Magic

In which are given clear and concise
explanations of all the well-known
illusions, as well as many
new ones

by Ellis Stanyon

Philadelphia
The Penn Publishing Company
1910

Copyright 1901 by The Penn Publishing Company

Contents

Preface

The art of pretended magic dates back to the remotest antiquity. It has been known under various names, such as White Magic, Conjuring, Natural Magic, and Prestidigitation. Jannes and Jambres, the magicians of Pharaoh, contended against Moses and Aaron. In the British Museum there is an Egyptian papyrus, which contains an account of a magical seance given by a thaumaturgist named Tchatcha-em-ankh before King Khufu, b.c., 3766. In this manuscript it is stated of the magician: "He knoweth how to bind on a head which hath been cut off, and he knoweth how to make a lion follow him as if led by a rope." The decapitation trick is thus no new thing, while the experiment with the lion, unquestionably a hypnotic feat, shows hypnotism to be old.

The temples of Egypt, Greece and Rome were veritable storehouses of magic and mystery. The pagan priesthood attained a wonderful proficiency in optical illusions. In the Middle Ages magic was greatly in vogue. Later on Nostradamus conjured up the vision of the future king of France for the benefit of the lovely Marie de Medicis. This illusion was accomplished by the aid of mirrors adroitly secreted amid hanging draperies. Reginald Scott, in 1584, in Discoverie of Witchcraft, enumerates the stock feats of the conjurers of his day. The list includes "swallowing a knife; burning a card and reproducing it from the pocket of a spectator; passing a coin from one pocket to another; converting money into counters, or counters into money; conveying money into the hand of another person; making a coin pass through a table, or vanish from a handkerchief; tying a knot, and undoing it 'by the power of words'; taking beads from a string, the ends of which are held fast by another person; making corn to pass from one box to another; turning wheat into flour 'by the power of words'; burning a thread and making it whole again; pulling ribbons from the mouth; thrusting a knife into the head or arm; putting a ring through the cheek; and cutting off a person's head and restoring it to its former position."

A number of these feats, in an improved form, survive to this day. In the early part of the eighteenth century conjuring made considerable progress. Men of education and address entered the profession, thereby elevating it from the charlatanry of the strolling mountebank to the dignity of a theatrical performance. The nobility of Paris flocked to the opera house to see the great Pinetti perform. Following him came Torrini, Comte, Bosco, Philippe, and finally the king of conjurers, Robert-Houdin. In the year 1844, Houdin inaugurated his Fantastic Evenings at the Palais Royal, Paris, and a new era dawned for magic. He reformed the art by suppressing the suspiciously-draped tables of his predecessors, substituting for these "clumsy confederate boxes" light and elegant tables and little gueridons, undraped. He went still further in his innovations by adopting the evening dress of everyday life, instead of the flowing robes of many of the magicians of the old régime. His tricks were of a different order, sounding the death knell of double-bottomed boxes, and apparatus which was too evidently designed for the magical disappearance and reappearance of objects.

Houdin has well earned the title of "The Father of Modern Conjuring," and his autobiography makes fascinating reading.

Since Houdin's time, conjuring has made rapid strides. The wide dissemination of literature on the subject and the consequent exposés have stimulated magicians to invent new tricks, or improve old ones. The study of magic in addition to being a fascinating amusement has a pedagogical value, admitted by all professors of psychology; it sharpens the mental faculties, especially those of observation and attention.

A comprehensive but concise manual on the subject of up-to-date tricks will be welcomed by the student.

I take pleasure in introducing to American readers, Professor Ellis Stanyon's capital manual on sleight-of-hand. Professor Stanyon is one of the most prolific as well as one of the cleverest living writers, on the subject of legerdemain. He has done much to popularize the fascinating art of white magic. His excellent chapter on "After-Dinner Tricks" is particularly recommended as being within the province of almost any amateur who possesses a modicum of personal address and a fair amount of digital dexterity. I have supplemented the work with chapters on "Shadowgraphy," and "Stage Illusions," also a number of tricks which have proved "drawing cards" in the hands of American conjurers, like the late Alexander Herrmann, and living artists like Kellar, Elliott, Plate, Robinson, Fox, Powell, etc. In the preparation of the additional matter, I am indebted for many valuable hints to those dexterous and clever performers, Doctor Elliott, Adrian Plate and William E. Robinson, who are especially noted as inventive minds in the realm of pure sleight-of-hand.

Henry Ridgely Evans,

Washington, D.C.

Magic

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CHAPTER I

INTRODUCTION

There are one or two leading principles to be borne in mind by any one taking up the study of magic. The first and foremost is, Never tell the audience what you are going to do before you do it. If you do, the chances of detection are increased tenfold, as the spectators, knowing what to expect, will the more readily arrive at the true method of bringing about the result.

It follows as a natural consequence that you must never perform the same trick twice in the same evening. It is very unpleasant to have to refuse an encore; and should you be called upon to repeat a trick study to vary it as much as possible, and to bring it to a different conclusion. There will generally be found more ways than one of working a particular trick. It is an axiom in conjuring that the best trick loses half its effect on repetition.

Should a hitch occur in the carrying-out of the programme by the accidental dropping of an article, or from any other cause, above all things do not get confused, but treat the matter as a good joke, and meet the difficulty with a smile, making use of some such expression as the following: "Well, you see I put it down there to show that it would go. It is perfectly solid and does not stick." By this means, instead of spoiling the entertainment, you add greatly to the amusement of the spectators.

Do not cultivate quick movements, at the same time it will never do to be painfully slow; but endeavor to present your tricks in an easy-going, quiet, graceful manner. It is generally understood that "the quickness of the hand deceives the eye," but this is entirely erroneous. It is impossible for the hand to move quicker than the eye can follow, as can be proved by experiment. The deception really lies in the method of working the trick, and in the ability of the performer in misdirection, as will be seen from a perusal of the following pages.

A little well-arranged talk as an introductory to an entertainment will be found to put you on good terms with your audience. A few words, something like the following, will suffice: "Ladies and Gentlemen, with your kind attention I shall endeavor to amuse you with a series of experiments in legerdemain. In doing so I wish it to be distinctly understood that I shall do my best to deceive you, and upon the extent to which I am able to do so will depend my success."

At the close of an entertainment a little speech, of which the following is an example, will be found to prove a good finish: "Ladies and Gentlemen, in concluding my entertainment I have only to say that, apart from deceiving you, which was but a secondary consideration, if I have been able to afford you some slight amusement I feel amply rewarded."

In concluding these remarks I must enforce upon the novice the necessity for constant practice, without which the clearest instruction would be useless. This applies, not only to conjuring, but equally well to any form of amusement, so the would-be magician may congratulate himself on the fact that the difficulties to surmount are not in excess of those of any other form of entertainment.

Before proceeding to describe the various tricks it will be well to notice one or two appliances of general utility.

The Dress.—The usual attire of the modern magician is the conventional evening dress, but I have known performers of the present day to adopt various fancy costumes.

Where the ordinary dress coat is used, each tail is provided with a large pocket, known as a profonde, the mouth of which is on a level with the knuckles, and slopes slightly to the side. These pockets, which are usually seven inches square, are lined with buckram, and sewn on rather full, to keep them constantly open. They are used to contain "loads" for hat tricks, etc., also to vanish articles, such as watches, eggs, or balls.

In addition to these pockets, two others, known as pochettes, are used on the trousers. These are sewn on rather full at the back of the thigh, on a level with the knuckles, and covered by the tails of the coat; they are useful to contain rings, coins, or other small articles required in the course of the performance.

There are also two pockets known as breast pockets, one in each side of the coat. These should be of a size large enough to contain a dinner plate, and should be made with the bottom sloping a little toward the back, to prevent articles placed in them from falling out. The opening should be in a perpendicular position one and a half inches from the edge of the coat. These are loaded with rabbits, doves, etc., or any large or cumbersome article required for magical production.

In the case of fancy costumes the pockets, if required, must be arranged as the attire permits. If you perform in a dinner jacket, the ordinary side pockets can be used for producing or vanishing the articles. The breast pockets, as already described, can be retained.

The Table.—There are a great many tricks which can be performed without the aid of a special table; in fact, tables of any description are very secondary articles in the stage settings of conjurers of the present day. Where they are employed they are usually of the small round tripod pattern, fancifully made for show, and are used only for the purpose of an ordinary table.

Tables with traps and other mechanical appliances are almost, if not entirely, out of date, no performer with any pretensions to originality making use of them.

A neat little table can be made from a piece of board eighteen inches in diameter, covered with red baize, and hung with fancy fringe to taste; the legs taking the form of an ordinary music stand. The under-side of the table is fitted with a brass plate holding a pin, about two inches long, to fit the socket of the stand. This forms one of the most compact tables possible, and is greatly in vogue, as the stand can be folded up into a small compass, and placed, together with the top, in a black canvas case for traveling. Two of these tables will occupy very little more room than one, and they look well in pairs. They will generally be found to afford sufficient convenience for an evening's entertainment.

The Servante.—This is a secret shelf behind the performer's table, on which are placed articles to be magically produced in various ways. It is also used to vanish articles as occasion may require.

In the absence of a specially prepared table a servante can be readily devised by pulling out the drawer at the back of any ordinary table about six inches, and throwing a cloth over the whole, the cloth being pushed well into the drawer so as to form a pad to deaden the sound of any article dropped into it.

If a table with a drawer cannot be obtained, a servante, which will answer every purpose, can be arranged by throwing a cloth over the table and pinning it up behind in the form of a bag.

In the case of the small round tripod tables, a small drawer, made from a cigar box, can be attached to the under side of them, and pulled out as required. The fringe decorating the edge of the table will conceal the presence of the drawer; but if the whole of the under side of the table, drawer included, be painted black, it cannot be detected at a few paces.

Fig. 1.—The Servante

There are various forms of portable servantes for fixing to the back of a table or chair. A description of one for use on a chair will be sufficient to give a clear idea of the construction of others, which can be arranged as required by the ingenuity of the performer. A piece of one-half inch board, seven inches by five inches, is covered with green baize, and slightly padded on one side with cotton wool, to prevent injury to any fragile article that may come in contact with it in the course of the performance. To this is screwed an iron frame (Fig. 1) of the same dimensions as the board. The frame, which carries a network as shown, is screwed to the board in such a way that it will fold up flush with the same, the whole being, when closed, under one inch in thickness. The frame carrying the network is prevented from opening too far by an iron bar screwed to the back of the woodwork, the sides of the frame being extended under this as shown. The board is fitted with two brass eyelets for attaching it to the top rail of an ordinary chair by means of two screw eyes or stout pins. To conceal the servante throw a fancy cloth over the back of the chair.

The Wand.—This is a light rod about fifteen inches long and one-half inch in diameter, usually of ebony, with ivory tips; a plain rod, however, will answer the purpose equally well.

The use of the wand is regarded by the uninitiated as a mere affectation on the part of the performer, but such is far from being the case. Its uses are legion. In addition to the prestige derived from the traditional properties of the wand, which has been the mystic emblem of the magician's power from time immemorial, it is absolutely necessary for the successful carrying-out of many experiments, as will be seen in the course of the present work. For instance, having palmed a coin, say in the right hand, you lower that hand and take up the wand, which effectually conceals, in a perfectly natural manner, the presence of the coin. The wand is now passed once or twice over the left hand, which is supposed to contain the coin, and on opening the hand the coin will be found to have vanished. It will thus be seen that the wand is of the utmost importance.

Fig. 2.—Placing of Tables

Concluding Observations.—The arrangement of the stage is now to be considered by the amateur. If the performance is to be given in a parlor, a space must be curtained off at one end large enough to accommodate the magic tables, and allow sufficient room between them and the audience to enable the conjurer to execute the various exchanges, etc., necessary to the successful accomplishment of particular tricks. When called upon to give an entertainment in a house, where there are two adjoining parlors, separated by folding-doors, the magician can seat his audience in the front parlor, and use the back one for the stage, the folding-doors making an admirable substitute for a curtain. Now as to the placing of the tables (Fig. 2). It is customary for the large table to occupy the centre of the room, beneath or just back of the chandeliers, flanked by two small tripod tables or gueridons. A couple of wax tapers in silver or brass holders, placed on the centre table, gives a fine effect to the whole. The amateur must take care that there are no bright lights behind his tables, or worse still a mirror. Behind the scenes provide a table to hold the apparatus to be used in the various experiments. In arranging tricks for the programme very little information should be afforded the inquisitive spectator as to the real nature of the illusion to be performed; this caution being in accordance with the conjurer's axiom: Never tell your audience beforehand what you are about to do. For example, if you are to exhibit the "rising-cards" call it on your programme the "Cabalistic Cards," or the "Cards of Cagliostro." This will give no clue to the trick. And so with other illusions. Robert Heller, a clever entertainer, described his experiments somewhat as follows:

• 1. With a watch.
• 2. With thirty pieces of silver.
• 3. With a candle.
• 4. Mocha.

The late Alexander Herrmann—"Alexander the Great"—was equally non-communicative. "Thirty minutes with Herrmann," "A bouquet of mystical novelties," etc., sufficed to describe a dozen or more brilliant feats of legerdemain. Arrange your magical novelties in groups, e.g.: two or three coin tricks, three or four handkerchief tricks, etc., and not a coin trick, then an illusion with a handkerchief, followed by another feat with a coin. Lead up to the best trick in each group with several smaller feats of a more or less similar nature. This is well illustrated in the "Magical production of flowers," explained in Chapter IX.

In addition to the programmes intended for distribution among the spectators, the performer must have a private programme of his own, stuck up in a conspicuous place behind the scenes. Upon this stage-programme is a list of the tricks to be performed during the evening, with the articles used in each trick. This is to prevent confusion. It is impossible for the performer or his assistant to always keep in mind the multifarious articles that go with each magical feat. When you retire behind the scenes after each group of tricks, you consult the "prompt-programme" to see that you have everything in readiness for the next series of illusions—for example an egg secreted under your vest, or a coin in your pocket. On one occasion, I saw the celebrated Herrmann completely bewildered and nonplussed because he did not have such a little thing as a pin stuck in the lapel of his coat, intended for use in the cornucopia and flower trick. This occasioned an awkward hesitation injurious to the effective performance of the feat. Herrmann had failed to examine his prompt-programme behind the scenes, hence his embarrassing situation.

Each trick should have an appropriate verbal accompaniment, technically known as the "patter," or boniment, written underneath it, which should in every case be learned off by heart. This, especially to the beginner, is a necessity, and very few, if any, of the best performers work otherwise.

Having once become accustomed to a programme, it should never be changed, in its entirety, for a new one. If it be desired to vary the mode of procedure, this is best done by the introduction of a new trick and the removal of an old one. By such means the performer saves himself a lot of trouble and anxiety, and is just as likely to give satisfaction from the point of view of an audience. This is the custom of professional performers, who very rarely alter their programmes; it also accounts in a large measure for their skill.

It is a weakness with young performers to endeavor to crowd too many tricks into the time allotted to their part. This is a mistake, and is bound to lead to disastrous results. Each trick requires its proper time, which is best found by experiment, and the entertainment should be arranged accordingly. "A little and good" is better than "a lot and bad."

A word or two as to nervousness may not be out of place. If the performer can bring himself to imagine, for the time being, at any rate, that he is the most wonderful individual in creation, his success is assured; that is, if everything has been rehearsed in private, and he knows his part thoroughly. A dull, nervous, or morose performer, however clever he may be, is sure to make the spectators feel uncomfortable, and thus spoil their enjoyment; therefore always endeavor to cultivate a cheerful manner, even under difficulties, and you will find your audience similarly affected. Apart from taking every advantage for repartee, always avoid being personal, and every possible opportunity for increasing the effect of a trick, the performer should be totally oblivious of all his surroundings and think only of himself and what he is doing. Once this is acquired, nervousness will be forever dispelled.

Not a little benefit may be derived from attending entertainments given by other conjurers, and every opportunity of so doing should be taken. In this way, by listening attentively to the remarks of other auditors, you will gain many points, not only as to how a trick may be improved, but also as to what movements in the execution of the same are unnecessary or awkward, and consequently to be avoided. Under these circumstances you will be able to realize the full force of Burns's well-known words, "to see ourselves as others see us."

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CHAPTER II

PRINCIPLES OF SLEIGHT OF HAND APPLICABLE TO SMALL OBJECTS

Palming.—The first thing the neophyte will have to do will be to learn palming, i.e., the art of holding small objects, such as coins, balls, nuts, corks, etc., concealed in the hand by a slight contraction of the palm.

Fig. 3.—Palming Coin

Practise first with a coin. A half dollar is the most convenient size, and is the coin generally preferred by conjurers, as its milled edge affords a ready grip to the palm. Lay the coin on the right hand as shown in Fig. 3. Then slightly contract the palm by pressing the ball of the thumb inward, moving the coin about with the forefinger of the left hand until you find it is in a favorable position to be gripped by the fleshy portions of the hand. Continue to practise this until you can safely turn the hand over without any fear of letting the coin fall.

When you can accomplish this with ease, lay the coin on the tips of the second and third fingers, steadying it with the thumb as in Fig. 4. Then moving the thumb aside, to the right, bend the fingers, and pass the coin up along the side of the thumb into the palm, which should open to receive it, and where, if you have followed the previous instructions, you will find no difficulty in retaining it.

Fig. 4.—Palming Coin

As soon as you can do this with the hand at rest, practise the same movement with the right hand in motion toward the left, as if you really intended to place the coin in that hand. To get this movement perfect, it is advisable to work in front of a mirror. Take the coin in the right hand and actually place it in the left several times; then study to execute the same movement exactly, with the exception that you retain the coin in the right hand by palming.

When appearing to transfer a coin, or any small object, from the right hand into the left, the left hand should rise in a natural manner to receive it. The right hand, in which is the palmed coin, should fall to the side; and the left hand should be closed as if it actually contained the coin, and should be followed by the eyes of the performer. This will have the effect of drawing all eyes in that direction, and in the meantime the right hand can drop the coin into the profonde, or otherwise dispose of it as may be necessary for the purpose of the trick.

Let it be distinctly understood once for all that when you desire to draw the attention of the audience in a certain direction you must look fixedly in that direction yourself.

The student who desires to become a finished performer should palm the various objects, with equal facility, either in the right or in the left hand.

When you can hold a coin properly, as described, practise with a small lemon, a watch, or any other objects of similar size. In this case, however, owing to the greater extent of surface, it will not be found necessary to press the object into the palm, but simply to close the fingers round it, in the act of apparently placing it in the left hand.

Fig. 5
Le Tourniquet

Le Tourniquet.—This pass is generally known by this name, so I will not depart from its time-honored title. Hold the coin between the fingers and thumb of the left hand (Fig. 5), and then appear to take it in the right by passing the thumb under and the fingers over the coin.

Under cover of the right hand the coin is allowed to fall into the fingers of the left, where by a slight contraction it may be held between the first and second joints, or it may be allowed to fall into the palm proper. The right hand must be closed and raised as if it really contained the coin, and be followed by the eyes of the performer; the left falling to the side, and if necessary dropping the coin into the profonde. This pass should be performed equally well from either hand.

The Finger Palm.—Lay a coin on the fingers as shown in Fig. 6. Then in the act of apparently placing it in the left hand, raise the forefinger slightly, and clip the coin between it and the second finger. The left hand must now close as if it contained the coin, and be followed by the eyes of the performer, while the right hand disposes of the coin as may be necessary.

Fig. 6.—The Finger Palm

Fig. 7.—Application of
the Finger Palm

Following is an illustration of the way in which this sleight can be employed with good effect. Place a candle on the table to your left, and then execute the pass as above described. The thumb of the right hand should now close on the edge of the coin nearest to itself and draw it back a little; and at the same time the candle should be taken from the candle-stick between the thumb and fingers of the same hand, (Fig. 7). The left hand, which is supposed to contain the coin, should now be held over the candle and opened slowly, the effect to the spectators being that the coin is dissolved into the flame. Both hands should at this point be shown, back and front, as the coin, owing to its peculiar position, cannot be seen at a short distance. You now take the upper part of the candle in the left hand; then lower the right hand to the opposite end and produce the coin from thence, the effect being that the money is passed through the candle, from one end to the other.

To Change a Coin.—Sometimes, in order to bring about a desired result, it is necessary to change, or in conjurers' parlance to "ring," a borrowed and marked coin for a substitute of your own. There are many ways of effecting this, but having once mastered the various "palms" the student will readily invent means for himself. The following, however, is the one generally adopted by conjurers:

Borrow a coin and have it marked. Then take it between the fingers and thumb of the left hand, as in "Le Tourniquet" (Fig. 5), having previously secreted the substitute in the palm of the right. Now take the coin in the right hand, and in doing so drop the substitute into the palm of the left, which you immediately close, and remark, "You have all seen me take the coin visibly from the left hand. I will now make it return invisibly." Saying this, you appear to throw the coin into the left hand, really palming it, and showing your own, which every one takes to be the original borrowed one. You now proceed with the trick in question, disposing of the marked coin as may be necessary.

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CHAPTER III

TRICKS WITH COINS

Magical Production of a Coin.—Come forward with a coin palmed in the right hand. Draw attention to the left hand, showing it back and front as empty, and, as if in illustration of what you say, give the palm a smart slap with the right hand, leaving the coin behind, and slightly contracting the fingers so as to retain it; now show the right hand empty, pulling up the sleeve with the left hand which masks the presence of the coin, then close the left, and after one or two passes over it with the right hand, produce the coin.

A New Coin Fold.—Take a piece of paper four inches by five inches, place a coin on it and fold the top of the paper down over the coin to within one inch of the bottom. Then fold the right hand side of the paper under the coin, treating the left hand side in a similar way. You must now fold the bottom one inch of paper under the coin and you will, apparently, have wrapped it securely in the paper; but really it is in a kind of pocket, and will readily slip out into either hand at pleasure.

Allow several persons in the audience to feel the coin through the paper, then take it from the left hand to the right, letting the coin slip out into the left hand, which picks up a plate from the table. You now burn the paper in the flame of a candle, and, dropping the ashes on the plate, the coin is found to have disappeared.

A pretty effect can be obtained if, instead of using a piece of ordinary paper for the above, you make use of a piece of "flash" paper, which when placed in the flame of a candle vanishes entirely, leaving no trace behind.

Coin and Candle.—Repeat the last trick, using "flash" paper for the same and dispensing with the plate. When about to burn the paper in the flame of the candle, stand with the left hand, which contains the coin, holding the right lappet of your coat. After the flash show the hand empty, then take hold of the right lappet of the coat with the right hand, and in doing so let the coin drop from the left hand into it. The left hand immediately takes hold of the left lapel, and both hands pull the coat open as if to show that the coin is not concealed there. It is now a simple matter, but very effective, to lower the right hand over the candle and produce the coin apparently from the flame.

The Invisible Flight.—Hold the coin between the fingers and thumb of the left hand, looking at it yourself. From this position appear to take it in the right hand by passing the thumb under and the fingers over the coin. The coin is really allowed to drop into the fingers of the left hand, which contract slightly so as to retain it; the right hand is closed as if it really contained the coin and is followed by the eyes of the performer. The palm of the left hand can now be shown casually, when it will appear empty, the coin being held between the first and second joints of the fingers, which are slightly curled. The left hand is now closed and the piece apparently passed from the right hand into it; the left hand is then slowly opened, disclosing the coin lying on the palm.

The reader will have noticed that up to this point no duplicate coins have been used, nor has it been necessary to exchange one coin for another. This forms what may be termed legitimate sleight of hand, and is to be recommended; but sometimes for the sake of effect it is really necessary to use a duplicate coin, and I will now mention one or two instances.

For the following tricks a duplicate coin is prepared with a very small hook attached to one side about one-quarter inch from its edge. This coin is placed in the performer's right vest pocket, and is obtained by means of the following trick.

Vanish for Duplicate.—Holding the coin you have been using in your right hand, you appear to place it in the left; instead of doing so, however, you palm it. Close the left hand as if it contained the coin, and then say that you will pass it from that hand into your waistcoat pocket; show the hand empty and then with the same hand take the duplicate coin from the pocket. The other coin, you will remember, remains palmed in the right hand.

To Pass a Coin Through the Body.—In continuation of the preceding trick you place the left hand (holding the hooked coin) behind the body and attach the coin to the back between the shoulders, remarking:—"I shall next undertake a very difficult experiment, which consists in passing the coin right through my body, commencing from behind, up into my left hand" (as you say this you extend the hand closed). Some one is almost sure to remark that the coin may be in the hand already, to which you reply:—"Pardon me, no, I would not deceive you by so mean an expedient. See, the left hand is perfectly empty. If you prefer it I will use the other hand, which is also quite empty." You should have been holding the right hand, in which is the palmed coin, well extended and open, with the back toward the audience. The right hand will in nine cases out of ten be chosen, but should you be called upon to use the left you will have recourse to the method employed in the "Magical Production of Coin" at the head of this chapter, to get the coin into the left hand. Should the right hand be chosen, you may, with some caution, remark:—"Well, it's just as well to have the right one, but still I left it to you."

All that remains for you to do now is to make believe, in the most dramatic manner possible, that the coin is travelling up the body, along the arm, and into the chosen hand, whence you let it fall on to a table or chair. Should the coin fall on the ground, you will be careful not to expose the one on your back when picking it up.

Swallowing Illusions.—Having secured the coin again, appear to place it in the mouth, palming it, and producing it from the bottom of the vest. Repeat this pass, and remark:—"This time, by way of variation, we will stop the coin when it gets half way down and give it a sharp push" (strike your chest rather violently with both hands), "which will have the effect of sending it right through the body again." You now turn round and show the coin sticking on your back.

Coin and Lemons.—Still keeping the coin palmed from the last trick, remove the one from your back and hold it between the forefinger and thumb of the left hand, from which you take it as in the "Invisible Flight." This time, however, you do actually take it with the right hand, and at the same time let fall from the right hand the coin concealed therein. The left hand now contains a coin, but will be thought to be empty. This movement is employed here to satisfy the spectators that you are working with one coin only, you having, without apparent design, shown both hands empty, with the exception of the piece you are using.

You now lay the hooked coin down on the table and go behind the scenes for three lemons and a knife, which have been placed there in readiness on a plate. One of the lemons has a slit cut in it, into which you insert the coin you have carried off. Coming forward with the lemons on the plate, you force the choice of the one with the coin in the following manner:—"Ladies and Gentlemen, I have here three lemons. I only require one for the purpose of my trick and I will ask you to decide which it shall be. Which of the three do you prefer, the right or the left, or the one behind?" (The one behind is the prepared one.) If the one behind is chosen take it and proceed. If the right or the left is chosen throw it to the person making the selection, with the remark, "Thank you, I hope you will find it sweet." You will now have two left and you continue:—"I have now only two lemons. Which one shall I take, the right or the left?" If the prepared one is chosen take it and proceed with the trick. If the other one is chosen take it with the remark:—"Very good, then I will use the one that remains for the purpose of the trick."

You now force the knife into the lemon, inserting it in the slit already made, and give it to some one to hold high in the air. Now pick up the coin from the table and vanish it by one or other of the means already described (a good method is given in the next trick), and then have the fruit cut open and the coin disclosed.

The above form of ambiguous questioning can be used in any trick where it is essential that a particular article be chosen.

You can avoid going behind the scenes by adopting the following ruse: Go to the wing, and extending your hand, in which is the coin, behind it, call out loudly to your assistant—"Bring me those lemons, please." In drawing attention to the fruit it is perfectly natural for you to extend your hand behind the wing and thus dispose of the coin.

The Pocket Vanish.—Take a coin in the right hand and make believe to place it in the left, really palming it. The left hand is closed as if it contained the coin and held away from the body. The right hand pulls back the sleeve slightly as if to show that the coin has not been vanished in that direction. This movement brings the right hand over the outside breast pocket of the coat, into which the coin is allowed to fall unperceived. The coin is now vanished from the left hand in the orthodox manner and both hands are shown empty.

Should you desire to regain possession of the coin, have the outside pocket made communicating with an inside one on the same side of the coat; when, having shown the right hand unmistakably empty, you produce the coin thence, in a magical manner.

The preceding list of coin tricks has been arranged in combination, the one to follow the other in a natural manner, for an entertainment, as actually presented to an audience. I cannot, however, leave the subject of coin tricks without making mention of several other very deceptive experiments, which will doubtless be new to the majority of my readers.

To Pass a Coin into an Ordinary Matchbox held by One of the Spectators.—Prepare a matchbox as follows:—Push open the sliding portion about one inch. Then fix between the top of the slide and the back end of the box a coin, the greater part of which is overhanging the box, the whole being out of sight of the casual observer. Arranged thus, give the box to some one to hold with instructions that when you count three the box is to be closed smartly. This will have the effect of jerking the coin into the box.

You now take a duplicate coin and vanish it by means of the "Pocket Vanish," or any other convenient method, counting "One! two! three!" when, acting according to your instructions, the person will close the box, and the coin will be heard to fall inside.

Coin, Wine-glass, and Paper Cone.—This very pretty and amusing table trick consists in causing a coin placed under a wine-glass, the whole being covered with a paper cone, to disappear and return as often as desired.

The following arrangements are necessary:—Take a wine-glass, and, having placed a little gum all round its edge, turn it over on a sheet of white paper, and when dry cut away the paper close to the glass. Obtain a Japanese tray and on it lay a large sheet of paper similar to that covering the mouth of the glass, and stand the glass, mouth downward, on it. Make a paper cone to fit over the glass and you are ready to present the illusion.

Borrow a penny and lay it on the large sheet of paper by the side of the wine-glass; cover the glass with the paper cone, and place the whole over the coin. Command the penny to disappear, and on removing the cone it will seem to have done so, as the paper over the mouth of the glass, being the same color as that on the tray, effectually conceals the coin. To cause it to reappear you replace the cone and carry away the glass under it. This can be repeated as often as desired.

To make the experiment more effective, use colored paper, which shows up against the coin more than white.

Coins, Hat, and Plate.—In this experiment a number of borrowed and marked coins are passed invisibly into a hat covered with a plate.

Obtain a small metal box large enough to contain half a dozen coins of the kind you intend to use. This box should be enamelled white and have an opening in one side large enough for the coins to pass through. A common pill-box would answer the purpose, but a metal one is preferable. Place a little wax on the top of the box and leave it, with the plate, on a table at the rear of the stage. Borrow a silk hat, which leave on your table. Then obtain the loan of six marked coins, which you change for six of your own, as you go back to the stage. Drop the latter coins into a tumbler, or lay them in some other conspicuous position on the table, and go to the rear of the stage for the plate. Introduce the marked coins into the box, and attach it by means of the wax to the under side of the plate. Come forward, and having shown the hat to be quite empty, place the plate over it, being careful to note the position of the hole in the side of the box.

You now take the coins from the glass and appear to place them in the left hand, really palming them in the right, which forthwith drops them into a little box containing sawdust placed on the servante. The coins are retained in the right hand by a slight contraction of the fingers, as in "The Invisible Flight." They should be held in the hand at the base of the thumb and jerked into position in the act of apparently passing them from one hand to the other. The pass called "Le Tourniquet" is a better one for a number of coins. The noise of the coins as they fall into the hand is quite natural, as it would be almost impossible to actually take them in silence. Now pick up the hat with the right hand, holding it at arm's length; vanish the money from the left hand in the usual way, at the same time tilting the hat slightly in the right direction, when the coins will be heard to fall inside.

To Vanish a Marked Coin from a Tumbler and Cause it to appear in a Small Box, wrapped in Paper, in the Centre of a Large Ball of Wool.—For this very surprising trick you will require to make the following preparations:—Procure a tumbler having a slit cut flush with, and parallel to, the bottom, which should be flat. The opening should be just large enough to allow a half dollar dropped into the tumbler to slip through into your hand. (See Fig. 8.)

Fig. 8.—Prepared
Tumbler

Obtain a small metal box large enough to take the coin easily, also a flat tin tube about three inches long and just wide enough for the half dollar to slide through it. Place one end of this tube inside the box and close the lid on it, keeping it in position by passing an elastic band over the box. You now wrap the box in paper and wind a quantity of wool round it until you get a large ball with the end of the tube projecting about one inch. Place the ball thus prepared on a table at the rear of the stage and you are ready to perform.

Show the tumbler, and draw attention to the fact that it is an ordinary one by filling it with water from a jug, which can be done by placing the forefinger round the slit. Return the water to the jug and borrow a half dollar, which has been marked by the owner, allowing him to actually drop it into the glass. Cover the tumbler with a handkerchief, shaking it continually to prove that the coin is still there, and then place it down on your table, securing the coin through the slit as you do so. Going to the back of the stage for the ball of wool, you insert the coin into the tube and withdraw the latter, when the action of the elastic band closes the box. Bring the ball forward in a large glass basin and have the wool unwound, disclosing the box; on this being opened the marked coin will be found within.

To Vanish a Number of Coins from a Plate in a Sheet of Flame.—Place a tea-plate near the rear edge of your table, and a sheet of "flash" paper, large enough to cover the plate, in front of it. You must also have another plate on the servante and you are then ready to commence.

After performing any trick in which a number of coins have been used, throw them on the plate, carelessly dropping several on the table. Take up the plate in one hand and the piece of paper in the other, and holding the plate just behind the table, and over that on the servante, apparently sweep the loose coins on to the plate you are holding, really letting all fall on the hidden one, under cover of the paper, which you immediately place over the plate in your hand.

Every one will now suppose the money to be on the plate which, with studied carelessness, you bring forward just over the flame of a candle burning on the table. The paper ignites and disappears in a sheet of flame, and the plate is found empty.

Programme and Coin.—The effect of this experiment, which is an improvement on the old "programme and ring" trick, as no stage assistant is required, is as follows:—The performer borrows a marked half dollar from a stranger in the audience, immediately handing it to a gentleman to examine the mark, date, and other items. While this is being done the performer obtains the loan of a programme, which he tears in half, laying one half on his table. The gentleman is now requested to place the coin in the half of the programme held by the performer, who wraps it up and gives it to him to hold. He now goes to his table for a piece of sealing-wax, which he passes several times over the packet held by the gentleman, when immediately it is found transformed into a packet of three envelopes, made from the programme, all gummed and sealed one inside the other, with the marked half dollar in the smallest one. As the gentleman cannot see how it is done the performer repeats the trick for his benefit with the other half of the programme, but the result is the same. This time, however, the gentleman is requested to take the last envelope to the owner of the money, that he may open it and satisfy himself that it actually contains his own coin.

The six envelopes are now rolled up and given to the gentleman to hand to the lady, to keep as a souvenir of the entertainment, but before he has proceeded far the performer tells him he has dropped one of them (he has not really done so), and, failing to find it, he very naturally begins to count those in his hand, when he discovers to his astonishment that he holds the programme restored.

Explanation.—After the performer has borrowed the half dollar, in the act of handing it to the gentleman for examination, he adroitly changes it for one of his own bearing the mark of a cross, which mark is of course taken for that of the owner of the coin. The performer now asks for the loan of a programme, and while one is being procured he drops the actual borrowed coin into the smallest of the three envelopes which are placed one inside the other in the right profonde. To facilitate the introduction of the coin a tin tube, with a rather wide mouth, just large enough for the coin to pass through, is placed in the smallest envelope. After the coin has been introduced this tube is withdrawn, left in the pocket, and the envelopes closed.

Fig. 9.—Packet of
Three Envelopes

The flaps of the envelopes are sealed with wax beforehand and prepared with the best gum arabic, which is allowed to dry hard. They are moistened with the tongue just as you are about to commence the trick, and if cut as in Fig. 9, can be closed all together while in the pocket. This packet is laid on the table under cover of the half of the programme used in the second stage of the trick.

To commence the trick the performer palms a similar packet of envelopes containing another half dollar marked in exactly the same way as the one he handed to the gentleman, and, it is hardly necessary to remark, being of the same appearance, and bearing the same date. When rolling up the programme the performer retains it and hands the gentleman the packet of envelopes; and when going to his table for the wax leaves the half of the programme and the half dollar thereon. By the time the first coin is taken from the envelopes the packet containing the actual borrowed coin will be dry and ready for use.

The remaining portion of the trick will now be understood. When the performer goes for the other half of the programme he takes the packet of envelopes with it and substitutes it as before, and the trick proceeds as described. When collecting the six envelopes for the final effect the performer palms a duplicate programme which has been lying on his table behind some object, and substitutes this as before when handing the gentleman the envelopes to take to the lady.

Filtrated Coin.—Borrow a half dollar from one of the company, wrap it up in a handkerchief, and request some one to hold it over a glass of water on the table. Hey, presto! The coin is dropped into the glass and heard to jingle. When the handkerchief is removed the half dollar has disappeared, having been apparently dissolved in the water. Placing your hand under the table you produce the coin, which you declare has passed through the glass and table-top. This exceedingly effective trick is accomplished by means of a glass disk of the same diameter as a half dollar. The modus operandi is as follows: Borrow a half dollar and while holding it in your hand throw a handkerchief over it. Under cover of the handkerchief exchange the coin for the glass disk which you have concealed in your palm. Now get some one to hold the disk by its edges through the handkerchief, directly over the glass of water. Pronounce your magical phrase, and command your volunteer assistant to drop the half dollar (disk) into the glass. The disk will be precipitated into the glass with a jingle that exactly simulates the falling of a genuine coin, and will adhere to the bottom of the glass, where it will not be seen. You may even pour out the water, but the disk, thanks to the power of suction, will remain in the same position, firmly attached to the drinking glass, which of course must have a flat bottom. A ginger-ale or beer glass of small diameter comes in handy for this capital trick. After sufficient palaver, the genuine half-dollar may be reproduced from under the table or from the pocket of the volunteer assistant.

Fig. 10.—Penetrating Coin

The Penetrating Coin.—This coin trick may be performed anywhere, and requires no special preparation. A borrowed Derby hat is placed upon the mouth of a tumbler, (Fig. 10). Three half dollars are now borrowed and tossed into the hat, whereupon one of the coins is seen to penetrate the crown of the hat, and drop visibly and audibly into the tumbler beneath. It is thus explained. In the act of placing the hat on the glass, secretly and without jingling, slip a coin of your own between the rim of the glass and the hat. The weight of the latter will retain the coin in position, which of course is on the side of the hat farthest from the spectators. The dropping of the borrowed coins in the hat will disturb the balance of the secret half-dollar, causing it to fall into the tumbler. It is hardly necessary to remind the student that the fourth coin must be gotten rid of unbeknown to the audience, otherwise the effect of the experiment will be destroyed. In putting the hat in position two hands may be used. This will greatly facilitate the placing of the coin on the rim of the tumbler. You should lay stress on the fact that it is necessary to get the hat evenly on the glass. As simple as this trick seems in explanation, it is nevertheless wonderfully illusive, and can be recommended to the amateur as worthy of his repertoire, especially for the parlor, or club room.

Fig. 11.—Trick Coin

An excellent coin trick, to be used in conjunction with the preceding illusion, is the following: The performer shows a coin and forthwith proceeds to pass it into the hat by way of the crown. That there may be no doubt as to the actual passing of the coin it is left sticking half way through the hat; a final push and it is heard to fall inside. The coin used is a trick one constructed as follows: A groove is first turned round its extreme edge deep enough to conceal a small india-rubber band. It is next cut in half across its diameter. A hole is drilled in the centre of one half in which is inserted a needle point. In the other half a slot is cut to admit the needle. The two halves are now placed together and kept in position by passing the band round the groove afore mentioned. (See Fig. 11.) This coin has a distinct advantage over the older form in which the one half only was used, in so far that it may at the outset be shown as an ordinary coin. When giving the final push it is, of course, withdrawn and palmed.

Coin in the Bottle.—With a coin grooved and prepared as above and cut into three pieces, but minus the needle point, the amateur can perform the deceptive trick of the half-dollar in the bottle. You first borrow a half dollar from a spectator, and secretly exchange it for your "folding-coin." Exhibit the bottle, which should be of clear glass, preferably, and demonstrate the impossibility of passing a coin into its neck. Then grasp the mouth of the bottle in the manner depicted in Fig. 12, the coin being concealed from the spectators by your fingers. Bend the coin and insert it in the neck of the bottle, after which give the mouth of the bottle a violent blow with the palm of the hand. The coin will enter the bottle, and expand as soon as it passes the neck. You may now pass the bottle for inspection, without any one being able to discover the secret of the trick. A clever amateur with the aid of a very fine metal saw and a file can manufacture the folding coin for himself.

Fig. 12.—Coin in Bottle

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CHAPTER IV

TRICKS WITH HANDKERCHIEFS

Peregrinations of a handkerchief.—For the following series of experiments you will require three fifteen inch silk handkerchiefs (the best material for making these is fine quality sarcenet), an ordinary small sliding match-box, a candle in a candlestick, and a conjuring wand; also a false finger and a conjuring pistol, hereafter described.

You prepare for the series of tricks by rolling up one of the handkerchiefs very small and pushing it into the back of the match-box, which you open about one inch for the purpose; another is rolled up and placed behind the collar on the left hand side of the neck; and the last is loaded into the false finger and placed in the right hand trousers pocket. You are now ready to commence.

Handkerchief and candle.—"Ladies and Gentlemen, the following experiment was suggested to me at the age of twelve while studying chemistry. I then learned that all matter was indestructible. Proof of this, as you are well aware, is afforded with an ordinary candle. You may light the candle at one end and let it burn to the other, but you do not destroy the matter of which it is composed. What really takes place is the formation of new substances, as hydrogen, carbon, water, etc., which any of the text-books on chemistry will explain. I will, however, give you one striking illustration:"—

Pick up the match-box and light the candle; then close the box, pushing the handkerchief into the right hand, and throw the box down on the table. Take the candle from the candle-stick and place it in the right hand, which masks the presence of the handkerchief. You now appear to take something from the flame of the candle with the left hand, which you close as if it really contained an article. Open the hand slowly, looking surprised to find you have failed, and remark:—"Well—really I cannot understand this. I am generally successful with this trick. Oh! I know what is the matter. You see, I am using the left hand; if you do things left-handed they cannot possibly be right. I will try the right hand." Saying this, you place the candle in the left hand and immediately produce the handkerchief from the flame with the right, closing the hand as before. It now only remains for you to open the hand and develop the silk slowly.

To Vanish a Handkerchief and Produce it from your Collar.—Place your wand under your left arm. Take the handkerchief and roll it up small, using both hands. Affect to place the handkerchief in the left hand, really palming it in the right, and take your wand from under the arm in the same hand. Vanish the handkerchief from the left hand, and take the one from your collar, immediately placing it in the right hand to mask the presence of the one already there, and lay the wand down on the table.

To Pass a Handkerchief into the Pocket of a Spectator.—Obtain the assistance of a young gentleman from the audience, and ask him to let you have the loan of the outside breast pocket of his coat. Much fun is generally caused by his removing his own pocket handkerchief and sundry other curious articles. Place both handkerchiefs, which have all the time remained in the right hand, in his pocket (you, of course, are supposed to be using one only), and stand as far away as the limits of the stage will allow, and say:—"Now, sir, do you think it possible for me to remove the handkerchief from your pocket without coming a step nearer to you than I am at present." He will probably look confused, and hardly know whether to say Yes or No. Whatever he may say is all the same to you, and you remark:—"My dear sir, do not look like that; your face is calculated to upset me altogether. I scarcely know what I am doing. What I really intended to do was to pass the handkerchief from my hands into your pocket." You now take the handkerchief from his pocket, where, unknown to the spectators and probably the gentleman himself, one still remains. You will now vanish the handkerchief as in the last trick, and let the gentleman take the one from his pocket, which will seem to be the same. Take the handkerchief from him, place it in the right hand, which again conceals the one in the palm, and lay the wand down on the table.

To Fire a Handkerchief into a Gentleman's Hair.—For the purpose of this trick you will have to make use of what is known as a conjuring pistol, which, being in constant use in magical surprises, I will describe. It consists of an ordinary pistol fitted with a conical tin tube eight inches long. The mouth of this tube is about two inches in diameter and is supplied with a tin cup one and one-half inches deep, having its outer edge turned over all round so as to afford a ready grip to the palm. The conical tube is fitted with an inner tube to keep it firm on the barrel of the pistol. (See Fig. 13.)

Fig. 13.—Conjuring Pistol

Taking up the pistol, you place the two handkerchiefs, which look like one, in the cup; push them well down and remark:—"I shall now fire direct at the gentleman's head, and after the shot the handkerchief will be found firmly embedded in his hair, and will, not unlikely, be seen protruding from each of his ears. It just depends on the force of the shot, you know, and I need hardly say I loaded the pistol myself, and am totally ignorant of fire-arms. Are you ready, sir? then good-bye!" Place the "muzzle" of the pistol in the left hand while you shake hands with the gentleman. In taking the pistol back into the right hand to fire it, you leave the cup behind in the left hand, and at the instant you pull the trigger, you drop it into your pocket on the left side. When discharging the pistol you will, of course, stand with your right side to the audience.

You now ask the gentleman to take the handkerchief from his hair, telling him it is just behind his left ear (of course it is not really there); and while he is trying to find it you stand with your hands in your trousers pockets, telling him to make haste, you cannot wait all the evening, etc. When he has tried some time and failed to find it you take your hands from your pockets, having got the false finger into position between the second and third fingers. Showing the hands back and front (the addition of an extra finger will not be noticed), you pass them several times over the head of the gentleman, then lowering the hands on to his head you detach the finger and draw out the handkerchief. The false finger is laid down on the table under cover of the handkerchief.

The finger is made of thin spun brass painted flesh color; it is quite hollow from tip to root, and is shaped for fitting between the second and third fingers, (Fig. 14). It can be used in many tricks with handkerchiefs, and is really an indispensable accessory.

This concludes the series alluded to in the beginning of this chapter. I will now describe a number of handkerchief tricks complete in themselves.

Fig. 14.—False Finger

The Handkerchief Cabinet.—This very useful piece of apparatus should be in the repertoire of every amateur magician, as it is available for producing, changing, or vanishing a handkerchief. Its secret lies in the fact that it contains two drawers, bottom to bottom, the lower one being hidden by a sliding panel. When standing on the table the top drawer only is visible, and the cabinet looks the picture of innocence, but if turned over and stood on its opposite end, the sliding panel falls, exposing the hidden drawer, and hiding that which for the time being is at the bottom, (Fig. 15). The cabinet is about two inches square by four inches high.

Fig. 15.—Handkerchief
Cabinet

If required for production you proceed as follows:—Having placed a silk handkerchief in the concealed drawer, introduce the cabinet, take out the empty drawer, and give it for examination. Replace the drawer, secretly turn over the cabinet, and place it on your table. You now go through any form of incantation you please, open the drawer and take out the handkerchief.

If you desire to vanish a handkerchief you will have it placed in the drawer by one of the spectators, and while going to the table turn over the box. When the drawer is opened the handkerchief will have disappeared.

Should you wish to change one handkerchief for another you will beforehand conceal say a red handkerchief in the cabinet; then taking a white one, have it deposited in the upper drawer, turn over the cabinet as before, pull out the now uppermost drawer, and produce the red handkerchief.

From the foregoing description it will be obvious that the cabinet is capable of being used in conjunction with many tricks.

The Handkerchief Vanisher.—One of the best appliances for causing the disappearance of a handkerchief may be made from a small celluloid ball as follows:—Obtain a ball one and three-fourth inches in diameter, which will take three small silk handkerchiefs if desired, and cut a one inch hole in any part of its surface. On the side of the ball opposite the opening fix a loop of flesh-colored thread, long enough to pass easily over the thumb, and to suspend the ball on the back of the hand so that it does not hang too low.

When required for use the ball is taken up secretly under cover of the handkerchief, and the thumb of the left hand is passed through the loop. Then, while appearing to roll up the handkerchief, it is worked through the opening into the ball, which is instantly pushed over to the back of the left hand under cover of the right. The palms of the hands are now shown empty, when the handkerchief will seem to have vanished entirely. When using the vanisher you will, of course, stand with your right side to the audience.

It is well to be provided with two or three of these accessories, in different sizes.

Magical Production of Handkerchiefs.—The performer comes on the stage showing both hands empty, back and front. He then pulls up both sleeves and immediately produces a white silk handkerchief, about eighteen inches square, which he passes for examination. Then by simply shaking the handkerchief he obtains from it about half a dozen other colored ones about fifteen inches square. The colored handkerchiefs are then caused to vanish by simply rolling them up in the hands, being immediately afterwards reproduced, all tied together by the corners, from the white one.

The necessary preparations for the trick are as follows:—A slit one half inch long is made in the seam of the trousers at the right knee, and two of the colored handkerchiefs, each having a minute piece of blackened cork tied to one corner, are pushed into this slit, the corks being left protruding to enable the performer to instantly draw them out. Two handkerchiefs of different colors are placed in the pochette on the left side. A fifth handkerchief, also prepared with a piece of cork, is placed in the front of the vest, the cork protruding through the watch-chain hole. It may seem impossible, but the silk may be drawn through this hole very rapidly, and quite easily, as will be found by experiment. A sixth handkerchief is contained in the false finger (previously described), which should be placed in the right hand trousers pocket.

As the handkerchiefs are produced they are thrown over the back of a chair fitted with a network servante (Fig. 1, page 18), behind the top rail of which are suspended two vanishers of the kind already described; also the ball of six duplicate handkerchiefs all tied together by the corners.

The trick is worked as follows:—The white handkerchief is rolled up into a small compass and tied with a piece of silk just strong enough to hold it. It is then placed in the hollow of the arm at the elbow, the arm being bent slightly so as to retain it in that position. When pulling back the sleeves the performer secretly obtains possession of the handkerchief, breaks the thread, and develops it slowly.

Having had the handkerchief examined, and while holding it by two corners, spread it over the knee as if drawing attention to the fact that it is empty. Then, in the act of raising it, shaking it the whole of the time, pull the two colored ones through the seams, and while developing these take the two from the pochette on the left side. Place the white handkerchief in the left hand to conceal the colored ones, and throw the other two over the back of the chair. Now produce the two in the left hand in a similar manner, and throw them over the chair with the two already there. Then take the white handkerchief by two corners, and while turning it round to show both sides, seize the piece of cork at the buttonhole of the vest, and produce the fifth handkerchief, throwing both over the back of the chair.

For the production of the last handkerchief a little patter is desirable. "Ladies and Gentlemen, I dare say you will wonder where I get these handkerchiefs. The other evening I overheard two gentlemen conversing in the boxes. One said to the other, 'Don't you see where he gets those handkerchiefs? They came down his sleeve.' The other said, 'Oh! no, they don't. He takes them from his pockets, for I saw him.'" Saying this you thrust the hands into the pockets by way of illustration, and fix the finger in position. Then withdraw the hands, placing the palms together, and continue:—"Now, I wish to prove to you that both of these gentlemen were wrong. If the handkerchief comes down the sleeve you will be sure to see it. If it comes from the pocket you will also see it. My hands are perfectly empty" (show hands). "Now watch closely and see if you can detect me." You now bring the hands together, reverse the finger, and shake out the handkerchief; and when laying it with the others on the chair, drop the finger into the servante.

To cause the disappearance of the handkerchiefs proceed as follows:—Take up three of the colored ones, at the same time secretly obtaining one of the vanishers, and, with an up and down motion of the hands work them into the ball. Then pass the ball to the back of the hand, and show the palms empty.

When taking up the other three handkerchiefs drop the vanisher into the servante, secure the other one, and proceed as before. Then take up the white handkerchief, again disposing of the vanisher into the servante, and securing the ball of six tied together. Finally wave the white handkerchief up and down, and gradually work out the colored ones, one after another.

Color-changing Handkerchiefs.—The effect of this trick, which is one of the best in the whole category of sleight of hand feats, is as follows:—Three white handkerchiefs are pushed into a paper tube, and as they come out at the opposite end they are seen to be dyed respectively red, yellow, and green. The paper is then unrolled and torn in half, when the white handkerchiefs are found to have vanished entirely.

Fig. 16.—Handkerchief Fitted
with Brass Tube

To perform the trick you must be provided with a piece of drawing-paper ten inches by eight inches (a leaf from a plain drawing-book will answer the purpose admirably), three very fine white silk handkerchiefs fifteen inches square, and three colored ones of the same size and texture. The last of the colored handkerchiefs to appear at the end of the tube is prepared as follows:—Take a piece of one and one quarter inches brass tubing, three inches long, and insert it in the middle of one side of the handkerchief (Fig. 16), by covering it with a piece of silk of the same color. This piece of silk is extended beyond the tube, as shown, to form a kind of pocket.

To prepare for the trick push the body of the handkerchief into the brass tube at the end A, and the other two colored ones on the top of it. The piece of paper is laid on the table with the tube of handkerchiefs under its rear edge. The three white handkerchiefs are then laid across the paper.

To perform the trick stand on the left of your table and take up the paper with the right hand, the left hand keeping the white handkerchiefs in front of the tube of colored ones. Draw attention to the fact that the paper is unprepared, then lay it on the table in such a manner that it again conceals the tube, and take up the white handkerchiefs. Show the handkerchiefs, remarking that they are of the ordinary description, and then lay them on the table. Pick up the paper, and with it the colored handkerchiefs, which are held behind it with the thumb of the right hand.

You now form the paper into a tube round the colored handkerchiefs and hold it in the left hand. Pick up the white handkerchiefs one at a time, place them in the left hand with the tube, and remark:—"I will now pass the white handkerchiefs through the cylinder, first, however, showing you that it is perfectly empty." As you say this you take the handkerchiefs in the right hand, and as if to illustrate what you say, place them near the mouth of the tube. This gives you the opportunity of dropping the colored handkerchiefs into the white ones. The cylinder is now shown empty, and the white handkerchiefs are pushed into one end of it; care being taken to introduce the colored ones first, and to keep them out of sight of the audience. You now grasp the brass tube tightly through the paper and press the white handkerchiefs into it. This, of course, pushes out the colored handkerchiefs, which appear at the other end of the cylinder, the white ones being concealed in the body of the last colored one.

When performing the trick it is necessary to be careful to insert the right end of the brass tube into the paper cylinder, otherwise the experiment would not be successful.

The following is the method of presenting the above trick, with appropriate "patter":

"For the purpose of my next experiment I shall make use of this square-looking piece of paper, in which you can see there is nothing concealed, not even a trap-door. Well, if there was anything concealed from your view, you would be sure to see it." Laying the paper down and taking up the handkerchiefs, you continue, "In addition to the paper, I propose to make use of these three pieces of silk, or silk in pieces, commonly known as art white squares. I am afraid, however, some people would prefer to call them subdued white; possibly dirty white, if it were not for the liberty of the thing, but I know they call them art white in the stores, because I suppose they find they sell better."

Laying the handkerchiefs down, you take up the paper with the tube behind it, and, prior to forming the cylinder, remark:—"This experiment was suggested to me while in England traveling on the underground railway. I always travel by that line when possible, being fond of scenery. One day I had occasion to take a return single from Portland Road to King's Cross; and while passing through those tunnels I noticed that my linen changed color considerably, which suggested to me this illustration. With the piece of paper I will form a kind of tube or tunnel to represent for the time being one of those cavities on the underground railway."

Make the tube and continue:—"There it is, as free from deception as I am. I will now take the handkerchiefs" (take up the handkerchiefs from the table) "and pass them through the cylinder" (drop the colored handkerchiefs into the white ones and show the tube empty), "first, however, showing you that it is perfectly empty. Then, having satisfied you that there are no trains on the line, I will pass the handkerchiefs through the tunnel."

As the colored handkerchiefs appear at the opposite end of the tube, remark:—"I may say that I have been getting my living for some considerable time by conjuring. You will now notice that I am beginning to dye by it."

Mechanical "Pull" for Vanishing a Handkerchief.—The construction of this contrivance is very simple, and it is absolutely instantaneous in its action, the quickest eye being unable, even at close quarters, to detect the flight of the handkerchief.

It consists of two straps, one for each arm, which are buckled on just above the elbows. One of the straps carries what is known to mechanics as a "lazy" pulley, working freely in all directions, and provided with a shield, so that the cord cannot possibly leave the wheel; and the other carries a metal "D" loop. A cord is tied to the "D" loop, passed over the back, round the pulley on the left arm, back again and down the right sleeve; the end of the cord being furnished with a loop to receive a handkerchief. The apparatus must be attached to the arms underneath the shirt, and when in such a position that the arms may be moved about freely, the loop should be in the centre of the back, as shown in Fig. 17.

Fig. 17.—Mechanical "Pull" for Vanishing Handkerchief—(a) Leather Strap; (b) Brass Plate; (c) Pivot; (d) Brass Hinge; (e) Pulley in Shield; (l) Left Arm; (r) Right Arm

To enable the artist to obtain possession of this loop, a black thread is passed through it, doubled and carried down the right sleeve, the two ends hanging out of the cuff so as to be readily found by the fingers. Having found the thread, the performer pulls it down until the loop appears, which is forthwith passed round the thumb, the thread being broken and allowed to fall on the floor. The act of pulling the cord to secure the loop will pull the elbows close to the sides, where they must be kept until the handkerchief is to disappear.

Having placed the handkerchief through the loop, which should be of catgut, being semi-transparent, push it into the glass tube as described in the next trick, and place the hands one over each end. To cause the handkerchief to disappear all that is necessary is to move the elbows away from the sides while making a quick up and down motion with the glass cylinder, slightly lifting the base of the right hand from the edge of the glass to allow the silk to pass up the sleeve. In moving the elbows away from the sides a pull of from three feet to four feet is put on the cord, the handkerchief flying up the sleeve and finally occupying a position in the centre of the performer's back.

The Flying Handkerchief.—This is a very surprising trick, and a favorite with the most noted prestidigitateurs. It depends chiefly for its effect on the "Mechanical Pull." (Fig. 17.) For its execution you must be provided with six small silk handkerchiefs (two red, two yellow, and two green), also two glass cylinders of the kind used for gas.

The idea of the trick is to cause a red silk handkerchief placed in the centre of one of the glass tubes, the ends being covered with the hands, to disappear, and be found between a yellow and a green handkerchief previously tied together, rolled up into the shape of a ball, and placed in the other cylinder. It is accomplished thus:

Three of the handkerchiefs, one of each color, are tied together by the corners, the red being in the centre. They are then rolled up into the shape of a ball so that the red one cannot be seen, and thus prepared, are laid on the table behind the other red handkerchief.

The performer now takes the two remaining handkerchiefs, one yellow and one green, and ties them together, rolling them up to look as near like the duplicate ball as possible. Holding this ball in the right hand, he takes up the red handkerchief, and with it the ball of three. He then takes the red handkerchief in his right hand, passing the ball into the left, and forthwith pushing it into the glass cylinder on the table. Under cover of the red handkerchief, however, the balls are exchanged and that of three is actually placed in the tube.

While going for the other cylinder, which should be on a table at the rear of the stage, the performer has ample time to dispose of the ball of two, and to get down the "pull." When introducing the cylinder remark:—"You see, Ladies and Gentlemen, that the tubes are of the most ordinary description and perfectly free from preparation; in fact, you can see right through them. I hope you will not be able to see through me quite so easily." The red handkerchief is then inserted in the cylinder, being previously passed through the loop, whence it is caused to vanish as described. The handkerchiefs are then taken from the tube on the table, unrolled and shaken out; when, by some unaccountable means, the red one will appear to have tied itself between the other two.

Brass Tube to Produce, Vanish, or Change a Handkerchief.—This is really an indispensable piece of apparatus and should be in the repertoire of every wizard. It consists of a piece of one and one-half inches of brass tubing four inches long, with two caps of the same metal to close the ends. A handkerchief is inserted in the tube and the caps are immediately placed on; but notwithstanding this, the handkerchief disappears, or can be changed to another of a different color.

Fig. 18.—Brass Tube for Handkerchief Tricks

The apparatus really consists of four pieces, the tube and the two caps, with the addition of a cup, one and one-half inches deep, made to fit easily into either end of the tube, and provided with a flange as in the magic pistol already described, to enable the performer to palm it off, (See Fig. 18). This cup is not provided with a bottom, but is fitted with a piece of three-quarter inch tape fixed at each side, in the centre of the tube, in such a manner that a loop hangs down flush with, and forming a bottom common to, either end of the cup (as at a).

The method employed in changing say a white handkerchief for a red one being explained, the other uses of the tube will be apparent. Load a red handkerchief into the cup at the end a, and place it under your vest, or in the right-hand trousers pocket. Give the tube and caps for examination, and while they are out of your hands, get possession of the cup and palm it in your right hand. Take back the tube with the left hand, pass it into the right, and over the cup; and fit the cap to the opposite end. Turn over the tube, and with the right hand apparently place the white handkerchief into it (the handkerchief really goes into the cup and pushes the red one into the tube, reversing the tape). Now place the right hand over the cup, reverse the tube, and remark:—"As the cap has been on this end the whole of the time, it has not been possible for the handkerchief to escape in that direction. We will now place a cap on the opposite end of the tube and we have the handkerchief secure." Saying this, reverse the tube, palming off the cup while doing so; and while holding the tube in the same hand, to hide the palm, fit on the cap. Give the tube to some one to hold and drop the cup into the profonde, or otherwise dispose of it at the earliest opportunity. On removing the caps the handkerchief will be found to have changed color.

At this point a good combination trick can be worked by the use of two duplicate handkerchiefs as follows:—Have a duplicate red handkerchief hanging over a chair, on the back of which is suspended a network servante. Another duplicate white handkerchief should be in readiness in the back of a match-box for producing from the flame of a candle as previously described.

When handing the gentleman the tube which is supposed to contain the white handkerchief, you take up the red one from the back of the chair, and at the same time dispose of the palmed cup by dropping it into the servante. The red handkerchief is now vanished by sleight of hand, or can be fired from the magic pistol, and eventually found in the brass tube.

To account for the disappearance of the white handkerchief you may remark:—"Oh, I dare say the white handkerchief has jumped out of the tube to make room for the red one. It has probably found its way into the candle on the table." To conclude the trick you light the candle and produce the handkerchief from the flame.

The tube can be used in many ways in combination with other tricks, but I must leave these to the ingenuity of the performer.

To my friend, Adrian Plate, a wonderfully clever manipulator of cards and handkerchiefs, I am indebted for the following new handkerchief tricks, invented and performed by him, and for the first time explained.

Disappearing Handkerchief.—Obtain a small red silk handkerchief, also a loose piece of silk of the same color about one and one-half inches square. Keep this piece at the corner of the handkerchief with thumb and first finger. Rub the handkerchief between both hands until you have succeeded in getting it into small compass, taking care that the small piece is at the top. Retain the handkerchief in the right hand and with left hand pull up the right sleeve. Now with right hand pull up the left sleeve, but leave the handkerchief in the bend of the left arm, where it will be hidden by the folds of the sleeve, taking care, however, that the small piece of red silk protrudes from closed right hand, deluding the spectators into the belief that the handkerchief is still in your hand,—for do they not see the corner of it? Now rub the hands together and roll the piece into a small pellet, and palm it between the bend of the thumb and first finger. Slap your hands together, and show both sides. This is a most effective illusion, and will deceive even the conjurers.

Fig. 19.—For Vanishing Handkerchief

Another clever disappearing trick with a handkerchief is the following:—Take a piece of flesh-colored thread, and place it about the right hand, in the manner depicted in the illustration, (Fig. 19). The dotted lines represent the thread on the outside of the hand. With this simple device, a silk handkerchief can be apparently placed in the left hand, when in reality it is stuck between the loop in the right hand. The right hand can be freely moved. Vanish a handkerchief in above manner from the left hand, and by grabbing in the air with your right hand you reproduce the handkerchief.

Fig. 20.—Handkerchief
Clamp

Handkerchief from Tissue Paper.—Take a small bit of soft copper wire, covered with cotton (e.g., a piece of insulated telegraph wire), and construct a clamp about the size shown in the diagram, (Fig. 20). A small red silk handkerchief about ten inches square is folded as compactly as possible and placed between the clamps. By pressing the wire the handkerchief is kept securely

Fig. 21.—Handkerchief
Trick fastened. Place the fake on your table, the handkerchief pointing toward yourself, (Fig. 21). Now take a piece of white tissue paper, four and one-half by seven inches, and lay it over the handkerchief. This arrangement of course is effected before the performance begins. With your left hand pick up the tissue paper, and with the latter the fake containing the handkerchief. Now take the paper in your right hand, which under cover of paper secures the clasp (part a of fake) between the first and second fingers. The handkerchief is now on the inside of the right hand, while the hand is perfectly free in its movements. Exhibit both sides of the paper and smooth it out. All you have to do now is to crumble the sheet of paper, work out the handkerchief from the fake and insert the ball of paper into wire clamp. Then show the handkerchief to the audience, and drop the fake into your pochette.

The New Cylinders and Handkerchief Trick.—For this capital trick you must provide yourself with two glass cylinders closed at one end. They may be procured from conjuring depots, or constructed out of lamp chimneys, by cementing glass disks at the ends of the chimneys. However, the student will find it more satisfactory to purchase these cylinders from some reliable dealer in magical apparatus. Preferably they should have rounded bottoms, as depicted in the illustration. The effect of the trick is as follows:—On your table are two cylinders. In

Fig. 22.—Handkerchief
Trick front of each lies a handkerchief, one yellow, the other red. Now pick up the left-hand handkerchief (yellow) and place it in the right-hand cylinder, and the right-hand handkerchief (red) in the left-hand cylinder, (Fig. 22). Lay the cylinders once more on the table, and make a little speech about the rapidity with which articles sometimes change

Fig. 23.—Handkerchief Trick places, under the influence of atmospheric electricity. Pick up the cylinders, one in each hand, and move the hands quickly apart. In the same moment the handkerchiefs change places like a flash of lightning. The secret of this very clever illusion will become apparent on consulting the diagram, (Fig. 23). The cylinders have little holes in the bottoms. A strong silk thread is run through them and looped about the handkerchiefs. A few trials will have to decide the proper length of this thread. The explanation of this feat is simplicity itself, but the effect is very bewildering upon an audience. It is one of Plate's cleverest tricks and is performed by him with artistic finish.

The Handkerchief Burned and Restored.—A clever trick is the "Handkerchief burned and restored." It was a favorite with the late Alexander Herrmann, who performed it in the most artistic and graceful manner. It is a trick of pure sleight of hand, and requires no apparatus or elaborate preparation, for which reason it is to be highly commended to those who delight in digital experiments. Says Edwin Sachs, the eminent English authority on legerdemain:—"If I wanted to test a conjurer's ability, I should give him this trick to perform." And yet it is made up of the simplest elements. By attention to the rudiments of palming, etc., it becomes easy of execution.

You commence operations by requesting the loan of a lady's handkerchief. Take care to borrow one that is devoid of lace, or special ornamentation—in other words a plain, white one. You come down among the audience and extract a lemon from the hair or whiskers of some gentleman, or better still from a lady's muff. Casually exhibit the lemon, holding it beneath the nose of one of the spectators, remarking:—"It is a genuine lemon, as you perceive." Borrow the handkerchief, then wheeling about toss the lemon to your assistant on the platform. Now request some gentleman to stand up and rub the handkerchief between his hands. Advance toward the stage, but suddenly wheeling about, look at your volunteer assistant, with well simulated alarm on your face.

"My dear sir," you remark, "what are you doing to that handkerchief? You are rubbing it the wrong way. Kindly examine it." Much to his surprise, he finds it in small pieces. You then take the pieces, expostulating vehemently all the while with the gentleman, for having spoiled your trick, likewise the lady's handkerchief. The more comedy you inject into this little scene, the better. Finally you remark, "I will show you, sir, how to restore the handkerchief." Pass the pieces back to him, with the request that he rub them gently from "North to South"; whichever way he performs the absurd movement, you cry: "Here, here! Stop that! I said from North to South, and you are rubbing from East to West. Let us see what you have done now." He shows the results of his handiwork, but instead of the pieces there is now one long strip of linen. Take this from him, and observe, with a melancholy air: "It is no use trying. I see that you will never make a magician. Kindly take your seat, sir, and study the points of the compass, before you again presume to enter the magic circle."

Offer the strip to the owner of the handkerchief, saying that it is no fault of yours that it has been ruined. She will naturally refuse to accept it. Then remark: "Very well, the only thing I can do is to buy you a new one, next bargain-counter day, but in the meantime let us see what we can do with this mutilated mouchoir." Return to the stage, pick up the lemon, which has been placed on the table by your assistant, and announce that you will shoot the strip of linen into the lemon. Load it into your funnel-pistol and fire at the lemon. Then cut open the fruit and take out the dummy handkerchief. Start towards the lady as if to return it, but stop suddenly and remark, "This handkerchief smells rather strong of lemon. Shall I perfume it for you, madam?"

Without waiting for an answer place the handkerchief on a plate and pour perfume over it, but accidentally put on too much. Pick it up, and show it wet. Say you will dry it a little before returning it. Light a candle, and while holding the handkerchief over the flame it ignites. Drop it on the plate and offer it to the owner. Of course she will refuse to accept it. Smother the fire and again offer the burned remnants to the lady, making all sorts of excuses for the accident. As she again rejects your offer, say that you will put the ashes in a paper for her. Lay the plate on the stage, and go to your table for a piece of newspaper. In the meantime your assistant creates a small diversion by endeavoring to pick up the hot plate and place it on the table. Several times he burns (or pretends to burn) his fingers, dropping the plate, but finally succeeds. By this time you have come forward with the piece of newspaper. Roll up the ashes in the paper, and remark, "Here, madam, is what is left of your handkerchief. I present it to you as a small souvenir of the entertainment. What, you won't receive it?" Tear open the paper and take out the handkerchief fully restored. Present it to the lady with your best compliments, and you will be greeted with applause.

The following is the secret of this ingenious trick:

Take a lemon and prepare it by cutting a plug-shaped piece out of one end. Now dig out all the pulp. Stuff an old handkerchief or piece of square linen into the lemon, after which replace the plug and secure it with pins. Palm the lemon in your right hand, holding the lapel of your coat the better to conceal the fruit as you come down among the audience. Under the waistband of your vest, on the left side, you have secreted a bundle of about a dozen pieces of white muslin—say, three inches square—and on the right side a strip of about three inches wide and a yard long. On your table have a double piece of newspaper, about a foot square, pasted together on three sides, so that it forms a sort of bag, but appears like a single thickness. Also have on the table two plates, a magic pistol, a perfume bottle filled with alcohol, a candle and a candle-stick. After producing the lemon from the gentleman's whiskers, take the lady's handkerchief in the left hand. As you turn toward the stage to throw the lemon tuck the handkerchief under your vest in the middle and pull out the pieces and long strip from under the vest. Give the pieces to the gentleman who is to assist you, but retain the slip. A judicious use of the wand will enable you to better conceal the palmed linen, and to effect the several changes in an indetectible manner. While explaining to the gentleman how to restore the handkerchief, substitute the pieces for the long strip and give him that to hold. Get rid of the pieces in your profonde. All is now plain sailing until you arrive at the incident of the newspaper. While your assistant is working with the supposedly hot plate, you will have ample opportunity for stuffing the original handkerchief into the paper bag, smoothing it out as flat as you can. Wrap up the ashes, and finally tear open the paper through the outer thickness. The ashes will be concealed by the inner cover. Crumple up the paper and throw it carelessly on the stage.

Some performers go behind the scenes to obtain the paper, and effect the concealment of the original handkerchief, but this is unnecessary, besides it detracts from the effect of the experiment. The diversion created by your assistant with the hot plate will afford you ample opportunity to get the handkerchief into the paper.

[ ]

CHAPTER V

TRICKS WITH BALLS

Creation, Manipulation, Multiplication, and Annihilation of Billiard Balls.—For the series of tricks hereafter described, you will require two solid billiard balls, and a case to contain one of the balls, consisting of two hemispheres of thin spun brass hinged together. When closed this case will represent a solid ball, but when open and held in the hand with the thumb over the hinge, will appear as two balls. The balls, together with the case, should be enameled red. When about to present the trick, come forward with the case containing a solid ball in the left breast pocket, and the other solid ball under the left armpit.

Creation.—Pull up the right sleeve and then the left one, which gives you the opportunity of taking the ball in the right hand unperceived. You now execute what is known as the "Change-over Palm" to show both hands empty, and then produce the ball from the back of the right hand. This palm is made as follows: Having gotten the ball into the right hand draw attention to the left with the fingers of the right, showing it back and front. When doing this you will be standing with your right side toward the audience. Now make a sharp half turn to the right and show the right hand in the same manner. This you will be able to do, as when making the turn the palms of the hands very naturally pass over each other, and the ball is transferred from the palm of the right hand to that of the left.

The ball is now found on the back of the right hand.

Fig. 24.—Revolving Ball

Manipulation.—The amount of manipulation possible with a single ball is considerable, and limited only by the dexterity of the performer. The principles of sleight of hand as described in Chapter II. will, with few exceptions, be found equally adaptable to this branch of the mystic art. For the benefit, however, of those of my readers who have not hitherto made sleight of hand a study, I append a few examples.

1. Having obtained the ball from the back of the right hand, place it between the two forefingers, (Fig. 24). Then twist the fingers round and round, which will cause the ball to revolve with them. This produces a very pleasing and puzzling effect, and is to all appearance a feat of dexterity. It requires, however, very little practice.

Ball in Position
on Right Hand

2. Close the right hand and place the ball on the top, (Fig. 25). From this position appear to take it in the left hand, really allowing it to sink down into the palm of the right, where it is retained. Vanish the ball from the left hand in the usual manner, and produce it from the left elbow.

3. Roll the ball between the palms of the hands as if you were trying to make it smaller. When the left hand is underneath, seem to close it over the ball, really palming it in the right hand. The left hand is now brought down rather smartly on the back of the head, and the ball produced from the mouth.

4. Place the ball between the teeth and, apparently, give it a smart rap with the right hand as if to force it into the mouth. The ball, however, is palmed in the right hand, and immediately taken from the back of the head. When producing the ball, pass it up the back and over the top of the head, and let it fall into the left hand.

5. Appear to take the ball from the left hand, as in "Le Tourniquet" with a coin. Then apparently pass it through the left knee, producing it from underneath.

6. Throw the ball several times from one hand to the other, and finally, when appearing to throw it into the right hand, palm it in the left. Vanish the ball; place the left hand to the nose; and let the ball fall into the right hand. To all appearances it actually comes from the nose.

7. Stand with the left side to the audience, and throw the ball into the air several times. At the third time palm it in the left hand; the effect being that the ball is vanished into thin air. Now perform the "Change-over Palm," described above, and find the ball at the back of the right knee.

8. Apparently transfer the ball from the right hand to the left, really palming it. Place the palm of the right hand (containing the ball) on the right breast, and thence extend it over in the direction of the left sleeve. In the act of doing this, the ball leaves the palm and is held between the forearm and the body; the hand, turned palm toward the audience, then pulls up the sleeve. You then blow on the left hand to vanish the ball, and show the hand empty.

To regain possession of the ball, all that is necessary is to reverse the motion of the arm, when the ball will find its way into the palm of the hand, and can be produced as fancy suggests.

If the ball is not produced, the above forms an excellent final vanish to any billiard-ball trick.

If used as a vanish, after having regained possession of the ball, you stand with the hands one on each lappet of the coat, bow, and retire.

This pass, which I have found practical in every way, was given to me by Mr. George Newman, a very clever amateur conjurer.

The following explanations will to some extent be given in the "vernacular," it being assumed that the student has become familiar with the various passes.

Multiplication.—You must now obtain possession of the trick ball, which can be done by means of the following ruse. Appear to place the ball in the left hand, vanish, and take it from the left breast pocket. In doing so you take out the trick ball, leaving the solid one behind.

For two balls.—Take the trick ball in the left hand, and, waving the hand up and down, open the shell, placing the thumb over the joint, when you will appear to have two balls in the left hand. To show these as two solid balls, one in each hand, take the ball out of the case, which forthwith close. This can easily be done under cover of the right hand. Draw attention to the ball in the left hand, and remark, "One, and this one" (ball in right hand) "make two." As you say this you appear to place the ball in the left hand, really opening the case to represent two balls, and palming the solid one in the right hand.

For three balls.—Produce the ball you have palmed from behind the left knee, and really place it with the two others (case open) in the left hand. Wave the left hand up and down, and under cover of the movement allow the solid ball to slip into the case. Then produce the ball previously left in the breast pocket, and you will seem to have passed a ball up your sleeve.

For four balls.—Draw attention to the two balls now in the left hand (case open, with a solid ball in one half) and remark, "Two, and this one" (ball in right hand) "make three." Saying which, you apparently place the ball in the left hand, really palming it as before, and dropping the ball out of the case under the cover of the right hand. You now find the palmed ball at the left elbow, and really place it with the other three in the left hand. You will now appear to hold four solid balls.

Annihilation.—Appear to take a ball in the right hand, really allowing one to fall into the case. Vanish this ball in the act of throwing it to the audience. You now actually take another solid ball in the right hand and exclaim, "I will vanish this one into thin air. Watch me." Actually throw the ball into the air several times, and while doing this lower the left hand, and drop the solid ball out of the case into the profonde, making a movement that the audience cannot fail to notice. Thinking they have caught you, some one is sure to remark, "I saw him put one in his pocket that time." To which you will reply, "Oh, no, I did not put any in my pocket. I would not deceive you in such a manner. Two and one" (the one in the right hand) "make three." You now really place the ball in the left hand.

Again appear to take a ball in the right hand, letting it fall into the case as before. Then vanish it in the act of apparently throwing it into the air. Wave the left hand up and down, and under cover of the movement close the case, which will dispose of the third ball.

Finally, make believe to take this last ball in the right hand, standing with your right side to the spectators. Instead of doing this, however, the case is opened, under cover of the right hand, and the solid ball extracted. The right hand is then closed over the ball so that it cannot be seen, and the left hand quietly places the case in the profonde. It is well to again let this movement be suspected. Then, looking at the right hand, remark: "I have now only to dispose of this last ball." At this point some one is almost sure to say, "Oh! but I saw you put it in your pocket." You will then cause considerable amusement to the spectators, and bring derision on the party with the voice, by showing the ball in the right hand.

To cause the disappearance of the last ball make use of the pass described under Example 8 (p. 97).

Billiard Balls and Basins.—For the purpose of this trick you will require two small basins and two tea plates. The plates are to act as covers for the basins. In addition to these paraphernalia you will require two india-rubber balls to match in size and color the ordinary billiard balls.

The effect of the illusion is as follows:—The two basins are shown empty, and each is covered with a plate. In the course of the preceding billiard-ball trick, or a portion of the same, two balls are vanished, afterward appearing in the basins.

To prepare for the trick, place one of the basins, containing one of the balls, on the table, and cover it with one of the plates. On the top of this plate place the other basin, containing the second ball, covering the same with the remaining plate.

When about to present the illusion, you take the top plate in the left hand, and the basin in the right, fingers inside and thumb out. This enables you to grasp the ball, and conceal it in the fingers, while holding the basin so that the inside can be inspected. Place the basin on the floor, retaining the ball in the fingers, and immediately take the plate in the right hand, which again conceals the ball. Show the left hand empty, also both sides of the plate. Then pass the plate back into the left hand, taking the ball with it, and show both sides of the right hand. Cover the basin with the plate and in doing so secretly introduce the ball.

You must now go through the same movements with the other plate, ball, and basin, and the trick is practically finished. All that remains for you to do now is to vanish two balls and find them in the basins.

The india-rubber balls are essential for silence when dropped into the basin. Ordinary wooden balls would rattle and thus betray their presence.

Color-Changing Billiard Balls.—There is a very old trick similar to what I am about to describe, known as the "Chameleon Balls." In this form of the trick the ball is caused to change by palming on, or off, as occasion may require, half shells of different colors. I will now explain a method of producing a result analogous to the old trick, but brought about by entirely different means.

The necessary accessories are a red, a black, and a white billiard ball, all solid. Place the white ball in the profonde, and the black one in the pochette, on the left side. Having arrived at the point in Annihilation (p. 100) where all the balls have been disposed of with the exception of the last solid one, you throw this in the air as if to vanish it in that direction. While all eyes follow the ball in its upward flight you lower the left hand and take the white ball from the profonde, palming it. In doing this you would of course stand with the right side to the audience.

The Change to White.—Make a half turn to the right and take the red ball in the fingers of the left hand, in which you have the white ball palmed. Then show the right hand back and front. Now take the visible red ball in the fingers of the right hand, and, at the same instant, make the "Change-over Palm." This brings your right side again to the auditorium and enables you to show the left hand empty.

To execute the change you place the red ball in the fingers of the left hand, and then stroke it with the palm of the right; palming the red ball and leaving in place of it the white one. Again make the "Change-over Palm" showing the hands empty, with the exception of the white ball.

The Change to Black.—You take the ball in the right hand, and turning to the left bring it down rather smartly on the table, to prove its solidity. This gives you the opportunity of dropping the red ball into the profonde and taking the black one from the pochette.

To change the white ball to black you will proceed as in the previous change, disposing of the palmed white ball at the earliest opportunity, or it can be produced with good effect from the bottom of the trousers. Then lay both balls down on the table.

To appreciate and thoroughly understand the effect of the above, it is necessary to actually practice the various movements with the balls in front of a mirror.

The Diminishing Billiard Balls.—The trick under notice has for its effect the apparent diminution of an ordinary billiard ball, first to half its original size, secondly to one-quarter its original size, and finally to a very small ball, with which several amusing passes are made, and which afterward disappears entirely.

Fig. 26.—Trick Balls

In this case a trick ball is used of a size equal to half that of the ordinary one, and hollowed out so as to contain a solid ball of a diameter equal to half that of itself, (Fig. 26). The hollow ball must be so constructed that the small one pinches slightly into it, but can be instantly released by simply passing the ball of the thumb over it. A duplicate of this small ball should be placed in the right hand waistcoat pocket for use in the latter part of the trick.

The trick ball is placed in the left pochette, whence it is obtained and used according to the instructions given in the "Color-changing Balls." To produce the smallest size, hold the trick ball in the left hand, having previously loosened the small one, and in the act of stroking it with the right hand, palm off the hollow ball, and dispose of it as soon as possible.

With the small ball you now execute the pass as described under Example 4 on p. 96. Then actually place the ball in the mouth, pretend to swallow it, and produce the one from the vest pocket, which will appear to be the same.

You now seem to place the ball in the left hand, really palming it; then bring the left hand down with apparent force on the top of the head, showing the ball between the teeth. Here raise the right hand as if to take the ball from the mouth, but really push it back and show the palmed one. Then repeat the same pass, but this time actually let the ball fall from the mouth into the left hand, the right disposing of the palmed ball into the profonde.

I have seen a series of passes, including the above, performed with two eggs in place of the small balls, but unless the performer be endowed with a colossal cavity between the upper and lower jaws, I should not advise him to attempt this.

The Handkerchief Ball.—This forms a very good introduction to a billiard ball trick, all that is required being a ball of the usual size, hollowed out so as to take a handkerchief, with an opening one inch in diameter on the surface. This ball is suspended behind the top rail of a chair by means of a pin.

After performing any trick in which a handkerchief has been employed, carelessly throw it over the back of the chair while you roll up your sleeves. If you do not care to roll up the sleeves, perform any small trick before proceeding with the present one, otherwise it might be too palpable that the handkerchief was thrown over the chair for a purpose. Then take up the handkerchief (secretly securing the ball) and gradually work it into the ball, being careful to keep the ball out of sight as much as possible until the handkerchief has totally disappeared. Finally throw the ball into the air, which can safely be done providing it and the handkerchief are both of the same color, which would not admit of the hole being observed.

At this point, should you desire to proceed with a billiard ball trick, you can do so by changing the hollow ball for a solid one in the same manner that you changed the solid ball for the trick one in the "Multiplying Billiard Balls."

The Dissolving Billiard Ball.—This forms an excellent conclusion to a billiard ball trick. A glass tumbler three parts filled with water is given to a gentleman to hold. A ball is then covered with a handkerchief and given to the gentleman with a request that he will hold it over the glass and at the word "three" will allow it to fall into the water. This is done, and upon the handkerchief being removed from the tumbler, nothing remains but the fluid, which is perfectly transparent, the ball having apparently been dissolved therein.

The secret of this lies in the fact that the performer is provided with a half shell of clear glass. This shell is secretly slipped over the ball in the act of covering it with the handkerchief, and when handing it to the gentleman the solid ball is palmed away by the performer. The gentleman is not at all likely to discover that he holds only a half ball, as, being hampered with the glass of water, he is effectually prevented from making an examination.

It is well to be provided with a tumbler the bottom of which is shaped somewhat to fit the form of the shell, and ornamented slightly, but this latter feature is not absolutely necessary.

Fancy Sleight with a Small Ball.—A small ball is generally used for this pass, but it is applicable to any object that can be conveniently placed in the mouth. In effect it is as follows: A ball, for instance, is rubbed into the left elbow and passed thence up into the hand. The hand is then brought down rather smartly on the back of the head, the ball being immediately afterward taken from the mouth.

The sleight is thus executed: The performer takes the ball in his right hand and commences to rub it into his left elbow. At this point he apparently meets with an accident, dropping the ball on the floor. The dropping of the ball, however, apart from being an accident, is absolutely essential to the success of the illusion. After having picked up the ball and while still in a stooping position with his back toward the spectators, the performer quickly throws it into his mouth, immediately facing round and drawing attention to the right hand the fingers of which must seem to close round the object. The rubbing at the elbow is again commenced and the right hand eventually shown empty. The performer then makes a sign indicative that the ball has passed up into the left hand, which is then brought down with apparent force on the back of the head. The ball in the mouth is then revealed, when it will appear to have actually traveled to that position.

This sleight can very well be introduced at the close of the Diminishing Billiard Balls.