Herrmann's Book of Magic

Black Art Fully Exposed

A COMPLETE AND PRACTICAL GUIDE TO DRAWING-ROOM AND
STAGE MAGIC FOR PROFESSIONALS AND AMATEURS, INCLUDING
A COMPLETE EXPOSURE OF THE BLACK ART.
by Prof. Herrmann

Alexander Herrmann

Notice: This book was originally published in 1903, an

epoch when adults were considered responsible for their
own actions and for the safety of their children, and
presumed sufficiently intelligent and competent to weigh
the risks of their activities and decide wisely which to
undertake and which to avoid. Some of the tricks
explained in this book involve techniques which, by
present-day standards, would be considered hideously
dangerous and in some cases cruel to animals.
Descriptions of these tricks have been highlighted with a
background like that of the following.
This is a most effective trick, and easily performed.
Be careful not to swallow the needles.
The electronic edition of this book is presented in its
integrality as an historical document. The producer and
publisher of this text assumes no responsibility
whatsoever for any consequences of performing the
activities described herein, whether highlighted as
especially dangerous or not. You are entirely responsible
for your own actions. If you do not agree with this, please
stop reading now. And yes, I do wish I lived in a time and
place where statements like this were unnecessary.
CONTENTS

Ammunition, Conjurer's
Anti-Spiritualistic Tricks
Artful Conjurer, An

Ball, Dissolving
       Fancy Sleight With
       Handkerchief and Tumbler
Balls and Basins
       Annihilation of
       Color-Changing
       Diminishing
Black Art Exposed
Banquet, Conjurer's
Bonbons, How to Produce from Handkerchief
Balls, Manipulation of
       Multiplication of
Bird, How to Shoot and Bring to Life Again
Balls, Red and Black, Changing
       Tricks With
Body, How to Set on Fire
Bran and Dove Plates
Burned Handkerchief Restored

Candle Ends, Eatable

Cut Arm Off Without Pain
Candle, How to Light With a Glass of Water
       How to Light With Smoke
       and Handkerchief
Coin and Candle
       and Lemons
       Changing
       Fold, a New
       Magical Production of
       Passed into a Matchbox
       Passed Through the Body
       Pocket Vanish for
       Swallowing
       Transferred from Tumbler to Ball of Wool
       Vanish for Duplicate
       Wandering
       Wine Glass and Paper Cone
Coins, Hat and Plate
       Tricks With
       Vanishing in Sheet of Flame
Color-Changing Balls
Communication, Mysterious
Cards, How to Make Them Jump and Run on Table
       How to Convey into a Nut
Cut, Restored
Cone, How to Make Move on Table

Dictionary Trick
Dress, The

Egg, How to Make Change Its Position

Exploding Bubbles
Eat Shavings, How to

Finger, Palm
Fire Eating
Fire Flash
Flash Paper
Flight of Coin, Invisible
Faded Rose Restored
Freeze Water by Shaking
Fowl, How to Kill and Bring to Life
       How to Make Seem Dead
Flash of Lightning When Anyone Enters the Room

Garter Trick
Glass, How to Fill With Beer and Water Without Mixing

Handkerchief and Candle

       Incombustible
       Ball
       Cabinet
       Fired into Gentleman's Hair
       Flying
       Mechanical Pull for Vanishing
       Passed into Spectator's Pocket
       Peregrinations of a
       Produced from Collar
       Spirit
       Tube for Producing and Vanishing
       Vanisher
       Color Changing of
       How to Restore
       Magical Production of
       Tricks With
Hat Tricks
       Eggs Produced from
       Incubator
       Loading
       Magnetized
       Tricks With
Head of the Decapitated Speaking
       How to Cut Off from Man

Iron Changed into Silver

       How to Melt
Ink Changed to Water

Liquids, Two Cold, Produce Fire

       Cold Become Hot
       Color Changing
Long-Distance Second Sight

Metamorphosis, Hideous
Magic Breath
Miscellaneous Tricks
Mystery of the Floating Head
Make a Watch Stop or Go At Will

Name, Mysterious
Needle, to Make Float

Party, to Make Appear Ghastly

Palming
Pistol, Conjurer's
Postal Trick, New
Paper Cone, Watch, Rabbit and Boxes
Programme and Coin

Quarter vs. Dime

Reverse Palm
Rouge et Noir
Ring, Climbing

Stone, How to Keep in Motion

Supernatural Appearance
Stone, How to Break With Fist
Skeleton, Dancing, The
Stick, How to Break When Placed on Two Glasses
Servantes
Slate Tricks
Smoke from Empty Pipe and Tumbler
Spirit Calculator
Swallowing Needles

Tambourine, Mysterious
Table, The
Thimble, Ubiquitous
Tumbler, to Knock Through a Table
Teaspoons, Magical
Transformation
Tourniquet
Tube and Ball
       Hydrostatic
 Tumbler, Hydrostatic
       To Drive Through Another

Vessel That Will Let Water Out at Bottom When the Mouth
Is Uncorked

Walnut Shells and Pea

Wand, The
       Multiplying

Wandering Coin
Watch, Glass and Handkerchief
Water, Cold Changed to Hot
       Mystery
       Retained in Cylinder and Inverted Tumbler
Wizard's Breakfast
Writing Name on Card
Wandering Beer
Water Turned to Wine

CHAPTER I

INTRODUCTION

There are one or two leading principles to be borne in mind by anyone taking
up the study of magic. The first and foremost is, Never tell the audience what
you are going to do before you do it. If you do, the chances of detection are
increased tenfold, as the spectators, knowing what to expect, will the more
readily arrive at the true method of bringing about the result.

It follows as a natural consequence that you must never perform the same

trick twice in the same evening. It is very unpleasant to have to refuse an
encore; and should you be called upon to repeat a trick study to vary it as
much as possible, and to bring it to a different conclusion. There will generally
be found more ways than one of working a particular trick. It is an axiom in
conjuring that the best trick loses half its effect on repetition.

Should a hitch occur in the carrying out of the programme by the accidental
dropping of an article, or from any other cause, above all things do not get
confused, but treat the matter as a good joke, and meet the difficulty with a
smile, making use of some such expression as the following: “Well, you see I
put it down there to show that it would go. It is perfectly solid and does not
stick.” By this means, instead of spoiling the entertainment, you add greatly to
the amusement of the spectators.

Do not cultivate quick movements; at the same time it will never do to be

painfully slow; but endeavor to present your tricks in an easy-going, quiet,
graceful manner. It is generally understood that “the quickness of the hand
deceives the eye,” but this is entirely erroneous. It is impossible for the hand
to move quicker than the eye can follow, as can be proved by experiment. The
deception really lies in the method of working the trick, and in the ability of the
performer in misdirection, as will be seen from a perusal of the following
pages.

A little well-arranged patter as an introductory to an entertainment will be

found to put you on good terms with your audience. A few words, something
like the following, will suffice: “Ladies and Gentlemen, with your kind attention
I shall endeavour to amuse you with a series of experiments in legerdemain.
In doing so I wish it to be distinctly understood that I shall do my best to
deceive you, and upon the extent to which I am able to do so will depend my
success.”

At the close of an entertainment a little speech, of which the following is an

example, will be found to prove a good finish: “Ladies and gentlemen, in
concluding my entertainment I have only to say that, apart from deceiving you,
which was but a secondary consideration, if I have been able to afford you
some slight fun and amusement I feel amply rewarded.”

In concluding these remarks I must enforce upon the novice the necessity for
constant practice, without which the clearest instruction would be useless.
This applies, not only to conjuring, but equally well to any form of amusement,
so the would-be magician may congratulate himself on the fact that the
difficulties to surmount are not in excess of those of any form of
entertainment.

Before proceeding to describe the various tricks it will be well to notice one or
two appliances of general utility.

The Dress.—The usual attire of the modern magician is the conventional

evening dress, but I have known performers of the present day to adopt
various fancy costumes. For instance, I have seen a conjurer attired as a
Knight of the Garter; another one, calling himself L'homme masqué, wears
Court dress with a black mask covering the upper part of his face. In these
two cases, however, the swallow-tail coat, an important adjunct, is retained.
Again, I have seen a conjurer attired as Mephistopheles, a very smart costume,
and to a certain extent appropriate, but entailing too much trouble for the
majority of performers. I have also been present at an entertainment where
the magician, a very clever performer, was attired in evening dress, but wore a
short dinner jacket. In these last two cases, the swallow-tail coat was, of
course, dispensed with, a decided improvement, as it adds greatly to the
bewilderment of the audience as to how the conjurer obtains and disposes of
the various articles he uses.

Where the ordinary dress coat is used, each tail is provided with a large pocket,
known as a profonde, the mouth of which is on a level with the knuckles, and
slopes slightly to the side. These pockets, which are usually 7 in. square, are
lined with buckram, and sewn on rather full, to keep them constantly open.
They are used to contain “loads” for hat tricks, etc., also to vanish articles,
such as watches, eggs, or balls.

In addition to these pockets, two others, known as pochettes, are used on the
trousers. These are sewn on rather full at the back of the thigh, on a level with
the knuckles, and covered by the tails of the coat; they are useful to contain
rings, coins, or other small articles required in the course of the performance.

There are also two pockets known as breast pockets, one in each side of the
coat. These should be of a size large enough to contain a dinner plate, and
should be made with the bottom sloping a little towards the back, to prevent
articles placed in them from falling out. The opening should be in a
perpendicular position 1 in. from the edge of the coat. These are loaded with
rabbits, doves, etc., or any large or cumbersome article required for magical
production.

In the case of fancy costumes the pockets, if required, must be arranged as

the attire permits. If you perform in a dinner jacket, the ordinary side pockets
can be used for producing or vanishing the articles. The breast pockets, as
already described, can be retained.

The collar, which should be of the ordinary “stand-up” pattern and one size
larger than that in every-day wear, will be found to provide an excellent means
for the evanishment of articles such as coins, small balls, rings, handkerchiefs,
and the like.

When it is necessary to regain possession of a coin or ring vanished in this

way, it will be well to have a small silk handkerchief arranged between the
shirt collar and the side of the neck, otherwise the piece might be lost beyond
recovery. (See “The Wandering Coin”.)

The Table.—There are a great many tricks which can be performed without
the aid of a special table; in fact, tables of any description are very secondary
articles in the stage settings of conjurers of the present day. Where they are
employed they are usually of the small round tripod pattern, fancifully made
for show, and are used only for the purpose of an ordinary table.

Tables with traps and other mechanical appliances are almost, if not entirely,
out of date, no performer with any pretentions of originality making use of
them.

A neat little table can be made from a piece of board 18 in. in diameter,
covered with red baize, and hung with fancy fringe to taste; the legs taking the
form of an ordinary music stand. The under-side of the table is fitted with a
brass plate holding a pin, about 2 in. long, to fit the socket of the stand. This
forms one of the most compact tables possible, and is greatly in vogue, as the
stand can be folded up into a small compass, and placed, together with the
top, in a black canvas case for traveling. Two of these tables will occupy very
little more room than one, and they look well in pairs. They will generally be
found to afford sufficient convenience for an evening's entertainment.

The Servante.—This is a secret shelf behind the performer's table, on which

are placed articles to be magically produced in various ways. It is also used to
vanish articles as occasion may require.

In the absence of a specially prepared table a servante can be readily devised

by pulling out the drawer at the back of any ordinary table about 6 in., and
throwing a cloth over the whole, the cloth being pushed well into the drawer
so as to form a pad to deaden the sound of any article dropped into it.

If a table with a drawer cannot be obtained, a servante, which will answer

every purpose, can be arranged by throwing a cloth over a table and pinning it
up behind in the form of a bag.

In the case of the small round tripod tables, a small drawer, made from a cigar
box, can be attached to the under side of them, and pulled out as required.
The fringe decorating the edge of the table will conceal the presence of the
drawer; but if the whole of the under side of the table, drawer included, be
painted black, it cannot be detected at a few paces.
 Fig. 1. SERVANTE FOR USE ON A CHAIR

There are various forms of portable servantes for fixing to the back of a table
or chair. A description of one for use on a chair will be sufficient to give a
clear idea of the construction of others, which can be arranged as required by
the ingenuity of the performer. A piece of ½ in. board, 7 in. by 5 in., is covered
with green baize, and slightly padded on one side with cotton wool, to prevent
injury to any fragile article that may come in contact with it in the course of
the performance. To this is screwed an iron frame (Fig. 1) of the same
dimensions as the board. The frame, which carries a network as shown, is
screwed to the board in such a way that it will fold up flush with the same, the
whole being when closed under 1 in. in thickness. The frame carrying the
network is prevented from opening too far by an iron bar screwed to the back
of the woodwork, the sides of the frame being extended under this as shown.
The board is fitted with two brass eyelets for attaching it to the top rail of an
ordinary chair by means of two screw eyes or stout pins. To conceal the
servante throw a fancy cloth over the back of the chair.

The Wand.—This is a light rod about 15 in. long and ½ in. in diameter, usually
of ebony, with ivory tips; a plain rod, however, will answer the purpose equally
well.

The use of the wand is regarded by the uninitiated as a mere affectation on

the part of the performer, but such is far from being the case. Its uses are
legion. in addition to the prestige derived from the traditional properties of the
wand, which has been the mystic emblem of the magician's power from time
immemorial, it is absolutely necessary for the successful carrying-out of many
experiments, as will be seen in the course of the present work. For instance,
having palmed a coin, say in the right hand, you lower that hand and take up
the wand, which effectually conceals, in a perfectly natural manner, the
presence of the coin. The wand is now passed once or twice over the left
hand, which is supposed to contain the coin, and on opening the hand the coin
will be found to have vanished. It will thus be seen that the wand is of the
utmost importance, and the tyro cannot do better than make it his first
investment.

CHAPTER II

PRINCIPLES OF SLEIGHT OF HAND APPLICABLE TO SMALL OBJECTS

Palming.—The first thing the neophyte will have to do will be to learn

palming, i.e., the art of holding small objects, such as coins, balls, nuts, corks,
etc., concealed in the hand by a slight contraction of the palm.

Fig. 2. PALMING COIN.

Practice first with a coin. A quarter is the most convenient size and is the coin
generally preferred by conjurers, as its milled edge affords a ready grip to the
palm. Lay the coin in the right hand as shown in Fig. 2. Then slightly contract
the palm by pressing the ball of the thumb inwards, moving the coin about
with the forefinger of the left hand until you find it is in a favorable position to
be gripped by the fleshy portions of the hand. Continue to practice this until
you can safely turn the hand over without any fear of letting the coin fall.

When you can accomplish this with ease, lay the coin on the tips of the
second and third finger, steadying it with the thumb as in Fig.~3. Then moving
the thumb aside, to the right, bend the fingers, and pass the coin up along the
side of the thumb into the palm, which should open to receive it, and where, if
you have followed the previous instructions, you will find no difficulty in
retaining it.

Fig. 3. PALMING COIN.

As soon as you can do this with the hand at rest, practice the same movement
with the right hand in motion towards the left, as if you really intended to place
the coin in that hand. To get this movement perfect, it is advisable to work in
front of a mirror. Take the coin in the right hand and actually place it in the left
several times; then study to execute the same movement exactly, with the
exception that you retain the coin in the right hand by palming.

When appearing to transfer a coin, or any small object, from the right hand
into the left, the left hand should rise in a natural manner to receive it. The
right hand, in which is the palmed coin, should fall to the side; and the left
hand should be closed as if it actually contained the coin, and should be
followed by the eyes of the performer. This will have the effect of drawing all
eyes in that direction, and in the meantime the right hand can drop the coin
into the profonde, or otherwise dispose of it as may be necessary for the
purpose of the trick.

Let it be distinctly understood once for all that when you desire to draw the
attention of the audience in a certain direction you must look fixedly in that
direction yourself.

The student who desires to become a finished performer should palm the
various objects, with equal facility, either in the right or in the left hand.

When you can hold a coin properly, as described, practice with a small lemon,
a watch, or any other objects of similar size. In this case, however, owing to
the greater extent of surface, it will not be found necessary to press the object
into the palm, but simply to close the fingers round it, in the act of apparently
placing it in the left hand.

Le Tourniquet.—This pass is generally known by this name, so I will not depart

from its time-honored title. Hold the coin between the fingers and thumb of
the left hand (as in Fig. 4), and then appear to take it in the right by passing
the thumb under and the fingers over the coin.

Fig. 4.

Under cover of the right hand the coin is allowed to fall into the fingers of the
left, where by a slight contraction it may be held between the first and second
joints, or it may be allowed to fall into the palm proper. The right hand must be
closed and raised as if it really contained the coin, and be followed by the eye
of the performer; the left falling to the side, and if necessary dropping the coin
into the profonde. This pass should be performed equally well from either
hand.

The Finger Palm.—Lay a coin on the fingers as shown in Fig. 5. Then in the act
of apparently placing it in the left hand, raise the forefinger slightly, and clip
the coin between it and the second finger. The left hand must now close as if
it contained the coin, and be followed by the eyes of the performer, while the
right hand disposes of the coin as may be necessary.
 Fig. 5. THE FINGER PALM.

I will give an illustration of the way in which this sleight can be employed with
good effect. Place a candle on the table to your left, and then execute the
pass as above described. The thumb of the right hand should now close on
the edge of the coin nearest to itself and draw it back a little; and at the same
time the candle should be taken from the candlestick between the thumb and
fingers of the same hand. (See Fig. 6.) The left hand, which is supposed to
contain the coin, should now be held over the candle and opened slowly, the
effect to the spectators being that the coin is dissolved into the flame. Both
hands should at this point be shown back and front, as the coin, owing to its
peculiar position, cannot be seen at a short distance. You now take the upper
part of the candle in the left hand; then lower the right hand to the opposite
end and produce the coin from thence, the effect being that the money is
passed through the candle, from one end to the other.

Fig. 6. APPLICATION OF THE FINGER PALM.

The Reverse Palm.—This is one of the most difficult passes, but is

exceedingly useful, and will therefore be found to amply repay the student for
any time he may spend in its acquisition.

Commence by holding the coin between the first and second fingers and the
thumb. (See Fig. 7.) To execute the pass, remove the forefinger, and bring it
down over the face of the coin to the bottom; at the same time remove the
thumb, and the coin will be found to be held by the first and second fingers at
the back of the hand. Practice this first with the hand at rest, then bring the
left hand down over the coin with a kind of swoop as if you intended to take it
in that hand. In reality, however, while under cover of the left hand the pass is
made as described. The left hand is now closed and raised as if it actually
contained the coin, while the right hand is seen to be empty.

Fig. 7. THE REVERSE PALM.

To recover the coin, bend the tips of the fingers round towards the palm, place
the thumb on the coin and remove the forefinger, when it will be found an easy
matter to pull the coin into the hand with the thumb. This may sound rather
intricate, but will be found quite clear if a coin be actually taken in the hand,
and the movements executed while reading the instructions.

To give an idea of the value of this pass I will explain two experiments
performed by its aid. Make the pass according to the previous instructions,
and the right hand will appear empty. The left hand now makes a movement
as if throwing the coin through the left knee, the right hand being immediately
lowered under the knee, and the coin produced thence. Again make the pass
and extend both hands at arm's length away from the body, the left being
closed as if it contained the coin, and the right held open palm towards the
audience. Now draw attention to the left hand, saying you will pass the coin
thence into the closed right hand; and while all eyes are looking at the left
hand you reverse the position of the coin in the right hand, which you forthwith
close. It will now be found an easy matter to pass the coin from one hand to
the other.

To Change a Coin.—Sometimes, in order to bring about a desired result, it is

necessary to change, or in conjurers' parlance to “ring,” a borrowed and
marked coin for a substitute of your own. There are many ways of effecting
this, but having once mastered the various “palms” the student will readily
invent means for himself. The following, however, is the one generally adopted
by conjurers:

Borrow a coin and have it marked. Then take it between the fingers and thumb
of the left hand, as in “Le Tourniquet”, having previously secreted the
substitute in the palm of the right. Now take the coin in the right hand, and in
doing so drop the substitute into the palm of the left, which you immediately
close, and remark, “You have all seen me take the coin visibly from the left
hand. I will now make it return invisibly.” Saying this, you appear to throw the
coin into the left hand, really palming it, and showing your own, which
everyone takes to be the original borrowed one. You now proceed with the
trick in question, disposing of the marked coin as may be necessary.

CHAPTER III

TRICKS WITH COINS

Magic Production of a Coin.—Come forward with a coin palmed in the right

hand. Draw attention to the left hand, showing it back and front as empty, and,
as if in illustration of what you say, give the palm a smart slap with the right
hand, leaving the coin behind, and slightly contracting the fingers so as to
retain it; now show the right hand empty, pulling up the sleeve with the left
hand which masks the presence of the coin, then close the left, and after one
or two passes over it with the right hand, produce the coin.

The Wandering Coin.—Show a coin, holding it between the forefinger and

thumb of the left hand, and pulling up the left sleeve with the right hand.
Change the coin over to the right hand, and pull up the right sleeve with the
left hand. Do this two or three times. Finally, when appearing to take the coin
from the left hand, push it back behind the fingers, and with the right hand
appear to rub it into the left elbow; this brings the left hand close to the collar,
into which you drop the coin. (See “The Dress.”)

When performing this sleight myself, I make believe to pass the coin from the
elbow up into the left hand, then, without showing it, appear to throw it into the
air, and remark: “I dare say, Ladies and Gentlemen, you will have noticed that
on all coins of the realm there is on one side a lady, and on the other side a
gentleman” (this is not strictly correct, but it is near enough for the purpose).
“You will now notice that the lady has eloped with the gentleman, and that
they are on a honeymoon, round the room; but they are coming back, and are
now within a yard of my fingers, and they are getting nearer and nearer.” I now
extend the right hand, make a catch at an imaginary coin, and continue: “Yes, I
have it here” (my hand is really empty), “but before showing it to you I propose
to do something else with it; I will pass it invisibly along my sleeve and
produce it from the collar.” Then, taking the piece from the collar, remark:
“You see I had collared the coin securely.”

A New Coin Fold.—Take a piece of paper 4 in. by 5 in., place a coin on it and
fold the top of the paper down over the coin to within 1 in. of the bottom. Then
fold the right hand side of the paper under the coin, treating the left hand side
in a similar way. You must now fold the bottom 1 in. of the paper under the
coin and you will, apparently, have wrapped it securely in the paper; but really
it is in a kind of pocket, and will readily slip out into either hand at pleasure.

Allow several persons in the audience to feel the coin through the paper, then
take it from the left hand to the right, letting the coin slip out into the left hand,
which picks up a plate from the table. You now burn the paper in the flame of
a candle, and, dropping the ashes on the plate the coin is found to have
disappeared.

A pretty effect can be obtained if, instead of using a piece of ordinary paper
for the above, you make use of a piece of “flash” paper, which when placed in
the flame of a candle vanishes entirely, leaving no trace behind.

Coin and Candle.—Repeat the last trick, using “flash” paper for the same and
dispensing with the plate. When about to burn the paper in the flame of the
candle, stand with the left hand, which contains the coin, holding the right
lappet of your coat. After the flash show the hand empty, then take hold of the
right lappet of the coat with the right hand, and in doing so let the coin drop
from the left hand into it. The left hand immediately takes hold of the left lapel,
and both hands pull the coat open as if to show that the coin is not concealed
there. It is now a simple matter, but very effective, to lower the right hand over
the candle and produce the coin apparently from the flame.

An Artful Conjurer.—Take a coin between the forefinger and thumb of the

right hand and address your audience as follows: “Ladies and Gentlemen, I am
indebted to a friend of mine for this trick. He was a very artful conjurer and
always told me that he placed the coin in his left hand” (make a motion as if
doing so, but really lower the coin behind the last three fingers of the right
hand), “but he did nothing of the kind; he simply hid it behind those three
fingers” (show coin). “Then with a sweep of the arms, when he thought I was
not looking, he would quickly place the coin under his arm” (twist the hands
round rapidly and then appear to place the coin under the left arm, but
really palm it in the right hand), “all the time directing my attention to the left
hand, and telling me the coin was there; but of course that hand is perfectly
empty, inside and out” (to illustrate what you are saying you give the palm a
smart slap with the right hand, leaving the coin behind), “the coin really being
under the arm. So it is when he does the trick, but not when I do it, as you see
the coin is in the left hand the whole of the time.”

The above, as a sleight of hand feat, is, to my idea, perfect, and never fails,
when neatly performed, to gain tremendous applause. Robbed of its patter,
however, it would scarcely produce any effect.

The Invisible Flight.—Hold the coin between the fingers and thumb of the left
hand, looking at it yourself. From this position appear to take it in the right
hand by passing the thumb under and the fingers over the coin. The coin is
really allowed to drop into the fingers of the left hand, which contract slightly
so as to retain it; the right hand is closed as if it really contained the coin and
is followed by the eyes of the performer. The palm of the left hand can now be
shown casually, when it will appear empty, the coin being held between the
first and second joints of the fingers, which are slightly curled. The left hand is
now closed and the piece is then slowly opened, disclosing the coin lying on
the palm.

The reader will have noticed that up to this point no duplicate coins have been
used, nor has it been necessary to exchange one coin for another. This forms
what may be termed legitimate sleight of hand, and is to be recommended;
but sometimes for the sake of effect it is really necessary to use a duplicate
coin, and I will now mention one or two instances.

For the following tricks a duplicate coin is prepared with a very small hook
attached to one side about ¼ in. from its edge. This coin is placed in the
performer's right vest pocket, and is obtained by means of the following trick.

Vanish for Duplicate.—Holding the coin you have been using in your right hand,
you appear to place it in the left; instead of doing so, however, you palm it.
Close the left hand as if it contained the coin, and then say that you will pass it
from that hand into your waistcoat pocket; show the hand empty and then
with the same hand take the duplicate coin from the pocket. The other coin,
you will remember, remains palmed in the right hand.

To Pass a Coin Through the Body.—In continuation of the preceding trick you
place the left hand (holding the hooked coin) behind the body and attach the
coin to the back between the shoulders, remarking: “I shall next undertake a
very difficult experiment, which consists in passing the coin right through my
body, commencing from behind, up into my left hand” (as you say this you
extend the hand closed). Someone is almost sure to remark that the coin may
be in the hand already, to which you reply: “Pardon me, no, I would not deceive
you by so mean an expedient. See, the left hand is perfectly empty. If you
prefer it I will use the other hand, which is also quite empty.” You should have
been holding the right hand, in which is the palmed coin, well extended and
open, with the back towards the audience. The right will in nine cases out of
ten be chosen, but should you be called upon to use the left you will have
recourse to the method employed in the “Magical Production of Coin” at the
head of this chapter, to get the coin into the left hand. Should the right hand
be chosen, you may, with some caution, remark: “Well, it's just as well as to
have the right one, but still I left it to you.”

All that remains for you to do now is to make believe, in the most dramatic
manner possible, that the coin is traveling up the body, along the arm, and into
the chosen hand, whence you let it fall on to a table or chair. Should the coin
fall on the ground, you will be careful not to expose the one on your back when
picking it up.

Swallowing Illusions.—Having secured the coin again, appear to place it in the

mouth, palming it, and producing it from the bottom of the vest. Repeat this
pass, and remark: “This time, by way of variation, we will stop the coin when it
gets half way down and give it a sharp push” (strike your chest rather violently
with both hands), “which will have the effect of sending it right through the
body again.” You now turn round and show the coin sticking on your back.

Coin and Lemons.—Still keeping the coin palmed from the last trick, remove
the one from your back and hold it between the forefinger and thumb of the
left hand, from which you take it as in the “Invisible Flight.” This time, however,
you do actually take it with the right hand, and at the same time let fall from
the right hand the coin concealed therein. The left hand now contains a coin,
but will be thought to be empty. This movement is employed here to satisfy
the spectators that you are working with one coin only, you having, without
apparent design, shown both hands empty, with the exception of the piece
you are using.
You now lay the hooked coin down on the table and go behind the scenes for
three lemons and a knife, which have been placed there in readiness on a
plate. One of the lemons has a slit cut in it, into which you insert the coin you
have carried off. Coming forward with the lemons on the plate, you force the
choice of the one with the coin in the following manner: “Ladies and
Gentlemen, I have here three lemons. I only require one for the purpose of my
trick and I will ask you to decide which it shall be. Which of the three
do you prefer, the right or the left, or the one behind?” (The one behind is the
prepared one.) If the one behind is chosen take it and proceed. If the right or
the left is chosen throw it to the person making the selection, with the remark,
“Thank you, I hope you will find it sweet.” You will now have two left and you
continue: “I have now only two lemons. Which one shall I take, the right or the
left?” If the prepared one is chosen take it and proceed with the trick. If the
other one is chosen take it with the remark: “Very good, then I will use the one
that remains for the purpose of the trick.”

You now force the knife into the lemon, inserting it in the slit already made,
and give it to someone to hold high in the air. Now pick up the coin from the
table and vanish it by one or other of the means already described (a good
method is given in the next trick), and then have the fruit cut open and the coin
disclosed.

The above form of ambiguous questioning can be used in any trick where it is
essential that a particular article be chosen.

You can avoid going behind the scenes by adopting the following ruse: Go to
the wing, and, extending your hand, in which is the coin, behind it, call out
loudly to your assistant, “Bring me those lemons, please.” In drawing attention
to the fruit it is perfectly natural for you to extend your hand behind the wing
and thus dispose of the coin.

The Pocket Vanish.—Take a coin in the right hand and make believe to place it
in the left, really palming it. The left hand is closed as if it contained the coin
and held away from the body. The right hand pulls back the sleeve slightly as
if to show that the coin has not been vanished in that direction. This
movement brings the right hand over the outside breast pocket of the coat,
into which the coin is allowed to fall unperceived. The coin is now vanished
from the left hand in the orthodox manner and both hands are shown empty.

Should you desire to regain possession of the coin, have the outside pocket
made communicating with an inside one on the same side of the coat; when,
having shown the right hand unmistakably empty, you produce the coin
thence, in a magical manner.

The preceding list of coin tricks has been arranged in combination, the one to
follow the other in a natural manner, for an entertainment, as actually
presented to an audience. I cannot, however, leave the subject of coin tricks
without making mention of several other very deceptive experiments, which
will doubtless be new to the majority of my readers.

Quarter vs. Dime.—For this trick you will require a quarter and a dime, also a
champagne tumbler with a thick bottom. You prepare for the trick by palming
a quarter in the left hand and showing a dime in I the right. Appear to place the
dime in the left hand, really palming it, and picking up the tumbler with the
same hand. Stand the bottom of the tumbler on the supposed dime in the left
hand, which you have been careful not to let anyone see, and then draw the
attention of the bystanders to the appearance of the coin as seen through the
bottom; owing to the thick glass it will appear the same size as the dime,
which everyone believes it to be. Now place the whole on the table and
undertake to change the coin while still under the tumbler. This is a simple
matter, as you have only to raise the tumbler and expose the quarter.

To Pass a Coin into an Ordinary Matchbox held by One of the

Spectators.—Prepare a matchbox as follows: Push open the sliding portion
about 1 in. Then fix between the top of the slide and the back end of the box a
coin, the greater part of which is overhanging the box, the whole being out of
sight of the casual observer. Arranged thus, give the box to someone to hold
with instructions that when you count three the box is to be closed smartly.
This will have the effect of jerking the coin into the box.

You now take a duplicate coin and vanish it by means of the “Pocket Vanish,”
or any other convenient method, counting “One! two! three!” when, acting
according to your instructions, the person will close the box, and the coin will
be heard to fall inside.

Coin, Wine-glass, and Paper Cone.—This very pretty and amusing table trick
consists in causing a coin placed under a wine-glass, the whole being covered
with a paper cone, to disappear and return as often as desired.

The following arrangements are necessary: Take a wine-glass, and, having

placed a little gum all round its edge, turn it over on a sheet of white paper,
and when dry cut away the paper close to the glass. Obtain a Japanese tray
and on it lay a large sheet of paper similar to that covering the mouth of the
glass, and stand the glass, mouth downwards, on it. Make a paper cone to fit
over the glass and you are ready to present the illusion.

Borrow a dime and lay it on the large sheet of paper by the side of the wine-
glass; cover the glass with the paper cone, and place the whole over the coin.
Command the dime to disappear, and on removing the cone it will seem to
have done so, as the paper over the mouth of the glass, being the same color
as that on the tray, effectually conceals the coin. To cause it to reappear you
replace the cone and carry away the glass under it. This can be repeated as
often as desired.

To make the experiment more effective, use colored paper, which shows up
against the coin more than white.

Coins, Hat, and Plate.—In this experiment a number of borrowed and marked
coins are passed invisibly into a hat covered with a plate.

Obtain a small metal box large enough to contain half a dozen coins of the
kind you intend to use. This box should be enameled white and have an
opening in one side large enough for the coins to pass through. A common pill
-box would answer the purpose, but a metal one is preferable. Place a little
wax on the top of the box and leave it, with the plate, on a table at the rear of
the stage. Borrow a silk hat, which leave on your table. Then obtain the loan of
six marked coins, which you change for six of your own, as you go back to the
stage. Drop the latter coins into a tumbler, or lay them in some other
conspicuous position on the table, and go to the rear of the stage for the plate.
Introduce the marked coins into the box, and attach it by means of the wax to
the under side of the plate. Come forward, and having shown the hat to be
quite empty, place the plate over it, being careful to note the position of the
hole in the side of the box.

You now take the coins from the glass and appear to place them in the left
hand, really palming them in the right, which forthwith drops them into a little
box containing sawdust placed on the servante. The coins are retained in the
right hand by a slight contraction of the fingers, as in “The Invisible Flight.”
They should be held in the hand at the base of the thumb and jerked into
position in the act of apparently passing them from one hand to the other. The
pass called “Le Tourniquet” is a better one for a number of coins. The noise of
the coins as they fall into the hand is quite natural, as it would be almost
impossible to actually take them in silence. Now pick up the hat with the right
hand, holding it at arm's length; vanish the money from the left hand in the
usual way, at the same time tilting the hat slightly in the right direction, when
the coins will be heard to fall inside.
To Vanish a Marked Coin from a Tumbler and Cause it to appear in a Small
Box, wrapped in Paper in the Center of a Large Ball of Wool.—For this very
surprising trick you will require to make the following preparations: Procure a
tumbler having a slit cut flush with, and parallel to, the bottom, which should
be flat. The opening should be just large enough to allow a quarter dropped
into the tumbler to slip through into your hand. (See Fig. 8.)

Fig. 8.
PREPARED TUMBLER.

Obtain a small metal box large enough to take the coin easily, also a flat tin
tube about 3 in. long and just wide enough for the quarter to slide through it.
Place one end of this tube inside the box and close the lid on it, keeping it in
position by passing an elastic band over the box. You now wrap the box in
paper and wind a quantity of wool round it until you get a large ball with the
end of the tube projecting about 1 in. Place the ball thus prepared on a table at
the rear of the stage and you are ready to perform.
Show the tumbler, and draw attention to the fact that it is an ordinary one by
filling it with water from a jug, which can be done by placing the forefinger
round the slit. Return the water to the jug and borrow a quarter, which has
been marked by the owner, allowing him to actually drop it into the glass.
Cover the tumbler with a handkerchief, shaking it continually to prove that the
coin is still there, and then place it down on your table, securing the coin
through the slit as you do so. Going to the back of the stage for the ball of
wool, you insert the coin into the tube and withdraw the latter, when the action
of the elastic band closes the box. Bring the ball forward in a large glass basin
and have the wool unwound, disclosing the box; on this being opened the
marked coin will be found within.

To Vanish a Number of Coins from a Plate in a Sheet of Flames.—Place a tea

-plate near the rear edge of your table, and a sheet of “flash” paper, large
enough to cover the plate, in front of it. You must also have another plate on
the servante and you are then ready to commence.

After performing any trick in which a number of coins have been used, throw
them on the plate, carelessly dropping several on the table. Take up the plate
in one hand and the piece of paper in the other, and holding the plate just
behind the table, and over that on the servante, apparently sweep the loose
coins on to the plate you are holding, really letting all fall on the hidden one,
under cover of the paper, which you immediately place over the plate in your
hand.

Everyone will now suppose the money to be on the plate which, with studied
carelessness, you bring forward just over the flame of a candle burning on the
table. The paper ignites and disappears in a sheet of flame, and the plate is
found empty.

Programme and Coin.—The effect of this experiment, which is an

improvement on the old “programme and ring” trick, as no stage assistant is
required, is as follows: The performer borrows a marked quarter from a
stranger in the audience, immediately handing it to a gentleman to examine
the mark, date, and other items. While this is being done the performer
obtains the loan of a programme, which he tears in half, laying one half on his
table. The gentleman is now requested to place the quarter in the half of the
programme held by the performer, who wraps it up and gives it to him to hold.
He now goes to his table for a piece of sealing wax, which he passes several
times over, the packet held by the gentleman, when immediately it is found
transformed into a packet of three envelopes, made from the programme, all
gummed and sealed one inside the other, with marked quarter in the smallest
one. As the gentleman cannot see how it is done the performer repeats the
trick for his benefit with the other half of the programme, but the result is the
same. This time, however, the gentleman is requested to take the last
envelope to the owner of the coin, that he may open it and satisfy himself that
it actually contains his own quarter.

The six envelopes are now rolled up and given to the gentleman to hand to the
lady, to keep as a souvenir of the entertainment, but before he has proceeded
far the performer tells him he has dropped one of them (he has not really done
so), and, failing to find it, he very naturally begins to count those in his hand,
when he discovers to his astonishment that he holds the programme restored.

Explanation.—After the performer has borrowed the quarter in the act of

handing it to the gentleman for examination, he adroitly changes it for one of
his own bearing the mark of the cross, which mark is of course taken for that
of the owner of the coin. The performer now asks for the loan of a programme,
and while one is being procured he drops the actual borrowed coin into the
smallest of the three envelopes which are placed one inside the other in the
right profonde. To facilitate the introduction of the coin a tin tube, with a
rather wide mouth, just large enough for the coin to pass through, is placed in
the smallest envelope. After the coin has been introduced this tube is
withdrawn, left in the pocket, and the envelopes closed.
 Fig. 9.
PACKET OF THREE ENVELOPES.

The flaps of the envelopes are sealed with wax beforehand and prepared with
best gum arabic, which is allowed to dry hard. They are moistened with the
tongue just as you are about to commence the trick, and if cut as in Fig. 9, can
be closed all together while in the pocket. This packet is laid on the table
under cover of the half of the programme used in the second stage of the trick.

To commence the trick the performer palms a similar packet of envelopes

containing another quarter marked in exactly the same way as the one he
handed to the gentleman, and, it is hardly necessary to remark, being of the
same appearance, and bearing the same date. When rolling up the
programme the performer retains it and hands the gentleman the packet of
envelopes; and when going to his table for the wax leaves the half of the
programme and the quarter thereon. By the time the first quarter is taken from
the envelopes the packet containing the actual borrowed coin will be dry and
ready for use.
The remaining portion of the trick will now be understood. When the
performer goes for the other half of the programme he takes the packet of
envelopes with it and substitutes it as before, and the trick proceeds as
described. When collecting the six envelopes for the final effect the performer
palms a duplicate programme which has been lying on his table behind some
object, and substitutes this as before when handing the gentleman the
envelopes to take to the lady.

Providing you cannot obtain a programme in time to make up the envelopes

for the entertainment, the trick can be performed with the cover of say Tit Bits.
Purchase three copies of the same date, one for the envelopes, one for the
subsequent restoration, and the other to “plant” with a stranger in the
audience, who, however, need know nothing of the trick other than that he is
to hand you the cover of the paper when requested.

CHAPTER IV

TRICKS WITH HANDKERCHIEFS

Peregrinations of a Handkerchief.—For the following series of experiments

you will require three 15 in. silk handkerchiefs (the best material for making
these is fine quality sarcenet), an ordinary small sliding match-box, a candle in
a candlestick, and a conjuring wand; also a false finger and conjuring pistol,
hereafter described.

You prepare for the series of tricks by rolling up one of the handkerchiefs very
small and pushing it into the back of the match-box, which you open about 1
in. for the purpose; another is rolled up and placed behind the collar on the left
hand side of the neck; and the last is loaded into the false finger and placed in
the right hand trousers pocket. You are now ready to commence.

Handkerchief and Candle.—“Ladies and Gentlemen, the following experiment

was suggested to me at the age of twelve while studying chemistry. I then
learned that all matter was indestructible. Proof of this, as you are well aware,
is afforded with an ordinary candle. You may light the candle at one end and
let it burn to the other, but you do not destroy the matter of which it is
composed. What really takes place is the formation of new substances, as
hydrogen, carbon, water, etc., which any of the text books on chemistry will
explain. I will, however, give you one striking illustration:”

Pick up the match-box and light the candle; then close the box, pushing the
handkerchief into the right hand, and throw it down on the table. Take the
candle from the candlestick and place it in the right hand, which masks the
presence of the handkerchief. You now appear to take something from the
flame of the candle with the left hand, which you close as if it really contained
an article. Open the hand slowly, looking surprised to find you have failed, and
remark: “Well—really I cannot understand this. I am generally successful with
this trick. Oh! I know what is the matter. You see, I am using the left hand; if
you do things left-handed they cannot possibly be right. I will try the right
hand.” Saying this, you place the candle in the left hand and immediately
produce the handkerchief from the flame with the right, closing the hand as
before. It now only remains for you to open the hand and develop the silk
slowly.

To Vanish a Handkerchief and Produce it from your Collar.—Place your wand

under your left arm. Take the handkerchief and roll it up small, using both
hands. Affect to place the handkerchief in the left hand, really palming it in the
right, and take your wand from under the arm in the same hand. Vanish the
handkerchief from the left hand, and take the one from your collar,
immediately placing it in the right hand to mask the presence of the one
already there, and lay the wand down on the table.

To Pass a Handkerchief into the Pocket of a Spectator.—Obtain the

assistance of a young gentleman from the audience, and ask him to let you
have the loan of the outside breast pocket of his coat. Much fun is generally
used by his removing his own pocket handkerchief and sundry other curious
articles. Place both handkerchiefs, which have all the time remained in the
right hand, in his pocket (you, of course, are supposed to be using one only),
and stand as far away as the limits of the stage will allow, and say:—“Now, sir,
do you think it possible for me to remove the handkerchief from your pocket
without coming a step nearer to you than I am at present?” He will probably
look confused, and hardly know whether to say Yes or No. Whatever he may
say is all the same to you, and you remark:—“My dear sir, do not look like that;
your face is calculated to upset me altogether. I scarcely know what I am
doing. What I really intended to do was to pass the handkerchief from my
hands into your pocket.” You now take the handkerchief from his pocket,
where, unknown to the spectators and probably the gentleman himself, one
still remains. You will now vanish the handkerchief as in the last trick, and let
the gentleman take the one from his pocket, which will seem to be the same.
Take the handkerchief from him, place it in the right hand, which again
conceals the one in the palm, and lay the wand down on the table.

To Fire a Handkerchief into a Gentleman's Hair.—For the purpose of this trick

you will have to make use of what is known as a conjuring pistol, which, being
in constant use in magical surprises, I will describe. It consists of an ordinary
pistol fitted with a conical tin tube 8 in. long. The mouth of this tube is about 2
in. in diameter and is supplied with a tin cup 1 in. deep, having its outer edge
turned over all round so as to afford a ready grip to the palm. The conical tube
is fitted with an inner tube to keep it firm on the barrel of the pistol. (See Fig.
10.)

Fig. 10. CONJURING PISTOL.

Taking up the pistol, you place the two handkerchiefs, which look like one. in
the cup; push them well down and remark:—“I shall now fire direct at the
gentleman's head, and after the shot the handkerchief will be found firmly
embedded in his hair, and will, not unlikely, be seen protruding from each of
his ears. It just depends on the force of the shot, you know, and I need hardly
say I loaded the pistol myself, and am totally ignorant of fire-arms. Are you
ready, sir? then Good-bye!” Place the “muzzle” of the pistol in the left hand
while you shake hands with the gentleman. In taking the pistol back into the
right hand to fire it, you leave the cup behind in the left hand, and at the instant
you pull the trigger, you drop it into your pocket on the left side. When
discharging the pistol you will, of course, stand with your right side to the
audience.

You now ask the gentleman to take the handkerchief from his hair, telling him
it is just behind his left ear (of course it is not really there); and while he is
trying to find it you stand with your hands in your trousers pockets, telling him
to make haste, you cannot wait all the evening, etc. When he has tried some
time and failed to find it you take your hands from your pockets, having got
the false finger into position between the second and third fingers. Showing
the hands back and front (the addition of an extra finger will not be noticed),
you pass them several times over the head of the gentleman, then lowering
the hands on to his head you detach the finger and draw out the handkerchief.
The false finger is laid down on the table under cover of the handkerchief.
 Fig. 11. FALSE FINGER.

The finger is made of thin spun brass painted flesh color; it is quite hollow
from tip to root, and is shaped for fitting between the second and third fingers
(see Fig. 11). It can be used in many tricks with handkerchiefs, and is really an
indispensable accessory.

This concludes the series alluded to in the beginning of this chapter. I will now
describe a number of handkerchief tricks complete in themselves.

The Handkerchief Cabinet.—This very useful piece of apparatus should be in

the repertoire of every amateur magician, as it is available for producing,
changing, or vanishing a handkerchief. Its secret lies in the fact that it
contains two drawers, bottom to bottom, the lower one being hidden by a
sliding panel. When standing on the table the top drawer only is visible, and
the cabinet looks the picture of innocence, but if turned over and stood on its
opposite end the sliding panel falls, exposing the hidden drawer, and hiding
that which for the time being is at the bottom (see Fig. 12). The cabinet is
about 2 in. square by 4 in. high.
 Fig. 12.
HANDKERCHIEF CABINET.

If required for production you proceed as follows:—Having placed a silk

handkerchief in the concealed drawer, introduce the cabinet, take out the
empty drawer, and give it for examination. Replace the drawer, secretly turn
over the cabinet, and place it on your table.

You now go through any form of incantation you please, open the drawer and
take out the handkerchief.

If you desire to vanish a handkerchief you will have it placed in the drawer by
one of the spectators, and while going to the table turn over the box. When the
drawer is opened the handkerchief will have disappeared.

Should you wish to change one handkerchief for another you will beforehand
conceal say a red handkerchief in the cabinet; then taking a white one, have it
deposited in the upper drawer, turn over the cabinet as before, pull out the
now uppermost drawer, and produce the red handkerchief.

From the foregoing description it will be obvious that the cabinet is capable of
being used in conjunction with many tricks.

The Handkerchief Vanisher.—One of the best appliances for causing the

disappearance of a handkerchief may be made from a small celluloid ball as
follows:—Obtain a ball 1¾ in. in diameter, which will take three small silk
handkerchiefs if desired, and cut a 1 in. hole in any part of its surface. On the
side of the ball opposite the opening fix a loop of flesh-colored thread, long
enough to pass easily over the thumb, and to suspend the ball on the back of
the hand so that it does not hang too low.

When required for use the ball is taken up secretly under cover of the
handkerchief, and the thumb of the left hand is passed through the loop. Then,
while appearing to roll up the handkerchief, it is worked through the opening
into the ball, which is instantly pushed over to the back of the left hand under
cover of the right. The palms of the hands are now shown empty, when the
handkerchief will seem to have vanished entirely. When using the vanisher you
will, of course, stand with your right side to the audience.

It is well to be provided with two or three of these accessories, in different

sizes.

Magic Production of Handkerchiefs.—The performer comes on the stage

showing both hands empty, back and front. He then pulls up both sleeves and
immediately produces a white silk handkerchief, about 18 in. square, which he
passes for examination. Then by simply shaking the handkerchief he obtains
from it about half a dozen other colored ones about 15 in. square. The colored
handkerchiefs are then caused to vanish by simply rolling them up in the
hands, being immediately afterwards reproduced, all tied together by the
corners, from the white one.

The necessary preparations for the trick are as follows:—A slit ½ in. long is
made in the seam of the trousers at the right knee, and two of the colored
handkerchiefs, each having a minute piece of blackened cork tied to one
corner, are pushed into this slit, the corks being left protruding to enable the
performer to instantly draw them out. Two handkerchiefs of different colors
are placed in the pochette on the left side. A fifth handkerchief, also prepared
with a piece of cork, is placed in the front of the vest, the cork protruding
through the watch-chain hole. It may seem impossible, but the silk may be
drawn through this hole very rapidly, and quite easily, as will be found by
experiment. A sixth handkerchief is contained in the false finger (previously
described), which should be placed in the right hand trousers pocket.

As the handkerchiefs are produced they are thrown over the back of a chair
fitted with a network servante (Fig. 1), behind the top rail of which are
suspended two vanishers of the kind already described; also the ball of six
duplicate handkerchiefs all tied together by the corners.

The trick is worked as follows:—The white handkerchief is rolled up into a

small compass and tied with a piece of silk just strong enough to hold it. It is
then placed in the hollow of the arm at the elbow, the arm being slightly bent
so as to retain it in that position. When pulling back the sleeves the performer
secretly obtains possession of the handkerchief, breaks the thread, and
develops it slowly.

Having had the handkerchief examined, and while holding it by two corners,
spread it over the knee as if drawing attention to the fact that it is empty. Then,
in the act of raising it, shaking it the whole of the time, pull the two colored
ones through the seams, and while developing these, take the two from the
pochette on the left side. Place the white handkerchief in the left hand to
conceal the colored ones, and throw the other two over the back of the chair.
Now produce the two in the left hand in a similar manner, and throw them over
the chair with the two already there. Then take the white handkerchief by two
corners, and, while turning it round, show both sides, seize the piece of cork at
the buttonhole of the vest, and produce the fifth handkerchief, throwing both
over the back of the chair.

For the production of the last handkerchief a little patter is desirable. “Ladies
and gentlemen, I dare say you will wonder where I get these handkerchiefs
from. The other day I overheard two gentlemen conversing in the stalls. One
said to the other, ‘Don't you see where he gets those handkerchiefs from?
They come down his sleeve.’ The other said, ‘Oh! no, they don't. He takes them
from his pockets, for I saw him.’” Saying this, you thrust the hands into the
pockets by way of illustration, and fix the finger in position. Then withdraw the
hands, placing the palms together, and continue: “Now, I wish to prove to you
that both of these gentlemen are wrong. If the handkerchief comes down the
sleeve, you will be sure to see it. My hands are perfectly empty” (show hands).
“Now watch closely and see if you can detect me.” You now bring the hands
together, reverse the finger, and shake out the handkerchief; and, when laying
it with the others on the chair, drop the finger into the servante.

To cause the disappearance of the handkerchiefs, proceed as follows: Take

up three of the colored ones, at the same time secretly obtaining one of the
vanishers, and, with an up-and-down motion of the hands, work them into the
ball. Then pass the ball to the back of the hand and show the palms empty.

When taking up the other three handkerchiefs, drop the vanisher into the
servante, secure the other one, and proceed as before. Then take up the white
handkerchief again, disposing of the vanisher into the servante, and securing
the ball of six tied together. Finally wave the white handkerchief up and down,
and gradually work out the colored ones, one after another.

Color-changing Handkerchiefs.—The effect of this trick, which is one of the

best in the whole category of sleight-of-hand feats, is as follows: Three white
handkerchiefs are pushed into a paper tube, and as they come out at the
opposite ends they are seen to be dyed respectively red, yellow, and green.
The paper is then unrolled and torn in half, when the white handkerchiefs are
found to have vanished entirely.

To perform the trick you must be provided with a piece of drawing paper 10 in.
by 8 in. (a leaf from a plain drawing-book will answer the purpose admirably),
three very fine white silk handkerchiefs 15 in. square, and three colored ones
of the same size and texture. The last of the colored handkerchiefs to appear
at the end of the tube is prepared as follows:—Take a piece of 1¼ in. brass
tubing, 3 in. long, and insert it in the middle of one side of the handkerchief
(Fig. 13), by covering it with a piece of silk of the same color. This piece of silk
is extended beyond the tube, as shown, to form a kind of pocket.
 Fig. 13. HANDKERCHIEF FITTED WITH BRASS TUBE.

To prepare for the trick push the body of the handkerchief into the brass tube
at the end A, and the other two colored ones on the top of it. The piece of
paper is laid on the table with the tube of handkerchiefs under its rear edge.
The three white handkerchiefs are then laid across the paper.

To perform the trick stand on the left of your table and take up the paper with
the right hand, the left hand keeping the white handkerchiefs in front of the
tube of colored ones. Draw attention to the fact that the paper is unprepared,
then lay it on the table in such a manner that it again conceals the tube, and
take up the white handkerchiefs. Show the handkerchiefs, remarking that they
are of the ordinary description, and then lay them on the table. Pick up the
paper, and with it the colored handkerchiefs, which are held behind it with the
thumb of the right hand.

You now form the paper into a tube round the colored handkerchiefs and hold
it in the left hand. Pick up the white handkerchiefs one at a time, place them in
the left hand with the tube, and remark:—“I will now pass the white
handkerchiefs through the cylinder, first, however, showing you that it is
perfectly empty.” As you say this you take the handkerchiefs in the right hand,
and as if to illustrate what you say, place them near the mouth of the tube.
This gives you the opportunity of dropping the colored handkerchiefs into the
white ones. The cylinder is now shown empty, and the white handkerchiefs
are pushed into one end of it; care being taken to introduce the colored ones
first, and to keep them out of sight of the audience. You now grasp the brass
tube tightly through the paper and press the white handkerchiefs into it. This,
of course, pushes out the colored handkerchiefs, which appear at the other
end of the cylinder, the white ones being concealed in the body of the last
colored one.

When performing the trick it, is necessary to be careful to insert the right end
of the brass tube into the paper cylinder, otherwise the experiment would not
be successful.

The following is the method of presenting the above trick, with appropriate
“patter”:

“For the purpose of my next experiment I shall make use of this square-

looking piece of paper, in which you can see there is nothing concealed, not
even a trap door. Well, if there was anything concealed from your view, you
would be sure to see it.” Laying the paper down and taking up the
handkerchiefs, you continue. “In addition to the paper, I propose to make use
of these three pieces of silk, or silk in pieces, commonly known as art white
squares. I am afraid, however, some people would prefer to call them subdued
white; possibly dirty white, if it were not for the liberty of the thing, but I know
they call them art white in State Street, because I suppose they find that they
sell better.”

Laying the handkerchiefs down, you take up the paper with the tube behind it,
and, prior to forming the cylinder, remark:—“This experiment was suggested to
me while traveling on the N. Y. C. & H. R. railway. I always travel by that line
when possible, being very fond of scenery. The other day I had occasion to
take a return single from New York City to Schenectady; and while passing
through those tunnels I noticed that my linen changed color considerably,
which suggested to me this illustration. With the piece of paper I will form a
kind of tube or tunnel to represent for the time being one of those cavities on
the N. Y. Central railway.”

Make the tube and continue—“There it is, as free from deception as I am. I will
now take the handkerchiefs” (take up the handkerchiefs from the table) “and
pass them through the cylinder” (drop the colored handkerchiefs into the
white ones and show the tube empty), “first, however, showing you that it is
perfectly empty. Then, having satisfied you that there are no trains on the line,
I will pass the handkerchiefs through the tunnel.”

As the colored handkerchiefs appear at the opposite end of the tube,

remark:—“I may say that I have been getting my living for some considerable
time by conjuring. You will now notice that I am beginning to dye by it.”

Mechanical “Pull” for Vanishing a Handkerchief.—The construction of this

contrivance is very simple, and it is absolutely instantaneous in its action, the
quickest eye being unable, even at close quarters, to detect the flight of the
handkerchief.

It consists of two straps, one for each arm, which are buckled on just above
the elbows. One of the straps carries what is known to mechanics as a“lazy”
pulley, working freely in all directions, and provided with a shield, so that the
cord cannot possibly leave the wheel; and the other carries a metal “D” loop. A
cord is tied to the “D” loop, passed over the back, round the pulley on the left
arm, back again and down the right sleeve; the end of the cord being furnished
with a loop to receive a handkerchief. The apparatus must be attached to the
arms underneath the shirt, and when in such a position that the arms may be
moved about freely, the loop should be in the center of the back, as shown in
Fig. 14.

Fig. 14. MECHANICAL “PULL” FOR VANISHING A HANDKERCHIEF.—(a) Leather Strap;

(b) Brass Plate; (c) Pivot; (d) Brass Hinge; (e) Pulley in Shield; (L) Left Arm; (R)
Right Arm.

To enable the artiste to obtain possession of this loop, a black thread is

passed through it, doubled and carried down the right sleeve, the two ends
hanging out of the cuff so as to be readily found by the fingers. Having found
the thread, the performer pulls down until the loop appears, which is forthwith
passed around the thumb, the thread being broken and allowed to fall on the
floor. The act of pulling the cord to secure the loop will pull the elbows close
to the sides, where they must be kept until the handkerchief is to disappear.

Having placed the handkerchief through the loop, which should be of catgut,
as being semi-transparent, push it into the glass tube as described in the next
trick, and place the hands one over each end. To cause the handkerchief to
disappear all that is necessary is to move the elbows away from the sides
while making a quick up and down motion with the glass cylinder, slightly
lifting the base of the right hand from the edge of the glass to allow the silk to
pass up the sleeve. In moving the elbows away from the sides a pull of from
3ft. to 4ft. is put on the cord, the handkerchief flying up the sleeves and finally
occupying a position in the center of the performer's back.

The Flying Handkerchief.—This is a very surprising trick, and a favorite with

the most noted prestidigitateurs. It depends chiefly for its effect on the
“Mechanical Pull” (Fig. 14). For its execution you must be provided with six
small silk handkerchiefs (two red, two yellow, and two green), also two glass
cylinders of the kind used for gas.

The idea of the trick is to cause a red silk handkerchief placed in the center of
one of the glass tubes, the ends being covered with the hands, to disappear,
and be found between a yellow and a green handkerchief previously tied
together, rolled up into the shape of a ball, and placed in the other cylinder. It
is accomplished thus:—

Three of the handkerchiefs, one of each color, are tied together by the corners,
the red being in the center. They are then rolled up into the shape of a ball so
that the red one cannot be seen, and, thus prepared, are laid on the table
behind the other red handkerchief.

The performer now takes the two remaining handkerchiefs, one yellow and
one green, and ties them together, rolling them up to look as near like the
duplicate ball as possible. Holding this ball in the right hand, he takes up the
red handkerchief, and with it the ball of three. He then takes the red
handkerchief in the right hand, passing the ball into the left, and forthwith
pushing it into the glass cylinder on the table. Under cover of the red
handkerchief, however, the balls are exchanged and that of three is actually
placed in the tube.
While going for the other cylinder, which should be on a table at the rear of the
stage, the performer has ample time to dispose of the ball of two, and to get
down the “pull.” When introducing the cylinder remark:—“You see, Ladies and
Gentlemen, that the tubes are of the most ordinary description and perfectly
free from preparation; in fact, you can see right through them. I hope you will
not be able to see through me quite so easily.” The red handkerchief is then
inserted in the cylinder, being previously passed through the loop, whence it is
caused to vanish as described. The handkerchiefs are then taken from the
tube on the table, unrolled and shaken out; when, by some unaccountable
means, the red one will appear to have tied itself between the other two.

Brass Tube to Produce, Vanish, or Change a Handkerchief.—This is really an

indispensable piece of apparatus and should be in the repertoire of every
wizard. It consists of a piece of 1½in. brass tubing, 4 in. long, with two caps of
the same metal to close the ends. A handkerchief is inserted in the tube and
the caps are immediately placed on; but notwithstanding this, the
handkerchief disappears, or can be changed to another of a different color.

The apparatus really consists of four pieces, the tube and the two caps, with
the addition of a cup, 1 in. deep, made to fit easily into either end of the tube,
and provided with a flange as in the magic pistol already described, to enable
the performer to palm it off (see Fig. 15). The cup is not provided with a
bottom, but is fitted with a piece of ¾ in. tape fixed at each side, in the center
of the tube, in such a manner that a loop hangs down flush with, and forming
a bottom common to, either end of the cup (as at A).

Fig. 15. BRASS TUBE FOR HANDKERCHIEF TRICKS.

I will explain the method employed in changing say a white handkerchief for a
red one after which the other uses of the tube will be apparent. Load a red
handkerchief into the cup at the end A, and place it under your vest, or in the
right-hand trousers pocket. Give the tube and caps for examination, and while
they are out of your hands, get possession of the cup and palm it in your right
hand. Take back the tube with the left hand, pass it into the right, and over the
cup; and fit the cap to the opposite end. Turn over the tube, and with the right
hand apparently place the white handkerchief into it (the handkerchief really
goes into the cup and pushes the red one into the tube, reversing the tape).
Now place the right hand over the cup, reverse the tube, and remark:—

“As the cap has been on this end the whole of the time, it has not been
possible for the handkerchief to escape in that direction. We will now place a
cap on the opposite end of the tube and we have the handkerchief secure.”
Saying this, you reverse the tube, palming off the cup as you do so; and, while
holding the tube in the same hand, to hide the palm, fit on the cap. Give the
tube to someone to hold and drop the cup into the profonde, or otherwise
dispose of it at the earliest opportunity. On removing the caps the
handkerchief will be found to have changed color.

At this point a good combination trick can be worked by the use of two
duplicate handkerchiefs, as follows: Have a duplicate red handkerchief
hanging over a chair, on the back of which is suspended a network servante.
Another duplicate white handkerchief should be in readiness in the back of a
match-box for producing from the flame of a candle, as previously described.

When handing the gentleman the tube which is supposed to contain the white
handkerchief, you take up the red one from the back of the chair, and at the
same time dispose of the palmed cup by dropping it into the servante. The red
handkerchief is now vanished by sleight of hand, or can be fired from the
magic pistol, and eventually found in the brass tube.

To account for the disappearance of the white handkerchief you may remark:
“Oh, I dare say the white handkerchief has jumped out of the tube to make
room for the red one. It has probably found its way into the candle on the
table.” To conclude the trick you light the candle and produce the
handkerchief from the flame.

The tube can be used in many ways in combination with other tricks, but I
must leave these to the ingenuity of the performer.

CHAPTER V

TRICKS WITH BALLS

Creation, Manipulation, Multiplication, and Annihilation of Billiard Balls.—For

the series of tricks hereafter described, you will require two solid billiard balls
and a case to contain one of the balls, consisting of two hemispheres of thin
spun brass hinged together. When closed this case will represent a solid ball,
but when open and held in the hand with thumb over the hinge, will appear as
two balls. The balls, together with the case, should be enameled red. When
about to present the trick, come forward with the case containing a solid ball
in the left breast pocket and the other solid ball under the left armpit.

Creation.—Pull up the right sleeve and then the left one, which gives you the
opportunity of taking the ball in the right hand unperceived. You now execute
what is known as the “Change-over Palm” to show both hands empty, and
then produce the ball from the back of the right hand. This palm is made as
follows: Having got the ball into the right hand, draw attention to the left with
the fingers of the right, showing it back and front. When doing this you will be
standing with your right side towards the audience. Now make a sharp half-
turn to the right and show the right hand in the same manner. This you will be
able to do, as when making the turn the palms of the hands very naturally
passed over each other, and the ball was transferred from the palm of the
right hand to that of the left.

The ball is now found on the back of the right hand.

Manipulation.—The amount of manipulation possible with a single ball is

considerable, and limited only by the dexterity of the performer. The principles
of sleight of hand as described in Chapter II will, with few exceptions, be found
equally adaptable to this branch of the mystic art. For the benefit, however, of
those of my readers who have not hitherto made sleight of hand a study, I
append a few examples.

1. Having obtained the ball from the back of the right hand, place it between
the forefingers (as in Fig. 16). Then twist the fingers round and round, which
will cause the ball to revolve with them. This produces a very pleasing and
puzzling effect, and is to all appearances a feat of dexterity. It requires,
however, a little practice.

Fig. 16. REVOLVING BALL.

2. Close the right hand and place the ball on the top (as in Fig. 17). From this
position appear to take it in the left hand, really allowing it to sink down into
the palm of the right, where it is retained. Vanish the ball from the left hand in
the usual manner and produce it from the left elbow.

Fig. 17. BALL IN POSITION ON RIGHT HAND.

3. Roll the ball between the palms of the hands as if you were trying to make it
smaller. When the left hand is underneath, seem to close it over the ball, really
palming it in the right hand. The left hand is now brought down right smartly
on the back of the hand and the ball produced from the mouth.

4. Place the ball between the teeth and apparently give it a smart rap with the
right hand as if to force it into the mouth. The ball, however, is palmed in the
right hand, and immediately taken from the back of the head. When producing
this ball, pass it up the back and over the top of the head and let it fall into the
left hand.

5. Appear to take the ball from the left hand, as in “Le Tourniquet”. Then
apparently pass it through the left knee, producing it from underneath.

6. Throw the ball several times from one hand to the other, and finally, when
appearing to throw it into the right hand, palm it in the left. Vanish the ball;
place the left hand to the nose, and let the ball fall into the right hand. To all
appearance it actually comes from the nose.

7. Stand with the left side to the audience and throw the ball into the air
several times. At the third time palm it in the left hand, the effect being that
the ball is vanished into thin air. Now perform the “Change-over Palm”
described above, and find the ball at the back of the right knee.

8. Apparently transfer the ball from the right hand to the left, really palming it.
Place the palm of the right hand (containing the ball) on the right breast, and
thence extend it over in the direction of the left sleeve. In the act of doing this,
the ball leaves the palm and is held between the forearm and the body; the
hand, turned palm towards the audience, then pulls up the sleeve. You then
blow on the left hand to vanish the ball and show the hand empty.

To regain possession of the ball, all that is necessary is to reverse the motion
of the arm, when the ball will find its way into the palm of the hand, and can be
produced as fancy suggests.

If the ball is not produced, the above forms an excellent final vanish to any
billiard-ball trick.

If used as a vanish, after having gained possession of the ball you stand with
the hands one on each lapel of the coat, bow, and retire.

This pass, which I have found practical in every way, was given to me by Mr.
George Newman, a very clever amateur conjurer.

The following explanations will to some extent be given in the “vernacular,” it

being assumed that the student has become familiar with the various passes.

Multiplication.—You must now obtain possession of the trick ball, which can
be done by means of the following ruse: Appear to place the ball in the left
hand, vanish, and take it from the left breast pocket. In doing so you take out
the trick ball, leaving the solid one behind.

For two balls: Take the trick ball in the left hand, and, waving the hand up and
down, open the shell, placing the thumb over the joint, when you will appear to
have two balls in the left hand. To show these as two solid balls, one in each
hand, take the ball out of the case, which forthwith close. This can easily be
done under cover of the right hand. Draw attention to the ball in the left hand
and remark, “One, and this one” (ball in right hand) “make two.” As you say
this you appear to place the ball in the left hand, really opening the case to
represent two balls, and palming the solid one in the right hand.

For three balls: Produce the ball you have palmed from behind the left knee,
and really place it with the two others (case open) in the left hand. Wave the
left hand up and down and under cover of the movement allow the solid ball
to slip into the case. Then produce the ball previously left in the breast pocket,
and you will seem to have passed a ball up your sleeve.

For four balls: Draw attention to the two balls now in the left hand (case open,
with a solid ball in one half) and remark, “Two, and this one” (ball in right hand)
“make three.” Saying which, you apparently place the ball in the left hand,
really palming it as before, and dropping the ball out of the case under the
cover of the right hand. You now find the palmed ball at the left elbow and
really place it with the other three in the left hand. You will now appear to hold
four solid balls.

Annihilation.—Appear to take a ball in the right hand, really allowing one to fall
into the case. Vanish this ball in the act of throwing it to the audience. You
now actually take another solid ball in the right hand and exclaim, “I will vanish
this one into thin air. Watch me.” Actually throw the ball into the air several
times, and while doing this lower the left hand and drop the solid ball out of
the case into the profonde, making a movement that the audience cannot fail
to notice. Thinking they have caught you, someone is sure to remark, “I saw
him put one in his pocket that time.” To which you will reply, “Oh! no; I did not
put any in my pocket. I would not deceive you in such a manner. Two and one”
(the one in the right hand) “make three.” You now really place the ball in the
left hand.

Again appear to take a ball in the right hand, letting it fall into the case as
before. Then vanish it in the act of apparently throwing it into the air. Wave the
left hand up and down, and under cover of the movement close the case,
which will dispose of the third ball.

Finally, make believe to take this last ball in the right hand, standing with your
right side to the spectators. Instead of doing this, however, the case is opened
under cover of the right hand and the solid ball extracted. The right hand is
then closed over the ball so that it cannot be seen and the left hand quietly
places the case in the profonde. It is well to again let this movement be
suspected. Then, looking to the right hand, remark, “I have now only to
dispose of this last ball.” At this point someone is almost sure to say, “Oh! I
saw you put it in your pocket.” You will then cause considerable amusement
to the spectators, and derision on the party with the voice, by showing the ball
in the right hand.

To cause the disappearance of the last ball, make use of the pass described
under Example 8 above.
Billiard Balls and Basins.—For the purpose of this trick you will require two
small basins and two tea plates. The plates are to act as covers for the basins.
In addition to this paraphernalia you will require two India rubber balls to
match in size and color the ordinary billiard balls.

The effect of the illusion is as follows: The two basins are shown empty and
each is covered with a plate. In the course of the preceding billiard-ball trick,
or a portion of the same, two balls are vanished, afterwards appearing in the
basins.

To prepare for the trick, place one of the basins, containing one of the balls,
on the table, and cover it with one of the plates. On the top of this plate place
the other basin, containing the second ball, covering the same with the
remaining plate.

When about to present the illusion, you take the top plate in the left hand and
the basin in the right, fingers inside and thumb out. This enables you to grasp
the ball and conceal it in the fingers, while holding the basin so that the inside
can be inspected. Place the basin on the floor, retaining the ball in the fingers,
and immediately place the plate in the right hand, which again conceals the
ball. Show the hand empty, also both sides of the plate. Then pass the plate
back into the left hand, taking the ball with it, and show both sides of the right
hand. Cover the basin with the plate and in doing so secretly introduce the ball.

You must now go through the same movements with the other plate, ball, and
basin, and the trick is practically finished. All that remains for you to do now is
to vanish two balls and find them in the basins.

The India rubber balls are essential for silence when dropped into the basin.
Ordinary wooden balls would “talk” and thus betray their presence.

Color-changing Billiard Balls.—There is a very old trick similar to what I am

about to describe, known as the “Chameleon Balls.” In this form of the trick
the ball is caused to change by palming on, or off, as occasion may require,
half-shells of different colors. I will now explain a method of producing a
result analogous to the old trick, but brought about entirely by different means.

The necessary accessories are a red, a black, and a white billiard ball, all solid.
Place the white ball in the profonde and the black one in the pochette on the
left side. Having arrived at the point in “Annihilation” where all the balls have
been disposed of with the exception of the last solid one, you throw this in the
air as if to vanish it in that direction. While all eyes follow the ball in its upward
flight, you lower the left hand and take the white ball from the profonde,
palming it. In doing so you would, of course, stand with the right side to the
audience.

The Change to White.—Make a half turn to the right and take the red ball in the
fingers of the left hand, in which you have the white ball palmed. Then show
the right hand, back and front. Now take the visible red ball in the fingers of
the left hand and at the same instant make the “Change-over Palm.” This
brings your right side again to the auditorium and enables you to show the left
hand empty.

To execute the change you place the red ball in the fingers of the left hand and
then stroke it with the palm of the right, palming the red ball and leaving in
place of it the white one. Again make the “Change-over Palm,” showing the
hands empty, with the exception of the white ball.

The Change to Black.—You take the ball in the right hand, and, turning to the
left, bring it down rather smartly on the table, to prove its solidity. This gives
you the opportunity of dropping the red ball into the profonde and taking the
black one from the pochette.

To change the white ball to black, you will proceed as in the previous change,
disposing of the palmed white ball at the earliest opportunity, or it can be
produced with good effect from the bottom of the trousers. Then lay both
balls down on the table.

To appreciate and thoroughly understand the effect of the above, it is

necessary to actually practice the various movements with the balls in front of
the mirror.

The Diminishing Billiard Balls.—The trick under notice has for its effect the
apparent diminution of an ordinary billiard ball, first to half its original size,
secondly, to one-quarter its original size, and, finally, to a very small ball, with
which several amusing passes are made, and which afterwards disappears
entirely.

In this case a trick ball is used of a size about equal to half that of the ordinary
one, and hollowed out so as to contain a solid ball of a diameter equal to half
that of itself. (See Fig. 18.) The hollow ball must be so constructed that the
small one pinches slightly into it, but can be instantly released by simply
passing the ball or the thumb over it. A duplicate of this small ball should be
placed in the right-hand waistcoat pocket for use in the latter part of the trick.
 Fig. 18. TRICK BALLS.

The trick ball is placed in the left pochette, whence it is obtained and used
according to the instructions given in the “Color-changing Balls.” To produce
the smallest size, hold the trick ball in the left hand, having previously
loosened the small one, and, in the act of stroking it with the right hand, palm
off the hollow ball and dispose of it as soon as possible.

With the small ball you now execute the pass as described under Example
4 above. Then actually place the nail in the mouth, pretend to swallow it, and
produce the one from the vest pocket, which will appear to be the same.

You now seem to place the ball in the left hand, really palming it; then bring
the left hand down with apparent force on the top of the head, showing the
ball between the teeth. Here raise the right hand as if to take the ball from the
mouth, but really push it back and show the palmed one. Then repeat the
same pass, but this time actually let the ball fall from the mouth into the left
hand, disposing of the palmed ball into the profonde.

I have seen a series of passes, including the above, performed with two eggs.
in place of the small balls, but unless the performer be endowed with a
colossal cavity between the upper and lower jaws, I should not advise him to
attempt this.

The Handkerchief Ball.—This forms a very good introduction to a billiard-ball

trick, all that is required being a ball of the usual size, hollowed out so as to
take a handkerchief, with an opening 1 in. in diameter on the surface. This ball
is suspended behind the top rail of a chair by means of a pin.

After performing any trick in which a handkerchief has been employed,

carelessly throw it over the back of the chair while you roll up your sleeves. If
you do not care to roll up the sleeves, perform any small trick before
proceeding with the present one, otherwise it might be too palpable that the
handkerchief was thrown over the chair for a purpose. Then take up the
handkerchief (secretly securing the ball) and gradually work it into the ball,
being careful to keep the ball out of sight as much as possible until the
handkerchief has totally disappeared. Finally throw the ball into the air, which
can safely be done, providing it and the handkerchief are both of the same
color, which would not admit of the hole being observed.

At this point, should you desire to proceed with a billiard-ball trick, you can do
so by changing the hollow ball for a solid one in the same manner that you
changed the solid ball for the trick one in the “Multiplying Billiard Balls.”

The Dissolving Billiard Ball.—This forms an excellent conclusion to the billiard

-ball trick. A glass tumbler three parts filled with water is given to a gentleman
to hold. A ball is then covered with a handkerchief and given to the gentleman,
with a request that he will hold it over the glass and at the word “three” will
allow it to fall into the water. This is done, and, upon the handkerchief being
removed from the tumbler, nothing remains but the fluid, which is perfectly
transparent, the ball having apparently been dissolved therein.

The secret of this lies in the fact that the performer is provided with a half
shell of clear glass. This shell is secretly slipped over the ball in the act of
covering it with the handkerchief, and when handing it to the gentleman the
solid ball is palmed away by the performer. The gentleman is not at all likely to
discover that he holds only a half ball, as, being hampered with the glass of
water, he is effectually prevented from making an examination.

It is well to be provided with a tumbler the bottom of which is shaped

somewhat to fit the form of the shell and ornamented slightly, but this latter
feature is not absolutely necessary.

Fancy Sleight with a Small Ball.—A small ball is generally used for this “pass,”
but it is applicable to any object that can be conveniently placed in the mouth.
In effect it is as follows: A ball, for instance, is rubbed into the left elbow and
passed thence up into the hand. The hand is then brought down rather smartly
on the back of the head, the ball being immediately afterwards taken from the
mouth.

The sleight is thus executed: The performer takes the ball in his right hand
and commences to rub it into his left elbow. At this point he apparently meets
with an accident, dropping the ball on the floor. The dropping of the ball,
however, apart from being an accident, is absolutely essential to the success
of the illusion. After having picked up the ball, and while still in a stooping
position, with his back towards the spectators, the performer quickly throws it
into his mouth, immediately facing round and drawing attention to the right
hand, the fingers of which must seem to close round the object. The rubbing
at the elbow is again commenced and the right hand eventually shown empty.
The performer then makes a sign indicative that the ball has passed up into
the left hand, which is then brought down with apparent force on the back of
the head. The ball in the mouth is then revealed, when it will appear to have
actually traveled to that position.

This sleight can very well be introduced at the close of the “Diminishing
Billiard Balls.”

I am indebted to Mr. Ross Conyears, an exceedingly dexterous magician, for

the above.

Rouge et Noir.—This pretty trick consists of causing two balls, one red and
one black, wrapped in pieces of paper and placed in borrowed hats, to change
places at command. The diameter of the balls should be 4½ in.

The solution of the problem lies in the construction of the papers with which
the balls are covered. They are arranged thus: Take two pieces of newspaper
and paste them together all round the edges, having previously inserted
between them a layer of red glazed paper of the same shade as the ball. The
other one is prepared in exactly the same way, but contains a layer of black
glazed paper to represent the black ball.

The two balls are now wrapped in the papers, care being taken to cover the
red ball with the paper containing the black layer, and vice versa. After this has
been done, the performer feigns a slip, mixing up the packages, and thereby
confusing the audience as to the relative positions of the balls. As if to satisfy
them on this point, he tears a small hole in the outer covering of one of the
parcels, exposing, say, the layer of black paper. The parcel is then placed in
the hat on the supposition that it contains the black ball.

The other package is now treated in the same manner, after which the
supposed transposition of the balls will be easily understood.

Ball, Handkerchief, and Tumbler.—This is a very good combination trick, and

as such will serve as an example for the arrangement of others. A billiard ball
is placed in a small tumbler, which is in turn wrapped in a piece of newspaper
and deposited in a borrowed hat. The performer then takes a small silk
handkerchief and rolls it up in his hands, when it is seen to have become
transformed into a billiard ball. The glass is then taken from the hat, and, on
the paper being removed, is found to contain the handkerchief. The ball,
handkerchief, and tumbler, together with the piece of paper, are then caused
to vanish, one at a time, from the hands of the performer, who immediately
afterwards produces them from the hat.

The modus operandi is as follows: A duplicate tumbler containing a

handkerchief, and wrapped in paper, must be secretly introduced into the hat
prior to the commencement of the trick (see “Hat Tricks”). The tumbler
containing the ball and wrapped in paper is then placed in the hat. The
performer now takes up a duplicate handkerchief, and, under cover of the
same, the hollow ball already described. The handkerchief is worked into the
ball, which is shown in due course, and laid on the table, opening downwards.
The duplicate tumbler is then removed from the hat, and found to contain the
handkerchief. These articles including the piece of paper, are then laid on the
table by the side of the ball.

The performer now goes to the hat, and, under pretence of moving it further
away, turns it over, thus proving, in conjurer's logic, that it is empty. This can
easily be done by taking the hat fingers inside and thumb out, the fingers
being inserted in the top of the tumbler. The performer then returns to the
table and proceeds to dispose of the articles thereon.

The piece of paper rolled up, and the ball, are caused to vanish by any of the
means already explained. To cause the disappearance of the glass you must
be provided with a handkerchief, silk for preference, consisting of two
handkerchiefs sewn together round the edges, in the center of which is fixed a
disc of cardboard of the same size as the top of the tumbler. The tumbler
being covered with this handkerchief the performer, as if to satisfy the
spectators that it is still there, strikes it several times on the back of a chair,
and under cover of the movement allows the glass to fall into the network
servante. The handkerchief, however, owing to the presence of the disc, still
appears to contain the glass, the ultimate disposal of which will now be
readily understood.
In conclusion, the performer takes the handkerchief lying on the table and
vanishes it by palming in the ordinary way; the right hand being immediately
dived into the hat and the handkerchief produced. The other articles should be
removed one at a time, not forgetting to crumple the paper into a ball before
taking it out.

CHAPTER VI

HAT TRICKS

The uses to which that piece of headgear, the much abused silk hat, lends
itself in “l'art magique” are almost innumerable. The chief, however, and the
one immediately under consideration, is the production therefrom of a host of
heterogeneous articles, of which the following list will give an idea:

Fifty yards of sash ribbon, eight inches wide.—The ribbon should be folded
over and over, in large pleats, so that it can be readily taken from the hat.

Two dozen fancy cardboard boxes, 3 in. by 2 in. by 2 in.—These are made to
fold flat, the size of the parcel when ready for introduction being 5 in. by 3 in.
by 1 in.

Two hundred flowers, known as spring flowers.—Each flower when closed is

very little thicker than brown paper, but immediately on being released
expands to the size of a full-blown tulip. One hundred of these flowers, when
closed, can easily be hidden in the hand.

A string of sausages.—These, it is hardly necessary to remark, are imitation,

being made in silk of the required color.

A bundle of wood.—This is made hollow, consisting of a cardboard case with

pieces of wood glued on the outside and on one end, the other being left open.
It is usually filled with baby linen, together with a feeding-bottle containing
milk.

One hundred yards of narrow, colored ribbon.—This is made in coils, machine

rolled, similar to that used for telegraph purposes. A coil of this ribbon can
very well be placed in the bottom of the sham bundle of wood. When
producing the coil it should be unrolled from the center.

Four-pound weight of playing cards.—These make a tremendous show when

strewn about the stage. A good plan, also, is to have a number joined together
in a long string by means of cotton.

A cannon ball.—This is usually made in zinc, 5 in. in diameter, hollow, and

provided with a sliding lid. It can be filled with various soft goods, such as
handkerchiefs, ribbons, etc., also sweets and bonbons for distribution.

A solid wooden cannon ball.—This should have a ¾ in. hole, 2 in. deep, bored
in it towards the center, for facility in introducing it into the hat.

A barber's pole about thirty feet long and 4 in. to 5 in. thick at the base.—This
is made with stout colored paper, and pulls out from the center. If the pole be
constructed of red, white and blue paper the performer, when introducing the
trick, may announce that he is about to erect the American Colors at the North
Pole.

A bowl of gold fish.—This really consists of two bowls, one within the other.
The space between the two contains the water and fish, which are inserted
through a hole in the bottom of the outer bowl, the latter being afterwards
corked. The inside bowl is filled with bonbons, etc. (See Fig. 19.) The fish used
are imitation, being made from pieces of carrot cut to shape.

Fig. 19. BOWL OF GOLD FISH.

A large cage containing a live canary.—The cage, which is telescopic in action,

the upper part sliding down into the lower, is nearly twice the height of the hat,
and when once taken out cannot be put back. This is owing to the fact that the
seed boxes, which in their normal position are on the inside, revolve on spring
pivots as the cage is withdrawn, thus making it impossible to return it to the
hat until they are replaced.

Twenty pint tumblers, ruby and green.—These are made in celluloid and fit one
in the other. They are all of the same size, but being very thin occupy very little
more space than a single one.

Six champagne bottles.—These are not quite so substantial as they look,

being merely half-bottles in thin metal, japanned black, and decorated with
labels taken from the genuine article. A bottle with a horizontal division in the
center, the upper part containing wine, and the lower part a tumbler, is
generally introduced with the shells.

A small rabbit.

A Chinese doll.—Obtain a doll's head, 5 in. in diameter, from any Oriental store,
and drape it with a silk skirt. If a hole be cut in the top of the head it can be
utilized in the same manner as the cannon ball.

A skull which rises spontaneously from the hat.—This is a model in papier-

mache, and being hollow, is very serviceable. It is caused to rise from the hat
by means of a black thread, which is carried through a staple in the flies
immediately over the performer's table, thence through another staple behind
the wings, and down to the assistant.

It is not my intention to give directions for making those goods, as they can be
bought at a very small cost from any of the dealers in magical apparatus. I
have found by experience that this is the best course to pursue. Amateur work
is, as a rule, very commendable, but scarcely so as regards conjuring, clumsy
and ill-made apparatus being absolutely useless, and consequently dear at
any price. Apart from this I have another, and what I believe to be a more
important object in view, viz., that of giving instruction in the actual working of
the trick.

It will be at once obvious to the reader that the chief element in the magical
production of articles from a borrowed hat, is the manner in which they are
secretly introduced, as, should this be detected, the trick would fail
ignominiously. The main secret lies in the combination of the looks and
gestures of the performer to misdirect the audience. The articles for the most
part are introduced under cover of natural movements, quickness being of
little or no avail.
I will now describe one or two methods employed to effect this desideratum.

Loading.—Under this heading I shall endeavor to give the working of a hat

trick as actually presented to an audience, using for the purpose articles
selected from the preceding list. The following preparations must be made:

A small rabbit is placed in the right hand profonde, and a billiard ball and a
small dinner plate are laid on the table.

A packet of one hundred spring flowers, secured by a band of tissue paper,

must be in the hands of the assistant at the right wing; and another similar
packet must be placed in the profonde on the left side.

Fig. 20. DOUBLE WIRE LOOP.

florists's wire
The sash ribbon, folded as instructed, is tied round the fancy boxes together
with the string of sausages, with black tape. The parcel is suspended behind
the back of a chair by means of a pin and a double loop of florist's wire (see
Fig. 20), the tape being passed through the small loop, which is then hung on
the pin. This leaves the large loop, the use of which will be noted in due course,
sticking up over the back of the chair, where, however, it is quite invisible at a
few paces.

The twenty pint tumblers are wrapped up in a piece of colored sash-ribbon

and tied round with tape to which is attached a loop of wire. Thus prepared
they are placed in the capacious breast pocket on the left side, the loop
projecting so that the thumb or the right hand can be passed through it and
the package withdrawn.

The bundle of wood, containing the coil of ribbon, baby linen, and feeding
bottle, must be in readiness on the servante at the back of a second chair.

The skull, cannon ball, or globe of gold fish, whichever the performer intends
to use, is located on the servante at the back of the table.

The next thing to do is to obtain the loan of a hat, and having done so, it is well
to perform a preliminary experiment with the same. A very good one is that
known as

The Magnetized Hat.—The performer places his hand, perfectly empty, on the
crown of the hat, which forthwith adheres to the palm, and in this position it
can be moved about and turned over in any direction. The finger tips are then
used in place of the palm with the same result. Finally, a silk handkerchief is
thrown over the hat, and the palm of the hand placed thereon, but the effect is
still the same.

This seeming impossibility is accomplished with the aid of the little piece of
apparatus illustrated in Fig. 21. It consists of a brass plate fitted with two bent
pins as shown, the whole being painted black. The pins should be situated so
that by placing the two middle fingers between them the hat can be raised.
The working of the trick will now be readily understood. The clip must be
pressed into the crown of the hat while returning with it to the stage, the pin
on the left of the figure being inserted first. The clip is removed, with the
handkerchief, in the final stage of the trick.

Fig. 21. APPARATUS FOR MAGETIZED HAT.

The ball and plate are now given for examination, and while all attention is
riveted on these two articles, ample opportunity will be found to introduce the
rabbit unobserved, which should be done while amongst the audience. The
hat is then covered with the plate, in which condition it is carried back to the
stage, and placed on the table.

The performer now takes the ball, and vanishes it by palming; appearing to
pass it through the plate into the hat. The plate is then removed, and the ball
taken from the hat with the right hand, followed immediately by the rabbit.

The hat is now taken in the left hand, and the rabbit handed to the assistant at
the wings with the right. The assistant takes the rabbit, and at the same time,
under cover of the wing, gives the performer the packet of flowers; the hat
being immediately placed in the right hand to conceal their presence.

While drawing attention to the outside of the hat, the tissue paper is broken
with the fingers, and the flowers are released. They are then shaken out slowly
on to a large sheet of black alpaca, which should be spread over the stage to
receive them. While this is being done, the package is obtained from the
profonde, the hat being changed over into the left hand, and the second load
thus introduced.

When the flowers have all been shaken from the hat, take it in the right hand,
fingers inside and thumb out, and approach the chair (this should be on your
right) on which is the bundle of ribbons, etc. Take the top of the chair in the
hand holding the hat, and in doing so, push the forefinger through the loop of
wire. Now move the chair away a few paces, and when removing the hand
from the back bring away the load, which will fall into the hat unobserved.
Leave the hat on the chair, and take up the alpaca containing the flowers,
putting it on one side.

Up to this point, no one will suspect that the hat contains anything, as what
you have done has been but natural in the preparation of the stage for the
next trick.

The boxes are now taken from the hat and placed on the table, followed by the
sausages. When removing the latter, some amusement may be caused by
referring to them as “an indefinable, condimental amalgamation of
membranaceous disintegrations.”

The ribbon is next pulled from the hat in long lengths with the right hand, and
when the hand contains a large quantity, the thumb is slipped through the wire
loop attached to the tumblers in the breast pocket. These are introduced
when inserting the hand to take out the next length of ribbon. The introduction
of the tumblers cannot be detected, owing to the presence of the ribbon in
which they are wrapped. When the whole of the ribbon has been extracted, it
is thrown over the back of the chair, behind which is the bundle of wood.

The tumblers are now taken from the hat, and placed on the table.

The performer then takes up the ribbon from the chair and makes an effort to
return it to the hat, thereby drawing attention to its great bulk, and remarking,
“Now, how do you suppose I am going to get home with this? Why, I shall
require at least two cabs.”

It is needless to say that under cover of the ribbon the bundle of wood is
introduced into the hat. The baby linen, feeding bottle, and coil, are now
produced, and finally the wood itself. It is usual when taking the ribbon from
the hat to spin it out on the wand.

Holding the hat by the brim, fingers inside and thumb out, the performer
lowers it for an instant to the rear edge of the table, and by inserting the
middle finger of the hand into the hole in the cannon ball scoops it up into the
hat, which is forthwith raised and placed crown downwards on the table.

This movement should be executed with the left hand while the right lays the
bundle of wood down on the table, and, if necessary, makes room for the next
production.

The fish bowl, or skull, would of course be worked in a similar manner.

From the foregoing it will be seen that with a little expenditure of ingenuity
and trouble a hat trick can be carried on to an almost indefinite period. It
should not, however, in any case exceed fifteen minutes. I have taken the
preceding list simply as an illustration of the way in which the various
movements are combined to appear natural and thus avoid detection, also as
a basis on which the student may arrange a hat trick of his own. Any articles
can, of course, be substituted for those given, or the list may be supplemented
by others, or cut down as occasion may require. An amount of sang froid and
boldness, only acquired from years of actual practice, is necessary to execute
a good hat trick faultlessly; but this should not disconcert the reader, as it is
only in accordance with what must be expected in the acquisition of an art.

To Produce a number of Eggs from a Hat held Crown upwards.—For this

purpose you must be provided with a black linen bag, oval in shape, and large
enough to contain the required number of eggs. To one end of this bag is
sewn an ordinary tie clip, the other end being cut off and provided with a piece
of elastic so that eggs placed therein cannot come out unless pressure be
applied with the hand. The bag is loaded into the hat by one or other of the
methods described, and attached to the lining of the same by means of the
clip. Under these circumstances the production of the eggs from the inverted
hat will be an easy matter. The eggs used should be blown ones.

The bag should be allowed to remain in the hat after the last egg has been
taken from it, and removed later under cover of some other article.

The Hat Incubator.—This experiment will be a welcome addition to any

programme, as it introduces an entirely new method of loading a silk hat. In
effect it is as follows: Having obtained the loan of a hat, the performer
proceeds to collect a number of eggs by sleight of hand, using the hat as an
egg basket. The hat, containing say half a dozen eggs, is then warmed over
the flame of a candle, and immediately afterwards six live chickens are taken
from it, the eggs having totally disappeared.

Here is the solution of the mystery. As the performer steps back to the stage
with the hat he is met by his assistant, who comes on from the wings carrying
a Japanese tray on which is a lighted candle. He brings with him the chickens,
which are enclosed in a black alpaca bag hanging on his back between the
shoulders. The mouth of the bag is gathered up and retained with an ordinary
tie clip to which is soldered a bent pin in the form of a hook for attaching the
whole to the cloth.

The performer, holding the hat in the left hand, opening towards the audience,
approaches his assistant, and when in the act of apparently instructing him to
hold the tray at the proper height, lowers the hat for an instant behind his back
and scoops the bag containing the chickens into it. This movement is so
subtle that not one in a thousand will detect it.

The performer now obtains an egg from the pochette on the right side, and,
lowering his hand over the candle, appears to produce it from the flame. He
now seems to place this egg in the hat, really palming it and producing it over
again. This is continued until the hat is supposed to contain the required
number, the last one being dropped unmistakably into it.

The clip is then removed from the mouth of the bag, and attached to another
portion of it to prevent the possibility of dropping it on the floor; and the
chickens are taken out one by one and placed on the tray. This gives a very
plausible pretext for the use of the assistant, and no one will suspect that he
plays any but a very secondary part in the working of the trick.

The chickens never “talk” after they have once been placed in the bag; on the
contrary, they appear perfectly happy huddled together in the darkness, and
evidently enjoy the warmth generated by their own bodies.

A good finish to the trick may be obtained by placing a folding bouquet,

consisting of a number of the spring flowers tied together, in the bag with the
chickens. Under cover of the bouquet, which should be produced last, the bag
and one egg are secretly removed from the hat, which is then returned to the
owner.

CHAPTER VII

ANTI-SPIRITUALISTIC TRICKS

The Climbing Ring.—The performer having obtained the loan of a lady's ring,
passes it over the end of his wand, which he then holds in a perpendicular
position. The ring now commences to climb up the wand very slowly, stopping
or descending at command; finally it jumps right off the wand and is caught
by the performer, who immediately hands it back to the lady.

This pretty experiment depends entirely upon a black silk thread, about twice
the length of the wand, to which it is fixed at the uppermost end. The means
by which the thread is attached may vary, but a good plan is to make a very
small knot in the end of the thread, which is then passed through a very fine
slit cut in the end of the wand, the knot making all secure. The thread is then
passed down the side of the wand, in which position it will not be noticed. The
ring is now dropped over the wand, and consequently over the thread, by the
manipulation of which it may be caused to rise or fall, or, in response to a
sharp tug, to jump right off the wand. The wand is usually held in the left hand,
while the right, in which is the end of the thread, holds the lapel of the coat,
when all that is necessary to obtain the desired result is to move the left hand
to or from the body as required.

The Mysterious Name.—This is a capital trick, and one that can be introduced
at any time. The performer borrows a visiting card from any stranger in the
company, and, holding it between the thumb and the second finger of the
hand, he waves it about very slowly, at the same time asking someone to call
out the name of any celebrity. This having been done the card is almost
immediately handed back to the owner, who finds the selected name written
thereon.

This ingenious trick is accomplished with the aid of a small accessory in the
shape of a thimble, to the end of which is attached a small piece of pencil
about a quarter of an inch in length. This thimble having been placed on the
forefinger of the hand, it will be found, by experiment, that the name may very
easily be written on the back of a card held as instructed.

Prior to, and immediately after the trick, the thimble may be palmed as
instructed elsewhere.

The Spirit Calculator.—A piece of paper and a pencil are handed to the
audience with a request that four different persons will each write down a row
of four figures, one under the other, to form an addition sum. The paper is
then given to a fifth person to add up the figures, but before he can call out
the result the performer writes it down on a blackboard.

The secret lies in the fact that the performer is in possession of a piece of
paper exactly the same in every detail as that handed to the audience, on
which, previous to the entertainment, he has had written in different
handwritings four rows of figures. In the course of the entertainment all is fair
and above-board until it comes to adding up the sum, when the performer, in
the act of giving the paper to the fifth person, changes it for that of his own,
with the total of which he is already acquainted. He has now only to run to the
stage and write down the answer on the blackboard.

A more startling conclusion than the prosaic one above mentioned may be
obtained by the use of sympathetic ink, composed of sulphuric acid and water,
one part of the former to three of the latter. Writing done with this ink will be
invisible until heat be applied, which will bring out the characters in jet black.

The performer, then, being provided with a piece of paper bearing the answer
written with the invisible ink, gives a plate to the person adding up the sum
and asks him to set light to the paper, first, however, taking careful note of the
total. The prepared piece of paper is now held over the flames on the plate,
when the heat will bring out the answer, which is proved to be correct.

The total may be produced with very good effect in any of the Slate Tricks
hereafter described.

A New Postal Trick.—This is very useful, as it can be employed in conjunction

with any trick where a word, message, total of sum, etc., is to be produced in a
magical manner. An ordinary postal card is handed to a spectator with a
request that he will tear a small piece from one corner, and having done so,
hand both portions back to the performer. The corner is laid on the table and
the card torn up into small pieces which are then placed in the magic pistol,
and fired at a borrowed hat. The card is afterwards produced from the hat
covered with writing, and fully restored with the exception of the corner, which
on being fitted to the card is found to correspond in every way.

The trick is accomplished with the aid of a second card prepared with the
necessary writing, and from which a corner has been removed. This card is
secretly introduced into the hat when returning with it to the stage. The
performer, having palmed the portion missing from the card in the hat, makes
an exchange when laying the corner on the table. The plain card is then torn
into fragments, and together with its corner is placed in the pistol, which is
then fired at the hat. It is well to place a piece of paper in the mouth of the
cone to receive the torn pieces of card, as by this means the danger of
dropping any on the floor is obviated.

An additional effect may be obtained by having previously placed in the body

of the pistol a piece of paper containing a powder for producing colored fire,
when, after having disposed of the cup containing the torn card, you appear to
overhear a remark to the effect that you have put something in your pocket, to
which you reply, “No, I certainly did not put anything in my pocket. See, here is
the paper containing the card” (really the package of colored fire), after which
the card is removed from the hat.

The above trick may very well be used in conjunction with “The Spirit
Calculator.”

New Slate Tricks.—Under this heading will be noticed several methods, all of
recent invention, for performing the well-known slate trick.

First Method.—Two ordinary school slates are given into the hands of a
spectator, who, after making a careful examination, ties them together with
stout cord, in which condition they are placed in the cabinet. Writing is
immediately heard, and when it ceases the slates are at once handed out to
the performer, who on separating them finds the required message.

The secret lies in the fact that the medium is provided with two small wooden
wedges; also an umbrella rib, to which at one end is fitted a minute piece of
pencil. All he has to do, therefore, is to force the wedges between the slates
on one side until sufficient space is provided for the insertion of the rib, when
the writing of the message will be found an easy matter.

Second Method.—In this case the two slates, after examination, may be
actually screwed together with iron bolts, but in spite of this precaution writing
is obtained as before.

Under these circumstances the performer is provided with a piece of prepared

chalk—not the conventional commodity as sold in every drug store, but
prepared by coating a piece of steel, about the size of a pea, with chalk paste,
which is then allowed to dry. The piece of chalk is placed between the two
slates, which are then bolted together and put into the cabinet; when, under
the influence of a powerful horseshoe magnet passed over the outside of one
slate as required, the prepared chalk will produce the spirit writing.

Third Method (one slate only).—After examination the slate is held by the
performer above his head, when almost immediately writing is heard; and on
the slate being turned round it is found to contain the desired message.

The slate, a small one for preference, is provided with a loose vulcanite flap
covering one side, and concealing the writing which is already there. The
performer hands the slate round for examination (keeping the flap in position
by means of the fingers), and asks a spectator to initial it in one corner to
satisfy himself that it is not exchanged. This having been done, and while
returning to the stage, the performer removes the flap under cover of his body
and places it in the vest, or in the large pocket in the breast of the coat. He
then holds the slate above his head, fingers in front and thumbs behind. The
sound of writing is produced by scratching with one thumb on the back of the
slate, and when this has been continued long enough the message is revealed.

Fourth Method (one slate only).—In this instance the slate, which is an
ordinary one, is shown to be clean on both sides, in which condition it is given
to a spectator to hold. The performer then takes a pistol and, at a few paces,
fires direct at the slate, on which, immediately after the report, the message is
discovered.

To produce this startling effect all that is necessary is to write the message
on the slate with glycerine just before commencing the trick, and to load the
pistol with a small charge of powder, on the top of which is placed a quantity
of powdered chalk.

Any of the above methods may be used in connection with such tricks as “The
Spirit Calculator,” “The Great Dictionary Trick,” and any others of a like nature.

The Spirit Handkerchief.—The effect of this trick, which is exceptionally good,

is as follows: Several knots having been tied in a large silk handkerchief
borrowed from a member of the audience, it is thrown on the floor of the
stage when it immediately begins to act as if it were a live snake, twisting and
twirling in every conceivable form. The performer passes his wand over, under
and all round the handkerchief, thus proving to the satisfaction of the most
astute that there are no connections.

It is hardly necessary to say, however, that in spite of such convincing proof to

the contrary, connection is actually made with the handkerchief, and it is done
in the following manner: A fine black silk thread is stretched across the stage
from one wing to the other, the ends being in the hands of two assistants.
Having obtained the loan of the handkerchief, the performer, standing behind
the thread, takes it diagonally by two corners and twists it up rope fashion. He
then ties three knots in it, one a little below the center, one a little above the
center, and the third at one end. While this is being done the assistants raise
the thread round which the last knot, forming the head of the snake, is actually
tied; but owing to the thread being invisible this will pass unobserved.

Having made the last knot the performer drops the handkerchief on the floor,
when its emulation of a live snake will depend entirely on the adroit manner in
which the assistants manipulate the thread. Finally, it should be made to jump
into the hand of the performer, who should at once hand it, with the knots still
tied, to the owner. This is managed by the assistant at one end dropping the
thread and the other one pulling it clear of the handkerchief.

The Mysterious Communication.—This trick, which is a very good one, is

performed by a method very little known. The effect is as follows:—Any
person writes on a piece of paper any word or series of words to form a short
sentence, and having done so, folds the paper and puts it in his pocket. At this
stage the performer introduces a reel of telephonic wire, the end of which,
containing a loop, is handed to the writer, with a request that he will place the
loop over the ball of the left thumb. This having been done, the performer
places the reel against his forehead, and, after a few seconds' thought, writes
the message, or an answer thereto, on the blackboard.

To obtain this result, all that is necessary is to be provided with a piece of

paper smeared over on one side with white wax, or common washing soap;
also a slab of plate glass by way of writing board. The paper is placed on the
glass, waxed side downwards, in which condition the assistant takes it to a
gentleman in the audience. When writing on the paper a very faint impression,
invisible to anyone who does not actually look for it, is obtained on the glass.
In the act of taking the glass back from his assistant the performer obtains
the desired cue. The use of the wire is optional, but, of course, it adds much to
the effect of the trick.

The Great Dictionary Trick (new method.)—This is an improvement on the old

trick under this name, as any dictionary may be used, whereas formerly the
trick depended entirely upon a dictionary composed of one page repeated
throughout. The effect is as follows:—

The performer hands a sealed envelope to a spectator, asking him to take

care of it, and not break the seal until requested. A dictionary is then given for
examination, after which a lady inserts in it, at any page, a playing card. A
counter bearing a number, say 27, is taken from a bag containing fifty, all
numbered differently; the dictionary is opened at the page containing the card,
and due note is taken of the twenty-seventh word indicated by the counter,
and which is, we will suppose, “Magic.” The gentleman is next requested to
open the envelope, and on doing so finds to his astonishment that it contains
a card on which is written “Magic, n, sorcery; enchantment,” in exact
accordance with the word chosen, apparently by chance, from the dictionary.

The seeming mystery is easily explained. Obtain a new quarter pocket

dictionary, and, having opened it somewhere about the middle, bend the
covers right back until they touch each other. Any new book used thus will
ever afterwards, unless otherwise maltreated, open readily at the same page.
After the dictionary has been examined the performer allows it to fall open at
this page, into which he secretly introduces a playing card previously palmed
in his right hand. The book is then closed.

The performer, still holding the book, gives a card, identical in every respect
with the other one, to a lady, with a request that she will insert it between the
leaves in any position and push it right into the book. The performer, of course,
takes care that the two cards do not clash. In this condition the dictionary is
laid on the table.

A small bag, preferably of silk, is next introduced, from which the performer
takes a handful of counters numbered from 1 to 50 and gives them for
examination, after which they are returned to the bag. Any person is now
allowed to place his hand in the bag and remove one counter, but it is
needless to say, however careful he may be, the number chosen will be 27,
which is accounted for by the fact that the bag is provided with a division
through its entire length, forming two pockets, one of which contains the
counters numbered 1 to 50, and the other, fifty counters all bearing the same
number, i.e., 27.

The dictionary is now opened by the performer at his own page, which every
one will take to be the one chosen by the lady; someone is asked to note the
twenty-seventh word on that page as indicated by the counter, the trick being
brought to a conclusion as already described.

The performer can always ensure the left-hand page of the opening being read,
by holding the book, with the card, in such a position that the twenty-seventh
word on the right-hand page cannot be seen. Care must also be taken not to
expose the duplicate card.

By way of variation the chosen word may be produced with the sympathetic

ink, or it may be revealed by the method employed in “A New Postal Trick.”

For the above trick, in the form described, I am indebted to Mr. Maurice Victor,
a most skillful exponent of sleight of hand.

Long-distance Second Sight.—Two performers, usually a lady and a

gentleman, are required for this seance. The gentleman introduces the lady,
who is then escorted by a committee, chosen from the audience, to a room in
a different part of the house, in which she is secured under lock and key.
Several of the committee then guard the room, while the others return to the
concert-hall and give the performer the following particulars:—Time shown by
any watch (not necessarily the proper time); initials of any person in the room;
any number of four figures; any word of four or five letters; number of
cigarettes in any case, and kind of case; amount of money in any purse, and
kind of purse. After this has been done a member of the committee takes pen,
ink, and paper to the lady, who immediately writes down the time, initials,
number, etc.; these, on examination, are found to be correct, although she has
never left the room, neither has the performer left the stage, and no
connection of any description exists between them.

This inexplicable performance is thus accomplished: The performer is

provided with a small writing pad, 3 in. by 2 in., consisting of a piece of card-
board, on which are held, by means of two elastic bands, several cigarette
papers. This pad, together with a small piece of soft lead pencil, is placed in
the right-hand trousers pocket. As the various items are called out, the
performer stands with his right hand in the pocket, a perfectly natural attitude,
and appears to be thinking deeply; but he is really writing down the particulars,
one under the other, on the cigarette paper, which, with a little practice, can be
done quite legibly. He then tears off the paper and rolls it into a small ball
between the fingers.

A piece of plain paper is now obtained from any member of the audience, in
order to prove that a prepared piece is not used, and together with a Fountain
Pen, supplied by the performer, is taken, by one of the committee, to the lady.
While the paper is being obtained the performer has ample time to remove the
cap from the pen-nib, and, before placing it on the opposite end of the pen in
the place provided for it, he inserts in it the small ball of paper which is thus
secretly carried to the lady. On receipt of the pen and paper the lady requests
to be left alone for a few seconds, as otherwise she will not be able to obtain
the aid of “the spirits,” and in the absence of the committee-man she takes a
hair-pin, and with it extracts the ball of paper from the pen, reads, and writes
out the required information.

It is necessary that the order in which the various items are called out should
be known alike to the performer and medium, as otherwise the “time” might
be mistaken for the “number,” and other errors might occur. A number of
letters to indicate the various kinds of purses and cigarette cases, as “L.” for
leather, “S.” for silver, etc., should also be agreed on between the two parties.

It will be obvious that the above trick is subject to much variation according to
the taste of the performer, and may be elaborated if desired. A throw of dice; a
person's age; or the name of a selected card (write “8 D” for eight of diamonds,
etc.) may be substituted for any of the items given above.

CHAPTER VIII

MISCELLANEOUS TRICKS

Flash Paper.—Having had occasion several times during the course of the
present work to make use of “flash paper,” I will now describe the manner in
which it is prepared. It is not, however, practical to manufacture it at home, as
it can be obtained in large quantities at a very small cost.

A mixture of nitric and sulphuric acids, one part of the former to two of the
latter, is made, and allowed to stand for twelve hours before using. The,
experiment should be made in the open air. Ordinary tissue paper is then
immersed in the fluid for a few seconds, after which it is taken out and
washed well in clear water, until all trace of acid has been removed. This can
be ascertained by the use of blue litmus paper, which when dipped into the
water will betray the presence of the acid by turning red. The paper should
then be dried in a warm atmosphere, but not near a fire, and it is ready for use.

Flash handkerchiefs are prepared in a similar manner. For this purpose take a
piece of fine cambric, wash it well in hot water to remove all grease and other
impurities, and then treat it in the same way as the paper.

A New Fire Flash.—This forms a very good opening trick. The performer steps
on the stage and, in what appears to be a careless manner, picks up a piece of
paper from the floor, rolls it up in his hands, and throws it in the air, where it
disappears in a flame, leaving no trace behind.

To produce this effect you must obtain some very fine glass tubing about the
thickness of a darning needle, and having broken off several pieces about an
inch long, fill them with sulphuric acid. This can be done with the aid of a long
piece of india-rubber tubing, the acid being drawn into the glass by suction.
The ends of the tube are then sealed hermetically in the flame of a spirit lamp.
You must next prepare a powder composed of equal parts of chlorate of
potash and powdered lump sugar. Wrap a very small quantity of this
powder—about as much as will lie on a dime—together with one of the acid
tubes in a piece of flash paper, and all is ready.

When rolling up the paper in the hands the tube is broken; the acid escapes
and fires the powder, which in turn sets light to the paper and produces the
desired result.

Caution.—To prevent accidents never prepare the papers, or even mix the
powder, until actually required for use.

Conjurer's Ammunition.—The magic pistol is usually loaded with a small

charge of powder. This is excellent for stage purposes, but hardly suitable for
the drawing-room, where some objection might be taken to the employment
of powder, even in a small quantity. The pistol, however, need not be
discarded, as it can still be used in a manner that will in no way detract from
the charm of the trick. Load the pistol with a piece of flash paper, place a
percussion cap on the nipple, and pull the trigger. The paper will take fire and
be thrown from the pistol, vanishing in a sheet of flame at the opposite end of
the room.

Again, the pistol need not be loaded at all, but just as you are about to fire you
appear to understand that the ladies object, and remark—“Oh! I see the ladies
object to the report—well in that case I will use the pistol as an air-gun.”
Saying this, you remove the conical tube and blow through it to cause the
supposed transmission.

Smoke from Two Empty Pipes.—Two empty and clean clay pipes are passed
round for examination and proved ostensibly to be unprepared. The bowls are
then placed one over the other, when the performer, by simply inserting one of
the stems in his mouth, commences to blow clouds of smoke from the pipes.

The solution of the mystery is as follows:—A few drops of hydrochloric acid

(spirits of salts) are placed in one of the pipes, while the other is similarly
treated with ammonia. The union of the two chemicals produces a thick vapor,
which has all the appearance of smoke produced from tobacco.

A good combination trick may be formed by preparing a glass tumbler and the
bottom of a tea plate, as above described; the plate is then placed over the
tumbler, the whole being covered with a handkerchief. The smoke so
mysteriously produced from the pipes may now be caused, apparently by
some occult means, to find its way into the closed tumbler.

A New Fire-eating Trick.—This, although a very startling trick, is quite

harmless, and can be performed by anyone. Small balls of fire are placed in
the mouth and, apparently, swallowed, being immediately afterwards
produced from the ears, or any part of the body that fancy may suggest.

The balls are small pieces of camphor cut to shape, and are lighted in the
flame of a candle. They should be tossed from one hand to the other, and
finally into the mouth, which should forthwith be closed. This, of course,
extinguishes the balls, which should be secretly removed at the earliest
opportunity.

The reproduction of the balls of fire is managed with the aid of the acid tubes
mentioned above, which, together with a small quantity of the powder, should
be wrapped up in flash paper, and deposited about the person as required.
The best effect, however, is obtained by producing them from behind the ears;
it is also a very convenient method, as the tubes are not so likely to be
prematurely fractured.

Exploding Soap-bubbles.—This is a novelty, and will be found to produce a

very good effect. The bubbles are blown in the usual way with an ordinary clay
pipe, the only preparation necessary being that the bowl of the pipe must be
filled with cotton-wool soaked in gasoline. Bubbles blown with a pipe thus
prepared will be found to explode in a flame when approached with a light.
Walnut Shells and Pea.—This is an excellent table trick, and can be performed
at close quarters without much fear of detection. The only articles required for
the execution of the trick are three half walnut shells and a pea. The three
shells are laid in a row on the table, the pea being placed under the center one,
from which position it disappears and is ultimately found under either of the
end ones at the will of the performer. The table used must be covered with a
cloth of some kind.

The secret lies in the pea, which is fashioned from a piece of india-rubber, but
unless closely inspected cannot be distinguished from the ordinary everyday
article. When presenting the trick the pea is actually placed under the middle
shell. The shells are then, each in turn, commencing from the one on the left,
pushed up the table about 3 in. When moving the middle one the pea, owing to
its nature and the concavity of the shell, will be found to work its way out,
when it is instantly seized with the thumb and middle finger. This, however,
cannot be suspected, as the hand retains a perfectly natural position. The
third shell is then moved into a line with the other two.

The pea can now be caused to appear under either of the shells at pleasure,
all that is necessary being to leave it on the table immediately behind the shell
in the act of raising the same.

In effect this trick is identical with that known as “Thimble Rigging,” which it is
therefore needless to describe, but the secret is much prettier and calculated
to deceive more thoroughly.

The Garter Trick.—This is a very old trick, and from its title will be recognized
at once as common to the sharps who frequent race-courses. It is not,
however, generally known, and as it forms a good table trick a description of it
may not be out of place. It is usually performed with a piece of stiff half-inch
tape; an ordinary inch tape measure will answer the purpose admirably. The
tape is folded in half and coiled round and round on the table until it is almost
impossible to tell for certain which is the loop proper, i.e., the point at which
the tape was doubled (see Fig. 22). The bystander is then requested to place
the point of his pen-knife in the loop, but however careful he may be in his
selection he will fail, as the performer is able to pull the tape clear of the knife
in all cases. The secret lies in the fact that the tape is not folded exactly in half,
one end being left shorter than the other by about 3 in. When uncoiling the
tape, if the knife be actually placed in the loop, and both ends are pulled from
the point A, it will not come away; but if the short end be passed round to the
left and both ends pulled from the point B, it will be found to come clear of the
knife. All the performer has to do, therefore, is to watch and see if the knife is
really placed in the loop or otherwise, and to act accordingly. The short end is
carried round under cover of the fingers while twisting the tape.

Fig. 22. METHOD OF FOLDING TAPE.

Fig. 22 is arranged for clearness, but in actual practice the tape would receive
many more twists, which would also be of a more intricate nature.

The Tube and Ball.—This is a very ingenious trick, and well worthy the
attention of the most fastidious performer. It can be used in several ways.
 Fig. 23.
TUBE, BALL, AND CAP.

The apparatus consists of a piece of 1½ in. brass tubing about 7 in. long, with
a cap of the same metal fitting loosely over one end; also two billiard balls
about the size of the diameter of the tube. The audience, however, are not
supposed to know of the existence of more than one ball. (See Fig. 23). The
tube and cap, together with the ball, are given for examination, attention being
drawn to the fact that the ball will readily pass through the tube. After
examination the tube is stood on one end on the table and covered with the
cap. The operator then takes the ball and vanishes it by means of sleight of
hand, when, on the tube being raised, it has to all appearance been passed
underneath.

The secret lies in the fact that there is a very small dent in the side of the tube
at the center: also that one of the balls—that given for examination—is slightly
smaller than the other. The small ball runs freely through the tube, but the
large one will not pass the center on account of the indentation.
On receiving back the tube the performer secretly drops the large ball into it,
which, owing to the force of the fall, is pinched in the center and will not fall
out. In this condition the tube can be turned about in all directions and will still
appear empty. When placing it on the table the performer is careful to bring it
down rather smartly on the end at which the ball was introduced, when, owing
to the concussion, the ball is released and falls on the table.

The tube can be used to cause the disappearance of a ball in the following
manner:—Place the ball on a tea plate and cover it with the tube, which in turn
cover with a second plate. By reversing the position of the structure the ball
falls into the tube, where it is retained in the manner described, and after a
little more twisting and turning, to add to the general confusion, the plates are
removed and the ball is proved to be non est.

The ball can of course be reproduced if desired; or if two tubes are used it
may be, apparently, passed from one to the other. In this case, however, I
would suggest that round discs of wood be used in place of the plates, as the
latter would be likely to get fractured in the act of bringing the tube down with
sufficient force to dislodge the ball.

The Ubiquitous Thimble.—This is one of the prettiest sleight of hand tricks in

existence, and requires very little practice. For the purpose of the trick, in its
entirety, the performer must be provided with two thimbles exactly alike; but
very many surprising passes can be made with one thimble only. The idea of
the trick proper is to cause a thimble placed on the forefinger of the right hand
to disappear and be found on the corresponding finger of the left hand,
without the hands approaching each other. It is usual, however, in the first
place, to execute a number of passes with one thimble only, as by this means
the audience will be the less likely to suspect the introduction of the second
one. The main thing necessary is to acquire the knack of holding a thimble in
the fleshy portion of the hand at the root of the thumb, in which position it can
be placed, or removed at pleasure, by simply bending the forefinger (see Figs.
24 and 25). This sleight must be executed with equal facility with both hands.
 Fig. 24. PALMING THIMBLE.

When about to present the trick the performer comes forward with a thimble
on the forefinger of the right hand, the second one being in the left-hand
trousers pocket. He now appears to place the thimble in the left hand, but
really, when the right hand is in motion towards the left, it is palmed as
described. The left hand is then brought down with some force on the head
and the thimble produced from the mouth on the forefinger of the right hand.
This can be done with perfect ease, as, so long as the hand is kept in motion
during the recovery of the thimble, there is no fear of the movement being
detected.

Fig. 25. THIMBLE PALMED.

The thimble is then apparently placed in the mouth, really being palmed as
before, and afterwards produced from the bottom of the vest. While doing this
the performer stands with the left hand in the trousers pocket and palms the
second thimble. Both hands are now held palms away from the spectators,
and kept in continual motion. Under cover of this the right-hand thimble is
palmed, and that in the left hand produced, when it will appear to have been
passed from one hand to the other. This can be repeated as often as desired.

Finally the second thimble should be secretly disposed of, and the trick
brought to a conclusion with a pass performed with the one only.

An additional effect may be obtained by the use of two thimbles, one fitting
over the other. These should be made in thin metal so as to be, in point of size,
as near alike as possible. The two thimbles, which appear as one only, are
placed on the forefinger of the right hand, and covered with a small paper
cone, with the remark, “You see the cone just fits the thimble; I will now show
you a rather extraordinary experiment with the same.” The cone is then
removed, with slight pressure at the base, and placed on the table on the
supposition that it is empty, but it really contains the uppermost thimble. The
one left on the finger is then vanished, under cover of a throwing movement
towards the cone, which is then removed by the apex and the thimble
discovered.

While all attention is drawn to the table the duplicate thimble is dropped into
the profonde.

The Multiplying Wand.—The performer comes forward with a plain polished

ebony conjuring wand of the ordinary pattern, which he waves about in the air,
when it is suddenly seen to have multiplied into two. He then wraps one of
these in a piece of newspaper which he instantly crushes into a small
compass in his hands, the wand having entirely disappeared.

It is needless to say that to produce the above effect two wands are
necessary. One, however, is very different from what it represents itself to be,
being a mere shell of black, glazed paper.

Prior to the commencement of the trick the solid one is encased in the shell,
and in this condition it is brought on the stage. In the course of waving it
about, the solid article is allowed to slide out of the case, a wand being shown
in each hand. These can both be proved, in conjurer's logic, to be perfectly
solid by adopting the following ruse:—

The performer strikes the table several times with the one in the right hand,
which should be the solid one, after which it is apparently placed in the left
hand, and the one already there taken and treated in the same way. When,
however, the two are both together in the left hand the solid one is again taken,
but the spectators, having no reason to suspect trickery, will suppose that the
wands have actually changed places. The shell is then rolled up in a piece of
paper and crushed in the hands, when, to all appearance, the wand will have
disappeared.
The trick may very well end here, or the vanished wand may be reproduced.
This may be done by having previously concealed a second solid wand in the
leg of the trousers, in a pocket similar to that in which carpenters carry a rule.
The two solid wands may then be struck together, proving their solidity
beyond doubt.

The Restored Cut.—This is a very interesting little trick, and is especially

suitable for an after-dinner surprise. The performer takes a needle containing
about a yard of thread, and passes it through an apple. The cord is then pulled
backwards and forwards, after which the apple is cut in half with a table knife;
both portions are shown, the cord having to all intents and purposes been
severed. The two portions are then united and the cord is pulled backwards
and forwards as before.

The performer prepares for the trick by passing the needle in at the side of the
apple and bringing it out at the end opposite the stalk, in which condition it is
laid on the table.

When about to present the trick the performer takes up both articles, which if
held properly will appear to be separate, and announces that he is about to
pass the thread through the apple. He apparently does so, but really inserts
the needle at the point where it came out, passing it to the opposite side. The
thread is now pulled backwards and forwards, when it will appear to actually
traverse the center of the fruit.

The apple is then cut in half, at right angles to the cord, which under the
circumstances will remain uninjured. The parts are now handed round for
inspection, care being taken to keep them together at the bottom, after which
they are replaced and the cord shown to be intact. At the conclusion of the
trick the thread should be withdrawn from the fruit and given for examination;
this also prevents the discovery of the secret by any inquisitive spectator.

The Mysterious Tambourine.—It is generally understood that, should the silk

hat go out of fashion, conjurers would be at a loss for a suitable article
wherewith to work the numerous “production” tricks. Should such a calamity
ever befall the profession the mysterious tambourine will, to some extent,
come to the rescue.

The apparatus consists of two nickel-plated brass rings, 8 in. in diameter and
1 in. deep; the one fitting easily over the other (see Fig. 26). The tambourine is
constructed by placing a sheet of paper between the two rings, and pressing
the upper one down over the lower, the edges of the paper being afterwards
trimmed round with scissors. Thus prepared it is shown back and front.

Fig. 26. RINGS FOR TAMBOURINE.

The prestidigitateur then makes a small hole in the center of the paper with
his wand, and immediately commences to twist out yard after yard of colored
paper ribbon, sufficient being obtained to fill a large clothes basket. If the
performer desires to add to the effect of the trick the production of the ribbon
may be preceded by that of a number of handkerchiefs, also a quantity of
spring flowers and other articles of a like nature. Finally a rabbit or a large bird
cage containing a live bird may be produced from the pile of ribbon.

The explanation is very simple. The tambourine is put together at the rear
edge of the table, and when taking it up prior to trimming the edges, the coil,
which was on the servante or suspended at the back of the table, is brought
away under cover of the paper and pressed into the ring. The back of the
colored coil should be rubbed over with chalk to match the white paper used
in the construction of the tambourine which can then be shown back and front,
but will still appear empty.

The flowers should be done up in three packets of twenty each and laid on the
coil, being covered with the handkerchiefs, which should be folded up neatly.
The packet is then tied together with thin cotton, which can easily be broken
when required.

The rabbit is in readiness in the profonde on the right side, and is introduced
into the ribbon when picking it up from the floor.
The cage, which should be a folding one, is suspended behind the back of a
chair, over which the ribbon would be thrown while performing a simple trick
with one of the handkerchiefs. In the act of taking the ribbon from the chair
opportunity would be found for introducing the cage unobserved.

The Bran and Dove Plates.—The trick I am about to describe, in its primary
form, consists of changing a quantity of bran or flour into a live dove. It can,
how, ever, like the tambourine, be made available for the production of various
articles, and is especially suitable for the magical distribution of bonbons,
candy, etc.

The performer comes forward with an ordinary soup, plate filled to

overflowing with bran, a portion of which is scattered over the stage to prove
its genuineness. The bran is then covered with a second plate, which on being
removed reveals a live dove, the bran having entirely disappeared.

The explanation is as follows:—One of the plates is fitted with a tin lining,

enameled white on the inside to represent the china (see Fig. 27). The
supposed bran is really this tin lining turned upside down with bran gummed
all over it; a handful of loose bran being thrown on the top. It is hardly
necessary to say that the dove is already in the plate concealed by the bran
shape.

The false heap of bran is now covered with the second plate, and while talking
the performer, in a careless way, turns the plates over several times, finally
placing them on the table in such a manner that the one that was formerly
uppermost shall now be at the bottom. All he has to do now is to remove the
uppermost plate and take out the dove. The inside of the bottom plate should
now be shown, when it will appear perfectly empty.

Fig. 27. PLATE AND TIN LINING.

In place of the dove the plate may be loaded with candy and small toys, for
distribution; or with a list of articles similar to those produced from the
tambourine. If a coil of ribbon be used it should be a colored one, with one
side rubbed over with chalk so that the inside of the plate may be shown prior
to its production.

By using two pairs of these plates, and being provided with two doves exactly
alike, the bran in one may be made to, apparently, change places with the dove
in the other.

The Wandering Beer.—The feat bearing this title consists of causing a glass
of beer to pass through the crown of a borrowed hat. Having obtained the loan
of two hats, the performer places them on the table mouth to mouth, and
stands the glass of beer on the crown of the uppermost one, covering it with a
paper cylinder of the same height as itself. On removing the cylinder it is
shown to be perfectly empty, the glass being immediately taken from the
lower hat.

For the performance of the trick the operator must be provided with a glass,
3¼ in. high by 2½ in. in diameter at the mouth, tapering very slightly towards
the bottom. In addition to the glass and the paper cylinder a piece of glass
tubing the same height as the tumbler, and large enough to pass easily over
the same, will also be required. This piece of tubing must be browned on the
inside to within 1 in. of the top, and finished with a little white paint to
represent froth, when, thus, prepared, it will readily pass for a glass containing
beer.

The paper cylinder, containing the sham glass, being on the table, the
performer comes forward with a bottle of beer and fills the tumbler. He then
takes up the cylinder and passes his wand right through it, as if to prove that it
has not undergone any preparation, after which he places it over the glass of
beer. He then puts the glass, still covered with the cylinder, into one of the
hats, with the remark, “I will now cause the tumbler to pass from one hat to
the other,” then, as if struck with a sudden thought, changes his mind, saying,
“No, perhaps it would be more effective if I place the hats one over the other,
and pass the glass through the crown of the uppermost one.” Saying this he,
apparently, takes the tumbler, still under cover of the cylinder, from the hat,
and places it in the required position. Really, however, the beer was left behind,
the cylinder and counterfeit glass alone being removed.

Now, in order to satisfy the spectators that the beer is actually on the crown of
the hat, the performer lifts the cylinder and exposes the sham glass, which
everyone believes to be the genuine article. The cover is then replaced and the
tumbler commanded to pass into the lower hat, after which it is again raised,
together with the counterfeit, and the wand passed through it as before. The
hats are then separated and the glass is produced from the lower one.

A Crystal Water Mystery.—Chemical tricks, as a rule, do not meet with much

favor at the hands of professional conjurers. The reason is pretty clear, as in
the majority of cases, the modus operandi is too palpable. The one I am about
to describe, however, owing to the number of changes produced, is an
exceptionally good one, and is to be found in the repertoire of the leading
performers of the day.

Fig. 28. ARRANGEMENT OF JUG AND GLASSES.

Four empty glass tumblers, together with a glass jug full of water, are
arranged on a tray as shown in Fig. 28.

Water poured from the jug into—

No. 1, is seen to be clear.

No. 2, changes to brown pop.
No. 3, is seen to be clear.
No. 4, again changes to brown pop.
Nos. 1 and 2 mixed equal brown pop.
Nos. 3 and 4 equal water.
Nos. 1 and 2 put back into the jug give all brown pop.
Nos. 3 and 4 put back into the jug give all water, as at first.

The explanation, although by no means obvious, is very simple. Glass No. 1 is

perfectly clean. No. 2 contains a small portion of pyrogallic acid, about the
size of a pea. No. 3 is prepared with half a teaspoonful of sulphuric acid. No. 4
contains the same quantity of pyrogallic acid as No. 2. The jug contains clear
water, into which a teaspoonful of sulphate of iron is dropped just before the
trick is commenced. The iron should not be placed in the water until actually
required for use, as the solution changes rapidly to a yellow color, in which
condition it would not very well pass for water. For the same reason the jug
should be removed immediately after the trick.

Some performers prefer to use the following chemicals in place of those

enumerated above. I will give them in the same order, and then the magician
may choose for himself. Glass No. 1, as before, is quite clean; No. 2 contains
a few drops of muriated tincture of iron; No. 3, a teaspoonful of a saturated
solution of oxalic acid; and No. 4 is prepared in the same manner as No. 2. A
teaspoonful of tannic acid should be added to the water in the jug prior to the
commencement of the experiment.

I myself always use the sulphuric acid, as I believe it produces the best result,
but in the case of a spill it is very dangerous, and on this account the latter
method is to be preferred. The changes, in either case, are quite
instantaneous, hence the trick produces a most extraordinary effect.

The Wizard's Breakfast.—The magical production of steaming hot coffee has

always been a favorite trick with the juveniles, especially when the beverage is
handed round for their consumption, and various pieces of apparatus have
been designed for effecting this purpose. The most up-to-date method,
however, is the one hereafter described:

Two boxes, without lids, sizes about 12 in. by 8 in. by 8 in., usually fitting one
within the other for convenience in traveling, and containing respectively
cuttings of blue and white paper, are introduced to the audience. Two pint
goblets, in metal, are then filled, one with blue, and the other with white paper
from the boxes, after which they are covered with small silk handkerchiefs. On
removing the handkerchiefs the blue and the white papers are found to have
been transformed respectively into hot coffee and hot milk. The performer
then pours a portion of each fluid into a breakfast cup, and makes a motion as
if throwing the whole over the audience, when nothing falls but a shower of
blue and white paper cuttings, every vestige of the coffee and milk having
disappeared.

There are in reality four goblets employed in the trick, two of which, containing
the fluids, are concealed in the boxes unknown to the spectators. These two
are provided with shallow trays fitting loosely within them at the top, each tray
being filled with paper of the required color (Fig. 29).

Fig. 29. GOBLET WITH SHALLOW TRAY.

When presenting the trick the performer comes forward with the box
containing the white paper, and throwing a handful in the air, calls out, “Out in
the cold,” which remark is perfectly justifiable, as the paper gives a faithful
representation of falling snow. Placing this box on the table, and taking up
that containing the blue paper, he scatters a handful over the stage with the
remark, “This is the same as the white, only the wind blue it.” He now takes
one of the goblets from the table and appears to fill it with white paper, but
really, while in the box, an exchange is made for the one containing the milk,
which, owing to the presence of the shallow tray, will appear to be full of paper.
This is then covered with a handkerchief, after which the second goblet is
treated in like manner.

The shallow trays have each a piece of wire projecting from their upper edge
to enable the performer to remove them under cover of the handkerchiefs.
The handkerchiefs are thrown in a careless manner over the sides of the
boxes, into which, if sufficient paper has been provided, the trays may be
secretly allowed to fall.

The cup and saucer will next require our attention. These are of metal in
imitation of the genuine article, the saucer being made double, with a small
hole in the center of its upper side, for a purpose that will presently appear.
The cup is provided with a perpendicular division nearly in the center, a small
hole being drilled in the bottom of that side next the handle (see Fig. 30).

Fig. 30. PREPARED CUP AND SAUCER.

The front and larger side is filled with a mixture of blue and white paper
cuttings, and thus prepared, together with the saucer, it is placed on the table.
When pouring the coffee and milk into the cup the performer takes care that it
goes into the space provided with the small hole, through which it
immediately runs into the body of the saucer.

It is usual to bring the trick to a conclusion by apparently throwing the fluid

over the audience as already described, but should the performer be provided
with a number of small cups and a tray, that portion of the beverage not used
may be handed round as refreshments.

The Hydrostatic Tube.—This is a trick of comparatively recent invention. It

requires very careful handling, and the performer must be possessed of
almost superhuman nerve to present it successfully to a critical audience. It
produces, however, a most extraordinary effect, and on this account is to be
recommended.

A piece of paper is placed at the bottom of a glass tube or chimney used for
gas, which is then filled with water, while the top of the tube is covered with a
second piece of paper. The right hand is then placed on the top paper and the
position of the tube reversed. The papers are then, each in turn, removed, but
the water does not fall from the cylinder: on the contrary, it remains
suspended without visible means of support. The papers are now replaced,
and the top one is pierced with a hat-pin, when, on the pin being withdrawn,
the water at once falls into a basin placed ready to receive it under the tube.

This surprising result is due entirely to a well-known natural law, viz., the
pressure of the atmosphere, and is nothing more nor less than a modification
of the old schoolboy trick of keeping a glass of water inverted by means of a
sheet of paper. The new arrangement will, however, require special
explanation.

Each end of the cylinder is fitted with a glass cap, grooved to fit into and over
it at the same time; this is necessary to avoid slipping. The ends of the tube,
also the edges of the caps, must be ground, so that the point of juncture shall
be air-tight. One of the caps has a small hole drilled through the center (see
Fig. 31).
 Fig. 31.
GLASS CYLINDER AND CAPS.

When about to present the trick the two glass caps are laid on the bottoms of
two upturned tumblers, where they are quite invisible. The performer then
draws attention to two square pieces of paper, which he dips into the water
contained in the bowl, afterwards laying them down on the glass tumblers,
and over the glass discs. He next shows the tube, passing his wand through it
to prove that it has not undergone any preparation. Then taking one of the
papers, and at the same time secretly securing one of the discs (not the one
with the hole in it), he places it at the bottom of the tube, which is forthwith
stood on the palm of the left hand. The tube is then filled with water and
covered with the remaining piece of paper and glass cap.

The position of the tube is then reversed, after which it is taken by the
center and both papers are removed. The water will not run out of the small
hole in the bottom cap owing to the fact that no air can get in at the top. The
glass caps being absolutely invisible, the water will now appear to be
suspended in the tube without any natural means of support.

The papers are again placed on the ends of the tube, where, being wet, they
readily adhere. The hands are now placed one on each end and the tube is
reversed; this is necessary to bring the cap with the hole in it to the top. The
top paper is then pierced with the hat-pin, which, passing through the hole in
the cap, gives the impression that there cannot be anything but the paper
covering the ends of the tube. When the pin is withdrawn the air rushes into
the tube, and, as a natural consequence, the paper and disc fall from the
bottom, liberating the water. The bowl should be half full of water when the
cap falls, to avoid fracture of the glass. The cap is then brought away from the
top of the tube under cover of the piece of paper, and both are dropped into
the bowl, when the tube can be once more given for examination.

The Hydrostatic Tumbler.—This trick, which is similar in principle to that

immediately preceding it, is preferred by some as being less cumbersome; it
is also easier to work and consequently entails less anxiety on the part of the
performer. The effect, however, although pretty, is not quite so startling.

The necessary apparatus consists of a glass tumbler with a small hole drilled
in the side 1 in. from the bottom, the mouth of which must be fitted with a
glass cap in the same manner as the tube in the preceding trick (see Fig. 32).
 Fig. 32. TUMBLER AND CAP.

The performer having drawn attention to the tumbler, also a small piece of
paper, dips the latter into a bowl of water, and lays it down over the glass cap.
The tumbler, held with the thumb covering the small hole, is then filled with
water from the bowl, and covered with the piece of paper under which,
unknown to the audience, is the glass disc. The glass is then inverted and the
paper withdrawn, the water remaining suspended without visible means of
support. The tumbler can now be turned about in any direction, without the
least fear of the water escaping, so long as the thumb is kept over the small
hole in its side. It can also be stood on the table, the hand being removed
entirely; the water cannot escape through the small hole owing to the
presence of the cap.

The tumbler is once more raised and inverted, when the performer undertakes
to cause the water to fall at any given number counted by the audience. This
last effect, which adds considerably to the trick, is brought about by very
simple means; all the performer has to do is to remove the thumb covering
the small hole, when the air rushes in and causes the disc to fall. The bowl, as
before, should be half full of water, to provide a cushion for the falling disc,
which under these circumstances will not be injured, nor its presence detected.

Watch, Glass, and Handkerchief.—This is a trick of genuine sleight of hand,

and will test the performer's ability in several ways. In effect it is as
follows:—Having obtained the loan of a silk hat and a lady's gold watch, the
performer wraps the latter in a small silk handkerchief, and thus cared for,
places it in a champagne tumbler. The watch, glass, and handkerchief are now
caused to vanish one at a time, being, apparently, passed up behind a beam
on the ceiling. The hat is then taken, shown perfectly empty, and held at arm's
length above the performer's head. The vanished articles are now collected,
one at a time, in the hat, into which they are actually heard to fall, being
removed as they arrive by the performer.

The modus operandi is as follows:—The watch is enfolded in the handkerchief

in the same manner as the coin is enfolded in the paper in “A New Coin Fold”,
and after having taken it down to the lady that she may satisfy herself by its
tick that it is still there, and when returning with it to the stage, it is allowed to
slide out of the handkerchief into the profonde on the left side. The
handkerchief, which is still supposed to contain the watch, is then placed in
the tumbler, which is in turn covered with the hat.

You then address the audience somewhat as follows:— “Ladies and

Gentlemen, it is my intention to pass these three articles—the watch, glass
and handkerchief—up behind that beam on the ceiling. Would you like them to
go separately or one at a time?” The last remark, owing to its stupidity, will
probably be well received: it, however, means nothing, and you continue,
“Visibly or invisibly?” The reply to this is sure to be “Visibly.” You then remark:
“Well, in that case I shall have to remove the hat.” This you do with the right
hand while standing with the right side to the audience; the left hand under
cover of the body taking the watch from the profonde. The hat is then
immediately transferred to the left hand, and the watch allowed to slide into it
in the act of placing it on the table. Should the reply to the question, “Visibly or
invisibly?” be “Invisibly,” the performer need not become confused, as in any
case the articles do actually go invisibly. In this case the reply would be,
“Certainly, with the greatest pleasure, but for the purpose of the trick I must
remove the hat.”

The evanishment of the watch is caused by simply taking up the tumbler and
shaking out the handkerchief.
The disappearance of the tumbler is effected with the aid of a large sheet of
newspaper; a sheet torn from the local paper will answer every purpose. In
this case you would not omit to mention that you always use that paper in
preference to an outsider, it being the more expeditious. The sheet of paper is
pressed over the tumbler and molded well into the shape of the same, the
tumbler being removed under cover of the edges of the paper and dropped
into the profonde on the left side. The center of the paper bearing the profile
of the glass is then crushed between the hands, when to all appearance the
tumbler will have vanished.

The handkerchief is disposed of by palming in the usual way, when the right
hand containing it immediately grasps the hat and turns it upside down. This
is done by extending the fingers to catch the watch, which then remains
hidden in the hand with the handkerchief, when the hat can be shown to be
empty.

The hat is now held above the head, and after due dramatic effect, the watch
is allowed to fall from the hand, after which it is taken from the hat and
handed back to the owner. The hat is once more shown empty after which the
handkerchief is obtained in the same way. This time, however, the hat is
turned upside down and the handkerchief allowed to fall on the floor.

While all eyes are on the handkerchief the left hand obtains the glass from the
profonde, and in the act of changing the hat over into the left hand to pick up
the handkerchief with the right, it is thereby introduced. The hat containing the
glass is then held upside down as previously instructed, and both sleeves are
pulled back while passing it from one hand to the other. Finally the glass is
produced, it being heard to fall into the hat, whence it is taken in due course.

Paper Cone, Watch, Rabbit, and Boxes.—The effect of this excellent stage
trick is as follows: A watch is borrowed and dropped into a conical paper bag
held by one of the spectators. The performer then loads the magic pistol with
a small silk handkerchief; this he fires in the direction of the bag, after which
the bag is opened and found to contain the handkerchief, the watch having
disappeared. Attention is next drawn to a box, which has been hanging over
the head of the performer from the commencement of the entertainment, and
which on being opened is found to consist of a nest of six boxes, the smallest
of which contains a rabbit with the borrowed watch tied round its neck.
 Fig. 33. PLAN OF PAPER BAG.

The main secret of the trick lies in the paper bag, which is really double,
consisting of two pieces of paper gummed together round the edges, the
corner of one piece being removed, as in Fig. 33.

At the commencement of the trick a small silk handkerchief is hidden

between the two pieces of paper, When making the bag it must be so
arranged that the corner at which is the opening is at the top. Under cover of
the point of the bag the handkerchief is removed from its place of
concealment and dropped into the bag proper, the double side being
immediately pulled over to the opposite side of the bag to again conceal the
handkerchief. If the bag is well made, this side well creased over, a casual
glance into its interior will reveal nothing suspicious. In this condition the bag
is given to a spectator to hold, and he is then requested to drop the watch into
it, which he does, as he thinks, into the bag proper, but really the watch falls
into the position previously occupied by the handkerchief. The top of the bag
is then folded over.

The performer now loads a duplicate handkerchief into the pistol, and, having
disposed of it in the usual way, fires in the direction of the bag. He then
unfolds the bag and shakes out the handkerchief, being careful to hold the
watch so that it does not fall at the same time. He then crumples up the paper
in his hands, and in the act of doing so tears out the watch, which is forthwith
palmed, the paper being thrown away.
The box, which should be suspended with two cords over pulleys, is then
lowered; and when taking it in his hands to place it on the table the performer
is able to secretly attach the watch to a swivel hook which is hanging on the
side most remote from the audience. This swivel hook is attached to the
ribbon round the rabbit's neck, the arrangement being as follows:—The ribbon
is tied round the rabbit, which is then placed in the smallest box, the ribbon
being allowed to hang outside the box when the lid is closed. The box is then
placed in the next larger one, the ribbon still being allowed to hang outside.
This is continued until the ribbon is left hanging on the outside of the last box.

The denouement will now be clear. As the boxes are removed one after the
other the watch is suspended behind that last exposed; and when the rabbit is
taken out it will be impossible to tell that the watch was not actually removed
from the same box.

CHAPTER IX

THE BLACK ART, FULLY EXPOSED AND LAID BARE

To Determine the Article Selected by the Company, the Performer Being

Absent from the Room at the Time of Selection.—The effect of this trick upon
the uninitiated is little short of marvelous. The performer places three articles
in a row upon the table. As, for instance, a decanter, a glass and a plate. He
then requests the company to determine among themselves, in his absence,
which of the articles he shall touch on his return. He leaves the room and is
recalled when the decision is made. Pretending to examine the articles from
various points of view, and after an apparent mental calculation, the conjurer
points out the article selected by the company.

In order to accomplish this mystery, the performer simply employs a

confederate, agreeing with him beforehand upon signs and signals to denote
the numbers 1, 2, and 3. For example, the confederate is to pass his hand
through his hair for number one; keep his hand on his watch-chain for number
two; and do nothing at all for number three. Let it be understood that the
articles are to be known by numbers, counting always from
the performer's left hand. Thus, the decanter is number one, the glass number
two, and the plate number three. The articles being in position, the operator
leaves the room. The confederate, of course, remains with the company, who,
we will suppose, select the wine-glass. The operator is recalled; and, in the
course of his examination or calculation, takes an opportunity of stealing a
glance at the confederate, who, with his hand on his watch-chain, signifies
number two (the glass) to be the article selected. The operator may then
repeat the performance, varying the effect by requesting the company to place
the articles in any other position they please; the operator and his confederate
always remembering to count from the left hand.

To Knock a Tumbler Through a Table.—This trick is very effective, and

calculated to excite an immense amount of curiosity and surprise. Take an
ordinary tumbler and a newspaper. Sit on a chair behind the table, keeping the
audience in front of it. Place the tumbler on the table and cover it with the
newspaper, pressing the paper closely round, so that it gradually
becomes fashioned to the form of the glass. Then draw the paper to the edge
of the table, and drop the tumbler into your lap—quickly returning the paper to
the center of the table; the stiffness of the paper will still preserve the form of
the tumbler; hold the form with one hand, and strike a heavy blow upon it with
the other; at the same moment drop the tumbler from the lap to the floor; and
you will appear to have positively knocked the tumbler through the solid table.
Care should be taken after the tumbler is in the lap to place the legs in such a
fashion that the glass may slide gradually toward the ankles, so that the fall
may not be sufficiently great to break the glass. Care should be also taken to
smooth out the paper after the blow has been struck, to prevent suspicion of
the fact that the form of the glass was simply preserved by the stiffness of
the paper. Never repeat this illusion.

To Drive One Tumbler Through Another.—This trick requires some little

practice, or the result is nearly certain to be attended with considerable
destruction of glass. Select two tumblers of exactly the same pattern, and
considerably larger at the top than the bottom—so much so, indeed, that either
tumbler will fit at least halfway into the other. Sit on a chair, so that the falling
tumbler may fall softly into the lap. Hold one tumbler between the thumb and
second finger of the left hand. Then play the other tumbler with the right hand
several times in and out of the left-hand tumbler, and during this play contrive
at the same instant to retain the right-hand tumbler between the thumb and
first finger of the left hand, while the other or lower glass drops into the lap.
Well done, this trick has few superiors, and it is worth any amount of practice
to achieve it. It would be desirable to get a tinner to make a couple of
common tumbler-shaped tin cups to practice with. It will save much expense
in glass.

The Dancing Skeleton.—This is calculated to excite much astonishment, if

well arranged beforehand.

Get a piece of board about the size of a large school-slate, and have it painted
black. The paint should be what is known as a dead color, without gloss or
brightness. Sketch out the figure of a skeleton on a piece of cardboard, and
arrange it after the manner of the dancing sailors and other cardboard figures
exposed for sale in the toy-stores, so that by holding the figure by the head in
one hand, and pulling a string with the other, the figure will throw up its legs
and arms in a very ludicrous manner.

Make the connections of the arms and legs with black string, and let the
pulling string be also black. Tack the skeleton by the head to the black-board.
The figure having been cut out, is of course painted black like the board.

Now to perform. Produce the board. Show only the side upon which there is
nothing.

Request that the lights may be reduced about half, and take position at a little
distance from the company. With a piece of chalk make one or two attempts
to draw a figure; rub out your work as being unsatisfactory; turn the slate; the
black figure will not be perceived; rapidly touch the edges of the cardboard
figure with chalk, filling up ribs, etc., at pleasure, and taking care that nothing
moves while the drawing is progressing. Then manipulate with the fingers
before the drawing, and request it to become animated. By pulling the string
below the figure it will, of course, kick up the legs and throw about the arms,
to the astonishment of everybody.

A little music from the piano will greatly assist the illusion.

The Head of the Decapitated Speaking.—This illusion, performed with a table,

under which two pieces of looking-glass are placed, at an angle of forty-five
degrees, concealing the body of the actor, attracted thousands when first
exhibited.

The Mystery of the Floating Head.—One of the most startling of conjurors'

tricks, and one which has piqued public curiosity to the utmost, is that
sensationally announced as the “Human Head Floating in the Air.” Multitudes
have witnessed and wondered at this performance, which seems to have
defied any explanation by the uninitiated.
That the head is a gutta-percha or plaster affair, is a pet theory with those who
have not seen it, but after witnessing the exhibition this idea is reluctantly
discarded. In reality it is a human head, and the seeming absence of any body
attached thereto will be accounted for as soon as we disclose the mystery
and secret of the performance.

The sides and back of the stage are hung with curtains. Near the back of the
stage two mirrors are placed at right angles, the point, equi-distant from each
side of the stage, facing the audience. The mirrors being at angles with the
sides, of course reflect the curtains at the sides, and these curtains being the
same in style and material, their reflection has the same appearance as the
curtain at the back of the stage. The audience seeing this reflection naturally
imagine they are having an unobstructed view of the back of the stage.
Behind this wall of glass the conjuror's confederate takes his position, of
course only that part of his person which is above the glass being visible. So
the “floating head” is really a man peeping over a glass fence. The cushion
which is commonly used to apparently support the head, is suspended
outside of the glass, by fine wire.

The exhibitor is always careful to keep out of the angles of the glass,
otherwise he would be reflected, and the existence of the glasses disclosed to
the audience. When standing at the stage “wings,” or when directly in front of
the central “point” of the mirrors, he is secure from reflection.

Our illustrations will, we think, make this explanation perfectly clear. The first
shows the head as it appears to the audience; the second shows the position,
behind the glass, of the individual personating the “head.” In the latter picture
the spectator is supposed to be looking through the mirrors. Thick plate glass
will answer equally as well as the mirrors in exhibiting this trick.

To Place a Lighted Candle Under Water, Without Extinguishing It; Or a

Handkerchief Without Wetting It.—Procure a good-sized cork, or bung; upon it
place a small lighted taper; then set it afloat in a pail of water. Now, with a
steady hand, invert a large drinking glass over the light, and push it carefully
down into the water. The glass being full of air prevents the water entering it.
You may thus see the candle burn under water, and bring it up again to the
surface, still alight. This experiment, simple as it is, serves to elucidate that
useful contrivance called the diving-bell, being performed on the same
principle.

The largest drinking-glass holds but half a pint, so that your diving-light soon
goes out for want of air. As an average, a burning candle consumes as much
air as a man, and he requires nearly a gallon of air every minute, so that,
according to the size of the glass over the flame, you can calculate how many
seconds it will remain alight; of course a large flame requires more air than a
small one. For this and several other experiments, a quart bell-glass is very
useful, but, being expensive, it is not found in every parlor laboratory; one is,
however, easily made from a green glass pickle bottle; get a glazier to cut off
the bottom, and you have a bell-glass that Chilton would not reject. In the
same manner you may put a handkerchief rolled tight together, and it will not
wet.

To Place Water in a Drinking-Glass Upside Down.—Procure a plate, a tumbler,

and a small piece of tissue or silver paper. Set the plate on a table, and pour
water in it up to the first rim. Now very slightly crumple up the paper, and
place it in the glass; then set it on the fire. When it is burnt out, or rather just
as the last flame disappears, turn the glass quickly upside down into the water.
Astonishing! the water rushes with great violence into the glass! Now you are
satisfied that water can be placed in a drinking-glass upside down. Hold the
glass firm, and the plate also. You can now reverse the position of the plate
and glass, and thus convince the most skeptical of the truth of your
pneumatic experiment. Instead of burning paper, a little brandy or spirits of
wine can be ignited in the glass; the result of its combustion being invisible,
the experiment is cleaner.

The Faded Rose Restored.—Take a rose that is quite faded, and throw some
sulphur on a chafing-dish of hot coals; then hold the rose over the fumes of
the sulphur, and it will become quite white; in this state dip it into water, put it
into a box, or drawer for three or four hours, and when taken out it will be quite
red again.

The Protean Liquid.—A red liquor, which, when poured into different glasses,
will become yellow, blue, black, and violet, may be thus made: Infuse a few
shavings of logwood in common water, and when the liquor is red, pour it into
a bottle; then take three drinking-glasses, rinse one of them with strong
vinegar, throw into the second a small quantity of pounded alum, which will
not be observed if the glass has been newly washed, and leave the third
without any preparation. If the red liquor in the bottle be poured into the first
glass, it will assume a straw-color; if into the second, it will pass gradually
from bluish-gray to black, provided it be stirred with a bit of iron, which has
been privately immersed in good vinegar; in the third glass the red liquor will
assume a violet tint.

The Burned Handkerchief Restored.—Get a flat-topped stand, such as is

shown at A, and make a neat pasteboard or tin cover, as is seen at C, and be
sure to ornament it with various showy devices. The cover must slip very
easily over the stand. Cut a flat circular plate, B, the least bit wider than the top
of A, and just large enough to slip easily into C. Here is all your apparatus.

Before you show this trick, place in your pocket a piece of white rag that looks
like a handkerchief. Borrow a clean white cambric handkerchief from among
the audience, and just before you receive it, conceal in your hand the white rag.
Have the apparatus ready on a side table, with the movable plate laid on the
stand, Lay the handkerchief on the plate, place the cover over the
handkerchief, and press it down with a smart slap.
Now take off the cover, squeezing it well so as to take up the plate as you do
so; put your hand into it as if about to pull out the handkerchief, and substitute
in its stead the white rag. Lay the rag on the stand, apply a match to it, and let
it burn to ashes. Replace the cover on the stand, and press it down. Then
loosen the grasp of the hand and the plate will fall on the stand, completely
concealing the ashes. Lift the cover gently, when the handkerchief will fall
upon the plate, and may be restored unhurt to the owner.

Eatable Candle Ends.—Take a large apple and cut out a few pieces in the
shape of candle ends, round at the bottom and flat at the top, in fact, as much
like a piece of candle as possible. Now cut some slips from a sweet almond,
as near as you can to resemble a wick. and stick them into the imitation
candle. Light them for an instant, to make the tops black, blow them out, and
they are ready for the trick. One or two should be artfully placed in a snuffer-
tray, or candle-stick; you then inform your friends that during your “travels in
the Russian Empire,” you learned, like the Russians, to be fond of candles; at
the same time lighting your artificial candles (the almonds will readily take fire,
and flame for a few seconds), pop them into your mouth; and swallow them,
one after the other.

To Make a Watch Stop or Go at the Word of Command.—Borrow a watch

from any person in company and request of the whole to stand around you.
Hold the watch up to the ear of the first in the circle and command it to go.
Then demand his testimony to the fact. Remove it to the ear of the next, and
enjoin it to stop. Make the same request of that party, and so on through the
entire party.

Explanation: You must take care in borrowing the watch that it be a good one
and goes well; have concealed in your hand a piece of loadstone, which, as
soon as you apply it to the watch, will occasion suspension of its movements,
which a subsequent shaking and withdrawing of the magnet will restore.

How to Cut Your Arm Off Without Hurt or Danger.—You must provide yourself
with two knives, a true one and a false one, and when you go to show this feat,
put the true knife in your pocket, and then take out the false and clap it on
your wrist undiscovered, and with a sponge make the knife bloody, and it will
appear you have nearly severed your arm.

A knife for the nose may be made on the same principle.

To Pour Cold Water Into a Kettle and Make It Come Out Hot Without the Aid
of Fire.—You give a pint of cold water to one of the company, and taking off
the lid of the kettle, you request him to put it into it; you then put the lid on the
kettle. Take the pint and the exact quantity of water comes out of the kettle
boiling hot.

This trick is performed in the following way: The kettle has two bottoms;
boiling water has been previously conveyed into it through the nose. There is
no passage for the cold water, which is put in when the lid is off; consequently,
the hot water can alone be poured out.

This trick may be varied, and for the better; as the heat of the water may
betray it, should the bottom of the kettle be full. You may therefore propose to
change water into wine or punch.

A coffee-pot may be made on a similar plan; but a kettle is preferable, it being

more likely from its size and breadth, to baffle the examination of the curious.

This trick may also be improved by an additional expense, so that whatever

liquor is on either bottom may be poured out occasionally. For this purpose
there must be a double passage to the nose of the kettle, and secret springs
to stop either passage.

How to Cut a Man's Head Off, and Put It into a Platter, a Yard from His
Body.—To show this feat, you must cause a board, a cloth, and a platter to be
purposely made, and in each of them must be made holes fit for a boy's neck.
The board must be made of two planks, the longer and broader the better;
there must be left within half a yard of the end of each plank half a hole, that
both the planks being put together, there may remain two holes like the holes
in a pair of stocks. There must be made likewise, a hole in the cloth; a platter,
having a hole of the same size in the middle thereof, must be set directly over
it; then the boy sitting or kneeling under the board; let the head only remain
upon the board in the frame. To make the sight more dreadful put a little
brimstone into a chafing-dish of coals, and set it before the head of the boy,
who must gasp two or three times that the smoke may enter his nostrils and
mouth, and the head presently will appear stark dead, and if a little blood be
sprinkled on his face, the sight will appear more dreadful. (This is commonly
practiced with boys instructed for that purpose). At the other end of the table
where the other hole is made, another boy of the same size as the first boy
must be placed, his body on the table and his head through the hole in the
table, at the opposite end to where the head is which is exhibited.
To Turn Water into Wine.—Take four beer glasses, rub one of them on the
inside with a piece of alum; put in the second a drop of vinegar; the third
empty, and then take a mouthful of clean water and a clean rag, with ground
brazil tied in it, which must lie betwixt your hind teeth and your cheek. Then
take of the water out of the glass into your mouth, and return it into the glass
that has the drop of vinegar in it, which will cause it to have the perfect color
of sack; then turn it into your mouth again, and chew your rag of brazil, and
squirt the liquor into the glass, and it will have the perfect color and smell of
claret; returning the brazil into its former place, take the liquor into your mouth
again, and presently squirt it into the glass you rubbed with alum, and it will
have the perfect color of mulberry wine.

Magic Breath.—Put some lime-water in a tumbler; breathe upon it through a

small glass tube. The fluid, which before was perfectly limpid, will gradually
become white as milk. If allowed to remain at rest for a short time, real chalk
will be deposited at the bottom of the tumbler.

To Make a Party Appear Ghastly.—This can only be done in a room. Take half
a pint of spirits, and having warmed it, put a handful of salt with it into a basin,
then set it on fire, and it will have the effect of making every person within its
influence look hideous.

How to Eat Fire.—Anoint your tongue with liquid storax, and you may put a
pair of red-hot tongs into your mouth, without hurting yourself, and lick them
till they are cold. You may also take coals out of the fire and eat them as you
would bread; dip them into brimstone powder, and the fire will seem more
strange, but the sulphur puts out the coal, and if you shut your mouth close
you put out the sulphur, and so chew the coals and swallow them, which you
may do without offending the body. If you put a piece of lighted charcoal into
your mouth, you may suffer a pair of bellows to be blown into your mouth
continually and receive no hurt; but your mouth must be quickly cleaned,
otherwise it will cause a salivation. This is a very dangerous trick to be done,
and those who practice it ought to use all means they can to prevent danger. I
never saw one of these fire-eaters that had a good complexion.

To Dip the Hand in Water Without Wetting It.—Powder the surface of a bowl
of water with lycopodium; you may put your hand into it and take out a piece
of money that has been previously put at the bottom of the bowl, without
wetting your skin; the lycopodium so attaching itself to the latter as to keep it
entirely from coming in direct contact with the water. After performing the
experiment, a slight shake of the hand will rid it of the powder.

How to Shoot a Bird and Bring It to Life Again.—Load your gun with the usual
charge of powder, but instead of shot put half a charge of quicksilver; prime
and shoot. If your piece bears ever so little near the bird, it will find itself
stunned and benumbed to such a degree as to fall to the ground in a fit. As it
will regain its senses in a few minutes, you may make use of the time by
saying, that you are going to bring it to life again; this will astonish greatly the
company; the ladies will no doubt interest themselves in favor of the bird, and
intercede for its liberty. Sympathizing with their feelings for the little prisoner
may be the means of some of them sympathizing with yours.

Hideous Metamorphosis.—Take a few nut-galls, bruise them to a very fine

powder, which strew nicely upon a towel; then put a little brown copperas into
a basin of water; this will soon dissolve and leave the water perfectly
transparent. After any person has washed in this water, and wiped with the
towel on which the galls have been strewed, his hands and face will
immediately become black; but in a few days by washing with soap they will
again become clean. This trick is too mischievous for performance.

How to Fill a Glass With Beer and Water at the Same Time, Without Mixing
the Two Liquids.—It is done thus:—Half fill a tumbler with beer, then take a
piece of brown paper or thin card, and placing it on the top of the beer, let it
get perfectly still and quiet, taking care to keep the table on which the tumbler
is placed quite steady. When all vibration has ceased, take some clear spring
water, and having a small phial filled with it, proceed to pour it on the card as
gently as possible, and in as small a quantity as you can, recollecting at the
same time, that the whole success of the experiment rests on the steadiness
with which you pour the water on the card. You will by degrees perceive the
water sliding from the card to the surface of the beer and covering it like a
sheet of paper, making them appear separated, one lying on the top of the
other; but the steadiness of the hand must be preserved until the glass is
sufficiently full. You may reverse the order of the liquids if you please— i.e. by
putting in water first and then the beer, the same process will give the same
result.

How to Kill a Fowl and Bring It to Life Again.—Take a hen or chicken, and
thrust a sharp-pointed knife through the midst of the head, the joint toward
the bill, that it may seem impossible for her to escape death, then use some
words, and pulling out the knife, lay oats before her, and she will eat, being not
at all hurt with the wound, because the brain lays so far behind the head, that
it is not touched.

To Light a Candle by a Glass of Water.—Privately stick a small piece of

phosphorous on the edge of a glass of water, apply a candle newly blown out
to it, and it will immediately be re-illuminated. The warmth of the snuff causes
the phosphorous to ignite.

To Light a Candle by Smoke.—When a candle is burnt so low as to leave a

tolerably large wick, blow it out, and a dense smoke, which is a compound of
hydrogen and carbon, will immediately arise; then if another candle or lighted
taper be applied to the utmost verge of this smoke, a very strange
phenomenon will take place: the flame of the lighted candle will be conveyed
to that just blown out, as if it were borne on a cloud.

To Freeze Water by Shaking It.—During very cold weather put some water into
a close vessel and deposit it in a place where it will experience no commotion;
in this manner it will often acquire a degree of cold superior to that of ice, but
without freezing. If the vessel, however, be agitated ever so little, or if you give
it a slight blow, the water will immediately freeze with singular rapidity.

Iron Changed into Silver.—Dissolve mercury in marine acid, and immerse in it

a bit of iron, or if this solution be rubbed over iron, it will assume a silver color.

Two Cold Liquids When Mixed Become Boiling Hot.—Put in a thin phial two
quarts (by measure) of sulphuric acid, and add to it one part of water; on
agitating or stirring them together the mixture instantly becomes hot, and
acquires a temperature above that of boiling water.
The Incombustible Handkerchief.—Mix the whites of eggs and alum together;
then smear a handkerchief with it all over. Wash it in salt and water, and when
dry fire will not consume it.

Two Cold Liquids Produce Fire.—Put a small quantity of aquafortis into a

saucer, add a few drops of oil of turpentine, oil of caraways, or any other
essential oil, and a flame will instantly be produced.

To Give a Person a Supernatural Appearance.—Put one part of phosphorus

into six of olive oil, and digest them in a sand heat. Rub this on the face
(taking care to shut the eyes) and the appearance in the dark will be
supernaturally frightful; all the parts which have been rubbed appearing to be
covered by a luminous lambent flame of a bluish color, whilst the eyes and
mouth appear like black spots. No danger whatever attends this experiment.

The Floating Needle.—Pour some water in a plate; then drop a needle lightly
and carefully upon the surface and it will float.

Luminous Writing.—Take a piece of phosphorus, and, during candle-light,

write upon a whitewashed wall any sentence or word, or draw any figure
according to fancy. Withdraw the candle from the room, and direct the
attention of the spectators to the writing. Whatever part the phosphorus has
touched will be rendered quite luminous, emitting a whitish smoke or vapor.
Care must be taken while using the phosphorus, to dip it frequently in a basin
of cold water, or the repeative friction will throw it into a state of the most
active combustion, to the manifest detriment of the operator.

Beautiful Transformations.—Pour half an ounce of diluted nitro-muriate of

gold into a beer glass, and immerse in it a piece of very smooth charcoal.
Expose the glass to the rays of the sun, in a warm place, and the charcoal will
very soon be covered over with a beautiful golden coat. Take it out with
forceps, dry it, and enclose it in a glass for show.

To Break a Stone with a Blow of the Fist.—Find two stones, from three to six
inches long, and about half as thick; lay one flat upon the ground, on which
place one end of the other, raising the reverse end to an angle of forty-five
degrees, and just over the center of the other stone, with which it must form a
T, being upheld in that position by a piece of thin twig or stick an inch or an
inch and a half long; if the elevated stone be now smartly struck about the
center with the little finger side of the hand, the stick will give way, and the
stone will be broken to pieces. The stone must be placed, however, so as not
to slip, otherwise the feat will not be effected.
Magical Teaspoons.—Put into a crucible four ounces of bismuth, and when in
a state of fusion, add two ounces and a half of lead, and one ounce and a half
of tin; these metals will combine, and form an alloy fusible in boiling water.
Mould the alloy into bars, and take them to a silversmith to be made into
teaspoons. Give one to a stranger to stir his tea with, and he will be greatly
surprised to find it melt in his teacup.

To Bring Two Separate Coins into One Hand:—Take two cents, which must be
carefully placed in each hand, as thus: The right hand with the coin on the
fourth and little finger, as in the, illustration. Then place, at a short distance
from each other, both hands open on the table, the left palm being level with
the fingers of the right. By now suddenly turning the hands over, the cent from
the right hand will fly, without being perceived, into the palm of the left, and
make the transit appear most unaccountable to the bewildered eyes of the
spectators. By placing the audience in front, and not at the side of the
exhibitor, this illusion, if neatly performed, can never be detected.

To Cut and Tear into Pieces a Handkerchief, and to Make it Whole

Again.—This feat, strange as it appears, is very simple; the performer must
have a confederate, who has two handkerchiefs of the same quality, and with
the same mark, one of which he throws upon the stage to perform the feat
with. The performer takes care to put this handkerchief uppermost in making
up a bundle, though he affect to mix them together promiscuously. The
person whom he desires to draw one of the handkerchiefs, naturally takes
that which comes first to hand. He desires to shake them again, to embellish
the operation, but in so doing, takes care to bring the right handkerchief
uppermost, and carefully fixes upon some simpleton to draw; and if he find
that he is not likely to take the first that comes to hand, he prevents him from
drawing by fixing upon another, under pretence of his having a more
sagacious look. When the handkerchief is torn and carefully folded up, it is put
under a glass upon a table placed near a partition. On that part of the table on
which it is deposited is a little trap, which opens and lets it fall into a drawer.
The confederate, concealed behind the curtain, passes his hand within the
table, opens the trap, and substitutes the second handkerchief instead of the
first; then shuts the trap, which fits so exactly the hole it closes as to deceive
the eyes of the most incredulous. If the performer be not possessed of such a
table (which is absolutely necessary for other feats as well as this), he must
have the second handkerchief in his pocket, and by sleight of hand change it
for the pieces, which must be instantaneously concealed.

How to Fire a Loaded Pistol at the Hand, Without Hurting It.—This

extraordinary illusion is performed with real powder, real bullets, and a real
pistol; the instrument which effects the deception being a ramrod. This
ramrod is made of polished iron, and on one end of it is very nicely fitted a
tube, like a telescope tube. When the tube is off the rod, there will, of course,
appear a little projection. The other end of the rod must be made to resemble
this exactly. The ramrod with the tube on being in your hand, you pass the
pistol round to the audience to be examined, and request one of them to put in
a little powder. Then take the pistol yourself, and put in a very small piece of
wadding, and ram it down; and in doing so you will leave the tube of the
ramrod inside the barrel of the pistol. To allay any suspicion which might arise
in the minds of your audience, you hand the ramrod to them for their
inspection. The ramrod being returned to you, you hand the pistol to some
person in the audience, requesting him to insert a bullet, and to mark it in such
a way that he would know it again. You then take the pistol back, and put in a
little more wadding. In ramming it down, the rod slips into the tube, which now
forms, as it were, an inner lining to the barrel, and into which the bullet has
fallen; the tube fitting tight on to the rod is now withdrawn along with it from
the pistol, and the bullet is easily got into the hand by pulling off the tube from
the rod, while seeking a plate to “catch the bullets;” and the marksman
receiving order to fire, you let the bullet fall from your closed hand into the
plate just as the pistol goes off.

A Vessel That Will Let Water Out at the Bottom, as Soon as the Mouth is
Uncorked.—Provide a tin vessel, two or three inches in diameter, and five or
six inches in height, having a mouth about three inches in width, and in the
bottom several small holes, just large enough to admit a small needle. Plunge
it in water with its mouth open and full; while it remains in the water stop it
very closely. You can play a trick with a person, by desiring him to uncork it; if
he places it on his knee for that purpose, the moment it is uncorked the water
will run through the bottom, and make him completely wet.

The Conjurer's Banquet.—In which he eats a quantity of paper shavings;

afterwards draws from his mouth a barber's pole, six feet in length; then
draws out several yards of different colored ribbons; then pushes out with his
tongue an ounce of pins; and lastly, after well shredding the paper shavings, to
show that there is nothing in them, a flight of birds come out from among
them, their number ad libitum. This is really a first-rate experiment and if got
up carefully will excite much wonder. I shall commence by giving instructions
how to make the necessary properties, commencing with the Barber's Pole.
Cut some white paper into lengths, three inches wide; paste them together,
making a long length of ten or twelve feet or more; paint one side red, a strip
about half an inch wide, the whole length of the paper, and at its edge; glue on
at one end of the paper a piece of round wood, with a small knot on the end;
then roll the paper up like a roll of ribbons. I will explain presently what to do
with it. The next is to prepare your pins and ribbons. In a piece of soft paper, in
as small a compass as you can, roll up a number of pins, and upon this packet
roll your ribbons of different colors, making altogether a round ball, which you
can conveniently slip into your mouth; then make a long paper bag similar to
those of the confectioner; paint it in stripes—pink and white; in this place your
birds—canaries, sparrows, or any small birds you can most conveniently
procure. The process will not hurt them, if you make a few pin-holes in the bag
to admit the air; you then procure some pink and white tissue paper, cut it into
strips until you have a good heap, as many shredded out as would fill a small
bread-basket, in which you place them; at the right hand, hid in the shavings,
you have the barber's pole, the ribbons and pins, and the bag containing the
birds, and by your side a glass of water, of which you pretend to drink
occasionally. Thus prepared, you present yourself to the audience. Sip a little
water, make two or three preliminary ahems! run your fingers through your
hair, arrange your necktie, curl your moustache—if you have none it will be the
greater burlesque to pretend to curl it—and then, with mock dignity, address
your audience: “Ladies and gentlemen, doubtless you have witnessed the
performance of many conjurors, some of them clever; but of all the professors
you ever saw, none of them ever possessed such extraordinary abilities as the
illustrious individual who now does you the honor of exerting himself for your
amusement. My natural modesty and diffidence prevent my saying more. I
shall at once commence my performance by introducing the Conjuror's
Banquet. I have some macaronies (alluding to the paper shavings). Excuse the
vulgarity, but I must refresh” (takes a quantity of shavings in each hand and
commences munching them as a horse would eat hay, taking a little water
occasionally, smacking his lips, and seeming to enjoy the feast very much).
After having proceeded in this manner for a short time, take up among the
shavings the barber's pole; place it, shavings and all, against your mouth, take
hold of the little knob at the end of the pole which is rolled up like a roll of
ribbons, pull it gradually out, and it presents the appearance of a barber's pole
several feet in length; put this carefully on one side; commence feeding again
upon your paper shavings in the same burlesque style, then take up your roll
of ribbons and pins, and during the process of seeming to eat, you slip the roll
of ribbons and pins into your mouth.

You must chew the shavings you place in your mouth into a hard lump, and as
you supply one mouthful from the heap you hold in your hand, push the hard
lump of chewed shavings out of your mouth with your tongue. Well, you have
the roll of ribbons in your mouth; place your shavings again in the basket, put
your finger and thumb in your mouth, taking the end of the ribbon, and pull it
out of your mouth with both hands, one after the other; letting the ribbon slip
through your hands as you pull it out, it will appear a larger quantity. After one
length or color is pulled out of your mouth, sip a little water, smack your lips,
and again secure the end of the ribbon, pulling it out in the same manner as
the previous one; continue this until you have pulled all the ribbon out of your
mouth; you will not feel with your tongue the paper containing the pins; take a
little more water, saturate the paper and the pins will remain in your mouth;
these you push out with your tongue, keeping the lips almost closed; spit the
pins out on a small tray, one that will sound when the pins fall on it; it is more
effective. The trick is now finished, excepting the flight of birds. Your bag
containing them is at your right hand; you slip this in among the shavings, and
commence shredding them, and during this process tear the bag open, and
the birds, of course, escape. The paper being painted in pink and white stripes,
cannot be observed.

To Melt Iron in a Moment, and Make It Run into Drops.—Bring a bar of iron to
a white heat, and then apply it to a roll of sulphur. The iron will immediately
melt, and run into drops.

The experiment should be performed over a basin of water, in which the drops
that fall down will be quenched. These drops will be found reduced into a sort
of cast-iron.

To Change a Bowl of Ink into Clear Water, with Gold Fish in It.—The same
glass bowl as in previous trick. If your bowl has not a foot to it, it must be
placed on something that will hold it high above your table. Some small fish, a
white plate or saucer, a piece of black silk just fitting the inside of your bowl, a
spoon of peculiar construction, so that in a hollow handle it will retain about a
teaspoonful of ink, which will not run out as long as a hole near the top of the
handle is kept covered or stopped. A large tumbler and two or three minnows
will do for a simpler exhibition, but will, of course, not be so pleasing to the
eye.
Place the black silk so as to cover the part of the bowl that is shaded; when
damp it will adhere to the glass. Pour in clear water to fill the space covered
by the black silk, and place the fish in the water.

Commence the trick in public thus: Holding the spoon-handle slanting up and
uncovering the hole in the handle, the ink which you have placed in the handle
will run into the bowl of the spoon, and the spoon being held carefully to the
surface or the water, concealing the black silk, will give the spectators the
impression that you fill the spoon from the glass bowl.

Pour the spoonful of ink on a white saucer, and show it round to convince the
spectators it is ink. They will see it is undeniably ink, and they will conclude, if
the spoon were properly lifted out of the bowl, that the glass bowl contains
nothing but ink.

Borrowing a silk handkerchief, place it for a few seconds over the bowl, and
feigning to be inviting fish to come to the bowl, exclaim “Change!” Then,
placing your hand on the edge of the bowl near yourself, draw off the
handkerchief, and with it take care to catch hold also of the black silk. The
bowl when uncovered will exhibit the fish swimming about in clear water.
While the spectators are surprised at the fish, return the handkerchief, having
first dropped out of it the black silk on your side of the table. Decline giving
any explanation, as people will not thank your for dispelling the illusion.

How to Swallow a Number of Needles and Yards of Thread.—The trick is

performed as follows: In the first place thread a dozen needles, put them in as
small a compass as possible, and place them between the gum and the upper
lip; you can speak without difficulty, and without any effort they will remain
there. Let the needles be short ones, and take the end of the thread a little
distance from the needles, and deposit it between the gum and the lips in
such a position that you can always feel it and pull it out when required. Thus
being prepared, of course unknown to your audience, you take your second
dose of needles, placing them one by one on your tongue, seeming to swallow
them, but depositing them on the other side of your mouth, between your
gums and lip, which will effectually conceal them, notwithstanding an
examination of the mouth; afterward roll up between your fingers about a yard
of thread; place this in your mouth, and with your tongue conceal it between
your gum and lip. Take a drink of water, make a few wry faces, then place your
finger and thumb in your mouth, securing the end of the thread upon which
the needles are threaded, draw it out and exhibit it, taking an early opportunity
of retiring to get rid of the needles concealed in your mouth. This is a most
effective trick, and easily performed. Be careful not to swallow the needles.
To Make a Bird Seem as Dead.—Take any bird out of a cage, and lay it on a
table; then wave a small feather over its eyes, and it will appear as dead; but
directly you take the feather away it will revive again. Let it lay hold of the
stem part of the feather with its feet, and it will twist and turn about just like a
parrot; you may also roll it about on the table any way you like.

To Make the Appearance of a Flash of Lightning When Any One Enters a

Room with a Lighted Candle.—Dissolve camphor in spirits of wine, and
deposit the vessel containing the solution in a very close room, where the
spirit of wine must be made to evaporate by strong and speedy boiling. If any
one then enters the room with a lighted candle, the air will inflame, while the
combustion will be so sudden, and of so short a duration, as to occasion no
danger.

To Break a Stick Placed on Two Glasses Without Breaking the Glasses.—The

stick intended to be broken must neither be thick nor rest with any great hold
on the two glasses. Both its extremities must taper to a point, and should be
of as uniform a size as possible, in order that the center of gravity may be
more easily known. The stick must be placed resting on the edges of the
glasses, which ought to be perfectly level, that the stick may remain horizontal,
and not inclined to one side more than another. Care must also be taken that
the points only shall rest lightly on the edge of each glass. If a speedy and
smart blow, but proportioned, as far as can be judged, to the size of the stick
and the distance of the glasses, be then given to it in the middle, it will break
in two without either of the glasses being injured.

To Set a Combustible Body on Fire by the Contact of Water.—Fill a saucer

with water, and let fall into it a piece of potassium the size of a pepper corn,
which is about two grains. The potassium will instantly burst into flame, with a
slight explosion, and burn vividly on the surface of the water, darting at the
same time, from one side of the vessel to the other, with great violence, in the
form of a beautiful red-hot fire-ball.

To Eat a Dish of Paper Shavings, and Draw Them Out of Your Mouth Like an
Atlantic Cable.— Preparation. Procure three or four yards of the thinnest
tissue paper of various colors. Cut these up in strips of half an inch or three-
quarters of an inch breadth, and join them. They will form a continuous strip
of many feet in length. Roll this up carefully in a hat coil, as ribbons are rolled
up. Let it make a coil about as large as the top of an egg-cup or an old-
fashioned hunting-watch. Leave out of the innermost coil about an inch or
more of that end of the paper, so that you can easily commence unwinding it
from the center of the coil.
Procure a large dish or basketful of paper-shavings, which can be obtained at
little cost from any bookbinder's or stationer's. Shaken out it will appear to be
a large quantity. As you wish it to appear that you have eaten a good portion
of them, you can squeeze the remainder close together, and then there will
appear to be few left, and that your appetite has reason to be satisfied.

Commence the trick by proclaiming you have a voracious appetite, so that you
can make a meal off paper-shavings. Bend down over the plate, and take up
handful after handful, pretend to mounch them in your mouth, and make a
face as if swallowing them, and as you take up another handful, put out those
previously in your mouth, and put them aside. Having gone on with this as
long as the spectators seem amused by it; at last, with your left hand, slip the
prepared ball of tissue paper into your mouth, managing to place towards your
teeth the end you wish to catch hold of with your right hand, for pulling the
strip out from your mouth. You will take care also not to open your teeth too
widely, lest the whole coil or ball should come out all at once.

Having got hold of the end, draw it slowly and gently forward. It will unroll to a
length of twenty yards or more in a continuous strip, much to the amusement
of the spectators.

When it has come to the end, you may remark: “I suppose we have come to a
fault, as there is a ‘solution of continuity here, just as the strongest cables
break off,’ so we must wait to pick up the end again, and go on next year,
when the ship again goes out with its next Atlantic Cable.”

To Produce from a Silk Handkerchief Bonbons, Candies, Nuts,

etc.— Preparation. Have packages of various candies, wrapped up in bags of
the thinnest tissue paper, and place them on your table rather sheltered from
observation. Have also a plate or two on your table.

Memorandum.—It will be always desirable to have the table removed two or

three yards at least from the spectators, and of a height that they cannot see
the surface of it while sitting down in front of it.

Commence the trick by borrowing a silk handkerchief, or any large

handkerchief. After turning it about, throw it out on the table, so as to fall over
one of these packages.

Having carefully observed where the bag lies, place your left hand so as to
take up the bag while catching hold of the middle of the handkerchief.
Taking the handkerchief up by nearly the center, the edges of it will fall around
and conceal the bag; make some pretended wavings of your wand or right
hand over the handkerchief, and say, “Now, handkerchief, you must supply my
friends with some bonbons.” Squeeze with your right hand the lower part of
the bag which is under the handkerchief; the bag will burst, and you can shake
out into a plate its contents.

Asking some one to distribute them among your young friends, you can throw
the handkerchief (as it were carelessly) over another bag, from which you can
in the same way produce a liberal supply of some other sweetmeats, or
macaroons, pop corn, etc., all of which will be duly appreciated by the
juveniles, and they will applaud as long as you choose to continue
this SWEET trick.

To Keep a Stone in Perpetual Motion.—Put very small filings of iron into

aquafortis, and let them remain there until the water takes off the iron
requisite, which it will do in seven or eight hours. Then take the water and put
it into a phial an inch wide, with a large mouth, and put in a stone of lapis
calaminaris, and stop it up close; the stone will then keep in perpetual motion.

To Make a Card Jump Out of the Pack and Run on the Table.—Take a pack of
cards, and let any one draw any card they please; put it into the pack, so that
you may know where to find it at pleasure. Put a small piece of wax under
your thumb-nail, to which fasten a hair, and the other end of the hair to the
card; spread the cards open on the table, and desire the one chosen to jump
out, which you may readily cause to do by means of the hair.

How to Tell a Person Any Card He Thinks of, and to Convey It into a
Nut.—Take a nut, in which burn a hole with a hot wire, and with a needle break
and extract the kernel. Write the name of a card on a piece of thin paper, and
roll it up hard, and put it in the nut; stop the hole with wax, which rub over with
a little dust, that the puncture may not be perceived, then let some one draw a
card; you must take care it be that which is written on the paper; desire him to
break the nut, in which he will find the name of the card he has drawn.

To Make a Cone or Pyramid Move upon a Table Without Springs or Any Other
Artificial Means.—Roll up a piece of paper, or any other light substance and
put a lady bug, or some such small insect, privately under it; then, as the
animal will naturally endeavor to free itself from its captivity, it will move the
cone towards the edge of the table, and as soon as it comes there, will
immediately return, for fear of falling; and by thus moving to and fro, will
occasion much sport to those who are unacquainted with the cause.
How to Make an Egg, Apparently of Itself, Leave the Center of the Room and
Traverse to a Saucer of Water Placed in the Corner.—This is not adapted for
public exhibition, as the process is tedious, but it is no less wonderful. Blow
the yolk out of an egg, and insert a leech within the shell, securing the end by
sticking on a piece of tissue paper. Place the egg and leech in the center of
the room, and the saucer in the other end. In the course of time—it may be
hours—the natural instinct of the leech leads it to the water, and by its efforts
causes the egg to move to the edge of the saucer containing the water.

To Eat Cotton Wool and Blow Fire and Sparks Out of Your Mouth.—Obtain
some Cotton wool, such as the jewelers use to pack their jewelry; get a piece
of old linen and burn it, dampening it out when it is burnt black and reduced to
tinder. If you don't understand, ask your grandparents how they used to make
tinder to obtain a light previous to the invention of lucifer matches. Fold it
lightly in a piece of the wool, just as large as you can conceal in the palm of
your hand, commencing eating in the same manner as in the Barber's Pole
Trick, with the shavings. When you have satisfied yourself, and while feeding
yourself with the wool, slip in the small piece of wool containing the lighted
tinder; blow, and smoke and sparks will issue from your mouth, to the
astonishment of the lookers-on. A very good system to practice many of
these tricks, is to stand before a looking-glass.

THE END