CLAIRVOYANCE OR SECOND SIGHT.
Second Sight is properly classified with Parlour Magic, inasmuch as there is more in it than is intended to meet the eyes or ears of the audience, and "Clairvoyance" now almost invariably forms some part of the entertainment given by the majority of professed conjurers. It is much beyond our province to go into the description of the elaborate training that Robert Houdin and his sons went through before they were able to give their renowned representations; but with them sharp-sightedness, combined with a wonderful power of taking into the mind, at a glance, numerous objects, was of more importance than Second Sight, whatever scientists may decide that faculty to be.
Clairvoyance, or Second Sight, when applied to conjurers' tricks and private entertainments, is the art of telling the name and description of articles by a person whose eyes are blindfolded. Much as Clairvoyance has, from time to time, astonished people before whom it has been represented, but who have not been initiated into its mysteries, and much as it undoubtedly will still continue to mystify, yet, when its first principles are mastered, it will be seen by all that, although it may form the basis of capital entertainments, yet it, like the conjuring tricks we have already described, is not, after all, so wonderful as was imagined. The whole system of presumed Second Sight rests with two persons (or more, if necessary); the one advances to the audience to receive such articles as it may be desired to ask questions about of the other, who is blindfolded, and who is supposed to possess the power or faculty of Second Sight. These questions and answers are arranged into a system which constitutes the art of Clairvoyance. Sometimes, too, confederates with articles already seen by the blindfolded performer take part in the deception as part of the audience; but, in an ordinary way, this is not at all necessary. In our system, which will require some pains and care to carry out, there should be a series of questions, each one of which will denote the answer to be given. The questions should be very simple, so as not themselves to appear strange or leading, and the questions, with the corresponding answers, must be carefully committed to memory by both performers. In order that the manner of the deception may be thoroughly understood, we give just a few illustrations of the system of questions and answers, which will be useful as models to those desiring to draw up a set for themselves. We will suppose that some articles of jewellery have been handed in for the clairvoyant to name. The other performer will proceed, according to the articles handed in, with the following questions, first saying himself, "Now, I have had passed to me some articles of jewellery, which the clairvoyant will describe, and I will proceed to question him about them."
If the article first held up is a bracelet, the question may be—"Let the company know what I hold in my hand."
If a watch—"What is this that you are to describe?"
If a brooch—"Now what do I hold up?"
If an ear-ring—"To what use is this put?"
If a gentleman's watch-chain—"Say, in brief, what I have in my hand."
If a ladies' watch-chain—"Describe, at length, what I have in my hand."
If a gentleman's ring—"Say, what is in my hand now?"
If a lady's ring—"Say now, what is in my hand?"
If a breast-pin—"Say what I hold up now."
If a stud—"What is this for?"
The words italicised should be pronounced with emphasis, as they will give the clue needed; certain articles cannot be so well indicated in the questions, and greater care must therefore be taken in committing the corresponding questions and answers to memory.
Suppose, further, that a brooch has been held up, and that it has to be more fully described, proceed by telling the audience that the blindfolded clairvoyant will say of what metal the brooch is made.
If of gold—Question to put—"If of gold or silver?"
If of silver—"If of silver or gold?"
If neither gold nor silver, but a common imitation—"Of what metal is this brooch made?"
If set with stones—"Is it set with a stone or stones?"
If unset—"How is it set?"
If with a topaz—"Tell the name of the stone."
If with an emerald—"Endeavour to name the setting."
If with pearls—"Please say how set."
If with opals—"Kindly name the setting to the company."
If with diamonds—"Describe the stone with which it is set?"
If with turquoise—"I must trouble you to name the setting."
If with garnets—"Guess the setting."
If with jet—"Just say the nature of the setting."
If with cornelian—"Come, now! what is the setting?"
If with amethyst—"Announce the name of the stone."
And so on, arranging questions for colours, for materials, for miscellaneous articles, such as personal wearing apparel, chimney ornaments, nicknacks, &c. &c.