Modern Magic: A Practical Treatise on the Art of Conjuring

by Professor Hoffmann

The bottom a b of the box (see [Fig. 226]) is moveable, working on a hinge b extending along its front. When the box is turned over to the front, this bottom piece does not turn over with it, but remains flat upon the table as before. A piece of wood b c, of exactly similar size and shape, is glued to a b at right angles. When the box stands right side upwards, this piece lies flat against the front of the box, whose upper edge is made with a slight “return,” so as to conceal it. When the box is turned over to the front, this piece, like the bottom, retains its position, while any object which had previously been placed in the box remains undisturbed, but hidden by this latter piece. (See [Figs. 226, 227].) It is, of course, necessary that such object should be of such a size as not to overpass the arc which the edge of the box describes in its change of position, and the length from b to c must be exactly the same as that from a to b.

The mode of using the box will require little explanation. Any number of objects, not overpassing the limits we have mentioned, may be placed in the box, which, being then turned over, can be shown apparently empty. The box being replaced in its normal position, the articles are again within it, and can be produced at pleasure. The effect of “inexhaustibility” is produced as follows:—Each time that the performer turns over the box to show that it is empty, he takes from the servante, or from his pockets, and places upon a b, a fresh supply of articles, to be produced as soon as the box is again right side upwards.

Fig. 227.

It should be mentioned that the hinge at b is made to act freely, so that the bottom may by its own weight retain its position when the box is turned over, and not turn over with the box. Some boxes are made with a catch or pin at some part of a, so as to prevent a b falling prematurely while the box is being placed on the table, or while the performer carries round the box, and shows that, inside and out, it is without preparation. This, however, the performer may safely do, even without the use of any catch or fastening, by taking care to grasp the box, when carrying it, by its front edge, with his fingers inside it. The fingers will thus press b c closely against the front of the box, and will thereby effectually prevent a b from shifting its position. The box is, of course, in the case supposed, really empty. The performer has therefore to make an opportunity for introducing what may be needful into it; this he may do by remarking as he replaces it on his table, “You are by this time, ladies and gentlemen, tolerably well satisfied that there is nothing in this box; but for the greater satisfaction of those who may not have been able to see the interior as I carried it round, I will once more show you that it is absolutely empty.” So saying, he turns it over, and once more shows the interior, at the same time placing on a b whatever article he designs to produce.

Fig. 228.

The Japanese Inexhaustible Boxes.—This is a form of the same apparatus, in which an additional element of mystery is produced by the use of a box within a box. The inner box is an ordinary inexhaustible box, as last described, but made with a flat wooden lid, instead of the hollow or “box” lid used in the older form of the trick. The outer box just fits over the inner, and is, in fact, a mere cover for it, being an ordinary wooden box, save that it has no front. The two are brought on one within the other. The performer begins by taking the smaller box (which is ready filled with the objects to be produced) completely out of the larger, and shows that the latter is absolutely empty. He then places the two boxes together, as shown in [Fig. 228], turning over the smaller box to show its interior, as already described. After this has been done, the smaller box is tilted back to its normal position within the larger, the lid of the latter being slightly lifted to allow it to pass, and then both lids being opened together, the production of the contents commences. The function of the larger box is, in fact, merely to act as a screen to the hinder part of the smaller, when turned over towards the audience. The only advantage of the Japanese over the ordinary box is that it may be worked on any table, and with spectators on all sides, but this advantage is counterbalanced by the drawback that nothing can be produced save what was originally in the box, neither can the smaller box be carried round, and shown empty. This, however, may be met by beginning the trick with the two boxes together, and then, after having brought to light the whole of the original contents, offering (for the pretended purpose of heightening the effect) to continue the trick without the aid of the outer box. The inner box may thenceforth be replenished from behind in the same way as the ordinary Inexhaustible Box.

The Inexhaustible Box is frequently made the vehicle for those distributions of bonbons, toys, etc., which to the juvenile mind form by no means the least attractive feature of a magical performance. It is also available for the production of flowers, multiplying balls (see page [307]), goblets, bird-cages, and the miscellaneous assortment of articles generally associated with “hat” tricks. One of the most effective modes of using it is in connection with the very pretty trick next following.

The Feast of Lanterns.—The performer, having exhibited the box empty, as already described, turns it over again, and instantly produces from it a paper lantern of many colours, with a lighted candle in it. This he hands to his assistant or one of the company to hang up at some convenient part of the stage or room, and returning to the box produces another, and yet another, till ten or twelve, or even a larger number, have been produced, the box being every now and then turned over to prove it empty. The effect of a number of lanterns thus mysteriously produced from an empty box, and hung about the stage in all directions, is most brilliant. As the candles do not burn very long, and there may be some risk of the lanterns catching fire, it is well to make this trick the finale of the entertainment, and to allow the curtain to fall before the illumination has had time to lose its effect.