The Magician's Own Book, or, the Whole Art of Conjuring / Being a complete hand-book of parlor magic, and containing over one thousand optical, chemical, mechanical, magnetical, and magical experiments, amusing transmutations, astonishing sleights and subtleties, celebrated card deceptions, ingenious tricks with numbers, curious and entertaining puzzles, together with all the most noted tricks of modern performers.

by George Arnold; Frank Cahill

THE YOUNG CONJUROR.

INCLUDING SLEIGHT OF HAND, WITH OBJECTS OR CARDS, WITH AND WITHOUT APPARATUS.

That there has been "Jugglery" in all ages of the world, the pages of history abundantly prove. The ancient religions of the heathen were mixed up with an extensive system of legerdemain, and were, more or less, tissues of trickery. Sleight of hand, tricks of the tongue by which the word was kept to the ear, but broken to the hope, and various miraculous deceptions, were the means by which the priests of Egypt, Greece, and Rome used to subjugate mankind. Happy ought we to be, in living in an age when humbug of every kind is sure to meet exposure by the daylight beams of truth.

The Eastern nations, from the earliest times, possessed, besides these religious jugglers, others who made a livelihood by going from place to place, and performing various tricks and feats by which the judgement was bewildered and the reason bamboozled; and even now the performers of the East infinitely exceed those of the West. In the Norman times the juggler was termed jongleur, or joculator, and united in one the minstrel, astrologer, and merry-andrew. In the fourteenth century, he seems to have become more entirely a performer of tricks and feats, and bore the name of Tregetour. The tregetours were adepts at every kind of sleight of hand, and by the assistance of machinery of various kinds, deceived the eyes of the spectators, and produced such illusions as were usually supposed to be the effect of enchantment, for which reason they were frequently ranked with sorcerers, magicians, and witches. Chaucer, who no doubt had frequently an opportunity of seeing the tricks exhibited by the tregetours of his time, says, "There I sawe playenge jogelours, magyciens, trageteours, phetonysses, charmeresses, old witches, and sorceresses;" and the old poet goes on to say to them, "Sometimes they will bring on the similitude of a grim lion, or make flowers spring up as in a meadow; sometimes they cause a vine to flourish, bearing white and red grapes, or show a castle built with stone, and when they please, they cause the whole to disappear:" and in another part of his work, he says:

"There saw I Coll Tregetour,

Upon a table of sycamour,

Play an uncouthe thynge to tell;

I sawe hym cary a wyndemell,

Under a walnot shale."—House of Fame, book iii.

The learned monarch, James I, was perfectly convinced that these and other inferior feats exhibited by the tregetours of his day, could only be performed by the agency of the "old gentleman," whom it is not polite to name. The profession had already fallen very low, and at the close of the reign of Queen Elizabeth, the performers were ranked by the moral writers of that time, not only with ruffians, blasphemers, thieves, and vagabonds, but also with Jews, Turks, heretics, pagans, and sorcerers; and in more modern times, by way of derision, the juggler was called a mocus-pocus, or hocus-pocus, a term applicable to a pick-pocket, or a common cheat.

The following pages are not intended to make the young reader either a cheat or a trickster; there is nothing, perhaps, so utterly contemptible in every-day life, as trickery and deception, and we would caution our young master not to obtain by these amusements a love of deception, which is only allowable in such feats of amusement, and which is in no way culpable, when every one knows he is deceived. But we would advise him strongly to cultivate in his own mind the virtues of sincerity, straightforwardness, candor, openness, and truth; to shun subterfuge and deception as he would a venomous reptile; and to hate a lie as he would hate that same old gentleman whom we were too polite to name, and who is the father of it.

With this sage advice, we shall present a collection of amusing conjuring tricks.

SLEIGHT OF HAND.

It is my intention, in the following pages, to lay more stress upon those tricks which require no apparatus, than upon those for which special apparatus, or the assistance of a confederate, is required. No one is nearly so well pleased by a trick whose essence evidently lies in the machinery, while every one feels pleasure at seeing a sleight of hand trick neatly executed. For my own part, I despise all the numerous boxes, bottles, variegated covers, and other gimcracks which are generally seen on a conjuror's table; and I have never been so pleased with any performer as with one who did not even require a table, but pressed into his service articles borrowed from his audience, as he stood before them, or walked among them. The spectators should never be able to say, "Ah! the trick lies in the box; he dares not show it to us!"

The following tricks have almost all been successfully performed by myself, and have caused me some reputation in the magic art. Some are my own invention:

1. THE FLYING DIME.

This trick must be frequently practiced before it is produced in public.

Borrow two colored silk handkerchiefs from the company, and have three dimes in your hand, but only show two, keeping the other one firmly fixed against the first joint of the second and third fingers. You must also have a fine needle and thread stuck inside the cuff of your coat. Then take one of the handkerchiefs, and put in both dimes, but pretend that only one is in the handkerchief; then put the handkerchief into a hat, leaving one corner hanging out. Now hold up the third dime (which the spectators imagine is the second), and ask one of the company to lay the second handkerchief over it. You then ask him to hold the dime tight between his finger and thumb, while you twist up the handkerchief. While doing so, with both hands concealed under the handkerchief, you pass a few stitches under the dime, and replace the needle. This being done, spread one corner of the handkerchief over the hand of the person who is still holding the dime, and, taking hold of another corner, tell him to drop the dime when you have counted three. At the word "three," he lets go the dime, and you whisk the handkerchief into the air, when the dime appears to have vanished, but is really held in the handkerchief. You then tell the astonished individual to draw the other handkerchief out of the hat by the corner that is hanging out. The two dimes are heard to fall into the hat, and every one is persuaded that you have conjured one of the dimes out of a person's hand, and sent it into the hat.

2. ANOTHER METHOD.

Perhaps the spectators may ask to see it again, or demand to mark the dime. In this case, vary it as follows. Ask some one (always choose the most incredulous of the party) to mark a dime of his own, and give it you. Take the same handkerchief, and give him the dime to hold that is already enclosed in it, as in the last trick, dropping the marked dime into the palm of your hand. Twist it up as before, and then leave it entirely in his hands. Direct him to place it on a table, and cover it with a basin or saucer. Ask him to give you a cup or tumbler, and hold it under the table, beneath the place where the saucer is. Then tell him to knock three times on the saucer, and at the third knock let the marked dime fall into the tumbler. Hand him the tumbler, and while he is examining the dime to see if it is the same one that he marked, take up the saucer, and shake out the handkerchief that is lying under it, as in the last trick. You must then return the handkerchief, and while you pretend to be searching for the marks, draw out the thread that held the dime, and drop the coin into the palm of your hand, taking care to rub between your finger and thumb the spot where the threads had been, in order to eradicate the marks. This variation seldom fails to confuse the company.

You must remember to keep talking the whole time, and always try to make a joke, or otherwise to distract the attention of the audience, while you are executing the necessary changes.

3. THE BEADS AND STRINGS.

Ask some lady to lend you the beads off her bracelet, or have by you five or six beads, which you may hand round for examination. Then get some one to cut two pieces of thin string of equal length, and twist them about your fingers, appearing to lay them side by side, but in reality placing them as in the figure, and then, by twisting them together with apparent carelessness, the manner in which they are arranged will not be seen, particularly if you keep the point of junction hidden either by a finger, or by throwing the shade of your hand upon it.

When the beads are returned, thread them all, taking care to pass the center bead over the point of juncture. You then bring the ends of the string 1 and 2 together, and tie them so, doing the same with 3 and 4. Now give the tied ends to two persons, directing them to hold them tight. You need not fear that the beads will come off, even if they pull hard. Then grasp the beads with both hands, directing the holders to slacken the strings. You then, under cover of the left hand, which is placed above the beads, slip the center bead to one side, and draw out the two loops which have been hidden in it. The beads will then easily come off into your right hand. Tell the holders to pull hard, which they will do, and the same moment remove your hands, showing the empty strings, and all the beads in your right hand. Then hand round the beads and strings as before. Remember to rub out the marks in the strings caused by the loops, before you remove your hands.

4. TO GET A RING OUT OF A HANDKERCHIEF.

Bend a piece of gold wire into the form of a ring, having previously sharpened both ends. You have a real ring made of the same piece of wire, and concealing the false ring in the palm of your hand, offer the real one to be inspected. When it is returned, borrow a handkerchief, and while taking it from the lender, slip the real ring into your left hand, and take the false one at its point of junction. Throw the handkerchief over the ring, and give it to some one to hold between his finger and thumb. Let the handkerchief fall over it, and give a piece of string to a second spectator, directing him to tie it round the handkerchief, about two inches below the ring, so as to enclose it in a bag, and tell him to do so as tightly as he can. While he is doing this, take up your conjuring wand, a rod of some hard wood, about eighteen inches long, and when the knot is tied, step forward, passing the rod into your left hand, taking care to slip over it the real ring, which has lain concealed there. Slip your left hand to the center of the rod, and direct each of the two persons to hold one end of it in his right hand. Then tell the one who has the ring and handkerchief, to lay them on your left hand, which you immediately cover with your right. Then tell them to spread another handkerchief over your hands, and to say after you any nonsense that you like to invent.

While they are so doing, unbend the false ring, and draw it through the handkerchiefs by one of its points, carefully rubbing between the thumb and finger the place where it came through. Hang the empty handkerchief over the ring which is on the rod, and take away your hands, which you exhibit empty, as you have stuck the false ring inside your cuff. Take away the upper handkerchief, and let a third person come to examine, when he will find the ring gone out of the handkerchief, and hung upon the rod.

5. TO TIE A KNOT IN A HANDKERCHIEF WHICH CANNOT BE DRAWN TIGHT.

Cast an ordinary knot on a handkerchief, and give the end out of your right hand to some spectator, and tell him to pull hard and sharp when you count three. Just as he pulls, slip your left thumb under the handkerchief, as drawn in the cut, and it will be pulled out quite straight, without any knot at all. You must let go the end that hangs over the left hand, and grasp the handkerchief between the thumb and fore finger.

6. THE THREE CUPS.

This is an admirable delusion, but requires very careful management, and should be practiced repeatedly before it is exhibited publicly. You get three tin cups, of the shape shown in the cut. They should have two or three ridges running round them at the mouth, in order to give a better hold. Four balls should now be made of cork, and carefully blackened. One of the balls is held concealed between the roots of the third and fourth fingers, while the other three are handed round for examination, together with the cups. When they are returned, the young conjuror begins by placing each ball under a cup, or, if he chooses, asking one of the spectators to do so for him. While this is being done, he slips the fourth ball to the tips of the second and third fingers. He then lifts up cup No. 1, replaces it on the table a few inches from its first position, and at the same time slips the fourth ball under it. He takes up ball No. 1, and pretends to throw it away, but in reality he slips it into the place which the fourth ball had occupied. He does the same with the three cups, and then commences a sham search after the lost ball, in which he accidentally (!) knocks over one of the cups, and, to his pretended astonishment, finds a ball under it. He then knocks over both the other cups, and finds in them the two missing balls.

He again places the balls under the cups, taking care to slip the fourth ball under cup No. 3. He then takes up cup No. 1, and pretends to throw the ball into No. 3, but hides it as before. As there are already two balls in No. 3, the spectators imagine that he really has thrown the ball into it. He replaces cup No. 3 over both balls, and slips among them ball No. 1. He then takes up cup No. 2, and goes through the same process, and on knocking over cup No. 3, all three balls are found together under it, and while the spectators are being astonished, ball No 2 can be quickly got rid of.

A rather startling termination to this trick can be managed by taking up one of the cups, with its mouth upwards holding the finger and thumb close to its mouth. Then by throwing another cup into it, letting go the first and catching the second, you appear to have thrown the second cup through the first.

7. TO TIE A HANDKERCHIEF ROUND YOUR LEG, AND GET IT OFF WITHOUT UNTYING THE KNOT.

Hold the handkerchief by both ends, lay the center of the handkerchief on your knee, and pass the two ends below, appearing to cross them, but in reality hitching them within each other, as represented in the engraving, which shows the manner in which this is managed. Draw this loop tight, and bring back the ends to the same side on which they were originally, and tie them above. If the loop is properly made, it will stand a good pull. Then, after showing the spectators how firmly it is tied, put your hand under the knot, and by giving it a sharp pull, it will come off.

The engraving represents the manner in which the loop is made, but it must be made considerably smaller than it is shown, or it will be seen. In fact, it ought not to be a loop at all, as it should be almost concealed under the fold of the handkerchief. Do not show this in public until you can tie it with rapidity and precision.

8. THE MAGIC BOND.

Take a piece of string, and tie the two ends together with a weaver's knot, as that holds the best, and arrange it over the fingers, as represented in the engraving. Having done so, let the long loop hang loose, lift both loops off the thumb, draw them forward until the string is quite tight, and then put them behind the hand, by passing them between the second and third fingers. Then pull the part of the string that lies across the roots of the fingers, and the whole affair will come off.

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9. THE OLD MAN AND HIS CHAIR.

Fig. 1

Fig. 2

1. Right fore finger
2. Right middle finger

Take the same piece of string as in the last trick, hold your left hand with the palm uppermost, and hang the string over the palm. Spread all the fingers, and with the right hand bring forward the loops that hang behind, by passing it over the second and third fingers. Loose the loop, take hold of the part of the string that crosses the hand, and pull it forwards. When tight, pass it to the back of the hand, the reversal of the movement that brought it forwards. Loose the loop, insert the fore-finger and little finger of the right hand under the string that encircles the left fore-finger and little finger, and pass the two loops to the back of the hand, as shown in the cut, Fig. 1. Tuck both loops under the cross-strings at the back, and your preliminaries are completed. Then begin your story: "There was once upon a time, an old man, who stole a pound of candles. Here they are." You then hold your left hand as at the commencement, hook the right fore-finger under the cross-piece at the back, and draw it downward until it is long enough to be passed over the second and third fingers to the front. Pass it over, and draw it slowly upwards, when the similitude of a pound of candles hanging by their strings will be seen. (See Fig. 2.) "The old man being tired hung up his candles," you then hang the long loop over your thumb, "and sat down in his high-backed chair, which you see here." You then hitch the right fore finger and middle finger under the two loops that will be found hanging behind the left hand, bring them to the front, raise them perpendicularly, and the chair will be seen as in Fig. 3. The thumb must be raised perpendicularly, and brought as much as possible into the center of the hand, or the chair will be all aside.

"When the old man was rested, it began to become dark, and he took a pair of scissors to cut down a candle for himself. Here are the scissors." While you are saying this, you slip the loop off the thumb, and you get Fig. 4. Move the blades and handles of the scissors, as if cutting something with them. "Just as he had lighted it, in came a policeman, and produced his staff, with the Queen's crown at the top." Now let go the little finger of the left hand and the loop will run up the string towards the right hand, producing Fig. 5. "The old man in vain tried to resist, for the policeman called a comrade to his assistance, and they tied a cord round the old man's arms in a tight knot, like this"—slip the right middle finger out of its loop, and you will obtain Fig. 6—"and carried him off to prison."

Fig. 4

1. Fore finger of left hand,

2. Little finger of left hand.

3. Fore finger of right hand.

4. Middle finger of right hand.

Fig. 5

1. Right middle finger.

2. Right fore finger.

Fig. 6

1. Right fore

1. finger.

2. Left hand.

10. TO TIE A KNOT ON THE LEFT WRIST, WITHOUT LETTING THE RIGHT HAND APPROACH IT.

Fig. 1

Fig. 2

Take a piece of thick pliant string by each end, and with a quick jerk of the right hand cast a loop on it as in Fig. 1. The jerk must be given upwards and towards the left hand, and its impetus will cause the loop to run up the string until it falls over the left wrist, as in Fig. 2. The moment that the forward jerk is given the right hand should be drawn back, so that the loop is drawn tight directly it has settled on the wrist. Both ends should be let fall when the knot is firm. This is a very nice little sleight of hand trick to practice in the intervals between more showy ones, and, although rather difficult to learn, is soon acquired.

11. THE HANDCUFFS.

Let two persons, A and B, have their hands tied together with string, so that the strings cross, as represented in the engraving. The object is, to free themselves from each other without untying the knot. It is executed in the following manner:

Let B gather up the string that joins his hands, pass the loop under the string that binds either of A's wrists, slip it over A's hand, and both will be free. By a reversal of the same process, the string may be replaced.

12. TO PULL A STRING THROUGH YOUR BUTTON-HOLE.

Take a piece of string about two feet in length, and tie the ends together. Pass it through a button-hole of your coat; hitch one thumb at each end, hook the little fingers into the upper strings of the opposite hand. Then draw the hands well outward, and the string will look very complicated, as in the engraving.

To get out the string, loose the hold of the right thumb and left little finger, and separate the hands smartly, when the string will appear to have been pulled out through the substance of your coat.

It is an improvement of the trick, if, immediately on loosing the hold of the right thumb, you change the string from the right little finger on to the thumb.

13. THE CUT STRING RESTORED.

Tie together the ends of a piece of string, pass one hand through each end, twist it once round, and put both ends into the left hand. Draw the right hand rapidly along the double strings until you come to the place where the strings have crossed each other, as seen in the engraving. Conceal the junction with the thumb and finger of the right hand; hold the strings in a similar manner with the left hand, and tell some one to cut the string between them. You show that the string has been divided into two pieces, and say that you will join them with your teeth. Put all four ends into your mouth, and remove with your tongue the little loop that has been cut off. When you take the string out of your mouth, the spectators will not notice the absence of so small a portion of its length, and will fancy that you really have joined them.

1. The twisted string. 2. The manner of holding it.

14. THE GORDIAN KNOT.

Take a silk handkerchief, and lay it on a table. Take each of the corners, and lay them across each other in the middle of the handkerchief, which will then be square, as in the cut, Fig. 1. Do the same with the new corners, and go on until the handkerchief is reduced to the size of your hand. Then with your left finger and thumb take hold of the center, taking care to grasp all the four corners that lie there, and with the right finger and thumb take hold of the outer layer of silk, and pull it towards you as far as it will come. Then turn it a little on your left hand, and repeat the operation until it is all screwed up into a tight ball, as is represented in the engraving, Fig. 2. No ends will be then perceptible, and a person who is unacquainted with the mode will never be able to untie it. Of course you must prepare it previously. When the person to whom you give it has failed to untie it, you take the ball in your hand, and holding it behind your back, you reverse the method by which it was tied, and when it is loose a good shake will release it.

15. THE KNOT LOOSENED.

This is a very amusing deception. You ask any one for a handkerchief, and tie the ends firmly together in a double knot, allowing him to feel it, or pull the ends as tight as he pleases. You then throw the center of the handkerchief over the knot, ask the person to hold it tight between his finger and thumb. You ask him if the knot is still there, to which he will answer in the affirmative. You then take hold of any part of the handkerchief, and direct the holder to drop the handkerchief at the word "three." You count, "one, two, three," at which word he looses his hold of the handkerchief, and there is no vestige left of the knot.

The method of managing this trick is as follows: Take the handkerchief and tie the ends in a simple knot, keeping one end tight, and the other end loose. We will call the tight end A, and the loose one B. Keep A always in the right hand, and on the stretch horizontally, and the handkerchief will look as in the cut. Do this when you tie it the second time, and draw B tight, which will then form a double tie round A, but will not hold it firm. When you throw the handkerchief over the knot, you draw out A with the finger and thumb of the left hand, and the knot will apparently remain firm, although in reality it is nothing but a double twist of silk, which of course falls loose when the handkerchief is dropped.

16. TO PUT NUTS INTO YOUR EAR.

Take three nuts in the left hand, show them, and take out one of them between your right finger and thumb, and another between the first and third finger. This latter is not seen by the company. You then put one of them in your mouth and retain it there, unknown to the spectators, while you exhibit the second as the one that you put into your mouth. This second one you carry to your ear, as if you meant to insert it there, and on replacing it in your left hand, only two nuts will be left instead of three, the third of which appears to have gone into your ear.

17. TO CRACK WALNUTS IN YOUR ELBOW.

Conceal a very strong walnut in your right hand, and take two other walnuts out of the dish. Place one of them on the joint of your arm, and say that you are going to break it by the power of your muscles. You will now have one walnut in your arm and two in your right hand. Close your left arm, and strike it an apparently violent blow with the right hand, at the same time clenching the right hand violently, which will smash the second walnut in it, and the spectators hearing the crash will be sure to fancy that it is caused by the demolition of the walnut in your arm. Then open your arm very gently (for fear of dropping any of the fragments, you must say), and, when pretending to take out the walnut which you had placed there, you substitute for it the broken one from your right hand.

18. TO TAKE FEATHERS OUT OF AN EMPTY HANDKERCHIEF.

Procure at the military clothier's four or five large plumes, such as are worn by officers. Take off your coat, and lay the plumes along your arms, the stem being toward your hand. Now put on your coat again, and the feathers will lie quite smoothly and unsuspected. Borrow a handkerchief from one of the spectators, and wave it about to show that it is empty. Throw it over your left hand, and with the right draw out one of the plumes from up the coat-sleeve, at the same time giving it a flourish in the air, which will loosen all the fibers of the feather, and make it appear much too large to have been concealed about the person. Wave the handkerchief again, and repeat the operation until all the plumes are gone. You can carry enough plumes under the sleeve to cover a table with, and if you prepare a board or an ornamental vase full of holes, you can place the plumes upright as you take them out.

19. THE KNOTTED HANDKERCHIEF.

This feat consists in tying a number of hard knots in a pocket-handkerchief borrowed from one of the company, then letting any person hold the knots, and by the operator merely shaking the handkerchief, all the knots become unloosened, and the handkerchief is restored to its original state.

To perform this excellent trick, get as soft a handkerchief as possible, and taking the opposite ends, one in each hand, throw the right hand over the left, and draw it through, as if you were going to tie a knot in the usual way. Again throw the right-hand end over the left, and give the left-hand end to some person to pull, you at the same time pulling the right-hand end with your right hand, while your left hand holds the handkerchief just behind the knot. Press the thumb of your left hand against the knot to prevent its slipping, always taking care to let the person to whom you gave one end pull first: so that, in fact, he is only pulling against your left hand.

You now tie another knot exactly in the same way as the first, taking care always to throw the right-hand end over the left. As you go on tying the knots, you will find the right-hand end of the handkerchief decreasing considerably in length, while the left-hand one remains nearly as long as at first; because, in fact, you are merely tying the right-hand end round the left. To prevent this from being noticed, you should stoop down a little after each knot, and pretend to pull the knots tighter; while, at the same time, you press the thumb of the right hand against the knot, and with the fingers and palm of the same hand, draw the handkerchief, so as to make the left-hand end shorter, keeping it at each knot as nearly the length of the right-hand end as possible.

When you have tied as many knots as the handkerchief will admit of, hand them round for the company to feel that they are firm knots; then hold the handkerchief in your right hand, just below the knots, and with the left hand turn the loose part of the center of the handkerchief over them, desiring some person to hold them. Before they take the handkerchief in hand, you draw out the right-hand end of the handkerchief, which you have in the right hand, and which you may easily do, and the knots being still held together by the loose part of the handkerchief, the person who holds the handkerchief will declare he feels them: you then take hold of one of the ends of the handkerchief which hangs down, and desire him to repeat after you, one, two, three; then tell him to let go, when, by giving the handkerchief a smart shake, the whole of the knots will become unloosed.

Should you, by accident, whilst tying the knots, give the wrong end to be pulled, a hard knot will be the consequence, and you will know when this has happened the instant you try to draw the left-hand end of the handkerchief shorter. You must, therefore, turn this mistake to the best advantage, by asking any one of the company to see how long it will take him to untie one knot, you counting the seconds. When he has untied the knot, your other knots will remain right as they were before. Having finished tying the knots, let the same person hold them, and tell him that, as he took two minutes to untie one knot, he ought to allow you fourteen minutes to untie the seven; but as you do not wish to take any advantage, you will be satisfied with fourteen seconds.

You may excite some laughter during the performance of this trick, by desiring those who pull the knots along with you, to pull as hard as they please, and not to be afraid, as the handkerchief is not yours; you may likewise go to the owner of the handkerchief, and desire him to assist you in pulling a knot, saying, that if the handkerchief is to be torn, it is only right that he should have a share of it; you may likewise say that he does not pull very hard, which will cause a laugh against him.

20. HOUDIN'S NUT TRICK.

To perform a clever trick with dexterity before a "small party" is at once to become the hero of the evening. If you cannot sing, you must solve conundrums, or dance a horn-pipe; if neither of these be "your forte," a good trick or two will give equal pleasure to the "bright blue eyes" peering at you. The nut trick is exhibited thus: The professor hands the audience a dessert plate and a cambric handkerchief for examination; these being returned, he places the plate upon a table near to him; the handkerchief is then spread out quite flat over the plate. At command, sugared almonds, nuts, and comfits pour into the dessert plate the instant the kerchief is lifted up, producing an effect that would have astonished the magi of old. The way in which it is done is this: Make a calico bag large enough to hold the nuts and sweetmeats you intend to distribute, exactly to the pattern of a nightcap, or the letter A: a small selvage is turned up at the bottom of the bag; procure two pieces of watch spring, and bend them quite flat, each spring to be exactly half the diameter of the bag. These are put into the selvage, and sewn up firm. When the bag is opened, it will close itself in consequence of the springs. A long pin is passed through the top of the bag and bent round hook-shape. If the bag be now filled with nuts, &c., it may be suspended by the hook, without any danger of the nuts or anything else falling out; because, although the mouth of the bag is downwards, the springs keep it shut. When this trick is to be shown, the prepared bag is hung on the side of the table that is away from the audience. The plate is also placed on that side; and when the handkerchief is laid over the plate a portion is left to fall over the side of the table. Now the kerchief is picked up with the right hand in the center (just as a lady does when she wishes to exhibit the lace edge), and with it the bag of nuts; the folds of the cambric hide the bag. The left hand is now used to draw over the handkerchief and to press the bag; this causes the springs to open, and out fall the "good things" upon the plate. This causes sufficient diversion for the merest tyro of a conjuror to drop the bag behind the table unseen, while he advances to the audience, politely inquiring, "Will you take a few nuts or sweetmeats?"

21. CONJURING A RING.

Several very marvelous tricks can be shown with an ordinary finger ring, such as passing it through the table, through a basin, an ale-glass or a plate, then into a box or nest of boxes, and other feats of legerdemain of a similar kind. These tricks are so good that they are always shown by the professors of magic at evening parties, but are never explained; however, we will attempt it. Procure a soft clean silk handkerchief and a sham gold ring; now a needleful of black silk, double; sew the silk to the middle of the handkerchief, and let the ring hang from it, suspended by the end of the silk, say at about three or four inches from the kerchief. When the handkerchief is held up by two corners, the suspended ring must always hang on the side facing the magician; the handkerchief can then be shaken, folded, and crumpled up in the hands, so as to make it appear "all fair." Now, to pass a ring through a drinking-glass and plate, and through the table on which it is placed. "If any lady or gentleman will kindly lend me a ring, I shall be happy to exhibit the electric and magnetic action of metallic substances on diaphanous bodies and ceramic manufactures, by showing their imperviousness, and the porosity of ligneous products of the Honduras." "Hem!" says Aunt Caroline, "what an extraordinary youth!" Do not, however, allow yourself to be carried away by any flattery of this kind, but determine to do the trick well, and deserve praise. Take the borrowed ring in the LEFT hand, and keep it there; pretend to pass it to the right hand, and say, "I will place it in the handkerchief. Who will kindly hold it for me while I put the glass on the plate in the center of the table?" While you thus freely ask who will hold the kerchief, you will secure the most bashful lady or gentleman in the company to hold the (your) ring in the handkerchief. "You will perceive, ladies and gentlemen, that the glass and the plate are now quite empty. I shall now place the glass in the plate on to the center of the table, and request the lady (or gent) to place the ring and the handkerchief over the glass. I particularly draw your attention to the fact that you will hear the ring fall into the glass when I request it to be released. You will then be certain that it is in the glass; but at my command it shall pass into this box (show the box round), which I shall place under the table. Now, miss (or sir) be good enough to let the ring fall into the glass. Silence! Ting! You heard it fall?" "Yes," all must reply, except the deaf. Presto! It is now in the box. You lift the handkerchief, smooth down your brow with it, and put it into your pocket. The audience are now left to themselves. They rush to the plate and glass, it is not there; now the box, behold! it is as sound as ever: how it got there Aunt Carry could never tell, but you could, for you put it there out of your left hand when you placed the box under the table.

22. THE ERRATIC EGG.

Transfer the egg from one wine-glass to the other, and back again to its original position, without touching the egg or glasses, or allowing any person or any thing to touch them. To perform this trick, all that you have to do, is to blow smartly on one side of the egg, and it will hop into the next glass; repeat this and it will hop back again.

23. THE OBEDIENT DIME.

A CAPITAL TRICK AT THE DINNER TABLE.

Lay a dime between two half-dollars, and place upon the larger coins a glass, as in the diagram. Remove the dime without displacing either of the half-dollars or the glass. After having placed the glass and coins as indicated, simply scratch the tablecloth with the nail of the fore finger in the direction you would have the dime to move, and it will answer immediately. The table cloth is necessary; for this reason the trick is best suited to the breakfast or dinner table. The amusement will be heightened by reciting the following words prior to moving the finger:

"Little dime, do not stay

In a place so out-of-the-way;

But when my finger moved shall be,

Like a good fellow come to me."

24. THE PRISONER RELEASED.

Place a dime in the bottom of a glass, and over the latter put a quarter, as in the diagram. The puzzle is to remove the small coin from beneath the larger one, without touching either of the coins, or touching or upsetting the glass. To do this capital trick you must blow with considerable force down one side of the glass upon the edge of the quarter. The dime will be expelled by the force of the air, and will fall either upon the upper surface of the quarter or upon the table. A little practice will render the performance of this feat very easy.

25. ADVANTAGEOUS WAGER.

Request a lady to lend you a watch. Examine it, and give a guess as to its value; then offer to lay the owner a wager, considerably below the real value of the watch, that she will not answer to three questions which you will put to her consecutively, "My watch." Show her the watch, and say, "What is this which I hold in my hand?" she, of course, will not fail to reply, "My watch." Next present to her notice some other object, repeating the same question. If she name the object you present, she loses the wager; but if she be on her guard, and remembering her stake, she says, "My watch," she must, of course, win; and you, therefore, to divert her attention, should observe to her, "You are certain to win the stake, but supposing I lose, what will you give me?" and if, confident of success, she replies for the third time, "My watch," then take it and leave her the wager agreed on.

26. THE DOUBLE MEANING.

Place a glass of any liquor upon the table, put a hat over it, and say, "I will engage to drink the liquor under that hat, and yet I'll not touch the hat." You then get under the table, and after giving three knocks, you make a noise with your mouth as if you were swallowing the liquor. Then getting from under the table, you say, "Now, gentlemen, be pleased to look." Some one, eager to see if you drank the liquor, will raise up the hat, when you instantly take the glass, and drink the contents, saying, "Gentlemen, I have fulfilled my promise. You are all witnesses that I did not touch the hat."

27. THE THREE SPOONS.

This is a most capital trick, but it requires a confederate's aid. Place three silver spoons crosswise on a table, request any person to touch one, and assure him you will find out the one he touches by a single inspection; although you will leave the room while he does so, and even if he touches it so gently as not to disarrange the order in which they are once put in the slightest degree. You retire; and when he gives you notice to enter, walk up to the table and inspect the spoons, as if trying to ascertain whether there are any finger-marks upon them, and then decide. Your confederate, of course, makes some sign, previously agreed upon, to give you notice which is the identical spoon; the actions may be, touching a button of his jacket for the top spoon, touching his chin for the second, and putting his finger to his lips may signify the lowest; but the precise actions are immaterial, so that the spoon they indicate be understood.

28. THE JUGGLER'S JOKE.

Take a little ball in each hand, and stretch your hands as far apart as you possibly can, one from the other; then tell the company that you will make both the balls come into whichever hand they please, without bringing the hands into contact with each other. If any of the lookers-on challenge your ability of achieving this feat, all you have to do is to lay one of the balls down upon a table, turn yourself round, and take it up with your other hand. Both the balls will thus be in one of your hands, without the latter approaching the other, agreeably to your promise.

29. TO CAUSE WINE AND WATER TO CHANGE PLACES.

Fill a small narrow-necked bulb with port wine, or with water and colored spirit of wine, and put the bulb into a tall, narrow glass jar, which is then to be filled up with cold water: immediately, the colored fluid will issue from the bulb, and accumulate on the surface of the water in the jar, while colorless water will be seen accumulating at the bottom of the bulb. By close inspection, the descending current of the water may also be observed, and the colored and the colorless liquids be seen to pass each other in the narrow neck of the bulb without mixing. The whole of the colored fluid will shortly have ascended, and the bulb will be entirely filled with clear water.

30. IS IT POSSIBLE?

Side by side place three pieces of anything, (money is most convenient,) then take away the middle piece without touching it.

By removing the right hand piece to the side of the left, you thus take away the center without touching it.

31. THE TOPER'S STRATAGEM.

Get a bottle full of water, with the cork driven tightly in, and the top of it level with the neck of the bottle. You must remove the cork from the bottle without touching the cork with anything, and without injuring the bottle.

Wrap a towel round the bottom of the bottle, and strike it evenly and repeatedly, but not too hard, against a wall, post, or tree, and after some time the cork will be driven out of the bottle.

32. THE IMPOSSIBLE OMELET.

Produce some butter, eggs, and other ingredients for making an omelet, together with a frying-pan, in a room where there is a fire, and offer to bet a wager, that the cleverest cook will not be able to make an omelet with them. The wager is won by having previously caused the eggs to be boiled very hard.

33. NEW PERPETUAL ROTARY MOTION.

By an accidental occurrence, it has recently been discovered that a piece of rock-crystal, or quartz, cut in a peculiar form, produces, upon an inclined plane, and without any apparent impetus, an extraordinary rotary motion, which maybe kept up for an indefinite period of time. The curiosity of this philosophical toy having excited general interest in the scientific world, Professor Leslie, in his lecture, thus explains the phenomenon:

"The crystal has six sides, and being cut accurately from the faces to a perfect convex surface, if placed upon a wetted smooth surface, and held parallel, no motion will take place, because the center of gravity of each face is balanced and supported in this position of the plane surface; but if a slight inclination is given to the plane, a rotary motion commences, in consequence of the support being removed from the center of gravity. The impetus once given, the centrifugal force increases the rotary motion to such a degree, as for an observer to be unable to distinguish the form of the crystal.

"To produce the effect.—Place the crystal on a piece of plate or common window glass, a china or glazed plate, or any smooth surface, perfectly clean, as grease or a particle of dust would impede its motion. Wet the surface, and give the plane a slight inclination, when, if properly managed, a rotatory motion will commence, which may be kept up for any length of time by giving alternate inclinations to the plane surface, according to the movements of the crystal; to heighten the pleasing effect of which, a variety of paper figures, harlequins, waltzers, &c., may be attached. The first trial of the experiment had better be made by giving a slight rotatory motion to the crystal."

34. THE MIRACULOUS APPLE.

To divide an apple into several parts, without breaking the rind. Pass a needle and thread under the rind of the apple, which is easily done by putting the needle in again at the same hole it came out of; and so passing on till you have gone round the apple. Then take both ends of the thread in your hands and draw it out, by which means the apple will be divided into two parts. In the same manner, you may divide it into as many parts as you please, and yet the rind will remain entire. Present the apple to any one to peel, and it will immediately fall to pieces.

35. AN OMELET COOKED IN A HAT, OVER THE FLAME OF A CANDLE.

State that you are about to cook an omelet; then you break four eggs in a hat, place the hat for a short time over the flame of a candle, and shortly after produce an omelet, completely cooked, and quite hot.

Some persons will be credulous enough to believe that by the help of certain ingredients you have been enabled to cook the omelet without fire; but the secret of the trick is, that the omelet had been previously cooked and placed in the hat, but could not be seen, because the operator, when breaking the eggs, placed it too high for the spectators to observe the contents. The eggs were empty ones, the contents having been previously extracted, by being sucked through a small aperture; but to prevent the company from suspecting this, the operator should, as if by accident, let a full egg fall on the table, which breaking, induces a belief that the others are also full.

36. THE INFALLIBLE PROPHET.

In this trick one of three articles being taken by each of three persons, you propose to tell the article each person has taken. We will suppose the articles to be a ring, dime or shilling, and a key. The performer must in his own mind, term the ring a, the shilling or dime e, and key i: (this being the alphabetical order of the vowels, can be easily recollected) and he must also mentally distinguish the persons as first, second and third. Then taking twenty-four counters or cards, he gives one to the first person, two to the second and three to the third; and placing the remainder of the counters on the table, he turns his back or leaves the room, telling the persons each to take an article, and that whoever takes the ring is to take also as many counters as he already has; he who takes the shilling, twice as many; and he who takes the key, four times as many. This being done, the performer advances, and reckons the remaining counters, and according to their number and the underneath line, which he must have previously acquired, he tells who has taken each of the different articles.

1. 2. 3. 5. 6. 7.
Salve certa animæ semita vita quies.

Thus, if there had been a remainder of six counters, the position of the vowels in the corresponding word vita, shows that the first person took i, the key; and the second person took a, the ring; and, consequently, the third person must have taken the shilling. It must be observed, that in no instance can there be a remainder of four counters; and that the first syllable of each word represents the first person, and the second syllable the second person. This ingenious feat is founded on the permutation of the three articles, or their representative vowels, which can only be placed in six different positions, and the corresponding numerical arrangement of the counters, thus:

1.	a e i	salve.
2.	e a i	certa.
3.	a i e	animæ.
5.	e i a	semita.
6.	i a e	vita.
7.	i e a	quies.

The three vowels, in their different positions, are made easy of recollection, by being united with consonants and formed in their regular succession into the above Latin line, or into this similarly constructed French one:

1. 2. 3. 5. 6. 7.
Par fer Cesar jadis devint si grand prince.

37. PHILOSOPHY CHEATED.

This feat is really an excellent one, and has astonished crowds of spectators in different parts of the United States. It was one of the favorites of a late professor, by whom it was promulgated. Before you perform it in public, you must practice it until you are quite perfect, in private, for it would be a pity to spoil its effect by making a blunder in it. Begin by stating that you are about performing what you have no doubt will be regarded as a very extraordinary maneuver, and you will leave the company to decide upon what principle of natural philosophy it is accomplished. The mode of performance is as follows: Lay the piece of wood across the palm of your left hand, which keep wide open, with the thumb and all the fingers far apart, lest you be suspected of supporting the wood with them. Next, take your left wrist in your right hand, and grasp it tightly, for the purpose, as you state, of giving the hand more steadiness. Now, suddenly turn the back of your left hand uppermost, and as your wrist moves in your right hand, stretch out the forefinger of your right hand, and as soon as the wood comes undermost, support it with such forefinger. You may now shake the hand, and, after a moment or two, suffer the wood to drop. It is two to one but the spectators will suppose it to be produced by the action of the air, and try to do it themselves; but, of course, they must, unless you have performed the feat so awkwardly as to be discovered, fail in its performance. If you have no objection to reveal the secret, you can do it again, and while they are gravely philosophizing upon it, suddenly lift up your hand (vide Cut), and expose the trick. This will, doubtless, create much amusement. Observe that, in doing this feat, you must keep your fingers so low that no one can see the palm of your left hand; and move your finger so carefully, that its action may not be detected; and if it be not, you may rest satisfied that its absence from round the wrist of the left hand will not be discovered, some of the fingers being naturally supposed to be under the coat; so that, if the spectators only see two or even one, they will imagine the others are beneath the cuff. When you have turned your hand over, do not keep the stick too long upheld, lest the spectators should take hold of your hands, and discover the trick; before their surprise is over, remove your forefinger, and suffer the stick to fall.

38. THE DISAPPEARING DIME.

Provide yourself with a piece of India rubber cord about twelve inches long, and a dime with a hole on the edge; attach the dime to the cord with a piece of white sewing silk, and after having done this, sew the cord to your coat sleeve lining, but be very careful and ascertain that the end upon which the dime is attached does not extend lower than within two inches of the extreme end of the sleeve when the coat is on. It is better to have the dime in the left arm sleeve. Having done this, bring down the dime with the right hand, and place it between the thumb and index finger of the left hand, and, showing it to the company, tell them that you will give the coin to any one present who will not let it slip away. You must then select one of the audience to whom you proffer the dime, and just as he is about to receive it you must let it slip from between your fingers, and the contraction of the elastic cord will make the coin disappear up your sleeve, much to the astonishment of the person who thinks he is about to receive it. This feat can be varied by pretending to wrap the coin in a piece of paper, or a handkerchief. Great care should be taken not to let any part of the cord be seen, as this would, of course, discover the trick. This is one of the most surprising feats of legerdemain, and its chief beauty consists in its extreme simplicity. The writer has frequently astonished a whole room full of company by the performance of this trick.

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TRICKS REQUIRING SPECIAL APPARATUS.

I admit no tricks that are wholly managed by the apparatus, as I think they are unworthy of notice. Therefore, every trick mentioned in the following pages must be carefully practiced in private before it is produced in public. The apparatus, of course, cannot be inspected by the audience, and for that reason it is better to mix them with those tricks that have been already mentioned, in order that suspicious persons may be quieted by an occasional permission to inspect the objects used in the performances.

The young conjuror should always vary the mode of performance in the non-essentials, and should study combinations of one trick with another, by which means he will produce more astonishing results than if he restricted himself to the methods mentioned in this work. He should also invariably make a little speech, acknowledging that he is only deceiving the eye and not the mind, and should therefore request the company not to ask any questions, or to demand inspection of any of his apparatus.

39. THE DIE TRICK.

Get a wooden die about two inches and a half square (1), and a hollow tin die exactly the size of the wooden one, but without one of the sides (2). Then paint them both exactly alike, as in the engraving. It will be better to let an accidental flaw appear on the same side of each. Then get a tin cover (4) that exactly fits the dice. Now for the trick itself.

Borrow two hats, and while you turn your back upon the audience as you go to your table, slip into one of them the false die. Place both hats on the table, and send round the real die and cover for inspection. When they are returned, say, "Now, ladies and gentlemen, it is my intention to place these hats one above another, thus." You then place the two hats as in No. 3, the hollow die being in the bottom hat. "I shall then cover the die thus," which you do, "and after I have knocked on the cover, I shall take it off, and you will find that the die is not under the cover, as it is now," taking it off, "but inside the hat, like this." You then put the real die into the hat. "You do not believe me, ladies and gentlemen, but I will soon convince you." You then take out the false die, and replacing the upper hat, put the die on the upper hat (of course, with the open side downward,) and place the cover over it. Pick up your conjuring wand, give it a few flourishes, and bring it down on the cover. Grasp the cover tightly near the bottom, when both cover and false die will come up together; put the end of your wand into them, and give them a good rattle. Then knock off the upper hat with a blow of the wand, and push the lower one off the table, so that the die tumbles out of it. Always use plenty of gesture about your tricks.

40. THE PENETRATIVE CENTS.

Get a brazier to cut out all the interior of five cents, only leaving the rims. He must then bore out nearly all the interior of a sixth cent, merely leaving a shell of copper at the top. A long rivet must then be let into the rim, as shown in Fig. 1, No. 2, and a hole must be drilled in each of the five rings, as in No. 3. The rivet is to be passed through the holes in the rings, and fastened below, so that all the rings can play easily upon it. Fig. 1, No. 1, is a section of the entire apparatus, the dotted lines representing the rivet. They can then be placed as shown in Fig. 2, No. 1, and no one will imagine that they are only shams, as you can rattle them or move them about upon each other. A leathern cover, Fig. 2, No. 2, is then made, which passes easily over the heap of cents, but being pliable, is capable of picking up the hollow cents with it, when it is held firmly. To the under surface of the table you fasten a little shelf, Fig. 2, No. 3, which moves on a hinge, and is let fall by placing the foot on the pedal, Fig. 2, No. 4, which draws the catch.

To perform the trick, place six real cents on the little shelf, and have the sham cents on the table. Take them up and rattle them, and put them down as in Fig. 2, No. 1. Keep a sixpence in the palm of your hand, pick up the sham cents, and as you put them down, slip the sixpence under them, as you do the ball in trick 6. Take the cover, and put it over the sham cents, make a short speech, and knock the cover with your wand, at the same time pressing the pedal with your foot, which will cause all the six real cents to tumble down with a great crash. Take up the cover and false cents together, put the end of your wand into them and hold them up triumphantly, showing the spectators that the six cents have been replaced by a silver sixpence. While you are picking up the cents, slip the sham ones out of the cover into your left hand, and take some opportunity of letting the empty cover roll towards the audience, one of whom you ask to pick it up and bring it to you. This maneuver generally disarms all suspicion, for the picker-up is sure to examine it very closely.

I have only given mere outlines of this really excellent trick, which may be varied in a hundred ways, and is capable of combination with other tricks to a large extent. For the pedal may be substituted a lever running immediately under the surface of the table, if the performer prefers to have a short cloth on it. There should be always two cloths on the table; the lower one thick and soft, to prevent jingling of objects, and the upper one white, as it displays everything better than a colored one. The ingenuity of the young conjuror will easily find methods of varying this trick. See Trick 67, page 48.

41. THE DOLL TRICK.

Get a comical looking doll, and cut off his head diagonally, taking care to do it very neatly. Drive a peg into the neck, and bore a hole in the body, into which the peg fits, as in the cut. Paint his body and head carefully, and if you put a gold chain or two round his neck, it will conceal the line of junction. Make also a coat of silk, and sew a pocket inside the edge of the skirt.

Take up the doll, and say, "Now, ladies and gentlemen, here is a very learned man. Observe the development of his forehead, the sagacity of his nose, the eloquence of his lips, the dignity of his spectacles, and the philosophy of his pigtail. He is professor of astronomy at Timbuctoo, and here is his gown of office. See how handsome he looks in it. He is going to Amsterdam to see the eclipse of the last new comet. He has the honor to wish you all farewell before starting on his journey. Now, professor, we are waiting to see you go. Oh! you want funds, do you? I beg your pardon; here is a quarter for you." So saying, you take your right hand from under the gown, taking with it the body, and put the body into your pocket, while you jingle some silver. The head is now supported by your left hand. Pretend to give him some money, and then say, "What! you won't go unless you have more! Get along!" Hit the head a hard rap with your right hand, which drives it into the pocket, which you hold open for it with your left thumb and little finger. "O dear! the doctor is dead, and cannot be found." Saying this, you grasp the gown by the place where the head is, and shake it about to show that it is empty. If you like you can make another oration and hold a dialogue, making the doctor resuscitate himself, which is of course done by taking the head out of the pocket with the left hand, and working it about by the peg.

42. THE FLYING COINS.

Take two eagles, or rather brass imitations, and grind them down until they are reduced to half their thickness. Do the same with two quarter dollars, and fasten them accurately together, so that you will have two coins, each having one silver face, and one brass face. Take one of them in each hand, showing the silver side of one and the brass side of another, and offer to change them without moving your arms. Shut your hands and the coins will turn over. Then, on opening them again, they will appear to have changed from one hand into the other.

43. THE VANISHED HALF-DIME.

Put a little wax on the nail of the middle finger of the right hand, and take a half-dime into the palm of the same hand. Close the hand, pressing the wax on the coin. Then rapidly open it, and the silver piece will adhere to the wax, and be quite concealed behind the finger when you hold your hand up.

44. THE RESTORED DOCUMENT.

Make a memorandum book, and line the cover with paper which has been previously rubbed with a mixture of lamp-black and oil. The paper must be loosely affixed, so that it can be raised up, and a leaf from the memorandum book placed under it. You must also make a flat box, having a double opening.

You now take a leaf out of the memorandum book, and ask some one to write a sentence, at the same time offering him the book to write upon. The pencil with which you furnish him is very hard, and he is forced to press upon the paper in order to mark. In so doing, the black is transferred by the pressure of the pencil from the blackened paper to the white leaf that has been placed under it, and of course makes an exact copy of the writing. You then give the man his document, put the memorandum book in your pocket, and go out of the room to fetch your box, which you have forgotten. While you are out of the room, you take out the leaf from under the black paper, and put it into one side of the flat box, and shut down the cover that hides it. You bring in the box, apologising for your absence, and give the box, open at the other side, into the writer's hands. Tell him to burn his writing in a candle, and to place the ashes in the box. He does so, and closing the box, returns it to you. You then flourish about a little with the box, wave it in the air, bring it down with a bang on the table, strike it with your wand, and then, opening it as at first, you produce the duplicate leaf, which the writer acknowledges to be in his own hand-writing. If the lamp-black should have come off and smeared the paper, you can account for it by observing that it is very difficult to get rid of all traces of the burning.

45. THE MAGIC RINGS.

Get a blacksmith to make a number of rings, about six or seven inches in diameter, as in the cut. A is made with a spring opening on one side, B is a set of two rings forged permanently within each other, C is a set of three rings formed in the same manner, and D D are two simple rings. The rings should be about the thickness of a rather large black-lead pencil.

Lay the rings on one another, and they will all appear to be separate and distinct: D D should be the uppermost rings, then B, then A, and then C. Hand round D for inspection and if any more are desired, hand round the other D. When returned, hang them over your left arm, or grasp them in your hand, and tell the company that you are going to weave all the rings together. You clash them together, and after going through some complicated movements, bring out B, which the spectators will think you have just fastened together. Hand them round. When they are returned mix them all up, and bring out C. Then take A in your hand, and passing one of the outer rings of C through the opening, you have four rings together. Then add D and you have five. Take off D and substitute B which will give you six. So you go on weaving them into all kinds of fantastic shapes. You must always conceal the joint in A with your thumb, and contrive as often as you can to have one at least of the rings D at liberty This is a capital trick, and may be diversified to any extent, especially if the number of rings is increased.

46. THE FISH AND INK TRICK.

This is really a first-rate delusion. You bring before the spectators a glass vase, full of ink. You dip a ladle into it, and pour out some of the ink upon a plate, in order to convince the audience that the substance in the vase is really ink. You then throw a handkerchief over the vase and instantly withdraw it, when the vase is found to be filled with pure water, in which a couple of gold fish are swimming.

This apparent impossibility is performed as follows. To the interior of the vessel is fitted a black silk lining, which adheres closely to the sides when pressed by the water, and which is withdrawn inside the handkerchief during the performance of the trick. The ladle has a hollow handle with an opening into the bowl. In the handle is a spoonful or so of ink, which runs into the bowl when it is held downward, during the act of dipping it into the vase.

47. THE CANNON BALLS.

The performer of this trick borrows a number of hats, and places them on the table. He then returns each person his hat, and on turning it over, a thirty-two pounder cannon ball rolls out.

The method of performing this delusion is as follows. Get a turner to make a number of wooden balls, each the size of a thirty-two pounder cannon ball, and let a hole be bored in each which will admit the middle finger. The balls are arranged hole upwards on a shelf on your table on the side opposite to your audience, so that the balls are nearly level with the top of the table. When you take a hat off the table, you slip your fore or middle finger into the ball just as you would into a thimble, and by bending the finger, bring the ball into the hat.

Any object may be brought into a hat in this manner, a great cabbage, for instance, having a hole cut in the stalk.

48. THE DIME IN THE BALL OF COTTON.

Get a tinman to make a flat tin tube, which will just allow a dime to pass through it. Wind a quantity of worsted round it, so as to make it into a ball.

These preliminaries having been accomplished, perform any trick that will get a dime out of sight, such as number 1 or 2. Then tell the spectators that you will bring the marked dime into the middle of a ball of worsted. Take down the ball from the place where it is lying, drop the dime into the tube, and withdraw the tube, leaving the dime in the ball. A good squeeze or two will hold it tight, and obliterate every mark of the tube. Place the ball in a tumbler, take the end of the worsted, and give it to some one to unwind. This being done, the dime will be found in the very center of the ball, with the end of the worsted wrapped tightly round it.

49. THE EGG AND BAG TRICK.

Get a chintz or cloth bag made double,[1] and between the two bags make six or seven pockets, each of which will hold an egg, and have an opening into the bag. Fill the pockets with eggs, and you are ready for the performance.

Hold the bag by the place where the eggs are, shake it, turn it inside out, and show that there is nothing in it. Then tell the spectators, that you are sure there is a hen in the bag. Put your head near the mouth of the bag, and make a clucking like a hen. You then say "I knew I was right, and she has laid an egg." So saying, you put your hand into the bag and take out one of the eggs, taking care to pretend to grope in one of the corners for it.

This is repeated until all the eggs but one are gone. You then, after taking out the last egg, say that some people think the eggs are not real, but you will convince them by ocular inspection. Saying this, you break the egg in a saucer with your right hand, and while the people are occupied with it, you drop the bag behind your table, or hang it on a hook out of sight, and take up another exactly like it, into which you have put a hen. "These are real eggs," you then say, "and if any one doubts their reality, they cannot doubt that this is a real hen." You then turn the bag upside down, and shake out the hen. If any one wishes to inspect that bag, he can do so without being much wiser for it.

50. THE DANCING EGG.

Send for some eggs, and take care to place among them one which has been emptied of its contents, and to which is fastened a long hair, at the other end of which is tied a crooked pin. Borrow a small stick from one of the spectators, and as you go behind your table contrive to hook the bent pin into your coat, passing it over the stick. Then place the egg on an inverted hat, and ask for some music, and directly it begins to sound, a slight and imperceptible depression or elevation of the stick will cause the egg to twist and roll about upon it as if it had life. You must be careful to turn gently round now and then, so as apparently to vary the distance of the egg from the body.

51. BELL AND SHOT.

Get a wooden bell made, so thick that there is a considerable space between the outer and inner surfaces, especially on the upper part of the bell. A hollow must be cut in this, and the handle so made, that when it is at rest, it is forced upwards by a spring, and draws up the round piece of wood to which the clapper chain is attached, and closes the aperture, as shown in the engraving.

You have a cardboard measure, which is of precisely the same capacity as the cavity in the bell, and just wide enough to hold a cent. Into this you privately put a cent, and then fill up the measure with shot, heaping it a little, to compensate for the cent. You make up a tale about a man going out shooting, and ringing the bell of the gunmaker's shop. (You then ring your wooden bell.) How the man bought a measure full of shot for a cent, (you pour the shot into the bell and back again two or three times,) but was so long haggling over three shots, that the gunmaker took away the shot, (here you again pour the shot into the bell, and by pressing on the handle, allow them all to run into the hollow,) and kept the cent for his trouble. The man went out of the shop, but soon came in again, and rang furiously. (Here you again ring the bell which is now apparently empty, and invert the measure on the table. The cent not being held by the finger and thumb, will now fall on the tablecloth.) Then finish the story with an account of the manner in which the man got back his cent. When you have finished, invert the bell over the empty measure, and on pressing the handle, the shots will refill it. Do not touch it until you have done another trick or two, and then, when you put the bell aside, ring it again, and remark that the purchaser was a silly fellow ofter all, for here are his shots in his measure.

52. THE BURNED HANDKERCHIEF RESTORED.

Get a tinman to make a double canister, such as is shown in the cut, with an opening at each end. This must so slide within a tin tube, that either end can be concealed within it alternately, as seen in the engraving, where the end A is shown, and B is concealed. In this position it looks like an ordinary canister. The interior is divided into two parts. Into B put a piece of cambric made to look like a handkerchief.

Borrow a cambric handkerchief, and say, "Now ladies and gentlemen, I shall burn this handkerchief to ashes, place them in this canister," (so saying you put it into A,) "and when I have uttered a spell, it will be restored perfectly whole. Will the owner say what mark it has?" While the audience are looking towards the owner, you turn the canister over, and push up the canister until the shoulder of B is on a level with the top of the tube. When the mark has been declared, you open B, take out the cambric, and pretend to verify the mark. You then put it into a candle flame, and when it has burned entirely to ashes, put the ashes into B, shut it up, and rapidly reverse it as you turn round to your audience, so that A is uppermost again. Then utter any nonsense you like, open A, and take out the handkerchief uninjured. It rather adds to the trick if you drop a little eau de cologne into A before commencing.

53. THE FIRE EATER.

If the young conjuror is desirous of appearing in the character of a fire-eater, it is very easily managed. He must prepare a piece of thick string, by soaking it in a solution of niter, and then drying it. He cuts off a piece about an inch in length, lights one end, and wraps it up in a piece of tow which he holds in his left hand. The trifling smoke will be concealed by a huge bundle of loose tow also carried in the left hand.

He takes a handful of tow in his right hand, puts it into his mouth, chews it up, and appears to swallow it. He then takes another handful, and with it the piece in which is the string. As he puts this into his mouth, he takes out the piece which he has already chewed. By taking breath through the nostrils, and breathing it out through the mouth, smoke begins to issue forth, and the whole interior of the mouth is soon lighted up with a glow. When the mouth is shut, and the tow pressed together, the fire goes out, except the piece of prepared string. More tow is then taken into the mouth, and treated in the same manner.

64. THE EGG-BOX.

A, the egg-box; B, the upper shell; C, the inner shell, covered over with the shell of an egg; D, the lower part of the box. To do the trick, call for an egg, then bid all the by-standers look at it, and see that it is a real egg, set the box on the table, take off the upper part, with your fore finger and thumb, then placing the egg in the box, say, "You see it fairly in," and uncovering it again, likewise say, "You shall see me take it out, and put it in my pocket in your sight;" open your box again and say, "There is nothing," close your hand about the middle of your box, and taking B by the bottom, say, "There is the egg again," which it appears to the spectators to be, so clapping that in again, and taking the lid of C in your finger and thumb, say, "There it is gone again."

55. THE GLOBE-BOX.

This trick is not inferior to the best that is shown with boxes. It is done with a box made of four pieces, and a ball as big as may be conveniently contained therein; the ball serves as the egg does in the egg-box, to deceive the hand and eyes of spectators. This ball, made of wood or ivory, is thrown out of the box upon the table, for every one to see that it is substantial; then put the ball into the box, which close up with all the pieces one within another; remove the upper shell with your fore finger and thumb, and there will appear another of a different color, red, blue, yellow, or any other color you may fancy; this will seem to be another ball, though, in fact, it is no more than a shell of wood, ingeniously turned and fitted to the box, as you may perceive by the cuts. L is the outer shell of the globe, taken off the figure M, the top of which represents the ball; N is an inner shell; O, the cover of the same; P another inner shell; Q, the cover of the same; R, a third shell; S, that which covers it. These globes may be made with more or less varieties, according to the desire of the practitioner.

56. THE COFFEE AND HANDKERCHIEF TRICKS.

One of the greatest means of wonder-working is that of ingenious contrivance. We will illustrate this by two popular feats. A number of handkerchiefs taken from the audience by more than one popular performer, were placed in a small washing tub, into which water was poured, and they were washed for a few minutes. They were then placed in a vessel like the figure (*) on the next page, and immediately afterwards the performer said to the persons in front: "I will give you these;" and taking off the top, when he was expected to throw out the wet handkerchiefs, all that fell was a number of flowers. He now brought out a box, which he opened, and showed it to be empty; then shutting it, and uttering a few cabalistic words, he opened it again, and there were the handkerchiefs, all dry, folded, and scented, which he distributed to their respective claimants.

Another experiment of a popular performer was called "coffee for the million." Producing a vessel like the diagram A, the performer filled it with unground coffee, and placing it under a cover B, he said, "There, when you have done that, let it simmer for three quarters of an hour; but, perhaps, you will not like to wait so long; here then it is;" and on removing the cover, the vessel appeared full of hot liquid coffee. In another vessel of the same kind he obtained lump-sugar from rape-seed; and in a third, warm milk from horse-beans; and pouring out the coffee into cups, sent them round to regale his auditory, amidst their loud and approving shouts at so great a transformation.

These feats are the result of considerable ingenuity. It is probable that the devices employed would not readily occur to spectators in general, while they would utterly escape those whose object is merely amusement, and who, if they thought at all, would be likely to describe the result as supernatural. We proceed, then, to the unraveling of the mystery. Let it be observed, in reference to the first experiment, that a number of handkerchiefs are collected in the early part of the evening for various illusions, and that many of them appear for a time on the performer's table. Provided with a collection of these articles, from the handsome silk handkerchief to one trimmed with lace, used by a fashionable lady, he could easily substitute his own of the same kind for those of his auditory, as the curtain falls, according to the arrangements of the evening, between the collection of the handkerchiefs and the subsequent processes. His own handkerchiefs, therefore, are washed and placed in the vase already described; and the so-called change into flowers is nothing more than the retention of the handkerchiefs in the lower part of the apparatus, which the figure illustrates, while the upper part holds the flowers till they are scattered among the spectators. Meanwhile, all that is required is done to their handkerchiefs. It is not absolutely necessary that they should be washed; for folding, pressing, and a little eau-de-Cologne, would complete the preparation; but granting that they are washed, there is still no difficulty, though this mystifies the spectators, who have the idea that drying is a long affair; for it may be effected in a minute or two by a machine that is readily obtained. The box brought out has them deposited in it, but as it is double, one interior is first shown, which, of course, contains nothing, for the inner drawer holding the handkerchiefs remains in the case; but when a few sounds are uttered, and the professor touches a secret spring behind, which disengages the inner box, he draws it out with the outer one, and presents the handkerchiefs to the audience. In the diagram A, the box is shown as empty. At B, we have a representation of the box containing the handkerchiefs. It is only necessary to add that the box is very nicely made; the part within the other drawn out to the end, defies detection. See Trick No. 65.

The preparation of coffee, milk, and sugar, may be easily explained; for if the vessels containing respectively the unground coffee, the rape-seed, and the horse-beans, always placed under a cover, be put on a part of the table having a circular trap-door—and for this there is full provision in the cover of the table extending to the floor—a confederate may readily substitute one for the other.

57. THE MAGIC FUNNEL.

This favorite and simple trick is carried out by the assistance of a double funnel, that is to say, one funnel soldered into the other so as to leave a space between them for water, and communicating with the hollow of the funnel by a hole in the tube. Our drawing will assist the explanation.

S S, space for water between the funnels, which is filled by stopping end of tube T with the finger: the water flows in and out at K.

N, a pin-hole at the top, which is covered with the finger. When the funnel is prepared for use, every time the finger is withdrawn water flows out from tube T.

The funnel is always prepared before the audience by pouring in water, occasionally stopping the end of the pipe T with the finger, so that the inner space may be filled; whilst this is being effected the conjuror must fill up the time with a philosophical disquisition on funnels, all ending, however, in the fact, that if there is a hole in a vessel the water will flow out. One of the audience is now requested to step up to the table, and you proceed to draw water from his hair, ears, eyes, &c., as every time the finger is withdrawn from the hole N the pressure of the air is admitted, and the water flows out.

58. THE MAGIC BOTTLE.

This trick, if well managed, is one of the most wonderful that can be performed in a drawing-room without apparatus; but it requires dexterity at the conclusion.

The person performing the trick offers to pour from a common wine bottle, port wine, sherry, milk, and champagne in succession, and in any order.

To accomplish the trick, you must make solutions of the following chemicals, and label the bottles with numbers, thus:

1. A saturated solution of the sulphocyanate of potash.

2. A diluted solution of the above—one part of the solution to four of water.

3. A saturated solution of nitrate of lead.

4. A saturated solution of perchloride of iron.

5. A saturated solution of bicarbonate of potash.

6. Sulphuric acid.

7. A clear solution of gum-arabic.

Procure a champagne bottle, and wash it out well, then pour three teaspoonfuls of No. 4 into it. As the quantity is very small, it will not be observed, especially if you are quick in your movements. Pour some distilled or rain water into a common water-bottle or jug, and add a tablespoonful of No. 7 to it; then set it aside ready for use.

Provide some wine glasses of four different patterns, and into one pattern pour the solution marked No. 1, into another that marked No. 2, and so on for Nos. 3 and 5. Return the solutions to their respective bottles, and arrange the glasses on a small tray, remembering the solutions that were poured into each pattern.

Everything being ready, take the champagne bottle that you have prepared, from two or three others, and holding it up to show the company that it is clear and empty, you must desire some person to hand you the water bottle or jug, and then fill up the bottle with the water.

Pour some of the contents of the bottle into an unprepared glass, in order to show that it is water; then say, "change to champagne," and pour the liquid from the bottle into one of the glasses rinsed with No. 5; then pour into a glass rinsed with No. 1, and it will change to port wine; but if poured into No. 3, it will change to milk, and if into No. 2, it will produce sherry. Be careful in pouring the fluid from the bottle, not to hold it high above the glasses, but to keep the mouth of it close to the edges of the glasses, otherwise persons will observe that it undergoes change of color after it is poured into the wine glasses, and on this account the glasses should be held rather high.

∵ As the solutions used in the above trick are deleterious, they must not be left about in the way of children, and of course the fluid in the wine glasses must not even be tasted; but if any of the company wish to drink the wines you have made, then the tray must be adroitly exchanged for another with the proper wines placed on it.

This is an excellent parlor trick if well managed, and is not difficult to comprehend.

59. THE BOTTLE TRICK.

The chemical method of performing this delusion has been already explained, the mechanical one will be easily understood from the "Magic Funnel Trick." It is usually carried out with a bottle, the body of which is constructed of tin, the neck of glass; the body is divided into sundry compartments, three of which are sufficient, with a center one, for ordinary use: by cutting the bottle in two, the arrangement will be understood as shown beneath.

O, center of bottle, from which milk may be poured.

1, 2, 3, compartments holding port, sherry, and alcohol.

---

It must be understood that little tubes from each compartment terminate in the neck, and they are filled with their respective liquids by the pear-shaped vessel already explained. Each compartment is perforated with a little hole at the top, so that when the fingers are placed over them (as on the holes of a flute) the liquid cannot run out on inverting the bottle.

On showing the trick, the performer alludes to his wonderful bottle full of the milk of human kindness, which he pours out carefully from the center compartment, keeping the three holes tight with his fingers, the center being filled and emptied in the ordinary manner; after pouring out and handing round a few glasses of milk, he may pour the rest into a jug, in the bottom of which some milk has been already placed, so that the company may believe the bottle was originally filled with it; he may now wash out the bottle (that is to say, the center compartment), still keeping his fingers over the holes, and for the sake of a little mystification put the bottle upright under a hat, commanding the bottle to change its temperance habits. He may now ask the company to call for port, sherry, gin, brandy, noyeau, &c.

The sherry and port are poured from their compartments, the spirit supplies the others, as a number of wine-glasses can be prepared with drops of burnt sugar for brandy, syrup and juniper for gin. A small drop of oil of almonds or other flavoring materials may be used for the different liquors. A thick wine-glass must be employed, holding a very small quantity of fluid.

A magic coffee-pot may be arranged in a similar manner, with three compartments to hold hot tea, coffee, and punch; the middle compartment may hold the tea and coffee berries, into which the assistant may pour by mistake the contents of the bottle labeled "Ink." The performer, after scratching his head, as if in deep thought, will take a lump of whiting and powder up, placing it in the center compartment, which can be fastened up with a cork or proper lid. Then, if the holes from the compartments terminate in the handle and the pipes in the spout, when the fingers are removed the three liquids pour out separately, as in the Bottle Trick. This mode of showing the trick is good, because, however large your audience, you can provide everybody with something to drink, and it is displayed with great effect by Signor Blitz, and Wyman.

60. THE MAGIC QUARTER.

Procure a small round box, about one inch deep, to which fit accurately a quarter or cent: line the box with any dark paper (crimson, for instance), and paste some of it on one side of the coin, so that when it lies in the lower part of the box it shall appear like the real box. This quarter or cent is concealed in the hand, and before performing the trick, it will heighten the effect if a number of single quarters or cents are hidden about the room, in places known to yourself. Having borrowed a coin, you dexterously place this on one side, and substitute the prepared one; and putting it gravely into the box, ask all to be sure they have seen it enter: when the lid is on, shake up and down—the noise betrays the metal; now command it to disappear, and shake laterally from side to side; as the quarter is made to fit accurately, no noise is apparent—the coin seems to be gone; in proof of which you open the box, and display the interior; the paper on the coin conceals it, whilst you direct the audience to look into a book, or a pair of slippers, for the missing quarter; the prepared coin can be slipped out, and the box handed round for examination, in which, of course, nothing will be found. This trick may be repeated two or three times with the greatest success, and is so simple that nobody guesses the manner of performance.

61. TO CHANGE A DIME TO A QUARTER.

This is quite a simple parlor trick, but when performed with dexterity is calculated to produce much astonishment at an evening party. In fact, it surprises on account of its very simplicity. Procure two pieces of marbled paper about seven inches square, and having put the marble backs of the paper together, cut them the shape of diagram Fig. 1. Be very careful to have them exactly the same size, as the success of the trick depends in a great measure upon the regularity of the paper. After cutting the paper in the manner described, place a dime in the center of one of the pieces at the place marked A, then fold it carefully over at the crease on the side marked B, and also again at the side marked C. When you have done this turn down the end marked D upon the center A, and again fold over on E. When this is accomplished, you will discover that you have formed a small parcel the same shape as Fig. 2, with a dime in the center. You must then place a quarter of a dollar in the center of the other piece of paper, and fold it up exactly the same size and shape as the first piece. When you have done this, gum the two parcels together at the back of the ends marked F, in Fig. 2, and the sides will be so even that both parcels will appear as one. You can then open the side of the paper containing the dime and show it to your audience, at the same time informing them that you are going to open a mint on a small plan, and coin a quarter from a dime. Having done this, mutter some cabalistic words and dexterously turn over the side containing the quarter, and upon opening the paper, to the astonishment of the company, instead of a dime they will behold a genuine quarter. I have seen much merriment created by this excellent feat.

62. DESCRIPTION OF THE MAGICIAN'S TABLE.

When a secret confederate is required, have a table four and a half feet long, two feet eight inches high, two feet nine inches wide, with a curtain round it, twenty-two inches deep. In the top of this table are several secret square holes, of different sizes, from three to five inches across; these having covers which exactly fit, and hung upon concealed hinges, so that they may be let down; but when lying flat, the top of the table appears to present a perfect surface. Under this surface are buttons, which prevent those lids from falling down when not made use of. Under the top of the table is fastened a box, or drawer, open at the top, and at the side which is farthest from the spectators. This box is about twenty inches deep, and concealed by the curtain; and in this box is placed the secret agent who assists the performer.

63. WYMAN'S GUN TRICK.

Having provided yourself with a fowling-piece, permit any person to load it, retaining for yourself the privilege of putting in the ball, to the evident satisfaction of the company, but instead of which you must provide yourself with an artificial one made of black lead, which may be easily concealed between your fingers, and retain the real ball in your possession, producing it after the gun has been discharged; and a mark having been previously put upon it, it will instantly be acknowledged. This trick is quite simple, as the artificial ball is easily reduced to a powder on the application of the ramrod; besides the smallness of the balls preclude all discovery of the deception.

64. THE HATCHED BIRD.

Separate an egg in the middle as nearly as possible, empty it, and then, with a fine piece of paper and a little glue, join the two halves together, having first put a live canary bird inside it, which will continue unhurt in it for some time, provided you make a small pinhole in the shell to supply the bird with air; have, also, a whole egg in readiness. Present the two eggs for one to be chosen; put the egg, which contains the bird, next to the person who is to choose, and for this purpose be sure to select a lady; she naturally chooses the nearest to her, because, having no idea of the trick to be performed, there, is no apparent reason to take the further one; at any rate, if the wrong one be taken, you do not fail in the trick, for you break the egg, and say, "You see that this egg is fair and fresh madam; so you would have found the other, if you had chosen it. Now, do you choose to find in it a mouse, or a canary bird?" She naturally declares for the bird; nevertheless, if she ask for the mouse, there are means to escape; you ask the same question of several ladies, and gather the majority of votes, which, in all probability, will be in favour of the bird which you then produce.

65. THE APPLE AND ORANGE TRICK.

Have a box made with a drawer fitted to it as in the figure No. 2, marked A. The back part of the drawer B, which slides into the box A, has no end piece; then have another drawer made, marked C, open at the top, that will fit the drawer B rather easy, when put into it the sides and ends of the drawer C, made of rather thin wood, with their end and sides sloping towards the sides of the drawer B, so that when it is in the drawer B, it cannot be discovered without minute examination; then push them both into the box A, and have a small hole bored through the top of the box A, in which you put a small pin with a flat top, as marked D in the plate; this pin is so long that it will just catch drawer C, inside of the box A, to prevent it from coming out with the drawer B, when not necessary to be exposed. It is now ready to perform experiments with. You are aware, as has already been described, that the drawer B is open at the inner end, consequently, when that with the loose drawer C is pushed into the box A, and you put the pin D in its place, the drawer B may be pulled out, or pushed back, without interruption; but if you remove the pin out of the box, C will come out inside of the drawer B without the trick being discovered; it being understood that the false drawer C is invariably concealed from the spectator. When the drawer C is in the box A, and the drawer B has been drawn out, the end of the drawer C will then appear as if it was the end of the drawer B as represented in the plate. You can then show it to the company, and you may also measure the inside of the drawer B, and the outside of the box A, and convince them that, apparently, nothing is concealed. Care must be taken in pulling the drawer C out alone, that the drawer C will not slip from the bottom of the drawer B, which otherwise would prevent it from being pushed back. A little catch may be affixed in the bottom of the drawer C, so as to prevent the same from slipping out of its place.

To Perform the Experiment.—Fill, privately, the drawer C with fruit, close the drawer B, and exhibit it; then pull the drawer B out, alone, as represented in the plate, figure 2, which will convince the spectators that it is empty. When you have satisfied them on that point, slide back the drawer B, then place the left hand on the secret pin D, and take it out; then with the right hand pull out the drawer B, with the secret drawer C, which is full of fruit, to the great astonishment of the company; take the fruit out and present it to the spectators. This concludes the performance.

66. ENCHANTED COIN, AS PERFORMED BY PROFESSOR WYMAN.

Put fifteen pieces of money into a hat, take out five and mysteriously pass them back into the hat and it covered. To do this trick you must have in your left hand a plate, and under the plate and in your left hand have previously placed five pieces of coin such as you will have placed in the hat; after you have counted the fifteen pieces into the hat, you then ask the person whom you have selected from the audience to assist you in performing the tricks, to count the money out of the hat into the plate, to see that there is no mistake, after which you turn the money out of the plate into the hat, and at the same time let fall the five pieces you have secreted in your hand under the plate; you then ask him to draw out five pieces, which will still leave fifteen, you take the five that is drawn out and place them in a drawer (see the orange and apple trick), then you go through the magic words, Presto, Pacillo, Pass; you then open the drawer, (after placing your finger on the spring to hold the inside drawer in which the five pieces were placed,) and show the audience that the five pieces are gone; you then tell him to get the hat and see how many pieces are in it; he gets the hat, and to the surprise of all, he counts the original number, fifteen.

67. MYSTERIOUS COIN, OR HOW TO MAKE DOLLARS PASS THROUGH A WINE GLASS, A CHINA PLATE, A TABLE, AND FALL INTO THE HAND.

After performing trick 40, (p. 27,) you may address the company again, and say: "I will show you the nature of this trick, if you will only look sharp enough to see how it is done. Therefore, watch closely, and if you have very penetrating eyes, you may see the money go through this glass and fall upon the plate, and from that through the table into my hand. I will do it deliberately, so that you may have every opportunity of detecting the deception, which will make you as wise as myself."

Now you take a plate and place it on the table, place upon that a wine glass upside down, and take the empty leathern case and hold it before the audience, to convince them that nothing is inside. Place it, in a careless manner, over the riveted money, which you had before put a little aside from the view of the spectators. Place a small ball on the bottom of the glass, then take the case with the concealed coins therein, and place them over the ball, which will be secreted therein. Now tell the company to keep a sharp look out, and they may discover the whole process. Take the loose coins and throw them on the table; bring them again under the table, and exchange them for a ball previously deposited on the shelf, and lay the same upon the table. Remove the case alone, which, of course, will leave the money exposed on the top of the glass. "Now," says the performer, "I presume that you have discovered the whole mystery; but if not, I will give you another opportunity, and will return the money whence it came." Cover the money with the case, and bring the ball which you previously exposed to the spectator under the table, and exchange it for the money on the shelf, which you again toss upon the table. Remove the case with the coins concealed therein, and the ball will appear on the top of the glass, as at first. Our performer makes the following concluding speech: "Now, as you have, I suppose, discovered the whole mystery, I hope, ladies, that you will not set up an opposition line against me; since, if you do, you will very seriously injure my pockets, and, of course, attract all the company, and leave me in an empty house with empty pockets."

68. PROFESSOR WYMAN'S GREAT TRICK OF THE EGYPTIAN FLUIDS, OR IMPOSSIBILITIES ACCOMPLISHED.

Mix wine and water together, then separate them by means of a red and white tape. To perform this trick you must have three covers (tin) made, of an obeliatic form, terminating at about one inch and a half on top, upon the top of two of these covers is soldered a piece of thick brass, copper, or lead, say about a quarter of an inch in thickness, in the center make a hole about the same in diameter, about two inches from the top, and on the inside will be a partition or floor, through the center of which make a small a hole, (this partition must be water tight.) Previous to performing the trick fill the two covers (the tops of them) one with water, the other with wine, then cork them well which excludes the air, consequently keeps the liquid from coming out at the small hole made in the center of the partition, then take two sound tumblers and put about as much water in one as there is water in one of the covers, place the cover over that, the tumbler that has the water, then put about the same quantity of wine in the other tumbler, as there is in the other cover, and place that cover over it; now have a tumbler with a hole through the center of the bottom (made with a drill), have this hole closed with a long peg from the under side, then through your trick table have a small auger hole made to admit the peg, this tumbler must also be covered with a similar cover in external appearance; you then take the covers off the tumblers containing water and wine, and in presence of the audience mix the two liquids, then pour both into the tumbler that has the hole through the bottom, place the tumblers back and cover them over, now lift the tumbler up containing the mixture that the audience may see it, (keeping your hand in front of the peg,) place it back with peg through the hole, cover it over, then take a red and white tape string that has previously been fastened to a small stick, and place it in the top of the cover that is over the false tumbler, then take the end of the red tape, which has a small wire to it, and after removing the cork from the cover over the wine, drop the end of the wire into the whole; the air is then let into the wine, which lets it run down into the tumblers underneath, do likewise with the white tape, then reach your hand under the table and draw the peg out of the tumbler and let the mixture run down into a tumbler or cup secreted there for that purpose; now remove the covers and show the audience that the tumbler you poured the mixture into is empty, and the one you poured it out of contains it again, which will greatly astonish them. That accomplished magician, Professor Wyman, has astonished applauding and delighted thousands in every city in the United States and Canada, by the performance of this wonderful experiment.

69. THE MAGICIAN'S SNOW BALL. ONE OF THE FAKER OF AVA'S FEATS.

Take a cup and fill it with rice, then change it into a handkerchief. To do this trick you have two cups (tin) made to fit one within the other, but let the outside cup be about two inches deeper than the inside one, let the rims be turned square down all round, but let that of the inside cup be a trifle larger than the outside one, so that when the tin cover (which you must also have) is put over them it will fit sufficiently tight to lift out the inside cup when it is taken off. Previous to performing this trick you must place in the bottom of the deep cup a white pocket handkerchief, then place the other cup in it, after which bring it out in presence of the audience, then fill the inside cup (which to the audience appears to be the only cup) with rice, place the cover over it, after which repeat the mystic words Presto, Pacillo, Pass, then remove the cover and the inside cup will have stuck to it and be concealed from view, now take out the handkerchief, and it will greatly astonish those who see it.

70. THE MAGNETIZED CANE.

Is a very surprising little fancy, and is calculated to create much astonishment in the parlor or drawing room. To perform this trick, take a piece of black silk thread or horse hair, about two feet long, and fasten to each end of the same bent hooks of a similar color. When unobserved, fasten the hooks in the back part of your pantaloon-legs, about two inches below the bend of the knees. Then place the cane (it should be a dark one and not too heavy), within the inner part of the thread, as represented in the engraving, and by a simple movement of the legs, you can make the cane dance about, and perform a great variety of fantastic movements. At night your audience cannot perceive the thread, and apparently the cane will have no support whatever. The performer should inform the company before commencing this trick, that he intends to magnetize the cane, and by moving his hands as professors of magnetism do, the motion of the legs will not be noticed.

71. PROFESSOR WYMAN'S MODE OF PERFORMING THE EGG BAG TRICK.

Take a bag and exhibit it to the audience, turn the bag inside out, then back again, after which take several eggs out of it. To perform this trick, have you a bag about a half yard wide, and about five eighths deep, made of black cambric, then take strips of the same cloth about three inches wide and sew them on each side of the strip lengthwise of the bag, these are called cells, it is in these that the eggs are placed; let the end of the cells be closed at the mouth of the large bag, so that the mouth of the cells will be the reverse of that of the large bag, these are filled with eggs made of wood, with the exception of one or two natural eggs, which you take out first, and break, to convince the audience that they are genuine. When you turn the bag you keep these cells next to you, and as the large bag is turned upside down, the eggs are in the bottom of the cells at the mouth of the large bag. The performer will then catch the bag just above the eggs, and give it a few wraps across the other hand, to convince the audience that there is nothing in it, after which he turns the bag again and takes out several eggs, which to the audience is a great mystery.

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In this account of conjuring, I have purposely avoided such tricks as require expensive apparatus. Such apparatus is either entirely beyond a boy's reach, or at all events he ought not to be encouraged in the notion of spending much money on objects of no real use. A boy of any ingenuity will make the greater part of the apparatus himself, or at least he can do the painting and polishing of his machinery. I have mentioned no machinery that need cost more than a dollar at the outside, and not that, if a boy is acquainted with the use of tools. It has also been my especial care to introduce only such experiments as are adapted for performance at the parlor or drawing-room table or fireside, and by imparting interesting facts, to stimulate the young experimentalist to inquire into the laws that regulate them; by aiding him to acquire dexterity of practice, to smoothe the road to the development of principles; and, above all, to enable him to escape an imputation which every boy of spirit would consider the depth of disgrace—that of being

"No Conjuror!"

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TRICKS WITH CARDS.

Although proficiency in games with cards, is, in our opinion, a most pernicious accomplishment for youth, and one which cannot be too severely reprobated, we do not consider SLEIGHT-OF-HAND TRICKS with a pack of cards, at all objectionable, but rather a source of much harmless amusement; and, under this impression, we do not hesitate to insert the following series of excellent deceptions and sleight-of-hand tricks.

Playing cards are believed to have been invented in Spain as early as the fourteenth century; for, in 1378, John the First, king of Castile, forbade card-playing in his dominions, in an edict which is anterior to any similar legislative measure in other parts of Europe. The figures upon the cards themselves, add to the strength of the supposition; for the suits answering to those of spades and clubs have not the same inverted heart and trefoil shape which ours of the present day display, but espadas, or swords, and bastos, or cudgels, or clubs; so that in fact we retain their names, though we have altered the figures. At the present time, too, cards are a favorite diversion of the Spaniards, and the monopoly of selling them is vested in the hands of the sovereign.

In the reign of Henry the Seventh, card-playing was a very fashionable court amusement in England. The cards then used, differed materially in their figures from those now in vogue, as instead of clubs, spades, diamonds, and hearts, they had rabbits, pinks, roses, and the flowers called columbines, upon them; as also bells, hearts, leaves, acorns, deer, &c. Let us now turn to the tricks that can be played with cards.

In accordance with my rule, I shall lay the principal stress on card tricks that require no apparatus, and may be performed with ordinary cards.

1. TO MAKE THE PASS.

This is a necessary beginning for card tricks. "Making the pass," is the technical term for shifting either the top or the bottom card to any place in the pack that you like. It is almost impossible to describe it, and I can only say that it will be learned better in five minutes from a friend, than in as many hours from a book. As, however, a friend is not always to be found who can perform the pass, I will endeavor to describe it.

The cards are held in both hands, right hand underneath and left above, as in the engraving, where, as the bottom card is to be raised to the top, the little finger is seen between that card and those above it. By a quick movement of the right hand, the bottom card is slipped away towards the left, and is placed upon the top card, under shadow of the left hand, which is raised for the moment to allow of its passage.

This movement must be assiduously practiced before it is exhibited in public, as nothing looks more awkward than to see it clumsily performed, in which case two or three cards generally tumble on the floor.

2. TO TELL A CARD BY ITS BACK.

While shuffling the pack, cast a glance at the bottom card, make the pass, and bring it to the top. Continue to shuffle, and lay upon it by degrees as many cards as you like, say six. Then lay the pack on the table, face downwards, and divide it into seven heaps, beginning at the bottom, and leave the seventh heap larger than any of the others.

When you have done this, take one card from the top of the seventh heap, appear to calculate, and lay it, face upwards, on one of the other heaps. Do so with five more cards, thus leaving your slipped card at the top of the seventh heap. You then announce that by the aid of the six cards you will name the seventh. You name it accordingly, after carefully studying the other cards, and on asking a spectator to take it up, it will be seen that you are right.

If you place five cards above the slipped card, you will lay out six heaps, and if eight cards, there will of course be nine heaps.

3. THE CARD NAMED WITHOUT BEING SEEN.

As in the last trick, cast a glance at the bottom card, say the ace of spades. Lay out the pack in as many heaps as you like, noting where that one is laid which contains that bottom card. Ask any one to take up the top card of any heap, look at it, and replace it. You then gather up the heaps apparently by chance, but you take care to put the heap containing the bottom card upon the card which has been chosen. You then give any one the cards to cut, and on counting them over, the card that immediately follows the ace of spades is the card chosen.

If by any accident the two cards should be separated when cut, the upper card of the pack is the chosen one, and can be picked out with seeming care.

4. THE CARD TOLD BY THE OPERA GLASS.

Make out a table, such as is given in Fig. 1, and place it in an opera-glass, so that the figures will be visible when you look through it. For convenience, I have made mine as seen in Fig. 2, the numbers 1, 2, 3 in each series being understood. The best plan is to write the numbers, or cut them out of a book, and paste them on a circular piece of cardboard, which must then be soaked in oil, so as to make it semi-transparent. The light will then easily pierce through it, and the figures will be better visible than if it were opaque.

It will be seen that Fig. 2 contains as much matter as Fig. 1, and that two thirds of the figures are saved by it.

These preliminaries being arranged, tell any one to take any twenty-seven cards out of a pack, and to think of any one of them. Deal them into three heaps, and ask him in which heap it is, and what number from the top he would like it to come after the third deal. Suppose he chooses it to be the twenty-sixth card, you take up your opera-glass and look for the number 26. This you will find last but one, arranged thus—26 213 The meaning is, that if the chosen card is to be the twenty-sixth, the heap in which it was found must be for the first time placed second, the second time first, and the last time third. So you pick up the cards, taking care to keep that heap number two. You again deal them in three heaps, and this time you place the heap in which is the chosen card at the top, being number one. Deal them a third time, and on gathering up the heaps, place it at the bottom.

Then, on counting from the top, the chosen card will be found to be the twenty-sixth.

5. THE FOUR KINGS.

Take the four kings out of a pack of cards, and also two other court cards, which are not to be shown. Spread out the kings before the spectators, but conceal the two court cards between the third and fourth kings. Lay the cards face downwards on the table. Take off the bottom card, which is, of course one of the kings; show it as if by accident, and place it on the top. Take the next card, (which is one of the court cards,) and place that in the middle of the pack. Take the third card, (i. e., the second court card,) and place that also near the middle of the pack. There will then be one king at the top and three at the bottom. Ask any one to cut the cards, and to examine them, when he will find all four kings together in the middle of the pack.

It is better to use court cards to place between the third and fourth kings, because if the cards should slip aside, they would not be so readily distinguished as common cards.

6. THE FOUR ACCOMPLICES.

Let a person draw four cards from the pack, and tell him to think of one of them. When he returns you the four cards, dexterously place two of them under the pack, and two on the top. Under those at the bottom you place four cards of any sort, and then, taking eight or ten from the bottom cards, you spread them on the table, and ask the person if the card he fixed on be among them. If he say no, you are sure it is one of the two cards on the top. You then pass two cards to the bottom, and drawing off the lowest of them, you ask if that be not his card. If he again say no, you take that card up, and bid him draw his card from the bottom of the pack. If the person say his card is among those you first drew from the bottom, you must dexterously take up the four cards that you put under them, and placing those on the top, let the other two be the bottom cards of the pack, which draw in the manner before described.

7. TO TELL THE CARD THOUGHT OF IN A CIRCLE OF TEN.

Place the first ten cards of any suit in a circular form, as in the annexed figure; the ace being counted as one. Request a person to think of a number or card, and to touch also any other number or card; desire him to add to the number of the card he touched the number of the cards laid out, that is, ten; then bid him count that sum backward, beginning at the card he touched, and reckoning that card at the number he thought of; when he will thus end it at the card or number he first thought of, and thereby enable you to ascertain what that was. For example, suppose he thought of the number three, and touched the sixth card, if ten be added to six, it will of course make sixteen; and if he count that number from the sixth card, the one touched, in a retrograde order, reckoning three on the sixth, four on the fifth, five on the fourth, six on the third cards, and so on; it will be found to terminate on the third card, which will therefore show you the number the person thought of. When the person is counting the numbers, he should not, of course, call them out aloud.

8. TO GUESS THE CARD THOUGHT OF.

To perform this trick, the number of cards must be divisible by 3, and it is more convenient that the number should be odd. Desire a person to think of a card; place the cards on the table with their faces downward, and, taking them up in order, arrange them in three heaps, with their faces upward, and in such a manner that the first card of the pack shall be first in the first heap, the second the first in the second heap, and the third the first of the third; the fourth the second of the first, and so on. When the heaps are completed, ask the person in which heap the card he thought of is, and when he tells you, place that heap in the middle; then turning up the packet, form three heaps, as before, and again inquire in which heap the card thought of is; form the three heaps afresh, place the heap containing the card thought of again in the center, and ask which of them contains the card. When this is known, place it as before, between the other two, and again form three heaps, asking the same question. Then take up the heaps for the last time, put that containing the card thought of in the middle, and place the packet on the table with the faces downward, turn up the cards till you count half the number of those contained in the packet; twelve, for example, if there be twenty-four, in which case the twelfth card will be the one the person thought of. If the number of the cards be at the same time odd, and divisible by three, such as fifteen, twenty-one, twenty-seven, &c., the trick will be much easier, for the card thought of will always be that in the middle of the heap in which it is found the third time, so that it may be easily distinguished without counting the cards; in reality, nothing is necessary but to remember, while you are arranging the heap for the third time, the card which is the middle one of each. Suppose, for example, that the middle card of the first heap be the ace of spades; that the second be the king of hearts; and that the third be the knave of hearts: if you are told that the heap containing the required card is the third, that card must be the knave of hearts. You may therefore have the cards shuffled, without troubling them any more; and then, looking them over for form's sake, may name the knave of hearts when it occurs.

9. TO TELL THE NUMBER OF CARDS BY THE WEIGHT.

Take a pack of cards, say forty, and privately insert among them two cards rather larger than the others; let the first be the fifteenth, and the other the twenty-sixth, from the top. Seem to shuffle the cards, and cut them at the first long card; poise those you have taken off in your hand, and say, "There must be fifteen cards here;" then cut them at the second long card, and say, "There are but eleven here;" and poising the remainder, exclaim, "And here are fourteen cards." On counting them, the spectators will find your calculations correct.