We shall, in the first place, describe the trick as performed with the set of eight rings above mentioned, afterwards noticing the more elaborate performance with twelve. We must premise, however, that the manipulation of the rings admits of almost infinite variation, and that the practice of performers differs greatly as to the mode of working them.
Fig. 238.
Fig. 239.
Fig. 240.
Fig. 241.
The performer comes forward holding the eight rings in his left hand, arranged as follows. First (i.e., innermost), comes the set of three; then the “key” ring (the opening uppermost in the hand), then the set of two; and, lastly, the two single rings. Taking the first of these, he hands it to a spectator for examination; passing it when returned to another person, and carelessly handing a second ring to be examined in like manner. This should be done without any appearance of haste, and with an air of being perfectly indifferent as to how many of the rings are examined. The two “singles” having been duly inspected, the performer requests one of the spectators to take them both in his right hand, at the same time taking in his own right hand the next two rings, which, it will be remembered, are the set of two, though the audience naturally believe them to be, like the first, separate. “Now, sir,” the professor continues, “will you be good enough to link one of the rings which you hold into the other.” The person addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says the performer, in pretended surprise. “My dear sir, nothing is easier. You have only to do as I do. See!” Laying down the rest of the rings, he holds the two as in [Fig. 236], and makes a gentle rubbing motion with the thumb upon the rings, and then lets fall one of them, which naturally drops to the position shown in [Fig. 237]. He now hands these two rings for examination. The spectators seek for some joint or opening, but none is found; and meanwhile the performer transfers the next ring (the “key”) to his right hand, keeping the opening under the thumb. He now takes back with the left hand the two single rings, immediately transferring one of them to the right hand, and with the ball of the thumb presses it through the opening in the key ring, into which it falls, with exactly the same effect as the apparent joining of the two linked rings a moment before. Again he separates and again joins the two rings. The second single ring is now made to pass through in like manner, making the combination shown in [Fig. 238]. The performer remarks, “We now have three joined together. Here are three more, as you see (shaking those in the left hand), all solid and separate, and yet at my will they will join like the others.” Making a rubbing motion with the thumb as before, he drops two of the three, one by one, from the hand, when they will appear as a chain of three. These he hands for examination, taking back the set of two, and linking them one after the other into the key ring, to which now four rings are attached. Again taking back the set of three, he links these also one by one into the key ring, which thus has seven rings inserted in it. (See [Fig. 239].) Using both hands, but always keeping the opening of the key ring under one or the other thumb, he now takes off these seven rings, commencing with the two single ones, and again offering them for examination; then taking off the set of two. Last of all, he unlinks the set of three, and then, holding them at length in his left hand, joins the upper one to the key ring, thus making a chain of four, of which the key ring is the uppermost. He next takes the lowermost ring of the four, and links that into the key ring, bringing the four rings into a diamond shape, as shown in [Fig. 240]. Again unlinking the lower ring, he takes up the set of two, and connects them with the key ring, holding them up above it, thus making a chain of six, the key ring being third from the top. (See [Fig. 241].) Taking the upper ring between his teeth, he links the two single rings into the key ring on either side, making the figure of a cross, as shown in [Fig. 242]. As the hands are now occupied in holding the single rings forming the arms of the cross, he can no longer keep the opening of the key ring concealed by the thumb, but it is extremely unlikely that among so many rings, so slight a mark in one of them will attract notice. Regaining possession of the key ring, he links all one by one into it, so as again to bring them into the condition depicted in [Fig. 239]. Then, holding the key ring with both hands, and with the opening downwards, about a couple of feet from the floor (see [Fig. 243]), he shakes the rings violently, at the same time gently straining open the key ring, when the seven rings will all in succession drop through the slit, and scatter themselves about the floor, the general impression being that they all fall separate, though the grouped sets, of course, remain still united.