Modern Magic: A Practical Treatise on the Art of Conjuring

by Professor Hoffmann

The ladle may also be used to apparently burn and restore a paper on which one of the company has written any words or figures. In this case a blank half-sheet of note-paper, folded in four, is beforehand placed in the ladle, and a piece of paper folded in the same way is handed to one of the audience, with a request that he will write what he pleases upon it, again fold it, and place it in the ladle. It is then either apparently burnt (as in the case of the card), or placed in some other apparatus, the operator making a great point of the fact that he does not touch the paper. As the genuine paper remains in the ladle, it is, of course, very easy for the performer to ascertain what is written upon it, and having displayed his knowledge, to ultimately reproduce the paper under any circumstance which he thinks fit. Sometimes the trick is varied by requesting a spectator to write a question upon the paper, which is subsequently reproduced with an appropriate answer written beneath the question.

Fig. 195.

Fig. 196.

The Cone, or Skittle. (La quille).—This is a block of polished boxwood, of the shape shown in [Fig. 195], with a thin shell of the same material exactly covering it, and so closely resembling it in appearance, that the solid block and the hollow shell, seen apart, cannot be distinguished the one from the other. The cone is made in various sizes, from three inches in height by one and a half at the base, to seven inches in height by three at the base. It is worked with a paper cover, consisting of an open tube of cartridge paper about double the height of the cone, and tapering in such manner that its larger end shall fit loosely over the cone. The performer brings forward this paper tube in his right hand, and the cone (with the hollow shell upon it) in his left, taking care to hold his fingers beneath it in such manner that the solid cone cannot fall out. He first calls attention to the paper tube, which the audience are allowed to examine at pleasure. When it is returned to him, he says, “You are now quite satisfied that there is no preparation about this tube, which is, in fact, simply a cover for this block of wood.” As if merely suiting the action to the word, he covers the block with the tube, immediately removing it again, and carelessly laying the cover on the table. In removing it, however, he grasps it with a gentle pressure, and so takes off with it the hollow shell (see [Fig. 196]), of whose existence the audience have no suspicion. He continues, “Perhaps you would also like to examine the block, which you will find to be a plain, solid piece of wood, without mechanism or preparation of any kind.” The block having been duly examined, the supposed empty cover is placed upright upon the table; and the solid block having been disposed of by any means in the performer’s power, is ordered to pass invisibly under the cover, which being raised, the hollow shell is seen, appearing to the eye of the audience to be the block itself, and to have found its way there in obedience to the performer’s command.

The above is the working of the “cone” in its simplest and barest form, but no skilled performer would dream of presenting the illusion in such a common-place way. To make the trick effective, it should be so arranged as to make the cone apparently change places with some other article. There are many combinations which might be suggested, but we shall content ourselves with describing one or two of those in most general use. The smaller sized cones may be worked in conjunction with a goblet and ball (the same as those used for the [Cups and Balls]), in manner following:—Having tendered for inspection the cone and cover as already described, and placed them on the table, the performer offers the goblet and ball in like manner for inspection. When they are returned, he places them also upon the table, a little distance apart, and meanwhile palms a second ball, which should be in readiness either on the servante, or in one of his pochettes. He now places the paper cover (which, it will be remembered, contains the hollow shell) over the first ball on the table. “Pray observe,” he remarks, “that I have fairly covered over the ball” (here he raises and replaces the cover, pressing so as to lift the shell with it, and showing that the ball is still there). “The goblet, as you have seen, is perfectly empty.” (Here he raises the goblet, and, in replacing it, introduces the second ball under it, as described in the chapter devoted to the [Cups and Balls].) “I shall now order the ball to pass from the cover under the goblet.” He waves his wand from the one to the other. “Presto! Prestissimo! Pass!” (He raises the goblet, and shows that the ball has (apparently) passed under it.) The first ball still remaining under the paper tube, he cannot at present raise it, so proceeds rapidly to the next stage of the trick, that the omission may not be noticed. “So far,” he remarks, “the trick is mere child’s play. The real difficulty is to pass the cone under the cover in place of the ball. However, I will make the attempt.” So saying, he picks up the cone with his right hand, and apparently transfers it to his left, really palming it, and immediately afterwards dropping his right hand to his side, and getting rid of the cone into the profonde. Then, taking two or three steps away from the table, still holding the left hand as if containing the cone, and looking towards the cover, he says, “One, two, three, Pass!” with a motion of the hand as if throwing something; immediately showing the hands empty, and lifting up the cover (but this time by the top, so as not to exert any pressure against its sides), and showing the hollow shell, which now conceals the ball, and is taken by the spectators to be the genuine cone. “We have succeeded pretty well so far, ladies and gentlemen,” he remarks; “it remains to be seen whether I shall be equally successful in bringing back the cone and ball to their original positions. I dare say you would all like to know how the trick is done, and therefore this time I will vary the mode of operation, and make the transposition visibly.” (Here he drops his right hand to the profonde, and secretly palms the solid cone.) “First the cone” (he passes his right hand, keeping the back towards the audience, upwards along the cover, and, as it reaches the top, brings the cone into view). “Pray once more assure yourselves that it is fair and solid. Now for the ball.” He picks up the ball with the left hand, and holding it between the finger and thumb, apparently transfers it, by the pass called the tourniquet (see page [150]), to the right, forthwith getting rid of it into the profonde on the left side. “Pray observe that it does not leave your sight even for a moment.” Then holding his hand high above the paper cover, he makes a “crumbling” movement with it, immediately showing it empty, and lifting the cover with a slight pressure, so as to carry the shell with it, shows the ball beneath. The attention of the spectators being naturally attracted to the ball, it is an easy matter to let the hollow shell slip out of the paper cover upon the servante, and again to hand the cover for examination.

Some performers, instead of using the goblet, work the small cone with the “ball-box” (see page [296]).

It is obvious that the directions above given will apply only where the cone is of a size so small as to be readily palmed, in which case it is hardly conspicuous enough to be used before a large audience. Where a cone of larger dimensions is employed, it is necessary to vary the mode of operation. We shall therefore proceed to describe the trick in its stage form, as worked by Herrmann and other public performers.

The cone in this case is about seven inches high, and is worked in conjunction with a “drawer-box” of such a size as to contain it easily. Having handed round for inspection the cover and cone, as already described, the performer suddenly remembers that he requires an orange, which he forthwith produces from his wand. (It is hardly necessary to observe that the orange is beforehand placed in readiness in one of the pochettes, and is produced from the wand in the manner described for producing a ball. See page [276]). Laying down the orange on the table, he next exhibits the drawer-box, taking the drawer completely out, and, after showing it on all sides, replacing it. He then covers the orange on the table with the paper cover (containing the hollow shell), and places the solid cone in the drawer-box, which being of the kind described at page [345], he turns upon its side, with its top toward the audience. He meanwhile palms in his right hand, from his pocket or the servante, a second orange. He now announces that he is about to take the orange back again, which he does by passing his wand up the side of the cover, and immediately producing therefrom the second orange. He places this upon another table at a little distance, and covers it with a borrowed hat, making as he does so a feint of removing it, and slipping it into his tail pocket. He hears, or pretends to hear, some one remark that he took away the orange, and answers accordingly. “Oh! you think I took away the orange. Allow me to assure you that I did nothing of the kind.” (He lifts up the hat, and shows the orange in its place.) “I will cover it again; or, still better, to prove that I do not take it away, I won’t cover it at all, but leave it here in full view on the table.” He replaces it on the table, but this time places it on what is called a “wrist-trap,” in readiness for a subsequent disappearance. “Having taken the orange from under the cover,” he continues, “I have now to make the solid block vanish from the drawer, and take its place; but I shall do it this time invisibly. See, I have only to wave my wand from the one to the other, and the thing is done. The drawer is empty” (pulling out the false drawer only), “and here is the block” (he lifts the paper cover, and shows the hollow shell). “Now I come to the most difficult part of the trick, which is to bring both articles back to their original position. First, I will take the block of wood.” He covers the shell with the paper tube, and makes a movement of his wand from the cover to the drawer. “Pass! Let us see whether it has obeyed.” He this time pulls the drawer completely out, and lets the block fall heavily on the stage. “Now for the orange.” He places both hands round it, as if picking it up between them, and presses as he does so the spring of the trap, which opening, lets the orange fall through into the table. Bringing the hands, still together, immediately above the paper cover, he rubs them together as if compressing the orange, finally separating them and showing them empty, and immediately afterwards lifting the cover with the hollow shell, and showing the first orange beneath it.