Fig. 57.
A Novel Welsh "Rabbit."—Employ a tinman to make a saucepan of tin, the dimensions of which should be 7in. or 8in. in depth, and about 5-1/2in. in diameter at the widest part, which will be the top, from whence it should taper slightly to the bottom. To this have fitted an outer casing (A, [Fig. 57]), also of tin, that is 2in. less in height than the saucepan itself. At the line where the upper rim of the casing comes when the saucepan is fitted into it, have a beading (B, [Fig. 57]), either put on or hammered out of the metal. This will effectually conceal the fact that any outer casing exists, which will be regarded as the body of the saucepan. Into the saucepan fits loosely a secret pan, about 1-1/2in. only in depth, and into this again fits a lid, which is ostensibly the lid of the saucepan. The saucepan is provided with a handle, which must, of course, come from that part which is above the outer casing. The saucepan is prepared by having a rabbit placed in it, and the false pan put in, the lid lying loosely on the top. Holding it with one hand, and sustaining the casing, in which is a piece of cotton or cambric, by means of the pressure of one or more fingers, it is brought on, and going with it towards the audience, care being taken to hold it high, a hat is borrowed. Observe, on receiving the hat, that you intend making a stove of it, and then borrow a small handkerchief, which, you will explain, when you have obtained possession of it, you purpose using as fuel. As if indicating the meaning of your words, put the saucepan into the hat, and, on withdrawing it, leave the outer casing behind. Place the hat upon the table, with the saucepan beside it, and then, removing the lid, break an egg or two into the secret pan—apparently into the saucepan itself. Put in any ingredients you please, not omitting candle drippings, and then place the lid firmly on. Place the borrowed handkerchief into the hat, between its side and the tin lining within it. Pour some spirits of wine upon the piece of linen or cambric, and then set fire to it. Of course the audience, on seeing the flames, will suppose that the borrowed handkerchief is being burnt inside the hat, and mingled amusement and consternation will be exhibited. Do not allow the burning to last long, or the tin casing will become undesirably heated; but put the saucepan quickly into the hat, after affecting to cook the contents, and perform the double operation of putting out the flames and bringing away the casing. If the casing be too hot, the action of the heat upon the fingers will speedily make the fact known, so any further directions upon this point will be unnecessary. Remove the lid, which, if it fits as tightly as it should into the false pan, will bring that away as well, and then take out the rabbit. Return the hat, previously taking out the handkerchief, and point out that neither are injured; and also show that the interior of the saucepan is quite guiltless of any contents. If such a combination of apparent impossibilities as are presented in this trick do not astonish, then nothing ever will. It is a great trick for large mixed audiences. Doves or guinea pigs can be used as successfully as rabbits. I have even seen a kitten employed, but the difficulty was to get it into the saucepan.
The Bird and Card.—A very pretty stage trick this. The performer must procure what is known as a bird box, which is a pretty polished box, having a secret metal flap inside, the latter, when turned down, forming a retreat for a small bird, such as a canary. It is held down by a small catch, released by pressing the key into the lock from the outside, the double action being performed of setting free the bird and concealing the card. It is useless having such a box constructed, as it can be much more satisfactorily procured of the proper vendors. Two small cages are also necessary. They may be round or square, but, in either case, should be all wire, like a rat trap. This is merely to give them an innocent appearance. One of these cages is concealed on the shelf, behind the table. The performer borrows a hat, either for this or a preceding trick (preferably the latter), and gets the empty cage into it. This is best done by placing the hat upon the table, the opening towards the rear, and leaving it there for a time. Then, when carelessly shifting its position, the article required to be got into it may be inserted with less suspicion. In the second cage is a bird, precisely similar to the one concealed in the bird box. Place this cage upon the table, and cover with a double cloth, having inside a card-board shape. A card is forced on one of the company, and placed in the bird box, in a little slit which will be found there, just over the hinge of the secret flap. The inside of the box may be carefully exhibited at a slight distance, the blackened interior preventing anyone from noticing the presence of the turned down flap. Whilst affecting to lock it, the key is pressed hard in and the flap released. In flying back this covers the card. The performer commences by extracting the card. This he can do by having a duplicate concealed in a card-box (see[ page 127]), and causing it to appear in that; but it will look more artistic to have one palmed and affect to extract it from the box. This done, the cloth is raised by the shape, the cage being left upon the shelf. The cloth is then shaken out and laid flat upon the floor. The box is then opened and the bird allowed to fly out, if tame, or taken out in the hand, previously shown empty, if wild. The performer will derive a great advantage from having a tame canary, which returns to his shoulder. Finally, the hat is brought forward and found to contain the missing cage.
[CHAPTER XVIII.]
SHAM MESMERISM, CLAIRVOYANCE, ETC.
BLINDFOLD FEATS—IMITATION SECOND SIGHT—ON SPIRITUALISM—THE MESMERISED POKER—THE PERAMBULATING WALKING STICK—THE ASCENT—THE TALKING GLASS: TWO METHODS—THE SPIRIT BOUQUET—THE SLATE TRICK—FIERY HANDS, WRITINGS, &C.—THE ELECTRIC TOUCH—THE ANIMATED SKULL.
Clairvoyance.—This is one of the most mysterious agencies with which the scientific world has ever had to deal. Doubted by the majority, because of its seeming improbability, and because of the difficulty of comprehending it, the faculty of clairvoyance or second sight has, nevertheless, been possessed, and is possessed, by not a few. Some marvellous manifestations of seeing without the eyes have been shown, and in a manner sufficient to convince even the most sceptical of its reality. This faculty has often been imitated by conjurors, some of whom have fairly admitted that they were only imitators, whilst others have assumed possession of the actual power itself. At that now defunct institution, the Polytechnic, and other places of amusement, cleverly arranged telegraphic communication has been the means adopted for bringing a person on the stage en rapport with another amongst the audience. I would not recommend the amateur to take any serious trouble in the matter, but to merely make himself master of a few tricks relating to it. A very simple one is performed with the aid of a pack of cards. An assistant is blindfolded on the stage, and placed with his back to the audience. Before proceeding any farther, the performer explains that, beyond a certain point, he will neither speak nor make any sound or movement, lest it should be said that he conveyed information to the assistant. He then proceeds to "force" three or more cards in an order previously agreed upon, and the holders thereupon ask of the assistant, as the performer has previously instructed them to do, what the names of the cards are. The performer must mentally reserve to himself the right of pointing with his wand to the person who is to speak next, so as to ensure the cards being asked for in the proper order.