FOOTNOTES:
[A] Since this was written, a great change has come over the fashion connected with playing-cards, the large, heavy card giving way rapidly to a smaller and more flexible article, the American round-cornered cards occupying a prominent place.
[B] Some conjurors (myself included) use the third finger, but the little finger is the better one to employ, as it is more removed from observation. It is more difficult at the commencement, the digit being so weak; but the better execution it ensures repays the extra trouble.
[Part II.—Grand, or Stage Magic.]
[CHAPTER IX.]
GENERAL REMARKS.
PREPARATION—WHERE, AND TO WHOM, TO GIVE ARTICLES TO BE HELD—ON THE PUNISHMENT OF MEDDLERS—ON THE REPETITION OF TRICKS—REHEARSING—"PATTER"—ADDRESS—IMPERTINENCE AND AUDACITY—ON PLAYING THE BUFFOON.
The learner has now arrived at that point where he will quit the humble drawing-room, understood in its ordinary sense, and essay to grander flights on the stage. It is true that this stage may, after all, consist only of the back drawing-room, the front one serving as the auditorium; but, in a conjuring sense, it is a drawing-room no longer. It is the exclusive domain of the performer, in which he will work his spells of enchantment unmolested by busybodies indulged in too close a view. In this exclusiveness consists the main difference between the two branches of conjuring. In what may be aptly termed impromptu conjuring, the performer is greatly at the mercy of his audience, who may at any moment, if so disposed, seize upon him and wring from him his secrets. He is beset with difficulties on all sides, and must exhibit a total invulnerability. In stage performances, he has matters much more his own way. To a great extent, he can control circumstances, to which he is constantly liable to fall a victim when exhibiting in a humble way. He can so arrange matters that one effect follows another in a most natural manner—a state of affairs which it is almost impossible to bring about under any other system of arrangement. So far stage conjuring possesses its advantages; but, unless the conjuror has gone through a course of training such as has been set before him in the preceding chapters, he would be quite unable to avail himself of them. The performer, with a limited amount of skill in execution, could never succeed in true legerdemain on the stage, where it is far more difficult—in most cases impossible—to cover a mistake or clumsy movement. Everything must be reduced to an absolute certainty. To ensure this, the learner must engraft on his mind the single but important word "preparation." Effective preparation is the great secret of success in stage conjuring of any magnitude: without it, things are tolerably certain to result in what is expressively termed a "bungle." The reader will discover, as I progress, what is meant by "preparation" quite speedily enough, so I will not now enlarge on what will sometimes prove a somewhat tedious operation. I once asked a well-known conjuror how he liked conjuring for its own sake. "As far as conjuring itself goes," he said, "I could perform all night; but what settles me is the everlasting preparation." I must say, that my ideas on the point are marvellously like his.
There are many axioms which belong equally to either branch of conjuring, and which it is well for the learner to bear in mind at the outset. By getting into the way of acting up to them from the first, they soon cease to be irksome, and so assist, instead of detain, when anything important is being undertaken. One important thing is to be careful to give borrowed articles to be held, when it is required to do so, in a part of the room as far removed from the owners of them as possible. This rule need not be observed when the article is not to be changed; but it is so seldom that this is the case, that the possibility of its occurring is hardly worth while considering. It can never do any harm to remove an article which is not to be changed far from its owner; but a great deal of harm may be done by substituting one article for another in such proximity to its lawful possessor that that individual is able to discover the fraud. If this care be not taken, the most perfect dexterity will be thrown away. In a large room, full of strangers, one can perpetrate the most barefaced deeds, such as giving a substituted ring, which is in every respect totally unlike the original borrowed one, to be held openly in the fingers. Neither the holder nor the owner of the ring will know that the article is not the one which was borrowed.
Where possible, always give articles, when they are not too ponderous or awkward, into the custody of members of the weaker sex. Ladies, as a rule, have much less self-possession than men during performances, and, besides, are naturally anxious (and not without some success) to do everything that is asked of them in the most graceful and effective manner possible. These causes conduce to the result which the performer so much desires, viz., an absence of that inquisitiveness which ultimately leads to a private and premature examination of the article in custody. This axiom applies only when an article is to be held passively. Under no circumstances must the performer cause a lady to rise from her seat; rather let the trick be shorn of some of its effect. When the assistance of one of the audience is required, select an intelligent-looking man, who will not be likely, from either incompetency or malice, to act exactly contrarily to your directions. Unfortunately, a large number of block-heads and malicious persons, with intelligent and winning expressions of countenance, do exist. On meeting with either individual in a dangerous shape, make him look ridiculous by giving him something big and cumbersome to hold above the head, in a conspicuous position (such as when standing on a chair), and let him remain there during the whole of the trick, or even longer, if he will put up with it, selecting someone else to render you the assistance you require. Be careful not to allow it to be palpably seen that you are hoaxing the person, or offence may be given to more than one: and conjurors must always strive to keep their audiences in the best possible humour.
Never perform a trick twice. If the performer is weak enough to give way on this point, he must expect to have the secrets of half of his tricks the common property of his audience in a very short time. Such interludes as swallowing an egg, orange, &c., and finding it at the elbow, point of the toe, or other unexpected place, one may repeat with tolerable frequency, although it is as well to vary the precise method a little each time. The reason such feats are comparatively safe to repeat is, that they come unexpectedly. If people knew that it was intended to vanish any particular article, they would keep a sharp look-out, and endeavour to discover what really became of it; but, as the performer is particularly careful not to warn his audience of what is about to be done, the movement is executed before anyone has had time to think. I wish to lay particular stress on the suicidal policy of performing the same trick twice during the same evening, as I know it is a weakness to which young beginners are much addicted.
Conjurors must never fail; that is to say, they must never allow the audience to see that they have failed in arriving at any desired result. The surest method of avoiding this is to practise and rehearse everything, down to the minutest detail, in private, so as to be able to present it in its perfect form to the audience. The beginner feels a little awkward and stupid in rehearsing at first, but when he discovers, as he soon will, the necessity for it, he will soon become used to it. The great thing is to begin well, and this is best done if two persons commence studying together, in which case one will act as a critic to the other. My plan—and I recommend everyone else to adopt it—during the first six months, was to write down everything I had to do or say, accompanied by the most minute stage directions. Each hand and foot had its proper position at a given moment. Book in hand, my fellow-student would take up his position as audience, and keep me rigidly to my stage directions, besides giving such hints as seemed to him to be necessary. At first, this kind of thing feels somewhat irksome, but the good results derived will soon make themselves manifest, and compensate for all trouble. I have frequently spent a whole evening in getting perfect in a single trick, which would perhaps be rehearsed ten or twelve times. The properties of each trick should be written on a separate card.
One thing of paramount importance is the talk to be used with each trick. At the outset, this should invariably be written out beforehand, and committed to memory, if not word for word, very nearly so. By this means, one is best able to avoid a repetition of any well-marked points, which would pall upon the audience, and cause them to fancy the performer before them to be a man of limited ideas. At the same time, great care must be taken to avoid making anything approaching a speech, which is even worse than saying nothing at all. People come to conjuring entertainments expecting to see sleight of hand performed, and not to listen to speeches, however beautiful they may be in themselves. What is wanted is something to accompany the trick, just as a pianoforte-player accompanies a singer. If this simile be borne in mind, the learner will not go far wrong. The only occasions on which nothing should be said are when some feats of dexterity—corresponding to the runs and scales of the expert vocalist—are being performed: a verbal accompaniment would only spoil them. On the other hand, a very poor trick can be made a good deal of by the introduction of a few lively sallies, mingled with allusions to topics of the day, which will be made to appear to bear upon the matter in hand. I shall give but very few examples in my descriptions of tricks, for I think that a conjuror should be, before everything else, original; and this he would not be if he only repeated what other people had to say. I hope the reader is impressed with the absolute necessity of being as well up in "patter" as in sleight of hand.
Address in execution is another thing which cannot be too attentively studied. It is not enough that an orange is successfully vanished; the operation should be performed with all possible grace. This will naturally be impossible if the performer is not well up in his trick; but this he must not fail to be. The learner must study to acquire a manner that is neither hurried nor slow. Some tricks it is necessary to do with extra dash and rapidity; but the extra speed will never require to be sustained. As a general rule, audiences prefer a suave and easy style—one which appears free from the slightest exertion. Being in a hurry is the way to forget many little but telling points; whilst being too slow is the way to weary the audience. The worst possible style to adopt is that which impresses the audience with the idea that conjuring is nothing but a mere cheat—a swindle—from beginning to end. This impression is given when the performer wishes to appear extra sharp, and endeavours (to use a common idiom) to thrust everything down people's throats, whether they will or not. Always endeavour to impress spectators that they are being deceived by skilful manipulation, and not "bamboozled" by talk.
Be careful not to substitute impertinence for impudence. Too many beginners err in this respect. They mistake the precise nature of the impudence required by the conjuror. A better name for it would be audacity. To be successful out of the ordinary way, the conjuror must be audacious and venturesome now and again, although it is as well not to tempt Fortune too much or too often: the jade may fail at an awkward pinch. The warning not to play with edged tools should be taken to heart by the conjuror.
On no account play the buffoon, as I have seen conjurors do before now. When a laugh is raised, it should be with, and not at, the performer. Also, on raising a laugh at anyone's expense, let it be done in a polite and inoffensive manner, unless, of course, it be a punishment for previous misbehaviour.
[CHAPTER X.]
THE TABLE AND DRESS.
THE TABLE: ITS HEIGHT—THE BODY—THE SHELF—THE LEGS—VANISHING AND CHANGING TRAPS—ON USELESS MECHANICAL ARRANGEMENTS—SIDE TABLES—HOW TO PASS ARTICLES DOWN TRAPS: VARIOUS METHODS—THE DRESS: POCKETS—THE VEST—HOW TO COMMENCE—INTRODUCTORY TRICKS.
Of very important assistance in Grand Conjuring are the specially prepared tables, of which one, two, or three will be used, according to the size of the room. These tables differ from ordinary ones, in the first place, by being considerably higher, their height being from 2ft. 10in. to 3ft. This is to render it unnecessary for the performer to stoop when taking anything from or placing anything upon the table, as the action would take away a great deal from an effective execution of many things. The next important difference (unknown, however, to the audience) is that the body of the table is a hollow box, of which that side which is unseen by the spectators is perfectly open, and is furthermore provided with a protruding shelf, technically called the servante. This shelf is one of the conjuror's most invaluable assistants. It is always at hand to receive any article which it is desirable to get rid of, and is a patient holder of others which it may be required, at a particular moment, to produce from an invisible source, but which are too large to be concealed about the person. This shelf should be about 5in. or 6in. broad, and should have the ends either rounded or cut off obliquely. If this is not done, the shelf will be noticed by persons standing or seated at the extreme sides of the auditorium. The edge should be furnished with a small raised beading, to prevent articles from falling off. The depth of the body of the table should not exceed 6in., or it will excite suspicion and remark. If the shelf is fitted to the body of the table by means of hinges, it will be found a great convenience. It will never become mislaid or knocked about, and so be either missing or useless when most required; and it also enables one to use the body of the table as a means for conveying the bulk of the conjuring apparatus. The legs should be made to screw on and off, so as to increase the portability of the whole; but see that the worm of the screw is long and deep, or the table will be unsteady.
But, if the back of the table is mysterious, the top of it is still more so. For the speedy, easy, and complete vanishing of objects, particularly solids, it has been found convenient to fit the tops of tables with spring traps, which, yielding to certain pressure, resume their position when it is removed. Judiciously used, these traps are very useful, and the results attained by their use are most bewildering. In a table 36in. by 18in. (a very convenient size) there should be a round trap, 3-1/2in. to 4in. in diameter, in each front corner, and an oblong trap, 9in. by 5in., in the centre. These traps are made of zinc; but I would recommend no one to attempt manufacturing them at home whilst they can be purchased so reasonably at conjuring trick repositories. I would certainly recommend having the table itself made, under personal supervision, by a carpenter, who will let the traps into the top of the table. The ordinary price for a 4in. trap is about 7s. 6d. There are many elaborate mechanical traps devised for changing articles, but I have never found them of much assistance in the hands of amateurs, so cannot conscientiously recommend them. There are also several methods for arranging piston rods, which work up and down by means of a string drawn by a confederate at the side or rear, or by electricity. But such assistance is so seldom required by the amateur conjuror, that I cannot recommend him to encumber his table with more than three traps. Everything beyond this he will find an unnecessary expense. The amateur will also find that his sphere will be continually changed, one day performing at this friend's house and the next day at another's. Hence he will be unable to produce the results which are attainable only by those who, like professional conjurors, have sole dominion over their stage and its surroundings at all times. As these chapters are written solely for the edification of amateurs, and not for the purpose of training up professionals, I shall not launch out into descriptions of things impossible to the great majority.
When the size of the room permits of it, the performer should have, besides his oblong table in the centre, one or two small round tables at the sides. These tables should be of the same height as the large one, but only about 18in. in diameter. They should be provided with one round trap and a small servante. The border should have a deep fringe. The tops of all three tables should be covered with a check pattern, in order to hide the lines of the traps. On a perfectly plain surface these might be noticed. Do not forget to provide the smaller traps with bags to receive the articles passed through. An egg would make an unseemly mess inside the table, whilst an orange or a lemon would descend with a thud sufficiently loud to reveal to the audience what had taken place. The centre trap, being used almost exclusively for vanishing live stock, need not be furnished with a bag.
Whilst on the subject of traps, I will describe the method for passing articles through them. Supposing an orange has to be made to disappear. After showing that it is a real orange and perfectly solid, &c., place it upon the trap, the spring of which must, of course, be strong enough to bear the weight without giving in the least. Turn up your sleeves very deliberately, and then place the hands around the orange as if about to take it up in them. Screened by the front hand, the rear one presses the trap down quickly, and the orange falls through, the hands being brought together as though holding it. Advance towards the audience a step or two and commence rubbing the hands together, gradually making the circumference of the hollow smaller and smaller until the orange appears to have been rubbed away. The action of vanishing the article must be assiduously practised, for the hands must not dwell perceptibly on the table, but appear to actually take up whatever they are supposed to. When pretending to rub it away, the eyes must be directed attentively to the hands as if interested in the experiment. When passing one article into another, as an egg into a lemon, place the lemon just in front of the trap, and, holding the egg in the rear hand, pass it down the trap under cover of the front hand, which will at the moment be just closing upon the lemon. The two hands then take the lemon, and, after rubbing it about a little, show it minus the egg, which you will say is inside. In the drawing-room, without the table, the same results would have to be arrived at by means of "vesting." The present instance affords an excellent illustration of my remark that drawing-room conjuring is more difficult than grand conjuring.
Another method for vanishing articles through traps is to fix a cord to the under side of the trap, and, by means of a tiny pulley and staples, bring it to a hole in the end of the table, on the outside of which a knot is tied. The article can be then placed upon the trap and covered with a hat, &c., and made to disappear by pulling the cord. It is better to have the cord belonging to the right-hand trap coming out at the left-hand side, and vice-versâ; otherwise the audience would be likely to notice the action of the hand pulling the cord, from its close proximity to the hat. By standing at that end of the table which is opposite to the hat, the performer can turn sideways, and point with his wand to the hat or tap it, when the action of pulling the string will be concealed by his body. In covering any article with a hat, be careful that the front or back part of it is towards the audience. The arch formed by the side brim of the hat of the present day enables one to see anything placed underneath it, and it must be admitted that it would be rather awkward if any of the audience saw the article suddenly drop into the body of the table. The uses of the large trap will be dilated upon at another time and place.
The uses of the servante being to hold things as occasion requires, they will make themselves manifest in due course.
Dress.—The conjuror's dress will command a great deal of consideration, the disposition and capacity of the pockets being of considerable importance. I will first take the coat, which will, of course, be a dress one. The whole of the inside of each breast of this should be one huge pocket, the opening of which is perpendicular instead of horizontal, and about two inches from the edges, so as to just escape observation. This enables large objects to be concealed, and yet easily got at. The tail pockets are not used in performing, so can be either entirely absent or else made in the usual way. One tail, however, should have a large pocket about five inches deep at the bottom, and right across its width. This pocket should be made very loose so as to be always open to a slight extent, for it will often have articles dropped into it at all sorts of odd times. Some conjurors have copper wire in the edge to keep it open when required.
The vest is extremely important. It should be split right up the back and then re-joined by three bands of broad elastic. This is to enable one to put large articles in the breast without causing any unusual wrinkles or bulging. For vesting purposes, some have a strip of thin leather, about two inches broad, sewn round the bottom, inside, but I do not find this sufficiently safe. I usually have some fine elastic run in the hem by means of a bodkin. It should be tight enough to hold an egg (a heavy, slippery thing, and awkward when dropped) securely; but it must not pull the vest out of shape. The only extra pockets required in the trousers are one at each hip, covered by the tails of the coat. They should be about three inches long by one and a half in depth, and constructed so as to be always partly open. They are very handy for receiving such articles as coins, little balls, rings, pocket-knives, &c., which it is desirable that the audience should not see. Little pockets, of a similar nature, are sometimes used behind the lappel of the coat; but those in the trousers are far superior, as they are got at by the perfectly natural action of dropping the arm. The inside turn-up of the sleeve of the coat I have also seen similarly employed, but have not noticed any particular advantage to be derived therefrom.
Starting now with his prepared tables and mysterious suit, and armed with a fair amount of manipulative skill, the learner ought to be able to bid defiance to the world, and to boldly attempt anything within his particular scope or province that he has seen anyone else do.
Before commencing, always say a few words, to the effect that you are there to conjure, and not to make speeches; so you will not detain the audience with a history of conjuring from the year 1, but proceed to show them what can be done in the present year. In family circles, more talking should be done than in public places, where an impressive style should be cultivated.
Introductory Tricks.—Besides, by means of the few words the performer addresses the company before commencing, it is quite in order that he should introduce himself to the spectators magically; that is to say, give them at once some little evidence of his skill, without any formality of explanation. A well-used trick for this purpose is that of causing a flower to appear instantaneously at the button-hole. Just as the performer is about to step forward, he perceives that he has forgotten his flower, but explains that the omission is very soon rectified, as he notices a bouquet in the hands of a lady, or some flowers in a coiffure, or about a costume. Asking permission, and taking it at once, the wand is waved in the direction of the visible flowers, and the button-hole then touched with it, when instantly a flower appears. The flower is an imitation one, and is attached to a piece of elastic, which passes through the button-hole, and inside through the one next below, so that it may be fastened to a vest button, or elsewhere. When the performer comes on, the flower is concealed under the left armpit; so that, when the button-hole is touched with the wand, all that is necessary is to raise the arm slightly, when the flower, being released, flies instantly into position.
Another common, but very effective, practice is to come on the stage with the gloves on. As they are taken off the hands, they melt away, apparently, for nothing more is ever seen of them. Elastic is again at the bottom of this, one end passing round the wrist of the glove, whilst the other is fastened round the biceps of the arm, or attached to the brace. The glove is removed, care being taken not to let it slip too soon, and, when held between the two palms, is allowed to go, when it flies, unperceived, up the sleeve. The performer must not dwell at all upon the fact that he is doing anything magical, but act as though his gloves were merely performing their usual evolutions on being taken off for the day.
[CHAPTER XI.]
SLEIGHTS AND PROPERTIES FOR GENERAL USE.
HOW TO PRODUCE ARTICLES FROM THE WAND—ARTICLES PRODUCED FROM THE PERSONS OF THE COMPANY—VANISHING OBJECTS FROM THE HANDS—EXCHANGING ARTICLES—MESMERISING A DOVE—MARKING A CARD IN COURSE OF PERFORMING—PASSING HANDKERCHIEF OVER FLAME OF CANDLE—THE CONJUROR'S SHUFFLE—THE DEVIL'S HANDKERCHIEF—COIN HANDKERCHIEF—FLYING RING—MAGICIAN'S EGGS—PRODUCTIVE EGGS—COIN-VANISHING TUMBLER—MAGIC PLATEAU.
Sleights.—Often, in the description of a trick, the learner is told that a handkerchief, coin, egg, orange, or other article has to be made to disappear or appear by sleight of hand. In the descriptions here given, my own methods naturally appear in preponderance over those of others; but it is a mistake for conjurors to confine themselves arbitrarily to any such, whose soever they be, or whatever their nature. The peculiar means for magically vanishing or producing an article which has seemed to me to be most convenient under the conditions governing the particular trick under notice, I have always laid the most stress upon; but it is very likely that, were half a dozen experts to write upon the same tricks, they would each vary more or less in the precise means by which the same results were arrived at. This is only as it should be, the success of a conjuror, like that of an actor, depending, in a very great measure, upon his originality or individuality. The reader will notice that I frequently describe a trick, and then give one or more alternative ways of doing it, the last-named being usually methods I have seen adopted with success by other conjurors. In order to save endless repetition, I give here a few sleights which the learner should be incessantly practising, just as he would the pass or the palm. Some of the feats actually form small tricks in themselves, but are only introduced by the performer as suddenly inspired interpolations in the course of a trick, of which they may, as a fact, really form part. For the disappearance of a coin or coins, the various palms provide; the method described in connection with the cups and balls ([page 55]) suffices for the evanishment of marbles, nuts, and articles of that size; whilst the palming of cards has been specially treated. The other sleights which I have found most necessary are as follows:
To Produce an Egg, Orange, &c., from the Wand.—This daring feat is certainly one of the most wonder-inspiring description. The performer says, "I now require, for my trick, an egg. I presume none of the company happen to have such an article about them; and, as I have forgotten to provide it myself, I must make an appeal to my wand, which rarely fails me in such cases." Standing sideways to the audience, the performer holds his wand in the fingers, at arm's length, and then, suddenly running his hand along it, upwards, as though squeezing it, he produces, from the very top, the egg. As his sleeves are turned well up, and nothing has been visible in either hand, the mysterious appearance of the required article is quite inexplicable. It is thus managed. The egg may be either upon the shelf at the back of the table, or under the vest band. I prefer the latter place of concealment, because the performer is better able to carelessly show his hands quite empty just previous to the production of the article; whilst a longer time must elapse between the secretion of the article in the hand and the moment of its appearance on the top of the wand, if it be placed upon the shelf. Apart from this, going behind the table should always be avoided where possible. It is the easiest thing in the world to get down the article from the vest in the act of turning round. It should find its way at once to the very centre of the hand, the root of the thumb gripping it, and the fingers should either seize the coat flap, or the wand should be put into it. The modus operandi may be simply described as follows: The wand is lying upon the table and the performer comes forward, showing, by rubbing them together in the act of speaking, that his hands are empty. When he has uttered the words "in such cases," he wheels round to the left, for the purpose of fetching the wand from the table, and when his back is fairly towards the audience, he gets down the egg in the right hand, which then seizes the coat flap. A very important matter must here be observed. The article vested must always be placed on that side of the body which is opposite to the hand that is to bring it down. If, in the present instance, the egg were upon the right side of the performer's body, taking his vest buttons as a central line, the act of getting it into the right hand could not be achieved without sticking out the elbow, which would at once reveal to the company that the performer was carrying out some manœuvre with that hand, and, when he turned round, they would immediately fix their eyes upon it, and keep them there, to the serious detraction of the proceedings following. The golden rule must be followed of glueing, as it were, the upper arm and elbow to the side. Then the forearm and hand may do as they please, with impunity. The getting down of an article from the vest need occupy only a half-second of time, so the performer turns briskly to the table, his every visible action and look being, of course, concentrated upon the matter in hand—the fetching the wand from the table. With the right hand, containing the egg, holding the coat flap lightly and naturally, the wand is picked off the table with the left, the performer's right side being towards the company. Holding the wand for a few moments in the left hand, and looking at it amusingly, as though wondering quite as much as the company how it is going to accomplish its task, the right hand is brought boldly to the front, and the wand placed in the fingers. The back of the hand is, of course, towards the company. The fact of its containing a bulky article will naturally cause it to be somewhat curved, so it is necessary to cause it to look as flat as possible. This is best managed by straightening the fingers and bending the wrist outwards, the whole length of the fingers being thus presented to the view of the company. It will be found that the wand, pressing against the article in the hand, assists towards keeping it in its place there. In the case of an egg, care must be taken not to put on too much pressure. The wand must be held by its middle portion, and should not remain in the right hand for more than a couple of seconds, at the outside. It is then re-taken by the left hand, but by the lower end, the right hand simultaneously making the upward "squeeze;" the article being produced at the tips of the fingers, when they reach the top of the wand, it being allowed to drop from the palm into the bent fingers just previously. The illusion is complete when the sleight is performed with neatness and dash, the article appearing to actually come out of the wand, although everyone knows how impossible it is for it ever to have been there. An article so mysteriously produced should, by all means, be given for examination. It is surprising what very large-sized oranges can be produced by this means, when the performer has once acquired sufficient boldness. Audacity is the chief ingredient in the sleight, and the learner will acquire it by beginning with small-sized articles. Brilliantly-coloured articles, such as oranges, or perfectly white ones, as eggs, make the best appearance.
To Produce Articles from the Persons of the Company.—Here audacity plays a very important part indeed, as the performer goes in amongst the spectators and finds such oranges, eggs, lemons, &c., as he may want, in their hair and apparel. In the Gant de Paris ([page 228]), I have seen a performer use an orange, a lemon, an egg, and a walnut, all of which he has found upon the company within a very few seconds of time. A description of how this is done will suffice as a guide to the learner how to proceed in all similar cases. The walnut should be palmed, and the lemon held in the same hand, the other hand holding the orange, both hands of course seizing the coat. The egg is vested. Coming on to the stage from behind, the performer proceeds rapidly into the very midst of the company, and says, "Can any one lend me a kid glove for a few minutes?" then, turning suddenly towards a male spectator—with long hair, if such a one be handy—"I beg your pardon, sir, but I see a something in your hair; what is it?" Whilst this is being said, a rapid dash is made at the addressee's hair, the orange being slid to the ends of the fingers, and produced with all slowness. It is given a second spectator to examine, who is discovered to have a lemon in his hair, or inside his coat. Whilst the lemon is being produced, and all eyes are intent upon it, the empty hand gets down the egg. This is found in the hair of a third person, whilst the walnut is discovered on the tip of the nose of a fourth. When the performer afterwards collects all four articles into his hands, it will never occur to the company that so much bulk could have been deliberately palmed by him in their very midst. As a matter of fact, it is easier to do these sort of things in the midst of a numerous and rather closely-packed company, than in the presence of a meagre and widespread one, and the performer should always go where the spectators are thickest.
How to Cause Large-sized Objects to Appear to Vanish from the Hands.—By large objects are meant eggs, oranges, ladies' handkerchiefs, gloves, small birds, &c. The sleight-of-hand conjuror should embrace every opportunity for a display of his skill, handkerchiefs being swallowed and reproduced elsewhere, and other articles thrown away or made to pass imperceptibly from out of the hand into thin air, nothing being left of them when the hand is opened. In order to bring about these things, all that the conjuror has to do is to adapt, to the altered circumstance of having larger articles to deal with, what he has been taught in connection with the palming and passing of coins. Take, first, the apparent placing of an article in the mouth, and swallowing it. The method adopted will vary, according to the size of the article. If it be a comparatively small one, such as a walnut, then the action depicted at [Fig. 7] must be followed, the article being palmed in the right hand, the back of which must necessarily be turned towards the audience more than is shown in the sketch, by reason of the more bulky nature of its contents, and the fingers of the left hand rounded in a way suggestive of containing the article supposed to be put into them. The right hand then takes the wand, which, in these cases, must always be carried under the right armpit. Should the article not be swallowed, the wand strikes the closed fingers of the left hand, which are simultaneously opened and shown to be empty. The success attending this method will depend solely and entirely upon the neatness with which the palm is executed, and the article apparently placed in the left hand. It must not be ostensibly thrown there, as is the case with a coin, but deliberately put in, the fingers of the right hand, after the execution of the palm, forming as though they actually held the article, those of the left hand closing around them, as if taking it firmly in charge. It is always as well to actually place the article in the left hand at least once, thereby silently impressing the company with what is to be done with it. The palming of a walnut is quite as easy as that of a coin, and the pass must be regarded as a very simple one to learn.
Eggs, oranges, lemons, and solid articles of that size, must be treated according to the action shown at [Figs. 8] and [9], facility in executing which will render the accomplishment of what is now described very easy. As the article is not a coin, it must not be held between finger and thumb, but made to rest upon the very tips of the fingers of the left hand, which is held perpendicularly for the purpose. It is thus very conspicuously in sight of everyone. It is allowed to rest there for a few seconds, when the right hand is brought suddenly in front of it, and the action gone through of taking it. At this instant, the orange (say) falls into the hollow of the left hand, which is immediately dropped to grasp the coat flap, whilst the right hand apparently puts the orange into the mouth, a muffled noise being made indicative of the mouth being full. Before the hand is removed, the mouth is closed, when it is as well to bulge one of the cheeks out with the tongue, and then make three or four desperate attempts (ultimately successful) at swallowing, accompanied by choking sounds. A smile should then illumine the face of the performer, who appears to have enjoyed the operation, and the orange, if it is wanted again, may be produced at the right elbow, or brought round from the back of the neck, rolled along by the tips of the fingers. A very effective sleight with which to quickly follow the foregoing is as follows: Place the wand under the left armpit, and hold the orange in the fingers of the left hand, as above described. Open the legs slightly, and then apparently take the orange in the right hand and smash it into the right leg, just above the knee. The orange must be apparently vigorously snatched out of the left hand, which at once mechanically finds its way to the wand, that article being grasped by the thumb only, the fingers and palm concealing the orange. The performer allows a second to elapse, and then, briskly taking the wand in the right hand, rolls the orange from behind his left thigh to the front. It does not in the least signify what the company fancy actually happened with the orange, so long as they are not allowed to suspect that it never left the left hand. Obliged to account for the phenomenon, the theories formed will be various, the majority polling for a tubular communication between sleeve and sleeve, viâ the performer's back. As the orange is apparently smashed into the leg, the performer will find it necessary to stoop slightly. This sleight should follow the preceding one before the spectators have begun to recover from their wonderment at seeing the orange apparently swallowed and then reproduced. A cigar, or article of the like shape, can be similarly treated if it be held in the left hand between the tips of the middle finger and thumb, the broad end being against the thumb. As the right hand covers it, in the act of apparently taking it, the broad end is allowed to fall against the root of the thumb, and the hand turned slightly over and then allowed to hang down at the side. A very little pressure on the part of the middle finger will suffice to keep the cigar in position. The right hand must conform itself as closely as possible to the shape it would assume if it actually contained a cigar. This sleight will come in handy in conjuring at table.
A more complete method of vanishing is as follows: Take the article in the right hand, and hold the waistband of the vest by the left. Toss the orange, &c., twice or thrice in the air, and then whip it swiftly beneath the vest, which will be partly raised by the left hand. The two hands thus brought together should be closed one over the other, as if they contained something, which something you will then proceed to gradually rub away. As you have nothing whatever in the hands, you will be able to execute this portion of the deception with great confidence and ease. When you slip any article beneath the vest, the body should be partially turned from the audience. Quickly done, the movement will never be noticed, and it is one of the most perfect deceptions practised. The vest is never thought of by an audience as being a place for the concealment of articles, and so it escapes notice, and everyone wonders where the vanished article can have gone to. The vest is also an excellent place in which to carry such things as eggs, lemons, &c., which may be required during any trick.
To Change an Article.—This is executed very much after the manner of the preceding, with this exception: the left hand contains the article concealed, which is to be exchanged for whatever is held in the right. Say, for example, that the right hand holds an orange, which the audience, of course, examines. The left hand conceals, say, an apple. The orange is vested in the orthodox manner, and the hands brought together as directed, but this time they contain the apple. Rub them a little, and exhibit the apple, which can be brought back to its original shape—an orange—if the performer pleases. On no account must the conjuror inform the audience what he is about to do, or he may find the ideas of the spectators anticipate his actions, which is, to say the least, awkward. These actions of vanishing or exchanging can be done when one is actually surrounded by people; but the hands must be quick and must appear natural: for instance, when supposed to contain an orange they must not be compressed so as to barely leave space within them for a walnut. Nothing but careful practice will ensure a satisfactory result, for the least bungling will lead to detection. I need hardly say that it enhances one's reputation greatly if one can be said to have "changed a real orange into a real apple under our very eyes" without the aid of any gaudy boxes or canisters. By all means allow the orange to be squeezed and the apple to be eaten.
To Vanish Handkerchiefs.—Not being solid bodies, handkerchiefs will require different treatment, and present the greatest difficulties, which are fully compensated for by the superior effects produced. In the first place, the performer must be careful to borrow a lady's small handkerchief, if for the purpose of vanishing. In performing The Knots ([page 218]) a small handkerchief is generally included amongst those borrowed. It is not used for the trick; but the performer says he is very fond of such handkerchiefs, and forthwith rolls it up in his hands, pops it into his mouth, and swallows it. Whilst the company are wondering, he suddenly pulls the handkerchief out of his leg. This is a most wonderful sleight, and one the conjuror must endeavour to become perfect in. He should begin with a small piece of muslin, which rolls up very tight and easily. This he takes between the two hands, the left hand below, with its back turned somewhat towards the company, and rolls it sharply round and round, until he feels that it is well balled. Then, with the right hand, he apparently takes it up, the left hand really retaining it by means of the thumb, and grasping the coat-flap, as in other cases, or the wand under left armpit. The right hand apparently conveys the handkerchief to the mouth, where the choking and swallowing performance is gone through. After a pause of a couple of seconds, the conjuror looks curiously down at his leg, and, pouncing at a spot in the rear of the thigh, just above the knee-joint, presses the handkerchief there, to enable the fingers to obtain a hold of a very small portion of it. It is then at once jerked forcibly away, when it will appear to the spectators precisely as though it had been pulled out through the cloth. The different movements must all follow one another with regularity and swiftness, and yet the performer must not appear to be hurrying himself in the least. If the handkerchief experimented upon be large, some risk is run of a portion appearing from the left hand. Even with small handkerchiefs this will, at times, occur; but if the performer carries out the movements of the right hand properly, the eyes of the company will be directed solely to that.
The same sleight is employed in feigning to throw back a handkerchief to its owner, the action of throwing being employed instead of affecting to place the article in the mouth. In this case, it is as well to pivot round at once, vesting the handkerchief in so doing, and then at once inquiring, with empty hands, if the handkerchief arrived at its destination all right. It may be afterwards produced from the interior of a spectator's coat, by being whipped quickly in and then produced very slowly and at extended length. If this reproduction is to follow quickly, then do not vest, which is only done for the purpose of showing the hands empty. If the performer pleases, he may plunge his hand into his breast, and produce the handkerchief; but it will cause less wonderment, and no amusement at all.
Small birds present considerable difficulty, the object being to conjure with the bird without injuring it. A bird cannot be palmed, like a walnut, nor can it be rolled up, like a handkerchief. But, strange to say, the very difficulty of the feat assists the performer. In the first place, the company never suspect that the bird is about to be made to disappear, unless the performer is weak enough to forewarn them; and, secondly, never having experimented, they do not suppose for an instant that the bird will be simply retained in the hand all the time, as it really is. All the conjuror has to do is to hold the bird in the right hand, outside the wings, and head downwards, the tail pointing up the wrist, and then affect to put it in the left hand, which is bulged so as to appear to hold it. The wand must be under the right armpit, and the right hand seizes it at once, the left hand being struck and opened, showing the bird to be flown. The sooner the bird is reproduced the better. The most unlikely, and therefore the best, place to produce it from is the bottom of the trouser—a lively course of speculation as to how it got there being thrown open to the company. If it be desired to get rid of the bird altogether, the performer must pivot round and vest. There is not much chance of the bird moving in that position, but, of course, it will be better for the performer to make an early exit, and relieve himself of the encumbrance.
Doves are made to disappear by means of the shelf at the back of the table, or the pocket directed to be made at the bottom of the coat-tail. The shelf vanish is more open to suspicion, but I have, nevertheless, found it enormously successful, when properly managed. The performer, in the first instance, must not announce, by word or deed, that the disappearance is about to take place. Standing to the left (his left, facing the audience) of the table, and slightly to the rear of it, he takes the dove in the right hand. Walking briskly past the table, at the back, he casts his eyes upwards, and just as he reaches the extreme corner of the table, makes a movement of tossing the bird into the air. It is, instead, placed gently (not dropped, or thrown) upon the end of the shelf, the brisk pace of the performer carrying him at once a good yard beyond the table, from which spot the dove is apparently cast into the air. The success of the sleight depends very much upon the exactness with which the performer imitates the actual throwing of a bird into the air, and the fearlessness with which it is conducted. Any symptom of a glance at the shelf would be fatal. The bearings must be taken whilst stationary, and the rest carried out with the eyes fixed earnestly on the ceiling. Rabbits and guinea pigs may be similarly treated; but large-sized rabbits are unsuited, since it is not easy to place them upon the shelf. When the pocket is used, supposing it to be in the right coat-tail, as it probably would be, the performer should stand with that side away from the audience, and ascertain, by means of the right hand, if the mouth of the pocket be open. Lean slightly over to the right, and then, taking the dove in the right hand, make a movement of casting it into the air, straight upwards, whither the eyes are directed. It is, of course, left in the pocket, head downwards. An attempt to place it there tail first would be likely to lead to disaster. As this sleight may be performed away from any table or chair, it is, of course, to be preferred. It is, undoubtedly, more difficult of accomplishment than the shelf vanish, requiring more neatness in depositing the bird; for, if the downward sweep be too vigorous, it will have the effect of disturbing the coat-tail, which will be momentarily seen, pushed out behind the performer, by the company, and the place of concealment thereby betrayed. It need hardly be pointed out that, in either case, the hand must grasp the bird firmly by the body, clasping the wings tightly down. If it be felt struggling in the pocket, the performer should bow himself off at once.
Mesmerising a Dove.—The apparent mesmerising of a dove makes, of itself, a capital effect, leading the audience to pay high respect to the necromantic powers of the conjuror. Also, it makes an admirable introduction to the vanish. The bird is taken in the right hand, outside the wings, and laid upon its back on the front edge of the table, so that the head just projects over. The beak is now taken in the left hand and the head turned backwards, as far as it will go. When held in that position for a few moments, the hands may be removed, when the bird will lie perfectly still. It will not always do this at the first, or even the second, attempt, but perseverance will always be rewarded with success. The performer must be as gentle as possible, and go slowly to work. We need not stay to discuss the reason for the singular phenomenon, it being sufficient for our purpose to know that the bird will lie still when placed in the proper position. The performer waves his hands over the bird, as though mesmerising it, and then he may take one of the feet in his fingers and actually raise the bird, by one of its legs, completely off the table. This will require the greatest delicacy and patience to accomplish, operations being discontinued the instant the bird shows any signs of fluttering. Anything approaching a jerk will rouse the bird, so the lift must be made as gradual and as imperceptible as possible. The reader will, doubtless, be able to appreciate the sensation that will be caused when, the mesmerising accomplished, the bird immediately afterwards vanishes from sight, no one knows whither.
To Exchange Borrowed Rings for Dummies.—With a single ring, and in a small way, this may be done by means of the finger palm ([Fig. 3]), the dummy being already held in the left hand, between the roots of the fingers, and a feint made of placing the borrowed one into it. (See "Tricks with Coins," [b, p. 11]). This does very well for the drawing-room, in which domain the following method may also be adopted when two or more rings are borrowed. Have the dummies screwed up in a piece of paper, which hold in the left hand, and cover with a precisely similar piece of paper, open. Into this latter place the borrowed rings, and screw up. All that is now necessary is to reverse the positions of the two parcels, the left hand carrying away the borrowed rings, the right taking the dummy ones, the paper containing which is, of course, not opened again during the trick. The same method should be adopted with large audiences when a borrowed watch and chain have to be exchanged; but the following method is far away the best to adopt on the stage with rings.
For the purpose of collecting rings borrowed from the audience, the conjuror should provide himself with an ebony wand, rather thicker than an ordinary penholder, and about eight inches in length. If he be performing with an assistant, that person should do the collecting. Upon the wand are already placed the dummies, covered by the hand holding it by one of its ends. The wand is presented the persons lending the rings, who slide them on. The performer remains well up the stage, and, the assistant, turning towards him, changes the wand from one hand to the other, securing the borrowed rings under the latter, and spreading the dummies along the wand. This can be quickly effected, and the assistant at once turns round facing the company, presenting the wand, with dummy rings, to the performer, who takes it; the borrowed rings remaining in the assistant's hand, dropped at once to his side. The performer at once draws attention to himself, and the assistant makes off with the rings for whatever purpose may have been previously arranged. An assistant must be something of a conjuror to possess the necessary sang froid for effecting the exchange without drawing attention to his movements, so the performer may have to execute it himself, in which case he would place the dummy rings in some conspicuous position, and pass behind the scenes momentarily on the strength of some plea, which would suggest itself according to the trick in course of performance.
How to Show the Hands Empty whilst still containing Coins.—In many tricks with money ("[Hold them Tight]!" for instance) it may be advisable, or even compulsory, by reason of the doubt of a spectator, to show that the coins are not in the hand, whilst they really are so. With a single coin to manage, the reverse palm will suffice. When two or more are in the hand the coins must be slid inside the doubled up fingers which hold the wand, placed across the hand. The really empty hand is opened, and the one containing the coins also, as far as the performer dare. Now, if he held the fingers doubled up without the wand in the hand, the spectators would know where the coins were; but, seeing the wand, the partial closing of the hand seems natural enough. Of course the hands are boldly thrust out, the performer saying the while, "It is pretty plain that I haven't the coins, for here are my two hands both wide open. Now sir, what have you done with them?" &c. Unblushing audacity is again the order of the day. A capital effect is made if, after showing the hands apparently empty, the coins are abstracted from the hair or beard of a spectator. One never knows when such a sleight may be wanted. When it is, it is as well to know what to do, so as to prevent exposure.
To Mark a Card, in the Course of Performing, so as to be able to Recognise it again.—This is a very useful little dodge, as by its means the machinations of the obnoxious person in this book denominated Mr. Interference may be defeated. It is only requisite when it becomes absolutely necessary to convince the company that you do not know the position of the card in the pack. It is necessary to get at least a portion of the card in the hand, when, from the upper side, an indentation is made in the card with the thumb nail, one of the fingers, on the under side, performing the office of pressure pad. The card need not be removed from the hand of the chooser, the performer merely touching it momentarily whilst explaining what he wishes done. It is as well to make the mark near the centre of the card, as then it is more easily found. After it has been made, the pack may be given the company, the card placed in it, and the whole well shuffled by anyone. The card will at once be recognised by the slight projection that has been made on the under side. Should a repetition of the ruse become necessary, the performer must either leave the card originally marked out of the pack, or else make two marks on the next; but it is better to leave the first one out. As the whole of the pack is not used—at least, not under my instructions—some spare cards are always lying unused upon the table. This spare heap is always exceedingly useful, as cards such as the one under notice may be placed in it, whilst others, which may be presently wanted, can lie upon the top, ready at hand.
To Pass a Handkerchief over the Flame of a Candle without Burning it.—This is a remarkable effect, which only requires confidence to ensure its successful execution. The performer has a lighted candle standing upon the table, and when in possession of a borrowed handkerchief for a trick, he introduces the sleight as an interlude. Grasping the handkerchief by one corner, in such a way as to spread it somewhat with the fingers, he holds it in front of the candle, and then draws it upwards and backwards, right over the flame, almost extinguishing the latter in so doing. The handkerchief should be an ordinary white one, and the flame will be seen by the spectators to be eating into it, apparently. There is not the least necessity to be in any hurry, the action of drawing the handkerchief over the flame being a steady and deliberate one. It may be repeated as often as the performer chooses, but not made anything of by him, the impression to be conveyed being that the power of placing a handkerchief in the flame of a candle without injuring it is one necessarily possessed by him, as a matter of course. This sleight will come in particularly à propos if it precedes a trick in which a handkerchief is burned. It is not advisable to try the feat with a scented handkerchief, it being just possible that the spirit contained in the perfume might ignite.
The Conjuror's "Shuffle."—Nearly all good conjurors preface their card tricks with an exhibition of shuffling, a process always conducted in the showiest manner possible, although, by the time it is completed, it is possible that the position of the cards has not been interfered with in the least. As the term "shuffling" is only employed for want of a better one, and it is merely a question of exhibiting skill, this does not signify. When a conjuror wishes to shuffle the cards, he adopts the specious method generally in use—if he can. According to whether he be a genuine adept, or only a performer of an inferior order, so will the phenomena exhibited to the spectator in this connection vary. In the one case, the performer, holding the cards in the two hands, suddenly opens them very wide apart, the cards spreading, after the manner of a comet's tail, from one hand to the other. For an instant they form an aerial arc, when, before they can fall to the ground, the hands are brought smartly together, collecting the cards by the action. This movement is repeated twice or thrice. This is what the genuine man does. The impostor ostensibly does a very great deal more, for he begins by parting and bringing the hands together again, as one does in playing the concertina, several times, the cards acting the part of the concertina perfectly. He then tosses the cards about from hand to hand in the most nonchalant manner, the cards invariably following one another in an unbroken stream which assumes serpentine and other shapes, at the will of the performer. They are spread along the conjuror's arms, and over his chest, and are invariably gathered in again without a single one being allowed to fall. The feats performed appear to be nothing short of marvellous, until one becomes possessed of the interesting fact that the cards are all sewn together, so that the whole thing is merely child's play. Now, although I have seen conjurors with good reputations using these prepared cards, I entirely disagree with their use myself. In order to deceive the public, one must not be particular about the means employed; but here it is a question of one conjuror setting up to be vastly superior to others, the facts of the case being precisely the other way. As a matter of fact, these prepared cards are only used when the performer is so wanting in skill that he cannot execute the genuine shuffle. Looking, as I do, upon the use of these cards as being unworthy anyone but a music-hall performer, I never hesitate to expose the fraud whenever it is perpetrated. I shall, of course, describe nothing in connection with it, but pass on to the genuine article, which may be at once recognised by the noise accompanying its execution, the fraudulent method being quite noiseless. As the feat is really difficult of accomplishment, its study must be conducted by easy stages. The pack, which should be composed of small cards (the large English ones being very unsuitable), thirty or so in number, is held lengthwise in the right hand (left hand if the performer is very decidedly left-handed) by the thumb at one end, and the first, second, and third fingers at the other end, the body of the hand making an arch over the cards. The left hand is held out, a little lower than the elbow, in front of the body, with the fingers spread out, and slightly curled upwards, the first finger a great deal more than the rest. Now, if the cards be squeezed by the fingers and thumb of the right hand, they will bend thus, [downward curve]; but if, just as the pressure is put on, the fore finger of the left hand pushes the centre of the pack from below, the opposite curve will be taken, thus, [upward curve], which is the one wanted. With the cards thus bent, they must be held over the left hand, and more pressure then applied, when they will "squirt" into the left hand, their foremost ends striking against the up curled forefinger, and so being prevented from falling to the floor. In making the squeeze, it will be found that the middle and third fingers use more influence than does the first finger, which is merely an auxiliary at the commencement. The greatest power of all must be exerted by the thumb, which is always pushing the cards forwards with considerable force. The learner must content himself with merely "squirting" the cards from the right hand into the left, at a distance of two or three inches only. When he can do this easily and smoothly, and without dropping any on the floor, he may increase the distance to six or eight inches. This is about the greatest distance he will be able to attain by simple "squirting." In order to make a more effective show, he will have to give to the right hand an upward movement at the moment the cards are pouring from it. This will tend to increase the distance between each card, but as, at the same time, it kills the forward momentum, the cards would simply fall to the ground were they not prevented from so doing. To accomplish this, the left hand must follow them up quickly. For an instant of time they will poise in the air, and then commence to fall; but, at that moment, the left hand comes upward with a rapid sweep, bringing the cards together against the right hand. By not attempting too great a distance at first, the learner will progress more rapidly; and he should not be satisfied until he can compass a distance of two feet. Great experts can accomplish very much more than this. As proficiency is attained, the "shuffle" should be made more across the body, the direction being from the left hip towards the right shoulder, this being more showy. A very difficult, but highly effective, method is to make the "shuffle" the reverse way, i.e., downwards. The left hand is held nearly shoulder high and the cards "squirted" into it, the right hand sweeping downwards in the direction of the right hip. The performer must always direct his practice towards making the cards remain as long in the air as possible. To this end, the movement of the right hand must be exceedingly rapid, so that all the cards are visible to the spectators at once; and the longer the left hand dallies, the more rapid must be its motion towards the right hand. It must be distinctly understood that the two hands do not move simultaneously, there being two decided movements, one following the other. Old cards are useless for this feat, as they come off in batches, and have no spring. American cards are a trifle too thin, and are only good when new, whilst the regulation English whist card is too thick; therefore a medium thickness must be chosen. The finest quality cards will be found the cheapest to use, as they stand the strain better. Inferior cards soon become demoralised by the rough treatment to which the "shuffle" subjects them. After using a pack faces downwards for some time, turn it over, and use with the faces upwards, changing back again when the spring of the cards becomes weak.
Properties.—Besides the auxiliary articles mentioned in connection with various tricks, there are some that are of general application which the conjuror should always have in readiness. They are here enumerated and described:
The Devil's Handkerchief.—The peculiar use of this article is that anything wrapped in it is made to disappear when the performer desires, by simply shaking out the handkerchief. The secret lies in the fact that there are two handkerchiefs, three of the four sides of which are sewn together, the fourth being left open, so as to form a bag. The article to be made to disappear is apparently placed under the handkerchief, but really into the bag, and it is usual to give this to be held by one of the spectators. Later on, the performer takes the two upper corners of the handkerchief, and, asking the spectator to loosen his hold, gives it a vigorous shake. The company look in the air, or upon the floor, expecting to see the object there, but of course it is at the bottom of the bag. Cards are successfully vanished in this manner, as also watches, eggs, and articles not more bulky than they. The handkerchiefs should be of a sombre colour, and have a decided pattern. This will tend to conceal the contour of the article inside the handkerchief after it has been made to disappear, although the performer invariably retires with it to the stage, out of harm's way. Some performers use handkerchiefs sewn up on all four sides, and having merely a slit, from four to six inches long, made in one handkerchief.
The Coin Handkerchief.—This is an ordinary coloured handkerchief, into one corner of which, by means of a small extra piece of stuff, is sewn a piece of metal (to avoid unnecessary sinking of capital) resembling a coin. The performer should have on hand three handkerchiefs prepared with pieces of metal to represent sixpences, shillings, and half-crowns. For the latter, a penny will do admirably, and it will also act for florins and pennies, the public not being able to appreciate the slight difference in size when felt or seen through the folds of a handkerchief. The shilling handkerchief will answer admirably for halfpennies. A borrowed coin is apparently folded in the handkerchief, which the performer has drawn carelessly from his pocket, and not had lying in state upon a table, but palmed instead, the dummy being presented in its place, and given to be held. The palmed coin is then secreted in the place to which it is presently to be magically transported. To cause the coin, supposed to be wrapped in the handkerchief, to disappear, the performer shakes it by one or two corners, as in the case of the [Devil's Handkerchief]. Each of the three prepared handkerchiefs should be of the same pattern, so that, if more than one are used on the same evening, no remark will be excited as to the appearance of a new property upon the scene.
The Flying Ring.—This is a dummy ring, attached to a piece of elastic passing up the sleeve, with the other end fastened to the brace, or elsewhere. On a ring being borrowed, it is apparently placed in a handkerchief, the Flying Ring being substituted, and held by a spectator, of course through the handkerchief. At a given signal the ring is released and at once disappears up the performer's sleeve.
Magician's Eggs.—These are merely blown eggs, which should always be used when the employment of solid ones is not imperatively necessary. Their lightness enables the performer to palm them with considerable ease, and the same peculiarity renders them less liable to break; and, when they do, by chance, crack, no disconcerting emission of glutinous contents ensues. Besides this, a stock can always be kept on hand ready for any performance, which cannot be done with real eggs. Imitation eggs are made in indiarubber. These are of everlasting wear, bodily, but the exterior paint wants renewing occasionally, in order to maintain the resemblance to the real article, at no time any too exact.
Productive Eggs.—These are blown eggs containing lengthy slips of coloured paper, rolled up tightly. The introduction of the paper is thus managed. The egg blown and dried, a slit is made along one side with a piercing saw or fine file. A wire is then passed longitudinally through both thick and thin ends, one end of the paper inserted through the slit, and rolled up by means of the wire, twisted from the outside, until the egg is full. A piece of cotton is attached to the loose end of the paper, and the slit and holes in the ends of the egg closed up with plaster of Paris. At the conclusion of any trick in which real eggs have been used, one can be exchanged for a prepared egg, which is then broken, and the paper extracted, the piece of cotton at once showing where the loose end is to be found. Into a good-sized egg some fifty or sixty feet of paper may be secreted. The paper may be purchased at conjuring shops in large rolls; and the conjuror will find it better to prepare a quantity of eggs at a time.
The Coin-vanishing Tumbler.—This is an ordinary tumbler, with a horizontal slit at the side, on a level with the interior bottom, large enough to allow of the passage of a half-crown. If the tumbler be held in such a manner that a finger closes the slit, liquid may be poured into it. This should be done casually, and not professedly for the purpose of showing that there is nothing peculiar about the tumbler, such a suggestion being unnecessary and dangerous. The company would naturally say, "If there be really nothing wrong with it, why does he not place it in our hands for examination?" A coin placed in the tumbler may be got into the hand at any moment viâ the slit, the top being covered with cards, &c., to prevent the exit of the coin that way: as if coins were in the habit of leaping out of tumblers into which they have been placed, and deceiving audiences! Nevertheless, an audience is invariably satisfied when inanimate articles are covered up, and so supererogatorily prevented from performing acts which are not possible to them.
The Magic Plateau.—This is a glass plateau, in form like a school slate, there being a broad fancy wood border, glass taking the place of the slate. The plateau is held like a tray in the hands of the performer, and coins are placed upon it, which disappear when it is waved in the air. The secret lies in the fact that the wooden border is undermined, and, when a sideways movement is given to the plateau, the coins disappear underneath. The plateau is then carried with that side in which the coins are concealed, downwards. It makes a trick of itself, but is more useful as an adjunct to other tricks. As it is advisable to have a very narrow frame, shillings should be used: in no case coins larger than a florin. The plateau is also of great use when the performer is desirous of changing several borrowed and marked coins for some of his own. Taking the plateau, with the marked coins upon it, in the right hand, he pretends to pour them off into the left hand, where the conjuror has his own coins concealed. The marked coins disappear under the frame, and the concealed ones are exhibited. When the reappearance of the coins on the plateau is desired, they may be shaken out of the frame as easily as they were sent there; but I do not advise this addition, as it is very likely to give a clue to the mystery. The article is not difficult of construction, and the fact of the greater part of the material being transparent glass, lends it a desirably innocent appearance.
[CHAPTER XII.]
TRICKS WITH CARDS.
HOW TO VANISH AND RECOVER A PACK—THE EGYPTIAN POCKET; HOW TO MANUFACTURE CARDS—THE MISSING LINK—ASCENDING CARDS; VARIOUS METHODS—THE CARD-HOLDER—WHAT APPARATUS NOT TO USE—THE SALAMANDER CARD—A LEGITIMATE USE FOR "FORCING" PACKS—HERRMANN'S BOUQUET—A HUMAN HEN—THE HATCHED CARD—THE WAND, AND HOW TO MAKE IT—MORE ABOUT APPARATUS.
Nearly every modern conjuror of any pretensions to skill commences with a card trick. There is something about a good card trick well executed that always takes with an intelligent audience. When a performer does not commence with the cards, it is generally because he does not possess skill enough to do anything effective with them, although he will generally make a virtue of necessity (at which conjurors are particularly apt), and give some totally different reason.
Vanishing a Pack.—When the time is limited, none should be wasted in preliminaries; but, when possible, the performer should always vanish the pack, by palming it, and find it either at the elbow or sole of the boot, or else in possession of one of the audience; or he can pretend to give it into the hands of a spectator, and then discover it some distance off, with someone else. To execute this properly, the cards should be palmed in the right hand, which affects to put them into the left hand. The right hand should take the wand or lappel of the coat, and the left be disposed, palm downwards, as though it held the pack. Such a little exhibition of skill makes a good impression at once, and puts the spectators on the alert from the very commencement.
The Egyptian Pocket.—One of the very best sleight-of-hand card tricks is that introduced by Herrmann, who, a few years ago, was such a favourite throughout Great Britain. He called it the Egyptian Pocket, though, for all the name implied, it might as well have been called the Nubian, Chinese, Japanese, or Brazilian Pocket. One of the audience took a pack round, and allowed four cards to be drawn from it. These cards were afterwards gathered in by the same person, who, after mounting the stage, placed them in the pack, which was then well shuffled. The pack he placed in his breast pocket, and then drew out, one by one, three cards of those selected in the audience as they were called for. The fourth card, however, he failed to find, and was told to search the pack for it. The search proving fruitless, he was told to manufacture the card, and, on expressing his ignorance of the proper method to pursue, was directed to blow into his pocket, where the missing card was then discovered. He was found, however, to have blown too hard, for his vest contained a perfect avalanche of cards; whilst his nose, on being squeezed, gave forth a stream of them, amidst roars of laughter. The method for performing this trick is as follows: Place upon your centre table two bulky packs of cards, and step forward with a third pack in your hands. Ask someone to assist you, and give him the pack in the shape of a fan, directing him to ask certain ladies, four in number, whom you will indicate with your wand, to select one card each. On this being done, take the pack from his hand, and direct him to receive the four cards, faces downwards, on the flat of one hand. Whilst this is being done, step on the stage, but never take your eye off the operations that are going on, for you must notice whose card is placed undermost, whose next, and so on. Request your volunteer assistant to kindly step on the stage, and, opening the pack in the middle, ask him to place the four cards inside. Close the pack, keeping the finger inserted where the cards were placed, ready for the pass, and inquire if the person on the stage with you possesses an inside breast pocket to his coat. If it is outside, it does not much matter, but the inside one is better for the trick. On receiving an answer in the affirmative, ask to have the pocket emptied. Whilst this is being done, sometimes amidst much amusement, by reason of the miscellaneous character of the contents of the pocket, make the pass, bringing the four cards to the top, and, opening the pack slightly, carelessly run the eye over them. It is always as well to know them, in case of an accident occurring. Palm them, and give the rest of the pack to your assistant to shuffle. Taking the pack back, replace the palmed cards upon it, re-palming the top card only, and bid your assistant place the pack in his pocket. Feel the outside of his pocket, under the pretence of seeing that everything is all right, but in reality to give the cards a bend, crosswise. This bend will cause the back of the uppermost card to be the first met with by a hand entering the pocket. Now inquire of the chooser of this said top card—which, as you have palmed the original top one, will be the third one gathered in—what the name of her card is. You will affect to do this haphazard, and not as though you selected that particular person to inquire of. On receiving a reply, desire your assistant to put his hand quickly—"very quickly indeed, sir"—into his pocket, and draw out a card. If you have arranged everything properly, this will be the desired card. Now ask the chooser of the second card what the name of hers is, and repeat the operation. Do the same with the first card, and then with the fourth. By thus apparently dodging from one lady on one side of the room to one on the other side, it will still more appear that you are indifferent whose is asked for. This last card will not, of course, be forthcoming, and after a few fruitless attempts to produce it, plunge the hand, in which the card is palmed, into the pocket, and draw out the pack, leaving behind the palmed card. The assistant looks through the pack, but does not find the card, and you say, "Well, sir, you must make one, I suppose." On hearing that he does not know how, say, "Oh! it is as simple as possible. Take this wand in your right hand, and open your coat with the left. Good. Now blow into your pocket." The card will be found there, and your assistant, thinking it is all over, will be about to retire, when you, having just palmed one of the packs from the table, detain him with the remark that, "Although you did the trick very well, sir, for the first time, yet, owing to your inexperience, you unfortunately blew a little too hard. See here, sir, what you have inside your vest!" You then plunge the hand containing the cards rapidly inside his vest and draw out one card only, then another, another, and so on, and finally say that, as you do not know how many more there are, he had better take them out himself. Whilst he is doing this, palm the other pack, and say, "Have you any more cards, sir? No! Excuse me, but will you allow me to finish my experiment?" You then place your hand to his nose, and, compressing the hand, cause the cards to shoot forth in a stream on to the floor. Immediately it is over, shake hands with your assistant, and say you are extremely obliged. This will ease his mind of the idea that you meant to make a fool of him.
Sometimes, in drawing the cards from the pocket, the assistant will accidentally take them from the bottom, instead of from the top. In this case, they will be wrong cards, and you must say, "Ah! you don't do it quickly enough; this is the way," and, plunging your hand in the pocket, draw out the desired card, giving the pack, at the same time, a good bend, when you can allow the assistant to try again. About thirty cards will make the best pack for this trick, and great care must be taken that it does not contain two cards of a kind, for if one of these duplicates is chosen, and it is the fourth card, i.e., the one which is missing at the last, it (its duplicate) will be found in the pack when it is gone over, and all your blowing in the pocket performance, which is the great feature in the trick, will be knocked on the head. I have actually seen this occur. All the performer could do was to palm the card and pretend to pass it into the pocket, where, of course, the duplicate was found; but it was a very weak finish.
The Missing Link.—This is another very telling card trick, and one that has made the fame of more than one amateur conjuror. A card is chosen from the pack and torn into shreds. The pieces, with the exception of a single one, which is given into the custody of a spectator, are then put into a little box, piece of paper, &c., and made to disappear. The card is then found restored in some part of the audience, but it is noticed that a small portion of it is missing. The single piece, which was given to a spectator to hold, will be found to be of the very size and shape required, thus proving that the performer restored the actual card that was destroyed.
For this trick, some slight prearrangement will be necessary. In the first place, a card (say, the six of hearts) must have a small piece torn out from one of its sides. This mutilated card must then be secreted in some out-of-the-way place in the auditorium, or, what is still better, in the pocket of one of the audience, of course some time before the performance begins. I once had it sewn up in the lining of a coat, and on another occasion inserted in the sole of a boot: but, in such instances as these, care must be taken that the article containing the card is to be worn on the evening of the performance, or a fiasco will result. It is, however, always worth while to run a little risk for the sake of increased effect. The small piece torn from the card is carefully kept, and, whilst the trick is being performed, should be on the table, concealed by any trifling object that may be upon it at the same time.
"Force" (see instructions for "[forcing]") a card, exactly similar in every way to the one you have previously mutilated and concealed, and then ask the chooser to tear it up. Whilst this is being done, go to your table for your box or piece of paper, according to which you may elect to use, and bring with it, concealed in the fingers, the little piece of card. Then have the pieces, which should be reduced as nearly as possible to the size of your secreted piece, placed in the box or paper and, putting your fingers among them, affect to take out one piece, but, in reality, show the one you already had in your hand, and give it to a spectator to hold very tightly, or if he likes, to put it into his purse. If you have plenty of time on your hands, and wish to make extra fuss, you can have it put into an envelope and sealed by the audience, which certainly improves the effect. A very pardonable joke here comes in well. On giving the portion of the card to be held, say to the gentleman, "Will you kindly keep the piece, sir?" and then, affecting to notice reluctance in his looks, "No! then I must apply to a magistrate, who will, I have no doubt, bind you over to keep the peace for six months or so, whilst I shall only trouble you for a bare six minutes." If you have had the pieces put in paper, you can roll it up into a ball and vanish by palming in the right hand, whilst affecting to place it in the left, after the manner previously described for vanishing objects. A box can be treated in the same manner, or you can give the trick extra finish by having two boxes exactly similar, one being filled with chocolate creams or other comfits, and exchanged for the one containing the torn-up card. The box should be a small round one, and can then be treated exactly as if it were a coin, and palmed.
The pieces are then commanded to pass to wherever you have originally concealed the torn card, which will be found in due course. You exhibit it triumphantly, not affecting to notice the absence of a portion of it at first and, when you do make the discovery, you must appear overcome with bewilderment. Then suddenly remember the piece you have given to be held, and have it fitted to the card, which it will naturally make quite complete. Then, if you have used boxes, have the box supposed to contain the pieces opened by the lady who chose and tore up the card, and present her with it and its contents. Most conjurors leave the trick here, but, if the performer pleases, he can go still further, and render the card quite complete again. This is easily managed with the use of a card box (see [p. 127]), which can have a perfect card concealed in it. The incomplete card and piece are put in, and the box turned over. This latter phase is not absolutely necessary for the success of the trick. When, as is sometimes the case, it is found to be impossible to conceal the mutilated card satisfactorily in the audience, the card box will have to be used in the first instance.
This trick is best introduced in the middle of a performance, when the production of the card from the person of one of the audience will look more genuine than it would if it took place at the commencement.
The Ascending Cards.—For this trick some little preparation is also necessary, and a certain amount of apparatus will be required. Three, four, or more cards are chosen, and then shuffled up in the pack, which is put into a metal or cardboard receptacle of the size of a pack of cards. At a word of command, the cards ascend, one by one, from the pack, without any apparent agency.
The apparatus required for this trick consists of the case, which can either be made to conceal the cards entirely, or may have the front cut out so as to show the face of the foremost card, a small border being left for the purpose of preventing the cards from falling out. This case is divided into two divisions, the rearmost one being much smaller than the other, and just large enough to hold about ten cards. To the top of the dividing partition affix a piece of fine black silk, which allow to hang over the smaller division. Into this smaller division now introduce a card, which, as it is put in, must have the silk under it. Now introduce a second card, but pass the silk over this one instead of under it. Put in a third card with the silk under it, and a fourth with the silk over, continuing the operation according to the number of cards you intend performing with. When the silk is pulled, it will cause those cards which have it passed beneath them to ascend. The same effect would be caused without the intervention of intermediate cards, but then they would all rise at once, whereas the trick is to make them do so singly. The performer must have all this arranged before commencing, and also have the silk passed out either at the back (which is to be preferred, where possible) or the side of the stage, where an assistant is stationed, holding the end of it. If at the side, then a small staple or pulley must be fixed in the back of the table and the silk passed through it, otherwise a direct pull will not be obtained. The case holding the cards can either be made to fit in the neck of a decanter by means of a cork on the under side, or can be permanently fixed to a tall stand. I prefer the decanter myself, as an opaque stand always causes suspicions of mechanical assistance to arise in the minds of the audience. The decanter should be given for examination.
The performer must force duplicate cards of those arranged in the small division of the card-case, of course taking no notice of those over which the silk passes, as they will never be exposed, and, asking the audience to remember the names of them, have them put in the pack and shuffled. The rest of the trick follows as a matter of course. The pack is placed in the larger front division of the case, and, as the chosen cards are called for, the assistant, who must have a view of the cards from his place of concealment, pulls the thread. A very commonly practised piece of humour is to include a knave in the forced cards, and to place two in the small rear division of the card-case. The one that is to appear first is put in upside down, court cards with one head only being used. It is upbraided for thus making its appearance, and it is replaced in the pack—still upside down—but in the front division. The second time, the other knave appears, right side up. The marvel of the audience is how the card managed to reverse itself in the pack. These card-cases can be procured from any of the vendors of conjuring apparatus.
A better arrangement is the following, which enables the performer to have his case examined by the audience—always a great advantage. It will require a little construction on the part of the performer himself, unless he is more fortunate than I ever was, and can find someone to carry out his ideas for him.
Instead of having the tin case made with partitions, let him have it quite plain, and just large enough to take from thirty-five to forty cards. This will bear any amount of examination, and a pack of cards should always be put in it before the audience, to show that it is entirely filled therewith, and so cannot possibly be made to contain any mechanical contrivance. The performer's little arrangement lies in a few cards, which, with others, are lying carelessly upon his table. These cards are prearranged with the silk exactly as just described for the small partition of the case, the end of the silk being affixed to the top of the undermost card. When the performer returns to his table with the pack, he should place it, whilst arranging his case in the decanter, with the loose prepared cards, which should then be picked up with it, the pack being undermost. The trick can then proceed as usual, and the case be handed round for examination afterwards. Great care must be taken not to disarrange the silk whilst picking up the cards, as any fault in this respect cannot possibly be remedied. The more simple and free from apparatus the method of performing this trick, the better it will be appreciated.
A third method, quite original, which I have adopted with unvarying success, the performer, will, I expect, prefer to any of the foregoing. It is the only method which does not call for the forcing of the cards; and its general surroundings are so simple that I find conjurors themselves sometimes puzzled to explain how the result is brought about. The performer has the usual bottle, which it is, perhaps, as well to open before the company. It should be of perfectly clear glass, and some fluid should be left in to give it steadiness during the performance of the trick. The card-holder should have the front side open, a quarter-inch flange being left on each side, to prevent the cards from falling out, and the inside coloured black. The silk, by means of which the chosen cards are to be made to rise out of the pack, has a small round cloth-covered button attached to the free end, and this button must be lying upon the table, in a convenient position. The performer first comes forward, and gives the bottle and card-holder into the hands of the company for examination. The examination concluded, he takes the articles to the table, and, as soon as possible, drops the button into the bottle. He next fits the holder into the neck, taking care, as he does so, to cause the thread to pass over the top of it. He now brings forward his pack, which he gives up entirely into the hands of the company, who select three cards. As many people nowadays have some idea of the "force," this at once disarms suspicion in a remarkable manner, and puts off many knowing ones, who are sure to have seen the trick before, otherwise performed, it being a very favourite one with conjurors. The performer now takes the pack back to the table, getting a picture card to the front, as he does so. If he chooses, he may ask the selectors of the cards to mark them with pencil, and whilst this is being done, he goes with the pack to the table, where he places it carelessly into the holder, taking care that the thread passes over the top of the cards. It also passes over the front of them, but, as a picture card is in front, it is not seen, as it would be if a card with much white showing were there. For this same reason, the inside of the holder is coloured black. The three cards are now fetched from the audience, faces downwards, so that the performer, as he will explain, cannot see them. It will not assist him in the least if he does; but audiences invariably think an immense deal attaches to the fact of the performer seeing a card, and it is as well for all conjurors to conspire to keep up the delusion. Laying the cards first upon the table, he takes up one, and places it amongst those in the holder, some three or four from the front. As the card is pressed down, it takes the silk with it, care being taken to keep the latter as near the middle of the card as possible. The second card is now placed a few cards farther in the rear, and the third still farther back. It will be necessary to keep a finger of the disengaged hand upon the top of the card or cards in front of the one being placed into position, or the downward pressure will cause a corresponding, but premature, upward motion to be imparted to those already in position, which would spoil the trick at once. Whilst the cards are being thus placed in the pack, the performer must be careful to keep the company engaged in conversation. The trick then proceeds as usual; but, at the conclusion, the performer, seizing the bottle in one hand and the holder in the other, separates them, and comes rapidly forward to give them and the cards for examination. The assistant keeping firm hold of the thread, the button is drawn out of the bottle, and no trace remains of the medium by which the ascension was accomplished. I take some pride in this little arrangement, which, I need scarcely say, is not elsewhere made public.
To force three or more cards, pass them all from the bottom to the centre together, and not one at a time. Always be very particular about showing round the decanter or bottle, the most innocent portion of the whole apparatus. Where convenient, it causes a good effect to have a bottle of champagne opened on purpose. Give some of the wine away, and use the bottle half emptied, saying that you must keep some of the spirits in it for your trick.
The Salamander Card.—A card is chosen and torn in halves. One half is given into the custody of the audience, and the other placed in a cleft stick or crayon-holder, and burnt over a candle. The ashes are put into a piece of paper, which is rolled up and made to vanish by sleight of hand, the method used being one which ought, by this time, to be familiar to the performer. A letter here arrives addressed to the performer, brought in by an attendant at the door by which the audience has entered. The performer asks one of the audience to open it for him, as he cannot stop in the middle of a trick. Inside the envelope, which is sealed, is found another, and, inside that, another; and so on until a fifth or sixth is reached. Inside the innermost of all that half of the card which was only an instant before burnt before the eyes of the audience is found, as is proved by fitting it to the portion in the custody of a spectator.
This trick is thus managed: The cleft stick, which is an ordinary piece of firewood rounded and smoothed a little, has a cleft at each end. A metal crayon-holder, with double ends, also serves the purpose admirably. In one end, the performer has fixed the half of a card, which must be one of the pack from which the card is to be chosen, doubled up tolerably small. This end he conceals in his hand, and then has the half of the card which is to burnt doubled up and placed in the cleft in the other, retaining the stick in his hand all the time. On turning round to his attendant (who must know his part, and have rehearsed it once or twice) for a candle, he reverses the ends of the stick, and, removing the piece of card just placed in it, gives it to his attendant whilst in the act of taking the candle. If the attendant is not very proficient, the performer may go to the side and stretch the hand containing the abstracted piece of card behind the screen or curtain, and so effect the transfer. The attendant should stand with one hand open and the candlestick in the other (of course, out of sight). The performer will call out for the candle, but, receiving no answer, will go quickly to the side, where he will obtain it. The stick, with fictitious card in it, he must have in the other hand, which must be outstretched all the time, and never for an instant removed from the view of the audience. If this is not done, no suspicion will be attached to the fact of his going to the side. The instant the attendant receives the piece of card, he must slip it inside the small envelope, which will be arranged, in order with the others, beforehand (the outside one being already addressed, as a matter of course), and either take it round to the front himself or deliver it to the servant who is to take it into the room. Too much rapidity cannot be exercised in executing this portion of the trick. When once the letter is delivered, the performer has nothing more to do in the way of exerting his skill, but has merely to do a little talking, and eventually have the letter opened. Indeed, in this trick there is but little sleight of hand to be exhibited; but a bungler would nevertheless make an egregious muddle of it. It requires great neatness of execution. For instance, in turning round for the purpose of reversing the position of the stick in the hands, great care must be taken that no movement of the elbows is visible. The movement made must be confined to the arm below the elbow, or even to the wrists only. This movement of the wrists must be practised, as it is a highly essential one and has to be brought into use frequently. If any of the audience see the arms moving, they know, or surmise, that something is going on, even though they cannot divine what it is.
Although not absolutely necessary, it is as well always to force a card for this trick. The card can then be doubled up with the pips outwards if the prepared end of the cleft stick contains a portion of a similar card. For frequent performances of this trick and [The Missing Link], it will be advisable to have what I have previously described as (but condemned the open use of) "forcing packs," viz., packs the cards of which are all of one denomination and suite, as it will not do to tear up cards from ordinary packs. They are easily obtainable at conjuring repositories or card manufacturers.
This trick is also exceedingly effective when a borrowed letter or other document is used instead of a card. In large public audiences, a bank note or other paper of value may be borrowed. It is easy to have a piece of a note of the "Bank of Elegance" in the concealed cleft, in imitation of a bank note. On important occasions the performer should always have three or four sticks prepared with various coloured papers, so as to be ready for any emergency. The preparation is trifling, and the sticks not used will do for another time.
It is quite immaterial which way it is done, but sometimes I tell the person to whom I give the stick and candle not to burn the paper, but to "put it in the candle." When I notice that it is in a fair way to be burned I look in another direction, as if not noticing what is going on, and am horrified on turning round to find the paper destroyed. This answers best when the material burnt is a borrowed paper.
Most conjurors perform this trick with the aid of a square wooden ladle, which possesses a movable flap similar to that of the "card box," and worked by twisting the handle round. This flap releases a fictitious paper, whilst it covers up the borrowed one. The excuse given for using this ladle is that the performer does not want the audience to suppose, as they would do if he handled it, that he changes the paper. This excuse is poor and weak, as it puts the idea of fictitious substitutions (the heart and soul of stage conjuring) into the heads of people who would otherwise never have dreamed of such a thing.
The arrangement of the premises very often makes the employment of the envelopes one within the other impracticable. As a substitute method, I here give one of my own, which, whilst it is not as amusing as the first one, is far more wonderful and inexplicable to the company.
Subsequently to borrowing a piece of paper or bank note from one of the company, the performer shows round a piece of glass tube, say four inches in length, having both ends hermetically sealed by being melted up. This piece of tube is folded in a piece of paper, and given into the custody of one of the company. The trick is gone through, as above described, except that the burnt paper is found restored inside the tube, which, of course, has to be broken before the contents can be recovered by their owner. This, on the face of it, is, of course, an utter impossibility; but it is thus accomplished. Glass-blowers, and those who have studied practical chemistry, know that to construct such a glass receptacle as that above described, all that is necessary is a piece of tube and a spirit lamp. The tube is held in the flame by the hands, and, as the glass melts it is drawn asunder, the result being that the two new ends thus formed collapse, and, cooling, take the form of points. Behind the scenes the assistant is provided with a piece of tube, eight or ten inches in length, one end of which has already been melted up. So soon as he receives the piece of paper from the performer he folds it up small, and pushes it down the tube as far as it will go. Then he melts this tube some three inches up, which will be far enough removed from the paper to keep it from being burned, and by this means the paper has become hermetically sealed inside a glass receptacle. If the assistant has had the necessary practice, the operation should not take long. When it is concluded, the assistant brings the glass on, and, under pretence of fetching away the candle, which the performer has placed upon the table, leaves it upon the shelf. The empty tube is upon the table, and the performer, in fetching it, takes with him, secretly, the one with the paper inside. This is very easily concealed in the hand if one end be pressed against the root of the thumb, the other end being pressed by the middle finger. The empty tube is shown, as also a piece of paper, in which it is ostensibly wrapped, the one with the paper inside being substituted. This substitution is effected by having the one tube concealed in the left hand, the empty tube being apparently transferred to it, but really palmed, as above directed. The right hand at once seizes the paper, and covers the tube in the left hand with it, and the wrapping-up is immediately proceeded with, as no further exposure may be permitted. If the performer prefers it, the assistant may wrap the prepared tube in paper, similar to that used by the performer, who then conceals the parcel under his vest. In this case, the empty tube is wrapped up by one of the company, the performer giving the parcel the necessary resemblance to the other (each should have twisted ends), and the exchange may be made subsequently. After the parcel has been opened, for the purpose of showing the tube with the paper inside, the performer must not approach it until the owner of the paper has broken it open with a hammer (the use of the wand for this purpose has less appearance of premeditation about it), and identified his property. I do not recommend the use of a card for this trick, as therein the spectators might find some explanation of its wonderful character. By employing a piece of a letter belonging to one of them, complete mystification is secured.
The restored card may be reproduced from a candle, by way of variety. The performer has on his table two or more candles; on no account brought on purposely for the trick. It will not matter in the least how long they have been burning, so that a good portion of them be remaining. As though struck with a sudden inspiration, the performer suggests, in his happiest manner, that the destroyed article be found inside one of the candles. The company not objecting (spectators, anticipating amusement from them, never object to the conjuror's suggestions in these cases), the owner of the paper or chooser of the card is requested to say which candle shall be employed. One being pointed out, and extinguished, it is taken out of the candlestick and put upon the table, where the performer proceeds to cut it in two with a knife, affecting great pains in making the portions exactly equal. He now asks which half he shall take, and, when the person asked says, "the right" (or left) half, he must inquire, "Which right [or left]; mine or yours?" The chosen half is again cut in two, and one of the portions chosen, that portion being again divided. The pieces remaining will be an inch or so long, and one is selected of these. This the performer gives to the person most interested amongst the spectators, on a plate, along with a knife, and, when it is cut open, the paper or card is found inside.
The way this is done is simplicity itself. The candles are all ordinary ones, so it really does not matter to the performer which is chosen, although he will do well to exhibit anxiety on the point, by way of effect. Neither does it matter to him which portion of the cut-up candle is eventually chosen, he having previously given off the piece of paper or card to the assistant, who has placed it in a small piece of candle, which the performer has safely secured under his vest whilst he is cutting up the chosen candle. When the last stage of the cutting is finished, the prepared piece is got down and exchanged in the usual manner for the innocent piece. It is then brought forward on the plate, and the remainder follows, as a matter of course.
The Obliging Bouquet.—This trick resembles to a great extent [The Ascending Cards], and was one of Hermann's many masterpieces. As performed by him, it outshone, in exquisite neatness and effect, all other card tricks; but the amount of skill and daring necessary to carry it properly through is considerable, and persons of nervous or uncertain dispositions had better consider well before they attempt it. At the same time, those with the requisite skill and nerve may earn incalculable glory by including this trick occasionally in their programmes. The description of it (never before made public) is as follows: A bouquet of real flowers is handed to a lady in the audience, and three or four cards are then chosen from the pack. These cards are made to disappear. One by one they are then seen to rise from the bouquet, which is still held by the lady.
As in [The Ascending Cards], a case for holding cards is required, but in this instance it is made of zinc, and just large enough to take about eight cards. The outside is painted dark green. This case must be prepared beforehand, with cards, as described in [The Ascending Cards], with the exception that human hair is substituted for silk. It is also as well either to have the intermediate cards, i.e., those over which the hair passes, fixed permanently, or else to have partitions of the same material as the case. The loose end of the hair should have a tiny bead of wax on it, and the case must be placed in the centre of the bouquet, in such a position that, although it is not visible from the outside, yet the cards will have a tolerably free passage for their ascent. If possible, bring the mouth of it just beneath two buds of roses, which will give to the slightest pressure, and allow the card to come up between them. The hair should hang down between the buds, passing between the stalks. The greatest care must necessarily be taken in arranging all this, and the trick rehearsed within an hour of its performance, to make sure of everything being safe.
Bring the bouquet on, and, selecting the lady least likely to interfere with your arrangements (this selection should be made whilst you are on the stage performing other tricks), ask her to kindly hold the bouquet for you, calling attention to the fact that the flowers are real ones. If possible, always have the bouquet held in the front row of the audience, and take care that the hair is towards you all the time. Now "force" duplicate cards of those in the bouquet, and then cause them to vanish as you please. As looking the most skilful, I prefer palming to any other method, on all occasions. If, from knowing the cards as you "forced" them, you are aware who took particular cards, you can ask the person who chose the duplicate card of the first in the case, the name of it, and then desire that one to rise from the bouquet. On hearing the name of the card, or just before, advance to the bouquet, and ask the holder of it if she saw the fairies bring the cards to the flowers, or any other fanciful question you please, and then, under the pretence of having it held a little higher or lower, or a little more to the right or to the left, advance the hand to the bouquet, and so obtain possession of the end of the hair. A good deal of deceptive action must now be introduced, the wand being put into the hand holding the hair, which must then be pulled very slightly indeed, and if the card rises the strain can be continued. Just before the card shows itself, say, "No! I am afraid the fairies have been disobedient to-day." This will momentarily remove the interest of the audience from the bouquet, and attention will be directed to you, as if inquiring what will be done next. This is the opportunity you must seize for causing the card to rise, and then exclaim, "Ah! there is one, after all." Run the card up quickly, and take it out of the bouquet, or, if it appears to be very loose, allow the holder of the bouquet to remove it. If, at this juncture, you fancy your temporary assistant is at all suspicious, at once take the bouquet to someone else; but on no account take this step if all is going on well. Ask the name of the next card, which cause to rise in the same manner, and repeat the operation with the remaining card or cards. As the hair becomes gradually longer, you will be enabled to stand a little further off on each occasion. You must contrive to alter your attitude as often as possible, and also endeavour to look quite unconcerned. The best way to assume this by no means easy appearance, is to affect to be rather more amused at the ascension of the cards from the bouquet than the audience itself. One ticklish point is in ascertaining whether everything is in order. This never reveals itself until the first pull is made, when, if there is anything wrong, a jerk will be felt by the holder of the bouquet, and, in all likelihood, a clue to your secret will be given. If you only so much as fancy that anything is wrong, take hold of the bouquet with your disengaged hand, without taking it away from the holder of it, and have it held a trifle higher or lower. This will enable you to give a precautionary pull without allowing any strain to be felt. Such a thing as a hitch ought not to take place, for the previous arrangements should be so perfect as to do away with all possibility of such an occurrence. The cards all out of the case, inquire, for the sake of effect, if there are any more chosen ones that have not appeared, and then take the bouquet round, allowing people to smell at it, &c. This is really to enable you to remove the case from the bouquet, but ostensibly to show that the flowers are real. The best way of removing the case is through the stems of the flowers, and for this purpose it is made of zinc, it being a weighty metal. As it is a small affair, it can easily be palmed. The bouquet should be then presented to the lady who held it during the performance of the trick, with the request that the flowers should be examined to see if there be any preparation about them.
Taking into consideration the difficulty in performing the trick, the desirability of having as small a case as possible, and the usual shortness of hair, it is advisable to force only three cards, although three or four hairs may be employed. When I first saw Herrmann perform this trick, I was simply appalled at the audacity required to perform it successfully; but experience has taught me that, with practice, it is as easy as many other tricks which are not one quarter so effective. The difficulties to be overcome are causing the first card to rise without being discovered, and removing the case. It will be found that if the bouquet is held a little lower (only a few inches) than the hand holding the hair, there will be less likelihood of any strain taking place. If the performer pleases, the chosen cards can be torn up or burnt in the first instance, but the destruction is a needless one.
The Hatched Card.—A chosen card is destroyed or made to disappear, and on an ordinary egg (selected from a number) being broken, it is found inside.
Before describing the trick itself, I will give a unique method (Herrmann again) for obtaining the eggs. A rehearsed assistant will be required, and he must have in his mouth an egg, and, besides, either a portion (either end) of the shell of, or a wooden or porcelain imitation of, one. Under the vest band, and sustained by the elastic thereof, you have four more eggs concealed. You come on with your assistant, whose mouth is then empty, and, telling the audience that you will require an egg, ask him if he has taken the egg powder you gave him, and whether he thinks he can give you any eggs. On receiving his reply in the affirmative, tell him to fetch a plate. This he does, and, at the same time, pops the egg and real or imitation portion of shell into his mouth, all done in an instant, so as to avoid suspicion. He now takes up his position in the centre of the stage, a little "up," with the plate held before him and elbows close to his sides. You stand beside him, and place your rear hand upon his head. He then slowly exhibits the egg, which, with the forward hand, you then extract with seemingly immense difficulty. Whilst the forward hand is thus engaged, the rear one takes an egg from the vest, and you cross over behind the assistant, and are just about to take the plate from him when he exhibits the shell, which, to the audience, appears to be another egg. You exclaim, "What, another! you must have taken too much powder," and then advancing the forward (late the rear) hand, you slip the egg palmed in it half into your assistant's mouth, and then proceed to drag it forth with the same difficulty which attended the abstraction of the first one. The rear hand has by this time another egg in it, and you go round behind the assistant, only to find him exhibiting another egg, which you extract, as before. The process is repeated until all the eggs are gone. It is not advisable to use more than five eggs, for precautionary reasons, and that number is quite sufficient to excite wonder. The assistant must be careful not to allow the shell inside his mouth to be seen whilst you are removing an egg just "laid." If you can find anyone with a mouth capacious enough to contain two eggs (small ones will do), secure him as an inestimable treasure. No trick being more conducive to laughter than this one, extra care must be taken with it. The performer should move about in an easy and unostentatious manner, and endeavour, by word and mien, to keep up the impression that the whole of the trick lies in the assistant's mouth. The use of the extra egg end is not absolutely necessary, for the palming can begin with the first egg, the one originally in the mouth being kept there till the last, when it may be allowed to fall out into the performer's outstretched palms. Either method is effective. Show the eggs round on a plate, and have one selected with which to perform the succeeding trick. For that, the following apparatus will be necessary.
Make, either of wood or metal (tin, brass, zinc, &c.), a hollow wand (open at one end, and closed at the other), painted or varnished on the outside, so as to resemble in every little particular the wand you ordinarily use. If the latter has ivory or brass tips, then your imitation wand must have the same. There is not the least necessity for running into any expense, for, by going to a working tinman or walking-stick maker, the thing can be obtained for a shilling. I much prefer wood to metal, and would recommend its use. This imitation need not be made of real ebony, although it should be of tolerably hard wood. Fitting inside there must be another piece of wood, an inch shorter than the interior of the wand itself, which should move up and down pretty easily, but not loosely. Commencing exactly 2in. from one end, cut a slit 1in. long, and, making a little peg of wood, or providing yourself with a small brass round-headed nail, which must be afterwards coloured to match the wand, drive it into the sliding piece of wood, which must be pushed up against the closed end of the wand at the time. By holding the wand at the closed end, and placing the thumb on the little peg, the sliding piece of wood can be made to move up and down as easily as can the pen or pencil inside an ivory holder. By making the slit the same length as the space left at the open end of the wand, the sliding piece will not protrude when the peg is pushed down by means of the thumb. The sliding piece should also be blackened all over, as, if left white, it might show through the slit or at the exposed end, which, however, should never be turned full towards the audience at any time.
It is now open to you either to force a card or to have one selected haphazard. If the card is to be forced, then you can have the wand loaded beforehand. This is done by doubling up the card until it is only 1in. wide, rolling it up, and putting it into the wand, which you can then leave on the table handy. If the card is not to be forced, the wand must be behind, and the card chosen before the egg-laying performance (supposing you find your eggs in that way) takes place. Have only about twenty cards to select from, and let your assistant know what they are. They can be arranged in sequences or suits, for greater convenience. When your assistant retires, after producing the eggs, he takes the pack of cards with him; and whilst you are showing the eggs round he looks through the nineteen cards and finds out which one is missing. He then takes a duplicate of this, and puts it into the wand. For the sake of expedition, you should have a duplicate of each of the twenty cards in readiness. I remember once finding myself without a duplicate of a selected card, and I had actually to go forward and, under the plea of placing it in an exposed position, "where everyone could see it," effect a change. I left a dummy card on the chair (the "exposed position,") face downwards, and carried off the chosen one in triumph, feeling very much relieved. This method of having a card or cards chosen from a pack, the cards of which are known, does not belong particularly to this trick, but can be used in many others. It is only worth while to take the trouble when your audience is a particularly sharp one, and not likely to be imposed upon by a "force." The egg and card both chosen, you may do what you please with the latter, so long as you get rid of it, and, taking the egg, which you have previously had minutely examined and held up to the light, to show that it is empty, upon a plate, give the plate to be held by a spectator, and then break the shell by means of the open end of your prepared wand. Immediately you are well through the shell, push the peg along by means of the thumb, and the rolled up card will be forced into the egg, whence have it extracted by a spectator. If you please, one of the audience may hold the egg whilst you break the shell. I need hardly mention that, before you bring your wand into play, you should make a fuss about passing the card into the egg. The reader, by this time, will take that as a matter of course. Always have a cloth or handkerchief handy in this trick for wiping egg and fingers.
The preceding six card tricks, used judiciously, that is to say, not too frequently, should, with those described in "[Drawing-room Magic]" ([La Carte Générale], for instance), last a conjuror a lifetime. They are the very best I have seen performed, for they combine sleight of hand with a minimum amount of apparatus; indeed, the articles I have directed to be used are hardly worthy of the name, the nearest approach to it being the card-cases and the hollow wand. There are a number of tricks sold in which cards rise from demons' heads, imitation plants, and pedestals; but these are all exceedingly expensive, and are nearly all worked by electricity. Besides this, there always seems to be an artificial effect about such things. For all the audience know, there may be a small boy concealed in the demon's head, or in the huge flower-pot in which the "Magic Rose Tree" is generally stood. At any rate, the idea of "sleight of hand" is not conveyed, and, if for that reason only, I will have none of them.
[CHAPTER XIII.]
TRICKS WITH HANDKERCHIEFS AND GLOVES.
THE RESTORED HANDKERCHIEF: ITS VARIOUS MISFORTUNES—THE CONJUROR'S PISTOL—SUN AND MOON: A TOTAL ECLIPSE—THE DISSOLVING KNOTS—THE DECANTED HANDKERCHIEF—THE MELTING HANDKERCHIEFS—THE ELASTIC GLOVE: HOW TO ACCOMMODATE ALL SIZES.
The Restored Handkerchief.—This title will doubtless apply to many tricks with handkerchiefs, so, if the performer thinks it too general, he can find another of his own for this particular trick. Herrmann called it Le Mouchoir Serpent, from the fancied resemblance to a snake which the handkerchief was made to take at one stage of the trick. For it the performer must have prepared a lemon, with a small handkerchief inside. The way to operate on the lemon is as follows: Cut off one end—the apex is the best—and then, by means of a spoon, take out the whole of the interior, being careful to remove the inner white skin. Push in the handkerchief, replace the portion of lemon which you cut off, and sew it carefully on with yellow cotton or silk. The first lemon or two are rather tiresome to prepare, but after a time the job can be done very quickly and neatly. The method of sewing which should be adopted is that known as "under-sewing," and it will be necessary to guard against including the handkerchief itself in the stitching. As the handkerchief placed inside is meant to be subsequently destroyed, it need be of the very commonest description only. It can be obtained for three-halfpence. On the centre table have a small scent-bottle, with methylated spirits, a lighted candle, a common plate, and a knife. Concealed in the palm of one hand are about ten pieces of cambric, each about three inches square, and properly hemmed. Under the vest is a piece of cambric two inches broad and about four feet long, doubled, not rolled, up. Behind the scenes are a couple of pieces of thin wrapping paper about nine inches square. In the hand not occupied by the pieces conceal the prepared lemon, and advance to the audience. Pretend to see something in a gentleman's hair, and, after fumbling in it, produce the lemon. Let several persons smell at the fruit, taking care to present the better-looking end, in case your sewing has not been very successful. Of course, the lemon must not leave your hand, except to be tossed once or twice in the air, to show that it is real. Place this lemon on a side table, and there leave it, with the sewn-up end from the audience.
Now borrow a small handkerchief, the smaller the better but do not take one that is much ornamented with lace. Turn to a gentleman, and, whilst asking him to stand up, roll the handkerchief up carelessly in the hand, and, working it round the bundle of pieces which you have concealed, bring it underneath and let the pieces appear at the top. This can be done in an instant whilst you are talking with the person whom you wish to assist you. Give the bundle of pieces, which the audience will think is the handkerchief, to him, with instructions to rub it gently in the hands. You have, in the meantime, taken care to keep the exchanged handkerchief well concealed in the palm. Retire to the stage, and, whilst mounting it, vest the handkerchief and take in its place the doubled-up long piece, which keep concealed by means of the wand. Ask your assistant how he is getting on, and explain that you wish him to rub the handkerchief so small that it can be passed inside the lemon. After a little rubbing has taken place, ask him to open the handkerchief out, to see if it is any smaller. Of course, when he attempts to do so, it will drop about in pieces, to everyone's astonishment. Affect great annoyance, and advance, saying that the trick is now spoilt all through the handkerchief being rubbed the wrong way. Collect the pieces together, and, rolling them up, exchange them in the hand for the long piece. This exchange may at first seem very daring and difficult, but, if care is taken always to have the piece or pieces concealed well down in the hand before the substituted article is removed, there need be no fear of detection; only the performer must go right at it, and not falter in the least. Give the long piece to your assistant, and tell him to rub it this time with the left hand. Whichever way he rubs you must say is the wrong one, and finally ask him to give you one of the pieces that you may show him what you mean. In his attempt to give you one of the supposed pieces, he will unroll the long piece amidst much laughter. After suggesting that the gentleman pays for the destroyed handkerchief, rub it up in the hands and "pass" it into the lemon. For this purpose, it may be rolled up on the table, and passed down a trap.
Instead of "passing" with the hands, it is in every way neater and more effective to use a conjuring pistol, which is loaded with the handkerchief and then fired. This pistol will have to be provided with a large tin funnel, so constructed that the tube portion, which must fit the barrel of the pistol closely, extends for a long way inside the funnel. When a handkerchief, or similar article, is rammed into the funnel, care is taken that it goes around the tube so that, on the pistol, which has been previously loaded, being fired, the flash passes harmlessly down the tube. The mouth of the funnel must never, by any chance, be seen by the audience. These pistols, which are exceedingly useful at all times, can be purchased at conjuring repositories; but it is easy for anyone possessing an ordinary pistol to have it fitted with a funnel by a tinman.
Suppose the long piece either "passed" or fired out of the pistol, take the lemon and cut it open with the knife, and pull out the handkerchief that was already in it. Pretend to advance for the purpose of returning it to its owner, but suddenly discover that it smells of lemon. Say that you will put some scent on it, and, placing it upon the plate, saturate it with spirits from your bottle. Whilst advancing a step or two, to inquire if it is enough, your stage attendant enters and quietly sets light to the spirits with the candle. You turn back and nearly burn your fingers, and start aside horror-stricken.
A slight scene now takes place between you and your attendant, who insists that you told him to set fire to the handkerchief. Run down to the audience with the plate and its blazing contents, asking the owner of the handkerchief to take it in its present state. Turn back and drop it on the floor of the stage, and then go behind the scenes, where quickly take the original borrowed handkerchief from the vest, and wrap it in one of the two pieces of paper (it will add to the effect if you scent the handkerchief a little), which hold in the hand covered by the second piece of paper, open. During your absence your attendant has been dancing about, affecting to burn his fingers, &c. When the handkerchief is nearly burnt out, snatch up the remains of it quickly and pop it into the open piece of paper, roll it up rapidly and exchange for the real handkerchief in paper, vesting it at once, or a severe burn may ensue. This is done whilst hurrying towards the owner of the handkerchief, to whom you say that you have done the best you can, and are sorry that you have only the ashes of the handkerchief to offer; but that if she will leave her address, you will forward a new one in the morning, &c. Finally, you have the supposed ashes blown upon, and then tear open the paper, revealing the handkerchief. If you have scented it, call attention to the fact.
If I wanted to test a conjuror's ability, I should give him this trick to perform. No duffer could ever get half way through it; and yet, by attention to the rudiments of palming, &c., it becomes easy enough. There can be no two opinions about the effect produced. The principal portions should be rehearsed with your attendant.
A very amusing variation to this trick is the following: Purchase two cheap sunshades of a precisely similar pattern. They should be small, and the covers of light alpaca. From one carefully strip the cover, so as to leave the ribs bare, and, at the end of each rib, fasten a piece of cambric exactly similar to those used in the rubbing-away episode. This sunshade have lying upon the shelf at the back of the table, rolled up in paper. In one of the large side pockets have concealed the cover, rolled up and tied with very fine thread, that may be easily broken. Upon the table have lying a piece of paper similar to that in which the sunshade upon the shelf is wrapped. At the opening of the trick, show this sunshade round, and then proceed to wrap it up in paper, on the table. You will always have some extra sheets, and behind one of these the one sunshade is exchanged for the other. Give it to be held in the company. Then borrow a hat, and secretly introduce the cover, placing the hat on a side table. When the trick has proceeded as far as the discovery of the small pieces in the hands of the spectator who is rubbing the handkerchief, place them in the pistol and fire at the sunshade held in the company. Great amusement ensues when the bare ribs are discovered, with the pieces of cambric flying from them. These are then taken off, and the trick proceeded with, as before described, the cover being discovered in the hat at any convenient period. Break the thread, and shake it out well before bringing to view, so as not to suggest any idea of its ever having been rolled up tightly into small bulk.
Sun and Moon.—This is another amusing trick, in which handkerchiefs are destroyed and restored in a most lavish manner. Beyond the preparation of a couple of handkerchiefs, and the use of a conjuring pistol, no apparatus is required, if the trick be performed after the following method, which is according to my own arrangement, and in keeping with my belief in sleight of hand as opposed to apparatus.
Purchase three common coloured cotton handkerchiefs, all of precisely the same pattern, and from the centre of one of them cut a circular piece some three or four inches in diameter. Replace this with a white piece, so that you have a coloured handkerchief with a white centre. Take a white handkerchief, and cut from its centre a circular piece just a trifle smaller than that from the coloured handkerchief, which latter then sew in the centre of the white handkerchief. A friend of yours in the audience should have the second of the coloured handkerchiefs in his pocket, and receive instructions to the effect that, when you ask for a handkerchief in a particular manner (you can easily arrange a sort of by-word between yourselves), he is to offer this particular handkerchief, which you tardily accept. This is one of the very rare occasions on which I permit myself to have a confederate in the audience; and I only do it because (1) a really capital trick would otherwise be impossible of performance, and (2) because it is not at all necessary that your confederate should know anything about the trick. I always say that it is necessary for me to have in such-and-such a trick a coloured handkerchief, merely for effect, and it is rarely that people bring coloured handkerchiefs with them, so, to avoid disappointment, &c., &c. If the person who officiates be a dullard, he will be none the wiser, and if he be a relative, as he should be, he is tolerably safe. Coloured handkerchief No. 3 you have rolled up in a piece of paper and placed in your capacious breast pocket. Besides these, you must have in the palm of one hand an ordinary white handkerchief concealed. The two prepared handkerchiefs already described are done up in paper in the shape of a ball and placed upon the shelf at the back of the table, on the top of which are lying a few loose sheets of paper similar to that in which the handkerchiefs are wrapped. Also on the table are two plates, some methylated spirits, a lighted candle, two pairs of scissors, or else two sharp knives, and a funnel pistol. Advance to the audience, with the white handkerchief concealed in the palm, and borrow two handkerchiefs—one a white one, at hazard, except that you endeavour to let it be one somewhat similar to your own, and the other, the coloured one, from your friend. Exchange the white handkerchief for your own, as in the preceding trick, and vest it, and then give both white and coloured handkerchiefs to be held by separate persons. Each handkerchief should be held horizontally by the two hands, one holding the very centre of it, and the other grasping it a few inches away. Give the scissors or knives to two other persons, and bid them mark the handkerchiefs. At first some hesitation will be shown at cutting the handkerchiefs, but you must say there is no fear. From the position in which each handkerchief is held, it will be incumbent on anyone cutting between the hands of the person holding it to take a piece clean out of the centre. When this cutting is over (you might do it yourself, only it looks more genuine and creates more fun to have it done by the audience), say that there will be no mistaking the handkerchiefs now, for they are marked with a vengeance. Now take the mutilated coloured handkerchief and the white piece, and put them on one plate, the the mutilated white handkerchief and coloured piece being put on the other. Pour spirits on both, and set fire to them. When they are well ablaze, pretend to discover that you have made the mistake of mixing the colours, and endeavour (fruitlessly, of course) to take out the burning pieces. Remark that it is a very bad job, as you had hoped to have shown a specimen of your skill, but now everything is spoilt through your forgetfulness. Your stage attendant can attend to the burning of the handkerchiefs, if you so please, in which case you can give him a good blowing up, and threaten to discharge him on the spot. The more penitent he can manage to look, the better it will be for the effect of the trick. Take the ashes, and put them in a piece of the paper which is on the table, and, whilst affecting to put this in a second piece, exchange it for the prepared handkerchiefs in paper on the shelf. This method is very easy, and is thus performed: Stand at the end of the table, and, with the hand that is nearest the audience, raise a piece of paper partly from the table, but not so much as to enable the audience to see under it, and behind this temporary screen the exchange can be effected by means of the rear hand with impunity, providing it is done quickly but not hurriedly, and with the eyes turned towards the audience, to whom the performer is impressively descanting on the many vicissitudes which chequer a conjuror's career. Directly the two parcels are safely exchanged, go forward and give the paper to be held by one of the audience. An ordinary pistol can now be let off, or a word of command given, and the paper then opened. Affecting not to notice that there is anything wrong, you proceed to return the handkerchiefs to their respective owners. Laughter will, of course, ensue, and you will then appear to be overwhelmed with confusion. Borrow a hat, put the handkerchiefs in it and take them out again, and finally drop one on the floor. The action of stooping to pick it up will enable you to bring the opening of the hat against your breast, and you must seize this opportunity of slipping the roll from the breast pocket into it. Go back to the table and place the hat upon it, and then, taking up the funnel pistol, ram the handkerchiefs into it, with the remark that you may as well get rid of them altogether. Fire the pistol, and then ask if anyone saw anything pass into the hat, as you fancy you did. Go to the hat and produce the roll, which open, and show the coloured handkerchief. Spread this out, to show that the centre is perfectly restored, and, whilst going forward with it, take the white handkerchief, unperceived, from the vest, and roll it up inside the coloured one. Then say, "Ah! but we have not the white handkerchief yet; well, perhaps we shall be able to find it." Rub the coloured handkerchief in the hands, with the white one inside, and, finally, open both and return to their owners. This finale is, perhaps, the most difficult part of the trick. Take care when the funnel pistol is fired that you either stand it upon its broad end, or else place it upon the table with the mouth from the audience. Although, to the audience, an enormous amount of destruction appears to be going on, such is not really the case, as two handkerchiefs only are destroyed in the trick.
Fig. 42.
Fig. 43.
The Knots.—I call this trick by a simple name, because extreme simplicity is its prevailing feature from beginning to end. The last few tricks described have all had apparatus, to some extent, as a component part; this one is all sleight of hand. In "Drawing-room Magic" ([p. 65]), I gave directions for untying a knot by word of command, and noted at the time that an enlargement of the trick would be given in "Grand Magic." We have now arrived at the enlargement. In the minor trick, the knot is tied in a peculiar fashion by the performer himself; now the knots are to be tied by various members of the audience, and it is this which gives the trick such a marvellous appearance. The performer advances, and begs the loan of several handkerchiefs. He takes two of those proffered, and, advancing towards one of the audience, presents just four inches (on no account more) of one end of each handkerchief, one being crossed over the other, with the request to have them tied together in a knot. The reason for crossing one end over is to induce the tyer to make either a "granny" or a reef knot, which are the knots easiest to undo—that is, after the conjuror's method. [Fig. 42] shows a "granny" knot. The general appearance of a reef knot is somewhat the same, so it does not require a separate sketch, and the mode of proceeding will be in both cases similar. For convenience of description, I have depicted a dark-coloured and a white handkerchief, and the performer will do well to take this hint, and always, where possible, borrow handkerchiefs varying in colour or texture, in order that the sinuosities in the knots may be easily followed by the eye. As the performer wants a knot that is tied neither too loosely nor too tightly, he must keep his eye upon it whilst it is being tied. If it is loosely done, he must say, "Don't be afraid of tying it up tight, sir [or madam]; pull as hard as you like." In the event of a too literal acceptance of his words, he should take the handkerchiefs at once. Even when the knot is tied as hard as a stone, the performer takes it in the hands, and, with the remark, "Oh! this is not half tight enough yet," pretends to pull it up with all his force. What he really does is to take the small end of one handkerchief in one hand, and the body of the same handkerchief on the other side of the knot in the other. By pulling at these hard, and, where they do not give easily by wriggling them as well, the end of the handkerchief will be pulled out quite straight, as in [Fig. 43]. It will there be seen that the white handkerchief has been manipulated upon, and that the dark handkerchief is now really only tied round it. In some cases, the greatest difficulty arises through some malicious person tying an extremely hard knot. If the performer pulls too hard, he will, in all probability, rend the handkerchief without making things much better. In this case, he must endeavour, whilst borrowing another handkerchief, for the continuation of the trick, and under concealment of the same, to loosen the knot a little in the ordinary way, and then he can straighten the end openly later on, as though trying if all the knots were secure. It is not often that the amateur will, at the outset of his career, find much difficulty of this kind, for his audiences will not be of the antagonistic class. Suppose everything has gone favourably, the performer then takes another handkerchief, and has that tied on also, of course to a disengaged corner, and so goes on with four, five, or six, each knot being operated upon as soon as it is tied. If he notices that anyone is tying a reef knot, he should at once audibly remark upon it, as the public has a great idea that a reef knot is the most difficult to untie, whereas it is really the easiest of all. When anyone goes in for a multiplicity of twists, one end being wound round the other several times, let the performer rest easily in his shoes, for he has only to pull that end round which the other one is coiled, and five or six coils will make no difference; at the same time, he must appeal to the audience whether it is fair, &c., for effect. When the required number of handkerchiefs have been tied together, and all the knots have been operated upon secundum artem, the performer retires to the stage, and, taking a chair or low table (the chair for preference), proceeds to place the handkerchiefs in a pile upon it after the following manner: Knot No. 1 is held between the tips of the finger and thumb in such a manner that the main body of the straight end lies along the palm of the hand. The loose portion of the handkerchief is then opened out by the left hand and covered over the knot, which is placed, at the same time, upon the chair; whilst, under cover of the handkerchief, the little finger of the right hand is drawn up by a contraction of the hand as closely to the knot as possible, and there grasps firmly the main body of the straight end. By straightening out the hand again, the end will be pulled right out, and the handkerchiefs parted. All this must be done quickly. If the end, as it often will, requires two pulls to draw it clear, it is best to lift up the handkerchief, and exhibit the knot again, to show there is "no deception," or on any other plea, before giving the second pull. Proceed after the same manner with all the knots, each one being covered with a separate handkerchief, taking great care that none of them slip off the chair during the operation, or it will be shown that the knots are already undone. The handkerchiefs should either be trailed on the floor or hung over the back of the chair, where they will not become confused or get under the performer's feet, and so receive an undesired tug. For the purpose of diverting the attention of the audience during this operation, the performer should make some jocular remark concerning each knot. He should say something about having at length come to the "knotty point," and then describe each knot, whether correctly or incorrectly will not much matter. One, he must say, is the reef knot, another the Gordian knot, and another a weaver's knot. The last made will generally be a true lover's knot, about which the performer may remark, before small audiences, that it was a knotty (naughty) person who tied it. The performer has only to wave his wand over the heap, or to blow upon it, and then lift off the handkerchiefs one by one. The beginner will do well to try only three knots as a commencement, and to have them tied by ladies, who, as before explained, are always the best to fly to in risky cases. Whilst the knots are being tied, hang the handkerchiefs already joined over one arm, where they will be out of the way of danger, and in the way of assisting the performer by concealing any covert proceedings on his part in untying obstinate knots. The knot depicted at [Fig. 44] I have christened the bête noire knot, and such the performer will find it whenever it is tied for him. If he does not put the ends of the handkerchiefs crossed into the hands of the person whom he requests to tie a knot, he will find the bête noire appear with marvellous rapidity. When it or any other difficult knot appears, the only thing to be done is to untie it covertly, and do it up again after the matter described in "[Drawing-room Magic]." This may seem a very cool direction to give, but is the only one appropriate to the occasion, and the performer must make the best of a bad job. I have often untied a knot whilst mounting the steps of the stage, and had everything done up again by the time I reached the chair. The performer must practise by tying for himself the most intricate knots imaginable; or, if he learns with a companion, let the two tie knots for each other. Silk handkerchiefs are, as a rule, the best; they slip easily and do not tear readily, which latter quality is not the lesser advantage: it makes one very uncomfortable to have to return a handkerchief with one end hanging by a thread. This trick is one of the few which it is impossible to purchase. Let every conjuror be careful in his performance of it, and only give it "by request," or on special occasions, for it is worth half a dozen apparatus tricks put together.
Fig. 44.
Although very good indeed, the following method, in which one handkerchief only is used, is not so effective as when several are employed. The performer takes a large handkerchief, and ties a single knot in it, near the centre. He does not pull this knot tight, but leaves a loop large enough to receive his hand, or, at least, several fingers. Holding this loop in one hand, and presenting the two ends, side by side, with the other, he has another knot tied upon the first one. Whilst passing to another person, one end is pulled out straight, of course whilst ostensibly tightening the knot, and another knot is then tied; the end before straightened is again pulled at, and another knot tied, and so on until the handkerchief is all knots. The performer takes a pull at the straight end to ensure its running easily, and also pulls it through as far as it will come without actually untying. He then covers the bunch of knots with the loose centre of the handkerchief, and gives the whole to be held in the hands of a spectator. As the trying of many knots will have caused the centre of the handkerchief to become tightened up, it will be necessary for the left hand to take some time in opening it nicely. The time thus gained is just sufficient to enable the right hand to work out the straight end through the many folds; the movement being naturally screened by the open portion of the handkerchief in the left hand. Ask the person to whom the bundle is given to hold, to feel that the knots are still there. He will feel the hardened folds, and will mistake them for the knots. Always borrow a handkerchief for this trick, or the audience will infallibly think that the knotted handkerchief is rapidly exchanged for another. If anyone starts tying a bête noire, you can stop him at once by saying that there will be no room for anyone else to tie a knot. This method is much easier than its forerunner, but, as before stated, it is not half so effective.
The Decanted Handkerchief.—The performer comes forward with an empty decanter, which is examined, and then completely covered with a cloth and given to a spectator to hold. The performer takes a second decanter, and places in it a handkerchief, also previously examined, and stands upon the stage. At the word of command, the handkerchief vanishes suddenly from the second decanter, which is not covered, and, on the cloth being removed from the first decanter by a spectator, the handkerchief is found inside. This pretty trick is thus performed: Procure two toilet water-bottles—by courtesy called decanters—with as wide necks as possible; also two silk handkerchiefs, precisely similar. Scarlet is a serviceable colour for the purpose; and the handkerchiefs should be of very fine material, in order that they may be rolled up into a very small space, and not more than 15 in. square—rather less, if anything. Behind the scenes the performer folds up one of the handkerchiefs small enough to be concealed under the fingers when they are holding the neck of the bottle. If three fingers are sufficient, so much the better; but even if four are used no uninitiated person would ever suspect that anything would be concealed in so audacious a manner, especially as not the least clue has been given by the performer as to what is to be subsequently performed. The bottle shown round, a cloth is produced and covered over it, the handkerchief concealed in the fingers being popped into the bottle during the process. As it should at once spread out, it is not advisable to "double" it up tightly in the act of folding, but rather to "bunch" it, as it will then spring open the more readily. The bottle should be completely wrapped up in the cloth, bottom and all, and the spectator into whose custody it is placed must be enjoined to place one hand on the top and another at the bottom. The performer now proceeds with his other bottle and the visible handkerchief. Around his left wrist he has attached a thick eyeglass cord, which passes up the sleeve, round the back, and down the right-hand sleeve, where it has a short hook attached. In order that it may be readily found, this hook should be fixed in the inside of the coat cuff. The performer shows round the handkerchief, leaving the second bottle on the table, and, as he turns to fetch that article, the hook is got down and fixed firmly into the centre of the handkerchief. It is then pushed down the neck of the bottle by the performer, the pushing down being conducted in such a way as to suggest the extreme difficulty of getting the handkerchief into the bottle. The wand may here be used with effect to ram it down. Standing with his right side towards the audience, the performer holds out the bottle, and announces his intention of causing the handkerchief to fly from it into the one held by a spectator, the holder being enjoined to keep a good watch, &c. At the word "three" (counting "one, two, three," slowly, always adds to the effect, by preparing for a climax), the performer thrusts out both hands to their fullest extent, when the handkerchief will fly out of the bottle up the right sleeve, its passage being shielded by the right hand, which must, of course, be disposed preliminarily so as to afford a free course to the handkerchief. If the performer, holding the bottle in the right hand, presented his left side to the company, many spectators might be able to see the handkerchief fly up the sleeve. With the right side towards them, they only see it disappear suddenly from the bottle. The length of the cord will require adjustment, and it should be as short as the conjuror can conveniently manage without cramping the movement of the arms. Some performers use a piece of stout elastic, which certainly has the property of causing a self-acting, rapid disappearance; but when once the hook is in the handkerchief, and the latter in the bottle, a constant hold must be kept on the elastic to prevent a premature flight, which would at once destroy the trick. The spectator holding the bottle is asked to remove the cloth and examine the bottle as much as he pleases, and the performer then hands the second bottle for examination, which has not been done before. A trick so very easy of management, and yet so effective, should be a favourite one with amateurs.
Fig. 45.
The Melting Handkerchiefs.—The performer comes forward with a soup-plate in one hand and two silk handkerchiefs in the other. The plate, after being shown empty, is placed upon the ground, inverted, whilst the performer takes the handkerchiefs in his hands, and commences to roll them up in them. He rubs his hands together, and, on opening them, the handkerchiefs are found to have melted completely away. The soup-plate is then raised by one of the company, and the handkerchiefs are found beneath.
The soup-plate portion of the trick is thus easily managed: The performer has balled up under the fingers of the hand holding the plate duplicate handkerchiefs of those he holds openly in the other hand. They are of very fine silk, and so are easily concealed. As he boldly shows the inside of the plate, where the fingers are, the spectators never suspect the presence of the handkerchiefs, or of anything else. As the plate is laid carelessly upon the floor, it is drawn a few inches towards the performer, the side that is towards the company scraping the ground. In this way the handkerchiefs are got underneath. The melting away of the handkerchiefs is accomplished with the aid of the plain-looking implement depicted at [Fig. 45]. It is constructed of wood, is hollow, and is blackened on the outside. Through the end is a hole, and through that is passed a piece of stout elastic, having a knot on the inside. On the side seam of the vest is sewn a ring, and the end of the elastic, after being passed through this, is brought round the back and left side, and fastened securely to a button in front. This great length is necessary for the facile performance of the trick. When at rest, the wooden holder rests against the ring on the vest. After the performer has finished placing the plate upon the floor, he retires to the stage, and stands sideways to the company. Supposing the holder to be on his right side, that side would be nearest the company. First of all, the sleeves are turned very far back, and then, under cover of the right forearm, the left hand seizes the holder, and, drawing it out of concealment, places it in the right hand, where the handkerchiefs are being held. The performer may get out the holder before this, if he pleases—the proper time for so doing being whenever a favourable opportunity presents itself—and keep it palmed in the right hand. The arm will always prevent the elastic being seen by the company. With his arms outstretched, and the hands together, the performer proceeds to gather in the handkerchiefs by slow degrees, the fingers of the left hand pushing them into the holder. When they are all pushed home, the hands are opened slightly, the left hand only being moved for this purpose, and the holder, thus released, flies back until stopped by the ring. The performer continues rubbing away the handkerchiefs, still supposed to be in his hand, and he must act as though they were being rolled into an ever-decreasing ball, the final kneading being done by the tips of the fingers of the right hand, working in the palm of the left hand. All that now remains is to have the plate lifted. The trick may be prolonged and varied if the performer has a second holder on his left side containing handkerchiefs of other colours to those first used. By getting this holder out and rolling up the handkerchiefs from under the plate, the new handkerchiefs may be got out and the old ones substituted. Or the trick may be done the other way round, and the change executed first, the second handkerchiefs being found under the plate. There is no reason why this trick should not be even more elaborated, and further changes of handkerchiefs made. This may be done by means of a holder, some four inches in length, open at each end, and connected with the elastic by a metal fork-shaped piece, upon which it swivels by means of a pin passing through the centre. Each side can contain handkerchiefs of different colours, the pin through the centre preventing their becoming mixed with one another, and a variety of changes made, which will be intensely bewildering to the spectators, especially as the performer each time gives the handkerchief for examination, and shows his hands empty. The perfect simplicity and completeness of the method of vanishing permits of its being repeated any number of times, each successive change or disappearance causing fresh wonderment. Care must, however, be taken, in each instance, that the handkerchiefs are pressed well home in the holder, as an exposed portion might be seen as it flashed under the coat; whilst there is still greater danger of its subsequently working out and becoming slowly visible to the company. If the great length of elastic which I have recommended were not employed, the performer would not be able to stretch his arms out to their full extent in front of him; and it is highly essential for effect that the hands should be as far removed from the body as possible. The ingenuity of the performer will enable him to employ the holder in many tricks in which handkerchiefs take part.
Le Gant de Paris.—For this trick, which will bring the performer's utmost skill into play, the following articles will be required: An orange, a lemon, and a walnut, all embowelled. The walnut contains a small kid glove, the lemon contains the walnut, and the orange the lemon. Besides these, the performer has a whole orange, lemon, and walnut, which he can either bring forward, or, for preference, find in persons' hair or on their noses. He has, also, concealed separately under the vest, a tiny glove, not more than three inches in length, and another quite ten inches long. These will be best manufactured at home under personal supervision, and they should be well made. The three fruits, produced or discovered, are placed in various positions on the table, or tables, care being taken that the lemon is situated conveniently near a trap. Opportunity must be taken for exchanging the orange for the prepared one. There are many ways for doing this. One, which is as good as any, is to give the perfect orange to the stage attendant, telling him to place it upon the table, and then at once engage the audience with something else. In going towards the table, the attendant effects the exchange. Other methods, such as having the prepared orange on the shelf, and exchanging it with the other whilst calling attention to the lemon—carrying it in the breast pocket, and exchanging it when the back is turned to the audience—will readily suggest themselves. It is impossible to set down any hard-and-fast rule for such minutiæ as these. Sometimes the disposition of the stage, or of the audience, will necessitate the adoption of a method that would, under other circumstances, be impossible of introduction. The small glove is now brought down and kept concealed in the palm, and a kid glove, of the same colour as the one inside the prepared walnut shells, borrowed. Express your intention of making it pass inside the walnut, and observe that it is a little too large. Saying that you will make it a little smaller, proceed to rub it in the hand, and eventually exchange it for the tiny glove, which produce, and give to a gentleman to fit upon the hand. Of course, it will be too small, and you will inquire what size glove the gentleman wears. You affect to misunderstand him, and clap on ten sizes more. Thus, if eight and a half is said, you exclaim, "Eighteen and a half! That's a very large size, sir. But perhaps you think I can't make one so big. I will show you." It is sure to be explained that eight and a half, and not eighteen and a half, was the size mentioned, but you affect not to hear the correction, and proceed to rub up the small glove, having previously got down the large one. Make a great fuss of stretching, and finally produce the large glove, allowing the small one to drop inside it. The original borrowed glove in the meantime vest, if you have not done so already. Now proceed to the table, and, rolling up the large glove, with the little one inside it, tightly, pass it down a trap, and affect to rub it away into the walnut. Take up the walnut and vanish it by sleight of hand, pretending to pass it into the lemon, which get rid of, along with the nut, down a trap, and finally cut open the orange. Take out the lemon and cut that open, and produce the walnut. Ask one of the audience, on that side of the auditorium which is opposite to where the owner of the borrowed glove is seated, to open the walnut, at the same time getting down the borrowed glove from the vest. Take the glove from the walnut in one hand, and, pretending to place it in the other, whilst advancing towards the person from whom it was borrowed, effect an exchange. This must be done with all possible neatness and skill, or, at the last moment, the trick will fail. Supposing that you take the glove from the walnut with the left hand, the right should contain the borrowed glove. The left hand then makes a rapid movement towards the right, as if placing the glove in it. The glove in the left hand is in reality concealed, and the one in the right hand revealed. Half an hour's practice will make a wonderful difference in the execution of this pass, which will often have to be used, sometimes in cases of great emergency. On cutting open prepared oranges, lemons, &c., always be careful to throw the skins behind you, or elsewhere away from the view of the audience, who are not likely to be deeply impressed in favour of your skill after a close examination of the remains of the prepared articles. If the triple combination of orange, lemon, and walnut is at first too difficult, try the dual one of lemon and walnut only. It is still very effective, and there is far less to think about. If the performer is limited as to traps, the large glove can be fired at the walnut from the pistol tube. The variation is quite unimportant.
[CHAPTER XIV.]
TRICKS WITH COINS.
THE INVISIBLE FLIGHT: THE GLASS—THE BOXES—OTHER APPARATUS USED IN THE TRICK—THE BANKER—HOW TO COLLECT MONEY—THE MONEY TUBE—THE MULTIPLYING TRAY—HOLD THEM TIGHT! OR, SKILL VERSUS STRENGTH—THE MONEY CHANGER—HINTS UPON MANNER—THE CRYSTAL PLATEAU—THE MONEY-PRODUCING CANDLE—THE FLIGHT—COIN AND WORSTED BALL TRICK.
The Invisible Transit.—This is a remarkably effective coin trick. Several coins are inclosed in a little box, which is stood in a position close to the audience. An empty tumbler is placed upon a chair or table far away on the stage, and the performer, abstracting the coins one by one from the box, "passes" them into the distant glass, into which they are heard to fall. On the glass being brought forward, the coins are poured from it, and the box into which they were put is found to be empty.
The tumbler used should be coloured and opaque, or semi-opaque. Into it is fitted a zinc plate, depicted at [Fig. 46]. This plate is, it will be seen, divided into two unequal portions, which are then hinged together. B is an arm which, in the position shown in the sketch, prevents the flap C from opening; and E is a tiny pin fitted into C for the purpose of preventing the arm B going too far, and so becoming difficult to control. At D is a pin which, first connected with the arm B, runs through the plate, and then through the bottom of the tumbler. Underneath, it is provided with another arm (A, [Fig. 47]), the position of which should correspond with that of B. The pin D should be considerably larger than the holes (they should be round ones) in the glass and zinc plate, and those portions of it which are to pass through the said holes must be filed down to the necessary thinness. By this means two shoulders will be formed, which will prevent the plate from coming down too far, and thus keep a space clear between it and the bottom of the tumbler. This space should be about three-quarters of an inch in depth. The best method for fixing A to D is to have a tiny hole through the protruding end of the latter, through which a cross-pin can be passed. It will be seen that so long as the arm B is kept against the pin E, or anywhere near it, the flap C cannot possibly open, even though the tumbler be inverted. The shifting aside of the arm A will cause a simultaneous and equal movement on the part of B, and, when the glass is again inverted, whatever has been concealed in the space beneath C will fall out.
Fig. 46.
Fig. 47.
The performer will also require two little boxes, resembling each other in every particular. If nothing else be at hand, then little fancy cardboard boxes may be used, but it is by far the best to have a couple turned out of some light wood. The turner should receive directions to turn them both out of the same length of wood, which should have some slight imperfection running through it, as this will cause each box to be naturally marked in a similar manner. Should one lid have a little knot in it and the other be without such a blemish, it can be faithfully imitated by making a hole in the wood and running a little shellac into it. The boxes should be turned as lightly as possible, consistent with strength, and should just admit a half-crown. The interior depth should be that of six half-crowns. One of these boxes the performer conceals under the vest band. The tumbler he loads with four or five half-crowns, placed in the space under C, and the arm B is turned into position against E. This glass is placed upon the table. In one outside trouser pocket is a half-crown.
The preparations made, the performer advances with five other half-crowns and one of the little boxes, and gives the whole into the hands of a member of the audience, with the request to have the box examined and the coins placed in it. Whilst this is being done, the concealed box is got down from the vest into the left hand. The box, with the money in it, is taken by the right hand, and apparently put into the left. It is, however, palmed, and the empty box shown instead. The performer executes this movement as he is passing to another portion of the audience, to whom he will explain matters briefly. This passing about the room is highly essential in concealing many movements, and the conjuror's actions should be well mapped out beforehand, and not left to accident. As I am describing the trick, the money should be put in the box by someone on the conjuror's right. It then becomes natural for the performer to place the box in his left hand, in order to exhibit it to those on that side of the room. The learner will find, as he progresses, how highly important it is to pay attention to these apparently small, but by no means insignificant matters. The performer's motions should balance, as it were; and his great study should be to make actions that are absolutely indispensable to him appear to be perfectly natural, if not the only ones that could be suitable to the occasion.
The empty box is then placed in the fingers of the right hand, in which the box containing the half-crowns is still concealed. The performer brings a chair close to the audience, and places upon it the empty box, first shaking the hand once or twice to show that the money is still inside. The coins rattling in the hidden box will appear to be in the one which is really empty. Care must be taken to keep the back of the hand towards the audience, and to allow it to hang down considerably, so as to do away with any possibility of an accidental exhibition of the palmed box.
The performer now proceeds to his table, pocketing the box with coins as he does so in as noiseless a manner as possible. He then takes the tumbler in one hand, and, rattling it hard with his wand all the time, turns it upside down to show that it is empty. On turning it back again the rattling must be repeated. This rattling, the reader will readily comprehend, is for the purpose of covering the slight clinking of the coins that are confined within. It is a good plan to have a piece of baize or cloth on the bottom of the tumbler, inside. This will deaden the sound of the clinking when the tumbler is being replaced upon the table. The performer now returns to the little box, previously getting the half-crown from the pocket into his palm, and feigns to abstract one coin from it, the palmed coin being shown. This, with appropriate explanation, he "passes" into the tumbler, into which it is distinctly heard to fall. The whole of the coins are, one by one, abstracted from the box, and made to pass into the tumbler. The methods of extracting them should be varied. One can be taken out by means of the wand, another caught in mid-air, the next be found at the tip of someone's nose, and the next in somebody else's hair, whilst the last will probably be found attached either to the performer's elbow or to the sole of his boot. This variety of movement keeps the audience amused, and, consequently, distracts their attention, which might, perhaps, be employed in watching other matters somewhat too narrowly. The same system of variation should be observed in "passing" the coins, three or four different passes being brought into use. The last "pass" may be effectively made with the reverse palm, by the method described on [page 8] for throwing the coin away. The palm can then be shown perfectly empty, the coin being recovered as the performer proceeds towards the glass.
The mystery of the coins being heard to fall into the tumbler has yet to be explained. The explanation is, that the conjuror's stage assistant is concealed behind the scenes, in a position as proximate to the tumbler as possible, with another glass and some coins. The performer and assistant must have an understanding between them, and when the assistant hears the word given he drops one coin into the glass, allowing a short time for the supposed journey. The word "pass" is the one commonly used, and is the best, for the conjuror is using it all through the performance, and it does not, therefore, excite any particular attention. It is as well to vary the speed with which the coins travel. The first two should occupy from a second and a half to two seconds in travelling from hand to tumbler. The next the conjuror should say will take a little longer, it being a very old coin and, consequently, weak. Five seconds will be quite long enough for this, and the next can be despatched with the command, "Presto, pass!" This should arrive at its destination in half-a-second. If no arrangement on this head has been made beforehand, the performer must take care to speak loudly and distinctly. This co-operation of performer and assistant has already been explained in connection with [The Shower of Gold].
Sometimes, with the view, I imagine, of making the trick appear still more difficult, the tumbler is covered with a borrowed handkerchief, pocketbook, programme, &c. When this is done, the assistant must cover his glass with a handkerchief, and so cause the sound of the falling coins to be muffled. I have seen an assistant commit an absurd error of using only one coin. The sound caused by one coin falling upon others in a glass is very different to that of a coin falling into an empty glass.
The use of the two little boxes in this trick is an idea of my own. Other conjurors invariably use a box with a hinged lid, which has a horizontal plate on a level with its upper rim. This plate has four slits in it, and into each slit is placed a half-crown. By an exceedingly ingenious mechanical arrangement, a coin is made to drop into the body of the box each time the lid is shut down. The performer affects to abstract one in the manner just described. The chief objection to this box is its great expense; otherwise, it is a very good piece of apparatus.
Another piece of apparatus that is also frequently used in conjunction with the trick is what is called the Half-crown Wand. This is a hollow tin wand, with a sliding piston inside it. One end is divided into two parts, which are hinged. A half-crown, that has been cut into three portions, is concealed in this opening top, and by means of a complexity of hair springs, and the action of the piston, moved by the thumb from the outside, the three fragments are pushed out, and, ranging themselves side by side, cause the appearance of a half-crown on the end of a wand. All I can say about this piece of apparatus is, that it is a pity the inventor's ingenuity was not directed towards making something else. I believe, though, that the article sells well, as it does away with the last piece of sleight of hand left in the trick, and so gives lazy people and duffers a chance.
The Banker.—In "[Drawing-room Magic]," a method for collecting coins from the air, &c., and passing them into a hat through the crown, was explained. Before larger audiences, the trick is capable of being much more elaborated. Going down amongst the audience, the performer collects quantities of coins from the heads and persons of the audience. There are various methods of executing this. One is to keep a coin palmed, and then produce it from the hair, whiskers, beards, sleeves, elbows, &c., of different spectators, a motion of throwing it into the hat being made each time it is produced, and the hat shaken, to cause the resemblance of a coin falling into it. Another method, which I hardly like as well, although successfully adopted by some good performers, is to dip the hand into the hat, and gather some coins quickly in it. These coins are kept in the palm of the hand, and concealed by the two outside fingers, and the thumb pushes one forward as it is required for production. The coins, in this instance, are actually tossed in the air and caught in the hat, which is of itself a great advantage, but the chances of detection are considerable. Nevertheless, the effect is very fine when the conjuror moves rapidly about, picking coins indiscriminately from everyone around. It is possible to hold a great number of large coins in the hand without detection ensuing. The third method is somewhat similar. The coins are gathered in the hand from the hat, but, instead of being reproduced singly, they are all swept from the head of a spectator into the hat. Coins invariably drop on the floor when the latter method is adopted, and the conjuror is enabled to take a fresh dip into the hat unperceived, whilst busying himself about the recovery of his property. What I recommend is a happy mixture of all three methods. Whichever is adopted, the performer must be exceedingly rapid in his movements, never stopping in one place, and accompanying his movements with a running commentary, such as, "Ah, one more on your nose, sir. Thank you, sir, just a few in your hair. Madam, a little one hiding itself under your bow, and, I declare, another in your fan." A lady's muff, when handy, can be well employed. It should be taken in the hand containing the coins, which are allowed to run through into the hat. A good variation, too, is to snatch a hat from a person's head or elsewhere, and dropping a few coins into it, immediately toss them about, and then pour them into your own hat. The larger the audience, the better this money collecting will succeed. It is a great feature in a performance, and always takes well.
A little piece of apparatus which, although I never use it myself, many find very useful for the magical production of coins, is what is known as the "money tube." This is a long flat tube of tin, japanned on the outside. It is just wide and deep enough to admit of the coins in use passing easily through it, and no more. At one end, on the outside, it is furnished with a broad flat hook, for the purpose of suspending the tube from a buttonhole or slit in the interior of the performer's vest or coat. The bottom end is furnished with a lever arrangement on the outside, which for half-crowns would be thus constructed: In length it would just exceed the width of a half-crown, and each end be furnished with a peg about a quarter of an inch long. In the centre is drilled a hole, and on the tube is a bifurcated projection, also with a hole through it. The lever is placed in its position, and a pin passed through it and the projection. A joint will thus be formed very similar in appearance to the centre joint of an umbrella rib. In the tube (exactly underneath the pegs, which must be towards the tube) pierce two holes, and under the upper half of the lever fix a small piece of spring, tolerably strong. The apparatus is then complete. The spring causes the upper half of the lever to rise, and, as a natural consequence, the lower half to be depressed. The lower peg thus prevents anything that may be in the tube from passing out at the end. So soon, however, as any pressure is put upon the upper half of the lever the lower peg rises and allows the coin to escape. The upper peg, descending at the same time, prevents the escape of any other coins that may be in the tube. The method for using the tube is to fix it securely under the vest or coat flap, with the bottom end all but exposed. When the performer requires a coin, all he has to do is to curl his fingers under the mouth of the tube, and press the upper portion of the lever, when a coin will fall into his hand. As the operation is invariably accompanied by a slight clattering, however careful the performer may be, the hat should always be shaken for the purpose of smothering the sound made by the tube. A small band of elastic on the coat or vest will serve to keep the tube steady. The lever lies transversely across the tube, and not straight along it. This enables the little pegs to pass into the triangular spaces left between two coins, the edges of which are touching. It is not advisable to produce many coins in a short space of time by this method, as the frequent repetition of the movement of the hand might easily be noticed.
An effective continuation is to apparently cause the coins to pass through the crown the reverse way, i.e., from the inside to the outside. For this purpose, the performer must retire well up the stage, concealing, as he does so, several coins in the palm of the hand, one being shown at the ends of the fingers. The hat is held out, crown downwards, in the other hand, and the coin in the fingers then tossed high in the air. Whilst it is descending the thumb gets another coin in readiness, and as the coin in the air falls into the hat the one brought from concealment is put against the crown and instantly pulled sharply away from it. The effect is as if the coin thrown in the air had passed through the crown of the hat, and was caught by the performer as it came through. Considerable practice must be undertaken, as it is indispensable that the fall of the descending coin into the hat and the production of the fresh one at the crown be precisely simultaneous, otherwise the effect will be weakened, if not altogether spoilt. The hat must contain some coins at the commencement, otherwise the accumulation of those thrown into the air and subsequently caught in the hat, would, of course, be noticed. The effect is improved if the crown of the hat be turned slightly towards the audience at the moment when the coin is supposed to come through it. As the eyes of the spectators always follow the coin in the air, the slight motion of the thumb in getting a fresh coin in readiness is never perceived. Large coins tell best, and about six should be used.
When the performer has sufficiently amused the audience in this way, he can proceed with the trick under notice. For it he will require—at least, he will find it advisable to have—an oval tray of japanned tin. To all appearances, the tray is only an ordinary one, but it has a double bottom, the space between the two bottoms being a little more than the thickness of a half-crown, or whatever coin the performer may be in the habit of using. The rims of the two bottoms are joined all round, with the exception of a portion at one end, which is left open to the extent of a little more than the width of the coin in use. Two strips of tin, soldered firmly in their places, extend from each side of this opening, in parallel lines, to the other end of the tray, and so form a passage between the two bottoms capable of receiving a quantity of coins, ranging in number according to the length of the tray or the will of the performer. When the tray is tilted to any extent, the open end being the one that is depressed, the coins will naturally slide out one after the other. If the space between the double bottoms is too deep, the rearmost coins will overlap those in front, and so cause an obstruction. The tray is loaded with (say) five coins, and so brought on. Fifteen (a few more or less will not matter) coins are then taken from the hat, and placed upon the tray, which is then put into the hands of a spectator, who must be enjoined to rise for the purpose, and to keep very steady, so as not to upset the coins. A boy's cap is then borrowed, and put into the hands of another spectator, who is placed in a position close to and facing the holder of the plate. In the absence of a cap, a handkerchief, held in the form of a bag, will answer as well, if care be taken to arrange it so that none of the coins can escape and fall to the ground. The performer retires to the stage, and explains that, when he counts "three," the holder of the tray is to pour, as rapidly as he can, the fifteen coins into the cap, the holder of which is directed to close the cap immediately this is done. As the performer has taken care to place the tray in the assistant's hands, with the opening from him, it follows that, when the fifteen coins are poured from the surface into the cap, the five from the concealed receptacle will accompany them. A very distinct mark should be made upon the tray so that the performer can readily distinguish one end from the other. When the cap is closed, the performer counts five more coins into his hand, and "passes" them into the cap, the holder of which is then requested to count out the coins upon the plate, to show that the number has been increased by five. All counting of coins should take place both before and afterwards, or the audience may fail to perceive what has been done. The trays sold at conjuring repositories are nearly always round; this is a bad shape, as there is nothing to induce the holder of the tray to tilt it as the performer desires. When it is oval, it is only natural to pour the coins off the narrow end. It is also impossible to notice from any distance if a round tray has been shifted, accidentally or otherwise. A couple of inches difference will cause the trick to fail, for the coins will not pour out; and some people who are in the secret are malicious enough to be capable of wilfully turning the tray round for the purpose of spoiling the trick. The name of "The Banker" is given to the trick, because the performer supposes the holder of the cap to be the banker, and he then shows how he pays in his money. The great effect of the trick is derived from the fact that the performer never approaches the custodians of the money after once giving it into their hands.
Hold them Tight!—The performer takes a few coins—four half-crowns or florins will be found the most suitable—and also a strong white cotton handkerchief. He then asks the assistance of one of the spectators, stating his predilection for a very strong man. The more burly the volunteer, the better he will suit the conjuror's purpose. Seat him on a chair a little on one side, and facing the audience. Place the coins in the centre of the handkerchief, which then invert, and grasp the coins through it from the outside. This is done openly and deliberately, and the assistant is requested to hold the handkerchief firmly between the two hands a few inches below the coins. He is then asked if he thinks it possible for the performer to pull the coins through the handkerchief without making a hole, or to get them out without interfering with the assistant's hand. The answer will invariably be a negative one, and the performer then says, "Very good; that is your opinion. I will now see what the audience think about it." With this, the performer steps forward with the coins and the handkerchief, and explains to the audience that it is a trial of Strength versus Skill between the strong man on the stage and himself. He then requests someone to place the coins in the handkerchief, so that there shall be fair play, the handkerchief being spread over the performer's left hand for the purpose. When the coins are placed in the handkerchief, they should be grasped through it by the thumb and first and second fingers. The performer then turns suddenly to the person on the stage, and says, "I trust you are not nervous, sir; you look very pale." This will cause everyone to look at once at the person addressed, who will, if under the glare of footlights or other strong gas, infallibly bear a pale appearance. But whether he looks pale or not will not matter, the diversion being made for the purpose of distracting the attention of the audience from the performer for a moment or two. Whilst all eyes are directed towards the assistant, the performer turns the coins over twice in the handkerchief, a fold of which is taken at each turn, and the coins thus enveloped. The coins are then grasped in the right hand, and a good shake given to the handkerchief for the purpose of straightening it as much as possible. The result of this manœuvre is that the coins are simply hidden in a couple of folds on the outside of the handkerchief, the supposition indulged in by the audience being that they are inside, and that the handkerchief has been merely inverted as before. This folding and turning is not easy to accomplish quickly and neatly. The coins must be held firmly, and the fingers then turn them over inwards, the thumb being raised to allow them to be pushed well under it. Before the fingers are removed, the thumb descends and nips securely that portion of the handkerchief pushed over with the coins by the fingers, and retains it whilst the second turn is being made, the same process being repeated. With the fold well made, the performer may venture to allow that portion of the handkerchief containing the coins to hang downwards, and even give a slight jerk to cause the coins to jingle. This will totally disarm suspicion. It is much easier to hold the handkerchief, with the coins, in one hand and make the folds with the other, but the proceeding is unbusinesslike and provocative of suspicion.
The handkerchief is then put into the hands of the seated assistant, as before, the performer holding that portion containing the coins. A tremendous mock struggle ensues, the performer allowing himself to be pulled nearly over once or twice, which will cause him to remark that he has made a mistake this time, and has met with someone a little too strong for him. All the time he is working a finger into the folds, which he quietly undoes, and, under cover of the left hand, gets the coins out into the right. With this hand he takes his wand, which is held under the armpit during the trick, and continues pulling with the left. After a while, he says that it is no use, and, relinquishing his hold, asks to have his money given back to him. Of course, the assistant knows nothing about it; but the performer points out the fact that there is no hole in the handkerchief, consequently he cannot have the coins. Under the plea of finding out where they are concealed, the performer taps with his wand on various portions of the assistant's person. When he reaches either the elbow or the knee, he allows the coins in the hand to rattle against the wand at each tap, and it will appear to the audience that they are concealed up the assistant's arm or leg. Grasping the sleeve or trouser, the performer turns it up a little, and rattles the coins out on the floor. If found in the trouser, the assistant should be asked to place his foot upon a chair. It is very easy to jerk the coins a few inches up the sleeve or trouser leg as it is being turned up; they will then fall out naturally. The reason I give directions for using a strong pocket handkerchief is because the continued pulling will sometimes cause a sharp-edged coin to cut through. I never use any but my own handkerchief, for this reason.
There is another method of folding the coins in the handkerchief, which surpasses the one above described for neatness, and it may be executed in full view of the audience, with their eyes specially directed upon the performer's hands, instead of momentarily diverted. The coins, in this instance, are taken between the finger and thumb of the left hand, and held perpendicularly. With the right hand, the handkerchief is thrown over them. This the performer does close to his temporary assistant upon the chair; upon which he says, "That is all very well: you know that the coins are safe inside the handkerchief; but I must also convince the rest of the company." Suiting the action to the word, the performer advances a few paces, performing, as he does so, the following manœuvre: With the right hand inverted, i.e., the palm turned upwards, the coins are seized between the first and middle fingers. Simultaneously the left hand is shifted a couple of inches backwards, and the right hand, turning over in that direction, places the coins once more between the left finger and thumb, but this time there are two thicknesses of the handkerchief intervening. That half of the handkerchief which is hanging on the side nearest to the company is now raised by the right hand, when the coins will be exposed to view. The act of shifting the left hand back a couple of inches has caused the fingers of the left hand to be covered by a false fold of those dimensions. The company, therefore, cannot see the said fingers, the performer making doubly sure by holding his hand as low as possible, without exciting suspicion. Now, after having shown the coins, if the performer merely turned back the half he had lifted, no particular result would be arrived at; but the learner, who is, of course, following me with coin and handkerchief in hand, will at once see that, if that half of the handkerchief which is hanging on the side nearer the performer be turned over along with the one that has been raised to show the coins, in the direction of the company, the result achieved is that the coins are on the outside of the handkerchief, but enveloped in the 2in. fold. This turning back of two halves, instead of one, being the vital part of the whole thing, must be done with great carelessness. Indeed, the action of turning the rear half over with the right hand is a mistake: all that is necessary is to drop the left hand with a good shake, when both halves will fall on the same side, as naturally as possible. These little things require a good deal of explanation, but it is a really very simple manœuvre, which I divide into four distinct movements, viz.: First movement—placing the coins under handkerchief, in left hand; second movement—turning over coins with right hand, and seizing again with left thumb and finger (see [Fig. 48]); third movement—dropping left hand and raising front half of handkerchief with right hand; fourth movement—releasing handkerchief with right hand and shaking two halves over with left. When the fourth movement has been completed, the right hand should seize the handkerchief just below the coins, which can then be struck upon the left palm, carelessly, but hard, so as to indirectly convey the idea of their being contained in a bag, made by the handkerchief. There need be no fear of the fold becoming loose if the handkerchief be gripped firmly; and the boldness of the act will disarm suspicion. The very security of this fold renders it more difficult to work the coins out when the "trial of strength" comes on, and the assistant must be made to hold the handkerchief some distance away from the coins, so that the performer's hands have plenty of space to work in. Whilst the assistant is thus holding the handkerchief, it is a good plan to allow that part in which the coins are folded to hang down—whilst the sleeves are being turned back, for instance. This will keep up the impression of their being enclosed in a bag.
Fig. 48.
The Money Changer.—This trick is accomplished by means of the first deceptive fold described in [Hold them Tight!] Its simple nature may cause it to appear easy of execution; but let not the learner foster this delusive idea, for the slightest bungle will spoil the trick, which depends entirely upon sleight of hand.
In the left hand the performer has three pennies concealed. Three half-crowns and three pennies, all marked by various members of the audience, are then borrowed. The three half-crowns are first collected in the right hand, and given into the custody of one of the audience. The pennies are next collected, in the right hand also, and then the performer begs the further loan of a couple of handkerchiefs. Just as he is stepping forward to take the proffered articles, he says to one of the audience, "Would you kindly hold these pennies for an instant?" and, making a "pass" ([Fig. 11]) towards the left hand, exhibits and hands the coins therein concealed. The idea conveyed by the performer is that, the coins being in his way whilst borrowing the handkerchiefs, he wants to be rid of them for a short space of time. This covers the action of the pass, which might otherwise appear suspicious, as being unnecessary and meaningless. Take the first handkerchief in the right hand, and let the second hang over the left shoulder. Now go at once to the holder of the half-crowns, and, taking them from him, place them in the centre of the handkerchief, previously spread over the right hand, which contains the marked pennies. Turn briskly to another member of the audience, executing as you do so a single turn only of the coins in the handkerchief with the fingers of the right hand, the coins that are in the hand itself going over as well. Take that portion of the handkerchief which contains the coins in the left hand, grasping the whole securely. Remove the right hand from underneath, and with it grasp the handkerchief some four or five inches from the coins, and then reverse the positions of the hands, handkerchief and all, the right being above and the left below. The pennies which were recently in the right hand will now be in a bag, as it were, formed by the handkerchief. The half-crowns are still on the outside, hidden by one fold of the handkerchief, and held by the fingers of the left hand. Request the person to whom you have advanced to stand up, and inform him that you wish his right hand to take the place of yours, and that he is on no account to relax a firm hold for an instant, or to allow any coins either to enter or escape. As you say this, dance the coins two or three times up and down in the left hand, which hollow as much as possible, and the half-crowns will fall into it. Their clinking will not signify in the least, as it will be attributed to the coins in the handkerchief. Then give the handkerchief into the custody of the person selected, the left hand simultaneously finding its way to the handkerchief hanging from the left shoulder, which it takes. The same manœuvre is then repeated, the handkerchief being spread over the left hand with the half-crowns in it, and the right eventually securing the substituted pennies. All that remains to be done is to command the coins in the handkerchiefs to change places, which feat is apparently accomplished. The great peril of the trick lies in the necessity of repeating the action of folding. To avoid detection, the performer must be always on the move, and endeavour by gesture and speech to continually direct the general attention of the audience to the persons whom he is addressing. The most dangerous person is he from whom the coins are taken before being put into the handkerchief. The best method for disarming him is to be very profuse with thanks for his kindness. By the time you have done thanking him, your object has been accomplished. It is strange what a trivial thing is required for the purpose of distracting the attention of the audience, whether collectively or individually, if the performer can only assume an appropriate expression of countenance. On the other hand, the least appearance of anything approaching to bewilderment only tends to make the audience doubly sharp. "Hallo!" they will think, "he is in a fix," and forthwith the minutest action is devoured.
In this trick, the effect of manner will make itself manifest in a marked degree. It is evident that, if anyone in the audience fix his eyes intently upon the performer's hands from the commencement of the trick to the finish, never removing his gaze for an instant, he is bound to notice the turns that are made. Now, it is impossible for a conjuror even to keep his eye upon every member of his audience for the purpose of noticing who is and who is not watching him. The utmost he can do is to make such diversions as are best calculated to accomplish his ends in a general way. If anyone in the audience be particularly sharp, and will not be taken in, it cannot be helped.
I make these remarks in this place because a good opportunity presents itself: they are of universal application. It is only another sermon on the old text, misdirection.
It is as well to borrow either very thick handkerchiefs or else coloured ones for this trick. Thin white handkerchiefs will reveal the nature of the coins contained in them under certain conditions of light. The person who temporarily holds the substituted pennies should be enjoined to close his hand. This is to prevent him from whiling away the time by seeking for the marks. A person might do this merely out of curiosity, and without any malice whatever. When practising, it is best to commence with a single coin of each sort, then two, and finally three. Four coins would only make the trick more difficult, without increasing the effect. With one coin only, the trick is very poor; besides, it naturally appears to the audience to be more difficult for the performer to transmit a number of coins from one spot to another than to perform a like feat with a single coin.
The Crystal Plateau.—This is a very pretty, but almost unknown trick. Hanging by a couple of cords at the back of the stage is an oblong plateau, composed simply of a frame and a piece of glass. The performer borrows three marked florins or half-crowns, which he can either hold in his hand, or place in the little box described in [The Invisible Transit]. He calls attention to the plateau, the transparent nature of which seems to render any examination unnecessary, and announces that, not only will he cause the coins to invisibly leave his hand (or the box), but they shall do so one at a time, and affix themselves to the glass of the plateau. This is done, the coins appearing one after another upon the face of the plateau, from which the performer removes them, and hands them back to their owners.
Fig. 49.
This fine effect is thus managed: The plateau ([Fig. 49]) is composed of two pieces of glass, one behind the other. The front piece is fixed firmly into the frame, but that in the rear is only loosely fastened. An indiarubber band, passing across the lower portion of the latter, keeps the two glasses close together at their lower edges, but at the top they are kept apart to the extent of about twice the thickness of a half-crown. From the upper part of the frame three spaces are cut out, wide enough to admit a coin, and deep enough to cause a coin dropped in from that point to fall between the two glasses. To keep the coins temporarily suspended, three holes are drilled through the rear glass, just below the places for the coins, and little pegs inserted therein. To each of these pegs is attached a thread, held in the hand of the assistant behind the scenes. The latter should be immediately in rear of the plateau, in order that he may get a straight pull. When the performer cries "Pass," one peg is pulled out, and the coin it supported falls between the two glasses. As these approach each other by degrees, the falling coin sticks fast about mid-way, appearing to the company—and, for that matter, to the performer, too, so perfect is the deception—to be stuck on the surface of the front glass, supposed by the company to be the only one. When all three coins have thus made their appearance, the performer proceeds to the plateau, and, placing a hat beneath it with one hand, opens the rear glass slightly out from the front one, the coins thus falling out. The marked coins have, of course, never left the performer's hand, three of his own having been placed in the little box, if that was used; and it is very easy for him to palm these in the hat, and produce the marked ones, as though taken from it. To pass them, one by one, from the hands, they must be held in the left hand, and palmed singly with the right. If the performer is skilful enough to palm them one over the other, so much the better, otherwise the palmed coin must be got rid of in the little trouser pocket each time, whilst the contents of the left hand are being exhibited.
The Money-producing Candle.—The performer commences by stating that the next trick will be performed with a quantity of shillings. He will want so many that the company can scarcely be able to supply them, so he will not put them to any trouble, especially as he has perfected a new invention by means of which money can be manufactured out of candles. He either borrows a hat, or takes a plate, which should be given for examination, and then approaches a candle, which has been burning for some time on the table. Turning up his sleeves, and indirectly showing both palms to be empty, he places his thumb on one side of the candle and the fingers on the other, near the bottom, and draws the hand upwards, as though squeezing the candle. Two or three quick movements are made, and then a shilling appears in the performer's fingers as though it had been taken out of the very flame. The coin is placed in the plate, or hat, and, after the palm has again been shown empty, a second shilling is squeezed out of the candle, viâ the flame. This is repeated a great number of times, a quantity of shillings being produced, with which a trick should be subsequently performed, the candle experiment, in itself, being of insufficient length.
Fig. 50.
The secret lies in the candle. This is a brass cylinder, covered with white paper ([Fig. 50]), a piece of candle being introduced into the top, and lighted. This introduction must be neatly done, and some wax from the candle scraped over the junction, so as to hide it. Inside the cylinder is a spiral spring arrangement, precisely similar to the cylindrical sovereign-holders sold, from which one coin at a time is extracted by a simultaneous pressing and drawing action. Such a holder, placed inside the imitation candle, with the opening downwards, would be the very thing (for sovereigns), provided an opening were made just below it sufficiently large to permit the insertion of a finger with which to withdraw the coin. The spiral spring continually presses the coins from above, keeping the lowest one always at the opening, it being prevented from falling by a narrow projecting rim inside, which leaves a large portion of the central space of the coin free to be acted upon by the inserted finger. The side of the candle upon which the opening is situated is, I need not say, turned away from the spectators, and, as the performer slides his hand slowly upwards, a finger brings away a coin—the movement being, of course, continued evenly, and no stoppage made at this particular moment. With a little practice, the coin can be extracted with wonderful facility. Before commencing, the performer should show that there is no preparation about the candlestick, by turning it upside down, and banging it upon the table. The candle is grasped by the hand, for the purpose of removal, over the spot where the opening is, and it may then be shown on all sides; but I do not advise that the performer should draw attention to the candle. No hint of a prepared candle should be given the spectators, who are not at all likely to think of such a thing unless it is suggested to them, particularly if the performer advances boldly, candle in one hand and candlestick in the other, and exhibits them. It will be found that an imitation candle to take shillings will have to be a fairly large one, so the conjuror must use his judgment, and have one for sixpences only, if his exhibition of an abnormally large candle be likely to draw suspicion towards it. For large stage performances a candle capable of taking florins might be used. The candle can be profitably used incidentally to vary the collection of money in the air (see[ page 14], &c.), a coin being now and again placed visibly into the hat, instead of "passed" magically through the crown, and a fresh one obtained from the candle, just as would be done from the money tube (see[ page 239]).
The Flight.—This is a method for causing five coins to disappear. It is a very useful interlude when the performer is hard up for something to do, and when it is desirable to lengthen out the entertainment.
Take five well-worn half-crowns (your own or borrowed; marked or not), stand sideways to the audience, right side to the front, and extend the left hand, palm upwards. Hollowing the hand slightly, place one coin upon the tip of each finger. Place the right hand upon the left, the corresponding fingers of each hand meeting at the tips, so that the coins are held firmly between them. Give the hands a half turn, so that the back of the right hand is towards the audience, and hold them in this position for a few moments, the eyes being directed upwards, as though the remainder of the trick were to be in connection with the ceiling. Give the hands two upward and downward sweeps, increasing in vehemence, and at the third bring the points of the fingers together. This will cause the coins to lap one over the other in tolerably good order, when they must be pushed firmly between the root and first joint of the right thumb, breadthwise (see [Fig. 5]). The action must be executed as the hands descend for the third time, and with such speed that the coins must be secure in position when the hands are brought up again, when they will affect to toss the coins hard up at the ceiling. This takes some little doing, as there must not be the slightest pause in the upward and downward swing. The coins can be reproduced from the person of the performer or from the audience, or they need not be reproduced at all.
The feat is capable of being introduced into tricks where five coins are made to disappear. Unless each finger has an occupant, it does not look complete, so it is not advisable to introduce the variation where four coins, or fewer, are employed.
Coin and Worsted Ball Trick.—A very good trick indeed is performed with a ball of worsted and a coin. Have a flat metal tube broad enough to admit with ease the coin intended to be used, and wind round one end of it a quantity of worsted, so as to form a large ball, completely closing up one aperture, the other end being left open and protruding half an inch or so. Place this in a pocket or a bag, or behind a screen. You must have a duplicate coin palmed, which change with the borrowed one, and give to be held in a handkerchief. The coin would, of course, be marked. When the worsted ball is in a bag, or behind a screen, the coin must be dropped down the tube, which is then withdrawn, and the ball compressed in the hand so as to obliterate all traces of an opening. It is, however, a much neater way to have the ball and tube in the pocket (it will have to be a side pocket); another ball being sent round to be examined before anything is done. When the coin is in the prepared ball, and the tube withdrawn, it can be exchanged with the other. When this has been successfully accomplished, give the ball to be held high in the air, and, taking the substituted coin, "pass" it inside. Now have the ball placed in a tumbler, which is held by one person, whilst another pulls at the end of the worsted, and so unwinds it. In the centre will, of course, be found the borrowed article.
[CHAPTER XV.]
MISCELLANEOUS.
ON APPARATUS, AND ITS USES AND ABUSES—HOUDIN'S DIE—ADDITIONAL EFFECT—NEW METHOD—THE GOLD-FISH TRICK: PISCICULTURE EXTRAORDINARY—THE BOWLS AND COVERS—THE CLOTH—WHERE TO CARRY THE BOWLS—HOW TO PRODUCE THEM—BAD AND GOOD INNOVATIONS—HOW TO CAUSE THE BOWLS TO DISAPPEAR—MISHAPS—GOLD FISH AND INK—THE GLOBE—THE LINING—THE LADLE—HOW TO FILL IT—THE CARD—THE TRICK IN A SMALL WAY—TRAVELS OF A GLASS OF WATER—GOLD! GOLD! EVERYWHERE—THE HEN FOR EVERY HOUSEHOLD—THE BEST BREEDS: NO. 1, NO. 2, AND NO. 3—HOW TO HATCH YOUR EGGS WITH DESPATCH—DECAPITATION NOT FATAL TO FOWLS—"KLING, KLANG"—HOW TO STAND FIRE—THE INTERCEPTED BULLET—THE WANDERING GINGER-BEER BOTTLE—THE PLUME AND THE SEED—COOKING MADE EASY: HAT VERSUS SAUCEPAN—A LITTLE ACCIDENT, AND HOW TO RECTIFY IT—THE FLAGS OF OLD ENGLAND—A NUT FOR BLACKSMITHS TO CRACK—THE DRAWER BOX—HOW TO MAKE IT—WHEN TO USE IT, AND WHEN NOT—THE CONE—BACCHUS' DOVECOTE—HOW TO PREPARE THE BOTTLE—HOW TO MESMERISE AND CAUSE A DOVE TO DISAPPEAR—THE WINE-DRINKING CRYSTAL BALL—BACCHUS' MAYPOLE—ON PROGRAMMES AND TITLES—HOW TO MAKE THE BOTTLE—THE ACCOMMODATING BOTTLE—HOW TO "WORK" IT SUCCESSFULLY—ANOTHER METHOD—THE MESMERIC SUSPENSION WAND: TWO METHODS—THE MAGI'S BRAZEN ROD—THE BALLS—HOW TO CHANGE THE RINGS—THE SHOWER OF PLUMES—THE FAIRY FLOWER—THE VASE.
However great the respect which one may have for sleight of hand pure and simple, it is quite undeniable that a set performance is greatly improved by the occasional introduction of some neat-looking, but not gaudy, apparatus. Under this head need by no means be included self-acting machinery, during the performance of which the performer acts as a mere puppet. All the apparatus mentioned in this work will require adroit handling; and the conjuror will do well to practise as thoroughly with each article as he would towards the acquisition of a feat of sleight of hand. Apparatus seems to have a malicious pleasure in going wrong, always on the most critical occasions, and, for this reason, the majority of skilful performers feel most happy when using very little of it. One thing may be taken for granted, viz., that apparatus, exhibited without the assistance of sleight of hand, and plenty of it, causes the performer to degenerate into a mere showman—opening a box here, and taking off a lid there. In introducing apparatus, the performer must lay a very great deal of stress upon the sleight of hand portion of the business, as though therein lay the whole of the trick, the apparatus being a mere necessary evil in connection with it. By engaging the attention of the company with sleight of hand, it is drawn away from the apparatus, the spectators being so convinced of the performer's skill that they do not so readily accuse him of trusting to gaudy boxes and canisters for his effects.
Some of the apparatus described can be made at home, but, as a general rule, it is cheaper and more satisfactory to buy it at a conjuring repository. Low prices are the order of the day; and, as the articles are made by experienced men, they must be superior to those manufactured by persons new to the business.
Houdin's Die Trick.—Although this trick, sold everywhere for a shilling, must be as well known as any, I have found it appreciated by certain audiences, which have, by the way, invariably been drawing-room ones. Before a boys' school, or large public audience, it would not be advisable to exhibit it. The trick consists in placing a die upon the uppermost of two hats, covering it with a cover, and causing it to pass through into the lower hat. The secret lies in a hollow false die, which has five sides only, and which fits over the real die like a cover. The actual cover used in the trick fits over the dummy die. The method of performance is extremely easy. Place the dummy die in the breast pocket, in a handy position, and give the real one to be examined with the cover. Whilst this is being done, borrow two hats, and take them to the centre table, slipping the false die from the pocket into one of them when your back is turned. Place the hat containing the dummy on the table, crown downwards, and invert the other one over it. Now take the die and place it upon the uppermost hat, and explain to the audience as follows: "Ladies and gentlemen,—You have all kindly examined the die and cover, and found that both are genuine and free from trickery. I now take this solid die and place it upon this hat; but before doing so I will show you that the hat has no hole through the crown. [Take up hat, and hold it before the light, and bang it about a little, then replace and put die upon it.] The trick I shall perform will be to cover the die with this cover, and, on again removing it, it will be found that the die will have passed through the hat into the one underneath, thus [tilt the top hat so as to cause the die to fall into the lower hat]. Now that I have explained what is to be done, I will proceed to do it." Take the dummy die out of the hat (being careful to keep the open part from the audience, and leaving the real die behind), and place it, with the opening downwards, upon the upper hat, which you have replaced. You can pretend to cut through the hat, all round the die, with a penknife, making a noise with the nail to imitate the sound of cutting, and then, placing the cover over the die, give it a rap with the wand. Grasp the cover very tightly near the bottom, and raise it, bringing away the dummy die as well. Hold it up to the spectators, and rattle the wand inside, and then turn out the real die from the hat on to the floor. Whilst doing this with one hand, the other should be passed behind the table, and the dummy allowed to slide out of the cover on to the shelf. This latter effect is invariably omitted by conjurors, and the trick, in my opinion, spoilt, as attention to it enables the performer to hand round the cover for inspection after the trick is performed, thereby totally upsetting those who, having purchased the trick, fancy they know all about it. I have frequently been asked by such people how I do the trick, they little thinking that the apparatus I use is exactly similar to their own. The die, cover, and dummy can be purchased so cheaply that it is scarcely worth while for the conjuror to manufacture his own. If he wishes to exercise his ingenuity, let him try the following method, which is an improvement on Houdin's old one only inasmuch as it is not so well known.
Procure a die some four inches square, with dummy and cover complete. A smaller size can be used, but I give the most effective for the trick. Now take five pieces of cardboard, each the size of one side of the die, and join them together with hinges of linen, not all in a row, but with one in the centre and the four others on either side of it. Lay these upon the centre of a large coloured handkerchief, and place another handkerchief, of a precisely similar pattern, over it. Sew the two handkerchiefs and cardboard together through the centre piece of card only, and then sew the edges of the handkerchiefs together all round. The two handkerchiefs are made to pass as a single one only. Before commencing, the dummy must be placed, opening downwards, upon the shelf, and the handkerchief should be lying carelessly upon a chair or side table. Show the die and cover round, and borrow two hats. Take the cover and hats to the table, and whilst one hand is placing one hat over the other, as in the first method, the other should place the cover over the dummy die on the shelf, which must thus be picked up. Show the inside of cover (i.e., the inside of the dummy), and place it upon the uppermost hat. Now take the die and place it upon the table, a few inches only from the back. Spread the handkerchief over it, and whilst taking hold of the centre piece of card of the internal arrangement across the middle, with one hand, from the outside, pass the other hand underneath the handkerchief, and, under cover of the same, place the die upon the shelf. The hand holding the handkerchief will all the time appear to be holding the die in the air a few inches from off the table. Fold the handkerchief carefully up, and the five pieces of card will give an exact resemblance of a die folded up in a handkerchief, which idea is what you wish to convey to the minds of the audience. Place this carefully upon a side table, and then explain that you are about to pass the die from the handkerchief invisibly under the cover. Raise the cover—and, along with it, the dummy die—once more rattle the wand inside, and replace it. Then take the handkerchief carefully by two corners and suddenly give it a hard shake in the air. The die that is supposed to be inside will not, according to the expectations of the spectators, roll upon the floor, but you will show it to be on the top of the hat by raising the cover only, and revealing the dummy. Remove the dummy from the hat to the table with two hands, as if it were solid, and act as if you were about to return the two hats. You, however, take one of them, opening downwards, and, bringing the brim on a level with the top of the table, but overhanging the shelf considerably, pop the die inside it with the other hand, which instantly takes up the second hat, and you advance with both. Before you have progressed very far, however, you say that, perhaps, after all, the audience would prefer seeing the die back again; and it is very evident that so large an object must be somewhere. Of course, no one will object, and you replace the hats one over the other, the one containing the die being naturally the lower one. The trick then proceeds as before described, the dummy die being carefully lifted with two hands upon the uppermost hat, and the cutting operation gone through. The difficult portion of the trick is getting the die from the shelf into the hat. This should be well practised.
The Gold-fish Trick.—Of the first three questions asked a conjuror by a new acquaintance, one will infallibly be, "Can you do the gold-fish trick?" When it was first exhibited, it caused intense excitement, and, the secret being fairly well kept, the trick is but little known even now. The performer advances with a shawl or large handkerchief, and, after waving it about, he produces from it a large glass bowl full of water, in which gold-fish are complacently swimming. I have heard the wildest suggestions made in explanation of the trick. One says the bowls of water come up a trap door, regardless of the fact that the cloth does not reach the ground, consequently anything coming up through the floor must infallibly be seen at once. Another explains that the performer has the bowls empty about him, and has an indiarubber reservoir of water up his back, with a pipe coming down the sleeve. Where the fish come from is not explained. No one seems to be able to think of the real secret—an indiarubber cover. The bowls are flat, not more than two inches deep in the centre, resembling gigantic saucers made of glass. The indiarubber covers are made exactly the size of the rim of the bowls, and have a broad turn-under edge besides. The bowls are filled with water, the fish put in, and the covers are then stretched over. To put them on neatly and with dispatch two persons are required, as some force is necessary to pull the indiarubber out sufficiently far to enable it to go on the bowl. Deep, round-bellied bowls should be avoided, as the covers cannot get a good grip upon them. As, with ordinary care, there is no possible chance of a leakage taking place, the bowls can be placed anywhere the performer pleases, and in any position. The favourite places about the person are inside the vest, which will distend sufficiently if prepared with elastic behind, and inside the large breast pockets of the coat. Some conjurors, however, prefer placing the bowls simply under the armpits, inside the coat, and it is surprising how remarkably safe they are in such a position. They are certainly less liable to cause any extraordinary distension of the performer's person, and are far more easily got at. But this is a matter entirely for the consideration of the performer. Some go so far as to put a bowl up the back, which to me seems making the trick as difficult as possible. Wherever the bowls are put, they must be pushed well back, so that all the distension takes place behind, and the performer must necessarily always face the audience during the trick. A bowl is also sometimes placed upon the shelf of the table; but a far better place than this is the back of a chair, made opaque on purpose, where the bowl is held by means of two large wire hooks. As three bowls are generally sufficient for most audiences, one can always manage to carry a sufficient number about one's person. I usually have one in the vest and one in each breast pocket.
To produce the bowls, the performer takes a cloth by two corners, and, after waving it about a short time for effect, he throws it over one shoulder, allowing it to hang well down in front of him. If the bowl is to be taken from the left side, then the cloth must cover that side most, and the left arm must be held out so as to allow the right arm room to work. With the right hand, take the bowl from its hiding place, and hold it horizontally under the cloth, which then draw off the shoulder by means of the other hand, and let it hang over the bowl. Now, with the disengaged hand, grasp the indiarubber cover firmly on the edge of the bowl, through the cloth, and remove it from the bowl with a backward motion. This wants some little doing, as, although it greatly heightens the effect to spill a little water, it looks clumsy to three parts empty the bowl. Lay the cloth carelessly aside and take up a fresh one for each bowl. Some conjurors, Dr. Lynn amongst them, use only one cloth, which is provided with pockets, into which the covers are stowed away; but this is a totally unnecessary innovation, and often obliges the performer to fumble about before he can get the covers into the pockets. The idea that the audience think more of the trick if the bowls are all produced from one cloth is erroneous, for in most instances the fact is not noticed; and when the performer uses a fresh cloth for each bowl the spectators, when they give the subject any thought at all, attribute it to the cloths becoming wet and so disagreeable to use a second time. By using several cloths, greater freedom of action is obtained.
An innovation by Herrmann was calculated to make the trick even more wonderful than it is in its ordinary form. Herrmann, after producing no fewer than four bowls, used to go right amongst the audience, and there, from a borrowed handkerchief, produce a fifth. This bowl was carried either in the vest or in a breast pocket, and its production was the more extraordinary by reason of the handkerchief being held across the performer's breast by one of the spectators. It may be safely asserted that no such feat of daring has ever been performed by any other conjuror. Few men possessed such indomitable pluck and nerve as Herrmann, who, during a performance, was to be deterred by nothing. He took the precaution of using a very shallow bowl with sharp sides and a very thin cover. The instant the cover was off, the handkerchief containing it was rolled up in the hand and carried off along with the bowl as if by accident, to be immediately returned to its owner, minus the cover.
The most recent addition to the trick is causing the bowls to disappear after production. The simple method for doing this is to have a double handkerchief, as described in the [die trick], with a circular piece of cardboard, the size of the bowl to be made to vanish, inside. The bowl is placed upon the table, and the handkerchief spread over it. As one hand raises the card the other hand places the bowl upon the shelf. The handkerchief is then brought forward with great care, and then shaken out in the midst of the audience. A piece of wet sponge is kept on the shelf, and this is squeezed when the performer goes forward with the supposed bowl. A far better method than this is to use a bowl the top of which is entirely of glass and made in one piece with the bowl, the water and fish being put in through a hole underneath, which is stopped with a cork or plug. It must not be quite filled with water, and when produced the surface must be held a little from the audience, so that the glass top cannot be noticed. When the bowl is to be vanished, all the performer has to do is to cover it with the cloth, and thence quietly put it back into his pocket or vest. It must, of course, be done quickly.
Some ludicrous mishaps have occurred with carelessly covered bowls. One celebrated conjuror produced two bowls with the contents of a third distributed impartially about his person, saturating his clothes and filling his boots. Another performer, a very skilful amateur, accidentally threw the whole of the water from a bowl into a lady's lap, much to the discomfiture of both parties. Had due care been taken, these accidents could never have taken place.
The bowls and covers can only be obtained at conjuring repositories.
Gold-fish and Ink Trick.—This is another instance of astonishing and inexplicable effect produced by most simple means. A large globe (not a bowl, such as is used in the foregoing trick), full of ink, is produced. The performer ladles out some of the ink and sends it round on a saucer for examination. He also dips a white card into the globe, and brings it out dripping with ink. After this, he merely spreads a handkerchief over the globe, and instantly removes it, when the ink is found to have disappeared and its place supplied by pure water and gold-fish.
The preparation for this trick is as follows: Procure a piece of black silk, in width about four-fifths of the height of the globe, and sufficiently long to go once round it on the inside. Sew the two ends together, so that a broad band is formed. To any part of the top edge fasten a piece of thin wire, which blacken. With this silk line the inside of the globe, and then pour in water exactly to the height of the top of it. The wire must be turned over the edge of the globe a little, so as to be easily found. When the globe thus prepared is brought on, it is impossible to tell it from one full of ink. The ladle, which will be best procured at a conjuring repository, is not an ordinary one, but has a hollow handle communicating with the bowl by means of a tiny hole. This hole is made where the stem joins the bowl, and at the upper end of the handle is another small hole. The hollow handle is filled with ink, and a finger or thumb placed over the uppermost hole, thus preventing the fluid from running out. When the performer puts the ladle into the globe, as if dipping some ink out, the thumb or finger should be removed from the upper hole, and the ink will then flow from the handle into the bowl of the ladle. The methods for filling the handle with ink are various. One way is to fill the bowl of the ladle with ink, and then apply suction to the hole at the other end. This is a very simple method, but, unless the person who applies the suction has a decided taste for ink, it is not a pleasant one to adopt. Another method is to exhaust the air from the handle by means of suction, and then put the ladle in ink; but this is even worse than the other. The way I get over the difficulty is by making the upper hole, which is never seen, large enough to admit the nozzle of a very small syringe, by means of which article the ink can be injected into the handle with cleanliness and dispatch. In purchasing a ladle, care should be taken to procure as plain a one as possible. A fancy ladle excites suspicion. If the conjuror does not mind a little expense, he will possess a most perfect article if he purchase a cheap plated sauce ladle, and then have the handle and stem fitted with a hollow back. This will be entirely free from suspicion. The card which is dipped in the supposed ink is simply a piece of card, about an inch and a half wide and a few inches long, with about half of one side of it blackened with ink or paint. The white side is shown to the audience, and it is then turned over with the peculiar twist illustrated in "Drawing-room Magic," [Figs. 19] and [20]. It is then actually dipped into the water and brought out with the blackened side towards the audience. The water dripping from it will appear to the audience to be ink, and the deceptive twist can be again given to show that both sides are blackened.
In apparently taking out ink with the ladle, and dipping the card in, care must be taken that the manner of the performer does not too forcibly impress upon the minds of the audience that he is over anxious they should believe there is actually ink in the globe. The ladling out and dipping the card in must be done tolerably briskly; for, if the audience have time, some of the members may suggest, what is only reasonable, that the performer should show the bowl round bodily. The trick is finished by a large, dark-coloured cloth or handkerchief being thrown over the globe, and instantly removed, the performer taking care to grasp the wire, which will, of course, be on his side of the globe, through the cloth, and so cause the silk lining to come away inside the cloth or handkerchief. I do not believe in introducing rock work into the globe, as it gives the audience the idea of something fixed, and they thus obtain a groundwork to start upon. Water and fish are enough to manufacture from ink, in all conscience. The trick is also very effective when performed in a small way with a tumbler.
The Ubiquitous Glass of Water: First Method.—Procure two small tumblers, exactly similar in size, shape, and appearance. Fill one with water, cover it with a tight-fitting indiarubber cover, and place it in the breast pocket or inside the vest. These little covers are easily procurable, as they are universally sold as covers for jam-pots. They cost about sixpence each. Have a small double handkerchief or cloth, containing a circular piece of card, the size of the mouth of the tumbler, with a few stitches through it to keep it in the centre. Show the empty tumbler, and then fill it with water. Cover it with the handkerchief, and affect to take it up, but place it on the shelf. Advance very carefully with the supposed glass of water, and either stumble on the floor and drop everything, or else pretend to place the glass in someone's hands. If you stumble you must take care to avoid injuring the concealed tumbler. The glass and water vanished, it is now your business to find them again. For this purpose, you call in the aid of a spectator (a youth preferred), whom you request to stoop. Over his back spread the cloth or handkerchief, and, grasping that portion containing the card, raise it gently. Hold it a short time in the air, and then say that you will throw it into someone's pocket, indicating the particular person. Shake out the handkerchief or cloth again and then desire the person indicated to examine his or her pocket. Of course nothing will be found, but you borrow the handkerchief, which will have been taken from the searcher's pocket during the examination, and, waving it about, get the tumbler into it from the pocket, according to the directions given for producing the bowls of water and fish. Remove the cover and produce the glass and water, saying that you knew you had passed them into the indicated pocket. The cover being small, it can be easily removed and the handkerchief returned. It improves the effect a great deal if a small piece of wet sponge can be introduced beneath the cloth whilst the glass, presumably found in the youth's back, is being held, and then squeezed in imitation of the spilling of water from the glass. The sponge can be carried at the mouth of one of the large breast pockets, and, if carefully disposed, need not make the performer uncomfortable by wetting him. I have even seen the sponge attached to the under side of the prepared cloth or handkerchief, which is an excellent plan if the performer is careful not to expose that side, as the sponge is always at hand, and there is no necessity to introduce the hand under the covering, compression from the outside being equally effective in exuding the water.
Some performers think it necessary to go through certain actions for the purpose of convincing the company that the handkerchief does not contain a card or other shape. I must confess that I regard such actions as being decidedly supererogatory, for there is not the least foundation for assuming that the audience suspect the existence of any such thing; and for the performer to do anything indicative of an anticipation on his part that the company are likely to divine what is the true secret of the trick is highly suicidal. However, all are not of my opinion, so, if any beginner thinks he would like to be able to draw the handkerchief through the fingers previous to using, he can easily do so. All he will have to do will be to run a couple of stitches from two adjacent corners to the centre of the handkerchief, and inclose his card in the triangular space thus formed. As it is now loose, when the handkerchief is held by one of the opposite corners, the card falls to the extreme border, and the bulk of the handkerchief may be drawn through the hands. When the handkerchief is held by that side which forms the base of the triangle, the card falls at once into position in the centre. A copper or brass wire ring, being heavier than card, is perhaps more serviceable, as it more readily falls into position.
Second Method.—For this a special tumbler will be required. It is a large one, with perfectly straight sides, and is furnished with an outside cylindrical shell, also of glass, which is not discernible from the glass itself when in position. This outside shell must be sufficiently large to slip over the hand of the performer, so it will be seen that it is of considerable dimensions. This fact is always of value from the point of view of effectiveness: the larger the article the performer can manage to successfully manipulate, the better. The performer advances with the glass and shell together, and fills the former to the brim with water. He then places the whole on the rear edge of the table, and covers with the cloth. Grasping the shell, from the outside, with one hand, and placing the other hand below, the glass is slid gradually off the table, when it will drop through the shell into the hand of the performer, which places it upon the shelf. The more rapidity there is employed, the better. The performer comes forward with the shell inside the cloth, and allows the audience to feel its shape, and also taps it with the wand, to make the glass ring. He cannot allow the shell to be actually seen, as the absence of any water would be at once noticed; but the satisfying of the senses of touch and hearing will be sufficiently convincing. Retiring to about the centre of the stage, the performer thrusts one of his hands through the shell, from the bottom, and, whilst supporting the card shape with the fingers, allows the shell to glide down the arm, inside the coat sleeve. The handkerchief is then shaken out, and shown to be empty. In this case, the glass is not reproduced, the trick depending for effect upon the apparent bringing of a very large glass, full of water, amongst the audience, and causing it to vanish before their eyes. In the first method, there is no tapping of the sides of the glass when in the handkerchief, or any feeling of its shape, which is, of course, a very great feature of this method. The cuff must be gripped by the third and little fingers, when the arm may be dropped without any fear of the glass shell falling to the ground.
Third Method.—This method is, in every way, vastly superior to either of the preceding, and, in clever hands, becomes perfectly marvellous to the uninitiated. Only one tumbler is employed. This should be of a substantial character, and requires to be fitted with a flat glass top, exactly the size of the top of the tumbler. To the under side of this should be cemented a slightly smaller circular piece, the size of the interior circumference of the mouth of the tumbler. The glass top cannot now possibly shift from its position. This top the performer has concealed under his vest or in his breast pocket, so that it is readily at hand. Without so much as approaching a table or chair he has the tumbler filled, and, as he covers it with the cloth, he gets out his top and places it into position. With the supposed object of, say, placing the tumbler upon a chair, so that some plea be instituted for bending the body, the tumbler is removed from the cloth and put into the pocket at the bottom of the coat tail. The performer now goes through any performance he pleases with his shape and sponge, and, at the proper moment, produces the tumbler again. In doing this, however, he must get both hands under the cloth, so that he may secrete the top in one of them. It would not do to lift this off from the outside of the cloth, as its extra presence would be noticed. Its size enables it to be readily nipped between the joints of the fingers and root of the thumb.
As the performer does not approach the table, it is impossible for the audience to imagine what has become of the glass, filled, as it is, with water. There is no doubt that this method calls for more skill in execution than does the first, but the effect is immeasurably superior.
To Invert a Glass of Water.—This is an effect which may either be accomplished separately, or may follow the third method of the preceding trick. The performer places the tumbler upon the table, fills it with water, and, in the act of shifting its position, places the lid, unperceived, upon it. He is provided with a half-sheet of note-paper, which he places upon the tumbler, and then, covering the whole with one hand, inverts the glass upon it. He then addresses the company, remarking that they are, no doubt, familiar with the schoolboy trick of holding an inverted tumbler of water, with merely a sheet of paper to keep the contents from falling to the ground. To illustrate this, the performer holds the tumbler by the base in the disengaged hand, and removes the one below. In the ordinary way the paper would fall to the ground; but the performer has taken care to allow it to become slightly wetted, so that it adheres to the glass top. The performer now proceeds: "This any schoolboy can do; but I dare say you do not think it possible for me to remove this paper and yet retain the water in the tumbler. However, I will show you that such a feat is possible." Taking the paper by an edge, the performer gradually removes it, all the time affecting to hold the tumbler with the greatest steadiness, and keeping his eyes rigidly fixed upon it, as though momentarily anticipating some catastrophe, to avert which a concentration of all his energies is necessary. If he pleases, the performer may swing the tumbler into an upright position and back again, repeating the action three or four times. The paper may be eventually replaced, and the top removed inside it, or that article may be got rid of without the aid of the paper at all.
A slight objection exists in connection with the use of the glass top, from the fact that it is liable to "talk," i.e., make a noise, as it is being placed in position. This does not signify on the stage, but, when performing before small audiences, it may be as well to use a piece of mica. As this has no sunken edge, it is not quite as secure as the glass top; but, with ordinary care, no mishap need be apprehended. In removing the paper from beneath, it will be necessary to adopt great caution in avoiding all approach to a sideways sliding movement, which would probably have the effect of shifting the mica, when a deluge would immediately follow. The paper must be boldly peeled off away from the mica. Mica may be purchased in sheets, and the conjuror should cut several sizes, both, for tumblers and wineglasses, and carry them in his pocket-book.
When at a house, if even only for the evening, where he is likely to be called upon, he can soon obtain an opportunity for fitting the various glasses in use, by carrying a mica in the palm. Performed with a wineglass, the trick makes a very valuable addition to the few applicable to the table. In turning the glass back to the upright position, always place the hand beneath first, as, in removing it, it is then an easy matter to take away the mica.
The Shower of Gold.—The conjuror can perform this trick with the same tumblers and prepared cloth. One tumbler must be filled with imitation sovereigns (which are sold cheaply as whist counters) and placed upon the shelf. The empty tumbler is handed round, and then covered with the cloth, and apparently placed upon the table. It is instead rapidly exchanged, under cover of the prepared cloth—which, when held by the circular card, will sustain the idea that the tumbler is inside it all the time—for the one containing the coins. The performer now goes down to the audience, and continues to find in various ways either single coins or three or four of such at a time, which are "passed" into the distant tumbler by the various methods described in "[Drawing-room Magic]." As coins thrown from a distance would not in the ordinary way fall into a glass receptacle without causing any sound, it behoves the conjuror to imitate such sound. This is easily accomplished by having an assistant behind the scenes, stationed as close to the table as possible, and provided with a quantity of coins and a tumbler. When the performer "passes" any coins towards the tumbler, the assistant should, after a short lapse of time, allow some to pour into his tumbler. The attention of the audience is so riveted on the covered glass that the deception cannot be detected. Indeed, it is difficult for anyone who knows exactly what is going on behind to notice anything at all suspicious. The deception is a very perfect one, and is used in many ways by the best conjurors. Of course, performer and assistant must be en rapport with each other, the one being careful to state loudly at each "pass" how many coins are being transmitted, and the other paying strict attention to what is going on. Supposing the performer finds a single coin, he will exclaim loudly, "Ah! madam, here is just one coin on the edge of your fan! Permit me." And, on finding several, he will say, "Ah! in your head, sir, quite a quantity of coins. One, two, three, four, five!" Sometimes, too, it is as well, for effect, to vary the speed with which the coins perform their imaginary aerial journey. "This one," the performer will say, "is, I see, a very old coin, so will go very slowly indeed;" or, "quite a new one, I declare; see how quickly it will travel." If the assistant be not listening, the effect will be absurd. The tumbler into which he drops the coins should be covered, or the sound will be too sharp. It should be a muffled sound.
The Egg Bag.—This is a bag which, although repeatedly shown to be quite empty, continues to give forth eggs. In its smallest form, it consists of a square bag, made from chintz, or similar material. One of the sides is double, and thus forms a secret compartment, the mouth of which is at the bottom of the bag, inside. The bag can be taken and turned inside out, to show that it is empty, and yet have an egg inside the compartment. The bag, on being turned back again, can be held upside down and shaken without the egg falling out, for it will still be sustained by the inner lining. To produce the egg, all the performer has to do is to put his hand inside the bag and take the egg out of the compartment. He can then replace it, and cause it to disappear. Sometimes the inner lining covers only about three-fourths of the real side of the bag, but it is best to have it almost the same size. If, in turning the bag inside out, the double side were accidentally shown to the audience, they would infallibly notice the mouth of an inner bag, if it were placed about three-fourths of the way down one side; but if it came on a level with the bottom of the bag itself, it would rarely be noticed.
The larger egg bag, for the production of many eggs, is a very different affair, and requires some making. There are various patterns, the best of which I give: No. 1 is a chintz bag, about two and a half feet long, and of proportionate breadth. There is no double lining to it, but it is barefacedly provided with as many little pockets, each just capable of containing an egg, as one side can be made to take. These pockets have buttons, and the eggs are placed in them, and they are then fastened, their mouths being, of course, downwards when the bag is held in its proper position. The performer brings on the bag; and, after explaining that he has simply an ordinary chintz bag in his hands, proceeds to show that it is quite empty by turning it first upside down and then inside out. In performing the latter operation, that side which is provided with the pockets must, naturally be always turned towards the performer. The bag is then turned back again, and waved about, and, saying that he fancies something has been put into his bag by the fairies, the performer puts his hand inside, opening one of the pockets rapidly as he does so. The egg thus released is produced, and the bag again waved about. The operation of producing the eggs is continued until all are exhausted. It is perhaps better to open the pocket sometimes as the hand is withdrawn with an egg. This will enable the performer to compress the material round the egg, thereby released from the outside, before inserting the hand again to extract it, and exhibit its contour to the audience, who will then see that the egg is not placed into the bag by sleight of hand just previous to being withdrawn. No. 2 is made of any opaque material, a soft one for choice. Besides the ordinary mouth, it has two smaller ones, each some sizes larger than an egg, at the bottom corners. They are best made by simply cutting the corners off. The double lining is very small, it being only of sufficient breadth to take an egg. It is situated at the mouth of the bag and runs along the entire length of it. It has only one opening, a slit across the centre, and the eggs are put in through this. For safety's sake, it is as well to have the opening secured with a button. After the bag has been duly turned inside out and back again, and the slit (if closed) opened, the fingers are run along the top of the bag, where the narrow strip of inside lining is situated, and an egg squeezed out through the slit. This egg falls into the bag proper, which is then tilted sideways over a plate or a basket, or even a hat, and the egg thus caused to roll out of the open corner. No. 3 is similar in principle to No. 2, but has a net underneath, into which the eggs drop with very pretty effect. The corner openings are dispensed with, and the hand is inserted into the bag when an egg is to be taken out.
What puzzles audiences as much as anything is that so many eggs are manipulated and yet not broken. The secret of this is that the eggs used are, with the exception of the one first produced, which is broken on a plate as a specimen, guiltless of the possession of any interior, the performer having taken the precaution of blowing them. This enables the performer to throw the bag carelessly on the floor and then to trample on it. Of course the trampling would be equally fatal to both blown and unblown eggs if the performer did not carefully avoid that portion of the bag which contains them; but the mere act of throwing a bag full of eggs in their original state on the floor would alone be disastrous to many of them. The method for holding a bag for the purpose of taking out an egg is to hold one corner between the teeth and the other in one hand stretched out. This leaves the other hand free for operation. Ordinarily, conjurors do not produce more than eight eggs. If the amateur wishes to perform the trick in really good style, he should have a bag made capable of producing at least two dozen eggs. For this, a large-sized chintz bag is recommended.
Incubation by Magic.—A very amusing trick can be performed when an entertainment is given in the country, or anywhere where a few very young chickens are procurable. Take four or five of these, and put them in a black alpaca or silk bag, the mouth of which is tied with cotton, and is easy to open. Place the bag on the shelf. Be provided with a blown egg, not too large, which palm. Borrow a hat, and find the egg in any way you please, and then retire to the stage. Place the hat on its side on the table, with the crown towards the audience, and the brim over the back edge, just where the bag is placed on the shelf. Do not place the hat in the desired position at once, but try it in various places first, and finally decide that the position in which you place it is the only secure one. Stand at the end of the table (r), and place the left hand on the brim of the hat, to hold it steady. With the right hand take the egg, and, after one or two feints, make a pass at the crown of the hat with it. Palm the egg and rub the hat, as if the egg had gone through it. This process of palming is not difficult when the egg has been made light, by blowing out the inside; the small end fits nicely between the two fleshy portions of the hand. Find another egg (i.e., the same one), in your leg, wand, or elsewhere, and pass it through the hat as before, and repeat the operation as often as you have chickens inside the bag. This bag will have to be introduced into the hat with the left hand, and the best time for doing this is when the right hand is engaged in finding another egg on any part of your person. It is not advisable to do it when the hat is first set down, as the eyes of the audience are full upon it. This is an illustration of misdirection. When you have "passed" the requisite number of eggs through the hat, raise it and bring it forward, remarking that not only have eggs passed through, but they have all become hatched. (The hatching can, of course, be done over a candle.) Great astonishment and amusement will be caused when you produce the chickens one by one. Before removing the last one secure the bag in the hand, for it will never do to allow the audience to see that. The egg you, of course, vest before commencing to reveal the contents of the hat. This trick is but little known, which is a pity, as it is a very simple one, and invariably causes great amusement. It also serves to vary the conventional list of tricks performed with hats.
There is a capital method for collecting the eggs for this trick in place of finding each one with the hand, and "passing" it through the crown of the hat. The hat is loaded, as before, with the chickens in a bag, and placed upon a side table, as being the least suspicious, brim upwards. The performer now takes a handkerchief, which is lying carelessly about, and opens it out. It is then doubled lengthwise, perpendicularly, and, held by opposite ends; one end is tilted over the hat, when an egg slides out. The handkerchief is then opened out to show that it is perfectly empty, is taken up by two corners, folded, and once more emptied of an egg into the hat. This process is repeated as often as necessary, when the handkerchief is put aside and the trick proceeded with, as before described.
The secret of the handkerchief is that on one side is suspended a blown egg, by means of a piece of black silk thread. A very thick, or, at any rate, opaque handkerchief, must be employed, so that by no possible chance can the shape of the egg be seen through it. The length of the thread will require nice adjustment, as will also its position on the handkerchief, for naturally it must not be long enough to allow the egg to appear below the lower margin of the handkerchief, when that article is held up by two corners, but must still have an inch or two to spare, to enable it to fall into the hat without being jerked backwards in the least, for so unnatural a movement imparted to a falling egg would at once undeceive the company. The position for the thread to be sewn to the handkerchief is about half way between the centre and a corner. The folding of the handkerchief must be done in a very easy manner, but without imparting a wavy motion to it, for the least lifting of the lower portion will expose the egg. When the handkerchief is folded the performer may go with it to various parts of the room, seeking where he can magically find an egg. The egg found, one of the company may be allowed to feel its contour through the handkerchief. The opening out of the handkerchief, after the egg has been poured from it, requires some attention. The lower end is released, and then the two upper corners are seized, one by either hand, and the handkerchief thrown wide open, showing the side to which the egg is attached. It is then thrown forward, so as to spread over the hat. By this act it has been turned completely over, the audience having seen both sides of it, whilst the egg has been peacefully resting inside the hat, the thread not being sufficiently prominent to become observed. The two corners nearest the performer, originally those belonging to the lower end of the folded handkerchief as the egg was tilted into the hat, are then taken, and the handkerchief drawn off from the hat towards the performer, with an oblique upward motion. The handkerchief is then in the position for refolding, and right for the discovery of a new egg.
One defect which always struck me as being apparent in this method was the fact that the handkerchief could never be given round for examination. This difficulty I surmounted by the following method: The egg and thread I keep apart from the handkerchief until the actual moment for performing the trick arrives. At the loose end of the thread, the length of which has, of course, been previously adjusted to a nicety, I fasten a bent black pin; that is, a very much bent pin—a hook, in fact—with the head end very short and the pointed end very long. The egg lies in my capacious breast pocket, and the hook is fastened in a convenient position in the edge of the coat flap. The handkerchief is given round for examination, and returned to the performer, who, as he retires to the stage, fastens the hook into it. Before he turns for this purpose, he must have fixed his eye upon the place where the hook should go, and have grasped the handkerchief there, so that afterwards he may be able to conclude his movements without turning his eyes upon the immediate scene of operations; not that this need take very long. The pin hook must not be merely stuck through the handkerchief, such a hold being very insecure, but it must be put through and brought back again immediately. This will effectually prevent its slipping out during the manipulations to which the handkerchief is subjected. So soon as the pin is fixed, the performer faces the audience, if otherwise ready, and, taking the handkerchief by the two upper corners, stretches them out, when, by putting his hands away from him in front, the egg will be drawn out of the side pocket. The trick then proceeds precisely as before. If the performer deems it necessary to allow the handkerchief to be again inspected, which is a matter of fancy, he must, prior to commencing, place a white handkerchief in the hat, "in order that the eggs may fall soft, and not make an omelette," he will explain. When the requisite number of eggs have been found, the pin is unhooked, and the egg allowed to remain in the hat, from whence it is removed, folded in the white handkerchief. If the performer observes a suitable handkerchief amongst the company, he may borrow it, when, of course, the egg must be got rid of; but it is not often that this circumstance will occur. It must be admitted that connected with the whole of this trick there are a style and a neatness which are very different from the general run of conjuring tricks.
The Resuscitated Fowl.—This can either follow the trick just described, or it can form a separate trick altogether. It is very old, and has formed a portion of the stock performance of conjurors for hundreds of years. The head of a fowl is concealed in the hand, and a live bird seized. The conjuror engages in a mock struggle with it, endeavouring to seize its head, the object of the disturbance being to enable the real head to be turned down under one of the wings, and there held with one hand, and the loose head to be held on with the other hand, in its place. The stage assistant now advances with a large knife, and cuts off the imaginary head. The performer must make the deed as realistic as possible by causing the fowl to appear to struggle vehemently, and twitch its legs if possible. The head is then taken, and applied to the neck, the conjuror remarking that nothing is easier than to cause it to grow on again. Palm the loose head, and, at the same time, allow the real one to escape from its confinement, when it will at once appear to have suddenly grown on again. Release the fowl for a short run, to show that there is no mechanism about it. This trick is frequently performed by the very best conjurors, sometimes with a pigeon. The loose head must match the real one as nearly as possible, or the deception may be noticed.
"Kling-Klang."—This is a pretty little trick, and does not take long to perform. Take a fancy coloured silk handkerchief, of a small size, not more than a foot square, at the utmost. To the centre of this attach a blown hen's egg by means of a piece of thread 2in. to 3in. long. The end of the thread inside the egg is attached to the centre of a tiny piece of wood, such as a portion of a match, which can be pushed in, end foremost, through the hole at the end of the egg, but which, when once inside, will steadfastly refuse to be pulled out again. This method is far better than all other devices with cobbler's wax and glue. Two other silk handkerchiefs, quite opposite, in point of colour, to the one attached to the egg, will also be required, as will a toddy glass with a foot, and an ordinary egg, not blown. The last-mentioned article must be vested. One of the two handkerchiefs of a like colour fold neatly in the palm, and in the same hand take the blown egg, and, as a natural consequence, the handkerchief attached to it, which arrange neatly around the egg, so as to conceal the handkerchief in the palm. Place the other handkerchief in the toddy glass, and, with the wand under arm, emerge thus laden from the secrecy of "behind the scenes." Give the glass and handkerchief to one person, and ask him to examine them both, and then take from him the glass, to be held by another person. Then say, "I have here another silk handkerchief and an egg. The egg I will place in this glass, and then cover it with the handkerchief." Proceed to do this, taking care to slip in the concealed handkerchief under the egg, and then retire to the stage, taking with you the second of the duplicate handkerchiefs. As you go to the stage, bring down the egg from your vest, and take the handkerchief in the hand which contains it. Turn to the audience, and ask the holder of the glass to shake it gently to show that the egg is still inside. The peculiar "kling-klang" made by the egg against the glass gives the name to the trick. A caution from you not to shake too strongly, as you do not want an omelette inside the glass, is sure to amuse. Now bring both hands together in front of you, and commence to draw in the handkerchief little by little. At intervals have the glass shaken. When a few inches only of the handkerchief protrude from the hand, draw near the holder of the glass, whom desire to cease shaking. When you have drawn the handkerchief completely into the hands, and feel that it is perfectly concealed, ask a spectator to hold out his hand, and suddenly produce the egg, which give to him. Without losing a moment, raise the handkerchief from over the glass by its centre, thus removing the egg at the same time, taking care to continually tap the glass with the wand during the operation, otherwise an accidental knock of the egg against the side of the glass would be heard, and the whole trick spoilt. Call particular attention to the fact of the egg which you produce being a genuine one, and then get away with your other properties as fast as you decently can. The trick is mostly performed with an imitation egg, instead of a real one. The egg is hollow, and has a great opening in one side. Into this the handkerchief is forced. There is no sleight of hand about this, and the egg cannot be given for examination, which is fatal.
The Harmless Shot.—Procure a substantial-looking muzzle-loading pistol, the larger the better, and get a tinman to make a tube that fits neither tightly nor loosely inside. One end of the tube must be closed, and the open end be furnished with a turn-over rim, which you colour or polish, so as to resemble as nearly as possible the muzzle of the pistol. If it comes easier, by all means reverse the process, and make the muzzle of the pistol resemble the muzzle of the tube. The tube should be at least two-thirds the length of the interior of the pistol barrel, and not about an inch and a half only. Now make a wooden ramrod, which will fit rather tightly into the tube—tightly enough to bring it away from the interior of the pistol when withdrawn after being rammed into it. The exterior of the tube should match the ramrod in colour and appearance, so that the fact of the one being within the other when held in the hand in that condition will not be detected.
Advance to the audience with the pistol, ramrod, powder, caps, paper, and bullets. The tube is concealed somewhere about you. Give round one or more bullets to be marked by the audience, and, at the same time, give the pistol into the hands of someone for examination. If the pistol takes to pieces, so much the better, as it is highly advantageous for the audience to be quite convinced that there is no mechanical preparation of the performer's own devising connected with the implement. Have a fair charge of powder put in, and give the ramrod for ramming the charge. Whilst this is being done, get the tube into the hand, and, when the ramrod is returned to you, pass it into the tube, and then at once say earnestly, "I hardly think you rammed it sufficiently, sir." Without taking the pistol yourself, hold the muzzle in the fingers of the left hand, and ram with the right. The left hand must pinch the rim of the tube, which will thereby become disengaged from the ramrod, and remain inside the pistol. By this means the tube has become inserted in the pistol without any occasion for the pistol leaving the possession of the person assisting. The bullet or bullets are then dropped in by such of the audience as have marked them, the pistol being handed round by the volunteer assistant, who is also asked to put a piece of paper in as well. This piece of paper is very small, and is rolled up by the performer himself, who will, of course, take particular care that it is not bulky enough to jam in the tube. The performer now, without taking the pistol, puts in the ramrod and presses down the bullets—apparently. He, however, takes good care to avoid pressing them at all, but brings the hand holding the ramrod over the muzzle of the pistol, and so secures the tube. There is nothing in the action to excite the least suspicion; still, it is best to have the ramrod of such length that only an inch or so of it protrudes from the muzzle. If this particular be observed, then the hand must approach the muzzle on every occasion of ramming down a charge, and so no suspicion can possibly be excited by the action. The imaginary ramming is, of course, continued, the tube being moved up and down inside the pistol vehemently. Withdraw the ramrod and tube, carefully concealing the junction of the two, and have the pistol capped. Having secured the bullets in the tube, the next thing is to get them into the hand. As it is impossible to withdraw the rod from the tube in full view of the audience (it can certainly be done behind the table; but the unavoidably lengthened absence of both hands for the purpose would be fatally suspicious), the performer must necessarily retire behind the scenes. The best excuse is that of requiring a plate. Whilst fetching this, the rod is withdrawn from the tube, and the bullet or bullets shaken out. The paper ought not to stick, but it might; and so it is always as well to have a piece of wire with a sharp hook at one end in readiness. This abstraction of the bullets could be managed whilst the performer retires up the stage, and it would be advisable to do so if the bullets were certain to drop out, which, however, they are not. When the performer has a stage assistant, as he always should have when possible, the matter becomes much easier. The assistant holds the box of caps on or near the stage, and the performer goes to him for them, and gives him the wand with the tube on it in an offhand manner. The assistant then manages all the abstraction whilst the capping of the pistol is going on, and stands, just removed from sight, with the plate in one hand and the bullets in the other. The performer then has only to stretch his arm behind to receive the bullets first and the plate next, both in one hand. The bullets are held under the fingers, which are on the inside of the plate. The performer now holds the plate either in front of his face or at arm's length, and requests that the pistol may be fired at it. When this is done, the bullets are allowed to roll on the plate, which is brought simultaneously into a horizontal position, a kind of "grab" being made with it, as if catching the bullets in the air. I like this method better than catching the bullets in the mouth, as the performer can at once run forward with them on the plate, and the audience will be thus enabled to see for themselves that no substitution has taken place during transit.
The difficulty of extracting the bullet or bullets I finally mastered, after various trials, by using a tolerably thick piece of cork for the purpose of closing the one end of the tube. When the performer retires up the stage, he holds the closed end in his hand and presses the ramrod against his body, thus forcing out cork, bullet, and paper with one vigorous push. The operation does not occupy a second, and, when the performer turns facing the audience again, the ramrod is in his hand as before. It will naturally occur to everybody that, if the ramrod fits tightly into the tube, the whole arrangement will be neither more nor less than a popgun, and the cork will be blown out as soon as the ramrod is inserted into the tube. To avoid such a startling result, the ramrod must, although fitting the tube at certain places, be made out of truth, so as to admit of an escape of air, or else the cork must have a hole burnt through it by means of red-hot wire. Piercing a hole through the cork will not suffice, as the nature of the material will speedily cause the opening to close up again. If this cork arrangement be used, then the performer need never leave the stage.
I have given the learner what I consider to be the best method for performing the trick. A method which differs only slightly from mine, the principle being the same, is to use a tube barely two inches in length. This tube is dropped into the pistol by the performer, who takes the pistol entirely in his hands, for the purpose of ramming down the powder charge. As it lies secreted a long way down the pistol, it, of course, can never be seen. In pushing the ramrod down, it becomes fixed in the tube, and brings it away, the ramrod being the least bit tapered, to insure its going into the tube. It should be tapered at each end, so that there may be no bother about looking to see which end is the graduating one. The rest of the trick is performed exactly as in the other method. My objections to the use of the short tube are that, in order to get it into the pistol, the performer must secure actual possession of the firearm, and he must repeat the manœuvre when he wishes to take it out again. Again, it is very difficult to conceal the point of junction of a short tube on a long ramrod. If the performer does not use the utmost caution, the tube will be noticed sticking on the rod as they are withdrawn from the pistol. The rim of the long tube is covered with the hand before the abstraction is made, and added to this is the fact that the pistol never leaves the hand of the volunteer assistant, which is a great feature in the trick. The only objection to the long tube I found to be the difficulty sometimes arising in abstracting the bullets; but my cork has now removed that difficulty. I have given both methods that the learner may choose for himself. Although I have said "bullet or bullets," because some conjurors employ one only and some three or four, I should, myself, never think of using more than one. The effect is the same, whilst the trick is made immeasurably easier to the performer. People may, perhaps, be a little more satisfied at seeing several bullets marked by different people, but it is just as easy, and quite as effective, to have one bullet thus treated. It will not matter in the least to the performer how many people mark it.
Another method for performing the trick is to substitute for the marked bullet a blacklead one. This, on account of its lightness, the performer must himself drop into the pistol and see that it is so rammed that it is broken up. I would never advise anyone to adopt this method, although Houdin caused consternation amongst the Arabs by allowing himself to be fired at from a distance of a few paces. With his usual completeness he finished the trick by firing another pistol at a whitewashed wall, on which appeared a large splash of blood. This was managed by means of a ball of black wax, the inside of which was filled with blood. The Arabs were duly impressed.
There are some pistols made with spring openings in the barrel, through which the bullet falls into the hand of the performer; but, in this case, the pistol cannot be examined, which fact is quite sufficient to taboo the method. Unless the pistol is given to be examined, and left in the hands of the spectators the whole time, there is, in my opinion, nothing in the trick.
A Bottle of Ginger Beer.—The reader will scarcely require to be told that one of the great deceits practised by conjurors is that of duplication. In order to apparently execute the impossibility of conveying a large solid body invisibly through space, the conjuror has to cause the article itself to disappear by any means at hand, and to produce another similar article, or counterfeit thereof, at the spot to which the original one is supposed to be magically transported. In the case of [Houdin's die trick] a counterfeit die was made use of, and in many of the coin tricks duplicate coins were employed. Whatever the article used, the method is almost invariably the same; and the public are often invited to witness the exhibition of a new wonder, which is in reality only a variety of what has been done in hundreds of ways before.
One very effective variety of this particular deceit is the transposition of a ginger-beer bottle from one paper cover to another. The trick and its explanation are as follows: The performer brings forward a ginger-beer bottle and a glass, on a tray. If he pleases, he may have two ginger-beer bottles, and ask the audience to choose between them. He should ask them to select between the one on the right and the one on the left. If "right" is said, and the one with which the trick is to be performed is on the left of the audience, then the performer must say, "On my right. Thank you"; and instantly take up that bottle without more ado, and uncork it. He then pours out the ginger beer, to show that it is genuine—so he says, but the real object is to keep the spectators from suspecting that there is anything "uncanny" about the bottle itself. The peculiarity of the bottle is that it either never had a bottom to it, or else that portion of it has been forcibly removed. Some few conjuring trick makers supply bottles without bottoms; but any lapidary will perform the desired operation should the performer himself be unsuccessful in accomplishing it with a hammer. The chief thing is to obtain two bottles that match exactly in colour. Height is not of much consequence, as that is not so readily retained by the eye as is colour; still, it is as well to have them match in that even, but colour stands first in importance. One of these bottles is placed upon the right-hand side of the shelf behind the table, and the other is fitted inside with either a piece of thick cork or gutta-percha. Whichever it is, it must fit very tightly, and be situated about an inch from the foot of the bottle. The cork must be left out until the last minute, or the fermentation of the ginger beer will cause the false bottom to come out unexpectedly with a "pop." This prepared bottle is the one that is brought on on the tray, with or without another genuine one, as the performer pleases. When two are brought on, the second one should always be left with the audience for them to open if they be so minded. It is sure to be examined with strict minuteness, and its unblemished innocence will reflect upon its late companion.
Under his vest band the performer has a small apple, a walnut, or little ball. This he gets down as he retires to the table, and slips it in the lower cavity of the bottle, holding it there suspended by means of the little finger. He then places the bottle upon the left-hand front corner of the table, and on the corresponding corner he places a duplicate of the article which he has secretly introduced under the bottle. This duplicate will have been lying on the table all the time, and can, of course, be examined. The performer now takes two cardboard or paper covers, each just large enough to cover a ginger-beer bottle easily, and shows them round. These covers can be made with very little trouble, and the plainer they are the better, in my opinion. Spectators think no more of a trick because of a cover of many colours covered with gold or silver stars. A fancy paper on the outside is all that is required, for it will not do to look "beggarly." These two covers are now taken back, and the performer goes behind his table. With the left hand he places one cover very slowly and deliberately over the bottle, and calls very particular attention to what he is doing. The cover in the right hand is meanwhile being placed over the bottle on the shelf. The conjuror's whole attention, eyes and everything, must be engrossed on what he is doing with the bottle which is visible. Any glance which he may want to take for ascertaining the exact position of the bottle on the shelf must take place as he goes behind the table; any downward look after this would be fatal. Directly it is felt that the hidden bottle is safe in the cover, the latter must be brought into view again; and care must be taken that it is held a little obliquely, the mouth being towards the performer. As an additional security, it is always as well to have the inside of the covers blackened, or lined with black paper, and the inside and base of the second bottle treated likewise. Any accidental exposure will then not be so likely to be attended by serious results.
When the first cover is fairly over the bottle, the second one, containing the other bottle, is placed over the little ball, or whatever it is. The performer next takes up his wand and says, "Now, what I am about to do is to cause the ginger-beer bottle and the little ball to change places. This, I am aware, anyone can do by simply lifting off the covers and altering the positions of the articles with the hand; but I shall do nothing so transparent. I will show you that the articles are still where I placed them, and that I have not already moved them from their positions." (The covers are alternately lifted, care being taken not to prematurely expose the wrong article.) "My method of procedure is as follows: First, I take out the little ball" (on the shelf there is a third article, similar to the other two, and this the performer palms in the left hand) "in this manner. You see, I simply run my wand up the side of the cover, and here I have the little ball in my hand." (Strike left hand with wand, and open it and put the ball on table.) "This cover is now empty. By means of my wand, I remove the ginger-beer bottle, large and cumbrous as it is, from the cover—here it is, see, on my wand!—and pass it gently, for fear of breakages, into the empty cover. This little ball I take thus, and pass into this cover, where the bottle was, not five seconds since." (Perform any pass with the ball, and put it back upon the shelf.) "On raising the covers, it will be seen that the change has actually taken place." Raise the left-hand cover first, grasping it firmly so as to ensure the bottle from slipping, and then show the second bottle on the right, bringing the left hand, at the same time, over the shelf, upon which the first bottle is permitted to drop, very gently, from the cover. Both covers should be afterwards shown round, although the trick can be repeated, i.e., done backwards, if the performer desires. If he does so, he should say, "Ah, I daresay everybody did not see how that was done, and, as I always like the method of my tricks to be understood by everybody, I will do it over again. There is no fun in a trick if one does not see how it is done." On removing the bottles at the close of the trick, care must be taken that the hidden ball, &c., is not knocked down on the floor, as is sometimes done by accident. This is a genuinely good trick, the opening of the ginger-beer bottle before the audience serving to throw that body off its guard.
The Flying Plume and Seed.—This is another trick in which duplicated representations play an important part, but the articles and methods employed are so totally distinct from those used in the preceding trick that one might follow the other in a performance, and yet both appear to be totally distinct in every way. There is a little simple apparatus in connection with the trick. First of all, a tin tube, 18in. long, and at least 1-1/2in. in diameter. It is provided with a cap at each end, fitting inside, and not over, as is usual. The tube also possesses the peculiarity of being divided longitudinally, by a tin partition, into two portions. This partition does not run down the centre of the tube, but takes a transverse direction from one side of one end to the opposite side of the other end. By this means, both ends are open to their full extent, and the tube can be shown briskly round, with the cap off, without anyone being able to detect anything wrong. Of course, only one end will be given for inspection, the audience not suspecting the existence of more than one opening.
Then there is a vase, also of tin, but painted on the outside or japanned. This vase has a foot about 3in. high, which is hollow, and is connected with the body of the vase by means of a very large hole. This hole is hidden by a large domed cap on the end of a pin, which runs through the foot, and is furnished with a button underneath. A spiral spring inside keeps the cap down on the hole, but pressure on the button under the foot causes it to rise, and any seed that may be in the body of the vase will instantly run down into the foot. Two plumes of exactly the same colour and length will also be required. These plumes can be obtained at a cheap rate at any plumassier's. One of the compartments of the tube is secretly filled with seed, and the end opening that division is closed with the cap. This cap should bear a distinct mark to distinguish it from the other. In the vase there should be an egg, orange, lemon, or apple, &c., which must not be seen by the audience, and on the table there should be another similar article. Up the performer's sleeve, or in his side pocket, one of the plumes is secreted. The other plume is handed round and then thrust down the tube, which, to all appearances, it entirely fills. Place the tube on a chair or on the floor, and then take the vase, and into it pour a quantity of seed, going forward so soon as the article at the bottom is covered. Show the vase round full of seed, and then place it on another chair, the button being pressed and all the seed allowed to run away in transit.
Now borrow either a hat or a handkerchief. If the plume is up the sleeve, then a handkerchief is required. Spread the handkerchief over the hand, as if showing there is nothing in it, and seize the end of the plume through it with the other hand. Draw the handkerchief smartly away with the plume inside it, and throw both on the floor. If the plume is in the pocket, then borrow a hat and slip the plume into it. The plume will curl round inside the hat, and remain firmly fixed, so the hat can be turned brim downwards without fear of the plume falling out.
These preliminaries concluded, proceed as follows: Touch the tube with the wand and say you have taken out the plume, which you then "pass" into the hat or handkerchief, as the case may be. Now touch the vase with the wand, and say that you have removed all the seed, which you then command to go into the tube. Vanish the egg, or whatever it may be that you use, down a trap, and "pass" it into the vase. Nothing then remains but to open the tube, and to show the vase and handkerchief or hat. Millet is by far the best seed to use. It is light, and its spherical shape causes it to run smoothly. A conjuror, who was experienced enough to know better, persistently used rice for this trick. The result was extra delay, for the rice generally managed to clog somewhere, and always made a tell-tale rattling as it trickled into the foot. It made one tremble to look and listen. The trick is very easily managed, and creates a remarkably pretty effect. The conjuring shops supply the apparatus.
How to Make and Cook a Pudding in a Hat.—Procure a large size gallipot with nice thin sides. Have a tin lining made to fit the inside of this, and divide the lining into two portions by means of a horizontal division across the middle. The inside of a gallipot being somewhat narrower at the bottom than it is at the top, the lining will be taper, and consequently one partition will be larger than the other. Into the larger partition put a plum pudding, or cake, hot, and stand it on the shelf, without the gallipot. Borrow a hat, and, whilst busy about putting some paper at the bottom of it, and explaining that it is to prevent its being spoilt, take an opportunity of slipping the tin containing the pudding into it. Now take some flour, eggs, plums, sugar, and water, and mix them all up in the gallipot, to the accompaniment of some facetious remarks about your being a first-rate cook. Next pour the paste from the gallipot into the empty division of the tin, and, putting the pot momentarily into the hat, press it down well over the tin, which it will bring away, leaving the pudding alone behind. Now hold the hat over a spirit lamp (a candle would spoil the hat), and profess to be cooking the contents, which presently take out close to the audience and distribute. Some conjurors make omelettes and pancakes, which certainly make a good show, and are suggestive of being cooked on the crown of a hat. Some address is required in executing this trick, especially in getting the tin into and out of the hat. The knack of putting things into hats from the shelf neatly is one of the most difficult things to acquire, and the performer must never be nervous at the moment, or he will be certain to allow himself to be discovered. Sometimes the egg is first broken into the hat (i.e., the tin), and the flour and water afterwards mixed up in the gallipot. The effect of the contents of an egg dropping into a hat is certainly good.
An amusing interlude, when borrowing a hat, is to apparently push the forefinger through the crown and then restore the hole supposed to be made by the act. This deception is managed by having a cast of a human forefinger made in either wax, gutta-percha, or plaster, and provided with a pointed wire at the thick end. This finger is concealed in the right hand, and the left hand put inside the hat. The right hand is then brought on the outside of the crown, and with the remark, "I fancy you have a hole in your hat, sir," an apparent effort is made, and a finger shown protruding through the crown. All that is done is to pass through the wire, which is held on the inside by the left hand. After making a few sharp movements simulating a finger in the act of being shaken, bring the right hand on to the crown again, and make as though considerable exertion were required in order to get the finger back again. The dummy is, of course, merely secured in the right hand, and the hat immediately shown ostentatiously round, so as to keep attention away from the right hand. The imitation finger must naturally be coloured to resemble the performer's flesh. The trick must not last long—a quarter of a minute is ample. If the finger remains through the hat for any length of time the audience will soon realise what the nature of the deception is. It should appear as if the finger had been just pushed through, shaken derisively, and then withdrawn.
The Flags of Old England.—Without any visible preparation, and from no conceivable source, the performer produces hundreds of flags with the hands. The flags, which can, of course, be of any colour, but, for obvious reasons, should be red, white, and blue, for preference, are thus made quickly: Procure some sheets of tissue paper, and cut them into slips of equal dimensions. A good size to commence with is 3in. by 1-1/2in., three of which will make a flag of 4in. by 3in., a very nice size. For rapid pasting, place, say, the red slips one over the other, each one permitting just a quarter of an inch of the one beneath it to be seen. With one sweep of the brush a large number can be thus pasted. Perform the same operation with the blue papers, and the white ones will not require any paste at all. Join the three together, and, when dry, paste them on either very thin sticks or wire, or else on bass. The latter is far preferable to any other substance, and can be easily procured. Now make some flags about 6in. by 4in. in the same manner, and, if you choose, a few even larger still. Roll them all up very tightly in two or three bundles, and secrete them about you. I always place a bundle of small flags up each sleeve, the larger ones being either in the vest or in the large breast pocket of the coat. Take a little flag in each hand, and advance with them. Wave them about, and, lowering one hand, allow the bundle to slide into it from the sleeve, care being taken that the back of the hand is towards the audience. Bring the hands together immediately, and continue to wave them about for a few seconds, when commence to unroll the flags, and cause a few to appear first at the top, and then to fall on to the floor. Continue this, all the time moving about, until you find the supply getting low, when, with a downward sweep of the hands, extract the bundle from the other sleeve. This movement will be perfectly concealed by the numerous flags flying about. It will also be perfectly easy to obtain possession of the other bundles from the vest or pocket, if care be taken to raise the flags that are being exhibited, so as to conceal the motion of the hand. When the larger flags are being unravelled, the waving should increase. The effect of a quantity of flags coming from apparently nowhere is always very bewildering to an audience, and this is heightened when the larger ones appear. I remember producing one quite 8ft. in length, with a complimentary motto, allusive to the season of the year, elaborated upon it. There is, however, no necessity to go to such a length as this. Buatier, instead of two flags to commence with, takes a bundle of coloured paper, which he rolls up, and then pretends to transform into flags. This is not at all a bad method, and, if the performer prefers it to my own, there is no harm in adopting it. Buatier decidedly makes a mistake, though, in producing the original paper after he has manufactured several hundreds of flags from it. This is not consistent.
The Chinese Rings.—Whether originally Chinese or not, is of little moment: the trick has received the name, and is known by it only, so I adhere to it. The trick consists in apparently accomplishing the evident impossibility of linking strong metal rings, that have no break or opening in them, one within the other. The secret of the trick lies in the fact that one of a number of rings is provided with a slit or opening, which is kept carefully concealed by the performer's fingers. As, however, one ring with an opening would not alone suffice to link several others together in a continuous chain, the rings are made in sets of three and two welded together, besides three or four single ones. The set of two I always dispense with as useless. There is not the slightest necessity for going to a conjuring repository to obtain the rings, for an ordinary smith can produce a much more serviceable article. My idea of a good ring is one made of iron wire fully 3/8in. in thickness and 9in. in diameter. Let the metal be well burnished, and see that the welding is properly done. The opening in the one ring should be 7/16in. wide so as to admit the other rings freely. Some rings have a slit merely, whilst others have the ends springing one into the other. These precautions are quite unnecessary, for the secret ring is never given round for examination. When the performer comes on, he has the open ring concealed either under his armpit, in his breast pocket, or in the vest; or he may have it hanging behind a chair, if he has one with an opaque back on the stage. The other rings he has in the hand, and gives them round for examination. Unless this examination takes place, there is nothing in the trick, for the audience would justly argue that all the rings have secret spring-bolt openings which are invisible at a short distance. To abstract the concealed ring without detection requires, at times, considerable address. A good way is to allow some of the others to fall, and whilst stooping quickly for them, get out the concealed one. Turning the back upon the audience, and deliberately taking the ring out from its place of concealment whilst walking towards the stage, is the method I usually adopt. When it is hung at the back of a chair, the bulk of the rings should be placed upon the seat, and two or three taken up in one hand; say, the right. In stooping to pick up some more rings with the left hand, the right, naturally enough, finds its way to the top of the back of the chair, and, as the ring will be suspended half an inch down, the end of one finger will be sufficient to obtain it.
I lay some stress upon this recovery of the open ring, for in its neat execution lies the whole secret of the trick. If the performer feels that he has accomplished the feat without being observed, he may boldly assert that he knows that other conjurors perform the same trick with prepared rings—he does nothing so mean and despicable. As a rule, I disagree with any hint whatever that may give a clue to the secret of a trick; but this particular one is so widely known that I doubt if an audience of ordinary size could be found with everyone ignorant of its secret. Under these circumstances, the conjuror who wishes for success must be different to everyone else. If he is not "prepared to do or die," let him leave the Chinese rings alone.
The method of "working" the trick is to first take up the open ring and one of the single ones, one in each hand. Unless the performer be left-handed, or ambidextrous, it is always advisable to hold the open ring in the right hand, the opening being between the finger and thumb. Stand at the front of the stage (if there are side boxes, then a little back), and let the open ring hang carelessly on the thumb, only broadside on to the audience. By turning up the point of the thumb ever so little, the opening is rendered quite invisible to spectators, who will think that two perfect rings are being held before them, they having no possible reason to suspect even that an open ring is anywhere about. Bang the two rings together several times, and pretend to make two or three attempts to fit one into the other, by what precise movement does not matter in the least.
Presently slip the solid ring rapidly through the opening of the other, without ceasing for an instant the movements you have hitherto made, which continue as if the two rings were still apart. Soon you will work the two close together, and, by degrees, bring round the solid ring to the bottom of the open one, and then allow it to hang from it. Be careful, however, that the opening is never so much as approached by the solid ring after the latter has been passed through it. By a reversal of the proceedings, the ring must be taken off again, the two rings being held touching one another, and worked about as if still linked, long after the actual detachment has taken place. The audience are supposed to actually see one ring pass through the other, and the performer must cause this to appear to be done at the lower half of the open ring. Performers always make a grand mistake in hurrying over this, the opening part of the trick, which is really the most important part of it. Within reasonable bounds, the linking of the two first rings cannot be much too long drawn out. If he be possessed of sufficient daring, the performer may advance to one of the audience with the two rings linked, and give him one of them (the solid one, of course) to hold. Just as the ring is put into his hand, the disconnection should take place. This is an interlude, which the performer may use or not, according to how he feels in spirits, for conjurors are like race-horses, and are at times "in" or "out of form." Two loose rings can then be put on the open one, one at a time, and then removed and held together. The open ring can be passed over the arm out of the way, the opening being, of course, concealed, and some "business" can be gone through with the other two, which, as they never were together, can be separated without much difficulty.
Some conjurors become breathless at the bare idea of allowing the open ring to leave the hand, whereas, when properly managed, there is not the least danger to be apprehended. When the ring is passed over the arm, the hand does not leave the opening until it is well embedded inside the elbow joint. It is bad policy to hold one ring continually in the hand, as the fact is extremely likely to be noticed. When a few evolutions have been performed with the single rings, including throwing one in the air and catching it on the open ring on its descent, the triplets should be taken up, and, after plenty of shaking about and turning round and over, an end one should be linked on. By linking up the other end as well, a square is formed. Give two rings of this to be held by different people, and tell them to pull. Give one or two jerks yourself, and at one of them disconnect, and then gradually appear to unlink the square, bringing, at last, the four in a single chain. Make a lot more flourishes, but merely bring the four side by side in one hand, hanging. Hold the open ring firmly, and allow the others to drop steadily. This they will do in two distinct stages or jerks, at each of which you make a movement with the disengaged hand as if controlling them. As a finish, it is usual to put all the rings in a bunch on the open one. When this is done, one of the solid rings should be made to sustain the rest for a short time in place of the open one, which may be allowed to hang down in the rear of the others, where it will not be seen. The solid ring thus temporarily used should be held alternately in several places, so that the audience, and especially such as know the secret of the trick, may see that there is actually no opening it. This is an excellent ruse to adopt. When performing with the rings, always make a deal of clatter with them; it adds to the effect. An effective finale is to grasp the open ring by the solid part immediately opposite the opening, and, turning the whole bunch rapidly over, shake the other rings loose upon the floor, dropping the open ring amongst the rest. The apparent recklessness of this goes still further to disarm suspicion as to an open ring.
It will be seen that, beyond obtaining the open ring, everything is what is understood as "hankey-pankey"—in fact, downright humbug—but it is humbug of a superior order. The performer who introduces it injudiciously and unskilfully will have reason to regret any imperfect study of this trick. There is not much true sleight of hand in it, but the perfection of "address" will be required.
The Drawer-Box.—This is not the name of a trick, but of one of the most useful pieces of apparatus which a conjuror can possess. I have purposely refrained from making any mention of it before, because I wanted to make the beginner an adept at vanishing and producing with his hands before I gave him an article that would save him the trouble at the loss of a large amount of effect. When a person is able to do considerable execution with his hands alone, there need be no anxiety about giving apparatus into them. It is only with the beginner that the danger lies, for he will say, "Oh! this box does all I want—at least, quite well enough for me—so why should I take the trouble to learn to do it without?" The expert is never too anxious to use apparatus, and invariably manages with as little of it as he can.
Now, the drawer-box is an article of such peculiar handiness on so many occasions, that the temptation held out to beginners to use it frequently is too great to be resisted. It will bear a cursory examination, and yet, although crammed with any kind of article to its fullest extent, it is made to appear quite empty, by merely being shut and re-opened, and this in the midst of the audience; or the operation may, with modifications, be reversed, and the box shown first empty, and then full.
Most of us must have seen the little cigar-case which is so handy to smokers who wish to keep a good brand of cigar to themselves. The drawer-box is made on exactly the same principle as this, only, of course, in an enlarged form, and in wood.
Fig. 51.
Fig. 52.
The appended sketches ([Figs. 51] and [52)] show the apparatus. I give a minute description of it here, as it is only in very large towns that the article is procurable, made in the manner it should be, so the conjuror can either get a cabinet maker to make him one, or, if he be anything of a carpenter, make one for himself.
A ([Fig. 51]) is a lightly-made drawer, without any back end, and fits somewhat easily into F ([Fig. 52]), which should be made of 3/8in. stuff, and strongly put together. B is another lightly-made drawer, smaller than A, into which it fits. A has a narrow combing all round the upper surface of the front end and sides. This serves to conceal the presence of B, which in reality looks like the inside of A. To perfect this deception, the open sides of A are, as depicted in sketch, made with mortises, and the end of B being allowed to extend a little each side, and also mortised, the two dovetail one into the other, and present a most innocent appearance. The knob D is not fixed, but has a slight perpendicular play. It is connected with a piece of flat metal, which extends from the knob to the upper portion of the wood, inside the combing, where it is furnished with a catch, which can be made by turning over the end of the metal and sharpening it a little. In B there is a slight incision made at C. When B is pushed home into A, and the knob D pressed downwards, the catch fixes itself into C, and thus keeps the two drawers firmly together. The action of shifting the knob up and down is very slight indeed, a 1/4in., or, at the outside, 1/3in. play being ample. When the two drawers are thus fixed, they may be shown round, and no one not in the secret will suspect that there is more than one drawer. The more care and attention that is paid in fitting the drawers nicely together, the better.
At the lower part of the back end of B will be noticed a protruding piece of wood, E. This fits closely against A when the two are closed together, but it plays an important part in the working of the box. In the body, F ([Fig. 52]), is cut a square hole, immediately under the point where the thumb is seen to be pressing. G is a flat spring let into the bottom of F, and fixed at the end farthest removed from the square hole. A square piece of wood, the same thickness as the bottom of the body F, and slightly smaller than the hole, is glued firmly on the free end of the spring, so that it is always in the hole. The exterior of the box should be painted or French polished, and the bottom covered with baize or cloth. The material should be glued on, the space covering the spring, and half an inch all round it, being left free. The apparatus is then ready for use, and is thus "worked": We will suppose that it is required to cause several apples to disappear. The drawer A, with B inside it, and the knob pressed firmly down, is shown in one hand, and the body F in the other. The apples are then put into A (really into B), which is then pushed into F. After the performer has pretended to extract the apples by magical means, he takes up the box with both hands, one hand grasping one end, with the thumb on the spring G ([Fig. 52]), and the other hand seizing the knob D, which it presses upwards, thus removing the catch from the slit C. With the thumb pressing as hard as possible on the spring, the drawer A is pulled out. The square piece of wood on the end of the spring G, being pressed inside the box, causes an obstruction to the inner drawer B through the medium of the protrusion E, and B is consequently held back in F. The drawer A, which is, after all, merely an outer shell, is shown instead, and the audience, not knowing of the existence of a double drawer, imagine that the one shown them is the one which they saw filled with apples. When the box is opened, it should be held sideways, with the top turned towards the audience, and when it contains such articles as apples, which easily shift in a very audible manner, it should be placed in this position on the table, before the contents are made to disappear. It would be stupid to pull out an empty drawer and then cause a rumbling to be heard. The audience would at once divine that the articles were kept back in the body of the box by some means.
When the box is made so large that the hand cannot grasp it in the manner shown at [Fig. 52], the closed end should be furnished with a knob matching that on the drawer A. This can then be held by the fingers, and so enable the thumb to find a purchase.
A very good box is one made without the spring acted upon by the thumb. In its place is a loose metal peg, which drops in and out of the hole in the double drawer by the mere tilting of the box. This style of box is best made with both ends of the cover open, an increased appearance of innocence being thereby secured.
With such a handy article at command as the drawer-box, which will vanish or produce anything at will, it will be easily understood that the beginner is extremely likely to be tempted into using it with too great a frequency. Let him beware of this, and, at the outside, use it not more than twice in the same evening, and then only under completely differing conditions, and after the lapse of a good interval of time. In a number of the foregoing tricks the drawer-box could be used with success, I grant, but not with any very great effect. In the trick with the large die and the handkerchief, it would be handy for causing the die to vanish. It could be used in [The Sun and Moon], [A Bottle of Ginger Beer], and in a dozen others, but the temptation to do so must be resisted.
Popular usage has assigned the drawer-box the position of a regular "property" in a very effective trick performed with a large solid block of wood, familiarly known as the Cone. It can be made of any size, but it is as well to have it as large as possible, that is, not less than 6in. in height. When large, it is just as easy to manipulate, and is much more effective. The only desideratum is that it should go comfortably into the drawer-box. It should be well tapered from the base to the summit, which may be simply flat or fancifully turned. Over this block fits a thin shell, the facsimile of it—the die and dummy repeated, only in a different shape. The dummy shell is usually turned out of a piece of wood similar to that of which the block is made, and both are polished to match. It is essential that they be very smooth. All else that is required is a very tall paper cone, which passes very loosely over the shell, and a couple of apples, oranges, lemons, or any similar articles, both being placed on the shelf. The drawers, fastened, should be taken out of the body and stood upon it at one end of the table, and the cone, with the shell on it, at the other end. The performer next takes the paper cone and exhibits it. He then says, standing behind the table, "This cover, which is, as you see, made simply of paper, is for the purpose of covering this solid block of wood." The paper cover is passed over the cone and shell, which are grasped firmly with one hand and slid off the table on to the other hand. The shell is then grasped a little higher up, through the paper, and the solid block jerked out of it on the floor. The paper containing the shell cone is then laid flat on the table, with the closed end towards the audience, and the solid cone picked up and placed in the drawer, which is first shown briefly round. The drawer-box is closed and placed on a side table to the left, and the performer, passing behind the table, takes up one of the two articles which are upon the shelf. This he produces in any way he pleases, taking it from the wand being the most effective method (see "[Sleights for General Use]"). He should then say that he requires an orange, &c., for the trick, which he will ask his wand to give him. The orange, or whatever it may be, is then placed upon the table, and covered with the paper cover, with the dummy cone inside it. The performer then explains that what he is going to do is to cause the solid cone to come out of the box and pass into the paper cover. Whilst saying this, he goes behind the table and secures the second of the two articles that were on the shelf, in the right hand. He then comes round, and proceeds: "To do this, it will be first necessary for me to remove the orange from the paper, and I accomplish the feat in this manner." (He runs the wand lightly up the side of the paper, and then produces the orange out of it, the action being somewhat similar to that used in the previous production.) "Now that the cover is empty, I can pass the block of wood into it. I take it out of the box, thus" (taps box with wand), "and, see, it is on my wand. I carry it carefully to the cover and pass it thus into it." The wand is carried very gingerly, in a horizontal position, as if the block of wood were really balanced upon it.
The paper is then taken by its very apex, and lifted carefully off the dummy shell, and the drawer-box opened, as previously explained for showing it empty. The performer, after a short pause, to allow of the free circulation of universal wonderment, says, "Ah! but perhaps I did it a little too quickly, and you did not notice how it was done. I will do it in a different way. Here we have the piece of wood, which I cover with the paper; my box, empty, I shut and place here, and the orange I take in my hand, thus" (trap it), "and rub it slowly away. I command the block of wood to pass back again into the box, and the orange to appear under the paper cover." Lift the paper and dummy together, pinching them at the base, and lay them down as before directed, and then tilt out the drawer, allowing the wood to fall upon the floor. If the cone be not very large, then the dummy may be allowed to slide out of the paper cover on to the shelf, and the paper shown empty.
There is an objection to having the dummy shell made of wood, which is that it is necessarily very light, and so easily overturned. An accidental stumble against the table will sometimes effect this untoward result. Zinc and tin are heavier, but there is an objection laid against them as well: they "talk"—that is, they make a scraping noise against the real block of wood when withdrawn from it. I leave the conjuror to decide which is the lesser of the two evils. Cones standing two or three inches in height can be successfully passed through hats, after the method employed in Houdin's [die trick].
Further uses for the drawer-box will appear in the course of the description of other tricks.
Bacchus' Dovecote.—The performer advances with a bottle and glasses on a tray, and a dove on his shoulder. From the bottle he pours some wine, and then places it upon a side table. The dove is next wrapped in some paper, from which the tail is allowed to protrude, and the performer then jumps upon it or else burns it. On the bottle being broken, the dove is found inside.
The bottle is prepared by having the bottom knocked out, which can be easily managed with a hammer, smart taps with which have to be administered, in a circle. The hand holding the bottle whilst this is being done should have a glove upon it, in case of a breakage. A dove is put into the bottle, head first, through the bottom. This is rather uncomfortable for the bird, and I cannot bring myself to think that the latter likes it; but no bad results seem to follow the treatment, which should be rendered as gentle as possible. A tin tube is passed down the neck of the bottle, secured at the mouth by means of red sealing-wax, and then filled with red wine. On the table are spread some sheets of paper, on the margin of one of which are pasted some dove's tail feathers. The exhibited dove is placed upon the centre trap, and the performer pretends to wrap it in the paper having the feathers upon it. It is, instead, passed through the trap, and the paper rolled carefully up, as though the bird were inside. The protruding feathers leave no doubt of this in the minds of the audience. The ends of the paper should be screwed up tightly, and a little hole torn in the parcel, "to give the dove air." If, when placed upon the floor or table the paper should accidentally roll slightly, the performer must attribute it to the restlessness of the bird supposed to be inside, and apostrophise it accordingly. If crushed, it should be treated lengthways, so that the feathers are not afterwards observed, or the audience might think it only reasonable that the bird found inside the bottle should be minus a tail if he has left it behind him in the paper. It may seem very simple on their parts, but audiences never seem to doubt that the dove apparently wrapped in paper and the one found in the bottle are one and the same bird. There is no distinguishing mark on it to identify it, and everything tends to make one think otherwise; but never a doubt is raised. This circumstance should be very consoling to the conjuror. I have even seen two doves put into a drawer-box and two other doves made to appear at the other end of the room, and no one seemed to doubt for a moment that they were the same ones that had been just before put into the box.
Doves are most docile creatures, and accommodate themselves to circumstances in a remarkable manner. When passed through a trap, they never wander about and exhibit themselves at the corners of the shelf, or otherwise expose the performer's secrets. At times, though, they will start their peculiar call, but this happens very rarely. Most regular performers, whether professional or not, usually keep a pair of doves at least. They are very hardy, and soon become accustomed to being pulled about.
The Wine-drinking Crystal Ball.—The tube in the neck of a bottle, mentioned in the preceding trick, is a very effective and much-practised deception. In the present instance, the performer selects an opaque bottle with a deep "kick" in the foot, and has a tin tube fitted into its neck. The mouth of the tube is provided with a rim turning outwards, to prevent a total disappearance of the article inside the bottle. This rim should be nicely rounded, so as to fit the mouth of the bottle neatly, as it will not do for the audience to entertain the slightest suspicion of its presence. The bottle is three-parts filled with water, and the tube with red wine. The performer is provided with two clear white glass balls, a little over an inch in diameter, and one red one, of the same dimensions. These are concealed conveniently about the person. The trick is commenced by the wine being poured into glasses and handed round. Retiring to the table, the tube is extracted and "vested," or put elsewhere out of sight, and one white ball got into the hand. By means of the wand, this ball is magically produced. The performer then remarks that he wants two balls, and manufactures another by striking the one he has in the hand with the wand; the explanation given being that the original one has been cut in two. The reader will understand that the second white ball has been got down from concealment, and exhibited at the proper moment. Two balls are not really required for the trick, but the diversion is made for the sake of increasing the attention of the audience, and for giving the trick a general completeness. If he so pleases, the performer can proceed to rub one of the balls until it becomes as small as a pea, or as large as an orange: all that is required is to be provided beforehand with balls of the necessary sizes. The ball which is supposed to be undergoing the compression or expansion can be easily palmed in the right hand, the fingers of which are engaged in shaping the latest arrival by rolling it in the palm of the left hand. To get it back to its original size from the tiny one, the small ball has only to be concealed between the roots of the third and fourth fingers ([Fig. 25]). To get it back from the large size, place the large ball upon the table over a trap, and, after admiring it as a splendid production on your part, pretend to take it in the hands, trapping it. After much hard squeezing and rubbing, accompanied by expressions of doubt as to the success of your exertions, all enacted close to the audience, the original ball will be produced, it having been, of course, palmed the whole time. Give it to a spectator to hold, and then fetch the bottle. Whilst retiring get down the coloured ball and introduce it into the "kick," where keep it by means of the little, or any other convenient, finger. With the bottle in the left hand, return to the audience, and, taking the white ball from the person holding it, palm it at once, retiring a few steps as you do so, holding the fingers as though they contained the ball. If the palm be kept upwards, there is no fear of the ball slipping out of it, which it possibly might do—it being an awkward thing to hold firmly—were the fingers turned downwards. Explain that you are about to throw the ball into the air and catch it in the bottle. As the ball is considerably larger than the mouth of the bottle, this announcement will naturally be received with incredulity. You, however, with the hands as widely separated as possible, toss an imaginary ball into the air with the right hand, and affect to catch it in the bottle with the left. A vigorous shake given to the bottle will cause the ball held in the foot by the left hand to rattle, and the illusion of the catch will be perfect. Now say that, having got the ball inside the bottle, you must break open the latter in order to get the ball out, and turn round, feigning to look for a hammer. This will give you an opportunity for concealing elsewhere the ball in the palm. So soon as this is done, say, "Well, perhaps I shall only make a litter with the broken glass; so I will get the ball out in a more artistic manner. Whilst I am talking, though, I fear the little gentleman inside is making very free with the wine." Ask the ball how he is getting on, and advise him not to drink too much, &c., and then proceed to get him out of the bottle by striking the palm of the right hand on the mouth of the latter with considerable force. At the third blow or so, release the ball in the "kick," and it will fall to the ground with the appearance of having been forced through the bottom of the bottle. Call attention to the fact that it is red, and consequently, as you feared, must have been drinking the wine. To test this, pour out the contents of the bottle, which, being pure water, will cause the audience to be of your opinion, ludicrous though it may appear. After this, hand round both bottle and ball for inspection. It is a great mistake to omit showing the bottle, as the audience is invariably impressed with the idea that it has an opening in the bottom.
Instead of the imaginary catch, the bottle can be stood upon a table, and the ball passed into it by any ordinary "pass." The disadvantage attending this is that the ball is not heard to fall into the bottle, as in the other method. It is natural that a heavy ball falling into a bottle must make some noise on striking the bottom. Audiences, perhaps, are not sharp enough to remark the absence of this natural result, but there is no denying that the trick is rendered more complete with its addition. Besides, when placing the bottle upon a table, the ball in the "kick" would naturally be loose were not some method for preventing this to be adopted, and it would become a matter of great difficulty, if not an absolute impossibility, to raise the bottle again without revealing the real state of affairs. A little black wax in the apex of the "kick" serves to sustain the ball in a very satisfactory manner; but, in adopting this auxiliary, one has to dispense with what I consider to be a most necessary feature in the trick, viz., giving the bottle round for examination afterwards. The wax will tell an undeniable tale.
It is possible to vary this trick in many ways, quite according to the fancy of the performer. It is well, however, to be certain of palming and vanishing your ball quickly and neatly before attempting the trick at all, as everything depends upon this. If the white ball is observed to be still in your palm, no amount of rattling in the "kick" of the bottle, however seductively executed, will convince an audience that it has passed into the bottle.
Bacchus' Maypole.—I do not mind admitting to the reader that, where my imagination will permit, I am inventing new names for my tricks. I do this in order to save those who may hereafter undertake performances a certain amount of trouble, and also to get a little out of the beaten track. Ever since this trick has been invented it has been known as "Ribbons and Bottle." Now, that is a very poor title to put upon a programme, which, as it cannot possibly give any very valuable information to the spectator, may as well be embellished with neat terms as slovenly ones. A bottle and some ribbons certainly are used in the trick; but, as the old title does not reveal whether the ribbons go into or come out of the bottle, or whether the bottle comes out of the ribbons, a more fanciful one, so long as it is near the mark, seems just as appropriate, and much more ornamental. At the same time, it is very unadvisable to fill a programme with outrageous and ridiculous titles. I went to an entertainment once, given by a gentleman afflicted with a liking for high-sounding titles. At first I thought I was going to see something totally new, and waited for the curtain to draw up with some impatience, for the first item on the programme was thus designated: "The Celestial Mystery; or, the Winged Fairies of the Emperor Foo-Chow." This was the butterfly trick. However, although greatly disappointed, I kept up my courage, for item No. 2 was "The Sorcerer's Secret; or the Sheik's Visit to the Great Mogul." The egg bag! I collapsed, and took no further interest in the "Arabian Necromantic Divinations," "Scandinavian Second Sight; or, the Finnish Seer," &c., for they were all tricks of the most ordinary class. Let the performer, by all means, embellish his programme with well-chosen titles; but let him, at the same time, steer clear of the other extreme. Experience teaches one that there is more in a programme well got up than at first meets the eye.
Although there is rather more of mechanism, and less of sleight of hand, in it than I usually adopt, still this is such a very pretty trick that it would be a pity not to mention it. The performer comes on with a bottle, from which he pours a quantity of wine, beer, or other liquid, and then, either still holding it in his hand, or placing it upon a table or chair, he draws from it a ribbon of any colour that may be asked for by the audience. More liquid is poured out, and more ribbons produced.
The secret lies in the manufacture of the bottle. In most cases, an imitation one of blackened tin is used, but, as the difference between a metal bottle and a glass one is easily discernible, this is a bad principle. The best method is to procure a tapering bottle, quart size, and opaque, and get the bottom neatly cut out by a lapidary. If the glass be semi-transparent it is easily rendered opaque by being painted with Brunswick black on the inside. Into the bottom fit a block of wood nearly an inch thick, the upper half of which has been turned away half an inch, so as to form a step. To this step have fitted a long tin funnel of such a length that, when the block of wood is fitted into the bottle, the small end will be within the third of an inch of the mouth. This funnel is much smaller than the interior of the bottle, so that when it is in position there is space for a considerable quantity of liquid between it and the glass sides. The small end is closed up with a piece of metal, which is provided with a number of slits, each large enough to admit of a ribbon passing through it.
On the block of wood arrange as many tiny reels as it will take. It will be necessary to do this in tiers. There is no reason why they should be like the ordinary reel, for the smaller they are the better. Each of these reels carries a differently coloured ribbon, which has been previously passed through one of the slits at the closed end of the funnel. It will be discovered that it is not possible to wind them up quite tightly, but an inch or two hanging loose will not signify if care be taken not to cross the ribbons in any way. That end of the ribbon which appears outside the slit must have a piece of wire sewn in it, to prevent its going quite through. With the block thus prepared, and the funnel fitted firmly upon it, put the whole into the bottle, and then pour the liquid carefully down the sides of the funnel, taking care not to let any get in through the slits.
Having poured out a little of the liquid, for the benefit of the company, say that you are now going to ask the bottle to give you a colour, and request the audience to say which particular one it shall be. Of course, some half-dozen, at least, will be given by as many persons, which is all in your favour, as you may then choose which you please, or, more properly speaking, not notice any extraordinary one with which you may not be provided. Some clever person is sure to rack his brains for some impossible colour, but, as you will take no notice whatever of him, it will not matter much. Each time a colour is asked for, turn to some object of that particular hue, and pretend to convey some of it on the end of the wand to the mouth of the bottle. There is nothing in this, perhaps, but it gives an air of finish to the trick. Snatch up the bottle every now and then, and pour out some liquid from it, and also call attention in an indirect manner to the fact that the ribbons are perfectly dry. Also tap the bottle once or twice with the wand, for the unexpressed purpose of showing that it is glass, and handle it generally in a careless manner, swinging it about by the neck, taking care, however, not to expose the bottom. This makes a very effective stage trick.
A second method, which the reader is not at all likely to have seen performed, seeing that I invented it myself, enables the conjuror to employ an ordinary glass bottle, having no preparation whatever about it. It should be a dark bottle, so as to be quite opaque at a distance. The bottle is shown for examination, and placed upon a low table or chair, and the performer extracts coloured ribbons, just as they are called for. As the bottle has been examined, no necessity exists for occasionally pouring out liquid from it, which is a dumb way of saying that the bottle is an ordinary one. Secreted beneath the vest band, the performer has his rolls of ribbon arranged. They may be either upon bent pins, stuck in the vest itself, or the performer may have a band, fitted with wire hooks, which may be buttoned on in a few moments. As the ends of the hooks or pins are towards the performer's body, the ribbons cannot fall off; but the ends of the fingers, curled slightly underneath, obtain them at once. The colours must be arranged in a certain order, which the performer will, of course, have to remember, and he must depend entirely upon his sense of touch. Directly the colour is named, the performer commences to seek for some article of furniture or dress containing it; and whilst the wand is extended towards the object, for the purpose of magically bearing away some of its colour, the other hand is getting down the ribbon, that side of the body upon which it is secreted being turned from the audience. Proceeding to the bottle, the wand affects to place the colour magically obtained into the bottle, and, as soon as the other hand has secured the loose end of the ribbon, it is brought to the mouth, and the ribbon allowed to unroll. A tiny piece of lead, sewn in the end, will assist this greatly; but the ribbons should always be kept flat, except when in actual use, otherwise they will assume a curl, which will betray the fact that they have been rolled up. If symptoms of curling manifest themselves, the wand should be held at the mouth of the bottle and pressed against the ribbon as it comes out, and it should be then taken in both hands and held stretched until placed upon the table.
By adopting this method, the performer is enabled to produce a very great number of colours; and it is advisable to have two or three of them twice over. However well the trick may be performed with the prepared bottle, the company instinctively feel that a certain number of ribbons are concealed somewhere or other, and that when they are once produced no more can come. By producing the same colours twice, the notion of an inexhaustible productive power is conveyed.
There is a third method, which can only be employed on a regular stage. The bottle is a specially constructed glass one, that part which is known as the "kick" extending upwards to the neck, and having a hole in the top. Thus there is still space left in the bottle for plenty of liquor, whilst there is an open passage up the middle of it. This bottle is placed over a hole in a table having a hollow leg (a small, single-legged round table is invariably used), and the ribbons are passed up on the end of a rod by an assistant below. By this method, an endless supply can be taken from the bottle, but few of my readers will, I fancy, be able to adopt this method, although it could be done over a draped table under which a small boy was secreted for the time being. When the performer advances to the bottle he gives out the name of the colour very loudly, and places his fingers over the mouth, at the same time pressing hard, to prevent the bottle being shifted by the action of the ascending rod. The assistant below has his ribbons arranged in order, and, as soon as he hears the colour given, attaches the proper one to the pin at the end of the rod. When the performer is quite ready he strikes the bottle with the wand, upon hearing which, but not before, the assistant pushes up the rod. He must be in no hurry to withdraw it, but give the performer plenty of time to clear the ribbon. A suitable bottle may be manufactured by knocking the bottom out of an opaque glass bottle, and then fitting a tin lining to it, inside, which can be fixed and rendered watertight by means of putty, afterwards blackened, if white putty be used. The bottle is occasionally taken up, and liquor poured from it, as in the first method.
The Accommodating Bottle.—This is a bottle from which the performer pours any kind of wine or spirits that may be asked for. The secret, as in the foregoing trick, lies in the bottle, and it is only introduced here on account of its remarkable effectiveness in clever hands. The interior of the body is divided into a number of compartments, usually five. Each compartment has a tiny tube running from it half way up the neck of the bottle, and has also an aperture, just capable of admitting an ordinary pin, at the side of the bottle. Four of these apertures should be arranged an inch apart in a slightly curved line, so that one finger can be placed upon each when the bottle is grasped in the hand. The fifth aperture should be situated underneath the thumb. It is possible, but very difficult (owing to the absolute necessity for having the partitions hermetically closed, except at the tubes and the apertures), to have an ordinary quart bottle, with the bottom knocked out, fitted with a tin lining, properly prepared. When this can be done, it is decidedly advantageous; but, in the ordinary way, one has to be contented with a tin article, japanned.
By means of a specially fine funnel, each compartment is filled with a different wine, and great care must be taken in remembering which contains the port, which the sherry, and so on. So long as the fingers and thumb are kept firmly pressed upon the apertures, no liquid will escape, even when the bottle is inverted, as it will be by the performer, previous to commencing, to show that it is empty. Some bottles have an extra compartment, into which water is poured, in full view of the audience, and the bottle apparently washed out, the water being poured out again. The adoption of this addition is a matter of taste. A dozen or so of liqueur glasses upon a tray, and carried by an attendant, will be required, and, after calling attention to the fact that the bottle is quite empty, and that he has no pipes running up his sleeve, the performer asks a lady what particular wine she would like. It is as well to use the words "port, sherry, or what?" by way of suggesting something which you have in your bottle to start with. You will, of course, have champagne, claret, and hock, which, with the sherry and port, will make about as good a quintet as could be selected. On any particular wine being called for, all you have to do is to raise the finger covering the hole corresponding with the compartment containing the required beverage, and it will flow out; on replacing the finger the flow will cease. By using small glasses, one appears to supply so much more than would be the case with larger ones. Never more than half fill a glass, and always pass as rapidly as possible from one person to another. Of course, you will be frequently asked for a wine with which you are not provided. This, in nine times out of ten, you can manufacture out of your stock. For marsala, for instance, give a little sherry and hock mixed. For sparkling burgundy mix champagne and port, or champagne and claret. When you make a mistake, pretend to be in a great hurry to attend to another applicant, and accidentally (!) drop the glass on the floor. Never mind if the glass does break; your trick is not spoilt.
It is wonderful how much success is attained by management in this trick. In one person's hands, it falls so flat as to be almost a failure; whilst, in another's, it will probably be the success of the evening. It is especially successful in the hands of a brisk and lively performer, before, or rather amongst, a large audience of a free and easy nature. It is not a good trick to introduce before a select and stiff company. Should any particularly fastidious person be met with, he can generally be settled by the administration of a mixture of the whole five wines. If he is still dissatisfied, ask him, if the beverage is not the one for which he asked, to say what it is. It will puzzle him to answer, and you will then be able to retaliate upon him by supposing that he does not know the taste of the wine for which he was so anxious.
Some first-rate continental conjurors, who, as a rule, take infinite trouble with their tricks, perform this trick with an ordinary bottle, which, after being examined, is filled with sweetened water (ostensibly plain water), and then any liqueur is given from it. The secret in this case lies in the glasses, which are coloured, and contain each an extract of a certain liqueur. The sweetened water answers for all. By this means, it is possible to be provided with an immense number of flavours, but the trouble in preparation is such as only a professed conjuror could undertake.
The Mesmeric Suspension Wand.—The Fakir of Oolu (he is known in private circles by a far less sounding and much more cockneyfied name than that) was the first to introduce this trick to the British public.
The performer is provided with an ordinary conjuring wand, blackened all over. He passes it through one hand, to show that it is not attached to any suspending medium, and then performs a series of feats with it, which apparently entirely upset the laws of gravitation. For instance, when placed horizontally against the under side of the outstretched hand, it does not, as one would expect, fall at once to the ground, but remains in the unnatural position. When placed perpendicularly against a finger or thumb, the result is the same; and it can be just as easily suspended from the tip of the finger by its extreme end. There are three methods in general use for producing these phenomena. One is to have the rod provided with several black pins, which stand out a little from the wand, and are then bent at right angles. The heads are taken off, and the exposed ends left rough. If two of these pins be placed about five inches apart, with the points of each turned towards the other, a hand placed flatly between them will be enabled to sustain the rod in any position by merely opening out the fingers, thereby causing a pressure on the two pins. This is the whole secret of the first method. The conjuror can arrange his pins according to fancy. I find five ample viz., two about two and a half inches apart at each end, and one small one at the actual tip. There is no necessity for more; and the space of two and a half inches admits of the introduction of two fingers, which possess quite sufficient power to sustain the rod. The advantage of using two fingers only is that, by employing the middle ones, those on the outside are left free to be moved about, as they should be, to assist in abolishing the idea of any connection existing. When the wand is drawn through one hand, the action must be quickly executed, and no notice given of the intention to perform it, otherwise the attention of the audience will be sufficiently attracted to the wand to cause it to be noticed that the hand does not actually touch it, although it appears to do so. A serious pantomime of mesmerising the wand by means of a few passes may be indulged in with advantage, according to the ability of the performer in this direction; but he must treat it seriously. If it is at all well done, one half of the audience will remain almost convinced that some influence has been exercised over the rod. The wand should then be taken in one hand, and struck smartly on the palm of the other, to show that it is solid, or it can be done previous to the mesmerism. This is very necessary, as a universal idea exists, amongst those who do not know the trick, that the wand is made of pith, and that the performer has some "sticky stuff" on his fingers. It should next be held horizontally at the end by one hand, and the other passed slowly along it once or twice, the motion becoming slower and slower until it ceases altogether. The fingers will then be between two pins, and, on the rod being released by the other hand, it will apparently cling to the under surface of the one above it. To cause it to attach itself to a finger or thumb perpendicularly, it is only necessary to hang it by one pin on the outstretched member, and the prodigy is accomplished. The pin at the tip is for the purpose of suspending the rod from the end of a finger. This is accomplished by pushing the pin under the nail. No trick could be simpler; therefore the performer must do all he can to make the audience believe in its extreme difficulty. Once or twice, at least, the mesmeric power should fail, and fresh passes resorted to in order to restore it. An effective action to introduce is that of placing both hands above the wand whilst it is in a horizontal position, and then appearing to move them backwards and forwards along it. This is accomplished by fixing the fingers of one hand only in the pins. The hands are then parted, and joined twice with considerably rapidity. The disengaged hand must not alone be moved, but the other as well, otherwise it will be seen that the wand is affixed to one hand, and the other merely moved along it. The care taken by the conjuror will make this trick the more or less successful.
The second method is to have a ring upon the finger provided with a clamp, which receives the wand in its embrace. The only thing to be said in favour of this device is that it enables the wand to be shown round. In all else it is vastly inferior to the bent pin arrangement. The number of positions in which it is possible to suspend the rod are exceedingly limited, and the probability of the ring being accidentally exposed is by no means remote.
As it is decidedly advantageous to give the rod round for examination, it is always well for the performer to devise a method for handing round one rod, free from any preparation whatever, and then exchanging it for a prepared one. This is, perhaps, best managed by concealing the prepared one up the coat sleeve. The one that is shown round is dropped into the tail pocket, which can be specially arranged for such a use without much difficulty. The change behind the table is weak, and a large majority of the audience invariably see through it, in which case all the performer's subsequent actions with the article are looked upon as farcical. When a dummy article is to be exchanged for a prepared one, the change must be perfect, or left alone altogether. If the performer have any doubt about it, let him rather dispense with the examination and consequent exchange, for then the audience can only suspect; but, if any covert action is detected, then the suspicion resolves itself into a tolerable certainty.
The wand for this trick is very easily made, any ordinary wood being suitable, and a packet of black pins, a pair of pliers, and a file will do the rest. It is best as a stage trick, private audiences in small rooms being somewhat too close for safety.
There is, however, a third method, which I think the reader will, after giving it a trial, find commend itself highly, as it enables him to use his ordinary wand, and so avoid the suspicion naturally engendered by the employment of a fresh article expressly for a special trick. Our old friend, the silken thread, is once more the means employed, and it may be either passed round the performer's neck, in the form of a large loop, or be affixed to a waistcoat button. Experiment will at once determine the proper length, which will naturally vary with the physical proportions of each performer. The wand is, of course, given round for examination, and may be passed through the loop whilst the performer is facing the audience, although it is, perhaps, the safer way to do this whilst retreating to the stage. It will be found that when the thread is stretched outwards from the body by means of the wand, acted upon by the hands, it supports the wand by drawing it hard against the fingers. At first the wand is taken in the two hands, one near each end, and held out very gingerly. When the thread is felt to be tightly stretched, the fingers are opened, and it is as well to at once give a swinging motion to the hands. The hands should then be drawn together and parted again two or three times, both slowly and fast, a slight swinging being still kept up, and then two or three, or single fingers can be employed, as may the sides and backs of the hands. These movements will necessitate some little practice, in order to ensure facility of execution. When enough has been done by two hands, one hand should be placed in the centre of the wand, the thread passing between the fingers, when the wand will be just as securely supported. The hands should be changed, the one hand taking the wand from the other, from beneath. The finale to this method of doing the trick is the most startling of all, the wand being suspended by one end from the tip of a finger, and from thence given to the company. To bring this about neatly, grasp one end of the wand with the right hand and place the tip of a finger of the left hand against the other end. Let the wand assume a perpendicular position, the right hand undermost, and, at the same time, cause the thread to slide along until within a bare inch of the finger at the other end. If the wand be fitted with ferrules, as directed, the thread is certain to rest at their terminations. The pressure of the finger against the resistance of the thread, delicately dispensed, will cause the wand to be supported, and with it in this position the performer advances to the company, and, with the right hand, places it in their hands, a very slight under sweep, quite compatible with a graceful presentation of the article, sufficing to free it of the slight tenure the thread holds over it. As the Fakir's wand has been on sale for very many years, there will probably be amongst the spectators some who know its secret. With these the method now described will be most successful in creating astonishment, for it will be quite beyond them.
Fig. 53.
A little additional sleight may be practised, which gives finish to the trick. This is to cause the wand to apparently attach itself to the tips of the outstretched fingers of one hand. To the spectators, it appears as if the fingers were merely outstretched, and the wand placed against them, when it adheres. It is quite true that only the tips of the fingers touch the wand, but they must be so disposed that the first and fourth are on the inside, and the second and third on the outside. The theory of the grip is the same as though the wand were held between the four fingers, an inch or more down them. What the conjuror has to study is to bring sufficient pressure to bear by means of the tips only, the nails of the first and third fingers resting against the wand. The hold is really of the most fragile description, only one longitudinal half (the inside one) of the wand being operated upon. A strong and rather fleshy finger will succeed best, but, in any case, the first and fourth fingers must be stretched out as wide as they can be made to do, and the whole operation will be very materially assisted by using a wand that is neither heavy, thick, nor slippery. An unvarnished wand would be the best, and it should be as much less than half an inch in thickness as can be made convenient. Weight will then be comparatively immaterial. The performer will find the effect of his trick wonderfully enhanced if, in handing the wand from one member of the company to another, he does so by means of the apparently magnetic tips of his fingers. The sleight is illustrated at [Fig. 53].
The Magi's Brazen Rod.—This is a solid brazen rod, one quarter of an inch in thickness. At each end is a brass ball, free (whether solid or not) from any preparation whatever. One ball is firmly fixed, and the other screws off and on. Some ladies' rings are borrowed, and a solid wooden ball, which is subjected to examination, is then passed on the brazen rod, and the movable brass ball screwed on. The ball ends are then held firmly by two of the audience, and a handkerchief spread over the wooden ball. The performer introduces his hands, containing the rings, beneath the handkerchief, and, in a moment, the ball drops from the wand, upon which, on the withdrawal of the handkerchief, the rings are seen.
There are many variations in the details of the trick; but the one great secret in connection with it is that, besides the solid wooden ball which is shown round, the performer has one behind the scenes that is hollow, and is divided into two equal parts, which fit firmly together, like a box and lid. In the box portion is fitted a piece of cork, in which are three slits. Ostensibly to fetch the solid ball, the performer retires behind, and there rapidly places the three borrowed rings, for the possession of which at this stage I shall presently account, lightly into the slits, closes the ball up, and palms it. Returning to the stage, with the solid ball openly in the hand, he gives it to be examined. On receiving it back, he has to exchange it for the prepared one (a feat neither too difficult nor too easy), which is passed on the rod instead, the solid ball being vested. The sequel follows as a matter of course. The solid ball is re-palmed, and secretly introduced under the handkerchief at the same time as the rings (i.e., their substitutes); the hollow ball is opened, thus leaving the rings alone on the wand, re-closed and palmed, the solid ball at the same moment being dropped on the floor. The performer must be careful not to have the wooden balls larger than is absolutely necessary, or he will find some difficulty in exchanging and concealing them neatly when occasion requires. They must be turned with circular grooves, in one of which the opening of the prepared ball is made, so as to escape detection from casual glances. The method of obtaining the rings varies considerably. Some performers put them into boxes with secret openings, and thus obtain possession of them. The simplest plan, if one has a stage assistant, is that described under the heading "[Sleights for General Use]." The assistant remains on the stage, holding the wand until the rings are required again. The performer then puts them in a piece of paper, ostensibly to "take better care of them," but really to make it easier for him to get rid of them, and they are palmed, along with the dummy ball, when that is taken off the wand. I have seen it attempted to place the dummy rings inside the ball before re-closing it, but the operation took too long by far in execution. If too much paper be not used, and the rings are small and tightly folded together, it is possible to pop the little parcel inside the lid of the ball. The rings could be of such a size as to allow of this. The method for managing the exchange of the rings depends much upon circumstances. The one I have given will be found generally applicable, especially as the trick is essentially a stage one. The handkerchief that is thrown over the rod should be drawn off smartly, so as to cause the rings to spin round, by the hand containing the ball just removed from the rod, which it will assist to conceal. On the completion of the trick, hand back the borrowed rings on the rod itself, and also show round the ball again.
There is no reason why this should be an expensive trick. A brazier could make the rod and knob ends for a very few shillings, and the two wooden balls should cost about 1s. 6d.
The Shower of Plumes.—This is a trick requiring a great display of dexterity, combined with considerable boldness. The performer produces, from a large handkerchief, enough plumes, each nearly 2ft. in length, to cover the floor of an ordinary room. The plumes are rather expensive articles to purchase, but, when once obtained, form an excellent stock-in-trade. The method for producing them is to take off the coat, and then, grasping a large quantity by the lower ends in each hand, replace the coat. The compressible nature of the feathers enables a dozen or more plumes to be concealed up each sleeve. Care should be taken that they lie along the back of the arm. The performer, thus padded, comes on with a large silk handkerchief in his hands, but contents himself with remaining well at the back of the stage, and also refrains from turning his back to the audience. He waves the handkerchief to and fro, to show that it is empty, and then says that he will try and find something in it. To do this, he spreads it over one hand, and, with the other, seizes the end of one plume through it. At the same moment, with a sharp swift movement, the handkerchief and plume are withdrawn, the underneath hand falling to the side, assisting thereby in the withdrawal of the plume, and also keeping the ends of the remaining ones out of sight. The hand holding the handkerchief is inverted, and the plume will be revealed. Under pretence of removing this plume, the disengaged hand seizes another plume through the handkerchief, and withdraws it with the same movement which casts the one exhibited on the floor. The second one is then shown, and the process of drawing out another repeated from each arm alternately, the production of the plumes being made as rapid as possible, the motive being to bewilder the audience, who, if the performer does not make any blunder, will never imagine that they are concealed up the sleeves. It is as well to draw out a couple at one time once or twice, for the sake of extra effect, and, with the same object in view, have the plumes of several colours. Some should be all white, some all red, and others all blue, whilst another variety can be of two or even three colours. Never attempt to produce a plume until the handkerchief has fallen well over the arm from which it is to be drawn, and let the whole trick be executed with great dash. Sometimes larger plumes are placed round the body and drawn out from the vest, the handkerchief being spread over the chest for the purpose. The attendant who picks up the plumes should make the best show he can with them. Some performers place the plumes in fan-shaped vases or other receptacles, but the operation hampers the performance of the trick too much, and also leads to too many undesirable movements to be recommended. An excellent ruse is to conceal one plume beneath the carpet, with the end just through a hole or slit in the seam. The handkerchief is spread on the floor, and the plume produced. It is undoubtedly a very difficult trick to perform well, but it produces a great effect.
The trick may be performed, in a small way, by means of ostrich feathers laid inside the shirt sleeve, the coat sleeve being turned back.
The Fairy Flower.—From a large cut-glass vase, having a cover, cut out a large portion—say, a piece 3in. wide, and extending from the top almost to the bottom, or foot. Along the back edge of the top of the table affix a spiral spring of several close coils, the free end of which should be of sufficient length, and of such shape as to enable it to extend well over the top of the table. To the extreme end of it affix a cut rose, camellia, or other showy flower, and then bend it down until it is out of sight behind the table. A sliding pin, working in a couple of staples, and having a loop at one end, must be brought on at the side of the spiral spring, and when the end with the flower on it is bent back, this pin is pushed across it, and so prevents it returning to an upright position. A thread attached to the loop, and passed out at the side, will enable the assistant to release the spring when desired. The vase is brought on, and the best side shown to the audience, besides being rung with the fingers or wand to show that it is sound, and it is then placed in position exactly against the spot where the spring is affixed, and the cover put on. The performer then says that he will cause the fairies to place a flower inside the vase, and commands them to do so. He can either spread a handkerchief momentarily over the vase, or dispense with the operation altogether. The attendant pulls the thread, the pin is drawn aside, and the spring with the flower on it flies into the vase. The cover is then removed, and the flower taken out from the top, a strong nip of the nails being necessary to remove it. The assistant, in removing the vase, bends back the wire and pushes the pin over it. This trick is usually performed with the aid of a box-shaped pedestal, on which the vase is stood. Within this pedestal the spring and wire arrangement, with flower attached, is concealed, the working being practically the same as that just described; but the reader will, doubtless, agree with me, that the introduction of a large box is likely to bring suspicion along with it.
The Perambulating Bottle and Tumbler.—This is a trick in which absolute sleight of hand does not appear; but it calls for a certain amount of finish in execution, and, like [A Bottle of Ginger Beer], makes an agreeable change in a programme, both to company and performer. The performer has a bottle of beer, a tumbler, and two cardboard covers, which are, in fact, mere cardboard tubes, open at each end. Beer is poured from the bottle into the tumbler, and both articles are then placed upon the side tables, and covered with a cover. After the performance of the usual magical passes, the covers are removed, when the glass and bottle are found to have changed places. The following is the ingenious method by which the impossibility is apparently brought about: Have a tin bottle made, exactly in imitation of a beer bottle, between nine and ten inches high, and japanned so as to look like glass at a distance. The bottom of this bottle is open, but four inches from the lower edge is a tin partition, dividing the bottle laterally into two compartments. The upper compartment is for the purpose of containing the beer. Passing through its very centre, and reaching to within half an inch of the top of the neck, is a tube about a third of an inch in diameter, or, at any rate, large enough to take a small funnel. Thus communication is established with the lower open compartment, by means of the tube. Then have a second bottle made, also of tin, and japanned to match, just large enough to pass over the first one. This bottle has no interior whatever, and is, in fact, a mere shell. In height it need be only the merest trifle taller than the other, and the tinman should be enjoined to keep it as narrow as possible, compatible with an easy fit over the smaller bottle. Each bottle should be decorated with a flaring beer label, taken from genuine bottles. Needless to say, they must be precisely similar, and if each has a piece accidentally (!) torn out of it, sufficiently large to be noticed by the spectator, so much the better. In the middle of the body of each bottle is cut a circular hole, nearly an inch in diameter, and fully two inches removed from the nearest edge of the label. Further will be required the two pasteboard covers, which may be of any length between twelve and fifteen inches. These must be made to fit very closely over the bottles, without actually clinging to them, consequently one will be larger than the other. Finally, two tumblers, precisely similar, will be wanted. They must not exceed four inches in height, or they will not go under the small bottle, on account of the partition there. Behind the scenes the small bottle has its compartment filled with beer, and is then placed over one of the tumblers, the large shell bottle being finally placed over both. Placing the middle finger through the holes in the bottles pressure is brought to bear upon the tumbler, which in this way may be lifted with the bottles. The whole, looking to the audience merely like a single bottle, is thus brought on, and placed upon the centre table. The two covers are shown, the performer explaining that they are merely made to cover the bottle. Suiting the action to the word, he places the large cover over the bottle, and at once withdraws it, nipping it near the bottom, so as to bring away the outer shell inside. With the other hand, the smaller cover is then placed over the smaller bottle, and at once withdrawn. The company, knowing of only one bottle, will fancy they have seen both covers placed over it. The large cover, having the shell within it, must not be laid upon its side, but stood up alongside the empty one. The performer now takes the smaller bottle in one hand—holding the tumbler beneath it as well, by means of a finger through the hole—and the visible tumbler in the other. Beer is poured out until the tumbler is filled. The performer now says that he does not want his glass too full, and, replacing bottle on table, places a small funnel into its mouth, care being taken to insert it in the tube. Half the beer—neither more nor less—must now be poured into the funnel, and it of course finds its way into the tumbler beneath. The conjuror will have to experiment beforehand, so as to discover how much liquid he must leave in the visible tumbler, and how much he must pour away, slight marks being made, with a diamond or file, for his guidance whilst exhibiting. It is highly essential that each glass contains precisely the same quantity. The visible tumbler is now placed upon one side table and covered with the large cover, containing the shell. The small bottle is placed upon the other side table, with the tumbler still concealed under it, and covered with the small cover. By means of his wand, an imaginary exchange of the articles is now made, and the covers are lifted—that containing the shell lightly, so as to leave the shell behind; whilst that containing the bottle is gripped nearer the bottom, so as to lift that article with it, exposing the second tumbler. The general method adopted in lifting the covers is to take them by the extreme top when the article contained is to be exhibited, and at the very bottom when it is to be carried away. These are certainly very safe methods; but they are unnecessarily so, and afford far too much clue to the spectators. The variation between the positions of the hand need never exceed a couple of inches. The height of the upper edge of the body of the bottles the performer may have indicated upon the outside of the cover. Half an inch below that line he has only to exert pressure to ensure the carrying away of the bottle or shell. A little above it he is clear of them, and need not fear carrying them away by mistake. A variation of two or three inches is a natural one, and unnoticeable. Poor conjurors, too, always treat a cover containing anything in a far too gingerly manner. An empty cover they flourish about with extreme recklessness, exhibiting the interior freely; but, a few moments later, they carry the same cover about as gingerly as one would a very lofty and quivering tipsy cake or jelly. Spectators cannot but notice this sudden change from extreme freedom to plainly-depicted trepidation, and generally draw very correct conclusions. The conjuror should practise to be as free and as nonchalant as possible with articles that are really mysterious, and study carefully how far he may go without exposing any secrets. In the present instance, the cover containing the shell should be flourished about a good deal, and finally placed over the tumbler in a careless manner.
The change made, the performer will of course offer to do it again, "in order to give everyone a chance of noticing how it is done." He may pretend to give his spectators some assistance by telling them, in confidence, that the tumbler and bottle really came out at the tops of the covers, his original statement, that the openings were there to prevent suspicion, being untrue, their real purpose being to afford easy exits and entrances for the articles. The articles then make a return to their original positions, after the covers have been replaced, the shell being carried away, and the bottle allowed to remain. The feature of the trick, which completely mystifies the company, is the transposition of the beer-containing tumbler. The fact that the bottle has been nearly inverted, in the act of pouring out the beer in the first instance, precludes the idea that it could ever have been concealed in that. Although beer is here mentioned, claret or claret and water may be used, or any other showy liquid at hand.
The Magic Omelette.—This is a very favourite trick. The performer borrows two or three rings, which are cast into an omelette pan. Eggs are broken into the pan, and spirit added, and lighted. A cover is momentarily placed over it, and, when removed, all traces of the omelette have vanished, two doves taking its place. This would, perhaps, not be so very extraordinary were it not for the fact that around the birds' necks are pieces of ribbon, having upon them the borrowed rings. Such a trick may well be admired. It is thus performed: The pan, about 10in. in diameter, and between 2in. and 3in. deep, is made of plain brass, copper, or nickel, and has a slight turnover edge, turning outwards. The cover, which is a shallow one, has a 2in. flange. This flange is for the reception of a secret lining to the pan, containing the doves, and left behind when the cover is raised, after being placed over the pan. It fits outside the cover flange, loosely, but very tightly into the pan, for there must be no danger of its being carried away when the cover is lifted. It also has a turnover edge, precisely as has the pan, and by means of this edge it is temporarily attached to the cover. The cover, on the under side, at the extreme border, has two flat hooks, an inch or so in length. These are placed on opposite sides. In the turnover edge of the lining are two slits, admitting the flat hooks. To attach the lining to the cover is therefore simple, the hooks being placed in the slits and a twist given to the cover, which has only to be twisted the reverse way to withdraw the hooks from the lining again.
Firstly, the performer sends his assistant forward to borrow the rings, which the lenders place upon the little wand he carries. In returning he changes them for dummies, as described at [page 176], and at once retires behind the scenes, where he has the cover and lining already prepared with the birds inside, but not with the hooks in position. The ribbons around the necks of the birds are left outside, the insertion of a stick in the loops preventing their being pulled inside by the movements of their wearers. This prearrangement is necessary, as rapidity of action is essential. A ring is rapidly attached by the ribbon loop being first passed through it, and then opened out over it. When attached, the rings are popped inside, the cover hooked to the lining, and a prearranged signal given the performer that all is in readiness. The performer, in the meanwhile, has been making his omelette, which he must not light until his assistant signals that he is ready. Then he applies fire, and, rushing forward, shows the spectators the rings frizzling in the midst of the eggs. This is done rapidly; and it is certainly advisable to avoid, if possible, the actual owners of the rings, or the absence of a lent one may be noticed. The assistant seizes this opportunity for bringing on the cover, which he does in a careless manner; and it is as well to bring on the wand at the same time, as though both articles had been carelessly forgotten. The majority of the spectators, if not all, will, however, be engaged with the movements of the performer, who rushes back to his table, claps on the cover, his assistant firing a pistol to stir up the company to increased excitement, and takes it off again, giving, at the moment, the disengaging twist, the lining being thus left inside the pan, with the doves. The latter are brought down to the company, with the rings on their necks, and the pan shown empty, the contents being concealed between the bottom of the lining and the bottom of the pan.
To Pass a Borrowed Ring Inside an Egg.—A ring is borrowed, and placed in a handkerchief, or elsewhere, and an ordinary full egg, which may be examined, is placed in an egg-cup. The ring is "passed" into the egg, which is broken by the spectators, who also find the ring inside the egg by means of a little hook, with which they fish for it. The secret of the trick lies in the egg-cup. This may be of wood or metal—the latter for preference, wooden egg-cups being open to suspicion, whereas plated ones are not. Inside the cup, at the bottom, is cut a moderately deep slot; and when the performer has obtained possession of the ring by one of the methods described in this book, he secretly places it in the slot. The egg is now placed in the egg-cup, but, before doing so, the performer accidentally (!) breaks the shell at the small end, either by tapping the egg on the table or striking it with his wand, whilst in the act of explaining that the ring is to be found inside when the egg is placed into the cup, with the cracked end downwards. A little pressure will cause the ring to be forced into it. A small hook is now presented to a spectator, who is desired to break the top of the egg, and fish for the ring with the hook. Sooner or later, the ring will be brought to light. Particulars to be observed in connection with this trick are that the borrowed ring must not be too broad, or it may jam in the slot, nor must it be of a nature likely to be injured by the contents of the egg. The cup, with egg in it, should be brought forward on a plate or small waiter, in case of an overflow, a napkin being also necessary, for the same reason, and for the additional purpose of wiping the ring. The performer should present several eggs to the company, who select the one with which the trick is to be performed; but he should previously ascertain that each of them fits well into the cup, and does not jam at the sides. The safest plan is to have a special egg-cup made sufficiently large to take any ordinary hen's egg, as occasions may arise when the eggs will be provided by the house, as would be the case in the country. An additional feature is sometimes introduced of having a second egg-cup, without any slot in it, this one being given for examination, and the prepared one afterwards exchanged for it. The prepared one can very well be kept under the vest, and exchanged in the act of turning round.
The Flying Cage.—The performer comes forward with a square cage in his hand, containing a live bird. Standing close in front of the audience, he suddenly makes a movement as of throwing the cage upwards, when that article disappears, bird and all. The secret lies in the fact that, whilst the framework of the cage is actually of wood or metal, and the wires of real wire, the whole is jointed together at the corners with elastic, and the wires looped or hinged where affixed to the framework, so that the whole may be shut up, cornerwise, longitudinally, and made to disappear up the coat sleeve. The sleeve must be pretty large for this purpose, and the shirt cuff must offer no obstruction; in fact, a cuffless shirt should be worn. At one corner of the cage is affixed a strong black cord, which passes up the sleeve, round the back, and down the other sleeve, where it is tied to the wrist. The length must be such that the performer is just able to hold the cage, and have the cord tight. The bird is inserted through the wires. When the performer desires to cause the cage to disappear, he shuts up the cage obliquely, and, by simultaneously stretching out his arms, it is made to fly up his sleeve. So instantaneously is this accomplished, that even those acquainted with the means by which the disappearance is arrived at cannot actually see the cage go, although the performer faces the company during the entire execution of the trick. It is advisable to purchase a cage ready made, in preference to constructing it oneself. A black frame is preferable to a brightly-burnished brass one.
The Great Dictionary Trick.—Few tricks have caused more general wonderment than this one. It is presented in various ways; but the original form, to which the reader may make what variations circumstances and ingenuity may suggest, is as follows: The performer advances with several pieces of paper, all blank. These are folded and thrown into a hat. One is selected by a spectator, and left in custody of the company. Several dictionaries are now produced, and handed round for subsequent reference. A paper-knife is placed in the hands of a spectator, who is desired to thrust it at will into the dictionary which the performer presents to him. The book is opened at the place thus indicated, the performer announcing the pages, to which the holders of the other dictionaries at once turn. The audience select which page and which of the two columns upon it shall be employed; and then, in order to ascertain which word shall be selected, a bag containing numbered counters, shown to be all different, is presented to another spectator, who draws one, and is asked to announce it. The word corresponding to that number, counting from the top of the page, is then read out, and on the paper previously chosen being opened, the word is found written upon it.
The working of this trick is as follows: The dictionary which is presented by the performer to the holder of the paper-knife is composed of two pages only, repeated over and over again, throughout the book. Thus, it makes no difference where the knife may be thrust. Say that the thirteenth word on the right-hand column of the left-hand page of the book is the one selected by the performer. He would first ask someone which page he should take. If the right hand were said, the performer immediately ejaculates, "Your right hand; thank you!" and immediately proceeds to have the right-hand column selected by someone else, in the same one-sided manner. The selection of the proper word is thus managed. The bag is a double one, and in one side are numbers running in proper arithmetical progression. These are shown and replaced. In the other side are a quantity of counters, but each is numbered "thirteen," so the drawer is bound to draw that number, the performer taking care to open that side for the insertion of his hand. The corresponding word has been previously written upon the paper. This may be forced upon the selector by being placed upon the crown of a hat in a circle with other pieces, the hat being adroitly turned at the proper moment, so that the desired piece of paper comes to the hand of the chooser. This force must not be insisted upon if the chooser be at all unwilling, and the performer must resort to the alternate ruse (which many prefer entirely to the force) of a change. For this, the prepared paper is held in the left hand, and a plain paper apparently put into it by the right, it being, of course, retained there, and the one in the left hand exhibited. When performed many times before the same company, different arrangements of pages will have to be adopted, or the recurrence of the same page may easily lead to detection of the fraud.
Magical Wine.—The performer comes forward with a glass of port wine in his hand. He then explains the convenience of being a conjuror, since one can always accommodate one's friends. For instance, here is a glass of port wine. The friend to whom it is proffered does not happen to care for port. In the ordinary way the wine would be wasted; but not so with the conjuror. All he has to do is to borrow the friend's handkerchief (here a handkerchief is borrowed), and, waving it thus over the glass, see, the wine has changed to sherry! But the friend does not like sherry either. What does he like, then? A little spirit? Yes! Gin, perhaps? If you please. The handkerchief is once more waved over the glass, and the sherry turns to gin, which the company are welcome to prove by the ordeal of taste.
The secret of this trick lies in two pieces of coloured glass, shaped thus:
so as to fit perpendicularly into a wineglass. One piece of glass is yellow, to represent sherry, and the other red. The performer advances with the glass full of gin, and the two glasses placed in it. The red and the yellow commingling produce the tawny port colour. It need hardly be said that the edges of the glasses must never be towards the company. The first time the handkerchief is placed over the glass the red glass is abstracted, leaving the yellow, which is removed on the second occasion. The glasses are most easily palmed. Provided with his glasses, the performer will find this a handy trick to perform extempore at the houses of friends, where water might be used if gin were not handy, or else very pale whisky. It is not of sufficient importance for the stage.
The Sack Trick.—This trick is variously performed, but I shall only give one method, as being the one best within reach of the amateur. It requires the aid of an assistant, who comes forward undisguisedly as such. A large sack is handed round to the company, along with a piece of cord, for examination. As a matter of fact, there is nothing to be discovered in connection with these articles. Into the sack the performer or his assistant steps, and it is tied securely over his head, the cord being finally sealed by one of the company. A screen is placed in front of the individual in the sack, and, in a very short space of time, he comes from behind it with the sack in his hand, and minus a boot. The sack is given to the company for examination, when the mouth is found to be firmly tied and the seal unbroken, whilst the missing boot is clearly inside, it being thereby conclusively demonstrated that it was actually the sack which contained the owner of that piece of wearing apparel. The seal has to be broken before the boot can be recovered.
The explanation is that there are two sacks, the second one being concealed up the back of the person who is tied up. So soon as he is put into the first sack he gets down the concealed one, and pops his boot into it. He then folds the mouth of it neatly, and, as his confrère forms up that of the visible sack for tying, he thrusts it up into his hand. The tyer, holding his hand so as to conceal the fact of there being two mouths, ties up the inside one very securely—a few folds of the cords just nipping the outside sack also, so that the hand holding them may be presently removed without any exposure resulting. The greatest care must, of course, be taken that the sealing is done upon the inside sack only, the tyer superintending this operation very closely. Everything depends upon the neatness with which he performs his part. If it is a clumsy job, the sealing must be dispensed with, or the sealer will notice the presence of two sack mouths. The material of which the sacks are made should, therefore, not be very thick, or the cord will not be able to conceal the outside sack mouth. When the screen is placed in front, the man inside carefully pulls away the outside mouth from under the cord, and he is free. The first sack he merely hangs up behind the screen—which is afterwards folded up and carried away with the sack inside it—and comes forward with sack number two, which he has never been inside, in his hand. It is a good stage trick.
The Dancing Sailor.—This is a trick which may always be relied upon not to fall flat, and should be introduced whenever the audience has had a good dose of serious tricks administered. The feat consists in taking the rude effigy of a sailor, cut out of a simple piece of cardboard, which may be freely and minutely examined by the company, and, standing it on the floor, to cause it to remain there, and to dance according to the directions of the performer, without any visible means of support becoming evident. The sailor can be very easily manufactured in an hour or so, out of a piece of fairly thick card. The trunk and head should be cut out of one piece, with the arm, from the shoulder to the elbow protruding at a considerable angle. The forearm is jointed on, as are also the legs, which must be in two pieces. The joints may consist of thread, and should be very loose. The design may be varied according to the fancy of the maker, but he will be safe in giving to the cheeks and nose an extravagantly rubicund hue, and the mouth a humorous turn. The hat should be on one side, the trousers broad at the bottom, and the feet large, and turned outwards, and slightly upwards. When the jointing has been done, it is as well to cover the whole figure with thick paper, on both sides, in order to obtain a smoothness of exterior. In pasting on this paper, care must, of course, be taken that the joints are not touched by the adhesive matter employed, or they will not work properly. The whole figure, to look sufficiently imposing, should stand quite 15in. high; but if it be intended to dance it upon the table, then 12in. is sufficient. Effect is everything in conjuring, and a great deal may be lost by having things just a size too small.
In performing the trick, the conjuror brings forward the sailor, whose appearance, if properly designed, should at once create amusement. He is given for examination, and the performer then retires to the stage, bending, as he does so, the arms of the figure at the armpits slightly backward from the body. He then proceeds to show the company that no threads or wires are anywhere about. This he does by slashing about in every direction, high, low, and on either side, with his wand. As a matter of fact, no threads or wires are within his reach, so he cannot do wrong; but a thread does exist in connection with the trick all the same. It should be a fine silk thread. Invariably use silk for everything, as it is both stronger, finer, and more durable and pleasant than cotton. If two assistants are available, there should be one on each side of the stage, holding the ends. When the performer is doing his slashing around, the thread is simply held as high as possible, the expedient of standing upon chairs being resorted to by the assistants, if necessary. It is very often the case, however, that the aid of only one assistant is possible or advisable. The thread must then be fixed on one side of the stage, at the proper height from the floor, a few inches of elastic being first tied on to counteract the effect of any unpremeditated jerk, which might easily prove disastrous to the trick. The elastic, being thick in substance, must be out of sight. If the dancing is to be done upon the floor, then the thread must be affixed about an inch higher than the armpits of the figure (to allow for the drop in the centre of the thread), and allowed to lie upon the floor, except when in actual use. If the dancing be done upon the table, the assistant must do the best he can, and the performer use judgment in the way he sweeps with his wand. When the assistant receives his "cue" from the performer, which may be done in a thousand different ways, he lowers the thread, and holds it taut. The performer then places the figure directly over it, allowing the thread to pass under the armpits. As these have been pressed back, the thread will pass across the front of them, and across the back of the figure. The assistant must watch the figure narrowly, so that no motion whatever is given to it. A rehearsal or two is all that is necessary to make it appear that the figure stands of its own accord, and without aid, upon the floor. Any swaying motion will tend to destroy this illusion. The rest of the trick follows as a matter of course. If music be at hand, the performer has a lively air, such as a hornpipe, played, or, in the absence of any instrument, the performer must needs whistle. In any case, he keeps time with his wand, and looks approvingly at the figure, talking to it occasionally. The assistant need jerk but very slightly at the thread to cause the figure to dance, and he can easily vary his motions to fast or slow. The legs of themselves assume various steps, which many of the company will think to have been brought about by design. Once or twice the performer passes his wand over and before and behind the figure whilst it is dancing, to show that there really is no connection. If it be dancing upon the table, a borrowed hat may be held in front of it, and the figure made to advance upon it and dance upon the crown. This, besides being additionally diverting, indirectly does away with any suspicion, which might excusably exist, as to the presence of mechanism within the table. When the assistant and performer are well together, all sorts of tricks may be indulged in. The figure may be made to dance inside a hat; and I have even seen a skilful performer twirl an umbrella between it and the floor, the sailor continuing his hornpipe merrily and unconcernedly all the while.
If the performer chooses to add to the humour of the situation, he may, if the figure be dancing upon the table, take it by the head (it should never be touched elsewhere) and lay it down, saying that there has been dancing enough. He then turns to the company, and commences to say something, as if about to explain a new trick, when the figure suddenly starts up and commences dancing with great vigour. The company laugh, and the performer goes to the figure to lay it down, this time with the wand placed across it to keep it quiet. So soon as he begins to speak to the company, however, up starts the figure a second time, the wand rolling off on to the floor, the dance being renewed with fresh energy.
When the trick is to be brought to a close, the assistant holds the thread firmly, and the performer, seizing the sailor by the head, lifts him off. Now, if I had not directed both sides of the figure to be covered with paper, a very great risk would be run of the projections at the joints catching in the thread. Properly covered on both sides, everything is smooth, and so there is nothing to catch. The figure should be instantly brought forward to the company for re-examination.
In a small way, i.e., before children, the figure may be made to dance between the legs, the thread being attached to the legs. (See [To Cause a Stick or Poker to Stand on End].) The slightest movement of the legs in an outward direction will give motion to the figure, the feet beating time with the air, whether played, hummed, or whistled, so as to cover the action. The country public-house conjuror affects this phase of the trick.
The Anti-Gravitation Ball.—The performer produces a solid wooden ball, having a thick cord passing through it, and this he allows the company to examine. It is seen that the cord passes freely through the hole. Placing one end of the cord under his foot, he holds the other end at arm's length, so that the cord is perpendicular. With the disengaged hand, the ball is raised up to the other, and, on being released, of course falls to the ground; when, however, the performer gives the word for it to remain at the top of the cord, instead of descending, it obeys. He then points with the wand to a part of the cord a foot or so down, and the ball at once descends so far, and then stops dead. To any place on the cord that is indicated by the performer or any of the company the ball will stop and remain.
The secret of this is, that the hole is not drilled straight through the ball, but has an angle, or bend, in it. The result is, that when the cord is pulled tight the ball is held, but when it is slackened the ball falls, a sudden tightening being sufficient to arrest it in its career.
A very good form of ball is that now generally sold. It has a very large hole indeed, quite a dozen times larger than the cord passing through it. This hole is slightly tapered, and the cord is passed through a small plug fitting into the hole. This plug is concealed in the performer's hand as he holds the cord, at one end of which is a big knot, or tassel. The plug has a crooked hole drilled through it, and when the ball is run down the cord, so as to get the plug inside it, the two become one, and the ball behaves precisely as it would were it itself prepared. As the spectators, however, fancy the ball to be strung on a cord that is many times smaller than the opening, the force which causes the object to remain wherever it is ordered, in defiance of the laws of gravitation, is quite inexplicable. I once saw a Chinaman with a doll which went both up and down a cord. This was very ingenious and diverting, but was too obviously mechanical.
A neat way of performing this trick, and one which I recommend for drawing-room use, is to take a ball of worsted and thread it with cotton or thread, the threading not being done straight through the ball, but crookedly. This ball will then be found quite amenable to discipline, and, of course, not the least suspicion can attach to it, the worsted being borrowed from the hostess's work-basket, and the threading done before the company's eyes. In any form, this trick is not sufficiently important for the stage, there being no variety or change in it.
To Cause a Stick or Poker to Stand on End.—For this feat the performer must be provided with 2ft. or so of fine black cotton or silk, with a black pin at each end, securely tied on. The pins may be either bent or straight, and must be fixed in the trousers at the calf, one in each leg, which will enable the operator to walk about without any fear of the thread getting him into trouble. The performer first takes a stick or poker (if a poker, it should be a light one), and, after having had it examined, proceeds to mesmerise it, as he will call it. This mesmerism should be conducted with the greatest seriousness imaginable. When the magnetic influence has been properly aroused by rubbing, &c., the performer should sit down and open his legs, so causing the cotton or silk to become stretched. He then takes the stick or poker, and stands it upon the floor in front of him. On being left to itself, it, of course, falls to the ground, but after three or four failures, the performer brings it against the thread, and then, making several mesmeric passes with the hands, relinquishes all hold. The stick or poker will, of course, be supported by the thread, but during the whole time it is so sustained the hands must be waved over and around it, as though exercising some influence over it. Do not prolong this trick more than can possibly be avoided, but get out of sight and remove the pins and thread with all despatch. (See also [The Dancing Sailor].)
[CHAPTER XVI.]
THE CORNUCOPIAN HAT.
ON SKILL—CANNON-BALLS—CAULIFLOWERS—THE DISTRIBUTION—BONBONS AND FLOWERS—SHOWER OF CUPS—MULTIPLYING BALLS: HOW TO MAKE AND HOW TO PRODUCE THEM—BUNDLE OF FIREWOOD—RETICULES AND DOLLS: HOW TO MAKE THEM—BIRDCAGES—A FEAST OF LANTERNS—AN UNFORTUNATE CLIMAX: HOW TO GET OUT OF IT—THE FLYING HAT.
One of the most taking of all the tricks performed by the many public exhibitors is that in which a hat is borrowed from the audience, and at once from its interior are produced a quantity of heterogeneous articles, the nature and number of which cause, not only the greatest merriment, but also the most unbounded astonishment that they should ever have found lodgment in so unsuitable a receptacle as an ordinary "chimney-pot" hat. The reader will hardly require to be told that every article which is produced from the hat has first to be introduced into it by the performer, and on the skill with which this is done will the success of the trick depend. It must be understood that there is no middle degree of perfection allowed in performing this trick. No one must be able to say, "Yes; he got them in pretty well that time—I hardly noticed him." The motion which accompanies the introduction of any article or articles into a hat must be absolutely unobserved by anyone of the audience. No extraordinary degree of speed is required, for success will depend more upon the completeness of the arrangements made by the performer for the accomplishment of his designs than upon mere rapidity of movement, which, as I have often explained, is by itself of no use whatever, it being impossible for the human hand to make any movement openly so rapidly that it cannot be followed by the human eye. The object of the performer being to introduce certain articles into a hat without detection, anything falling below this accomplishment is imperfect; but, at the same time, anything which goes beyond this in a striving to obtain an ideal perfection is useless, and results in a mere waste of energy.
The essence of the trick being that it is (apparently, at least) performed for the most part whilst surrounded by the audience, the articles to be produced must be chiefly such as can be concealed about the performer's person. Of such a nature, the reader will doubtless be astonished to find, are, when properly constructed, bird-cages containing live birds, quantities of ladies' reticules, lighted Chinese lanterns, and many other articles entirely at variance with any possibly preconceived notions of what might ordinarily be contained in a hat. The beginner, however, will have to commence with less startling productions than bird-cages, &c., and graduate in the art, as it were.
The Cannon-ball.—One of the commonest articles which it is still the fashion to produce from a hat is a cannon-ball, or, rather, the wooden semblance of one. This is introduced from the shelf, which is provided with little hollows for the reception of such unstable articles. It has a deep hole, just large enough to admit the middle finger, and is so disposed that a hand placing a hat momentarily, brim downwards, on the back edge of the table would be able to introduce the finger without difficulty. The finger firmly inserted, the hat is drawn off, and, naturally falling backwards, covers the ball, which is furthermore curled into the hat by means of the finger. If the ball were solid and made of any heavier material than wood, this would not be possible of accomplishment. The usual method is to have two cannon-balls, one a hollow one of zinc, blackened, with a hole about two inches across made in it. This hole is covered by means of a sliding lid, which lid has a smaller hole in it for the introduction of the middle finger. The ball is filled with articles, almost invariably purchases made at a baby linen warehouse, which are produced, with all possible effect, one by one, before the ball itself. Sometimes the ball is packed as tightly as possible with feathers, in which case a very large quantity can be produced, a small pinch from the ball sufficing to apparently fill the hat, which should be exhibited, ostensibly full, to the audience every now and then. If feathers are used, a large cloth should be spread upon the floor, or there will be a sad litter.
The introduction of the cannon-ball must not, however, form the commencement of the trick, but follow on something else in which a hat has been required. It would never do to borrow a hat and straightway march with it to the table, there to execute divers entirely unnecessary movements. Under such circumstances, the audience would be surprised if something were not produced from the hat. There are many tricks mentioned in which a hat is used. Whilst the result of one of such tricks is being exhibited with one hand, the other can easily introduce the cannon-ball, without fear of detection, if the performer's manner leads the attention elsewhere. The ball safely in the hat, the performer steps briskly forward to return the borrowed article, and, just as he is about to put it into the owner's hand, he makes a slight start, saying, "I did not notice it before, sir, but there is a little something just at the bottom of your hat. What is it? Something belonging to your little girl, I presume—a pair of socks," &c. The articles are then deposited on a chair or side table, and a motion made of returning the hat when "a little something else" is noticed. The ball being by this time worked round in the hat so that the opening is concealed from view, the hat can be exhibited with the ball sticking inside. After remarking that it is a very extraordinary thing to carry in a hat, and surmising therefrom that the infant to whom the clothes just discovered belong must be a "Woolwich infant," great, but unavailing, efforts are made to extract the ball. In order to make it appear to stick in the hat (which sticking makes its presence there at all seem all the more inexplicable), invert the hat, and introduce a forefinger from each hand beneath the ball. The whole can be then well jerked two or three times. It is at length got out by the assistance of your attendant, who is directed to give it to the gentleman to put in his waistcoat pocket. For the sake of effect he staggers towards the audience, but the performer recalls him, saying that he will send on the articles by parcels delivery. Whilst this is being done, the wooden ball is got inside the hat, which is once more carried down towards the owner. The discovery of more contents is made, as before, and the performer remarks that had he known that the owner of the hat carried a complete arsenal about with him he would have borrowed someone else's hat. The hat is jerked as before, and at the third or fourth attempt the ball is allowed to drop on the stage. This will confirm the idea in the audience that the first ball was solid, should there, by chance, be any wavering on the point.
The only objection to this really very effective phase of the trick is, that it has been done so often; the consequence is that so many, anticipating correctly that which is about to come, are better able to divine the means by which it is accomplished. The best way to guard against this is to introduce the features at unusual moments, taking advantage of any favourable circumstance or opportunity that may casually transpire.
A cabbage or cauliflower is often introduced into a hat in place of the solid ball, and is very effective. A hole for the finger can be made in the stalk, but it is advisable to push a tin tube into the hole, or bind the outside of it with cord, as the stalk will sometimes give way, and a disaster, in the shape of a vegetable falling down heavily from behind the table, occur. In using a cabbage or cauliflower, be careful to clean and dry it well on the outside, or a hat lining may be spoiled.
The Distribution.—The gratuitous distribution of bonbons, flowers, &c., from a hat is, owing to the expense entailed, hardly such a favourite variation of this trick with professionals as with amateurs—that is, with those very few amateurs who are able to execute it with any degree of success. It requires an unusual amount of sang froid and boldness, combined with a perfect dexterity. When I can obtain nothing else, I use bonbons, but they are not the best article to employ, on account of their bulk. The sweets known as "kisses"—pieces of toffee wrapped in gold and silver paper—and gelatine bags of sweets are far more showy, as so many more can be introduced at a "load." The performer must have either some black silk bags or else some pieces of black silk, in which the articles are packed and tied with the thinnest cotton or silk, which need only be just strong enough to keep all together. Three or four little parcels should be made up and stowed away inside the vest and in the breast pockets of the coat, where they can be reached without difficulty. The performer then advances, with an orange or similar article concealed in the hand, and borrows a hat. The hat is quickly taken in the hand containing the orange, and shaken, with the remark, "Why, you have left something inside, sir." The shaking is to prevent the article falling on the crown of the hat with a thud, which would too plainly reveal the moment of its introduction into the hat, which is then inverted, thereby causing whatever may be inside to fall out upon the floor. All eyes, including more particularly your own, will be turned towards it, and you seize the opportunity to introduce one of your packages into the hat. The action of stooping to see what it is that has fallen will naturally cause the hat in the hand to come against the breast. The other hand is then introduced beneath it, and the bundle slipped noiselessly in. The instant this is done, obtain possession of the orange, and be as funny as you can about it with the owner of the hat. You then discover other things in the hat, and just before one bundle is exhausted introduce another. The most extraordinary expedients will at times have to be resorted to for accomplishing this, varying according to the position in which the performer is placed. One movement that should always be tried is a rapid three-quarter turn on the heel, during which a bag is whipped in. Another ruse is to allow the wand or some of the contents of the hat to fall, and so obtain a momentary diversion whilst stooping for them. Any approach to hesitation will be fatal. When a fresh supply has been obtained, turn the hat upside down, supporting the contents with the fingers, and, shake it, thus appearing to show it empty. A splendid ruse to adopt at such a moment, in order to intimate that the hat is still empty, is to apparently read out the name of the maker (which you have previously noted), and say that you will go to him in future for your hats. Should there be no name, say you are sorry, as you wanted to know where such curious hats are to be bought.
The introduction of flowers from the performer's person is not advisable, it being impossible to keep them from being crushed. They are best introduced from the shelf, and for this purpose the following little arrangement will be found useful: Procure a tin or zinc cylinder, about two inches in diameter, and two inches long. Around the outside of this have affixed a number of small cylinders, each capable of admitting the stalk of a flower. Such an article will hold some thirty flowers at least, or even tiny "button holes" can be employed. Round the cylinder pass some wire, a portion of which form into a loop. The whole arrangement can then be suspended at the back edge of the table, or behind a suitable chair. By having some packs of cards introduced into the hat in the first instance, an excuse for going to the table or chair is obtained. Packs of cards make a great show when the hat is tossed vigorously about, so that some of the contents fly in the air and out on the floor. The last few can be taken out by the hand and thrown in the air in such a manner as to flutter as much as possible between the audience and the hat, which is, at the same time, brought into the position favourable for getting the flowers into it. The wire loop is easily found by the fingers, and, on the hat being brought backwards, when the table is used (forwards, with the chair), the bouquet is easily introduced. The cylinder arrangement is often made much larger than two inches each way, but no very increased effect is thereby obtained—certainly not sufficient to compensate for the augmented difficulty in getting rid of the article after it is done with. When made of the size I have given, it is simply concealed in the hand, as are the bags or pieces of silk in which the cards, &c., have been wrapped.
The Shower of Cups.—Amongst other things, a favourite production from hats is an enormous quantity of tin cups, very similar to those used in the cup and ball trick described in "[Drawing-room Magic]," but much larger. These cups, being all of the same taper, fit well one into the other, and, being also very thin, a large number can be well put together without forming a very formidable pile. Fifty is a very common number to introduce into a hat at one "load." The upper rim is turned over outwards, to give the cup a look of great solidity, and the bottoms are fairly thick, for strength. They should be wrapped in silk, and the inside cup filled tightly with ribbons or cut paper, or anything else that will make a great show when distributed. The performer then walks about the stage tossing the cups out of the hat with great rapidity on to the floor, occasionally placing a few on the table upside down. A dozen or so on a table make a good show, and they are also useful for concealing the bags and silk used previously for containing other articles. Spread out a few in the hat now and again and show it thus filled. Very few will suffice to fill a hat to the brim. These cups are, perhaps, best purchased at conjuring apparatus houses, their manufacture not being universally understood.
Multiplying Balls.—These, which are by some persons considered even more effective than the cups, can be made, for the most part, at home, with a little expenditure of ingenuity and trouble. They consist of an ordinary cloth ball covering, with an extraordinary interior, consisting, as it does, of a tapering spiral spring. Although I have succeeded in producing springs of the required shape by twisting wire round a peg top, I cannot conscientiously recommend anyone else to adopt a similar method of proceeding. A professed wire-worker would do the thing much more satisfactorily in every way. The covering is a very easy matter, and any one of the weaker sex may be confidently entrusted with it. Six of these balls, when pressed tightly together and tied with cotton, take up only a very little more than the space that would be occupied by a single ordinary ball. Eighteen, or more, in batches of six, can be introduced at one time if tied up in silk. The cotton of one batch being broken, the hat will be entirely filled, and the process can be repeated, the hat being each time shown to the audience in a replete condition. A tray should be at hand on which to place the balls, great care being necessary to prevent any of them falling to the floor, which would at once reveal their unreal nature. When the balls are used, as is not unusual, in conjunction with the cups—that is to say, either immediately preceding or following them—it is advisable to have an ordinary stuffed cloth ball, exactly resembling the multipliers, inside the inner cup. This ball is allowed to fall and roll towards the audience (accidentally, of course!), who will require no admonition to examine it. The balls can also be made to multiply in the hands. For this purpose, take one bundle and spin it high in the air (be sure to spin it well), and, catching it as it descends, give it a sharp twist, to break the cotton. As the balls will all suddenly expand, the hands must be held very hollow and kept close to the breast, against which they should be sustained. Another method is to break the cotton, but prevent their bursting out, and, holding up the hand containing them, with the back towards the audience, roll the balls into view, one by one, by means of the other hand. These effects are both good, but must be done with dash.
Both the cups and balls are best got into the hat from the shelf. The safest way to get them is, in the first instance, to introduce the cards into the hat, which, after shaking about, empty on the table with a bang. A favourable opportunity for introducing anything is thus made. Some conjurors have an arm protruding at the back of the table, on which bundles of cups, balls, &c., are suspended, and got into the hat by means of a sweep of that article. This is an excellent method, when the performer does not make a bad shot, and sweep the whole on the floor instead of into the hat. Bringing the hat round the end of the table, and, tipping things into it from the corner of the shelf, is a method in use, but it is a bad one.
Bundle of Firewood.—Immediately after the taking out of a dozen or two of balls or tin cups, the performer may, if his previous arrangements tend thereto, proceed to extract from the hat a common bundle of firewood, which, the company may see, entirely fills the interior of the hat by itself. As, subsequent to the extraction of the balls, the performer has not even retreated to the stage, the company cannot but be at an utter loss to account for the presence of so ponderous a body. The bundle of wood is, however, far from being what it seems. That portion of it, the exterior, which is visible to the company, is genuine enough, being firewood, but this is only an outer layer glued upon a cylindrical shape of thick pasteboard, bound round, so as to look real, with a piece of string taken from a genuine bundle of wood. The bundle has only one end, made, of course, of pasteboard also, and covered with half-inch lengths of wood, which will present a perfectly real appearance. Into the open end are crammed the cups, balls, or other articles, which, being produced, enable the performer to subsequently extract the supposed bundle of wood without having refilled the hat. Some bundles are made with both ends covered, one end having a trap opening in it. This is to prevent the possibility of the unreal nature of the article becoming known; but I really do not see why both ends should ever be exposed; and, with the end perfectly open, the extraction of articles is very much facilitated. The bundle must, of course, be introduced into the hat from the shelf, it being too decidedly bulky to carry about the person.
Reticules.—A quantity of these articles are sometimes produced from a hat. They are, as may be imagined, far from being the substantial objects they represent. The ends fall inwards and lie flat on the bottom, to which they are hinged by means of calico, and the tops, sides, and bottom are hinged together also by means of calico, and so double up. A piece of cord, tape, or thin leather strap runs through two holes, about an inch apart, in the top, the ends being affixed to the ends of the reticule, inside. A pull at the centre of this cord, &c., raises the ends, which force the other portions into position. The outside is covered with cloth, and otherwise decorated to represent a small reticule. I have seen them made of playing cards without any outer covering whatever. The result was, that the audience saw through the whole thing at once, as was but natural. A dozen or more of these reticules can be introduced at once, and they make a good show. They can be easily made from playing cards, and afterwards covered.
Dolls.—Calico dolls, with spiral springs inside, can also be effectively employed. A tolerably large one, introduced into the cannon ball with the baby's clothes, is effective when produced last of all. In any case they should not be less than 6in. in height. The face and greater portion of the dress must be painted on, a few little bows, artfully disposed, serving to make the doll look as substantial as possible.
Bird-cages.—This is a trick which ranks almost as high in public estimation—the only gauge, by-the-bye, by which conjuring tricks can be measured—as the gold-fish trick. The same principal feature—the production of a substantial article, containing living things, from such unsuspected regions as the interior of a hat, or the folds of a handkerchief—is in both, and the audience is, in each instance, in the same dilemma in endeavouring to explain where the article comes from, and how the living creatures get into it. It may sound like exaggeration to assert that two substantial cages, 6in. high, each containing two live canaries or other birds, can be produced from a hat from one "load," but such can be done, nevertheless. The cages are of wire at the top and on the sides, the bottom being solid and heavy. The sides are hinged to the top, under which they fold, when the bottom, which slides up and down the sides, is pushed up. The top being domed, the birds are safe therein, not as comfortable, perhaps, as they might be, but still unhurt. The bottom pushed up and the sides doubled under, the whole is scarcely 2in. in depth; and two cages, placed bottom to bottom, and kept together by means of an elastic band or by a thread, can be got into the hat from the coat breast-pocket in the prescribed manner. To produce them, it is only necessary to raise the upper portion, by means of the ring there affixed, and the bottom will run down into its place, causing the sides to go into their positions. These cages are also produced from handkerchiefs, in which case it is usual to have them of very large dimensions. Herrmann produced one at times which had to be concealed up his back, so large was it. This was produced, without detection, in the very centre of the audience.
Fig. 54.
Fig. 55.
Fig. 56.
Chinese Lanterns.—The production of six or more of these articles, all ablaze, from a borrowed hat, causes an effect not far from astonishing. The well-known collapsible nature of the articles would render the production of a number of them from a hat a matter of no great marvel were they unprovided with a light. What cannot be readily explained is the feature of so many lanterns being alight in the hat at one time without burning either the hat or one another, or, indeed, how they can all be alight at one time at all. The secret lies in the construction of the bottoms of these lanterns, and the positions of the candle or wick holders. The bottoms are made of tin, and on one only of each series of lanterns is the candle holder placed in the centre. This lantern I will call No. 1 (see [Fig. 54]). No. 2 has the holder a little on one side, and a hole through its centre to admit of the candle or wick of No. 1 passing through it (see [Fig. 55]). No. 3 has two holes, corresponding exactly with the candle holders of Nos. 1 and 2, which pass through its bottom, and its holder is at the side of the hole through which the holder of No. 2 passes. No. 4 has three holes, No. 5 four holes, and so on all through the series, which generally consists of seven or eight, that number being about as many as can well be managed at one time (see [Fig. 56]). As the holder of No. 1 has to pass through the bottoms of the remaining seven lanterns, it must, of course, be very long. The holder of No. 2 will be a little shorter, and the next shorter still, that of No. 8 being of the ordinary length. By this means all the wicks will be on the same level when the lanterns are packed together. The tin bottoms do away with any danger of a flare up, and also, from their weight, cause the lamps to open easily, which is of great assistance towards the success of the trick. The upper rims are also of tin, for strength and security. A few sulphur matches, which strike noiselessly, should be affixed to the upper rims of the topmost lantern, whereon should also be some sandpaper, on which to strike the matches. The whole should be tied together with string, and concealed in the breast pocket, from whence they can be introduced into a hat in the midst of the audience. The match struck, the wicks are all lighted almost simultaneously; and, the flames burning the string, the performer is enabled to take out the lanterns in rapid succession by means of a bent piece of wire affixed to the rim of each. An attendant should be at hand with a pole or broomstick, on which to hang the lanterns. A deep round hat is better than a "chimney-pot," the extreme depth of which sometimes causes the performer to burn his fingers.
This trick is well worthy the attention of amateurs, as it is but little worked, the majority of performers being frightened at it, but without any reasonable cause. Any tinman will make the plates and rims cheaply, and the paper sides can be taken from the ordinary lanterns and transferred, so that the trick need not be an expensive one, by any means. An excellent title for it is "A Chinese Feast of Lanterns." Always remember to hold the hat as high as possible when it contains anything: premature disclosures of the contents mar the effect considerably.
Climax to the Hat of Plenty.—When the performer has a stage attendant of average ability, he can conclude this or any other trick with a hat in a very startling manner. The hat is given to the assistant to return to its owner, and, just as he is leaving the stage, he stumbles, falling heavily upon the hat, and flattening it completely. The performer is of course in despair, and after a slight scene the hat is eventually restored, it being found under the owner's chair, or elsewhere. This exceedingly impressive and amusing trick makes a very appropriate conclusion to a performance, and is managed in two ways: Either the hat used in the preliminary trick is actually the property of a stranger in the audience, and is exchanged for the one to be destroyed, or a confederate brings it in with him, and takes his seat on a chair or sofa, beneath which his own hat has been previously concealed. In the first instance, the exchange must be adroitly managed. The excuse of going off to brush it, and returning immediately with the brush, is as good as any, although it will always be subsequently apparent to thinkers when the hat was exchanged, by whatever method the substitution is accomplished. I may say at once that this method is not so good as the second; but confederates are not always to be obtained when they are wanted. Sometimes the performer borrows two hats, and whilst he is producing something startling from one, his attendant quietly removes the other and substitutes for it a duplicate.
By whatever means arrived at, suppose the exchange effected, or, what is the same thing, the conjuror's own hat borrowed, and the assistant lying prone upon the floor. He must then rise slowly, with a rueful look upon his countenance, and, if any object, such as a tin cup, be lying upon the floor, he must abuse it as the cause of the disaster. The performer does not at first notice what has happened; when he does so, he is, of course, greatly enraged with the assistant, and assumes a very despondent look. He expresses his regrets to the owner of the hat, and asks if he would like the hat done up in a small parcel for convenience in carrying. Without waiting for a reply, he and the assistant tear the hat up to little pieces, some newspapers being produced and spread upon the table. On the shelf is a newspaper parcel containing a crinoline, a large doll, or anything else that is ludicrous in appearance. The shreds of what was recently a hat are wrapped in a piece of the newspaper, with the exception of one solitary piece, which is purposely allowed to fall upon the floor, on that side of the table opposite to where the conjuror is standing. When the parcel is made up, the performer notices this piece, and, leaning well over the table, points to it, at the same time, under cover of his body, effecting an exchange of parcels. The shred is rolled up, and a pretence made of putting it in the parcel (it is, of course, palmed), which is then given to one of the audience to hold over his head. A pistol is fired, and, if the hat be borrowed from a confederate, he is bidden to look under his chair, where, naturally, his own hat will be discovered. If, on the other hand, the borrowed hat be genuinely the property of one of the audience, it will be seen to fly across the stage and attach itself to the top of the proscenium, from whence it falls at the command of the performer, and is caught by him. This additional effect is managed by passing a black cord through a hole in the proscenium, and attaching it to the hatband by means of a very large loop. The end to which the hat is affixed must, of course, be removed from sight beforehand, the usual place being behind the proscenium. The construction of the place of performance will naturally have a good deal to do with this particular matter, and the performer must study what arrangements will be best. Wherever the hat is concealed, it must be thrown into the air when the pistol is fired, and the cord at once gathered in as rapidly as it is possible to do so. On the command for the hat to descend being given, the large loop is cut through, and the hat falls. If the cord were simply tied by a knot to the hatband, a piece of it would remain attached after being cut away, and this would give a clue to the mystery. After the hat is safely restored, open the parcel and exhibit its contents.
[CHAPTER XVII.]
TRICKS WITH WATCHES AND LIVE STOCK.
ON BORROWING WATCHES—THE PUTTY WATCH—THE GLASS—TWO KINDS OF MORTARS AND PESTLES—THE DUMMY WATCH—THE WATCH BAG—HOW TO REPRODUCE THE WATCH—THE LOAF—THE TARGET—ANOTHER TARGET—THE PLATE SCREEN—THE ADHESIVE WATCH: A JOKE—THE WATCH BOX—A NOVEL RABBIT WARREN—HOW TO CAUSE RABBITS TO DISAPPEAR—THE BRAN VASE—THE BRAN—THE WELSH "RABBIT"—THE SAUCEPAN AND COVER—THE HAT STOVE—THE FUEL—THE INGREDIENTS—THE RESULT—THE BIRD AND CARD.
Tricks with Watches.—The reader has doubtless been on the look-out for the chapter which shall initiate him in the art of pounding up a friend's gold chronometer before his very eyes, and immediately afterwards restoring it whole. I have purposely introduced the subject so late in the day, because watches are very awkward things to perform with, and the performer should be tolerably expert before he touches them.
On borrowing a watch, it is always as well to do, or pretend to do, something with it that shall cause the greatest anxiety to the owner as to its safety, and consequent amusement to the unsympathising remainder of the audience. To expect this of a conjuror seems to be a fairly-established custom. One way of acquiescing with this unexpressed desire is to apparently incapacitate the watch for further use by bending it several times nearly double. This feat is managed by holding the watch with its back to the audience between the fingers and thumbs of the two hands, the hands being on opposite sides of the watch. If both hands and watch are worked rapidly backwards and forwards (i.e., inwards and outwards) three or four times, the varying light and shade upon the shining back of the watch will cause it to appear to be really bent each time a movement is made. The illusion is very perfect, the effect being always the same, to initiated, as well as uninitiated, eyes. The remark, "Ah! yours is one of the new putty watches, I see, sir," will assist in carrying out this effective prelude. Precisely the same effect may be produced with a bright florin or half-crown.
Another effective introduction is to have palmed a watch-glass that has been either well cracked previously, or cut deeply with a glazier's diamond. Bring this glass over the one on the watch, but not touching it, and then, addressing the owner of the watch as to the strength of the glass, strike it carelessly with the wand, but not so carelessly as to break both glasses. When the breakage takes place, of course, great consternation will be exhibited on the face of the performer, who makes profuse apologies to the owner of the watch. The pieces of the broken watch-glass are allowed to lie on the perfect one, and the whole shown round, it being impossible to detect the presence of the perfect glass beneath the pieces. The pieces are then put in a piece of paper, for convenience in vanishing, and the trick can proceed.
The ordinary method for destroying a borrowed watch is to have a mortar (usually of wood) into which fits an inner lining. Over the whole fits a pasteboard cover, with a fairly large round hole in the top, in which the lining is concealed at the commencement of the trick. The mortar is shown round and the watch put in. The cover is then put on—for the purpose of preventing the pieces of the watch flying out, it is explained—and the false lining thus introduced. This should be done quickly, and without any show of care, which would only excite suspicion. A pestle is then introduced through the hole in the cover, and a terrific amount of pounding goes on. Some old watch works and bits of plated gold, which have been in the false lining from the commencement, are then exhibited by removing the cover only. Another description of mortar is one with the bottom revolving on a pivot. When the watch is put in, this bottom is pushed up a little on one side from underneath, and the watch falls through into the hand. The pestle used in conjunction with this is a very thick one, especially at the end, in which are concealed some watch works. The action of a piston, similar to that used in the one for [The Hatched Card], will propel these pieces into the mortar.
A far bolder method is to be provided with a dummy toy watch, and exchange it for the borrowed one, and then actually pound it up in an ordinary metal mortar. This method will succeed best in public audiences, where an individual watch is not likely to be known by many persons in the audience. In showing round the watch, in its demolished state, in the mortar, there is no necessity for allowing a lengthened view, much less a minute examination, to be taken by anyone; and it is as well not to allow the owner of the watch to see the wreck at all.
Instead of a mortar, a long bag, made of alpaca or any other strong stuff, and about three inches broad and two feet in length, is sometimes used. This has sewn in one end of it some solid body, fairly resembling a watch in shape and weight, and the other end is open. About four inches from the mouth a seam is stitched across. The watch, on being put into the bag, stops at the seam, whilst the performer takes up the other end, to which the watch has presumably descended, and exhibits the contour of the article or articles (a quantity of small broken pebbles is frequently used) there concealed, with one hand, the other hand holding securely the end containing the watch. The dummy end is then struck upon a table, or against the wall, several times, for the purpose of making it "go better," or of converting it into a "stop" watch. To take the watch out of the bag, hold the end containing the dummy with one hand, and invert the whole. The watch will slide into the other hand, having apparently come from the far end of the bag. An addition to this bag is to have the mouth portion divided into two pockets, each one having a flap and a button. In one are concealed some broken watch works and bits of metal. The borrowed watch is put into the empty side, and, after the process of banging about has been gone through, that containing the pieces is opened.
The manner of reproducing the watch depends greatly upon the ingenuity and resources of the performer. Every conjuror differs somewhat from his rivals. A very favourite plan is to discover the watch in a loaf or roll of bread. Another is to cause it to appear on the centre of a target, or in the midst of a bouquet of flowers. It will be readily understood that when the supposed process of destruction has been gone through, and whilst the performer is amongst the audience with the pieces and engaging their attention, the assistant unostentatiously removes the mortar or bag containing the borrowed watch, and arranges the sequel of the trick behind the scenes. If the watch is to appear in a roll, then it is put into one by the assistant through a slit, and the roll is brought on with some others. The performer takes three of these, including the one containing the watch, and puts one on each of the front corners of the table and one between them in the centre, this centre roll being the prepared one. He then asks the audience to select one of the three rolls. Of course, all three will be named, but the performer affects to perceive a majority in favour of the centre one. A great show should always be made of deferring to the wish of the audience, this being very effective, and also the best way to secure the desired end. The pieces of broken watch works can then be put into the conjuring pistol, having been previously wrapped in paper, and then fired at the roll, which, on being cut or broken open, will, of course, be found to contain the watch. Should any decided predilection be shown for one of the outside rolls, a change of tactics must be made. Remove the one selected and say, without exhibiting the slightest appearance of embarrassment, "That leaves two; which one shall I now take?" If the one containing the watch be chosen, say, "Are you quite sure, now, that you would not like the other one?" This will cause a firmer adherence to the choice, for it will appear that the other roll would be preferable to the performer. Knock the other roll off the table, and fire at the remaining one. If the watch has been neatly inserted in the roll, it can be given into the hands of a spectator to hold whilst being fired at. When a bouquet is used, the watch is merely concealed among the flowers. It should be given to a lady to hold, in which case the pistol must be directed in the air, and not at the bouquet.
The use of a target is very effective, and the target itself is not of very difficult construction. It can be either of wood or tin, and the face should be circular, about 12in. across, and affixed to a pillar rising from a square foot. The centre, or bull's eye, is pierced out and revolves on a pivot, an arrangement of watch spring or elastic causing it to keep in its place. It should be black both at the back and front, the front having a hook on which to hang the watch. The assistant, on obtaining possession of the watch, hangs it upon the hook and reverses the centre, a little bolt serving to keep it temporarily in that position. To this bolt is attached a piece of black thread, the disengaged end of which is behind, in the hands of the assistant. On the pistol being fired, this bolt is removed by the thread being pulled smartly, and the centre flies back to its normal position, exhibiting the watch to the audience. The revolution is so rapid that it cannot be detected, the watch appearing to actually attach itself to the face of the target. A good effect is produced by having the revolving centre of looking-glass, the corresponding glass on the other side, with a hook through the centre, being badly starred. It will appear as though the arrival of the watch had smashed the mirror.
Another target is one with the centre in the shape of a recess, over which a little spring blind is drawn after the watch has been hung upon a hook within it. The blind has merely to be released and will fly up, revealing the watch. This principle is carried out on a much larger scale, two or more watches and chains and a broken plate being used. The chief apparatus employed is a large picture-frame, the centre having no picture, but being made in the form of a recess. In the top is concealed a spring blind, of the same colour as the back of the recess, which should be black. The articles to be magically exhibited on the frame are hung upon convenient hooks by the assistant, who then pulls down the blind and brings the frame upon the stage. The blind has along its lower edge a piece of wire or wood, from the centre of which projects, horizontally, a small pin. In the centre of the lower portion of the frame, and inside the recess, is a small catch, working perpendicularly on a pivot. The upper portion of this catches the projecting pin of the blind, and the lower portion passes out at the bottom, where a communicating cord is attached to it. The action of pulling the cord releases the pin, and the blind flies up, leaving the articles on the back of the frame exposed to view. The means for getting the watches or other articles into the hands of the assistant are various, the most effective, in my opinion, being the following: The performer borrows two watches, with or without the chains attached, and proceeds to wrap them in a piece of paper which he holds in his hands. Underneath this piece of paper is another, in which some dummy watches have been previously folded. In wrapping up the borrowed ones, it is very easy, whilst turning the parcels round and round in the hands, to bring the dummy one to the top, and, getting away the real watches, to conceal them under the vest or elsewhere. Passing subsequently behind the table, they are left upon the shelf, from whence they are removed by the assistant. The supposed borrowed watches, still in the paper, are then put upon a plate and given to the assistant to place upon the table. Before reaching the table, the assistant stumbles, and plate and watches fly all over the floor, the plate naturally in many pieces. The usual fuss is made about the assistant's carelessness, and he is despatched to fetch the frame. The performer, in the meanwhile, gathers up the pieces of the plate (less one piece purposely allowed to remain on the floor) and the watches, and puts them into the conjuring pistol, putting in some paper to keep them in position. During this time, the frame is brought on and placed in position, the pistol is fired, and, the blind flying up, the plate is seen in the centre, and the watches on either side of it. The plate is, however, not complete, one piece being missing. The piece upon the floor is then discovered by the performer, who "passes" it towards the plate, to which it is seen to affix itself. The plate and watches are then brought to the audience, who are unable to discover any trace of joining in the plate or damage to the watches. The remarkable effect of the restoration of the missing portion of the plate is managed by having a ragged triangular piece of black cloth put upon the plate, and, attached to it, a thread. When the "pass" is made, the assistant pulls the thread, and the piece of cloth falls down inside the frame. The frame can, of course, be used for the reproduction of any class of borrowed articles. Anyone with a very light turn only for carpentering should be able to make one for himself. The pedestals or feet of both target and frame should be heavy, so as to remain firm in case the assistant pulls with unpremeditatedly extra strength.
An amusing and neat little trick with a borrowed watch is to cause it to appear on the back of a volunteer assistant from the audience. The performer is provided with a sharp-pointed hook, the blunt end of which is turned back in the shape of a smaller hook. This he has concealed about him. A watch is borrowed and immediately exchanged for one belonging to the performer, which is given to be held by one of the audience, as far removed from the owner as possible. A member of the audience is then desired to step up on the stage, where he is accommodated with a seat in the centre, and facing the audience. The performer has, meanwhile, hooked the loop of the watch on the smaller hook, and, taking the head of the assistant in the hands—the one containing the watch being behind—for the purpose of directing him as to the position in which it should be held, he affixes the larger hook to the back of his coat. He then directs the volunteer to open his mouth very wide, and pretends to pass the supposed borrowed watch into it. On finding that it has not reached its destination, the performer must surmise that he threw it a little too hard, and request the assistant to see if it be behind him. On his turning round for this purpose, the watch on his back will be revealed. An extra effect can be introduced by trying the extent of the assistant's throat capacity with the wand. The wand is taken by one end with the left hand, which is placed against the assistant's mouth. The other end is introduced secretly up the performer's right sleeve, and the right hand worked vigorously up and down the wand. The illusion is that the wand is thrust repeatedly down the assistant's throat to its full length. This should be done quickly, and only about three thrusts should be made. If the wand used for this particular effect be a special one, having an extra loose ferrule, the illusion may be rendered still more perfect if the performer keeps the loose ferrule in the hand, and slides it up and down the wand. This is a very important little addition to the trick.
A piece of apparatus that is very much used in connection with watches is what is universally known as the watch box. It is a box, the rough dimensions of which are: length, 3-1/2in.; breadth, 2-3/4in.; and depth, 2-1/4in. The sides, ends, and top are very substantially made, and the bottom is, to all appearances, equally so; but as a matter of fact, it is made of two thin veneers, which have little blocks of wood glued between them, so as to leave an intervening space of one-sixth of an inch. The sides and ends come down flush with the bottom, and so conceal the deception. One of the ends works on pivots, the pivots being placed one-third of an inch from its upper edge; and near the lower edge on the inside is a little brass plate, with the centre keyed out. The ends, it must be understood, are fitted inside the sides. In the hollow of the bottom is concealed a catch, which protrudes just sufficiently to enter the aperture in the brass plate. No spring will be required to keep it in its place, as is usually the case, for if it be glued to the lower veneer, that will possess sufficient springiness for the purpose. The catch will of course require very neat adjustment, which is merely a matter of patience. It must be so arranged that the end is very easily closed, and opened with equal facility, by the mere pressure of a finger on the thin underside, providing the pressure is administered just under the spot where the catch is affixed. For facility in opening the box, it is usual to place two rounded pieces of watch spring on each side of the catch, adjusted so as to always bear just sufficiently against the end to cause it to fly open a quarter of an inch when the catch is released. These pieces of spring are fixed in blocks of wood glued into position for the purpose. I am not sure that the springs are not superfluous. They cause the end to fly open, certainly, and so expedite matters, but they are far from being noiseless. I have found the action of the fingers quite sufficient for opening the end. For the sake of strength, it is as well to fill in the end where there is no spring with a large block of wood. The interior should be lined with cloth or velvet, and a good lock and key added. The box is very useful for obtaining possession of any description of article that is fairly solid and that will go into the box. The following description of a trick performed with a watch will suffice to show how it can be employed:
Give the box and key into the hands of a lady, with the request to have everything examined and the lock tried. Keep very near whilst this is being done, in case of an accidental release of the catch. If there are no springs used, then this will not matter, as the end will not fly open with a "pop," as it otherwise would, which should be sufficient argument in favour of their disuse. Borrow a watch that has a light chain attached, and, winding the chain round the watch, have both placed in the box. Allow it to be locked and the key to remain in the lady's possession. Now take the box, and say, "Although there is no doubt that the box is securely locked, you may reasonably think that I have some secret means of opening the lock. To prevent the possibility of my doing this, will some gentleman kindly tie his handkerchief firmly round the box?" Hold the box in both hands whilst this is being done, by the opening end, and make a deal of fuss about the knot being tied securely. Open the end, and, tilting the box, allow the watch and chain to fall into the hands, turning round sharply to someone else at the same time. It is absolutely necessary to make a turn at this point to cover the abstraction. Give the box, at the same time closing it, into the hands of any one of the audience, with the strict injunction not to shake it—for fear of injuring the contents, you will say, but really to escape the revelation of the fact that it is empty. The watch and chain will be in the left hand by this time, covered by the wand. If there be any music available, have a little of the gentle rippling order ("The Brook" is a suitable air) played, and make passes in the air, as if clutching something, with the right hand. Finally make one vigorous clutch, and hold the hand closed for a few seconds, then open it, showing, of course, nothing. Instantly take the wand in the right hand and strike the sole or heel of the right foot, raised for the purpose, and then apply the left hand to the spot struck, the watch being allowed to drop down, a portion of the chain being held between the fingers. The several actions must follow each other with "one, two, three" briskness, when the effect will be really very fine. Naturally, it must be done far back upon the stage. Do not forget to have the knot untied by the person who tied it and the box unlocked by the lady who put the watch in. Be careful not to borrow a heavy chain. In my early days, I borrowed a huge watch with a chain only a trifle smaller than a ship's cable, and with about a pound and a half of charms attached. The result was the not unnatural one of a stoppage and visible embarrassment on the part of the performer. If there are no small chains about, rather borrow a watch without any at all. The use of the watch box does not in any way interfere with the introduction of the previously described watch-bending and glass-breaking surprises. They can come in as preludes.
It will naturally occur to the conjuror that the watch box may be used in connection with the watch target or loaf, the watch being merely placed in the box instead of pounded in a mortar. It will occasion the performer's leaving the stage on some pretext in order to get the abstracted watch or other article behind to the assistant, unless the method of placing it upon the shelf be adopted. I certainly object to the performer's absence from the stage as much as anything. If it must be done, then some suitable pretext (see [The Restored Handkerchief]) should be worked up to give it a colouring.
The watch box is a handy article to use in conjunction with [The Magi's Brazen Rod], it being directly employed by having the rings placed in it. The rings should in this case be tied loosely together with a piece of ribbon, to ensure their simultaneous abstraction. The ribbon should be of sufficient length to enable the rings to be placed in the slits in the hollow ball side by side without the necessity of untying or cutting it. But on no account must the conjuror permit the convenient adaptability of the watch box to tempt him into using it more than once during the same performance. This is a fixed maxim which applies to all visible apparatus, and is one which should be always rigidly adhered to.
Tricks with Rabbits.—The gentleness and docility of the rabbit makes it, like the dove, a favourite with the conjuror, who does not hesitate to produce it from a hat, and to cause it to disappear from, and re-appear in, most unexpected places. The production of a couple of rabbits from a hat is always very startling, and requires a deal of doing. The animals are placed one in each of the large side pockets, where, if undisturbed, they will lie as peacefully as could be wished, and evidently perfectly contented with their lot. The success attending the transfer of the rabbit from the pocket to the hat will depend entirely upon the skill of the performer, and no middle course can possibly be admitted. It must be done well or not at all. The usual expedient of palming some article and introducing it into the hat directly it is taken into the hand will have to be resorted to, and the article should be of a startling nature. (A pack of cards does very well.) Whatever is put in must be emptied out on the floor, and, whilst stooping, or rather bowing slightly to see what it is, the performer brings the hat against his body and quickly introduces the rabbit into it. The animal must be helped in, as it were, by the body, and not dragged into the hat by the ears. So soon as it is in the hat, one hand should be placed under the crown, which, if not very strong, might otherwise be forced out by the weight of the rabbit. Produce the rabbit with all due affectation of surprise, and, whilst showing it about, allow it to fall. By the time it is picked up again, either by yourself or by a spectator, the second one is in the hat, and you express yourself anxious to know if the owner of the hat keeps a rabbit warren in it. So much for producing the rabbits.
A favourite and very effective method of conjuring with them further is to apparently rub one into the other. This is managed by the aid of the large centre trap. One rabbit is placed upon the table immediately in front of the trap, and the other pushed through the table behind it, a great show all the time being made of forcing one rabbit into the other. The remaining rabbit should be held up by the ears, with the rump resting on one hand, when, to the imagination of the audience, it will appear to be actually stouter than it was a few minutes before. The remaining rabbit you affect to wrap in a piece of paper, it being also passed through the trap, and the paper rolled up as though it really contained an animal, considerable agitation being communicated to it by means of the hands. The performer affects to lose patience with it because it will not remain quiet, and crushes the paper either beneath his feet or between the hands.
The reproduction of the rabbits (i.e., two duplicate ones) necessitates the employment of a rather elaborate piece of apparatus, unless the performer has a friend or two in the audience with rabbits in their pockets, the production of which has a good effect, but is seriously open to suspicion. The apparatus that is generally employed is a large glass vase or goblet, some eighteen inches or two feet in height, according to pleasure (or pocket). This has a zinc lining, in two halves, fitting exactly inside it, the halves being hinged to a slightly concave top, also of zinc. The hinges are on exactly opposite sides of the top. The whole is covered with glue and then spread over with bran. There is, besides, a large bell-shaped cover, usually of thin brass, large enough to conceal the body of the vase completely. In the centre of this, inside, is a catch, which is intended to pass through a hole made in the centre of the concave top of the zinc lining. The vase is prepared by having the zinc lining, previously loaded with two rabbits, put into it. It will then have the appearance of being full of bran, a quantity of which article is spread over the concave top. A raised rim round the hole in the centre will prevent the bran falling through. The vase is brought on by the assistant, and the performer takes some of the bran from the top and throws it off, and also thrusts a thin stick or wire through the hole to show that it goes quite to the bottom. He then shows the interior of the cover, that it may be seen to contain nothing, and places it over the vase, pressing it well down. The original rabbits are next manipulated at the table; and when that matter is settled the cover is raised, gently and slowly at first, and perpendicularly, bringing away with it the zinc lining, which opens as it ascends, and leaves the rabbits in the vase. The bran can be made to transfer itself into the drawer box, previously shown empty, if the same has not been before used during the evening. A much more effective and in every way a more preferable method is to cause it to make its appearance in a borrowed hat. This is best managed by giving the hat from which the rabbits were originally produced to the assistant to place upon the table. The performer at once engages the attention of the audience with the rabbits, saying that he will make the one eat the other, &c., and so enables the assistant to slip into the hat, whilst retiring, a bag of bran that is very loosely fastened at the top. This bag the assistant has had concealed under the coat. The hat is placed carelessly upon a side table, and the bran "passed" into it by the performer as if on an afterthought, so as to avoid any appearance of premeditated effect. The bran must be first emptied out, and the bag can be abstracted, rolled up in the hand, which is inserted for the purpose of clearing the lining of any stray flakes.
If the foregoing variations are all mingled in one trick the effect is very good; but the combination requires a deal of practice, and will prove trying at first.
Fig. 57.
A Novel Welsh "Rabbit."—Employ a tinman to make a saucepan of tin, the dimensions of which should be 7in. or 8in. in depth, and about 5-1/2in. in diameter at the widest part, which will be the top, from whence it should taper slightly to the bottom. To this have fitted an outer casing (A, [Fig. 57]), also of tin, that is 2in. less in height than the saucepan itself. At the line where the upper rim of the casing comes when the saucepan is fitted into it, have a beading (B, [Fig. 57]), either put on or hammered out of the metal. This will effectually conceal the fact that any outer casing exists, which will be regarded as the body of the saucepan. Into the saucepan fits loosely a secret pan, about 1-1/2in. only in depth, and into this again fits a lid, which is ostensibly the lid of the saucepan. The saucepan is provided with a handle, which must, of course, come from that part which is above the outer casing. The saucepan is prepared by having a rabbit placed in it, and the false pan put in, the lid lying loosely on the top. Holding it with one hand, and sustaining the casing, in which is a piece of cotton or cambric, by means of the pressure of one or more fingers, it is brought on, and going with it towards the audience, care being taken to hold it high, a hat is borrowed. Observe, on receiving the hat, that you intend making a stove of it, and then borrow a small handkerchief, which, you will explain, when you have obtained possession of it, you purpose using as fuel. As if indicating the meaning of your words, put the saucepan into the hat, and, on withdrawing it, leave the outer casing behind. Place the hat upon the table, with the saucepan beside it, and then, removing the lid, break an egg or two into the secret pan—apparently into the saucepan itself. Put in any ingredients you please, not omitting candle drippings, and then place the lid firmly on. Place the borrowed handkerchief into the hat, between its side and the tin lining within it. Pour some spirits of wine upon the piece of linen or cambric, and then set fire to it. Of course the audience, on seeing the flames, will suppose that the borrowed handkerchief is being burnt inside the hat, and mingled amusement and consternation will be exhibited. Do not allow the burning to last long, or the tin casing will become undesirably heated; but put the saucepan quickly into the hat, after affecting to cook the contents, and perform the double operation of putting out the flames and bringing away the casing. If the casing be too hot, the action of the heat upon the fingers will speedily make the fact known, so any further directions upon this point will be unnecessary. Remove the lid, which, if it fits as tightly as it should into the false pan, will bring that away as well, and then take out the rabbit. Return the hat, previously taking out the handkerchief, and point out that neither are injured; and also show that the interior of the saucepan is quite guiltless of any contents. If such a combination of apparent impossibilities as are presented in this trick do not astonish, then nothing ever will. It is a great trick for large mixed audiences. Doves or guinea pigs can be used as successfully as rabbits. I have even seen a kitten employed, but the difficulty was to get it into the saucepan.
The Bird and Card.—A very pretty stage trick this. The performer must procure what is known as a bird box, which is a pretty polished box, having a secret metal flap inside, the latter, when turned down, forming a retreat for a small bird, such as a canary. It is held down by a small catch, released by pressing the key into the lock from the outside, the double action being performed of setting free the bird and concealing the card. It is useless having such a box constructed, as it can be much more satisfactorily procured of the proper vendors. Two small cages are also necessary. They may be round or square, but, in either case, should be all wire, like a rat trap. This is merely to give them an innocent appearance. One of these cages is concealed on the shelf, behind the table. The performer borrows a hat, either for this or a preceding trick (preferably the latter), and gets the empty cage into it. This is best done by placing the hat upon the table, the opening towards the rear, and leaving it there for a time. Then, when carelessly shifting its position, the article required to be got into it may be inserted with less suspicion. In the second cage is a bird, precisely similar to the one concealed in the bird box. Place this cage upon the table, and cover with a double cloth, having inside a card-board shape. A card is forced on one of the company, and placed in the bird box, in a little slit which will be found there, just over the hinge of the secret flap. The inside of the box may be carefully exhibited at a slight distance, the blackened interior preventing anyone from noticing the presence of the turned down flap. Whilst affecting to lock it, the key is pressed hard in and the flap released. In flying back this covers the card. The performer commences by extracting the card. This he can do by having a duplicate concealed in a card-box (see[ page 127]), and causing it to appear in that; but it will look more artistic to have one palmed and affect to extract it from the box. This done, the cloth is raised by the shape, the cage being left upon the shelf. The cloth is then shaken out and laid flat upon the floor. The box is then opened and the bird allowed to fly out, if tame, or taken out in the hand, previously shown empty, if wild. The performer will derive a great advantage from having a tame canary, which returns to his shoulder. Finally, the hat is brought forward and found to contain the missing cage.
[CHAPTER XVIII.]
SHAM MESMERISM, CLAIRVOYANCE, ETC.
BLINDFOLD FEATS—IMITATION SECOND SIGHT—ON SPIRITUALISM—THE MESMERISED POKER—THE PERAMBULATING WALKING STICK—THE ASCENT—THE TALKING GLASS: TWO METHODS—THE SPIRIT BOUQUET—THE SLATE TRICK—FIERY HANDS, WRITINGS, &C.—THE ELECTRIC TOUCH—THE ANIMATED SKULL.
Clairvoyance.—This is one of the most mysterious agencies with which the scientific world has ever had to deal. Doubted by the majority, because of its seeming improbability, and because of the difficulty of comprehending it, the faculty of clairvoyance or second sight has, nevertheless, been possessed, and is possessed, by not a few. Some marvellous manifestations of seeing without the eyes have been shown, and in a manner sufficient to convince even the most sceptical of its reality. This faculty has often been imitated by conjurors, some of whom have fairly admitted that they were only imitators, whilst others have assumed possession of the actual power itself. At that now defunct institution, the Polytechnic, and other places of amusement, cleverly arranged telegraphic communication has been the means adopted for bringing a person on the stage en rapport with another amongst the audience. I would not recommend the amateur to take any serious trouble in the matter, but to merely make himself master of a few tricks relating to it. A very simple one is performed with the aid of a pack of cards. An assistant is blindfolded on the stage, and placed with his back to the audience. Before proceeding any farther, the performer explains that, beyond a certain point, he will neither speak nor make any sound or movement, lest it should be said that he conveyed information to the assistant. He then proceeds to "force" three or more cards in an order previously agreed upon, and the holders thereupon ask of the assistant, as the performer has previously instructed them to do, what the names of the cards are. The performer must mentally reserve to himself the right of pointing with his wand to the person who is to speak next, so as to ensure the cards being asked for in the proper order.
Instead of using cards, the performer can distribute slips of paper amongst the audience, for the purpose of having short sentences written upon them. He has a piece of paper of his own previously prepared, with a sentence upon it that is known to the blindfolded assistant. The papers written upon by the audience are folded up and placed upon a tray, or the crown of a hat, each some distance from the other. Whilst doing this, the performer contrives to effect an exchange between his own paper and any one of the others, it does not signify which. He then asks one of the audience to select one of the papers, and, manipulating the hat or tray adroitly, "forces" his own. Before it is opened, the assistant is requested to say what is written upon it.
This trick is farther elaborated as follows: The performer hands round a fair quantity of paper slips, and asks the audience to write what they please upon them very plainly. As it is advisable that whatever is written should be brief, it is best to ask to have the names of celebrated deceased persons only written. The performer has a piece of his own, previously written upon and folded, concealed in his hand. Supposing this to be in the left hand, the right takes a folded slip from one of the audience, and, under pretence of putting it into the left, for the purpose of handing it to another person, an exchange is effected, and the performer's own piece given instead. The learner will know the proper "pass" for effecting this by this time. The performer then says that he will go upon the stage and from a distance read what is upon the paper. He does so, and seizes the opportunity for rapidly opening the paper of which he has just become possessed, and of reading the name upon it. If much were written upon the paper, it would be impossible to read its contents in the limited space of time at the performer's disposal. When he turns round there is of course no trace visible of what he has been about, and he then proceeds to read the name on the paper held by one of the audience. This he does not do readily, but first names the sex of the person, and then the capital letter of the name, as if it were only developing itself by degrees and through some very mysterious medium. The first paper duly read, a second one is taken, exchanged as before, and borne off to the stage, to be read in transit. This process can be repeated any number of times, although four will be found quite sufficient, as it is a harassing trick to perform. An excellent finish is to "force" a previously prepared paper, and then have it burnt, after it has been read aloud by one of the audience. The ashes are collected and rubbed upon the conjuror's bare arm, upon which the name then appears in black. This is contrived by having the name written upon the arm in glycerine. This will be invisible, but if the ashes be rubbed lightly upon it they will adhere, and so show the name. There are chemical preparations used for the same purpose, but the method described here is by far the most simple and practicable. With this trick "Dr." Lynn created a great sensation for several months, some years ago.
Anti-Spiritualistic Tricks.—In the introduction to these papers I had occasion, the reader may remember, to refer to the impositions practised by the ancient priests and others on the minds of an unenlightened people by means of what were merely conjuring tricks, but which were made to appear before the ignorant in the guise of supernatural manifestations. Few will require to be reminded of the excitement that has of late years existed concerning spiritualism. One would have thought that, in these days, people would have been above believing that the spirits of the departed would be permitted to return to the earth for the sole purpose of answering questions and indulging in tomfoolery; but such is the simplicity of mankind, that those who have had the boldness to declare themselves capable of raising the dead, and to dress up themselves or others in muslin or newspaper, have not lacked faithful followers. The malpractices have been going on for years, and many shameless impositions have come under my notice. The victims, it will not cause astonishment to hear, were mostly weak-minded ladies, and the spirits have had the remarkable discernment to visit only those who were well provided with worldly comforts, backed by an amount of confiding simplicity wonderful to contemplate. The exertions of several amateur, and some professional, conjurors have succeeded in proving to all minds open to the workings of common sense that all those professing spiritualism as a means of gaining a livelihood are neither more nor less than scoundrels. But of course there are still thousands who would be as much imposed upon as ever by any white figure seen after dark, and, in a private way, the spiritualists are still reaping a rich harvest. Towards clearing away this darkness, conjurors, both amateur and professional, can do a great deal, and there is a definite and worthy task before them, which they can best perform by exhibiting such phenomena as are produced by spiritualists at their exhibitions by avowedly natural means. By this means ridicule, which nothing can survive long, will be thrown upon the black art, which is merely conjuring put to base uses. A performance consisting entirely of sham spiritualistic manifestations I have found take exceedingly well, especially with audiences who have seen something of conjuring, and who are not averse to a change in the programme. I do not agree with pretending to call spirits to one's aid, for it smacks of irreverence: the performer should merely explain that what he is about to do or has just done by simple dexterity is brought about by the spiritualists with the asserted aid of familiar spirits. A simple trick which seems well to commence with is—
The Mesmerised Poker.—The performer seats himself with his legs apart, and, taking a poker, stands it up on one end before him. On removing the hand the poker falls, but, after two or three fruitless attempts, it remains standing without the aid of any visible support. This is very easily managed by having a fine piece of black cotton attached to the calf of the trousers by means of a bent pin at each end. It need not be so long as to drag on the floor, and the performer can walk about with comfort and without fear of detection. The action of opening the legs draws the thread out straight and tight, so that the poker can rest against it when it is required to cause it to stand upright.
The Perambulating Walking-Stick.—This is a very amusing trick, in which a walking-stick is made to walk across the stage by itself. The invisible agency is again a fine black thread. On a stage provided with "flies," it is managed from above, in which case the only direction required is to affix one end of a thread round the head of a walking-stick, and convey the other end above to an assistant. By means of this thread the walking-stick is made to progress across the stage by means of little jumps. But on the drawing-room stage the matter is not quite so easy. Two threads will be required, and they must lie across the floor when the curtain is drawn. If possible, an assistant at each wing should hold the ends, but when one assistant only can be obtained, he must do the best he can from one side, the ends of the thread on the other being tied to the back of a chair, about the height of a walking-stick from the ground. The walking-stick should be provided with a substantial head, and the performer must hand it round for minute examination. He then takes it back to the stage, and flourishes it vigorously to show there are no threads or wires anywhere about. The instant the flourishing portion of the business is over, the assistants must raise the threads to the proper level, and one of them, by crossing his hands, causes the threads to cross each other at about the middle of the room. The performer then places the stick, with apparent carelessness, upright on the floor, but, as he takes care to place it between the threads just where they are crossed, it does not fall on the one hand being removed from it. The assistant who has crossed his hands now uncrosses them, which action has the effect of holding the stick tolerably firmly between the threads. On receiving commands from the performer the stick is made to dance, fall down and jump up again, and walk either to the right or to the left. If it is to go to the right, the assistant on that side lowers his hands slightly, and the one on the left administers a succession of jerks to the threads, which will cause the stick to progress by means of a series of jumps. These jumps can be made alternately long and short. As a final exhibition of skill, it can be made to turn a complete somersault, by both the assistants swinging their hands round in complete circles. For this it will be necessary to have a good head to the stick. When the performance is finished hand the stick round again for examination. In my opinion the trick shows best in a room, where the audience know there is no means of concealing anyone above.
The Ascent can be performed by means of the same threads. Books, pieces of music, &c., are laid upon the floor, and rise slowly or quickly, and remain suspended in the air, where they can be made to rock about. Of course, they are simply laid upon the threads, the ends of which are then raised evenly and simultaneously. The best ascent is a sudden one, as being the most startling.
The Talking Glass.—Provide yourself with a tall, thin, and well-sounding glass vase. At a pinch a thin soda water tumbler will do. Across the room and above the table have a piece of thread or fine wire. Show the tumbler or vase round, and then place it upon the table, or on the top of an inverted tumbler, which will serve for the purpose of showing that there is no deception beneath, and will also act as a sounding medium. An assistant at the side draws the thread close against the side of the glass, and it is stretched as tight as is consistent with safety. The glass is now made to talk by means of sharply emitted sounds in answer to questions, a small code of signals being established. One sound means "yes," two "no," and so on. These sounds are caused by the assistant catching at the thread sharply with the nail, which will cause a distinct ring to come from the glass. The principle is very simple, but I have never known anyone but myself adopt it. The performer must endeavour to make his questions amusing, and, as the powers of speech possessed by the glass are but limited, they must not be too severely taxed.
If a tumbler be suspended from the wand by means of a thread tied loosely round the wand and tightly round the glass, a sound will be emitted on twisting the wand ever so slightly. With practice this movement can be made almost imperceptible. If the onlookers begin to look at the hand and wand too much the display must cease at once.
The Spirit Bouquet.—One of the most usual, and at the same time most shallow, of deceptions practised by the "spiritualist," is that of the production of flowers. The gas is (of course) lowered, a few irreverencies gone through, and, on the room being re-illuminated, lo and behold, the table and floor have flowers lying upon them! As, of course, the manifestors of these wonders could not by any possible means have the flowers in their pockets on entering the room—even if they thought of practising-such a deception!—the spectators are struck with wonder. However, I shall teach the reader how to perform an even greater marvel, by causing a bouquet to glide through the air into his hand without the assistance of total or partial darkness. The bouquet can be either real or artificial—a real one, certainly, for choice. Take a piece of the finest iron wire procurable (jewellers' "binding" wire is the proper article), about 6in. in length, and tie it firmly round the stalks of the flowers, just below the buds. The other end tie round the centre flower, which is always a little higher than the others, and you will thus have a loop about 4in. in length. If the centre flower be not higher than the rest, then re-arrange the bouquet, and make it so. It is essential to have one end of the wire tied on considerably higher than the other, in order that the bouquet may hang properly. If both ends were tied round the main body of the stalks, the bouquet would hang upside down, whereas it should, when suspended by the loop, be almost upright, or, at least, only slightly on one side. From the most convenient position behind the scenes, which will depend entirely upon circumstances connected with the arrangement of the stage, have another piece of fine wire hanging, with a loop made in it at one end long enough to reach the centre of the stage. The spot usually the best for attaching this wire is at the side, as near the audience as possible. On a regular stage the "flies" are most suitable, but in the drawing-room, where there are usually folding doors and curtains (without them this trick cannot well be managed), the side must be chosen. When the trick is about to be performed, the bouquet must be put on the wire by means of the loop, and an assistant in concealment mounts a pair of steps with it and holds it in readiness. The end of the wire is so disposed that the performer can without difficulty insert his little finger in the loop thereon, under pretence, say, of shifting a chair. He then retires towards the centre of the room until he feels that the wire is drawn perfectly tight, and then proceeds to speak of the wonderful productions by humbugs, done in the dark, and finally finishes up by saying that he has only to extend his hand in the air to find something in it. With the hand that is not holding the wire he makes a grasp in the air, and at the same moment opens the other hand, taking care to pull the wire quite tight. The attention of the audience is naturally momentarily attracted towards the hand making the greatest movement, and at this very instant the assistant starts the bouquet down the wire. The performer, when the bouquet has reached his hand, which it will do with remarkable swiftness, exclaims, "Ah! no; here it is, see, in this hand;" and, ridding his finger of the wire, brings the bouquet forward, of course keeping the loop upon it from view. When the performer's actions have been well contrived and carried out, the bouquet is not seen until it is almost in the performer's hands; but, under less fortuitous circumstances, which are all I bargain for myself, the trick is wonderfully successful. The fact of a small portion of the aerial journey of the bouquet being observed is not by any means undesirable, the only thing to be kept from the view of the spectator being the commencement of it. The communicating wire must be fixed some distance behind, so that the bouquet is descending at full speed by the time it comes into possible view. The reader will see that the principle is so simple, as to be almost commonplace, but he must not deride it on this account. The most natural actions possible must be brought into play, and plenty of rehearsals will be required. The reason for having the loop of the wire upon the little finger is that the safe arrival of the bouquet is better ensured thereby. The little finger must be kept undermost, the hand being at an angle of forty-five degrees, with the wire lying across the palm. A great deal lies in the neatness with which the bouquet reaches the hand. There must be no bungling. Therefore I say, Rehearse.
The Slate Trick.—Everyone will naturally wish to know how this is done. "Dr." Slade, as Mr. Maskelyne correctly showed in open court, produced his "spirit writings" on the slate by means of a thimble-shaped instrument, to which were attached a piece of pencil and a length of elastic. The elastic was fastened to the brace, or elsewhere, and caused the disappearance of the thimble and pencil up the performer's sleeve when they were no longer required. Under the table was a little ledge which supported the slate whilst the hand, which was supposed to be performing that action, was busily engaged in scribbling upon the bottom of the slate, the thimble arrangement enabling one of the fingers to execute certain letters in a very poor and scarcely legible fashion. The bad writing was supposed to look more mysterious; but Slade would have written more legibly had circumstances permitted it. Anyone may try this method, but as a conjuring trick it is poor. The trick as now sold is a slate with an extra or false interior. The answer that is to be given is written upon the genuine slate, and the false side then put on. The slate is shown casually round without leaving the performer's hands, and a question is then written upon one side of the slate, which is waved about, and an opportunity seized for allowing the false side to drop out behind the table, or at any other convenient place, and the answer is then exhibited. If the inside of the false slate have blotting paper pasted upon it, and a blotting pad be upon the table used whilst the trick is being performed, it may be allowed to drop out upon the table without any attempt at concealment.
Fiery Hands, Writings, &c.—With the aid of phosphorus a very innocent dark séance can be given. The principal thing is to have the gas under control. This lowered, or turned completely out, for preference, the rest is easy enough. Bunches of cotton wool, or tow steeped in phosphorescent spirits, obtainable at any chemist's, placed upon the ends of fishing rods, create a good effect when protruded over the heads of the audience, and there waved about in circles. A washleather glove, stuffed with cotton wool, tied to the end of a rod, and wetted, is diverting, not to say alarming, when dabbed suddenly in the face of one of the audience. Imagination will fancy it the clammy hand of death. Care must be taken to withdraw it very suddenly. The best way is to have it swinging from the end of the rod, when it retires out of reach of a possible "grab" by virtue of its own impetus. The glove must not be phosphorescent. Japanese fishing rods, with the joints sliding one within the other, will be found very useful. A good effect is produced by the performer allowing himself to be tied to a chair, to which his arms are firmly bound, and the knots sealed by the audience. His assistants, having first removed their boots, can come on and manage everything, and, as a final effect, one of them has some words or characters written upon his arms and hands, or simply has them smeared with the phosphorescent preparation in use. He then kneels behind the performer's chair, which he must approach either backwards or with his coat on, and then extends his arms from the performer's shoulders. The form of the hands and arms will be seen, and it will appear as if the performer had loosened his arms and was exhibiting them in a fiery condition. So soon as the assistant is again out of sight the gas should be turned up, leaving the audience in a state of bewilderment. The most childishly simple things can be perpetrated in the dark, when the mind is by nature more easily imposed upon than it is at any other time. The simple expedient of someone coming on the stage in his stockings, after the room has been darkened, and, by turning back the sleeve, exhibit some words written upon the arm, is a very good illustration: it is impossible for an ordinary mind to divine how the sudden appearance of the writing in mid-air is managed. The arm must be extended horizontally before the sleeve is drawn back, and it must be kept so extended until the writing is again obscured. This is essential. The slightest expenditure of ingenuity and thought will produce other effects, which will vary according to circumstances and situations; whilst careful preparation will meet with its usual and deserved reward.
The Electric Touch.—The performer may, if he pleases, either commence or conclude those portions of his entertainments which have to do with mesmerism with a bogus explanation of the forces latent within him, the result of a natural gift. He must purposely make his elucidation a little far-fetched, in order to raise a smile, or even a remark, of incredulity. This gives him the desired opportunity for offering to practically prove the truth of what he states. Advancing to the company, he asks one of the spectators to extend his hands in front of him, palms downward. Standing immediately opposite this gentleman, the performer rubs the back of one of his own hands with the fingers of the other, and reverses the operation. This he continues for a quarter of a minute or so, and then suddenly extends his hands over the backs of those held out before him, an inch or two removed. The spectator feels no shock, so the performer continues his rubbing, and, at the third or fourth trial, the spectator jerks one of his hands away, a slight electric shock having been communicated to him. The experiment may be repeated as often as the performer pleases. A little pin is the cause of this marvellous manifestation. This the performer has about him (stuck under the vest is the best place), and often, in gesticulating, indirectly showing the hands to be empty, it is got down, with the head between the first joints of the first and second fingers, where it can be held firmly, of course pointing downwards. The nibbing of the fingers of each hand alternately upon the back of the other indirectly points to the absence of anything of the protruding nature of a pin being held in them, so the assumed excitation of electricity by friction is not the only reason for the action.
It adds to the effect when the production of the shock on the first experimenter comes only at the third or fourth attempt. With others, it may safely come at the first or second, if the performer be careful to explain that, the electric power once worked up, very little is necessary to keep it going. The rubbing is kept up throughout. The shock is, of course, produced by bringing the hand holding the pin nearer and nearer to the one beneath it, until the pin's point touches it. The touch must be as delicate as possible, as then an after feeling is experienced which necessitates rubbing. If the point enters the skin, the presence of the pin is at once detected. It being so absolutely necessary to the success of the trick that the touch should be very delicate, the use of fine entomological pins is recommended, but they must not be too long. The performer will do well to fail to produce shocks on some of those experimented upon at first, a return to them being necessary when the electric power has accumulated. Any particularly healthy and rubicund person may as well prove quite impervious, the performer explaining that the strength of mind present is too great. The company will judge by the person's healthy exterior, forgetting that, notwithstanding, the mind within may be nothing very great. As the performer is standing and the company sitting, he must slant his hands downwards, or the pin will be seen. The hands experimented upon must, for the same reason, be kept low. Should anyone suggest a pin, that article must be at once dropped, the performer being, of course, provided with reserve ones. This part of the trick is very seriously carried out, the performer congratulating himself and the company upon a state of atmosphere which enables him to exhibit such satisfactory results.
The Animated Skull.—The performer places two ordinary chairs, which may be examined, back to back, and a yard or so apart. Across the backs he lays a piece of plate glass, previously examined, a perfectly transparent table being thus formed, and one, as the performer will explain, impervious to electricity. Upon this table the performer places either a real human skull or else a pasteboard imitation of one. The imitation is recommended, the performer explaining that the reason for its use is that the feelings of some might be shocked, which really might be the case. The skull is examined previous to being placed upon the table, the company being safely depended upon for not noticing anything suspicious in the fact that the underside is very much rounded. The skull now answers questions, giving one nod for "Yes" and two nods for "No." What questions are asked must depend upon the wit of the performer, and the nature of the company assembled. Arithmetical problems should be solved, as the skull can give any number by means of nods. As a finale, the skull is asked if it would like to continue the performance, to which a couple of slow shakes are given.
Our old friend, the black silk thread, is at work again here. A piece is stretched across the stage, tied up out of harm's way when not in use. As soon as the skull is placed upon the glass the thread is brought down to the level of the mouth, and made to enter there. The imitation article has a deep indentation at this place. In other cases the thread is brought under the projecting nasal bone. A slight movement of the hand causes the skull to nod, so long as the thread is in position, and the performer may pick it off the glass at any moment, to show that no connection exists. The slow shake is done by manipulating the thread sideways. It cannot be prolonged, as it tends to work the skull off the glass. The rounded underside is to render the rocking movement easy. In some cases a tiny bead of wax is fastened upon the thread, and this affixed to the skull, at the back.
[CHAPTER XIX.]
FINAL INSTRUCTIONS.
Having at length brought the beginner to that point where he will first have to shift for himself in real earnest, I wish to leave him in a position to do credit to my tuition, and, with this object, impart a few hints for his guidance.
On the subject of practice, I would not say any more if I could. By this time, it must have become so evident to everyone that nothing can be brought to any degree at all approaching perfection without assiduous attention to detail, that any repetition of my often-expressed injunctions to practice would become nauseating. But I ought to say something regarding the best method for learning new tricks or sleights from the foregoing text. It is a bad plan to read the description through, and then immediately try to produce the result right away. The whole trick should certainly be read carefully through first, so that the mind fully grasps what is required to be done; but, after that, the hands should be made to follow, step by step, the instructions given, and no progression made until it is certain that all is correct up to each point. It will be readily understood that my instructions have not been written without a large amount of care, or without making a due allowance for the great difference between teaching by word of mouth and by book. In many instances, a single word explains a great deal; so, if the reader scans the page carelessly, it is very possible that he may miss the point altogether, and perhaps conclude, in his own mind, that I am a charlatan and an impostor. With cards, this careful following of the text with the hands is especially essential, and attention to it will save much time, trouble, and annoyance at the outset, when everything new will naturally appear difficult, if not absurd. Thus much for the beginner. When he arrives at the dignity of an actual performer, let him be careful to prepare, and learn by heart, a little set speech to commence with, and also the accompanying talk for each trick. When he has exhibited for a year or two, he will perhaps be able to dispense with such preparation; but, at the commencement, few, if any, can do without it. The first appearance before an audience is in itself sufficiently unnerving, without any additional embarrassment in the shape of a consciousness that you do not know what you are going to say. Notwithstanding the most careful preparation, something is sure to go wrong at first, and unexpected difficulties will crop up on all sides, and to meet these successfully will require all the energies of the performer. It does not signify how superior the individual's natural aptitude or oratory may be—the task is too great for anyone at starting.
For the first few "shows," it is as well to perform such tricks as do not require the assistance of an attendant, for the performer must be entirely master of the situation, and dictate to his assistant at pleasure. This he could not do with freedom if he were uncertain about his own powers. Let it also be borne in mind that assistants are like money, which, when good, is a valuable acquisition, but, when bad, only gets one into trouble. Have no assistant at all rather than a bungler, or, what is, if possible, worse, one who endeavours to attach to himself some degree of consequence in the minds of the audience. Except when it is to assist the trick, he should never open his mouth, and all his work should be done as silently and unobtrusively as possible, without absolutely scurrying away. His presence on the stage should be as brief as possible, and his appearance must always be excused by the performance of some very insignificant and subordinate task. The best assistant to have is one who looks so stupid that the combined efforts of fifty conjurors could not drum into him the method for making the "pass." The worst is the one who conveys by his appearance and actions that he "knows all about it." The spectators at once attribute the greater portion of the results to his agency—not incorrectly, perhaps; but it is unnecessary that they should have any cause to do so. On no account should the attendant attempt to perform any impromptu act, however clever he may be, for he is sure to confuse the performer by so doing, and so lead to awkward results.
On many occasions, it is inconvenient, or, at any rate, highly inadvisable, to take the conjuring table. At the houses of friends it is exceedingly difficult to keep everything secret without being absolutely rude. The host (possibly followed by a friend or two—"men who understand things of this sort, you know, so you needn't be afraid") is nearly certain to take the fullest advantage of his position, and to penetrate into the performer's sanctum with all possible alacrity, and there worm from him valuable secrets. Of course, he wouldn't dream of telling anyone, not he; yet, somehow, if the tricks are exhibited on another occasion, the juveniles display an inexplicable and annoying knowledge of the why and the wherefore of them. It is of no use to say, "Oh! but no one would take the liberty," and such like; my experience teaches me (and I do not think that I, in particular, have fallen among thieves) that they do, so there is an end of it. Such articles as multiplying balls, cups, reticules, &c., are easily put out of sight; but an unwieldy table is quite another thing. Of course, immediately the trap in it is discovered, away goes your reputation for miraculous sleight of hand; and, when you really do exhibit a genuine specimen of it, you will not get credit for it. No, no risks must be run on this head—that is, if the performer cares anything for his reputation.
As an excellent substitute for the table, I have an oblong box, the rough dimensions of which are 18in. × 8in. × 6in. It has a removable sliding lid, and is covered with a dark cloth. In this I carry such of my belongings as will go into it; so, when it is seen during the performance, it is only regarded in the light of an ordinary deal box. One of the 8in. sides, however, has a trap cut in it, with a little bag inside the box for catching articles passed through. The box, minus the lid, and plus such articles as would be ordinarily placed upon the shelf, is brought boldly on, along with some of the articles which the performer will first require, as a "blind." It is placed carelessly down within three or four inches of the back of the table, with the open side, naturally, at the back, and the trap uppermost. The table itself plays the part of the shelf, and articles are now and then placed upon the box, as they would be, in the usual way, upon a table.
Another way, much more deceptive, is to have a trap made in the top of an ordinary high hat. The crown lining should form the bottom of a collapsible bag, so that the inside of the hat can be first shown, but, so soon as it is placed upon the table brim downwards, the bag falls down. The brim should be tolerably flat, as the hat should not rock about. The crown itself will require some strengthening material, such as very thick pasteboard, glued to it before the trap is cut out, or the latter will curl up in an unseemly way. This trap hat serves for vanishing articles only. Its presence is very opportune at times. The presence of the shelf is by no means indispensable; indeed, I may safely say that I do not require it myself, except in important performances. If it be inconvenient to take the table, a programme can easily be arranged so as to dispense with the shelf entirely, but, if it can be used, then, by all means, make the most of it. Young conjurors must avoid the error of adapting their tricks to the shelf, instead of the shelf to the tricks. Experience will show what an astonishing quantity of things can be concealed in the large breast and tail pockets for hat "loading" purposes. The tail pockets will carry a bundle of fifty cups with ease, and without fear of detection; and when these can be introduced, and produced without once leaving the audience, I need hardly say that the effect is considerably enhanced. When you are using a table, be careful never to go behind it without some good reason, and let your stay there be as brief as possible. Stand at the sides as often and as long as you like.
The arrangement of the stage and the seating of the audience are matters of vital importance, and due regard must be paid to angles of vision. One of the greatest bug-bears a performer meets with in private audiences is he (no lady ever sins in this way) who, under pretence of being at hand in case of need, or by means of some even more transparent excuse, plants himself, in close proximity to the stage, between it and the body of the audience. It is all very well for the reader to say, "Oh, but I would never allow that under any circumstances!" If he be young, he will find that people will patronise him, do what he may, or be as clever as he will; and it is in the interest of the young beginner that I am making these remarks. There will generally be somebody who thinks himself a privileged person, and who will put himself just where he is not wanted. We know what mean things people will do for money: to find out the secret of a conjuring trick they will descend almost as low. I am not romancing, but stating plain truths, such as have forced themselves upon me time after time. Under these circumstances, the table should be placed as far back as is possible or convenient, and, if little tables are used, they should be well on one side and not too far forward. But more important than this even is the placing of some large object, such as a vase with flowers on a pedestal, a statue, or such like at each corner, as it is from thence that the best view of the conjuror's secrets can be obtained. A person stationed at a corner can see half of what the performer does in the vesting line, and he has an unfair advantage, which must not be permitted, when avoidable. If a pianoforte be in use, by all means put it close to one of the corners. Curtains are not of much use, as they are easily pulled aside. If he have the opportunity, let the performer arrange the seats himself, and also take the bearings of his table from the corners. Be careful that no looking-glasses are in a position to reflect back to the audience those things which are not meant for them to see, and have the light as evenly distributed as possible; but do not have any candles or lamp on the table. I object even to an upright candelabrum being placed at each front corner. They are in the way.
Programmes are a decided addition, and they should be made as interesting as possible without foreshadowing what is about to follow. The cheapest way is to have a quantity printed, with the performer's complete catalogue upon them, numbered, and then the numbers of the tricks to be performed can be announced in any convenient way. This will only do for private audiences. In performing in public the case is entirely altered.
By all means call in the assistance of a pianoforte; but see that the player of the instrument is one who will not be likely to egotistically launch out into any brilliant fantasia. Waltzes, and such pieces as can be stopped suddenly, should be chosen. The performer must be as quick as he can between tricks; but to a waiting audience one minute seems ten, so it is quite necessary to have a little music when it is obtainable. The player should finish off directly the performer comes on the stage, without waiting for any word or sign. In such a trick as the [Rising Cards] a little "magic music"—of the gentle trickling order—will be found very effective. The cards would ascend to the music.
The performer should always provide himself with a private programme, to be hung or pasted up behind his screen, or wherever his retiring place may be. On this programme should be detailed every property of each trick, down to the veriest trifle, for on trifles, be it remembered, often depends the whole success of a trick. It is also well to have written down beforehand what articles should be upon the shelf at the commencement of each part, and any preconceived pieces of appropriate wit should be put against the particular trick to which they belong. These precautions will save the performer—the beginner more especially—a world of trouble and anxiety. As a trick once written out is done for ever, it is as well to have each one on a separate card. In this case the writing out of an elaborate programme before each performance would be avoided, besides which the cards are more portable. Have the properties of each trick complete. If a knife be required in three tricks, have three knives, and not one, and let this principle be observed throughout. It is as easy to take three knives as one, and there is, besides, the comforting assurance that one will be at hand when wanted.
Do not perform longer than forty-five or fifty minutes at a stretch. Both performer and audience are the better for a short rest at the end of that period, and an interval of ten minutes or so should be allowed. This will enable the performer to re-arrange his shelf, which should always be kept as clear as possible, and to remove articles from the trap bags, &c.
Above all things, keep the hands warm, and for this purpose be provided with a pair of woollen gloves, which wear indoors as well as out, previous to a performance. No one can palm with a hand like ice.
I do not know that I can say anything more without repeating what has already appeared in connection with such tricks as seemed to me to afford the most appropriate opportunities; so my work is done.
To use the words of Byron, "I have nothing further to add, save a general note of thanksgiving to readers, purchasers, and publishers," and to wish the learner all success—but only according to his deserts—with as much true enjoyment as has been experienced by me in the pursuit of Sleight of Hand.
[INDEX]
- A.
- page
- Accommodating bottle, [316]
- Aces, congenial, [102]
- Action with rapidity, &c., [39]
- Addressing audience, style of, [60], [153], [161], [393]
- Animated skull, [390]
- Anti-gravitation ball, [343]
- Anti-spiritualistic tricks, [380]
- Apparatus, its uses and abuses, [258]
- Apples and ring, [50]
- And small eggs, palming, [168]
- In cups, [58]
- Arm, cutting, with a knife, [83]
- Arrangement of stage, [398]
- Article, changing an, [171]
- Ascending cards, [192]
- Ascent of articles in spiritualistic tricks, [383]
- Assembly, [136]
- Assistant, choosing an, [176], [393]
- Attached card, [101]
- Audience, seating the, [396]
- Style of addressing, [60], [153], [161], [393]
- B.
- Bacchus' dovecot, [306]
- Maypole, [311]
- Bag, the egg, [274]
- Watch, [363]
- Ball and bottle, [308]
- Balls and cups, tricks with, [54]
- And plates, [80]
- Anti-gravitation, [343]
- Balls, concealing, [55]
- From a hat, multiplying, [353]
- Passing and vanishing, [55]
- Vanishing, [170]
- Vesting, [170]
- Wine-drinking, crystal, [308]
- Worsted, and coin, [256]
- Banker, the, [237]
- Bending watches, [362]
- Bird and card, [376]
- Cages produced from a hat, [356]
- Birds, vanishing small, [173]
- Blindfold feats, [378]
- Borrowed rings, exchanging, for dummies, [175]
- Borrowing handkerchiefs, [17], [63]
- Watches, [361]
- Bottle, accommodating, [316]
- And ball, [308]
- And dove, [306]
- And penknife, [44]
- And ribbons, [311]
- And tumbler, perambulating, [328]
- Magic wine, [316]
- Of ginger beer, [287]
- Bouquet, spirit, [384]
- Bowls of fish, [262]
- Boxes, card, [127]
- Drawer, [300]
- For watch, [364]
- Passing coin into, [21]
- Watch, [368]
- With trap, [395]
- Boxing coins, [21]
- Brazen rod, magi's, [324], [371]
- Breaking watches, [362]
- Broad and long cards, [131]
- Bundle of firewood produced from hat, [354]
- Burning a handkerchief, [62]
- Butterfly trick, Japanese, [74]
- C.
- Cabbage and hat, [349]
- Cage, flying, [335]
- Cages, bird, produced from hat, [356]
- Candle, money-producing, [252]
- Passing handkerchief over flame of, without burning, [178]
- Cannon ball and hat, [346]
- Card and bird, [376]
- Tricks, value of, [88]
- Cards, ascending, [192]
- Assembly, [136]
- Attached, [101]
- Boxes, [127]
- Catching two, in the air, [102]
- Causing one to appear in any position in the pack, counting from top or bottom, [123]
- Causing one to show itself on the top of the pack, [101]
- Chameleon, [132]
- Changing, [132]
- Changing two, [108]
- Clairvoyance, [379]
- Congenial aces, [102]
- Conjurors', [89]
- Cut packs, [130]
- Diagonal, [96]
- Egyptian pocket, [187]
- False shuffle, [99]
- Forcing, [117]
- Hatched, [205]
- La carte générale, [119]
- Lady's own trick, [105]
- Lightning change, [146]
- Long and broad, [131]
- Marking, [177]
- Missing link, [190]
- Napoleon, a game at, [143]
- Obliging bouquet, [202]
- Palming, [112]
- Passes with, [90], [106]
- Permeating, [122]
- Prepared, [130], [179]
- Pricked, [131]
- Reversed, [104]
- Revolution, the, [129]
- Royal marriages, [115]
- Salamander, [197]
- Sliding, [116]
- Sympathetic, [120]
- Thought-reading, [140]
- Throwing, [129]
- Travelling, [135]
- Tricks with, [88], [186]
- Universal, [119]
- Vanishing a pack, [186]
- Catching coins in the air, [14]
- Two cards in the air, [102]
- Causing a card to appear in any position in the pack, counting from top or bottom, [123]
- A card to show itself on the top of the pack, [101]
- A stick or poker to stand on end, [344]
- Challenges, how to answer, [35]
- Chameleon card, [132]
- Changing articles, [171]
- Cards, [132], [146]
- Coins, [11], [32]
- Dice, [81]
- Two cards, [108]
- Chinese fire eating, [72]
- Lanterns produced from a hat, [356]
- Marbles, [70]
- Methods of conjuring, [70], [75]
- Rings, [296]
- Tricks, [70]
- Choosing an assistant, [176], [393]
- Clairvoyance, [378]
- Climax to the hat of plenty, [358]
- Coat, cutting person's arm through, [83]
- Coin and worsted ball, [256]
- Handkerchief, [183]
- Coins, banker, the, [237]
- Best kind for use, [38]
- Boxing, [21]
- Catching in the air, [14]
- Changing, [11], [32]
- Concealing, [12]
- Copper superior to silver, [34]
- Crystal plateau, [250]
- Dancing, [20]
- Extracting, from a glass of water, [24]
- Flight of, [255]
- Folding penny, [27]
- Hold them tight!, [242]
- Invisible transit, [232]
- Marking, [38]
- Minor tricks with, [9]
- Money changer, [247]
- Money-producing candle, [252]
- Palm practice with, [9]
- Passing into a hat, [13], [23]
- Passing many, [16]
- Passing or vanishing, [10]
- Passing through table, [12]
- Selecting, when blindfolded, [23]
- Shower of gold, [273]
- Showing hands empty while still containing, [177]
- Sleeving, [35]
- Substituting, [22]
- Tricks with, [9], [232]
- Vanishing, from a handkerchief, [17]
- Coin-vanishing tumbler, [184]
- Collecting eggs, [278]
- Common objects, tricks with, [39]
- Common palm, [5]
- Company, producing articles from the persons of the, [166]
- Concealing a ball, [55]
- Coins, [12]
- Cone and drawer-box, [304]
- Congenial aces, [102]
- Conjuring table, substitute for, [394]
- Conjuror's shelf, [156], [395]
- Cooking and making a pudding in a hat, [293]
- A "Welsh rabbit", [374]
- Copper coins superior to silver, [34]
- Cork, false, [30]
- Corks, Houdin's dessert of, [84]
- Corks, tricks with, [84]
- Cornucopian hat, [346]
- Cotton, cutting up piece of, [46]
- Crystal ball, wine-drinking, [308]
- Plateau, [250]
- Cup, passing one through another, [61]
- Cups and balls, tricks with, [54]
- And oranges, apples, &c., [58]
- From a hat, shower of, [352]
- Cut packs of cards, [130]
- Cutting a person's arm with a knife, [83]
- Up piece of cotton, [46]
- D.
- Dancing coins, [20]
- Sailor, [339]
- Decanted handkerchief, [224]
- Deception and rapidity of action, [39]
- Dessert of corks, Houdin's, [84]
- Destroying a watch, [362]
- Devil's handkerchief, [182]
- Diagonal pass with cards, [96]
- Dice, changing, [81]
- Dictionary trick, great, [336]
- Die trick, Houdin's, with additional effects, [259]
- Distribution from a hat, [350]
- Dolls produced from a hat, [355]
- Dove and bottle, [306]
- Mesmerising a, [175]
- Dovecot, Bacchus', [306]
- Doves, vanishing, [173]
- Drawer-box, [300]
- And cone, [304]
- Drawing-room magic, [4]
- Dress for a conjuror, [160]
- E.
- Eating fire, [72]
- Egg bag, the, [274]
- Orange, &c., produced from wand, [164]
- Eggs and small apples, palming, [168]
- Collecting, [278]
- Magician's, [183]
- Productive, [184]
- Egyptian pocket card trick, [187]
- Electric touch, [389]
- England, flags of Old, [295]
- Exchanging borrowed rings for dummies, [175]
- Extracting a coin from a glass of water, [24]
- F.
- Fairy flower, [327]
- False shuffle with cards, [99]
- Feast of lanterns, Chinese, [356]
- Fiery hands, writings, &c., [387]
- Filter tumblers, [79]
- Final instructions, [392]
- Finding sweetmeats in a handkerchief, [65]
- Finger palm, [6]
- Fire eating, Chinese, [72]
- Firewood, bundle of, produced from hat, [354]
- Fish and bowl, [262]
- And ink, [265]
- Flags of Old England, [295]
- Flight of coins, [255]
- Flower, fairy, [327]
- Ring in, [183]
- Flowers produced from hat, [351]
- Flying cage, [335]
- Plume and seed, [291]
- Folding penny, [27]
- Forcing cards, [117]
- Fork or spoon through a tumbler, passing, [79]
- Fowl, resuscitated, [280]
- G.
- Game at Napoleon, [143]
- Gant de Paris, [228]
- General instruction and management in stage conjuring, [149]
- Remarks, [149], [392]
- Ginger beer, bottle of, [287]
- Glass of sherry, vanishing, [77]
- Of water, extracting a coin from, [24]
- Of water, to invert, [271]
- Of water, ubiquitous, [267]
- Glass, talking, [384]
- Glove, gant de Paris, [228]
- Gloves suitable for conjurors, [398]
- Gold-fish and ink, [265]
- Trick, [262]
- Gold, shower of, [273]
- Grand, or stage magic, [149]
- H.
- Half-crown wand, [237]
- Handkerchief, coin, [183]
- Decanted, [224]
- Devil's, [182]
- Finding sweetmeats in, [65]
- For egg collecting, [278]
- Lengthening a, [66]
- Passing through flame of candle without burning, [178]
- Restored, [210]
- Ring and wand, [49]
- Through the leg, pulling a, [64]
- Twisting, [69]
- Tying knot instantaneously, [68]
- Tying knot on wrist, [69]
- Untying knot in, by word of command, [65]
- Vanishing coins from, [17]
- Handkerchiefs, borrowing, [17], [63]
- Burning, [62]
- Knots, [218]
- Melting, [226]
- Sun and moon, [215]
- Tricks with, [62], [210]
- Vanishing and reproducing, [171]
- Hands, fiery, [387]
- To show, empty, while still containing coins, [177]
- Harmless shot, [282]
- Hat and cabbage, [349]
- And cannon-ball, [346]
- Bird cages produced from, [356]
- Bundle of firewood produced from, [354]
- Chinese lanterns produced from, [356]
- Cornucopian, [346]
- Distribution of presents from, [350]
- Dolls produced from, [355]
- Flowers produced from, [351]
- Making and cooking a pudding in, [293]
- Multiplying balls produced from, [353]
- Of plenty, [346]
- Of plenty, climax to, [358]
- Passing coins into, [13], [23]
- Rabbits produced from, [372]
- Reticules produced from, [355]
- Shower of cups from, [352]
- With trap, [395]
- Hatched card, [205]
- Hold them tight!, [242]
- Houdin's dessert of corks, [84]
- Die trick, with additional effects, [259]
- I.
- Incubation by magic, [276]
- Ink and gold-fish, [265]
- Instruction and general management in stage conjuring, [149]
- Instructions, final, [392]
- Intervals during performances, [398]
- Introduction, [1]
- Of music in performances, [397]
- Introductory stage tricks, [161]
- Inverting glass of water, [271]
- Invisible transit of coins, [232]
- J.
- Japanese butterfly trick, [74]
- K.
- Kling-klang, [281]
- Knife and squares of paper, [42]
- Cutting a person's arm with, [83]
- Swallowing, [85]
- Knot on the wrist, tying a, [69]
- That will not draw tight, tying a, [67]
- Tying instantaneously, [68]
- Untying at word of command, [65]
- Knots in handkerchief, [218]
- L.
- La carte générale, [119]
- Lady's own trick with cards, [105]
- Lanterns, Chinese, produced from a hat, [356]
- Large objects from the hand, vanishing, [167]
- Leg, pulling a handkerchief through the, [64]
- Length of time for performance, [398]
- Lengthening a handkerchief, [66]
- Live stock and watches, tricks with, [361]
- Long and broad cards, [131]
- M.
- Magical wine, [337]
- Magician's eggs, [183]
- Magic, incubation by, [276]
- Omelette, [332]
- Plateau, [185]
- Wine bottle, [316]
- Magi's brazen rod, [324], [371]
- Making and cooking a pudding in a hat, [293]
- Management and instruction in stage conjuring, general, [149]
- Manner when performing, [249]
- Marbles, Chinese, [70]
- Marking coins, [38]
- Maypole, Bacchus's, [311]
- Meddlers, punishment of, [151]
- Mesmeric suspension wand, [318]
- Mesmerised poker, [344], [382]
- Mesmerising a dove, [175]
- Mesmerism, sham, [378]
- Misdirection, [40]
- Missing link, [190]
- Money changer, [247]
- Tube, [239]
- Money-producing candle, [252]
- Mortar and pestle for watches, [362]
- Mouth, producing yards of paper from the, [73]
- Multiplying balls obtained from a hat, [353]
- Music, introduction of, in performance, [397]
- N.
- Napoleon, a game at, [143]
- Nest of boxes, [21]
- Novel "Welsh rabbit", [374]
- O.
- Obliging bouquet card trick, [202]
- Omelette, magic, [332]
- Oranges, apples, &c., in cups, [58]
- Produced from wand, [164]
- Vanishing, [170]
- Vesting, [170]
- P.
- Palm practice with coins, [9]
- Palming cards, [112]
- Coins, [5]
- Common, [5]
- Finger, [6]
- Proper, [5]
- Quick, practising, [17]
- Reverse, [7]
- Small eggs, apples, &c., [168]
- Sugar, [40]
- Thumb, [6]
- Use of the wand in, [12]
- With both hands, [22]
- Paper and knife, [42]
- From the mouth, producing yards of, [73]
- Passes with cards, [90], [106]
- Passing and vanishing a ball, [55]
- Articles through traps, [158]
- Coins, [9]
- Coins into a hat, [13], [23]
- Coins through a table, [12]
- Fork or spoon through tumbler, [79]
- Many coins, [16]
- Penny into soda-water bottle, [27]
- Ring into an egg, [334]
- "Patter", [154]
- Penknife and bottle, [44]
- Penny, folding, [27]
- passing, into soda-water bottle, [27]
- Perambulating bottle and tumbler, [328]
- Walking stick, [382]
- Performance, length of time for, [398]
- Introduction of music in, [397]
- Performer's private programme, [397]
- Performing, manner when, [249]
- Preparations before, [149]
- Skill in, [346]
- Permeable plates, [80]
- Permeating card, [122]
- Pestle and mortar for watches, [362]
- Plateau, magic, [185]
- Plate, vanishing a, [78]
- Plates and balls, [80]
- Permeable, [80]
- Plenty, hat of, [346]
- Plume and seed, flying, [291]
- Plumes, shower of, [326]
- Pocket, Egyptian, card trick, [187]
- Poker, mesmerised, [344], [382]
- Or stick to stand on end, causing, [344], [382]
- Preparations before performing, [149], [392]
- Prepared cards, [130], [179]
- Presents distributed from a hat, [350]
- Pricked cards, [131]
- Private programme, performer's, [397]
- Producing articles from the persons of the company, [166]
- Yards of paper from the mouth, [73]
- Productive eggs, [184]
- Programmes, [397]
- Performer's private, [397]
- Properties and sleights for general use, [163]
- Pudding cooking and making in a hat, [293]
- Pulling a handkerchief through the leg, [64]
- Punishment of meddlers, [151]
- Putty watches, [362]
- R.
- "Rabbit," cooking a, [374]
- Novel "Welsh", [374]
- Rabbits produced from hat, [372]
- Reproducing, [373]
- Tricks with, [372]
- Rapidity and deception of action, [39]
- Remarks, general, [149]
- Repetition of tricks, [152]
- Restored handkerchief, [210]
- Resuscitated fowl, [280]
- Reticules produced from a hat, [355]
- Reversed card, [104]
- Reverse palm, [7]
- Revolution of cards, [129]
- Ribbons and bottle, [311]
- Ring, flying, [183]
- Rings and apple, [50]
- And wand, [51]
- Chinese, [296]
- Exchanging borrowed for dummies, [175]
- Handkerchief, and wand, [49]
- Inside an egg, [335]
- Palming, [49]
- Tricks with, [49], [334]
- Rod, Magi's brazen, [324], [371]
- Roll, watch in, [178]
- Royal marriages with cards, [115]
- S.
- Sack trick, [338]
- Sailor dancing, [339]
- Salamander card, [197]
- Seating the audience, [396]
- Second sight, imitation, [378]
- Seed and flying plume, [291]
- Selecting a coin whilst blindfolded, [23]
- Sham mesmerism, [378]
- Shelf, the conjuror's, [156], [395]
- Sherry, vanishing a glass of, [77]
- Shot, harmless, [282]
- Shower of cups from a hat, [352]
- Of gold, [273]
- Plumes, [326]
- Shuffling, false, with cards, [99], [179]
- Skill in performing, [346]
- Skull, animated, [390]
- Slate trick, [386]
- Sleeving coins, [35]
- Sleights and properties for general use, [163]
- Sliding cards, [116]
- Small birds, vanishing, [173]
- Soda-water bottle, passing penny into, [27]
- Spirit bouquet, [384]
- Spiritualistic animated skull, [390]
- Ascent of articles, [383]
- Electric touch, [389]
- Fiery hands, writings, &c., [387]
- Mesmerised poker, [344], [382]
- Perambulating walking stick, [382]
- Slate trick, [386]
- Spirit bouquet, [384]
- Talking glass, [384]
- Tricks, [380]
- Writings, &c., [387]
- Spoon or fork passing through a tumbler, [79]
- Stage, arrangement of, [398]
- Conjuring, dress for, [160]
- General instruction and management, [149]
- Or grand magic, [149]
- Tables for, [155]
- Traps for, [156]
- Stick and poker to stand on end, causing, [344], [382]
- Style of addressing audience, [60], [153], [161], [393]
- Substitute for a conjuring table, [394]
- Substituting coins, [22]
- Sugar, palming, [40]
- Sun and moon, [215]
- Suspension wand, mesmeric, [318]
- Swallowing a knife, [85]
- A watch, [368]
- Sweetmeats, finding in a handkerchief, [65]
- Sympathetic cards, [120]
- T.
- Table and dress, [156]
- Tricks at, [72]
- Tables, passing coins through, [12]
- Position of, [396]
- Selecting, [155]
- substitute for conjuring, [394]
- Talking glass, [384]
- Targets for watches, [365]
- Thought-reading with cards, [141]
- Throwing a card, [129]
- Thumb palm, [6]
- Time for performance, length of, [398]
- Touch, electric, [389]
- Transit of coins, invisible, [232]
- Trap box, [395]
- Traps for stage conjuring, [156]
- In high hat, [395]
- Passing articles through, [158]
- Travelling cards, [135]
- Tying a knot instantaneously, [68]
- A knot on the wrist, [69]
- A knot that will not draw tight, [67]
- Tumbler, coin-vanishing, [184]
- Filter, [79]
- Passing a fork or spoon through, [79]
- Perambulating bottle and, [328]
- U.
- Ubiquitous glass of water, [267]
- Universal card, [119]
- Untying a knot at word of command, [65]
- V.
- Vanishing and passing a ball, [55]
- Articles through traps, [158]
- Coins, [10]
- Coins from a handkerchief, [17]
- Doves, [173]
- Glass of sherry, [77]
- Handkerchiefs, [171]
- Large objects from the hands, [167]
- Oranges, &c., [170]
- Pack of cards, [186]
- Plates, [78]
- Small birds, [173]
- Vesting, [160], [170]
- W.
- Walking stick, perambulating, [382]
- Wand and ring, [51]
- Half-crown, [237]
- Finding articles in, [305]
- Mesmeric suspension, [318]
- Passing down throat, [368]
- Purchasing, [3]
- Ring and handkerchief, [49]
- Use of, in palming, [12]
- Warm hands, necessity for, [398]
- Watches, bag for, [363]
- Bending, [362]
- Box for, [368]
- Borrowing, [361]
- Breaking, [362]
- Causing to appear on assistant's back, [367]
- Putty, [362]
- Reproducing, [364]
- Swallowing, [368]
- Targets for, [365]
- Tricks with, [360]
- Water, inverting glass of, [271]
- Ubiquitous glass of, [267]
- "Welsh rabbit," novel, [374]
- Wine bottle, magic, [316]
- Magical, [337]
- Wine-drinking crystal ball, [308]
- Worsted ball and coin, [256]
- Wrist, tying a knot on the, [69]
- Writings, fiery, [387]
Transcriber's Notes
Minor punctuation errors have been silently corrected. Some illustrations have been relocated. Part I and Part II have been added to the Table of Contents.
Page [26]: Changed "Alway" to "Always."
(Orig: Alway obtain possession of the wineglass)
Page [78]: Changed "immmediately" to "immediately."
(Orig: between the legs, and immmediately covered with the napkin.)
Page [106]: Removed duplicate "in."
(Orig: it is not in in general use, but forms almost a separate)
Page [164]: "description" is probably a typo for "descriptions."
(Orig: one of the most wonder-inspiring description.)
Page [187]: Changed "maufacture" to "manufacture."
(Orig: he was told to maufacture the card,)
Page [197]: Possibly missing "be" before "burnt."
(Orig: half of the card which is to burnt doubled up and placed)
Page [220]: Changed "hankerchief" to "handkerchief."
(Orig: and the body of the same hankerchief on the other side)
Page [264]: Changed "that" to "than."
(Orig: trick even more wonderful that it is in its ordinary form.)
Page [314]: Changed "fron" to "from."
(Orig: and pour out some liquid fron it,)
Page [314]: Changed "unexpresed" to "unexpressed."
(Orig: for the unexpresed purpose of showing that it is glass,)
Page [349]: Changed "unvailing" to "unavailing."
(Orig: great, but unvailing, efforts are made to extract the ball.)
Page [353]: Changed "neccessary" to "necessary."
(Orig: great care being neccessary to prevent any of them falling)
Page [370]: Changed "when" to "then."
(Orig: for a few seconds, when open it, showing, of course, nothing)