The pedestal is prepared for use by removing b, and placing one of the little bouquets on the top of a; then again putting on b, and forcing it down into its place, when the condition of the apparatus will be as shown (in section) in [Fig. 199]. The wire arch prevents the flowers being crushed out of shape by the pressure of the spring. The pedestal and cover are now brought forward and placed on the table; also the cone (with the shell on), the paper tube to cover it, and the remaining bunch of flowers. The paper tube is first exhibited, placed over the cone, and removed with the hollow cone within it, as in the last trick. The solid cone is then offered for examination, and having been duly inspected, is placed upon the pedestal. The performer makes a movement as if about to place over it the cover c, but checks himself in the act, and shows that this cover is empty and hollow throughout. He then puts on the cover, and reverting to the bunch of flowers on the table, covers it with the paper tube. He next announces that in obedience to his command, the block and the bunch of flowers will change places. He raises the paper tube, holding it by the top, and thus leaves behind the hollow shell, covering and concealing the bunch of flowers. He next takes off the cover of the pedestal, first, however, turning the bayonet catch, so as to lift off with the cover the casing b. The solid cone is carried off between the casing and the cover (see [Fig. 200]), while the action of the spring, the casing being removed, brings the concealed bunch of flowers to the top of the pedestal, in the position lately occupied by the cone. Having shown that the cone and the flowers have changed places, the performer next undertakes to bring them back to their original situation, which, by reversing the process, he does without difficulty.
The pedestal above described is a very useful piece of apparatus, being available either to produce, change, or vanish any article of appropriate size. A very effective trick may be performed therewith by causing an empty tumbler to appear full, or vice versâ. In this case, however, it should by no means be admitted that an exchange takes place, as the supposed filling of an empty glass with water by covering it with an evidently unsophisticated cover, is rather the more surprising phenomenon.
The Flying Glass of Water.—This capital trick was, we believe, first introduced to the public by Colonel Stodare, to whom the profession is indebted for many first-class illusions. The necessary apparatus consists of a couple of ordinary glass tumblers, exactly alike, with an india-rubber cover just fitting the mouth of one of them, and a coloured handkerchief of silk or cotton made double (i.e., consisting of two similar handkerchiefs sewn together at the edges), with a wire ring (of the size of the rim of one of the tumblers, or a fraction larger) stitched loosely between them, in such manner that when the handkerchief is spread out the ring shall be in the middle.
Fig. 201.
Fig. 202.
The performer, beforehand, nearly fills one of the tumblers with water, and then puts on the india-rubber cover, which, fitting closely all round the edge, effectually prevents the water escaping (see [Fig. 201]). The glass, thus prepared, he places in the profonde on his right side. He then brings forward the other glass and a decanter of water, and the prepared handkerchief, and in full view of the audience fills the glass with water up to the same height as he has already filled the one in his pocket, and hands round glass and water for inspection. When they are returned, he places the glass upon the table, a few inches from its hinder edge, and standing behind it, covers it with the handkerchief, first spreading out and showing both sides of the latter, proving, to all appearance, that there is no preparation about it. In placing the handkerchief over the glass, he draws it across in such manner as to bring the hidden ring as exactly as possible over the top of the glass. Then placing the left hand over the handkerchief, as shown in [Fig. 202], he raises, apparently, the glass within the handkerchief, but really the empty handkerchief only, which is kept distended by the ring, and, at the same time, under cover of the handkerchief, gently lowers the glass of water with the other hand on to the servante. This is by no means difficult, as the pretended carefulness of the operator not to spill the water allows him to make the upward movement of the left hand as deliberate as he pleases. All that is really necessary is to take care to follow with his eyes the movement of the left hand, which will infallibly draw the eyes and the minds of the audience in the same direction. Having raised the supposed tumbler to a height of about two feet from the table, the performer brings it forward to the audience, and requests that some gentleman with a steady hand will favour him with his assistance. A volunteer having been found, and having given satisfactory replies as to the steadiness of his nerves, and the strength of his constitution generally, is requested to place his hand under the handkerchief and take the glass. As he proceeds to obey, the performer lets go of the handkerchief with the left hand, still retaining one corner with the right, and lets the right arm with the handkerchief drop to his side. Pretending to believe that the gentleman has taken the glass, and not to notice its disappearance, he turns carelessly aside, and brings forward a small table or chair, saying, “Put it here, please.” Looking, generally, somewhat foolish, the victim replies that he has not got it. If the performer is a good actor, he may here make some fun by pretending to believe that the victim has concealed the glass, and pressing him to return it. At last he says, “Well, if you won’t give it to me, I must find it for myself,” and he proceeds to tap with his wand the sleeves and pockets of the unfortunate individual, but without success, till, on touching him between the shoulders, he pretends to tell by the sound that the glass is there. “Yes, here it is,” he remarks. “I am sorry to be obliged to ask you to turn your back on the company, but to show them that there is no deception on my part, I am compelled to do so. Will you please turn round for one minute.” On his doing so, the performer, again shaking out the handkerchief, and showing both sides of it to prove it empty, spreads it over the back of the victim. Again he taps with his wand, which, striking the ring through the handkerchief, causes an unmistakeable hard sound to be heard; and then grasping the ring as before through the handkerchief, he deliberately raises it up in a horizontal position, the effect being as if the glass had again returned to the handkerchief. He then says, “I don’t think I will trouble this gentleman again; he is too much of a conjuror himself;” then turning rapidly to the audience, he says, “Catch, ladies and gentlemen,” and “flicks” the handkerchief quickly towards the spectators, who duck their heads in expectation of a shower. “Pardon me, ladies, I fear I alarmed you; but you need not have been afraid; I never miss my aim. That gentleman has the glass” (designating anyone he pleases). “May I trouble you to step forward one moment, sir?” On the person indicated doing so, the performer places him facing the audience, and under cover of his body takes the second glass out of the profonde, and throws the handkerchief over it, remarking, “Yes, ladies and gentlemen, here it is, in this gentleman’s tail pocket.” Then taking hold of the glass with the left hand beneath the handkerchief, he clips with the first finger and thumb, through the handkerchief, the edge of the india-rubber cover, and thus drawing off the cover inside the handkerchief, hands round the glass and water for inspection.
Fig. 203.