind the curtains reclining upon rests4 ,so quickly is this done that the audience cannot but believe that the arm and leg are the real flesh and blood contingents to the human frame4 ,the professor carefully amputates the false arm and leg4 ,of course he can as readily replace the limbs by simply gliding the false limbs through the curtains1 and releasing the bona fide leg and arm from their constrained and awkward position4 ,another exhibition offered by ,dr4 ,lynn to his patrons is that known as the ,living ,marionettes4 ,this novel and amusing illusion was first introduced by a ,frenchman1 and was shown in the metropolis long before the ,british public had heard of ,dr4 ,lynn1 and before he brought it out as a novelty at the ,london ,aquarium4 ,on a small stage1 a real living head1 attached to a miniature body1 sings1 talks1 and acts2 and it is plainly evident to the audience that while the head is really a human one1 the manikin body is but a toy4 ,apparently the curious figures are not connected by any means with anybody1 either at the back1 sides1 or beneath the stage4 ,it will be noticed that the drapery is entirely of black1 and that the eye is deceived1 by the absence of any break in the color of the drapery1 as to distance4 ,the person appearing as the ,living ,marionette1 fixes beneath his chin the framework of the body4 ,the back drapery is so arranged that he brings on the stage with him the curtains forming the background to his head1 while with wires fixed to the legs and arms1 he produces a motion in the toy1 giving it the appearance of walking on the stage2 so that while the ,living ,marionette is in the centre of the stage1 the body of the man is behind it4 ,thus there are two backgrounds to the stage--one of black1 fixed2 the other also of black brought on with the head2 but being black1 is not seen by the audience1 who imagine the head passes before the black curtain4 ,any number of heads can be shown1 and two could perform at the same time by coming on the stage from each side1 with each half a curtain or background fixed to their heads4 ,the annexed illustration will show the head1 to which is fixed a movable black frame1 and the position of the real and the dummy body4 ,there is sufficient space between the extremity of the stage and the fixed curtain at the back for the performer to stand and pass along4 ,as ,i said before1 the arms and legs of the toy are worked by means of wires passed through the counterfeit curtain4 ,a very pleasing and startling entertainment may be obtained if the persons selected to perform are vocalists and comedians4 ,illustration ,,chapter ,,vi4 ,,clairvoyance4 ,it is surprising with what avidity our forefathers1 when they perceived some effect arising from an unknown cause1 flew to the aid of diablerie and the supernatural for an elucidation of the mystery4 ,without seeking at once to work out a cause from the known laws of nature and natural phenomena1 they stopped all pursuit in the paths of inquiry by at once bringing forward his ,satanic ,majesty as the cause of everything and every occurrence for the origin of which they could not give an immediate explanation4 ,we have happily reached an age which is distinguished for its matter of-fact treatment of all that appears mysterious and unusual4 ,thus we have1 by our rigid inquiries into the truth1 banished1 or almost banished1 those dread preventives of progress and civilization--superstition1 and belief in the supernatural4 ,but even at the present day1 with all its enlightenment and education1 we find the weakness of our ancestors palpably predominating in the minds of the ignorant multitude1 and spiritualism and magic looked upon by a certain number of persons as things existing and beyond the ken of men4 ,scientific inquiry--that broom that has swept away so many superstitions--has done its work well1 and it cannot be long before the bigoted believers in the so-called 8manifestation0 of beings in another and unknown world will be looked upon1 even by those whose belief in them is strongest1 as the mechanical hanky-panky tricks of clever and astute conjurors1 who feed upon the credulity and simplicity of their tools and followers4 ,among the many subjects which were classed with the supernatural phenomena arising from the agency of unseen and spiritual powers1 clairvoyance1 or second sight1 ranks conspicuous4 ,it has been asserted1 and by no mean authority1 that second sight1 or the belief in a secondary and unnatural sight1 took its origin in the ,scottish ,highlands and ,isles1 where it was known by the name of taisch--a spectral or shadowy appearance2 but from the time when the ,oracle at ,delphi was sought by the populace1 and when thousands were deluded by the mere mechanical tricks of a clever and crafty priesthood1 even to this day1 second sight has been looked upon as a spiritual visitation bestowed for some design upon persons who are made the instruments of ,providence4 ,that at times men have had a prescience of what was to come cannot be denied1 since murders and murderers have been undoubtedly discovered by means of visions which have been seen of the murderer1 and the spot where the murder was committed4 ,even ,dr4 ,johnson1 in his ,journal in the ,hebrides1 where the belief in second sight prevailed to a great extent1 hesitates whether to believe or deny2 and he asserts that he 8came away at last only willing to believe40 ,it is not my intention1 nor have ,i the time or space1 to enter fully into the subject of second sight of the past1 but it is my intention to fully explain second sight1 as it is understood now1 and the reader will at once see how the old fabric of the superstitious ages melts into the most commonplace1 and he will be perhaps vexed and annoyed to think that when witnessing a performance of second sight his mind misgave him1 and he really was willing to believe4 ,the power1 when blindfold1 to discriminate things unseen1 and promiscuously pick from a crowd of persons1 and name miscellaneous and out-of-the-way articles1 has been performed so cleverly that the greatest surprise and wonder has been created in the minds of even the most intelligent spectators4 ,but like everything else to which the term magic has been and is applied1 the wonderful and mysterious are only the simple and the commonplace1 and the credulity of the audience leads to the merest trickery1 to that marvel and wonder which surrounds a feat of legerdemain or clairvoyance2 but1 as my readers will have already seen1 as soon as second sight is explained1 it will cause wonder no more4 ,there are always two persons engaged in an exhibition of clairvoyance--the person who asks what the article is and the person who answers4 ,the whole secret of second sight lies in the method of asking what the article is4 ,a sort of dictionary has to be learned by both1 and this lesson is certainly not more difficult than that of the tragedian in learning his part2 but the audience are deceived by the simplicity of the questions asked4 ,although the words used by the questioner are nearly always the same1 the position of the words is different4 ,hence1 a different answer can be applied for every varying construction of the sentence4 ,when these different questions and their answers are thoroughly understood by the two accomplices1 they can give an exhibition which to the uninitiated will appear marvellous and unaccountable4 ,when the interrogator asks the question1 8,is this picture colored or plain80 the answer is 8,plain20 or if the question is1 8,is this picture plain or colored80 the answer is 8,colored40 ,this is the whole groundwork of second sight1 and in order more fully to illustrate this matter ,i will give a series of answers and questions which have been adopted by a number of ,english and ,american professors4 ,in asking the color of an article1 the question can be so differently constructed that each construction can bear the answer for every ordinary color4 ,what color is this8 ,black4 ,what is the color8 ,blue4 ,tell me the color8 ,green4 ,has it a color8 ,white4 ,any color8 ,orange1 yellow4 ,name the color8 ,brown4 ,please name the color8 ,red4 ,these have only to be learned by two persons in combination1 when they will be able to tell the color of any article4 ,should the exhibitor have an article of a mixed color1 say1 mauve1 he first asks the question having red for the answer2 and then1 before the reply can be given1 again puts the query for blue4 ,the clairvoyant thereby knowing it is a mixture of red and blue1 he is able to know that mauve is the answer required4 ,again1 in asking the nature of a stone set in a jewel the question may be thus arranged3 ,what is the stone8 ,topaz4 ,what stone is it8 ,jet4 ,tell me the stone8 ,emerald4 ,name the stone8 ,diamond4 ,do you know the stone8 ,cornelian4 ,any stone8 ,amethyst4 ,and so on ad infinitum4 ,in ascertaining the nature of a piece of jewelry the questions may be put thus3 ,what is the metal8 ,gold4 ,what metal is it8 ,brass4 ,what metal8 ,silver4 ,tell me the metal8 ,copper4 ,name the metal8 ,iron2 steel4 ,please name the metal8 ,bronze4 ,can you tell me the metal8 ,tin4 ,the following questions1 having replies for the usual articles found upon persons assembled to witness a performance1 may easily be learned by a person gifted with a good memory1 or by a person with an ordinary memory by repeated application3 ,name this8 ,a pocket comb4 ,what have ,i here8 ,a purse4 ,what is this8 ,a toothpick4 ,this will puzzle you8 ,court plaster4 ,speak loud8 ,a letter4 ,answer quickly8 ,a handkerchief4 ,has it a color8 ,white4 ,is it perfumed8 ,yes4 ,tell me now8 ,keys4 ,is this of any use8 ,an almanac4 ,what is this for8 ,to burn a cigar4 ,do ladies use this8 ,yes2 a pincushion1 needlecase4 ,do you know this8 ,a walking-stick4 ,now1 can you tell this8 ,a pocket-book4 ,would you like this8 ,yes2 a watch4 ,do you admire this8 ,a brooch4 ,who gave me this8 ,a lady--a bracelet4 ,what is in my hand8 ,a pin4 ,now1 who gave me this8 ,a gentleman--a chain4 ,what have ,i now8 ,money4 ,now1 what have ,i got8 ,a sovereign4 ,can you tell me again8 ,a shilling4 ,is this the same8 ,sixpence4 ,you say ,i have money2 but you don't say the kind8 ,a florin4 ,you say ,i have money2 but you don't say its value8 ,a half crown4 ,you say ,i have money2 but tell me its value8 ,ten shillings4 ,what is the value of the money8 ,a penny4 ,i cannot hear you8 ,a halfpenny4 ,i think ,i have given sufficient queries and answers to indicate the simplicity and the secret of second sight4 ,when all the particulars of the articles are required1 although the questions may seem perplexing to the spectator1 yet they are extremely simple to the person who knows each question and its reply by heart4 ,here is an illustration of a complicated series of questions1 and the reader will see at once that the answering is very simple3 ,what is in my hand8 ,a pin4 ,what is the metal8 ,gold4 ,any stone8 ,amethyst4 ,what have ,i now8 ,money4 ,you say ,i have money2 but you don't say the kind8 ,a florin4 ,can you tell me again8 ,a shilling4 ,from the illustrations ,i have given above1 the reader will perceive that1 provided a large and well-selected assortment of questions1 corresponding with replies1 be agreed upon1 and well known by the two confederates1 almost any question may be answered and any article known1 together with its properties1 color1 contents1 etc4 ,another exhibition of clairvoyance--the reading of writing sealed up and unopened--adds greatly to the mystery of the performance2 but how this is done can be easily explained4 ,previous to going on the stage1 a sentence is selected1 and written in blacklead on a piece of paper4 ,during the performance similar pieces of paper are handed round to several of the audience1 who are requested to write a sentence thereon4 ,these papers are sealed similarly to the prepared one1 and placed in a hat4 ,the professor then pretends to select one at random1 after having shaken up the papers2 but he really takes up the one he had already in his hand4 ,the lady clairvoyant is then requested to read a sentence1 which1 of course1 she can easily do4 ,the paper is then handed to one of the audience and to their astonishment it is found to have been the actual sentence written4 ,it will be understood that each writer of a sentence is ignorant of what another has written1 and the given sentence is therefore thought to have been written by one of the audience4 ,this suspicion may be heightened by the queer method of spelling1 or the character of the caligraphy2 it may be made still more astounding by writing the sentence in a foreign language with a slight mistake in spelling1 or grammar1 upon which the clairvoyant can comment in her reply1 and thus acquire a reputation for scholarly and linguistic attainments4 ,the same means are resorted to in the adding up of a sum4 ,the figures are all prepared behind the stage1 and the bona fide sums given by the audience are never the ones answered by the clairvoyant4 ,i think ,i have given1 or ,i hope ,i have1 a clear and full explanation of clairvoyance or second sight1 and the reader may1 by a little practice1 become as perfect in this special branch of magic as the mysterious lady--,heller--,miss ,anderson1 ,dr4 ,lynn1 and a host of others1 who have mystified and bewildered thousands of wondering spectators4 ,illustration ,,chapter ,,vii4 ,,spiritualism4 ,the belief in the materialization of spirits1 and the visits of spiritual inhabitants of another world to the scene of their mortal sojourn for the sole object of giving specimens of their caligraphy on slates and ceilings1 rapping and playing upon tambourines1 sealed accordions1 guitars1 and so forth1 affords another proof that there are no bounds to human credulity and stupidity4 ,a worthy doctor of philosophy1 only recently deceased1 said in my hearing1 while speaking of the gross ignorance that prevailed among believers in spiritualism1 that if a man stood in the middle of the road with a crowd of people round him1 and asserted1 with well-worded sentences and an apparent earnestness and belief on his own part1 that two and two were five1 he would find some among the crowd to believe him4 ,perhaps the doctor went a little too far in his observation1 but it is1 nevertheless1 almost incredible that a large number of persons can be so bigoted and thick-headed as to persist in their belief in spiritualism when medium after medium has been most unequivocally found to be conjuror1 trickster1 and swindler4 ,these conjurors and tricksters are not men who practise their art of deceiving on the stage in a legitimate manner1 but they are men who pander to the credulity1 bigotry1 and fanaticism of the imbecile1 obtuse1 and weak-minded person who believe in spirit land1 by claiming the power of recalling from that unknown region to which the soul is supposed to take its flight when it has shuffled off its mortal coil1 those beings who have gone from earth never to return again1 except by the agency of these mediums4 ,in asserting their power of 8calling up the spirits from the vasty deep10 or from the sky1 they offer as proof of their claim to be believed certain tests1 which have been1 and which ,i will show are1 simply the hanky-panky tricks of the prestidigitateur and magician4 ,the credulous followers of these mediums cannot or will not see the absurdity of bringing souls from the 8world of spirits0 merely to answer idiotic questions1 and to perform such antics as even a wild and unrestrained boy would not be mad enough to do2 but they believe the assertions of the mediums simply because the tests which are applied to them consist of something more material and tangible than arial nothings1 and appear to be marvellous and beyond the power of the human mind to understand4 ,have these spiritualists never witnessed the performance of a clever conjuror who confesses that all his tricks are worked by mechanical means and sleight of hand8 or have they never seen apparent wonders performed1 the mystery of which they could not unravel8 ,they must have done so1 and yet we have never once heard such men as ,heller1 ,houdin1 ,professor ,anderson1 ,maskelyne and ,cooke1 assert that their performances or manifestations were the works of materialized spirits4 ,one of the tests offered by the mediums is the rope-tying trick1 made so famous by the ,davenport ,brothers4 ,it has been clearly demonstrated that it was merely a trick4 ,the medium has in his hand a coil of rope about twelve yards long4 ,the lights are extinguished1 and a few seconds afterward1 when the gas is lighted1 he is seen securely fastened to a chair1 his hands tied1 and the rope made fast between his wrists4 ,one of the company is requested to examine the rope and seal the ends of the knot4 ,the gas is again extinguished1 and a tambourine is heard bounding about the room4 ,a hand--and a very material hand--claps the faces of the nearest persons1 hats are knocked off1 a bell is rung1 arms are pinched1 and various other manifestations occur which fully convince the astonished devotees that some one--spirit or otherwise--is evidently giving free vent to a playful and mischievous disposition4 ,the medium1 of course1 claims that these manifestations are performed by spirits summoned by him2 and he is believed1 not because the spectators suppose that spirits could be so summoned and be made to manifest their presence1 but that1 because the medium is tied with a rope1 the ends of which are so sealed as to prevent his getting free from the bondage into which the spirits have placed him1 he cannot possibly be the one that played the tambourine1 rung the bell1 gave the blows1 etc4--ergo1 it must have been the spirits4 ,now1 had these faithful believers looked very carefully at the rope and the method of the tying1 they would have discovered that the rope had previously been cut in halves1 and then knotted with a fast knot in the middle4 ,this knot is concealed by the medium before he binds himself1 by holding it in his hand4 ,the rope then1 of course1 looks like one continuous whole4 ,when the gas is lowered1 he places the two ends of the rope beneath him on the chair1 and1 in a manner which ,i can scarcely explain in writing or even by illustration1 so binds himself1 that by making a double running knot1 and placing this double noose twice round his wrist1 he can slip it1 and thus free his hand at will4 ,the knot may be concealed1 because it is never touched or disturbed4 ,when the room is again darkened1 it is found to be a very easy matter for the medium to perform any of the usual manifestations4 ,another test offered by a medium1 and which was considered as convincing proof of the right of his claim of connection with the world of spirits1 was the well-known sealed accordion test4 ,the instrument was fast bound by tapes1 and the tapes sealed at every note so as to prevent it being played in the ordinary way4 ,as soon as the lights were out the accordion was heard to play1 not too sweetly1 but sufficiently well to show that the instrument was being manipulated4 ,when the lights were again produced1 the accordion was found just as it had been placed1 fast bound by tapes1 each note sealed1 and the seals immaculate4 ,this trick may be performed by any of our readers without having the slightest introduction to the beings of another world4 ,he has only to procure a small tube1 place it in the valve-hole of the accordion1 breath and blow into it alternately1 and then by fingering the keys he will be able to produce precisely the same effect as our friends the mediums4 ,in order to touch distant persons1 or to make such things as guitars and tambourines play at different parts of the room1 he has to conceal about him1 or have hidden in some recess in the table or chair1 a telescopic rod1 extending several feet4 ,to the end of this he fixes the tambourine or guitar1 on the surface of which has been placed some phosphorus1 and by waving the stick he makes it appear as if persons were floating over the heads of the company4 ,the invisible hand is formed by a glove being fastened to the end of the tube4 ,the glove is inflated or blown out through the tube1 and when slapped on to the cheek of a person it has all the sensations of a cold hand striking the face4 ,the glove covered with phosphorus and waved about is the mysterious hand1 without any body1 which caused so many to believe that a spirit was present4 ,at the end of this useful tube may also be fixed a reed trumpet or whistle1 and by blowing through the tube sound can be evolved1 and when the instrument is worked about in different directions a large but discordant band of spiritual musicians appear1 to the materially and physically benighted listeners1 to be in the room4 ,to play the guitar1 while floating in the air1 seems a more difficult problem1 but the reader will easily see how this is achieved4 ,in the guitar is a musical box with a small piece of writing paper so placed as to touch the steel or vibrating tongues of the box1 and this closely imitates the peculiar twang of the guitar4 ,when a medium1 after having been caught in one or two of his performances1 announces his intention of floating over the heads of the little world of spiritualists1 they at once hold up their hands in silent admiration1 and their belief in the invisible world becomes more vigorous4 ,they then hasten to pay their guinea or two guineas to share in this manifestation of the spirit4 ,the medium having called up the spirit from the 8vasty deep10 the room is darkened and a bull's-eye lantern is held at such a distance from the medium as to make his face appear vague and indistinct4 ,he is then seen suddenly to rise1 and in his arial flight performs a beautiful curve4 ,his face is sufficiently masked as to make the features indistinguishable2 but1 at the same time1 to make the audience fully assured that it is his face4 ,the lantern is made to follow him1 and in a moment the face is lost in darkness1 but for one instant only1 and then as the gas is lit the medium is seen with his toes just touching the platform1 and his form descending to its ordinary upright position4 ,messrs4 ,maskelyne and ,cooke and others have well shown that this floating in the air is one of the grossest deceptions ever offered to the most gullible of audiences4 ,first1 there is ready to hand a lay figure1 got up to resemble the medium or professor4 ,hanging from the top of the stage are two cords1 concealed from the audience4 ,when the medium prepares for his flight the bull's-eye lantern is turned upon him1 but the person holding the lantern1 pretending that the focus is not altogether right1 turns it away to arrange it1 as it were4 ,while this is being done1 the medium quickly substitutes the lay figure4 ,the ends of these cords are furnished with hooks1 which are fastened on to the shoulders of the lay figure1 and then the exhibitor by means of a pulley hauls the figure upward1 the light being kept at such a distance as to just make the figure of the dummy visible1 but totally unrecognizable4 ,during one of the intervals of the lantern's wanderings the dummy is removed1 and the medium is seen descending1 by merely raising himself on his toes and lowering himself1 and when the full light is upon him sinking on his knees4 ,in spite of the exposure of the tricks played by mediums1 there are still persons to be found who really believe that the tambourines1 accordions1 guitars1 etc41 are played by spirit hands1 and that beings from the invisible world make a special journey at every spiritual sance4 ,messrs4 ,maskelyne and ,cooke have1 in their popular entertainment1 done a great deal to destroy the belief in the spiritual world founded upon the tests offered by mediums1 and have clearly shown that the tricks which the mediums assert can only be done by spiritual agency might be performed by any ingenious person4 ,another trick which has been performed by ,messrs4 ,maskelyne and ,cooke is that known as the spiritual musical box4 ,an oblong piece of glass is suspended by means of four cords hanging from the ceiling1 and upon this glass is placed a musical box4 ,at the word of command the box begins to play1 and when desired by the exhibitor or one of the audience1 it suddenly ceases4 ,the effect is really marvellous1 but the secret of the trick is very simple4 ,in the box there is placed a balance lever1 which1 when the glass is in the slightest degree tilted1 arrests the fly-fan1 and thus prevents the machinery from moving4 ,when the performer gives the word of command1 the glass is made level1 and1 the fly fan being released1 the machinery moves1 and a tune is played4 ,when commanded to stop1 the cord on either side is slightly pulled1 the balance lever drops1 the fly fan is arrested1 and the music ceases4 ,illustration ,the writing by 8spirits0 on the ceiling is done in this way4 ,the medium is bound1 and when the room is lighted a written answer to a question asked is put upon the ceiling4 ,the reader will have already guessed that this is performed by the medium by means of the telescopic tube1 at the end of which he places a piece of chalk4 ,he rubs the chalk on his head1 to 8show0 that the spirits had raised him to the ceiling1 as if he had performed the feat with his head4 ,another 8crucial0 test which these mediums offer is known as the invisible writing4 ,one of the company is asked to write a sentence or a number of figures upon a piece of paper4 ,this paper is carefully folded1 the lights are extinguished4 ,in a few seconds they are again relighted1 when the medium declares that the spirits have told him the contents of the paper1 and he reads the sentences or tells the figures4 ,again1 the medium asks a gentleman to put the hands of a watch to any hour he chooses1 and1 when again the lights are lowered1 he calls out the exact time to the exact minute4 ,this all seems very mysterious and unaccountable1 but ,i shall again show that we do not require spirit aid to perform these marvels4 ,the medium has in his pocket a small phial containing phosphorus and oil2 and when this test is performed there is invariably a long cloth on the table4 ,when the papers upon which the sentence or figures are written1 or the watch1 are placed on the table1 the lights are lowered1 and the performer stoops beneath the table1 takes the paper or watch1 opens the phial1 from which a blue flame is emitted1 and by this light he reads the sentence1 or figures1 or sees the time4 ,he replaces the articles1 and can1 of course1 readily tell what he has read or seen4 ,the floating table has often been performed1 but ,i have never attempted to do this spiritual manifestation4 ,the medium generally has with him an accomplice1 and they bind to their arms a flat iron rod1 which terminates toward the wrist in a kind of hook concealed from the company by the cuffs of the shirt4 ,the medium contrives to slip this hook under the edge of the table1 as does also his confederate who sits opposite1 while the dupe is sitting between4 ,the annexed illustration will show the iron rod1 and the method of fitting it beneath the table4 ,the reader will readily perceive that with the aid of these hooks the two persons can play all kinds of tricks with the table1 making it go from side to side and glide from one part of the room to another4 ,there are other methods of tying besides those which ,i have already mentioned4 ,some mediums permit themselves to be tied by one of the audience4 ,in this case the medium inflates his body and sits in such a position that all his muscles and limbs are distended4 ,when he resumes his normal position the ropes become loose and he releases himself4 ,if there be any of my readers who have hitherto been inclined to believe in the professions of the medium1 ,i hope that what ,i have said will open their eyes1 and show them that the so-called materialization of spirits is purely and simply a myth1 and that the mediums are nothing more nor less than clever but unprincipled conjurors4 ,illustration ,,chapter ,,viii4 ,,parlor ,,magic4 ,the art of magic1 as it is now understood1 is no longer a secret and mystic profession2 it is a written art1 and may be easily acquired by the clever mechanician1 or any person having dexterous hands and a large amount of self-possession and impudence4 ,i say 8impudence10 because most of the best tricks are really so extremely simple that many persons of a timid or self-conscious disposition would feel ashamed to venture to perform them1 in case of what they think must be inevitable detection and exposure4 ,but so blind is poor human nature that the clever conjuror can always select his man for 8forcing a card upon him10 even though he makes his dupe believe he has selected one at his own will and choice4 ,at the request of a large number of friends1 ,i will conclude this volume by giving a few tricks which may be performed after a very little practice by anybody who will take a little trouble1 and for the execution of which no1 or very little1 apparatus will be required--at any rate1 only such as can be obtained either in any ordinary house1 or at a very trifling expense4 ,the task which ,i have set myself is not1 as the reader might imagine1 an easy one1 for in endeavoring to give some tricks which have not before been already fully explained in books published on the subject1 ,i find that there is scarcely a parlor trick which has not already been explained4 ,therefore1 to give some tricks that have never yet been exposed is really a very difficult and almost impossible task4 ,however1 ,i have done my best1 and the following little deceptions which the amateur conjuror may safely perform1 will enable him to give a capital evening's entertainment to his friends or family circle4 ,i would just add one word before quitting the subject of magic and conjuring4 ,my object in the foregoing chapters was to show the reader1 first1 that the art of magic is merely the art of a very clever illusionist1 who1 by swiftness of execution and a thorough knowledge of the laws of mechanics and optics1 can make his audience deceive themselves2 secondly1 to afford some entertainment to my readers2 and1 thirdly1 to set the ingenious at work to solve the mysteries of the art upon the basis ,i have given in these chapters4 ,i venture to think1 from the observations ,i have heard1 that all these objects have been attained4 ,and now for a few parlor tricks4 ,i4 ,a ,,surprise4--,you produce a bottle1 which you ask a person to hold1 inviting him to partake of a glass of the fluid contents4 ,you give him a glass1 and when he attempts to pour it out1 lo6 he finds that in a few seconds the contents has frozen6 ,to perform this you must previously make a saturated solution of sulphate of soda and hot water1 and fill therewith a clean white bottle1 taking care to cork the bottle while the liquid is hot4 ,the liquid remains in a fluid state so long as the bottle is corked4 ,you show that the bottle contains a liquid1 and in handing it to the person be careful to take out the cork4 ,in order to give the preparation time to solidify1 pretend to be looking about for a tumbler1 and make some remarks about a sudden chill2 or you can feel the hand holding the glass1 and suggest that it is very cold4 ,in the meantime1 the air acting upon the solution has caused it to become fixed and immovable1 and when the person attempts to pour it out1 he finds it impossible to do so4 ,,ii4 ,,indian ,,sand ,,trick4--,this trick has been made famous by the ,hindoos1 who for many centuries contrived to retain the secret4 ,it consists of placing ordinary sand in a basin full of water1 stirring the water and taking out the sand in handfuls1 perfectly dry4 ,it need scarcely be said that without previous preparation it is impossible to effect this4 ,take two pounds of fine silver sand1 place it in a frying-pan1 and heat well over a clear fire4 ,when the sand is thoroughly heated place a small piece of grease--the composition of a paraffin candle preferred--among the sand1 stirring it well up to get it thoroughly mixed4 ,then let the sand get cold4 ,you place into a basin of cold water two or three handfuls1 then stir the water well4 ,it will be found that the sand repels the water1 and can be drawn out perfectly dry4 ,it is very important that only a small portion of grease be used1 so that when you hand round the sand for examination its presence may not be observed4 ,illustration ,,iii4 ,,the 8,q0 ,,trick4--,this is a very simple and a very telling trick for the parlor4 ,you take a number of coins or counters1 and form them into a circle with a tail to represent a ,q1 as shown in the sketch annexed4 ,you then ask a person to think of a number1 and to count that number1 commencing from the tail of the ,q at ,b1 and counting round the circle4 ,when he has finished he is to count the number back again1 but instead of counting the tail of the ,q to go round the circle1 and you promise to tell him every time at which counter or coin he left off counting4 ,in order that you shall not see him count1 you leave the room while he does so4 ,supposing he selects the number #f2 he commences to count from ,b1 and leaves off at ,c2 he then counts again and leaves off at ,a4 ,now1 while there are three counters in the tail of the ,q1 whatever number he thinks off1 he will always stop at ,a2 so all you have to do is to count the number of counters or coins there are in the tail1 and the same number in the circle will always be the coin last counted4 ,you must be careful1 when repeating the trick1 to add one or two1 or take one away from the tail1 as always fixing upon the same counter would perhaps expose the trick4 ,,iv4 ,,the ,,bleeding ,,thumb4--,this is a very effective trick1 but ,i am afraid1 unless my pupil has some little self-sacrifice1 and does not mind enduring a trifling pain in order to amuse his audience1 this trick will never be performed4 ,previous to doing it1 you puncture your thumb with a needle in one or two places1 near the nail4 ,you then assert that you will cut open your thumb and instantly heal it4 ,you take a handkerchief and tightly bind the thumb therewith1 keeping the thumb perfectly straight4 ,you ask for a knife--the sharper the better--and1 having obtained one1 you pretend to cut the thumb1 which you bend4 ,this causes the blood to flow from the punctures4 ,the blood spreads along the knife1 which looks as though it had cut almost through the thumb4 ,you then wipe the blood away1 straightening the thumb1 and show that there is no sign of wound or blood4 ,v4 ,,the ,,marked ,,florin ,,in ,,oranges4--,previous to performing this trick1 get two florins exactly alike1 and mark them both similarly4 ,then get two oranges and cut a slit in each4 ,place them on the table after you have put one of the marked florins inside one of them4 ,then borrow from the audience a florin1 and request the owner of the florin to mark it4 ,you then ask a person in another part of the room to hold it1 but giving him your marked florin instead of the borrowed one4 ,then you go to the table and slip into the other orange the borrowed florin4 ,you ask your audience in which orange they would like the marked coin to be found1 remembering that as you face the audience it does not matter which they say--right or left--as your right is their left1 and their left your right4 ,whichever orange they ask for1 take the one containing your marked florin4 ,you then ask the party holding the florin if he would be sure to know it again4 ,then give him the orange to hold on the point of the knife2 and in taking the florin from him conceal it in your hand1 and say that you will cause it to pass into the orange which he holds4 ,on cutting the orange open he1 of course1 finds your marked florin1 which1 on examination1 he asserts to be the one held by him4 ,then say that it would have been totally indifferent which orange was selected2 and give the other orange to the person who lent the florin to hold4 ,you then take your marked florin and say that you will cause it to pass in the orange he holds in his hand2 and request him to cut it open4 ,he does so1 and then perceives his own marked coin in the centre4 ,,vi4 ,,the ,,chinese ,,pictures4--,this is a very curious and surprising trick4 ,you prepare a number of plain white sheets of paper1 intermixed with which are several sheets on which are drawn various ,chinese pictures4 ,in showing these sheets to the audience1 you take care not to draw out any of the pictures1 but only the blank sheets4 ,you then take a jug1 having an even top1 filled with water1 placing the sheets on the top4 ,you then state that the water in the jug has the peculiar quality of drawing1 but having been brought from ,china1 can only draw ,chinese sketches4 ,you then dexterously reverse the jug1 the sheets preventing the water from flowing out4 ,after a few moments you draw out the sketches1 and scattering them among the audience1 you cause them to think that they have been drawn on the blank sheets4 ,this is a very old trick of the ,chinese1 who first performed it4 ,you can easily learn to tell which are blank sheets and which are the pictures by a simple mark placed on the top or in the corner of the latter4 ,,vii4 ,,bautier',s ,,great ,,ink-,,and-,,water ,,trick4--,this trick1 first introduced by ,bautier1 at the ,egyptian ,hall1 ,london1 has1 to the best of my belief1 never before been explained4 ,it is a remarkably clever deception1 and1 when dexterously performed1 defies detection4 ,it consists in showing a decanter filled with ink and another with water1 and while each decanter is held by one of the audience1 making the contents of each change places1 the ink going into the one containing water1 while the pure liquid is found in the one in which the ink was seen4 ,take two water bottles or decanters1 and in one place a tassel of black fleecy wool1 just long enough to touch the bottom of the bottle4 ,the tassel must be tied by a knot at the top1 and a small piece of string just hanging over the mouth of the bottle1 attached to the knot4 ,then fill the glass with water4 ,the bottle thus prepared looks at a short distance like a bottle of ink1 and you have only to tell your audience that it is so to make them believe it4 ,this1 ,i am afraid1 is inculcating in the mind of the reader the principle of falsehood--at least ,mrs4 ,grundy might say so2 but a professor of magic is doing nothing but telling 8crammers0 from the commencement to the conclusion of his entertainment4 ,perhaps this is the reason why it is called the 8black art10 and was the cause of so much persecution in the 8good old days10 when all was so pure and so virtuous1 as the lovers of the beaux temps would have us believe4 ,but pardon this digression4 ,in the other bottle place a weak solution of the proto-sulphate of iron1 about a half ounce to about a pint and a half of water4 ,have ready a bit of pyrogallic acid--about two-thirds of a tea-spoonful1 wrapped in a small piece of blotting-paper that has been blacked with ink4 ,having completed these arrangements1 and asserted that you have on the table a bottle containing water and another ink1 you borrow a handkerchief1 with which you cover the bottle containing the clear solution1 and in doing so you slip into it the pyrogallic acid2 and in handing the bottle to one of the audience to hold you give the contents a little imperceptible shaking4 ,you then take another handkerchief and place it over the other bottle1 which you hand to a person to hold4 ,you then command the contents of each bottle to change places4 ,then1 in removing the handkerchief from the ink bottle1 you clutch the piece of string and quickly pull out the black wool and throw the handkerchief out of sight1 showing the bottle to contain only water4 ,you then ask the person holding the other bottle to remove the covering1 when the fluid will be found to be 8as black as night40 ,this trick always causes the greatest astonishment4 ,,viii4 ,,carrying ,,fire ,,in ,,the ,,hands4--,in performing this extremely simple trick1 the audience must not be informed of what it is your intention to do1 but it should be done when there is any delay in your other tricks1 or some hitch occurs in getting anything you require1 and which happens not to be at hand4 ,for filling up a gap in a performance1 it will be found extremely useful4 ,in giving an entertainment of magic1 always have on your table two burning candles2 they are both useful and ornamental1 and serve to dispel any idea of the spectators that you cannot perform your tricks in a full light4 ,you go to the table1 having previously concealed a piece of paper in your hand between the two middle fingers1 and place your hands around the flame1 saying it is perfectly possible to retain the heat in the hand1 and even carry the flame from one candle to another4 ,you then blow out one of the candles1 and quickly place your hands round the other1 set fire to the paper in your hand1 blow out the candle1 quickly light the first and then the second1 smothering the flame of the paper in your hand4 ,this trick1 when well done1 causes great astonishment and surprise4 ,illustration ,illustration ,,the ,,floating ,,stick4 7,a ,,startling ,,experiment47 ,illustration ,the performer1 taking in his hands a round black wand such as is used during the performance1 about two feet long1 makes it go through the most extraordinary performance4 ,first he places the bar in the palm of his hand1 and holding his hand up in perpendicular position1 the bar is seen suspended without any support4 ,the performer now places the bar to the extreme points of his fingers1 and holds his arm in a horizontal position1 when the bar is again seen suspended without any support in that most difficult position4 ,to prove that this wonderful performance is done without the aid of invisible silk1 wire1 wax1 or mechanism1 the operator places the bar against the back of his hand1 and once more it is seen suspended in mid-air1 while he takes it quite close to the company for inspection4 ,price1 #b4 ,,the ,,crystal ,,case ,,and ,,magic ,,ball4 ,illustration ,this marvellous and remarkably elegant illusion consists of a pretty case1 with glass front and sides1 which the performer proves to be perfectly empty by placing his wand inside1 and which the audience can see through the glass front and sides1 being inserted in the very back of the box4 ,nevertheless1 on exclaiming ,heigh6 ,presto6 the performer makes a large ball appear inside1 to the great astonishment of the audience4 ,to increase the effect1 the casket can be tightly corded1 thus proving that the ball which is discovered within could not have been passed through any aperture4 ,price of casket with ball1 by express1 #a4ej4 ,,the ,,dissolving ,,flag ,,and ,,candle4 ,illustration ,this is a startling trick1 consisting of a series of surprises4 ,the performer first shows a beautiful silk flag1 which he rubs in his hands1 and commands to pass into a lighted candle1 standing on the table4 ,the flag is then seen slowly to melt away1 the performer showing both hands empty4 ,he then takes the lighted candle1 and extinguishes it by wrapping it in a piece of newspaper1 which he screws up very tight1 until it breaks with the twisting1 when1 instead of the remains of the candle1 the silk flag is discovered tightly twisted in the paper1 and the candle has entirely disappeared4 ,this is one of the most effective tricks ever invented1 and is quite new4 ,price complete1 by mail1 #b4ej4 ,,the ,,electrical ,,pack ,,of ,,cards4 ,illustration ,the performer takes an ordinary pack of cards in his hands and shuffles them1 then commences by making the cards run from one hand to the other several inches at a time1 till he elongates them two or three feet4 ,the performer can repeat this wonderful trick as many times as he likes4 ,he then takes the cards in the palm of his left hand1 and with his right hand runs the cards from the palm of the left hand right up to the shoulders1 the cards lying on the arm one by one in the most beautiful order1 and then1 in an instant1 the cards run down the arm and are caught in the palm of the hand4 ,other wonderful effects can be produced4 ,this beautiful arrangement will be found a good introduction to all card tricks1 as it can be exhibited in any room with the greatest ease1 by the amateur as well as the professional1 and has the appearance of pure sleight-of-hand4 ,price per pack1 #b4ej4 ,,the ,,diminishing ,,pack ,,of ,,cards4 ,illustration ,the performer takes a pack of cards in his hands and opens them out4 ,he then rubs his fingers over them1 and they gradually diminish1 until they are only half the original size4 ,he then takes them again1 and they gradually get smaller and smaller till they are not much larger than a dime1 and finally they vanish altogether4 ,improved principle1 very superior quality ,french make4 ,per set1 #b4 ,,the ,,enchanted ,,card ,,frame4 ,illustration ,this frame is first shown to be quite empty1 back1 front1 sides1 every part of it is shown2 then a card1 which has been chosen from the pack1 is commanded to appear in it1 and instantly does so1 without removing it from the sight of the audience4 ,the card may then be taken out1 the back of the frame removed1 and they can then see right through the glass4 ,it will disappear again if desired4 ,a carte-de-visite1 photograph1 or picture1 may be made to appear1 instead of a card1 if wished4 ,price1 #b4 ,,the ,,sticking ,,pack ,,of ,,cards4 ,illustration ,three cards are selected from the pack by the company1 then returned to it1 and the pack is shuffled4 ,the performer then takes it1 and knocking it against the door or wall1 the pack sticks up there1 to the great surprise of the audience4 ,those of the company who chose the three cards are asked to name them1 and as they do so they rise one by one from the pack4 ,price1 #b4 ,,the ,,above ,,sent ,,to ,,any ,,address ,,on ,,receipt ,,of ,,the ,,price ,,by ,,the ,,manufacturers1 ,,peck ,,snyder1 ,nos4 #abd #abf ,nassau ,street1 ,new ,york ,city4 ,a ,complete ,catalogue of ,tricks1 etc41 containing over #bej ,illustrations1 sent on receipt of ten cents4 ,transcriber's ,notes ,punctuation and spelling were made consistent when a predominant preference was found in this book2 otherwise they were not changed4 ,simple typographical errors were corrected4 ,occasional unbalanced quotation marks were corrected when possible4 ,missing letters and punctuation marks were restored when possible4 ,ambiguous hyphens at the ends of lines were retained2 occurrences of inconsistent hyphenation have not been changed4 ,transcriber retained the 8,figure0 identifications within the illustrations originally on pages #abb1 #aca1 and #bjc4 ,the identifications of all other ,figures only appear in the captions4 ,the captionless illustration on ,page #a is a decorative headpiece2 captionless illustrations at the ends of chapters are decorative tailpieces4 ,sequence error corrected in the ,table of ,contents4 ,in the ,appendix1 ,figures #cba-cbd originally were numbered #a-d1 but were changed here to avoid ambiguity with the figure numbers in the main part of the book4