Modern Magic
Modern Magic
Modern Magic
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Language: English
A PRACTICAL TREATISE
ON
BY
PROFESSOR HOFFMANN.
AMERICAN EDITION.
CHAPTER I.
INTRODUCTION.
PAGE
Introductory Observations 1
The Magic Wand 4
The Magician’s Table 5
The Magician’s Dress 8
Profondes 9
Pochettes 9
“Loading” Pockets 9
CHAPTER II.
The Cards 11
To “Make the Pass” 12
To “Force” a Card 21
To Make a “False Shuffle” 23
To “Palm” a Card 27
To “Ruffle” the Cards 27
To “Change” a Card 28
To Get Sight of a Drawn Card 34
To “Slip” a Card 35
To “Draw Back” a Card 36
To “Turn Over” the Pack 37
To Spring the Cards from one Hand to the Other 37
To Throw a Card 38
The “Bridge” 39
CHAPTER III.
CHAPTER IV.
The Magic Sword. A Card being drawn and replaced, and the Pack flung in
the Air, to catch the chosen Card on the point of the Sword 121
The Rising Cards.—Several Cards having been drawn, returned, and
shuffled, to make them rise spontaneously from the Pack 125
The Jumping Cards.—Two or three Cards having been drawn, returned, and
shuffled, to make them jump out of the Pack 130
To make a Card stand upright by itself on the Table 132
“Changing” Card-boxes, and Tricks performed with them 134
The Mechanical Card-box 137
The “Card and Bird Box” 138
The Card Tripod 139
The “Torn Card” 139
Mechanical Changing Cards 142
CHAPTER VI.
Palming 146
Passes 147
Changes 157
CHAPTER VII.
A Florin being spun upon the Table, to tell blindfold whether it falls head or
tail upwards 159
Odd or Even, or the Mysterious Addition 160
To change a Florin into a Penny, back again, and then to pass the same
invisibly into the Pocket of the Owner
161
To make a marked Florin and Penny, wrapped in separate Handkerchiefs,
change places at Command 163
To make two marked Coins, wrapped in separate Handkerchiefs, come
together in one of them 164
To pull Four Florins or Half-crowns through a Handkerchief 168
To pass a marked Florin (or Half-crown) into the Centre of two Oranges in
succession 170
The Flying Money.—To make a Coin pass invisibly from the one Hand to
the other, and finally through the Table 172
To rub One Sixpence into Three 175
The Multiplication of Money 176
To Make a Marked Sixpence vanish from a Handkerchief, and be found in
the Centre of an Apple or Orange previously examined 178
The Travelling Counters 180
The Wandering Sixpence 181
CHAPTER VIII.
CHAPTER IX.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
HAT TRICKS.
CHAPTER XVI.
MISCELLANEOUS TRICKS.
CHAPTER XVII.
STAGE TRICKS.
CHAPTER XVIII.
CONCLUDING OBSERVATIONS.
APPENDIX.
CHAPTER I.
Introductory 515
CHAPTER II.
KEMPELEN.
CHAPTER III.
THEODIN.
Theodin 530
Robin and Anderson 530
The Magic Windmill 530
Anderson’s Old Man 531
Col. Stodare’s Living Head 531
Pepper and Tobin 532
Proteus; or, We’re Here and Not Here 532
Fatima 534
CHAPTER IV.
AUTOMATA: PSYCHO.
CHAPTER V.
MARIONETTES.
CHAPTER VI.
CLAIRVOYANCE.
CHAPTER VII.
SPIRITUALISM.
Spiritualism 551
Mediums and their Pretences 552
Their Tests 552
Various Tying Tests 552
The Sealed Accordion 553
Floating in the Air 554
Floating Tambourines, Guitars, etc. 555
The Spiritual Musical Box 555
Writing on the Ceiling 556
Invisible Writing 556
The Floating Table, etc. 557
CHAPTER VIII.
PARLOR MAGIC.
INTRODUCTION.
CONSIDERING the great antiquity and the unfading popularity of the magic art,
it seems at first sight a matter of wonder that its literature should be so extremely
scanty. In England, in particular, is this the case. Until within the last few years it
would have been difficult to name a single book worth reading upon this subject,
the whole literature of the art consisting of single chapters in books written for
the amusement of youth (which were chiefly remarkable for the unanimity with
which each copied, without acknowledgment, from its predecessors), and
handbooks sold at the entertainments of various public performers, who took
care not to reveal therein any trick which they deemed worthy of performance by
themselves. Upon a little consideration, however, the scarcity of treatises on
“White Magic” is easily accounted for. The more important secrets of the art
have been known but to few, and those few have jealously guarded them,
knowing that the more closely they concealed the clue to their mysteries, the
more would those mysteries be valued. Indeed, the more noted conjurors of fifty
years ago strove to keep the secret of their best tricks not only from the outside
world, but from their confrères. At the present day the secrets of the art are not
so well kept; and there is hardly a trick performed upon the stage which the
amateur may not, at a sufficient expenditure of shillings or guineas, procure at
the conjuring depôts. There being, therefore, no longer the same strict secresy,
the literature of magic has improved a little, though it still leaves much to be
desired. The general ambition of compilers seems to be to produce books
containing nominally some fabulous number of tricks. In order to do this, they
occupy two-thirds of their space with chemical and arithmetical recreations, and,
as a necessary result, the portion devoted to conjuring tricks, properly so called,
is treated so briefly and scantily as to be practically useless.
There is a vast difference between telling how a trick is done and teaching
how to do it. The existing treatises, with few exceptions, do the former only. The
intention of the present work is to do the latter also; to teach sleight-of-hand
generally, as well as particular tricks; and to conduct the neophyte from the very
A B C of the magic art gradually up to those marvels which are exhibited on the
public stage. The student may rest assured that, if he will diligently follow the
instructions here given, he will be able in due time, not merely to astonish his
friends extempore with a borrowed coin or pack of cards, but to roll two rabbits
into one, compel chosen cards to rise spontaneously from the pack, produce
lighted lanterns from empty hats, and bowls of gold-fish from empty pocket-
handkerchiefs; in a word, to execute all those wonders which he has hitherto
deemed the exclusive property of the public performer. There are, of course,
different degrees of natural aptitude. “Non cuivis hominum contingit adire
Corinthum.” It is not every one that can be a Robert-Houdin or a Buatier, but,
given the usual number of fingers and thumbs, fair intelligence, and a sufficiency
of perseverance, any one who will may become at least a tolerable conjuror. Be
it remembered, that we especially stipulate for perseverance. A wizard is not to
be made in a day, and he who would attain excellence must be content to
proceed as he would with music, drawing, or any other accomplishment—viz.,
begin at the beginning, and practise diligently until he attains the coveted
dexterity. The student need not, however, wait the termination of the somewhat
formidable course of study we have indicated, before he begins to astonish his
friends; on the contrary, there are numerous tricks requiring very little manual
dexterity, which are yet, if neatly performed, brilliant in effect. These simpler
tricks, for which we shall give full instructions, will supply the beginner, even at
the outset, with a fair programme, which he may from time to time enlarge as he
feels able to undertake more elaborate illusions.
The first rule to be borne in mind by the aspirant is this: “Never tell your
audience beforehand what you are going to do.” If you do so, you at once give
their vigilance the direction which it is most necessary to avoid, and increase
tenfold the chances of detection. We will give an illustration. There is a very
good trick (which will be described at length hereafter) in which the performer,
after borrowing a handkerchief, gives it to some one to hold. When it is returned,
it proves to be torn into small pieces. It is again handed to the holder, who is
instructed, in order to restore it, to rub it in a particular manner; but when again
unfolded, it is found in a long strip. These effects are produced by successive
adroit substitutions, and the whole magic of the trick consists in the concealment
of the particular moment at which each substitution is effected. Now, if you were
to announce to the audience beforehand that you were about to cause the
handkerchief to appear in several pieces, or in a long strip, they would at once
conjecture that the trick depended on an exchange, and their whole vigilance
being directed to discover the moment of that exchange, you would find it all but
impossible to perform the trick without detection. If, on the other hand, you
merely roll up the handkerchief, and ask some one to hold it, the audience, not
knowing what you are about to do, have no reason to suspect that you have
handed him a substitute; and when the transformation is exhibited, the
opportunity of detection will have already passed away.
It follows, as a practical consequence of this first rule, that you should never
perform the same trick twice on the same evening. The best trick loses half its
effect on repetition, but besides this, the audience know precisely what is
coming, and have all their faculties directed to find out at what point you cheated
their eyes on the first occasion. It is sometimes hard to resist an encore, but a
little tact will get you out of the difficulty, especially if you have studied, as
every conjuror should do, the variation and combination of tricks. There are a
score of different ways of vanishing a given article, and as many of reproducing
it; and either one of the first may be used in conjunction with either of the
second. Thus, by varying either the beginning or the end, you make the trick to
some extent a new one. The power of doing this readily is very useful, and
among other advantages will enable you to meet an encore by performing some
other trick having some element of similarity to that which you have just
completed, but terminating in a different and therefore unexpected manner.
The student must cultivate from the outset the art of “talking,” and
especially the power of using his eyes and his tongue independently of the
movement of his hands. To do this, it will be necessary to prepare beforehand
not only what he intends to do, but what he intends to say, and to rehearse
frequently and carefully even the simplest trick before attempting it in public. It
is surprising how many little difficulties are discovered on first attempting to
carry into effect even the clearest written directions; and nothing but practice
will overcome these difficulties. The novice may be encouraged by assuming, as
he safely may, that the most finished of popular performers was once as
awkward as himself, and were he to attempt any unfamiliar feat, would probably
be as awkward still.
Before proceeding to the practice of the magic art, it will be well to give a
short description of two or three appliances, which are of such constant use that
they may be said to form the primary stock-in-trade of every conjuror. These are
—a short wand, a specially adapted table, and certain secret pockets in the
magician’s dress. There are numerous other appliances of very general use,
which will be explained in due course, but those we have named are so
indispensable that we could hardly complete the description of half-a-dozen
tricks of any pretension without a reference to one or other of them. First in
order comes
This is a light rod of twelve to fifteen inches in length, and about three-
quarters of an inch in diameter. It may be of any material, and decorated in any
manner which the fancy of the owner may dictate. To the uninitiated its use may
appear a mere affectation, but such is by no means the case. Apart from the
prestige derived from the traditional properties of the wand, and its use by the
wizards of all ages, it affords a plausible pretext for many necessary movements,
which would otherwise appear awkward and unnatural, and would thereby
arouse the vigilance of the audience at possibly the most critical period of the
trick. Thus, if the performer desires to hold anything concealed in his hand, by
holding the wand in the same hand he is able to keep it closed without exciting
suspicion. If it is necessary, as frequently happens, to turn his back upon the
audience for an instant, the momentary turn to the table, in order to take up or
lay down the wand, affords the required opportunity. We most strongly advise
the would-be magician to cultivate from the outset the habitual use of the wand.
Even where its employment is not absolutely necessary for the purpose of the
trick, its use is in strict accordance with the character he professes to fill, and the
dainty touch of the wand, for the supposed purpose of operating a magical
transformation, assists materially in leading the audience to believe that such
transformation did actually take place at that particular moment, instead of
having been (as is really the case) secretly effected at an earlier period.
The next appliance to which we must draw the student’s attention is
There are plenty of good minor tricks which may be performed anywhere,
and with little or no previous preparation, but as soon as the student has
outgrown these humbler feats, and aspires to amuse his friends or the public with
a pre-arranged séance, his first necessity will be a proper table. We do not now
refer to the elaborate combination of traps, pistons, etc., which is used for stage
performances. This will be duly described in its proper place. The table
necessary for an average drawing-room exhibition differs from an ordinary table
in two points only—its height, which should be six or eight inches greater than
that of an ordinary table—and the addition of a hidden shelf or ledge at the back.
Its form and dimensions are very much a matter of fancy and convenience. For
most purposes nothing is better than a plain oblong deal table. It should have
turned legs of some harder wood, stained and polished, and these, if it is desired
to make the table portable, should be screwed into the four corners, so as to be
readily taken off and put on again as may be required. In length the table may be
three to four feet, and in breadth eighteen inches to two feet. Three feet by
twenty inches is a very convenient size. At the back should be placed, about six
inches below the level of the top of the table, a projecting shelf, six to eight
inches in width, and extending nearly from end to end. This shelf, which is
technically known as the servante, should be covered with thick woollen cloth,
in order to deaden the sound of any object falling on it.
Some performers have a rim about half an inch high running along the outer
edge of this shelf; while others, in place of the shelf, use a wooden tray, fixed in
the same position, and one to two inches in depth. The manner of fixing the shelf
is optional. In some tables it is made to slide in and out like a drawer; in others
to fold up on hinges against the back of the table, or itself to form the back. This
latter is the most convenient mode, as the opening made by the flap when let
down gives access to the interior of the table, which forms a convenient
receptacle for necessary articles. In this case, the upper part of the table is made
box fashion; i.e., is bottomed throughout with wood on a level with the hinges of
the servante, giving an enclosed space under the whole extent of the table. Over
the table should be thrown an ordinary cloth table-cover, of such a size as to
hang down about ten or fifteen inches at the front and sides, but not more than an
inch or so on the side away from the audience. To prevent its slipping, the cloth
may be fastened on this side with a couple of drawing pins. Where traps are
used, and the cloth has therefore to be cut, the hanging cloth is dispensed with,
and the table is covered with cloth glued on the top, with a margin round it, after
the fashion of a card-table, and this may be done, if preferred, even where the
table is without mechanism. The adoption of this plan allows of the introduction
of gold mouldings, or other ornamentation, on the front and sides. In our own
opinion, unless there is some special reason to the contrary in the mechanical
arrangements of the table, the plain hanging cover is preferable, as being least
suggestive of apparatus or preparation. The precise height of the table is best
determined by the stature of the performer. The servante, or hidden shelf, should
be just so high from the ground as to be level with the knuckles of the performer
as his arm hangs by his side; and the top of the table should, as already stated, be
about six inches higher than this. It will be found that this height will enable the
performer secretly to take up or lay down any article thereon without stooping or
bending the arm, either of which movements would suggest to the spectators that
his hand was occupied in some manner behind the table. One of the first tasks of
the novice should be to acquire the power of readily picking up or laying down
any article on the servante, without making any corresponding movement of the
body, and especially without looking down at his hands. If the performer is
uncertain as to the precise whereabouts of a given article, he must ascertain it by
a quick glance as he approaches his table, and not after he has placed himself
behind it. From this moment he must not again look down, as if once the
audience suspect that he has a secret receptacle behind his table, half the magic
of his tricks is thenceforth destroyed.
An oblong box, twelve or fourteen inches in length by three in depth, well
padded with wadding, and placed on the servante, will be found very useful in
getting rid of small articles, such as coin, oranges, etc., as such articles may be
dropped into the box without causing any sound, and therefore without attracting
attention.
In default of a table regularly made for the purpose, the amateur may with
little difficulty adapt an ordinary table for use as a makeshift. A common library
or kitchen table having a drawer on one side, and raised on four bricks or blocks
of wood to the requisite height will answer the purpose very fairly. The table
must be covered with a cloth; and should have the drawer pulled out about six
inches (the drawer side being, of course, away from the audience) to form the
servante. A still better extempore conjuring table may be manufactured in a few
minutes with the aid of a good-sized folding bagatelle board. Place the shut-up
board on a card or writing table (which should be six or eight inches shorter than
the board), in such manner that there may be left behind it (on the side which is
intended to be farthest from the audience), a strip of table six or seven inches in
width. This will form the servante. Throw an ordinary cloth table-cover over the
bagatelle board, letting it hang down a foot or eighteen inches in front, and
tucking its opposite edge under the hinder edge of the board, whose weight will
prevent it slipping. If the cloth is too large, it must be folded accordingly before
placing it on the table. The table thus extemporized will be of a convenient
height, and will answer very fairly for the purposes of an ordinary drawing-room
performance.
The conjuror, however, may be called upon to give a sample of his art when
neither regular nor extemporized table is available; and even where he is
sufficiently provided in this respect, he will frequently have occasion to produce
or get rid of a given article without retiring behind his table to do so. The
wizards of a century ago met this necessity by wearing openly in front of them a
sort of bag or apron, called in the parlance of the French conjurors, a gibecière,
from its supposed resemblance to a game-bag. This was used not only to carry
the cups and balls, and other minor paraphernalia of the art, but for the purpose
of procuring, exchanging, or getting rid of any small article at the pleasure of the
performer. In fact, this bag supplied the place of the servante, which was not
then known. It is hardly necessary to observe that the gibecière has been long
since disused, and a performer who should now appear in a pocketed apron
would run much risk of being taken for a hairdresser. Although, however, the
gibecière is not now, as of old, worn openly, the conjuror of the present day is
provided with certain secret substitutes, to explain which it is necessary to say a
few words as to
It is not very many years since the orthodox dress of the conjuror was a long
and flowing robe, embroidered more or less with hieroglyphic characters, and
giving ample space for the concealment of any reasonable sized article—say
from a warming-pan downwards. The very last specimen of such a garment, to
the best of our belief, is, or was, worn by the magician attached to the Crystal
Palace. We do not know whether he is compelled by the regulations of the
establishment to wear such a robe; but if so, it ought to be liberally considered in
his salary. The costume de rigueur of the magician of the present day is ordinary
“evening dress.” The effect of the feats performed is greatly heightened by the
close fit and comparative scantiness of such a costume, which appears to allow
no space for secret pockets or other place of concealment. In reality, however,
the magician is provided with two special pockets, known as profondes, placed
in the tails of his dress-coat. Each is from four to six inches in depth and seven in
width, and the opening, which is across the inside of the coat-tail, slanting
slightly downwards from the centre to the side, is, like the servante, so placed as
to be just level with the knuckles of the performer, as his hand hangs by his side.
He can thus, by the mere action of dropping either hand to his side, let fall any
article instantly into the profonde on that side, or take anything from thence in
like manner. The action is so natural, that it may be used under the very eyes of
the audience, at very small risk of their observing it; and if the performer at the
same moment slightly turns his other side to the spectators, he may be perfectly
secure from detection. Some performers have also a couple of pochettes (small
pockets) made in the trousers, one behind each thigh. These are generally used
for purposes of production only, the profondes being still employed for getting
rid of any article, which, indeed, is their primary purpose, for they were
originally made too deep (‘profonde,’ whence their name) to get articles easily
out of them. Many professors, in addition to the pockets above mentioned, have
also a spacious pocket, opening perpendicularly, inside the breast of the coat,
under each arm, for the purpose of what is called “loading,” i.e., bringing a
rabbit, or other article, into a hat, etc. Other pockets may be added, as the fancy
or invention of the performer may dictate; but the above are those generally
used.
It will also be found a great convenience to have an elastic band, about an
inch in width, stitched around the lower edge of the waistcoat on the inside.
When the waistcoat is in wear, the band makes it press tightly round the waist,
and any object of moderate size—a card, or pack of cards, a handkerchief, etc.—
may be slipped under it without the least risk of falling. Used in conjunction
with the pockets before described, this elastic waistband affords a means of
instantaneously effecting “changes” of articles too large to be palmed with
safety; one hand dropping the genuine article into the profonde on that side,
while the other draws the prepared substitute from under the waistband, a very
slight turn of the body, towards the table or otherwise, sufficing to cover the
movement.
With these few preliminary observations, we proceed to the practice of the
art, commencing with the ever-popular class of illusions performed by the aid of
playing cards.
CHAPTER II.
AMONG the various branches of the conjuror’s art, none will better repay the
labour of the student, whether artist or amateur, than the magic of cards. It has
the especial advantage of being, in a great measure, independent of time and
place. The materials for half its mysteries are procurable at five minutes’ notice
in every home circle; and, even in the case of those tricks for which specially
prepared cards, etc., are requisite, the necessary appliances cost little, and are
easily portable—two virtues not too common in magical apparatus. Further, the
majority of card tricks are dependent mainly on personal address and dexterity,
and, as such, will always be highly esteemed by connoisseurs in the art. Before
very large audiences, indeed, the spectators being at a distance from the
performer, much of the effect of a card trick is lost; which is probably the reason
that, of late years, tricks of this class (with a few exceptions) have been rather
neglected by professors; and that many feats which in the times of Conus and
Comte were numbered among the sensations of the day, are now almost entirely
forgotten. We shall endeavour in the following pages, after explaining the
principles of sleight-of-hand applicable to cards, and giving instructions for
some of the best of the more commonplace feats, to revive the recollection—
and, we hope, the practice—of some of these brilliant performances.
The Cards.—The adept in sleight-of-hand should accustom himself to the
use of every description of cards, as frequently none but the ordinary full-sized
playing cards may be available. Where, however, the choice is open to him, he
should use in the actual performance of tricks, cards of a smaller and thinner
make. The common French cards answer the purpose very well. Among cards of
English make, some of the best for the purpose are the small cards of the French
pattern made by De La Rue & Co. for use in France, and those known as the
“Tankerville” cards, both imported by Peck & Snyder, 124 Nassau Street, New
York City, which are thin, well made, and of small size, but of the English
pattern. In any case, it is well to use only the piquet pack of thirty-two cards (the
twos, threes, fours, fives, and sixes being removed), the complete whist pack
being inconveniently bulky for sleight-of-hand purposes.
FIG. 1.
FIG. 3.
First Method. (With both hands).—Hold the pack in the left hand,
lengthways, with the face downwards, as if about to deal at any game. In this
position the thumb will naturally be on the left side of the pack, and the four
fingers on the other. Insert the top joint of the little finger immediately above
those cards which are to be brought to the top of the pack (and which are now
undermost), and let the remaining three fingers close naturally on the remaining
cards, which are now uppermost. (See Fig. 1.) In this position you will find that
the uppermost part of the pack is held between the little finger, which is
underneath, and the remaining fingers, which are upon it. Now advance the right
hand, and cover the pack with it. Grasp the lower portion of the pack lengthways
between the second finger at the upper and the thumb at the lower end, the left
thumb lying, slightly bent, across the pack. Press the inner edge of the lower
packet into the fork of the left thumb, so that the two packets will be as shown in
Fig. 2. Next draw away the upper packet, by slightly extending the fingers of the
left hand, at the same time lifting up the outer edge of the lower packet, till the
edges of the two packets just clear each other (see Fig. 3), when by the mere act
of closing the left hand they will be brought together as at first, save that they
will have changed places. Do this at first very slowly, aiming only at neatness
and noiselessness of execution. At the outset the task will be found somewhat
difficult, but gradually the hands will be found to acquire a sort of sympathetic
action; the different movements which we have above described will melt, as it
were, into one, and the two packets will change places with such lightness and
rapidity that they will seem to actually pass through each other. A slight
momentary depression and elevation of the hands (apparently a mere careless
gesture) in the act of making the pass will completely cover the transposition of
the cards, which in the hands of an adept is invisible, even to the most watchful
spectator.
The above is the most orthodox and the most perfect method of making the
pass, and if the student be proficient in this, he need trouble himself very little
about the remaining methods, which are inserted chiefly for the sake of
completeness, being very inferior in all respects. Wherever in the course of this
book the student is directed to make the pass, this first method will be
considered to be referred to, unless otherwise specially expressed.
Before quitting the subject of this method, we should mention that it is
sometimes necessary to cause the two halves of the pack to ‘kiss,’ i.e., to bring
them face to face. This is effected by turning the original upper packet face
upwards in the act of bringing the transposed packets together. When the pass in
the ordinary form is fairly mastered, this slight variation will occasion no
additional difficulty.
In this, as in all other branches of prestidigitation, the student will find it of
the greatest possible advantage to practise before a looking-glass. By this means,
better than any other, he will be enabled to judge how far his movements
succeed in deceiving the eyes of a spectator. One caution may here be given with
advantage: the student of legerdemain must learn to perform all necessary
movements without looking at his hands, unless for some special reason he
desires the spectators to look at them also. In every case, wherever the performer
desires his audience to look, his own eyes must take that particular direction; and
wherever he desires his audience not to look, he himself must carefully abstain
from looking. Let us suppose, for instance, that a person has drawn a card, and
has replaced it in the middle of the pack. The performer desires to bring it to the
top, for which purpose it is necessary to introduce the little finger above the card
in question, and to make the pass, as above described. When the card is replaced
in the pack, the eyes of the drawer are naturally directed towards it; and if the
performer were himself to look downward at the cards, it would multiply tenfold
the chances of detection. He should pause for a moment, and, looking full at the
person who drew the card, ask, “You are certain that you will know that card
again?” or make any similar observation. As he speaks, a natural impulse will
draw the eyes of the audience to his own face, and he may then make the pass
without the slight necessary movement attracting the least attention. It is hard to
believe, until tested by actual experience, what apparently obvious movements
may be executed under the very noses of an audience, if only their attention is
diverted at the right moment by a dexterous use of the eye and voice of the
operator.
FIG. 4.
Third Method. (With both hands.)—This is very similar to the first method,
but much less neat. Take the cards, as in the former case, face downwards in the
left hand, but instead of the little finger, insert the second and third fingers
immediately above those cards which are to be brought to the top of the pack,
and draw the first and fourth fingers below the pack. (See Fig. 5.) In this
position, the lower half of the pack is held as in a forceps between the second
and third and the first and fourth fingers. Now cover the pack with the right hand
as directed for making the pass by the first method, but in this instance grasp
therewith (between the first and second fingers at top and the thumb at bottom)
the upper half of the pack. Raise this upper half slightly, to allow room for the
movement of the lower half, and at the same moment slightly extend the fingers
of the left hand. (See Fig. 6.) This will make the lower packet describe a quarter
of a circle. As soon as it is clear of the upper packet, by reversing the motion
(i.e., closing the fingers of the left hand, and at the same time lowering the right
hand), the two halves of the pack will be again brought together, but that half
which was originally undermost will now be uppermost. The movement will be
understood more clearly on an inspection of the diagrams a and b (Fig. 6), a
representing an end view of the two portions of the pack in their original
position, and b of the same in their transposed position, the original lower
portion being in each case indicated by the darker shade.
Fourth Method. (With the left hand.)—This is almost the same as the
method last described, save that the left hand only is used. The upper packet,
instead of being held in the right hand, is in this case clipped between the ball of
the left thumb and the point where the thumb joins the hand. In other respects the
movement is the same.
FIG. 7.
Fifth Method. (With the left hand.)—Take the cards in the left hand as
before. Insert the third finger above the cards which are to be brought to the top
(and which now form the lower half of the pack), and close the remaining three
fingers on the top of the pack. (See Fig. 1, but suppose the third finger inserted in
place of the fourth.) Now extend the fingers, which will make the upper part of
the pack describe a semicircle (see Fig. 7), and at the same moment press
downward with the thumb the left top corner of the lower packet. This will tilt
up the opposite end of the lower packet, and give room, as you again close the
fingers, for the upper packet to pass into the lower place. (See Fig. 8.) To bring
the original upper packet (i.e., the one with the six of hearts at the bottom) from
the position indicated in Fig. 7 to that which it occupies in Fig. 8, it is pressed
slightly forward with the middle finger, and is thereby made to perform a semi-
revolution, the third finger acting as pivot. The packet is by this means turned
over endways, i.e., that end of the packet which was originally nearest to the
performer is now farthest from him, and vice versâ. The movement is by no
means easy to describe, but if followed step by step with the cards, will be
readily understood.
FIG. 8.
This method of making the pass has a peculiarity which renders it specially
useful in certain cases. When the upper half of the pack describes a semicircle,
as above mentioned, the bottom card of such half is in full view of the performer,
though the spectators see only the backs of the cards. The performer thus
becomes acquainted, unknown to his audience, with that card which, after the
pass, becomes the bottom card of the pack; which knowledge may occasionally
be very useful. The movement of the cards in this mode of making the pass is
very noticeable; but the circular sweep taken by the upper packet so confuses the
eye, that the audience must be extremely keen-sighted to detect the effect of the
movement, which, if neatly executed, has the appearance of a mere flourish. A
quick sweep of the arm from left to right as the pass is made will greatly assist in
covering the transposition of the cards.
Some perform the pass last described without causing the upper packet to
make the semi-revolution above mentioned. The first finger in this case does not
participate in the operation, but is left extended beyond the upper end of the
pack.
FIG. 9.
FIG. 10.
Sixth Method. (With either hand.)—Take the pack in either hand, as if you
were about to stand it on end on the table, the backs of the cards being next to
the palm. Insert the third finger between the two halves of the pack, and draw the
second and fourth fingers behind the pack. In this position, the uppermost half of
the pack is held between the third finger and the second and fourth fingers. Clip
the lower or front half of the pack at its two top corners between the thumb and
the first finger. (See Fig. 9.) Now extend the second, third, and fourth fingers,
which will carry with them the upper half of the pack. As soon as it is clear of
the lower half, again close the fingers, thereby bringing the upper packet to the
bottom. (See Fig. 10.) This mode of making the pass may be employed as you
place the pack on the table, the movement for that purpose serving to cover that
by which the cards are transposed. If no table is at hand a quick movement of the
hand and arm from right to left, at the moment when the pass is made, will be
found to answer equally well.
FIG. 11.
Seventh Method. (With the right hand.)—This is a mere makeshift for the
pass proper, though its effect is the same. It is performed in picking up the cards
from the table after they have been cut, and left, as is usual, in two heaps. The
performer picks up, as in the ordinary course, the bottom half of the pack (which
should properly be placed uppermost after the cut); but, instead of picking them
up in the usual way, he picks them up with the second, third, and fourth fingers
under, and the first finger above the cards. In placing them apparently upon the
upper heap, he tilts up the right hand edge of that heap with the tip of the first
finger, and with the remaining fingers slides the heap he already holds
underneath it (see Fig. 11), so that the cards are again precisely as they were
before the cut. This sham mode of making the pass is rarely used by conjurors,
but is said to be frequently employed by card-sharpers.
A
The cards of the right-hand packet are darkened in the figure
for the better distinguishing of the two packets, though there
would, of course, be no such difference of shade in the original.
FIG. 14.
Fifth Method. (To retain the whole pack in a pre-arranged order.)—Make the
pass so as to bring the lower half of the pack uppermost. Take the pack in the
right hand, keeping the two portions of the pack separated by the little finger of
that hand. Hold the cards face downwards a few inches from the table, and let
fall, by five or six at a time, those cards which now form the lower half of the
pack. You should so arrange that these cards form four little heaps, falling in the
order indicated by the accompanying figure (Fig. 14). Thus the bottom cards
must fall at 1, the next lowest at 2, the next (comprising all that remain of the
lower packet) at 3, and the remaining cards (being the whole of the upper part) at
4. Now (with the left hand) quickly place packet 1 on packet 4, and (with the
right hand) packet 2 on packet 1, and finally (with the left hand) packet 3 on the
top of all, when the cards will occupy precisely the same relative positions as at
first. The use of the two hands alternately, coupled with the rapidity of the
performer, gives to his motions an appearance of carelessness which effectually
baffles the spectators, and prevents their suspecting that the heaps are re-
arranged in any determinate order.
Sixth Method.—This also retains the cards in their pre-arranged order, with
this qualification, that an indefinite number are transferred from the top to the
bottom of the pack, the effect being as if the cards had been cut without being
shuffled. Holding the cards as directed for the last method, you drop them in four
heaps as before, but beginning from the left, and proceeding straight onwards in
regular succession. Now place the first heap on the fourth or right hand heap,
and the second heap on the first heap, finally placing the third heap either above
or below the pile thus made. Where it is necessary, after using this shuffle, to
bring back the cards to the precise condition in which they were at first, this
object may be effected by the use of the “bridge,” hereafter described.
FIG. 15.
TO “PALM” A CARD.—Bring the card which you desire to palm (by the pass
or otherwise) to the top of the pack. Hold the pack face downwards in the left
hand, covering it lengthways with the right. With the left thumb push the top
card till it projects about an inch beyond the edge of the pack. With the third
finger of the left hand, which is now immediately below the card, press it
upwards into the right hand, which should half close over it. You must not mind
about bending the card, which will lie curled up against the inside of the hand.
You may either let the hand drop negligently to your side, or, still better, take the
pack between the fingers and thumb of the same hand (see Fig. 15) and offer it to
be shuffled. This will give you the opportunity, often very valuable, of seeing
what the card in question is. When it becomes necessary to return the card to the
pack, the mere motion of taking the pack in the right hand, whether from the left
hand or from the table, will effect that object in the most natural manner. If the
card retains a curve from its bent position in the hand, you may readily
straighten it by ruffling the cards, as described in the next paragraph. If the
performer is fortunate enough to have a large hand, a complete pack of cards
may be palmed in this manner without difficulty.
TO “RUFFLE” THE CARDS.—Hold the pack tightly by its lower end between
the fingers and thumb of the left hand, the thumb being above and the fingers
below the cards. Cover the pack lengthways with the right hand, and clip the
cards between the fingers and thumb as if you were about to make the pass by
the first method. Keep the thumb unmoved, but draw the fingers smartly
upwards, so as to bend the cards slightly. The springing of the cards as they
escape one by one from the pressure of the fingers, and again straighten
themselves, causes a peculiar sharp sound.
The ruffle may also be executed with one hand only. Take the pack between
the middle finger at top and the thumb at bottom, the first finger resting in a bent
position on the back of the cards. Press strongly with the thumb, so as to bend
the two ends of the cards smartly outwards, allowing them one by one to escape
from the middle finger, and simultaneously straighten the first finger, so as to
clip the lower end of the cards between that finger and the thumb.
The ruffle is a mere flourish, but it is by no means without its value. We
have indicated in the last paragraph one of its uses, viz., to straighten a card
which has been palmed. Apart from this, there are many tricks in which it is
desirable to mislead the spectator as to the particular movement by which, or the
point of time at which, a particular effect was produced. This may be effected by
a judicious use of the ruffle. Suppose, for instance, that the trick consists in
magically bringing a given card to a particular position in the pack, and that the
performer has already, without the knowledge of his audience, placed the card in
the required position. If, before showing that it is so placed, he ostentatiously
ruffles the cards, nine out of ten of the audience will be persuaded that this noisy
movement is in some way the cause of the transposition, and will be
proportionately the less likely to discover the true explanation of the feat.
First Method.—Hold the pack in the left hand, as though about to deal the
cards. Hold the card to be changed in the right hand, between the first and
second fingers. (See Fig. 16.) The card into which it is to be changed should
have been previously placed (secretly, of course) on the top of the pack. Push
this card a little forward with the left thumb, so as to make it project about three-
quarters of an inch beyond the remaining cards. Bring the hands close together
for an instant, and in that instant place the card held in the right hand under the
pack, (the second, third, and fourth fingers of the left hand opening to receive it,
and the remaining finger making way for it as soon as it reaches the pack).
Simultaneously with this movement, the thumb and first finger of the right hand
must close upon the card projecting from the top of the pack, and, as the hands
separate, carry with them that card in place of the one which the right hand
originally held. A half turn of the body to the left or right, a quick downward
sweep of the right hand, or any other rapid gesture, will assist in covering the
momentary bringing together of the hands. In some cases it is better that the
right hand alone should move, the left hand being held stationary; in other cases
the left hand (the one holding the pack) should make the movement, the hand
holding the single card being motionless. It will be well to practise both these
modes of making the change. The direction in which the performer turns, in
order to place the card on his table, or the like, will indicate which is the best
mode to use in any given case.
FIG. 17.
FIG. 20.
Fifth Method. (To change a given card without the aid of the pack.)—A card
having been chosen and returned to the pack, make the pass to bring it to the top,
and palm it. Give the pack to be shuffled, and when it is returned pick out hap-
hazard any card you please, and holding it up between the first finger and thumb
of the right hand (in which is the palmed card), announce boldly that that was the
card chosen. You will, of course, be contradicted, whereupon you pretend to be
disconcerted, and ask if the person is quite certain that that is not the card he
drew, and so on. Meanwhile, you take the card, face downwards, between the
first finger and thumb of the left hand, whence you immediately take it again in
the right hand (see Fig. 19), taking it so as to bring the palmed card immediately
over it, when the two will at a little distance appear to be only one card. You then
say, “Well, if you seriously assure me that it is not the right card, I must
endeavour to change it to the right one. May I ask what your card was?” When
you are told, you continue, “It is a very simple process. I have merely to lay the
card upon my hand, so, or if you prefer it, I will change it in your own hands.
Oblige me by holding the card face downwards. I think you said your card
was”—(say) “the ace of spades? Change!” As you say the words, “lay the card
upon my hand,” you place the two cards for an instant on the palm of the left
hand (see Fig. 20), and draw off rapidly the top card, which is the right one,
leaving the other palmed in the left hand, which then drops to your side. The
audience do not suspect that the change is already effected, or that you have had
more than one card in your hand throughout, and if you have performed the trick
neatly, will be utterly nonplussed when the transformation is revealed. You may,
if you please, conclude by asking what card the audience imagine that they first
saw, and, when told, remarking that they must have been mistaken in their
impression, as that card has been in Mr. So-and-so’s tail-pocket all the evening,
as you prove by plunging your left hand (in which the card remains palmed) into
the pocket, and producing it accordingly.
FIG. 21.
TO GET SIGHT OF A DRAWN CARD.—The power of doing this is a sine quâ non
for the conjuror. As already mentioned, even the most expert operator cannot be
absolutely certain of “forcing” the card which he desires, and a novice is very
likely indeed to find a wrong card occasionally drawn. It is therefore necessary
to be provided with a remedy for such a contretemps. One mode of meeting the
difficulty is to allow the card to be returned to the pack, make the pass to bring it
to the top, and palm it, immediately giving the pack to be shuffled, and in so
doing to get sight of the card, which remains in your own hand, and can in due
time be reproduced in any way you please. (See Fig. 15.) For the present
purpose, we assume that you do not desire to retain possession of the card, but
merely wish to know its suit and value. These may be ascertained as follows:—
FIG. 22.
First Method.—Ask the drawer to return his card to the pack, which you
offer for that purpose in the left hand, spreading the pack fanwise, in order that
he may insert the card where he pleases. As he replaces the card, slip the little
finger of the left hand below it, and close the fan. You now have the pack held in
the palm of the left hand, but divided just below the chosen card by the little
finger, the three remaining fingers being on the top. Offer the cards to be
shuffled, or make any gesture you like with the pack, at the same moment
slightly straightening the fingers. The effect of this movement will be to lift the
upper packet, and thus open the pack bookwise, the opening being towards
yourself, and the lowest card of the top heap, which is the card you desire to
ascertain, being for the moment in full view. (See Fig. 22.)
Second Method.—Proceed as above, but instead of opening the pack to get
sight of the card, bring it secretly to the bottom by the pass, and offer the cards to
be shuffled, holding them at the upper end between the thumb and first and
second finger of the right hand, and slanting from you at an angle of 45°, as in
Fig. 15. As the faces are towards you, you have a full view of the card. Even if it
should suggest itself to the audience that you are able to see the bottom card, as
they are not aware that the chosen card is now in that position, there is nothing to
excite their suspicion.
You may, by way of variety, instead of offering the cards to be shuffled, hold
them in the right hand, and make the single-handed “ruffle” above described, at
the same time turning their faces slightly towards yourself. You may effect the
same object, even more simply, by the mere act of passing the pack from the one
hand to the other, keeping the bottom card turned inwards as above.
FIG. 23.
TO “SLIP” A CARD.—Hold the pack in the left hand having first slightly
moistened the fingers, which should rest upon the back of the cards. Open the
pack bookwise, at an angle of about 45°, holding the upper packet lengthways
between the thumb and second finger of the right hand. Draw this upper packet
smartly upwards to a distance of two or three inches from the lower packet. (See
Fig. 23.) The top card of the upper packet, being held back by the pressure of the
fingers upon it, will not move upwards with the rest of the packet; but
immediately the remaining cards are clear, will fold itself down on the top of the
lower packet. If the top card of the lower packet be examined before and after
the slip, the card will appear to have changed, the fact being that the original top
card becomes the second after the slip, the slipped card covering it.
TO “TURN OVER” THE PACK.—There are certain tricks (as, for instance, where
you have undertaken to produce a given card at a particular number in the pack)
for which it is necessary to deal a certain number of cards from the top, and then
(without the spectator’s knowledge) to continue the deal from the opposite end
of the pack. As a necessary preliminary, you must “face” the cards—i.e., bring
the upper and lower portions face to face. This you have already been taught to
do by means of the pass. Whichever way the pack is turned, it will now, of
course, show backs only. Take the pack flat in the left hand, the fingers clipping
it rather tightly, but without the aid of the thumb. Pass the thumb underneath, and
with the ball of the thumb press the pack smartly upwards (see Fig. 26), when it
will describe a semi-revolution on its longer axis, the lower face of the pack
being thereby brought uppermost. If performed with the hand at rest, the
movement is very perceptible; but if you at the same time make a semi-circular
sweep of the hand and arm from left to right, the smaller movement of the pack
in the hand is much less likely to attract notice.
The card should be held lightly between the first and second fingers, in the
position shown in Fig. 27. The hand should be curved inward toward the wrist,
and then straightened with a sudden jerk, the arm being at the same time shot
sharply forward. The effect of this movement is that the card, as it leaves the
hand, revolves in the plane of its surface in the direction indicated by the dotted
line, and during the rest of its course maintains such revolution. This spinning
motion gives the flight of the card a strength and directness which it would seem
impossible to impart to so small and light an object.
A skilled performer will propel cards in this way to a distance of sixty or
eighty feet, each card travelling with the precision, and well-nigh the speed, of
an arrow shot from a bow. The movement, though perfectly simple in theory, is
by no means easy to acquire in practice. Indeed, we know no sleight which, as a
rule, gives more trouble at the outset; but, after a certain amount of labour with
little or no result, the student suddenly acquires the desired knack, and
thenceforward finds no difficulty in the matter.
THE BRIDGE.—The object of the bridge is to enable the performer, with ease
and certainty, to cut or otherwise divide the pack at a given card. It is made as
follows: Holding the cards in the left hand, with the thumb across the pack, the
performer covers them for an instant with his right hand, as if about to make the
pass. Grasping the pack between the thumb and second finger of this hand, he
bends the whole of the cards slightly inwards over the first finger of the left
hand, immediately afterwards bending the upper or outward portion of the pack
backwards in the opposite direction. The effect of the double movement is that
the two halves of the pack are bent in a double concave form, thus )(, though in a
much less degree. If the cards be now cut, the concave portions, instead of being,
as at first, back to back, will be face to face, thus (), leaving in the centre of the
pack an elliptical opening, of a maximum width of about an eighth of an inch.
This slight hiatus in the middle will generally cause a person who is invited to
cut to do so at that particular point, and will in any case enable the performer
either to cut or to make the pass at that point with the greatest ease. The cases in
which the bridge may be employed with advantage will be more particularly
indicated when we come to practically apply the processes already described, but
it has a special use which may be at once mentioned. It will be remembered that
some of the false shuffles already described leave the cards as if cut, though they
in other respects retain their pre-arranged order; and it therefore becomes
necessary to again cut them at a particular point, in order to bring them back to
their original condition. This point is ascertained by the use of the bridge. The
cards are first bent in the manner above described; the false shuffle is then made,
leaving the cards in effect cut; but by again cutting or making the pass at the
bridge, they are once more precisely as at first.
We have endeavoured to be as explicit as possible in the foregoing
description of the different sleight-of-hand processes, so that the reader may, by
following our instructions closely, be able to teach himself, unassisted, to
perform the various movements described. We have done our best to make our
descriptions intelligible, and trust that we have fairly succeeded. We should,
however, strongly advise any student who desires to make rapid progress to take,
if possible, a few preliminary lessons under the personal guidance of a
competent performer, professional or amateur. It is an old saying that an ounce
of example is worth a pound of precept, and a reader who has once or twice seen
the processes we have described practically illustrated by skilful hands, will not
only avoid the difficulties which are sure to be at first found in even the clearest
written instructions, but will escape the formation of bad habits, which it may
take much time and trouble to eradicate. Should the novice seek such assistance,
he must not expect to find that any one performer uses indifferently all the
processes we have described. Every Professor has his own favourite methods of
procedure, and, generally speaking, pours scorn and contumely upon all others;
or, in the words of Byron (a little altered)—
“Compounds for sleights he has a mind to,
By damning those he’s not inclined to.”
The student who commences his labours without such assistance must make his
own selection. In the “pass” we should recommend him to stick to the first
method, the remaining passes being rather curious than useful. Among the false
shuffles, the first, third, fifth, and sixth will be found the most effective. For the
remaining processes he may be guided by his own taste, and the greater or less
facility with which his fingers adapt themselves to one or the other of them.
The various sleights above described will cost the student some time and
perseverance before they are fairly mastered, and until they are so it is hopeless
to attempt any of the more brilliant feats. For his amusement in the meantime,
we subjoin a few tricks for which sleight-of-hand is not necessary, but which, if
performed with neatness and tact, will cause considerable astonishment to the
uninitiated.
CHAPTER III.
Second Method.—Get the card to the top of the pack, and hold the pack
lightly between the thumb and fingers of the right hand, the thumb being on the
face, and the fingers (which should be previously slightly moistened) on the
back of the cards. (See Fig. 29.) Give a sharp downward jerk of the hand and
arm, when, as in the last case, all the cards will fall save the top card, which is
retained by the greater friction of the moistened fingers.
Third Method.—Get the chosen card to the top, and hold the pack in the
right hand, lengthways and face downwards, about two feet above the floor or
table. Push the top card a little off the pack sideways, so as to make it project
throughout its whole length about an inch beyond the rest of the cards. Now let
fall the pack, when the resistance of the air will cause the top card to turn over in
its fall, and to appear face upwards, all the other cards remaining face
downwards.
Fourth Method.—Place the card in question and seven other indifferent
cards in two rows, face downwards, on the table. Keep in your own mind which
is the chosen card, but do not let the audience see the face of either of the cards.
Ask the drawer if he is sure that he will know his card again. He will, of course,
answer “yes.” Now ask either the same or another person to touch four of the
eight cards upon the table. Necessarily, the four which he touches will either
include or not include the chosen card. In either case you take up (whether he
touches them or not) the four which do not include the chosen card, remarking,
“I will return these to the pack.” Invite the same person to touch two out of the
four which remain. Again take up the two (whether touched or not touched)
which do not include the chosen card, saying, “I return these also to the pack.”
You have now only two cards left on the table, one of which is the chosen card.
Invite one of the spectators to touch one of these cards. As before, whichever he
touches, you pick up and return to the pack the non-chosen card, remarking, “We
have now only one card left. You have all seen that I dealt out eight cards on the
table, and that I have withdrawn seven, you yourselves choosing which I should
withdraw. Now, sir, be kind enough to name the card you drew.” The card having
been named, you turn over the card left on the table, and show that it is the right
one.
This trick is based upon a kind of double entendre, which, though apparently
obvious, is rarely seen through by the audience if performed in a quick and
lively manner. The secret lies in the performer interpreting the touching of the
cards in two different senses, as may best suit his purpose. If the chosen card is
not among the cards touched, he interprets the touching as meaning that the
cards touched are rejected, and to be returned to the pack. If the card is among
those touched, he interprets the touching in the opposite sense,—namely, that the
cards touched are to be retained, and the others rejected. If he is lucky in the
cards touched, it may happen that he is able to interpret the touching in the same
sense throughout the trick, in which case there will be no clue whatever to the
secret; but even in the opposite case, where he is compelled to put aside first the
cards touched and then the cards not touched, the difference generally passes
unnoticed by the spectators, or, if noticed, is put down as a slip on the part of the
performer, rather than as being, as it really is, the key to the trick.
Where the performer is proficient in sleight-of-hand, the above may be
worked up into a really brilliant trick. Any indifferent card being drawn and
returned, is brought to the top by the pass, palmed, and the pack shuffled. Eight
cards are laid out, and the drawn card revealed as above.
Having described these few commencements and terminations, we will next
proceed to the discussion of some complete tricks.
FIG. 30.
TO MAKE A CARD VANISH FROM THE PACK, AND BE FOUND IN A PERSON’S POCKET.
—Slightly moisten the back of your left hand. Offer the pack to be shuffled.
Place it face downwards on the table, and request one of the company to look at
the top card. Request him to place the back of his left hand upon the cards, and
press heavily upon it with his right. In order that he may the better comprehend
your meaning, place your own hands as described (see Fig. 30), and request him
to imitate you. When you remove your left hand, the back being moistened, the
card will stick to it. Put your hands carelessly behind you, and with the right
hand remove the card. All will crowd round to see the trick. Pretend to be very
particular that the person who places his hand on the card shall do so in precisely
the right position. This will not only give you time, but draw all eyes to his
hands. Meanwhile, watch your opportunity and slip the card into the tail pocket
of one or other of the spectators. Now announce that you are about to order the
top card, which all have seen, and which Mr. A. is holding down so exceedingly
tight, to fly away from the pack and into the pocket of Mr. B., making the choice
apparently hap-hazard. On examination your commands will be found to have
been fulfilled. It has a good effect, when practicable, to slip the card into the
pocket of the same person who is pressing upon the pack.
TO PLACE THE FOUR KINGS IN DIFFERENT PARTS OF THE PACK, AND TO BRING THEM
TOGETHER BY A SIMPLE CUT.—Take the four kings (or any other four cards at
pleasure), and exhibit them fanwise (see Fig. 31), but secretly place behind the
second one (the king of diamonds in the figure) two other court cards of any
description, which, being thus hidden behind the king, will not be visible. The
audience being satisfied that the four cards are really the four kings, and none
other, fold them together, and place them at the top of the pack. Draw attention
to the fact that you are about to distribute these four kings in different parts of
the pack. Take up the top card, which, being really a king, you may exhibit
without apparent intention, and place it at the bottom. Take the next card, which
the spectators suppose to be also a king, and place it about half way down the
pack, and the next, in like manner, a little higher. Take the fourth card, which,
being actually a king, you may show carelessly, and replace it on the top of the
pack. You have now really three kings at the top and one at the bottom, though
the audience imagine that they have seen them distributed in different parts of
the pack, and are proportionately surprised, when the cards are cut, to find that
all the kings are again together.
FIG. 31.
It is best to use knaves or queens for the two extra cards, as being less
distinguishable from the kings, should a spectator catch a chance glimpse of
their faces.
There are other and better modes of bringing together four apparently
separated cards by the aid of sleight-of-hand, which will be explained in due
course; but we have thought it well to give also this simpler method, as it is
always an advantage to possess two different modes of performing the same feat.
THE FOUR KINGS BEING PLACED UNDER THE HAND OF ONE PERSON, AND THE FOUR
SEVENS UNDER THE HAND OF ANOTHER, TO MAKE THEM CHANGE PLACES AT COMMAND.
—Exhibit, fanwise, in one hand the four kings, and in the other the four eights.
Behind the hindmost of the kings, and so as not to be noticeable by the audience,
secretly place beforehand the four sevens. Hold the four eights in the other hand
in such manner that the lower of the two centre pips of the foremost is concealed
by the first and second fingers. The same pip on each of the other cards will be
concealed by the card immediately before it, so that the four cards will to the
spectators appear equally like the sevens. Place the pack face downwards on the
table. Draw attention to the fact that you hold in one hand the four kings, and in
the other the four sevens (really the disguised eights). Fold up the supposed
sevens, and place them on the pack. Fold up the kings, and place them on the top
of the supposed sevens. As the real sevens were behind the last of the kings, they
are now on the top, with the kings next, though the audience are persuaded that
the kings are uppermost, and the sevens next following. Deal off, slowly and
carefully, the four top cards, saying, “I take off these four kings,” and lay them
on the table, requesting one of the spectators to place his hand firmly upon them.
Do the same with the next four cards (which are really the kings). Ask if the
persons in charge of the cards are quite sure that they are still under their hands,
and, upon receiving their assurance to that effect, command the cards they hold
to change places, which they will be found to have done.
FOUR PACKETS OF CARDS HAVING BEEN FORMED FACE DOWNWARDS ON THE TABLE,
TO DISCOVER THE TOTAL VALUE OF THE UNDERMOST CARDS.—This trick must be
performed with the piquet pack of thirty-two cards. Invite one of the spectators
to privately select any four cards, and to place them, separately and face
downwards, on the table; then, counting an ace as eleven, a court card as ten, and
any other card according to the number of its pips, to place upon each of these
four so many cards as, added to its value thus estimated, shall make fifteen. (It
must be remembered that value is only to be taken into consideration as to the
original four cards, those placed on them counting as one each, whatever they
may happen to be.) You meanwhile retire. When the four heaps are complete,
advance to the table, and observe how many cards are left over and above the
four heaps. To this number mentally add thirty-two. The total will give you the
aggregate value of the four lowest cards, calculated as above mentioned.
You should not let your audience perceive that you count the remaining
cards, or they will readily conjecture that the trick depends on some arithmetical
principle. You may say, “You will observe that I do not look even at one single
card:” and, so saying, throw down the surplus cards with apparent carelessness
upon the table, when they are sure to fall sufficiently scattered to enable you to
count them without attracting observation.
TO NAME ALL THE CARDS IN THE PACK IN SUCCESSION.—This is an old trick, but
a very good one. To perform it, you must arrange the cards of a whist pack
beforehand, according to a given formula, which forms a sort of memoria
technica. There are several used, but all are similar in effect. The following is
one of the simplest:—
“Eight kings threatened to save
Ninety-five ladies for one sick knave.”
These words suggest, as you will readily see, eight, king, three, ten, two,
seven, nine, five, queen, four, ace, six, knave. You must also have a determinate
order for the suits, which should be red and black alternately, say, diamonds,
clubs, hearts, spades. Sort the pack for convenience into the four suits, and then
arrange the cards as follows: Take in your left hand, face upwards, the eight of
diamonds, on this place the king of clubs, on this the three of hearts, then the ten
of spades, then the two of diamonds, and so on, till the whole of the cards are
exhausted. This arrangement must be made privately beforehand, and you must
either make this the first of your series of tricks, or (which is better, as it
negatives the idea of arrangement) have two packs of the same pattern, and
secretly exchange the prepared pack, at a suitable opportunity, for that with
which you have already been performing. Spread the cards (which may
previously be cut any number of times), and offer them to a person to draw one.
While he is looking at the card, glance quickly at the card next above that which
he has drawn, which we will suppose is the five of diamonds. You will
remember that in your memoria technica “five” is followed by “ladies” (queen).
You know then that the next card, the one drawn, was a queen. You know also
that clubs follow diamonds: ergo, the card drawn is the queen of clubs. Name it,
and request the drawer to replace it. Ask some one again to cut the cards, and
repeat the trick in the same form with another person, but this time pass all the
cards which were above the card drawn, below the remainder of the pack. This is
equivalent to cutting the pack at that particular card. After naming the card
drawn, ask if the company would like to know any more. Name the cards next
following the card already drawn, taking them one by one from the pack and
laying them face upwards on the table, to show that you have named them
correctly. After a little practice, it will cost you but a very slight effort of
memory to name in succession all the cards in the pack.
THE CARDS BEING CUT, TO TELL WHETHER THE NUMBER CUT IS ODD OR EVEN.—
This is another trick performed by the aid of the prepared pack last described,
and has the advantage of being little known, even to those who are acquainted
with other uses of the arranged pack. Notice whether the bottom card for the
time being is red or black. Place the pack on the table, and invite any person to
cut, announcing that you will tell by the weight of the cards cut whether the
number is odd or even. Take the cut cards (i.e., the cards which before the cut
were at the top of the pack), and poising them carefully in your hand, as though
testing their weight, glance slily at the bottom card. If it is of the same colour as
the bottom card of the other or lowest portion, the cards cut are an even number;
if of a different colour, they are odd.
THE WHIST TRICK.—TO DEAL YOURSELF ALL THE TRUMPS.—The cards being
arranged as above mentioned, you may challenge any of the company to play a
hand at whist with you. The cards are cut in the ordinary way (not shuffled). You
yourself deal, when, of course, the turn-up card falls to you. On taking up the
cards, it will be found that each person has all the cards of one suit, but your own
suit being that of the turn-up card, is, of course, trumps; and having the whole
thirteen, you must necessarily win every trick.
The weak point of the feat is, that the cards being regularly sorted into the
four suits, the audience can hardly help suspecting that the pack was pre-
arranged beforehand. There is another and better mode of performing the trick,
by which you still hold all the trumps, but the three remaining players have the
ordinary mixed hands. This method, however, involves sleight-of-hand, and
would therefore be out of place in the present chapter.
TO ALLOW A PERSON TO THINK OF A CARD, AND TO MAKE THAT CARD APPEAR AT
SUCH NUMBER IN THE PACK AS ANOTHER PERSON SHALL NAME.—Allow the pack to
be shuffled and cut as freely as the company please. When they are fully
satisfied that the cards are well mixed, offer the pack to any of the spectators,
and request him to look over the cards, and think of any one, and to remember
the number at which it stands in the pack, reckoning from the bottom card
upwards. You then remark, “Ladies and gentlemen, you will take particular
notice that I have not asked a single question, and yet I already know the card;
and if anyone will kindly indicate the place in the pack at which you desire it to
appear, I will at once cause it to take that position. I must only ask that, by
arrangement between yourselves, you will make the number at which the card is
to appear higher than that which it originally held.” We will suppose that the
audience decide that the card shall appear at number 22. Carelessly remark, “It is
not even necessary for me to see the cards.” So saying, hold the pack under the
table, and rapidly count off twenty-two cards from the bottom of the pack, and
C
place them on the top. You then continue, “Having already placed the card
thought of in the desired position, I may now, without suspicion, ask for the
original number of the card, as I shall commence my counting with that
number.” We will suppose you are told the card was originally number 10. You
begin to count from the top of the pack, calling the first card 10, the next 11, and
so on. When you come to 22, the number appointed, you say, “If I have kept my
promise, this should be the card you thought of. To avoid the suspicion of
confederacy, will you please say, before I turn it over, what your card was.” The
card being named, you turn it up, and show that it is the right one.
C
When the number named is more than half the total number
of the pack, i.e., more than 16 in a piquet pack, or more than 26 in
a whist pack, it is quicker, and has precisely the same effect, to
count off the difference between that and the total number from
the top, and place them at the bottom. Thus, in a piquet pack, if
the number called be 12, you would count off 12 from the bottom,
and place them on the top; but if the number called were 24 you
would achieve the same object by counting 8 from the top, and
passing them to the bottom.
In all tricks which depend on the naming of a card drawn or thought of, it
adds greatly to the effect to have the card named before you turn it up.
This trick, unlike most, will bear repetition; but it is well on a second
performance to vary it a little. Thus you may on the second occasion say, when
the card has been thought of, “I will choose for myself this time; your card will
appear at number 30.” It is desirable to name a number very near the total
number of the pack (which we are now supposing to be a piquet pack), as the
difference between that and the total number being very small, it is easy to see at
a glance the number of cards representing such difference, and pass them to the
bottom of the pack. You take in this instance two cards only, that being the
difference between 30 and 32, and pass them to the bottom, when the card will,
as you have announced, be the thirtieth.
If you are able to make the pass, you will, of course, avail yourself of it to
transfer the requisite number of cards to the top or bottom of the pack.
M U T U S
1 2 3 2 4
D E D I T
5 6 5 7 3
N O M E N
8 9 1 6 8
C O C I S
10 9 10 7 4
You must imagine the four words printed as above upon your table. You must
deal your first card upon the imaginary M in MUTUS, and the second on the
imaginary M in NOMEN, the two next cards on the two imaginary U’s, the two
next on the two T’s, and so on. You have now only to ask each person in which
row his two cards now appear, and you will at once know which they are. Thus,
if a person says his two cards are now in the second and fourth rows, you will
know that they must be the two cards representing the two I’s, that being the
only letter common to those two rows. If a person indicates the first and fourth
rows, you will know that his cards are those representing the two S’s, and so on.
L I V I N I
L A N A T A
L E V E T E
N O V O T O
First Order.
1 2 3 4 5
6 7 8 9 10
11 12 13 14 15
16 17 18 19 20
21 22 23 24 25
Second Order.
1 6 11 16 21
2 7 12 17 22
3 8 13 18 23
4 9 14 19 24
5 10 15 20 25
Thus we will suppose you are told that the card thought of is originally in the
third line. Remember the first or key-card of that line, designated in the table as
11. If the card is in the fourth line after the second deal, you look to the top line
for the key-card, and on finding it you have only to observe which card in the
fourth row is immediately beneath it, to be sure that that card (in this instance
designated by the number 14) is the card thought of.
You may perform the trick with either sixteen, twenty-five, thirty-six, or
forty-nine cards, either of those being a square number, and thus making the
number of cards in a row equal to the number of rows, which is essential to the
success of the trick.
TO PLACE THE ACES AND COURT CARDS IN FOUR ROWS, IN SUCH A MANNER THAT
NEITHER HORIZONTALLY NOR PERPENDICULARLY SHALL THERE BE IN EITHER ROW TWO
CARDS ALIKE EITHER IN SUIT OR VALUE.—This also is a puzzle, and a very good
one. The key to it is to begin by placing four cards of like value (say four kings)
in a diagonal line from corner to corner of the intended square, then four other
cards of like value (say the four aces) to form the opposite diagonal. It must be
borne in mind, that of whatever suit the two centre kings are, the two aces must
be of the opposite suits. Thus, if the two centre kings are those of diamonds and
hearts, the two centre aces must be those of clubs and spades; and in adding the
two end aces, you must be careful not to place at either end of the line an ace of
the same suit as the king at the corresponding end of the opposite diagonal.
Having got so far, you will find it a very easy matter to fill in the remaining
cards in accordance with the conditions of the puzzle. The sixteen cards when
complete will be as in Fig. 32, subject, of course, to variation according to the
particular cards with which you commence your task.
THE CONGRESS OF COURT CARDS.—Take the kings, queens, and knaves from
the pack, and place them face upwards on the table in three rows of four each,
avoiding as much as possible the appearance of arrangement, but really taking
care to place them in the following order: In the first row you have only to
remember not to have two of the same suit. Begin the second row with a card of
the same suit with which you ended the first, let the second card be of the same
suit as the first of the first row, the third of the same suit as the second of the first
row, and so on. The third row will begin with the suit with which the second left
off, the second card will be of the same suit as the first of the second row, and so
on. Now pick up the cards in vertical rows, beginning with the last card of the
bottom row. The cards may now be cut (not shuffled) any number of times, but,
if dealt in four heaps, the king, queen, and knave of each suit will come together.
CHAPTER IV.
WE have already explained the nature and use of the “forcing” pack of cards. It
may be well, before we go further, to give a short account of one or two other
species of prepared cards.
THE LONG CARD.—This is the technical name for a card longer or wider, by
about the thickness of a sixpence, than the rest of the pack. This card will
naturally project to that extent beyond the general length or width of the other
cards, and the performer is thereby enabled to cut the pack at that particular card
whenever he chooses to do so. With the aid of such a card, and a tolerable
proficiency in “forcing” and “making the pass,” many excellent tricks can be
performed. Packs with a long card can be obtained at any of the conjuring
depôts. The best plan, however, is to purchase two ordinary packs, precisely
alike, and to have the edges of one of them shaved down by a bookbinder to the
requisite extent, when you can insert any card of the other pack at pleasure to
form your long card, and thus avoid the suspicion which would naturally arise
from the performance of several tricks with the same card. A still greater
improvement upon the ordinary long-card pack is the biseauté or tapering pack,
in which, though only one pack is used, any card may in turn become the long
card. A biseauté pack consists of cards all of which are a shade wider (say the
thickness of a shilling) at one end than the other. (See Fig. 33, in which,
however, the actual difference of width is exaggerated, in order to make the
shape of the card clear to the eye.)
FIG. 33. FIG. 34.
FIG. 35.
When two cards shaped as above are placed one upon another, but in
opposite directions, the effect is as in Fig. 34. If the whole pack is at the outset
placed with all the cards alike (i.e., their ends tapering in the same direction), by
reversing any card and returning it to the pack, its wide end is made to
correspond with the narrow ends of the remaining cards, thereby making it for
the time being a “long” card. By offering the pack for a person to draw a card,
and turning the pack round before the card is replaced, the position of that card
will thus be reversed, and you will be able to find it again in an instant, however
thoroughly the cards may be shuffled. By pre-arranging the pack beforehand,
with the narrow ends of all the red cards in one direction, and those of the black
cards in the other direction, you may, by grasping the pack between the finger
and thumb at each end (see Fig. 35), and, drawing the hands apart, separate the
black cards from the red at a single stroke, or, by preparing the pack accordingly,
you may divide the court cards from the plain cards in like manner. Many other
recreations may be performed with a pack of this kind, which will be noticed in
due course. The long card and the biseauté pack have each their special
advantages and disadvantages. The long card is the more reliable, as it can
always be distinguished with certainty from the rest of the pack; but it is very
generally known, and after having made use of it for one trick, it is clear that you
cannot immediately venture upon another with the same card. It is further
comparatively useless unless you are proficient in “forcing.” The biseauté pack
may be used without any knowledge of “forcing,” and has the advantage that any
card may in turn become the key card, but it is treacherous. The necessary
turning of the pack is likely to attract observation, and any little mistake, such as
allowing the card to be replaced in its original direction, or a few of the cards
getting turned round in shuffling, will cause a breakdown. Notwithstanding these
disadvantages, both the long card and the biseauté pack will be found very
useful to the amateur; but it should be borne in mind that both these appliances
are in reality only makeshifts or substitutes for sleight-of-hand. Professionals of
the highest class discard them altogether, and rely wholly on the more subtle
magic of their own fingers.
We subjoin a few of the best of the feats which specially depend upon the
use of a long card or the biseauté pack.
TO TEACH THE COMPANY A TRICK WHICH THEY LEARN WITHOUT DIFFICULTY; THEN
TO ALLOW THEM TO SUCCEED OR TO CAUSE THEM TO FAIL AT YOUR PLEASURE.—This
surprising trick is performed with the piquet pack of thirty-two cards, from
which you must beforehand take away, and secretly pocket, one card of each
suit, the spectators, however, believing that you use the whole thirty-two cards.
You announce to the company that you will teach them a trick. You deal the
cards face upwards in rows of four, according to the rules set forth in the trick
already described under the title of “The Congress of Court Cards,” i.e., you
place a card of each suit in the top row; you commence each row with a card of
the suit with which the row above ended; you make the second of each row the
same suit as the first of the row above, and the third the same suit as the second
of the row above, and so on. Thus, if your top row be club, diamond, heart,
spade, your second will be spade, club, diamond, heart; your third, heart, spade,
club, diamond; your fourth, diamond, heart, spade, club; your fifth, club,
diamond, heart, spade; your sixth, spade, club, diamond, heart; and your seventh,
heart, spade, club, diamond. You now gather up the cards as directed in the trick
already mentioned, i.e., in vertical rows, from the bottom upwards, commencing
at the right-hand bottom corner. The pack thus arranged may be cut any number
of times, but, if dealt in four heaps, all the cards of each suit will be found to be
together.
So far, the trick is ingenious rather than astonishing, although, the
arrangement of the cards having reference only to the suits, and not to individual
cards, the cards do not at first sight appear to be specially arranged; and if you
are rapid and apparently careless in placing them, the spectators will in all
probability believe that they are placed hap-hazard. If you can induce this belief,
you will greatly heighten their surprise at finding the different suits regularly
sorted after the deal. But the trick is not yet finished. You again place the cards
as before, remarking that the trick is simplicity itself when once the principle is
known, and on this occasion you draw special attention to the necessary
arrangement of the cards. Having completed the trick for the second time, you
invite some of the audience to try their hands, which they do, and of course
succeed, there being really no difficulty in the matter. When one or two have
tried and succeeded, they will probably disparage the trick, as being absurdly
easy. “Pardon me,” you say, “you have succeeded so far, because it was my will
and pleasure that you should do so. You seem incredulous, but I am perfectly
serious. To prove that I am so, I give you warning that the next person who
attempts the trick will fail. Come, who accepts the challenge?” Some one is sure
to respond, and in all probability to offer you a bet that he will succeed. “Sir,”
you reply, “I never bet on certainties, or your money would be already lost. I
have said that you shall fail, and you cannot, therefore, possibly succeed.” You
have, meanwhile, secretly palmed the four cards which you pocketed before
beginning the trick, and have watched your opportunity to replace them on the
table with the rest of the pack.
Your opponent may now try as much as he pleases, but he cannot possibly
succeed, the fact being that the process above described produces the desired
effect with twenty-eight cards, but will not do so with thirty-two. The first
thought of your audience is sure to be that you have abstracted some of the cards
in order to make the trick fail, but on counting they find the number correct. Not
one in a hundred will suspect that the reverse is the case, and that when you
performed the trick the pack was incomplete.
By the time three or four of the company have tried and failed, you will
probably have found an opportunity of again pocketing a card of each suit; and
you may then announce that, having sufficiently proved your power, you will
now graciously condescend to remove the prohibition, and allow the next person
who tries to succeed. This, of course, he will do; and the trick may very well end
here, with the satisfaction on your part that you have kept your secret, and that,
even when removed from the sphere of your adverse influence, your pupils will
fail in performing the trick, making the attempt, as they naturally will, with the
full piquet pack. But it is just possible that a contretemps may arise, for which it
will be well to be prepared. Some one of the audience, more acute than the
generality, may suggest again counting the cards, to see if all are there when the
trick succeeds. Even in this case you need not be discomfitted. At once offer
yourself to count the cards, and, gathering them up for that purpose, add to them
the four which you removed, which you should again have palmed in readiness.
Count them deliberately on to the table, and, when every one is satisfied that the
pack is complete, announce that you will once more perform the trick, in order to
let every one see that you actually use no more and no less than thirty-two cards.
Place the cards as before, counting aloud as you do so, till the whole thirty-two
cards are placed. So far you have not varied your method of proceeding, but to
succeed with the whole thirty-two cards you must secretly make a slight
variation in the manner of picking up. You will remember that the cards were
picked up face upwards, beginning from the bottom of the right hand row,
placing the cards of that row on those of the next row, and so on. Now, to
perform the trick with thirty-two cards, the bottom cards of each row must be
gathered up all together, and placed on the face of the pack. Thus, if the bottom
card of the first or left hand row be the knave of spades, that of the second row
the ten of diamonds, that of the third row the ace of hearts, and that of the fourth
row the seven of clubs, those four cards must be picked up as follows: The knave
of spades must be placed (face upwards) on the ten of diamonds, the ten of
diamonds on the ace of hearts, and the ace of hearts on the seven of clubs, which
will occupy its own place on the face of the cards of the last or right-hand row.
For convenience of picking up, it will be well to place the four rows very near
together, slightly converging at the bottom, when it will be tolerably easy, by a
bold, quick sweep of the left hand from left to right, to slide the three other cards
in due order, on to the bottom card of the last row; while the performer, looking
not at the cards but at his audience, diverts their attention by any observations
which may occur to him. The trick in this form requires considerable address,
and the performer should not, therefore, venture upon it until, by frequent
practice, he can be certain of placing the four cards neatly with his left hand, and
without looking at his hands, which would infallibly draw the eyes of the
audience in the same direction, and thereby spoil the trick.
TO MAKE FOUR CARDS CHANGE FROM EIGHTS TO TWOS, FROM BLACK TO RED,
ETC.—For this trick you require three specially prepared cards. The backs should
be similar to those of the pack which you have in ordinary use, the faces being as
depicted in Fig. 36. They may be purchased at any of the conjuring depôts.
FIG. 36.
FIG. 37.
FIG. 38.
FIG. 39.
You place these three cards privately at the bottom of the pack. You begin
by remarking that you will show the company a good trick with the four eights
and the two of diamonds. (If you use a piquet pack, you must provide yourself
with a special two of diamonds, of similar pattern to the rest of the pack.) You
take the pack, and picking out the four genuine eights, hand them for
examination. While they are being inspected, you insert the little finger of your
left hand between the three bottom cards (the prepared cards) and the rest of the
pack. When the eights are returned, you place them with apparent carelessness
on the top of the pack (taking care, however, to have the eight of clubs
uppermost), and hand the two of diamonds for examination. While this card is
being examined, you make the pass to bring the three prepared cards on the top.
The two of diamonds being returned, you lay it on the table, and taking off the
four top cards, which are now the three prepared cards and the eight of clubs,
you spread them fanwise, when they will appear to be the four eights, as in Fig.
37. The eight of clubs is alone completely visible, one half of each of the other
cards being covered by the card next preceding it. The spectators naturally take
the four cards to be the four ordinary eights which they have just examined.
Insert the two of diamonds behind the eight of clubs, and lay that card in turn on
the table. Close the cards and again spread them, but this time with the opposite
ends outward, when they will appear to be the four twos, as in Fig. 38. Again
take in the eight of clubs in place of the two of diamonds, and turn round the
supposed two of hearts. This you may do easily and naturally by remarking, “I
must now touch something black; my coat-sleeve will do. I gently pass either
card along it, thus, and replace it as before. The cards are now all black cards,”
which they actually appear to be. (See Fig. 39.) Again substitute the two of
diamonds for the eight of clubs, touch any red object, and again turn and spread
out the cards, when they will appear to be all red cards, as in Fig. 40. Once more
take in the eight of clubs in place of the two of diamonds, and replace the four
cards on the pack, again making the pass in order to bring the three prepared
cards to the bottom, and to leave the genuine eights on the top.
FIG. 40.
There is a more elaborate form of this trick procurable at the conjuring
depôts, in which several groups of cards are used in succession, and the changes
are proportionately multiplied, various colours and patterns being produced in
the place of the ordinary figures on the cards. In our own opinion, the trick loses
rather than gains by this greater elaboration, as the more fanciful changes have
the disadvantage of showing clearly (which the simpler form of the trick does
not) that the cards used are not ordinary cards; and this being once understood,
the magic of the trick is destroyed.
We have had occasion more than once to direct you to turn round the cards,
and it will be well for you to know how to do this neatly and without exciting
suspicion. Hold the four cards fanwise in the left hand, the fingers behind and
the thumb in front of the cards. Having exhibited them, turn their faces towards
yourself, and with the thumb and finger of the right hand close the fan, and
taking them by their upper ends lay them face downwards on the table. Their
lower ends will now be away from you, and when you desire again to exhibit the
cards (in a transformed condition), you have only to turn them over sideways,
and pick them up by the ends which are now directed towards you. This little
artifice (which is simplicity itself in practice, though a little difficult to describe)
must be carefully studied, as upon neat manipulation in this respect the illusion
of the trick mainly depends.
A CARD HAVING BEEN DRAWN AND RETURNED, AND THE PACK SHUFFLED, TO MAKE
D
IT APPEAR AT SUCH NUMBER AS THE COMPANY CHOOSE. —Invite a person to draw a
card. Spread out the pack that he may replace it, and slip your little finger above
it. Make the pass in order to bring the chosen card to the top; palm it, and offer
the pack to be shuffled. When the pack is returned to you, replace the chosen
card on the top, and make the first of the false shuffles above described, but
commence by sliding off into the right hand the two top cards (instead of the top
card only), so that the chosen card may, after the shuffle, be last but one from the
bottom. Take the pack face downwards in the left hand, and carelessly move
about the pack so that the bottom card may be full in view of the audience.
Inquire at what number the company would like the card to appear; and when
they have made their decision, hold the pack face downwards, and with the first
and second fingers of the right hand draw away the cards from the bottom one
by one, throwing each on the table face upwards, and counting aloud “one,”
“two,” “three,” and so on. The first card which you draw is naturally the bottom
one, and the chosen card, which is second, would in the ordinary course come
next; but you “draw back” this card with the third finger of the left hand (see
page 36) and take the next instead, continuing in like manner until you have
reached one short of the number at which the card is to appear. You now pause,
and say, “The next card should be the card you drew. To avoid any mistake, will
you kindly say beforehand what it was?” at the same time placing the card face
downwards on the table. When the card is named, you request the drawer or
some other person to turn it up, when it is found to be the right one.
D
Another form of this trick, in which sleight-of-hand is not
needed, has been given at page 52.
Another Method.—The card having been drawn and replaced, bring it to the
top by the pass, palm it, have the pack shuffled, and replace it on the top. Invite
the audience to choose at what number it shall appear. They choose, we will
suppose, fifth. “Very good,” you reply; “permit me, in the first place, to show
you that it is not there already.” Deal out the first five cards, face downwards,
and show that the fifth is not the chosen card. Replace the five cards, in their
present order on the pack, when the card will be at the number named.
SEVERAL PERSONS HAVING EACH DRAWN AND RETURNED A CARD, TO MAKE EACH
CARD APPEAR AT SUCH NUMBER IN THE PACK AS THE DRAWER CHOOSES.—Allow three
or four persons each to draw a card. When all have drawn, make the pass in such
manner as to bring the two halves of the pack face to face. The pack should not,
however, be equally divided. The upper portion should only consist of about
half-a-dozen cards, and therefore in making the pass you should insert the finger
only at that number of cards from the bottom. Receive back the drawn cards on
the top of the pack, “ruffling” the cards (see page 27), and saying “Pass!” as each
card is replaced. You may casually remark, “Your card has vanished; did you see
it go?” When all are returned, you quickly “turn over” the pack (see page 37),
and, taking off the top card, say, addressing yourself to the person who last
returned a card, “You see your card has vanished, as I told you. At what number
in the pack, say from the first to the tenth, would you like it to re-appear?” We
will suppose the answer to be “the sixth.” You deal five cards from the end of the
pack that is now uppermost, then pretending a momentary hesitation, say, “I
fancy I dealt two cards for one; allow me to count them again.” This draws the
general attention to the cards on the table, and gives you the opportunity to again
turn over the pack. You continue, after counting, “We have five, this makes six;
then this should be your card. Will you say what the card was?” You place the
card on the table, face downwards, and do not turn it till it is named, this giving
you the opportunity to again turn over the pack, to be ready to repeat the
operation with the next card. You must be careful to invite the different persons
to call for their cards in the reverse order to that in which they are replaced in the
pack. Thus, you first address the person who last returned his card, and then the
last but one, and so on. You must tax your ingenuity for devices to take off the
attention of the spectators from the pack at the moment when it is necessary to
turn it over; and as each repetition of the process increases the chance of
detection, it is well not to allow more than three or four cards to be drawn.
If you have reason to fear that the cards left undealt will run short, you may
always replace any number of those already dealt upon the reverse end of the
pack to that at which the chosen cards are.
THE “THREE CARD” TRICK.—This well-known trick has long been banished
from the répertoire of the conjuror, and is now used only by the itinerant
sharpers who infest race-courses and country fairs. We insert the explanation of
it in this place as exemplifying one form of sleight-of-hand, and also as a useful
warning to the unwary.
In its primary form, the trick is only an illustration of the well-known fact
that the hand can move quicker than the eye can follow. It is performed with
three cards—a court card and two plain cards. The operator holds them, face
downwards, one between the second finger and thumb of the left hand, and the
other two (of which the court card is one) one between the first finger and
thumb, and the other between the second finger and thumb of the right hand, the
latter being the outermost. Bringing the hands quickly together and then quickly
apart, he drops the three cards in succession, and challenges the bystanders to
say which is the court card. If the movement is quickly made, it is almost
impossible, even for the keenest eye, to decide with certainty whether the upper
or lower card falls first from the hand, and consequently which of the three
cards, as they lie, is the court card. This is the whole of the trick, if fairly
performed, and so far it would be a fair subject for betting, though the chances
would be much against the person guessing; but another element is introduced
by the swindling fraternity, which ensures the discomfiture of the unwary
speculator. The operator is aided by three or four confederates, or “bonnets,”
whose business it is to start the betting, and who, of course, are allowed to win.
After this has gone on for a little time, and a sufficient ring of spectators has
been got together, the operator makes use of some plausible pretext to look aside
from the cards for a moment. While he does so one of the confederates, with a
wink at the bystanders, slily bends up one corner of the court card, ostensibly as
a means of recognition. The performer takes up the cards without apparently
noticing the trick that has been played upon him, but secretly (that corner of the
card being concealed by the third and fourth fingers of the right hand)
straightens the bent corner, and at the same moment bends in like manner the
corresponding corner of the other card in the same hand. He then throws down
the cards as before. The bent corner is plainly visible, and the spectators, who do
not suspect the change that has just been made, are fully persuaded that the card
so bent, and no other, is the court card. Speculating, as they imagine, on a
certainty, they are easily induced to bet that they will discover the court card, and
they naturally name the one with the bent corner. When the card is turned, they
find, to their disgust, that they have been duped, and that the dishonest advantage
which they imagined they had obtained over the dealer was in reality a device
for their confusion.
THE INSEPARABLE ACES.—This is really only another form of the last trick,
though it differs a good deal in effect. You first pick out and exhibit on the table
the four aces, and request some one to replace them on the pack, when you place
three other cards secretly upon them. This you may either do by bringing three
cards from the bottom by the pass, or you may, while the company’s attention is
occupied in examining the aces, palm three cards from the top in the right hand,
and, after the aces are replaced on the top, simply cover them with that hand,
thereby bringing the three palmed cards upon them. You now say, “I am about to
distribute these aces in different parts of the pack; pray observe that I do so
fairly.” As you say this, you take off and hold up to the audience the four top
cards, being the three indifferent cards with an ace at the bottom. You cannot, of
course, exhibit them fanwise, as in the last trick, or the deception would be at
once detected; but the spectators, seeing an ace at the bottom, and having no
particular reason for suspecting otherwise, naturally believe that the cards you
hold are really the four aces. Laying the four cards on the table, you distribute
them, as in the last trick, in different parts of the pack; taking care, however, that
the last card (which is the genuine ace), is placed among the three already at the
top.
You now invite some one to cut. When he has done so, you take up the two
halves, in their transposed position, in the left hand, at the same time slipping the
little finger of that hand between them. The four aces are now, of course, upon
the top of the lower packet. You then announce, “I am now about to order the
four aces, which you have seen so well divided, to come together again. Would
you like them to appear on the top, at the bottom, or in the middle of the pack? I
should tell you that I know perfectly well beforehand which you will choose, and
indeed I have already placed them at that particular spot.” If the answer is, “In
the middle,” you have only to withdraw the little finger, and invite the company
to examine the pack to see that they are already so placed. If the answer is, “On
the top,” you make the pass to bring them there. To produce them at the bottom
is rather more difficult, and unless you are pretty confident as to your neatness of
manipulation, it will be well to limit the choice to “top” or “middle.” In order to
be able to bring the four aces to the bottom, you must, in picking up the cards
after the cut, push forward a little with the left thumb the four top cards of the
lower packet, and slip the little finger below and the third finger above them, so
as to be able to make the pass above or below those four cards as occasion may
require. If you are required to bring those four cards to the top, you must
withdraw the little finger (thereby joining those cards to the upper cards of the
lower packet) and make the pass with the aid of the third finger instead of the
fourth. If, on the contrary, you desire to produce the four aces at the bottom, you
simply withdraw the third finger, thereby leaving the aces at the bottom of the
upper packet, when the pass will bring them to the bottom of the pack.
We have described the trick as performed with the aces, but the effect will,
of course, be the same with four kings, four queens, or any other four similar
cards.
HAVING PLACED THE FOUR ACES IN DIFFERENT POSITIONS IN THE PACK, TO MAKE
THE TWO BLACK CHANGE PLACES WITH THE TWO RED ONES, AND FINALLY TO BRING ALL
FOUR TOGETHER IN THE MIDDLE OF THE PACK.—This trick may immediately follow
that last described. Again selecting the four aces (or such other four cards as you
used for the last trick), and placing them on the table, take the two red ones, and
opening the pack bookwise in the left hand, ostentatiously place them in the
middle, at the same time secretly slipping your little finger between them. Ask
the audience to particularly notice which of the aces are placed in the middle,
and which at top and bottom. Next place one of the black aces on the top, and
then turning over the pack by extending your left hand, place the remaining
black ace at the bottom. As you again turn over the pack to its former position,
make the pass, which the movement of the pack in turning over in the hand will
be found to facilitate. The two halves of the pack having now changed places,
the aces will, naturally, have changed their positions also, the two black ones
now being in the middle, and the two red ones at top and bottom; but it would be
very indiscreet to allow the audience to know that this is already the case. As has
been already mentioned, when a given change has taken or is about to take place,
you should always seek to mislead the spectators as to the time of the change, as
they are thereby the less likely to detect the mode in which it is effected. In
accordance with this principle, you should endeavour in the present case to
impress firmly upon the minds of your audience that the cards are as they have
seen you place them; and for that purpose it is well to ask some one to say over
again, for the general satisfaction, in what parts of the pack the four aces are.
At this point a contretemps may arise, for which it is well to be prepared.
The person interrogated may possibly forget the relative position of the two
colours, and may, therefore, ask to see again how the cards are placed; or some
person may have seen or suspected that you have already displaced them, and
may make a similar request for the purpose of embarrassing you. In order to be
prepared for such a contingency, it is desirable, after you make the pass as above
mentioned, not to allow the two halves of the pack to immediately coalesce, but
to keep them still separated by the little finger. If you have done this, and for any
reason it becomes necessary to show the cards a second time in their original
condition, you have only to again make the pass, in order to bring them back to
the same position which they occupied at first, making it a third time in order to
effect the change.
We will suppose that the audience are at length fully satisfied that the two
red aces are in the middle, and the two black ones at the opposite ends of the
pack. You then say, “Ladies and gentlemen, I am about to command these aces
to change places. Pray observe by what a very simple movement the
transposition is effected.” Making a quick upward movement with the right
hand, you ruffle the cards, at the same moment saying, “Pass!” Turning the faces
of the card to the audience, you show them that the red aces are now at top and
bottom, and the black ones in the middle. While exhibiting them, take an
opportunity to slip the little finger between these latter, and in closing the cards
(while they are still face upwards), again make the pass, and place the pack face
downwards on the table. You then say, “I have now, as you see, made the aces
change places. I don’t know whether you saw how I did it. Perhaps I was a little
too quick for you. This time I will do it as slowly as you please, or, if you prefer
it, I will not even touch the cards with my hands, but merely place my wand
upon the pack, so. Pass! Will you please to examine the pack for yourselves,
when you will find that the aces have again changed places, and have returned to
their original positions.” This is found to be the case. You continue, “You have
not found me out yet? Well, to reward your attention, as this really is a very good
trick, I will show you how to do it for yourselves.” Pick out the four aces, and
hand the two red ones to one person, and the two black ones to another person.
Then, taking the pack in your left hand, and addressing yourself first to the
person on your right, request him to place the two aces which he holds
respectively at the top and bottom of the pack. Then, turning to the other person,
request him to place the two other aces in the middle of the pack, which you
(apparently) open midway with the right hand for the purpose. In reality, instead
of merely lifting up, as you appear to do, the top half of the pack, you make the
pass by sliding out the bottom half of the pack to the left. This movement is
completely lost in your quick half turn to the left as you address the second
person, which so covers the smaller movement of the cards as to make it
absolutely imperceptible; and it is in order to create the excuse for this useful
half turn, that we have recommended you to place the aces in the hands of two
different persons, and to begin with the person on your right. When the second
pair of aces are thus replaced in the middle of the pack they are in reality placed
between the two others, which the audience believe to be still at top and bottom.
You now hand the pack to a person to hold, placing it face downwards in his
palm, and requesting him to hold it very tightly, thus preventing any premature
discovery of the top or bottom card. You then say, “I have promised to show you
how to perform this trick. To make it still more striking, we will have this time a
little variation. Instead of merely changing places, we will make all the four aces
come together.” Then, addressing the person who holds the cards, you continue,
“The manner of performing this trick is simplicity itself, though it looks so
surprising. Will you take my wand in your right hand? Hold the cards very
tightly, and touch the back with this end of the wand. Quite right. Now say
‘Pass!’ It is very simple, you see. Let us see whether you have succeeded. Look
over the pack for yourself. Yes, there are the aces all together, as well as I could
have done it myself. You can try it again by yourself at your leisure, but please
don’t tell any one else the secret, or you will ruin my business.”
The above delusive offer to show “how it’s done” can be equally well
adapted to many other tricks, and never fails to create amusement.
A CARD HAVING BEEN THOUGHT OF, TO MAKE SUCH CARD VANISH FROM THE PACK,
AND BE DISCOVERED WHEREVER THE PERFORMER PLEASES.—This trick should be
performed with twenty-seven cards only. You deal the cards, face upwards, in
three packs, requesting one of the company to note a card, and to remember in
which heap it is. When you have dealt the three heaps, you inquire in which heap
the chosen card is, and place the other two heaps, face upwards as they lie, upon
that heap, then turn over the cards, and deal again in like manner. You again
inquire which heap the chosen card is now in, place that heap undermost as
before, and deal again for the third time, when the card thought of will be the
first card dealt of one or other of the three heaps. You have, therefore, only to
bear in mind the first card of each heap to know, when the proper heap is pointed
out, what the card is. You do not, however, disclose your knowledge, but gather
up the cards as before, with the designated heap undermost; when the cards are
turned over, that heap naturally becomes uppermost, and the chosen card, being
the first card of that heap, is now the top card of the pack. You palm this card,
and hand the remaining cards to be shuffled. Having now gained not only the
knowledge, but the actual possession, of the chosen card, you can finish the trick
in a variety of ways. You may, when the pack is returned replace the card on the
top, and giving the pack, face upwards, to a person to hold, strike out of his hand
all but the chosen card (see page 44); or you may, if you prefer it, name the
chosen card, and announce that it will now leave the pack, and fly into a person’s
pocket, or any other place you choose to name, where, it being already in your
hand, you can very easily find it. A very effective finish is produced by taking
haphazard any card from the pack, and announcing that to be the chosen card,
and on being told that it is the wrong card, apologizing for your mistake, and
forthwith “changing” it by the fifth method (see page 32) to the right one.
Some fun may also be created as follows:—You name, in the first instance, a
wrong card—say the seven of hearts. On being told that that was not the card
thought of, you affect surprise, and inquire what the card thought of was. You
are told, let us say, the king of hearts. “Ah,” you remark, “that settles it; I felt
sure you were mistaken. You could not possibly have seen the king of hearts, for
you have been sitting on that card all the evening. Will you oblige me by
standing up for a moment,” and, on the request being complied with, you
apparently take the card (which you have already palmed) from off the chair on
which the person has been sitting. The more shrewd of the company may
conjecture that you intentionally named a wrong card in order to heighten the
effect of the trick; but a fair proportion will always be found to credit your
assertion, and will believe that the victim had really, by some glamour on your
part, been induced to imagine he saw a card which he was actually sitting on.
This trick is frequently performed with the whole thirty-two cards of the
piquet pack. The process and result are the same, save that the card thought of
must be one of the twenty-seven cards first dealt. The chances are greatly against
one of the last five cards being the card thought of, but in such an event the trick
would break down, as it would in that case require four deals instead of three to
bring the chosen card to the top of the pack.
It is a good plan to deal the five surplus cards in a row by themselves, and
after each deal, turn up one of them, and gravely study it, as if these cards were
in some way connected with the trick.
THE PACK BEING DIVIDED INTO TWO PORTIONS, PLACED IN THE KEEPING OF TWO
DIFFERENT PERSONS, TO MAKE THREE CARDS PASS INVISIBLY FROM THE ONE TO THE
OTHER.—This trick is identical in principle with the one last described, but the
mise en scène is more elaborate, and several circumstances concur to give it a
surprising effect. It was a special favourite with the late M. Robert-Houdin, and
we shall proceed to describe it as nearly as possible in the form in which it was
presented by him.
The performer brings forward a pack of cards, still in the official envelope.
These he hands to a spectator, with a request that he will open and count them.
He does so, and finds that they have the full complement (of thirty-two or fifty-
two, as the case may be). He is next requested to cut the pack into two portions,
pretty nearly equal, and to choose one of the packets. Having made his selection,
he is further asked to count the cards in the packet chosen. The general attention
being, meanwhile, drawn away from the performer, he has ample opportunity to
get ready in his right hand, duly palmed, three cards of another pack, but of
similar pattern to those of the pack in use. (These may previously be placed
either on the servante or in the performer’s right-hand pochette; or he may, if he
prefers it, have them ready palmed in his right hand when he comes upon the
stage to commence the trick.) The spectator, having duly counted the chosen
pack, declares it to consist, say, of seventeen cards. “A capital number for the
trick,” remarks the performer. “Now, sir, will you be kind enough to take these
seventeen cards in your own hands” (here he pushes them carelessly towards
him, and joins the three palmed cards to them), “and hold them well up above
your head, that every one may see them. Thank you. Now, as your packet
contains seventeen cards, this other” (we are supposing a piquet pack to be used)
“should contain fifteen. Let us see whether you have counted right.” The
performer himself audibly counts the remaining packet, card by card, on the
table: immediately afterwards taking the heap in his left hand, and squaring the
cards together, thus obtaining the opportunity to separate and palm in his right
hand the three top cards. He continues, “Fifteen cards here—and—how many
did you say, sir?—yes, seventeen, which the gentleman holds, make thirty-two.
Quite right. Now will some one else oblige me by taking charge of these fifteen
cards.” He hands the cards with the left hand, and at the same moment drops the
three palmed cards into the profonde on the right side, immediately bringing up
the hand, that it may be seen empty. “Now, ladies and gentlemen, I will show
you a very curious phenomenon, all the more astonishing because you will bear
me witness that, from the time the cards were counted, they have not been even
one moment in my possession, but have remained in independent custody. Will
you, sir” (addressing the person who holds the second packet), “hold up the
cards in such a manner that I can touch them with my wand. I have but to strike
the cards with my wand once, twice, thrice, and at each touch a card will fly
from the packet which you are now holding, and go to join the seventeen cards
in the other packet. As this trick is performed by sheer force of will, without the
aid of apparatus or dexterity, I shall be glad if you will all assist me by adding
the force of your will to mine, which will greatly lighten my labour. At each
touch of the wand, then, please, all present, mentally to command a card to pass
in the manner I have mentioned. Are you all ready! Then we will make the
experiment. One, two, THREE! Did you see the cards pass? I saw them distinctly,
but possibly my eyes are quicker than yours. Will each of the gentlemen who
hold the cards be good enough to count his packet?” This is done, and it is found
that the one holds twenty cards, and the other twelve only.
It is obvious that the two packets now collectively contain duplicates of
three cards, while three others are missing; but it is extremely unlikely that any
one will suspect this, or seek to verify the constitution of the pack.
TO ALLOW SEVERAL PERSONS EACH TO DRAW A CARD, AND THE PACK HAVING BEEN
SHUFFLED, TO MAKE ANOTHER CARD DRAWN HAPHAZARD CHANGE SUCCESSIVELY INTO
EACH OF THOSE FIRST CHOSEN.—Invite a person to draw a card. This first card need
not be forced, as it is not essential for you to know what card it is, so long as you
afterward keep it in sight. When the card is returned to the pack, insert the little
finger under it, and make the pass in order to bring it to the bottom. Make the
first of the false shuffles (see page 23), and leave it at the bottom. Again make
the pass to bring it to the middle of the pack, and force the same card on a
second and again on a third person, each time making a false shuffle, and leaving
the chosen card, which we will call a, ultimately in the hands of the last person
E
who drew. When you have concluded the last shuffle, which (the card not now
being in the pack) may be a genuine one, you offer the pack to some person who
has not yet drawn, and allow him to draw any card he pleases, which second
card we will call b. You open the pack, and ask the persons holding the two cards
to replace them one on the other; that first chosen, a, being placed last—i.e.,
uppermost. You make the pass to bring them to the top, and palm them, and then
immediately hand the pack to be shuffled by one of the company. This being
done, you replace them on the top of the pack, and, spreading the cards, and
appearing to reflect a moment, pick out by the backs as many cards as there have
been persons who drew (i.e., four) including among them the two cards a and b.
Exhibiting the four cards, you ask each drawer to say, without naming his card,
whether his card is among them. The reply is, of course, in the affirmative. Each
person who drew, seeing his own card among those shown, naturally assumes
that the remaining cards are those of the other drawers; and the remainder of the
audience, finding the drawers satisfied, are fully convinced that the cards shown
are the four which were drawn. You now replace the cards in different parts of
the pack, placing the two actually drawn in the middle, and secretly make the
pass to bring them to the top. Then, spreading the cards, you invite another
person to draw, which you allow him to do wherever he chooses. When he has
done so, you request him to name aloud his card, which we will call c. Holding
the card aloft, you ask each of the former drawers in succession, “Is this your
card?” To which each answers, “No.” After having received this answer for the
last time, you “change” the card by the first method (see page 28) for the top
card. You now have the card a (the one drawn several times) in your hand, while
b has become the top card, and c, which you have just exhibited, is at the bottom.
You continue, before showing a, “You are all agreed that this is not your card;
you had better not be too sure. I will ask you one by one. You, sir,” addressing
the first drawer, “are you quite sure this is not your card?” He is obliged to own
that it now is his card. “Pardon me,” you say, breathing gently on the back of the
card, “it may have been so a moment ago, but now it is this lady’s,” exhibiting it
to the second drawer, who also acknowledges it as her card. To the third person
you say, “I think you drew a card, did you not? May I ask you to blow upon the
back of this card! It has changed again, you see, for now it is your card.” The
card having been again recognized, you continue, “There was no one else, I
think,” at the same moment again making the change by the first method, so that
a is now at bottom and b in your hand. The person who drew b will, no doubt,
remind you that you have not yet shown him his card. You profess to have quite
forgotten him, and, feigning to be a little embarrassed, ask what his card was. He
names it accordingly, upon which you ask him to blow upon the card you hold,
and, turning it over, show that it has now turned into that card. Then again
making the change, you remark, “Everybody has certainly had his card now.”
Then, yourself blowing upon the card you hold, which is now an indifferent one,
you show it, and remark, “You observe that now it is nobody’s card.”
E
The different drawers should be persons tolerably far apart, as
it is essential that they should not discover that they have all
drawn the same card.
In this trick, as in every other which mainly depends upon forcing a given
card, there is always the possibility that some person may, either by accident or
from a malicious desire to embarrass you, insist upon drawing some other card.
This, however, must not discourage you. In the first place, when you have once
thoroughly acquired the knack of forcing, the victim will, nine times out of ten,
draw the card you desire, even though doing his utmost to exercise, as he
supposes, an absolutely free choice; and the risk may be still further diminished
by offering the cards to persons whose physiognomy designates them as likely to
be good-naturedly easy in their selection. But if such a contretemps should occur
in the trick we have just described, it is very easily met. You will remember that
the first card drawn is not forced, but freely chosen. It is well to make the most
of this fact, and for that purpose, before beginning the trick, to offer the cards to
be shuffled by several persons in succession, and specially to draw the attention
of the audience to the fact that you cannot possibly have any card in view. When
the card is chosen, offer to allow the drawer, if he has the slightest suspicion that
you know what it is, to return it, and take another. He may or may not accept the
offer, but your evident indifference as to the card chosen will make the audience
the less likely to suspect you afterwards of desiring to put forward any particular
card. If, notwithstanding, a wrong card is drawn the second time, leave it in the
hand of the drawer, and at once offer the cards to another person, and again
endeavour to force the proper card, a, and let the wrong card take the place of b
in the foregoing description. In the very unlikely event of a second wrong card
being drawn, leave that also for the moment in the hands of the drawer, and let
that card take the place of c in the finish of the trick.
TO MAKE FOUR ACES CHANGE TO FOUR KINGS, AND FOUR KINGS TO FOUR ACES.
—This very effective trick is performed by the aid of four cards, which are so
prepared as to appear aces on the one side and kings on the other. To make them,
take four ordinary aces and four ordinary kings, and peel off half the thickness of
each card. This may be easily done by splitting one corner of the card with a
sharp penknife, when the remainder can be pulled apart without difficulty. The
cards being thus reduced in thickness, paste back to back the king and ace of
each suit, placing them in a press or under a heavy weight, that they may dry
perfectly smooth and flat. Better still, entrust the process to some person who is
accustomed to mounting photographs, when, at a trifling cost, you will have
your double-faced cards thoroughly well made.
Place these four cards beforehand in different parts of the pack, the “ace”
side downwards, i.e., in the same direction as the faces of the other cards. Place
the genuine aces face downwards on the top of the pack, which being thus
disposed, you are ready to begin the trick.
Take the pack in your hand, face uppermost. Remark, “For this trick I want
the aces and kings,” and pick out, one by one, the real kings and the sham aces.
Lay these cards on the table, the kings face upwards, and the prepared cards with
the “ace” side uppermost. Draw the attention of the audience to these cards, and
meanwhile make the pass so as to bring the two halves of the pack face to face,
when the four genuine aces will (unknown to the audience) be at the lower end
of the pack. Place the four kings ostentatiously upon the opposite end of the
pack, i.e., that which is for the time being uppermost.
You now borrow a hat. Placing the pack for a moment on the table, and
taking the four false aces in one hand and the hat in the other, place the aces on
the table, and cover them with the hat, at the same moment turning them over.
Then taking the pack in your hand, once more show the kings, and replacing
them, say, “I shall now order these four kings to pass under the hat, and the four
aces to return to the pack. I have only to touch the cards with my wand, and say,
‘Pass,’ and the change is accomplished.” As you touch the cards with the wand,
turn over the pack (see page 37), the bringing together of the hands and the
gentle tap with the wand effectually covering the slight movement of the hand. If
you do not use the wand, a semi-circular sweep of the hand which holds the
cards in the direction of the hat, as you say “Pass,” will answer the same
purpose.
Having shown that the cards have changed according to command, you may,
by repeating the process, cause the cards to return to their original positions. It is
better not to carry the trick further than this, or some of the audience may
possibly ask to be allowed to examine the cards, which would be embarrassing.
After the trick is over, make the pass to bring the pack right again, and then
get the double-faced cards out of the way as soon as possible. The best way to do
this, without exciting suspicion, is to take them up in the right hand, and
apparently turn them over and leave them on the top of the pack, but in reality
palm them, and slip them into your pocket, or elsewhere out of sight. After
having done this, you may safely leave the pack within reach of the audience,
who, if they examine it, finding none but ordinary cards, will be more than ever
puzzled as to your modus operandi.
HAVING MADE FOUR PACKETS OF CARDS WITH AN ACE AT THE BOTTOM OF EACH, TO
BRING ALL FOUR ACES INTO WHICHEVER PACKET THE COMPANY MAY CHOOSE.—Take
the four aces, or any other four cards of equal value, from the pack, and throw
them face upwards on the table. While the company’s attention is being drawn to
them, make the pass, as in the last trick, so as to bring the two halves of the pack
face to face. The company, having satisfied themselves that the four cards shown
are really the four aces, and are without preparation, take them up, and replace
them face downwards upon the top of the pack, which you hold in the left hand,
remarking, “I am going to show you a trick with these four aces. I shall first
place them on the table, and put three indifferent cards on each of them.”
Meanwhile, get the thumb of the left hand in position for the “turn over,” and the
instant that you have drawn off the top card with the right hand, turn over the
pack, which the movement of the hands in removing the top card will enable you
to do without attracting notice. This top card is really an ace, and you may
therefore show it, as if by accident, while placing it on the table. Lay it face
downwards, and then place three cards from the end you have just brought
uppermost (which the audience will believe to be the other three aces), in a line
with it on the table. Next place three more cards, taken from the same end of the
pack, upon each of the three cards last dealt. When you come to that first dealt
(the genuine ace), before dealing the three cards upon it, you must again turn
over the pack, thereby bringing the three aces on the top. You thus have upon the
table four packets of four cards each, one packet consisting of aces only, and the
remaining three packets of indifferent cards; but the audience imagine that the
aces are divided, and that there is one at the foot of each packet. You now ask
any one to touch two out of the four packets. The two packets which he touches
may include, or may not include, the one containing the four aces. Whichever be
the case, take up and put aside the two which do not include the packet of aces,
and remark, “We will place these aside,” an observation which will be equally
appropriate whether those were the two touched or not. Next ask the same or
another person to touch one of the two remaining packets, and in like manner
add that one which does not contain the aces to the two already set aside. Placing
these three packets on the table, request some one of the company to place his
hand upon them, and hold them tightly; then, taking the remaining packet
yourself, observe. “You have three aces, and I have only one; but by virtue of my
magic power I shall compel those three aces to leave your hand, and come to
mine, I just touch the back of your hand, so” (touching it with the cards you
hold), “and say, ‘Pass.’ The change is already accomplished. Here are all four
aces. Please to examine your own cards, when you will find you have not a
single ace left. Let me remind you that the audience chose, and not I, which of
F
the four packets you should take, and which one I should retain.”
F
It will be observed that this trick is terminated after the
manner described at page 45, to which the reader is recommended
to refer, as the above description will be more clearly intelligible
by the aid of the further explanations there given.
There is another method of performing this trick, which dispenses with the
necessity of “turning over” the pack. In this case, as you place the four aces on
the top of the pack, you insert the little finger of the left hand under the three
uppermost, and make the pass to bring these three to the bottom, still, however,
keeping the finger between them and the rest of the pack. You deal out the four
top cards (supposed to be the four aces), as above, and three others on each of
the three non-aces. You next ask some person to draw any three cards (taking
care not to let him draw one of the three at the bottom), and place them at the top
of the pack. The moment he has done so, you again make the pass, thus bringing
the three aces upon them. You then say, taking off (without showing) the three
top cards, “Now I will take these three cards, freely drawn from the middle of
the pack, and place them here on this last ace.” From this point the course of the
trick is the same as already described.
TO CHANGE THE FOUR ACES, HELD TIGHTLY BY A PERSON, INTO FOUR INDIFFERENT
CARDS.—This is a most brilliant trick, and puzzles even adepts in card-conjuring.
In combination with the “Shower of Aces,” which next follows, it was one of the
principal feats of the Elder Conus, and subsequently of the celebrated Comte.
The trick is performed as follows:—You begin by announcing that you
require the assistance of some gentleman who never believes anything that he is
told. The audience generally take this as a joke, but for the purpose of this trick it
is really rather an advantage to have the assistance of a person who will take
nothing for granted, and will be satisfied with nothing short of ocular
demonstration of any fact which you desire him to concede. Some little fun may
be made in the selection, but a volunteer having at last been approved of, you
request him to step forward to your table. Selecting from the pack the four aces,
you ask him to say aloud what cards those are, at the same time holding them up
that all may see them. Then laying the aces face upwards on the table, you hand
him the remainder of the cards, and ask him to ascertain and state to the
company, whether there is any peculiarity about the cards, and whether, in
particular, there are any other aces in the pack. His reply is in the negative. You
then ask whether any other person would like to examine the pack. All being
satisfied, you take the pack, face downwards, in your left hand, and picking up
the four aces with the right, place them on the top, at the same moment slightly
ruffling the cards. Then taking the aces one by one (without showing them) you
place them face downwards on the table. Addressing the person assisting you,
you say, “I place these four aces on the table. You admit that they are the four
aces.” Your victim, not having seen the faces of the cards since they were
replaced on the pack, and having noticed the slight sound produced by your
ruffling the cards, will, in all probability, say that he does not admit anything of
the sort. “Why,” you reply, “you have only just seen them; but I’ll show them to
you again, if you like.” Turning them face upwards, you show that the four cards
really are the aces, and again replace them on the pack, ruffle the cards, and deal
out the four aces face downwards as before. You again ask your assistant
whether he is certain this time that the four cards on the table are the aces. He
may possibly be still incredulous, but if he professes himself satisfied, you ask
him what he will bet that these cards are really the aces, and that you have not
conjured them away already. He will naturally be afraid to bet, and you remark,
“Ah, I could tell by the expression of your countenance that you were not quite
satisfied. I’m afraid you are sadly wanting in faith, but as I can’t perform the
trick, for the sake of my own reputation, until you are thoroughly convinced, I
will show you the cards once more.” This you do, and again replace them on the
pack, but before doing so, slip the little finger of the left hand under the top card
of the pack. Again take off the aces with the finger and thumb of the right hand,
carrying with them at the same time this top card. Then with a careless gesture of
the right hand toward the audience, so as to show them the face of the undermost
card (the one you have just added), you continue, “I really can’t imagine what
makes you so incredulous. Here are the aces” (you replace the five cards on the
pack)—“I take them one by one, so, and place them on the table. Surely there is
no possibility of sleight-of-hand here. Are you all satisfied that these are really
the aces now?” The audience having noted, as you intended them to do, that the
fifth or bottom card was not an ace, naturally conclude that other cards have
been by some means substituted for the aces, and when you ask the question for
the last time, you are met by a general shout of “No!” You say, with an injured
expression, “Really, ladies and gentlemen, if you are all such unbelievers, I may
as well retire at once. I should hope that, at least, you will have the grace to
apologize for your unfounded suspicions.” Then, turning to the person assisting
you, you continue, “Sir, as every act of mine appears to be an object of
suspicion, perhaps you will kindly show the company that those are the aces, and
replace them yourself on the top of the pack.”
This he does. But during the course of the above little discussion, you have
taken the opportunity to count off, and palm in your right hand, the five top cards
of the pack. It is hardly necessary to observe that while doing this, you must
scrupulously refrain from looking at your hands. The mode of counting is to
push forward the cards one by one with the thumb, and to check them with the
third finger, of the left hand. A very little practice will enable you to count off
any number of cards by feel, in this manner, with the greatest ease. When the
aces are replaced on the top of the pack, you transfer the pack from the left to the
right hand, thus bringing the palmed cards above them, then placing the whole
pack on the table, face downwards, inquire, “Will you be good enough to tell me
where the aces are now?” The answer is generally very confident, “On the top of
the pack.” Without taking the pack in your hand, you take off, one by one, the
four top cards, and lay them face downwards on the table, as before; then taking
up the fifth card and exhibiting it to the company, observe, “You see there are no
more aces left, but if you like you can look through the pack.” So saying, you
take up the cards, and run them rapidly over with their faces towards the
spectators, taking care, however, not to expose either of the five at the top, four
of which are the genuine aces. Then, addressing your assistant, you say, “The
company being at last satisfied, perhaps you will be good enough to place your
hand on those four cards, and hold them as tightly as possible.” Then, holding
the pack in the left hand, you take between the first finger and thumb of the right
hand the top card of the pack, being the only one left of the five you palmed and
placed over the aces, and say, “Now I am going to take four indifferent cards one
after the other, and exchange them for the four aces in this gentleman’s hand.
Observe the simplicity of the process. I take the card that first comes to hand”
(here you show the face of the card that you hold, which we will suppose to be
the seven of diamonds), “I don’t return it to the pack, even for a moment, but
merely touch the hand with it, and it becomes the ace of (say) spades” (which
you show it to be). At the words “return it to the pack,” you move the card with
what is taken to be merely an indicative gesture, towards the pack, and at the
same instant “change” it by the third method (see page 30) for the top card of the
pack, which is one of the aces.
You now have the seven of diamonds at the top of the pack, with the
remaining three aces immediately following it. You must not show this seven of
diamonds a second time, and it is therefore necessary to get it out of the way.
The neatest way of doing this is as follows:—You remark, “To show you that I
take the cards just as they come, I will give them a shuffle,” which you do as
indicated for the first of the “false shuffles” (see page 23), subject to the
modification following. Pass into the right hand first the top card (the seven of
diamonds) alone, and upon this card pass the next three, which are the three
aces, then the rest of the cards indifferently. When all the cards are thus passed
into the right hand, shuffle them again anyhow, but take care to conclude by
bringing the four lowest cards to the top; you will now have the three aces
uppermost, and the seven of diamonds in the fourth place. Taking off the top
card, and drawing it sharply over the hand of the person assisting, you show that
it also is an ace, and in like manner with the next card, making, if you choose, a
false shuffle between. After the third ace has been shown, make a false shuffle,
and finally leave at the top the last ace, with one card above it. This may be
effected by bringing up from the bottom in concluding the shuffle the two
bottom cards, instead of the last (the ace) only. Taking the top card between the
thumb and first finger of the right hand, and showing it with apparent
carelessness, so as to give the company the opportunity of remarking that it is
not an ace, you replace it on the pack for an instant, saying, “We have had three
aces, I think. Which is it that is wanting?” Here you glance down at the aces on
the table. “Oh! the ace of diamonds. Then the card that I hold must change to the
ace of diamonds.” You have meanwhile effected the change, and turning up the
card you hold, you show that it is the ace of diamonds.
You may, if you please, use the first instead of the third method of making
the “change” in performing this trick, but the first method demands a higher
degree of dexterity to make it equally deceptive; and the movement used in the
third method has in this instance the advantage of appearing to be the natural
accompaniment of the words of the performer.
THE SHOWER OF ACES.—This trick forms a very effective sequel to that last
described, or may with equal facility be made to follow many other card tricks.
To perform it, the first essential is the possession of a pack of cards similar in
size and pattern to that you have in general use, but consisting of aces only. You
can purchase such a pack at most of the conjuring depôts, or you may, without
much difficulty, manufacture one for yourself. If you decide upon the latter
course, you must first procure thirty or forty blank cards backed with the
requisite pattern. These you can transform into aces in two ways. The first is, to
split three or four ordinary cards of each suit, and, after peeling off, as thin as
possible, the face of each, carefully cut out the pips, and paste one in the centre
of each of your blank cards. This process, however, takes a considerable time;
and, when the sham aces are collected in a pack, the extra thickness of the paper
in the centre of each produces an objectionable bulge. The better plan is to
procure a stencil-plate representing the figures of a club, heart, and diamond,
which will enable you to produce any number of the aces of those suits, using
Indian ink for the clubs, and vermilion, mixed with a little size, for the hearts and
diamonds. The ace of spades you must dispense with, but this is of little
consequence to the effect of the trick.
You must have these cards close at hand, in such a position as to enable you
to add them instantly, and without attracting observation, to the pack you have
been using. If you use the regular conjuror’s table, before described, you may
place your pack of aces on the servante. If you do not use such a table, you may
place them in one of your pochettes. In either case, you will have little difficulty
in reaching them at the right moment, and placing them on the top of the
ordinary pack, holding the whole in your left hand, but keeping the little finger
between. Having done this, you say to the person who has been assisting you (in
continuation of the trick you have just performed), “You appear to be fond of
aces, sir. How many would you like?” He is fully convinced, having previously
examined the pack, that you have only the ordinary four but, from a desire to put
your powers to an extreme test, he may possibly name a larger number—say,
seven. “Seven!” you reply; “that is rather unreasonable, seeing there are only
four in the pack. However, we will make some more. Do you know how to make
aces? No? Then I will show you. Like all these things, it’s simplicity itself, when
you once know it. Will you oblige me by blowing upon the pack?” which you
hold just under his nose for that purpose. He does so, and you deliberately count
off and give to him the seven top cards, which all prove to be aces. You then say,
“Perhaps you would like some more. You have only to blow again. Come, how
many will you have?” He again blows on the pack, and you give him the number
desired. While he is examining them, you cover the pack for a moment with your
right hand, and palm a dozen or so of the remaining aces. Then remarking, “You
blew a little too strongly that time. You blew a lot of aces into your waistcoat,”
you thrust your hand into the breast of his waistcoat, and bring out three or four
of the palmed cards, leaving the remainder inside; then pull out two or three
more, dropping them on the floor, so as to scatter them about and make them
appear as numerous as possible. You then say, “There seem to be a good many
more there yet. Perhaps you will take them out yourself.” While he is doing so,
you palm in the right hand all the remaining aces. When he professes to have
taken out all, you say, “Are you quite sure that you have no more aces about
you? You blew very hard, you know. I really think you must have some more.
Will you allow me?” Then, standing on his right, you place your right hand just
below his eyes, and spring the remaining aces from it, in the manner indicated
for springing the cards from hand to hand (see page 37), the effect being exactly
as if a shower of cards flew from his nose.
SEVERAL PERSONS HAVING EACH DRAWN TWO CARDS, WHICH HAVE BEEN
RETURNED AND SHUFFLED, TO MAKE EACH COUPLE APPEAR IN SUCCESSION, ONE AT THE
TOP AND THE OTHER AT THE BOTTOM OF THE PACK.—This capital trick was also a
great favourite with Comte, who christened it, for reasons best known to himself,
by the poetical name of “The Ladies’ Looking-glass.”
The cards having been freely shuffled, you invite a person to draw two
cards, allowing him free choice. Opening the pack in the middle, you ask him to
place his cards together in the opening. You bring them to the top by the pass,
make the first of the false shuffles, and conclude by leaving them on the top.
Offer the cards to a second person to draw a couple, but in opening the cards for
him to return them, make the pass, so that they may be placed upon the pair
already drawn, which are thereby brought to the middle of the pack. Again make
the pass, so as to bring all four to the top. Make another false shuffle, leaving
those four on the top, and offer the cards to a third and fourth person, each time
repeating the process. Make the false shuffle for the last time, so as to leave all
the drawn cards in a body on the top of the pack, with one indifferent card above
them. The audience believe that they are thoroughly dispersed, and your first
care must be to strengthen that impression. If you are expert in card-palming,
you may palm the nine cards, and give the pack to be shuffled by one of the
spectators; but this is not absolutely necessary, and there is some risk of the
company noticing the absence of part of the pack. You remark, “You have all
seen the drawn cards placed in different parts of the pack, and the whole have
been since thoroughly shuffled. The drawn cards are therefore at this moment
scattered in different parts of the pack. I can assure you that I do not myself
know what the cards are” (this is the only item of fact in the whole sentence);
“but yet, by a very slight, simple movement, I shall make them appear, in
couples as they were drawn, at top and bottom of the pack.” Then, showing the
bottom card, you ask, “Is this anybody’s card?” The reply is in the negative. You
next show the top card, and make the same inquiry. While you do so, you slip
the little finger under the next card, and as you replace the card you have just
shown, make the pass, thus bringing both cards to the bottom of the pack.
Meanwhile, you ask the last person who drew what his cards were. When he
names them, you “ruffle” the cards, and show him first the bottom and then the
top card, which will be the two he drew. While exhibiting the top card, take the
opportunity to slip the little finger of the left hand immediately under the card
next below it, and as you replace the top one make the pass at that point. You
now have the third couple placed top and bottom. Make the drawer name them,
ruffle the cards, and show them as before, again making the pass to bring the
card just shown at top, with that next following, to the bottom of the pack, which
will enable you to exhibit the second couple in like manner. These directions
sound a little complicated, but if followed with the cards will be found simple
enough.
You may, by way of variation, pretend to forget that a fourth person drew
two cards, and, after making the pass as before, appear to be about to proceed to
another trick. You will naturally be reminded that So-and-so drew two cards.
Apologizing for the oversight, you beg him to say what his cards were. When he
does so, you say, “To tell you the truth I have quite lost sight of them; but it is of
no consequence, I can easily find them again.” Then nipping the upper end of the
cards between the thumb and second finger of the right hand, which should be
slightly moistened, you make the pack swing, pendulum fashion, a few inches
backwards and forwards, when the whole of the intermediate cards will fall out,
leaving the top and bottom card alone in your hand. These you hand to the
drawer, who is compelled to acknowledge them as the cards he drew.
TO CHANGE FOUR CARDS, DRAWN HAPHAZARD, AND PLACED ON THE TABLE, INTO
CARDS OF THE SAME VALUE AS A SINGLE CARD SUBSEQUENTLY CHOSEN BY ONE OF THE
SPECTATORS.—This trick is on the same principle as that last above described, but
is much more brilliant in effect. To perform it, it is necessary, or at least
desirable, to possess a forcing pack consisting of one card several times
repeated. We will suppose your forcing pack to consist of queens of diamonds.
Before commencing the trick, you must secretly prepare your ordinary pack in
the following manner:—Place at the bottom any indifferent card, and on this a
queen; then another indifferent card, then another queen; another indifferent
card, then another queen; another indifferent card, and on it the fourth and last
queen. You thus have at the bottom the four queens, each with an ordinary card
next below it. Each indifferent card should be of the same suit as the queen next
above it, so that all of the four suits may be represented. Shuffle the cards, taking
care however, not to disturb the eight cards above mentioned. Then say, “I am
about to take four cards from the bottom, and place them on the table. Will you
please to remember what they are?” Show the bottom card, then, dropping the
pack to the horizontal position, “draw back” that card, and take the next, which
is one of the queens, and, without showing it, lay it face downwards on the table.
You now want to get rid of the card you have already shown, which is still at the
bottom. To effect this without arousing suspicion, the best and easiest plan is to
shuffle each time after drawing a card, not disturbing the arranged cards at the
bottom, but concluding the shuffle by placing the bottom card, which is the one
you desire to get rid of, on the top of the pack. Thus after each shuffle you are
enabled to show a fresh bottom card, which, however, you slide back, and draw
the next card (a queen) instead. Repeat this four times, when you will have all
four queens on the table, though the audience imagine them to be the four cards
they have just seen. In order to impress this more fully upon them, ask some one
to repeat the names of the four cards. While the attention of the audience is thus
occupied, you secretly exchange the pack you have been using for your forcing
pack, and advancing to the audience say, “Now I shall ask some one to draw a
card; and whatever card is drawn, I will, without even touching them, transform
the four cards on the table to cards of the same value. Thus, if you draw a king
they shall all become kings; if you draw a ten, they shall become tens, and so on.
Now, choose your card, as deliberately as you please.” You spread the cards
before the drawer, allowing him perfect freedom of choice, as, of course,
whatever card he draws must necessarily be a queen of diamonds. You ask him
to be good enough to say what the card he has drawn is, and on being told that it
is a queen, you say, “Then, by virtue of my magic power, I order that the four
cards now on the table change to queens. Pray observe that I do not meddle with
them in any way. I merely touch each with my wand, so! Will some one kindly
step forward, and bear witness that the change has really taken place.”
If you do not possess a forcing pack, but rely upon your own skill in forcing
with an ordinary pack, it is well to prepare this second beforehand by placing the
four queens (supposing that you desire a queen to be drawn) at the bottom.
Making the pass as you advance to the company, you bring these to the middle
and present the pack. It is comparatively easy to insure one or other of four cards
placed together being drawn.
TWO HEAPS OF CARDS, UNEQUAL IN NUMBER, BEING PLACED UPON THE TABLE, TO
PREDICT BEFOREHAND WHICH OF THE TWO THE COMPANY WILL CHOOSE.—There is an
old schoolboy trick, which consists in placing on the table two heaps of cards,
one consisting of seven indifferent cards, and the other of the four sevens. The
performer announces that he will predict beforehand (either verbally or in
writing) which of the two heaps the company will choose; and fulfils his
undertaking by declaring that they will choose “the seven heap.” This
description will suit either heap, being in the one case understood to apply to the
number of cards in the heap, in the other case to denote the value of the
individual cards.
The trick in this form would not be worth noticing, save as a prelude to a
newer and really good method of performing the same feat. You place on the
table two heaps of cards, each containing the same number, say six cards, which
may be the first that come to hand, the value of the cards being in this case of no
consequence. You announce that, of the two heaps, one contains an odd and the
other an even number. This is, of course, untrue; but it is one of the postulates of
a conjuror’s performance that he may tell professionally as many fibs as he likes,
and that his most solemn asseverations are only to be taken in a Pickwickian
sense. You continue, “I do not tell you which heap is odd and which is even, but
I will predict to you, as many times as you like, which heap you will choose.
Observe, I do not influence your choice in any way. I may tell you that you will
this time choose the heap containing the odd number.” While delivering this
harangue, you take the opportunity of palming in your right hand a single card
from the top of the pack, and place the remainder of the cards apart on the table.
When the audience have made their choice, you pick up the chosen heap with
the right hand, thereby adding the palmed card to that heap, and, coming
forward, ask some one to verify your prediction. The number is, naturally, found
to be odd. You then bring forward the second heap, which is found to be even.
Join the two heaps together, and again separate them, palming the top card of the
odd heap, replace the two heaps on the table, and this time predict that the
audience will choose the heap containing the even number. When they have
made their selection, you have only to pick up the non-chosen heap with the
hand containing the palmed card, and the chosen heap with the empty hand.
You may with truth assure the audience that you could go on all the evening
predicting their choice with equal certainty, but it is best not to repeat the trick
too often. You will do wisely to pass on at once to the next trick, which will
enable you to display your powers of divination in a yet more surprising form.
SEVERAL CARDS HAVING BEEN FREELY CHOSEN BY THE COMPANY, RETURNED AND
SHUFFLED, AND THE PACK PLACED IN A PERSON’S POCKET, TO MAKE SUCH PERSON
DRAW OUT ONE BY ONE THE CHOSEN CARDS.—This trick is an especial favourite of
the well-known Herrmann, in whose hands it never fails to produce a brilliant
effect. The performer hands the pack to one of the company, who is requested to
shuffle it well, and then to invite any four persons each to draw a card. This
having been done, the pack is returned to the performer, who then requests the
same person to collect the chosen cards face downwards on his open palm. The
cards so collected are placed in the middle of the pack, which is then handed to
the person who collected them, with a request that he will shuffle them
thoroughly. After he has done so, the pack is placed by the performer in the
volunteer assistant’s breast-pocket. The performer now asks one of the four
persons who drew to name his card. He next requests the person assisting him to
touch the end of his wand, and then as quickly as possible (that the mystic
influence may not have time to evaporate) to put his hand in his pocket, and
draw out the card named. He takes out one card accordingly, which proves to be
the very one called for. A second and third card are named and drawn in the
same manner, to the astonishment of all, and not least of the innocent assistant.
The fourth and last card, which is, say, the ten of spades, he is requested to look
for in the pack, but it proves to be missing, and the performer thereupon offers to
show him how to make a ten of spades. To do so, he requests him to blow into
his pocket, where the missing card is immediately found. But he has,
unfortunately, blown too strongly, and has made not only a ten of spades, but a
host of other cards, which the performer pulls out in quantities, not only from his
pocket, but from the inside of his waistcoat—ultimately producing a final
shower from his nose.
This trick, which appears marvellous in execution, is really very simple, and
depends for its effect, not so much on any extraordinary degree of dexterity, as
on the manner and address of the performer. When the four cards are replaced in
the middle of the pack, the performer makes the pass to bring them to the top,
and palms them. He then hands the pack to be shuffled. When it is returned, he
replaces them on the top, and, placing the person assisting him on his left hand,
and facing the audience, places the pack in the left breast-pocket of such person,
taking care to place the top of the pack (on which are the chosen cards)
outwards. In asking the names of the drawn cards, he puts the question first to
the person who last replaced his card (and whose card is therefore on the top),
and so on. He is particular in impressing upon the person assisting him that he
must draw out the card as quickly as possible, thus giving him no time to select a
card, but compelling him, so to speak, to take that which is readiest to his hand,
which will always be the outermost, or top card.
Should he notwithstanding, by accident or finesse, draw out a card from the
middle of the pack, the performer at once says, “Oh, you were not half quick
enough! You must pull out the card as quick as thought, or the magic influence
will go off. Allow me!” then pulling out the outer card himself, he shows that it
is the right one. When three cards have been thus produced, he himself plunges
his hand into the pocket, and takes out the whole pack, with the exception of the
then top card, which is the fourth of the cards drawn; then, pretending to
recollect himself, he says, “Stay; we had four cards drawn. Will you say what
your card was, madam?” We have supposed that it was the ten of spades. He
hands the pack to the person assisting him, saying, “Will you find the ten of
spades, and return it to the lady?” Being in his pocket, of course it cannot be
found in the pack, and on blowing into the pocket it is naturally discovered there.
The performer meanwhile has palmed about a third of the pack, which he
introduces into the pocket at the same moment that he places his hand therein to
take out the supposed superfluous cards. From this stage to the close the trick is
merely a repetition of that already given under the title of the “Shower of Aces”
(see page 97), to which the reader is referred.
THE CARDS HAVING BEEN FREELY SHUFFLED, AND CUT INTO THREE OR FOUR HEAPS,
TO NAME THE TOP CARD OF EACH HEAP.—Note the bottom card of the pack, which
we will suppose to be the nine of diamonds. Shuffle the cards, so as to bring this
card to the top, and palm it. Then remark, “But perhaps you would rather shuffle
for yourselves,” and hand the pack to some one of the company for that purpose.
When the pack is returned, replace the card on the top, and continue, placing the
pack on the table, “You observe that I do not meddle with the cards in any way.
Now will some one be good enough to cut them into two, three, or four parts,
when I will at once name the top card of each.” To do this you must take especial
notice where the upper part of the pack is placed, as you know that the top card
of this particular heap is the nine of diamonds. Placing your finger gravely, not
on this, but on one of the other heaps, you say, appearing to reflect, “This is the
nine of diamonds.” We will suppose that it is in reality the queen of spades. You
take it in your hand without allowing the audience to see it, and, noticing what it
is, at once touch the top card of another heap, saying, “And this is the queen of
spades.” Glancing in like manner at this card, which is, say, the seven of clubs,
you touch another card, and say, “This is the seven of clubs.” We will suppose
that this third card is really the ace of hearts. You conclude, taking up the card
you have all along known (the real nine of diamonds), “And this last is the ace of
hearts.” Then, throwing all four on the table, show that you have named them
correctly.
This trick should be performed with considerable quickness and vivacity, so
as not to give the audience much time for thought as you name the cards. It is
further necessary that the spectators be well in front of you, and so placed that
they cannot see the faces of the cards as you pick them up.
TO ALLOW A PERSON SECRETLY TO THINK OF A CARD, AND DIVIDING THE PACK INTO
THREE HEAPS, TO CAUSE THE CARD THOUGHT OF TO APPEAR IN WHICHEVER HEAP THE
COMPANY MAY CHOOSE.—Hand the pack to the company, with a request that they
will well shuffle it. When it is returned, cut the pack into three heaps on the
table, and invite some one to secretly think of a card. When he has done so, say
boldly, “The card you have thought of is in this heap,” touching one of them—
say the middle one. “Will you be kind enough to name it?” The person names,
say, the queen of spades. You continue, “Your card, as I have already told you, is
in this centre heap. To satisfy you that it is so, and that I do not now place it there
by means of any sleight-of-hand, I will, in the first place, show you that it is not
in either of the other heaps.” Gathering together the two heaps in question, and
turning them face upwards, you come forward to the audience, rapidly spreading
and running over the cards the while in order to ascertain whether the queen of
spades is among them. If it is not, the trick has so far succeeded without any
trouble on your part; and, after showing that the card is not among those you
hold, you bring forward the remaining packet, and show that you were correct in
your assertion. You then say, “I do not generally repeat a trick, but on this
occasion, as you may possibly imagine that my success was a mere result of
accident, I will perform the trick once more, and, if you please, you shall
yourselves name beforehand the packet in which the card thought of shall
appear.” The packet having been chosen, you join the other two in your left
hand, and invite some one to think of a card. When he has done so, you come
forward, as before, to show that it is not among the cards you hold. Luck may
again favour you; but if not, and you see the card chosen among those you hold
in your hand, you quickly draw it, by a rapid movement of the second finger of
the right hand, behind the rest of the pack, and, continuing your examination,
show the company, to all appearance, that the card is not there. Having done this,
you again turn the pack over (when the card thought of will be on the top), and,
covering the pack for a moment with the right hand, palm that card. Then,
picking up with the same hand the heap remaining on the table, you place the
palmed card on the top, and, transferring the cards to the left hand, you say, “You
are welcome to watch me as closely as you please. You will find that I shall cut
these cards at the precise card you thought of.” To all appearance you merely cut
the cards, but really at the same moment make the pass (by lifting away the
lower instead of the upper half of the packet). The upper part of the packet, with
the card on the top, remains in the left hand. You request some one to look at the
top card, which is found to be the card thought of.
Should the card in the first instance prove to be among the non-designated
cards, you will proceed as last directed; but do not in this case repeat the trick.
It is, however, quite possible that the person, by accident or design, may
have thought, not of the knave of hearts, but of some other card, say the nine of
diamonds. Even in this case you need not be at a loss, although the card on the
table is a wrong one. When the card is named, you say, “The nine of diamonds.
Quite right! Let me show you, in the first place, that it is not here in the pack.”
Advancing to the audience, and at the same time running over the cards, as in the
last trick, you draw the nine of diamonds behind the other cards, and show that,
apparently, it is not among them. On turning the pack over it will be at the top.
Taking the pack in the left hand, and, returning to your table, pick up (with the
right hand) the knave of hearts, and without looking at it yourself, say, “Here it
is, you see, the nine of diamonds.” Then, with a careless gesture, and making a
half turn to the right or left to cover the movement, “change” the card by the
third method (see page 30), taking care not to show the card after the change.
The audience will naturally exclaim that the card you have just shown them is
not the nine of diamonds. You affect great surprise, and ask, “Indeed, what card
was it then?” They reply, “The knave of hearts.” “The knave of hearts; surely
not!” you exclaim, again showing the card in your hand, which is now found to
be the nine of diamonds. “Indeed,” you continue, “you could not possibly have
seen the knave of hearts, for that gentleman in the front row has had it in his
pocket all the evening.” The knave of hearts was, in truth, left after the change
on the top of the pack. As you advance to the audience, you palm it, and are
thereby enabled to find it without difficulty in the pocket of a spectator, or in any
other place which you may choose to designate.
It will be observed that the mode here indicated of changing a wrong card
into a right one differs from that described in the last trick. Either method will be
equally available, but it will be well to practise both, as it is a great desideratum
to be able to vary the dénouement of a trick.
The course of action above directed in the event of an unexpected card being
thought of, may be made available as a means of escape from a break-down in
many other cases. Thus, for instance, if you are using a biseauté pack, and a
chosen card has been replaced without the pack having been previously reversed,
or if you have from any other cause accidentally lost the means of discovering a
card drawn, you may still bring the trick to an effective termination as follows:
—Give the pack to some one to shuffle, and then, drawing a card haphazard, and
placing it face downwards on the table, announce boldly that the card drawn is
now upon the table. Ask the person to name his card, show apparently that it is
not in the pack, and finish the trick in one or other of the modes above described.
A CARD HAVING BEEN DRAWN AND RETURNED, AND THE PACK SHUFFLED, TO
DIVIDE THE PACK INTO SEVERAL HEAPS ON THE TABLE, AND TO CAUSE THE DRAWN CARD
TO APPEAR IN SUCH HEAP AS THE COMPANY MAY CHOOSE.—Invite a person to draw a
card. When it is returned, make the pass to bring it to the top. Make a false
shuffle, and leave it still at the top. If any of the audience requests to be allowed
to shuffle, palm the card, and hand him the pack. When it is returned, again place
the card on the top.
Taking the cards in the right hand, face downwards, drop them, in packets of
four or five cards each, on the table, noting particularly where you place the last
packet (on the top of which is the chosen card). Ask the audience in which of the
heaps they would like the chosen card to appear, and when they have made their
choice, pick up all the other packets and place them in the left hand, placing the
packet on which is the chosen card at the top. Divide the chosen packet into two,
and bid the audience again choose between these, placing the cards of the non-
chosen packet below the pack in the left hand. If the packet still remaining will
admit of it, divide it into two again, but endeavour so to arrange matters that the
packet ultimately chosen shall consist of two cards only, concealing however
from the audience the precise number of cards in the packet. When you have
reached this stage of the trick, palm the drawn card, which we will suppose to
have been the ace of diamonds, and picking up with the same hand the chosen
packet, secretly place that card on the top. Place the three cards face downwards
side by side, the ace of diamonds in the middle, and ask the audience which of
the three they desire to become the card originally drawn. If they choose the
middle card, the trick is already done, and after asking the person to name his
card, and showing that neither of the two outside ones is the card in question,
you turn up the ace of diamonds.
If the choice falls on either of the outside cards, gather together all three,
without showing them (the ace still being in the middle) and ask some one to
blow on them. Then deal them out again in apparently the same order as before,
but really deal the second for the first, so as to bring that card into the place of
the card indicated. Then, after showing the two other cards as above directed,
finally turn up the ace of diamonds, and show that it is the card originally
chosen.
A CARD HAVING BEEN DRAWN AND RETURNED, AND THE PACK SHUFFLED, TO PLACE
ON THE TABLE SIX ROWS OF SIX CARDS EACH, AND TO DISCOVER THE CHOSEN CARD BY
A THROW OF THE DICE.—The effect of this surprising trick is as follows:—You
invite a person to draw a card, allowing him the utmost freedom of selection.
You allow the drawer to replace his card in any part of the pack he pleases, and
you thoroughly shuffle the cards, finally inviting him to “cut.” Then dealing out
six rows of six cards each, face downwards on the table, you offer the drawer a
dice-box and a pair of dice, and after he has thrown any number of times to
satisfy himself that the dice are fair and unprepared, you invite him to throw
each singly, the first to ascertain the row in which his card is, and the second to
discover at what number it stands in the row. He throws, say, “six” first, and
“three” afterwards, and on examination the card he drew proves to be the third
card of the sixth row.
The whole mystery consists in the use of a forcing pack, all the cards of
which are alike, and which must not consist of a less number than thirty-six
cards. The dice are perfectly fair, but as each card of each row is the same, it is a
matter of perfect indifference what numbers are thrown. It is advisable to gather
up all the other cards, and to request the person to name his card, before
allowing the one designated by the dice to be turned up. This will draw the
attention of the company to the card on the table, and will give you the
opportunity to re-exchange the cards you have used for an ordinary pack (from
which, by the way, the card answering to the forced card should have been
withdrawn). This pack you may carelessly leave on the table; so that in the event
of suspicion attaching to the cards, it will be at once negatived by an
examination of the pack.
The trick may be varied by using a teetotum, numbered from one to six,
instead of the dice; or you may, if you prefer it, make the trick an illustration of
second sight, by pretending to mesmerize some person in the company, and
ordering him to write down beforehand, while under the supposed mesmeric
influence, the row and number at which the drawn card shall be found. The
mode of conducting the trick will be in either case the same.
A CARD HAVING BEEN WITHDRAWN AND REPLACED, TO CALL IT FROM THE PACK,
AND TO MAKE IT COME TO YOU OF ITS OWN ACCORD.—This is a very simple trick, but,
if neatly executed, will create a good deal of wonderment. It is performed as
follows:—You must procure beforehand a long hair from a lady’s head. One end
of this must be fastened by means of a bent pin, or in any other way you find
most convenient, to the front of your waistcoat, which should be a dark one. At
the other end of the hair fix a little round ball (about half the size of a pepper-
corn) of bees’-wax. Press this little ball lightly against the lowest button of your
waistcoat, to which it will adhere. You will thus always be able to find it at a
moment’s notice, without groping or looking down for it, which would be likely
to draw the eyes of the spectator in the same direction.
Request the audience to examine the cards, that they may be sure that there
is no preparation about them, and as a further proof get two or three persons to
shuffle them in succession. When the cards are returned to you, invite some
person to draw one, and, while he is examining it, drop your right hand
carelessly to your waistband, and remove the little ball of wax to the tip of your
right thumb, to which it will adhere without interfering with the movements of
the hand. When the card is returned, make the pass to bring it to the top of the
pack, and press the little ball of wax upon the back of the card, as near the edge
as possible. Then shuffle the cards. The shuffle may be a genuine one, but you
must take care to keep the lower edge of the chosen card half an inch or so
below the remaining cards, that the little ball of wax may not be disturbed. The
chosen card will, after the shuffle, be in the middle of the pack, but attached to
your waistcoat by the hair. Spread the cards face upwards on the table (by which
means the wax, being on the back of the card, will be out of sight), taking care
not to detach the hair. You then address your audience to the following or some
similar effect:—“In the old style of conjuring, I should merely have picked out
your card, and handed it to you; and there was a time when people would have
thought that a very good trick, but nowadays we should regard that as a very
lame conclusion. I can assure you that I have not the smallest idea what your
card was. How do you suppose I intend to find out?” Various guesses are
hazarded, but you shake your head at each. “No,” you continue, “my process is
much simpler than any you have suggested. I shall merely order the card you
chose to walk out of the pack, and come to me.” Pronounce any magic formula
you like, at the same time beckoning to the cards, and gradually withdrawing
yourself away from the table, when the card must needs follow you. As it
reaches the edge of the table, receive it in the left hand, and then take it in the
right, drawing off with the first finger and thumb of the left hand the wax at the
back. Ask the person who drew whether that was his card, and again hand the
card and the rest of the pack for examination. This little trick, though simple,
will require a good deal of practice to enable you to perform it neatly, but the
effect produced by it will well repay your trouble.
It may be well to mention, once for all, as bees’-wax is an article of frequent
use in magical operations, that if, as sometimes happens, the pure wax is found
too hard, or not sufficiently adhesive, the addition of a small quantity (say an
eighth part) of Venice turpentine, mixed with it in a melted condition, will make
it all that can be desired.
H
THE WHIST TRICK. IMPROVED METHOD. TO DEAL YOURSELF ALL THE TRUMPS,
THE THREE OTHER PLAYERS HOLDING THE USUAL MIXED HANDS.—Having decided
which suit (suppose diamonds) is to be the trump suit, arrange the pack in such
manner that every fourth card shall be of that suit, the intervening cards being
taken haphazard. When about to perform the trick, secretly exchange the pack
you have hitherto been using for the prepared pack. Make the bridge (see page
39), and then a false shuffle by the third method (see page 24). Invite some one
to cut, and make the pass at the bridge, thus restoring the cards to their original
condition. Deal in the usual manner, when you will be found to hold all the
trumps, the remaining suits being distributed in the ordinary way among the
other three players.
H
For an inferior form of this trick, in which sleight-of-hand is
not employed, see page 51.
Where in this or any other trick it is found necessary to change one pack for
another, the following will be found the neatest way of effecting that object.
Have the prepared pack in the pochette on the left side. Hold the ordinary pack
in the right hand, and in moving from the audience to your table, drop the left
hand to the pochette, seize the prepared pack, bring the hands together, and make
the pass with the two packs, when they will have changed hands. Drop the left
hand, and get rid of the ordinary pack into the profonde, the prepared pack being
left in the right hand. Any little clumsiness in making the pass is of small
consequence, the hands being covered by the body. If, however, you find it
impossible to make the pass with so large a bulk of cards, the prepared pack may
be placed under the waistband, held in position by a strap of half-inch-wide
elastic, stitched to the inside of the vest; the right hand in this case, at the
moment of the turn to the table, transferring the ordinary pack to the left, and
immediately drawing down the prepared pack, while the left hand, as in the
former case, drops the ordinary pack into the profonde.
CHAPTER V.
WE propose to describe in this chapter such card tricks as require the aid of some
mechanical appliance or apparatus, but are still appropriate for a drawing-room
performance. There are some few tricks performed with cards (such as the Fairy
Star, the Demon’s Head, and the like) which necessitate the use of a mechanical
table, or other apparatus of an elaborate and costly character. These will not be
here noticed, but will be given, at the close of the work, in the portion devoted to
Stage Tricks.
We may here anticipate a not unlikely question on the part of the student—
viz., “How can I best obtain the necessary apparatus?” In some instances, an
amateur with a mechanical turn may be able to manufacture his appliances for
himself; and where this is the case, we would by no means discourage his doing
so, as he will thereby derive a double amusement from his study of the magic
art. But where the student has not the ability or inclination to do this, we should
strongly advise him not to attempt to have his apparatus made to order by
persons unaccustomed to this class of work, but to go direct to one or other of
the regular depôts. Magical apparatus requires so much precision in its details,
and so much attention to apparent trifles, that the first attempt of any workman,
however skilful, is almost sure to be a failure; and by the time the defects are
rectified, the purchaser will find that he has paid more for a clumsy makeshift
than he would have done for a thoroughly good article had he gone to the right
quarter. Experience will quickly prove that inferior apparatus is dear at any price.
Peck & Snyder, 124 Nassau Street, New York City, are the largest
manufacturers, importers, and dealers in sports, pastimes, and trick materials.
They will forward illustrated catalogues on application, giving details of an
infinite variety of Optical, Chemical, Mechanical, Magnetical, and Magical
Experiments, and ingenious deceptions. Supplementary sheets are issued from
time to time, giving descriptions of new novelties. One peculiarity of their
business is that every purchaser is taught, by the very explicit instructions that
accompany each article and by correspondence, to perform whatever Tricks he
may buy, so that he may exhibit them with ease and without fear of detection,
and no trouble is spared in order to make him perfect in what he purchases.
Prices are generally low: where a seemingly high price occurs the professor or
skilled amateur will readily realize that it is occasioned by the elaborateness of
the mechanism of the particular apparatus desired, and the cost that such
precision in manipulative manufacture involves. The purchaser—we speak from
personal experience—can always depend on receiving uniform courtesy, good
value, and sound practical instruction.
The novice must be warned against imagining that, when he has got into the
region of apparatus, the necessity for personal address and dexterity will be
diminished. On the contrary, there is hardly a trick among those we are about to
describe which does not demand more or less practical knowledge of sleight-of-
hand. We shall assume, in the following pages, that the reader has carefully
followed and studied the directions already given, in which case he will find
little difficulty in this portion of the work.
THE MAGIC SWORD. A CARD BEING DRAWN AND REPLACED, AND THE PACK FLUNG
IN THE AIR, TO CATCH THE CHOSEN CARD ON THE POINT OF THE SWORD.—We have
already described a trick somewhat similar in effect, in which, the pack being
flung in the air, the chosen card is caught in the hand of the performer. The trick
in this form makes a very good prelude to the still more surprising one which we
are about to describe.
FIG. 41. FIG. 42. FIG. 43.
There is a mode of performing the trick of the rising cards entirely without
apparatus, and without the necessity of forcing particular cards. The performer in
this case invites a person to draw a card, and when it is returned makes the pass
to bring it to the top of the pack. He then makes a false shuffle, leaving it on the
top, and offers the pack to a second person to draw. When he has done so, and
before he replaces the card, the performer makes the pass to bring the card first
drawn to the middle, so that the second card is placed upon it, and then again
makes the pass to bring both together to the top. The process may be repeated
with a third card. The three cards are thus left at the top of the pack, that last
drawn being the outermost. The performer now asks each person, beginning with
the last who drew, to name his card, and, holding the pack upright in his right
hand, the thumb on one side, and the third and fourth fingers on the other, with
the face of the pack to the audience (see Fig. 45), he causes the cards to rise one
by one by pushing them up from the back by an alternate movement of the first
and second fingers (which should previously be slightly moistened). If the face
of the cards is held fairly to the spectators, it will be impossible for them to
discover that the cards do not rise from the middle of the pack.
We have been more prolix than we could have desired in the description of
this trick, but minute details are the very soul of conjuring. The experience of
Horace, “Brevis esse laboro, obscurus fio,” applies with peculiar force to the
magic art; and if we occasionally irritate the reader of quick apprehension by too
great minuteness, he must remember that we have, as far as we can, to anticipate
every possible question, and that a single point left unexplained may render
useless an otherwise careful description.
The secret of the trick, apart from the sleight-of-hand necessary to bring the
chosen cards together at the top of the pack, lies in the box. It is in general
appearance something like a miniature pedestal for a statue, but hollow, and
open at the top, the cavity being rather more than large enough to hold a pack of
cards. (See Fig. 46.) It is divided longitudinally into two compartments, the
foremost being large enough to hold a whole pack, the hindmost to hold only
three or four cards, the partition between the two coming about half way up the
box. The bottom of the larger compartment is level with the top of the plinth, but
the smaller is open to the whole depth, save that across it is a steel spring about
half an inch in width. Fig. 47 represents a section of the apparatus, A being the
upper part, of which a is the larger or front compartment, and b the smaller
compartment at the back. B is the plinth. A is so constructed as to slide forwards
on, or rather in, B, to the extent of about an eighth of an inch, but is prevented
doing so, in the normal condition of the apparatus, by the spring c, which is
screwed to the bottom of A, its free end pressing against the side of the plinth. If,
however, the spring be pressed down from above, so as to be below the level of
the shoulder d (for which purpose a thin slip of wood is supplied with the
apparatus), and A be at the same time pushed towards d, it will slide forward to
the position indicated in Fig. 48, and the spring c will be held down beneath the
shoulder d. This is the condition in which the apparatus is first exhibited to the
audience. After turning it over, to show that there are no cards already concealed
in it, the performer places in it the pack, first, however, slipping his little finger
between the chosen cards (which are on the top) and the rest of the pack, so as to
enable him to drop the chosen cards into the smaller compartment at the back,
where they rest upon the bent spring. (See Fig. 48.) Standing behind the box, and
placing his hands around the plinth, as if to hold it steady, the fingers of each
hand being in front, and the thumb behind, he blows smartly upon the box, at the
same moment pushing A forward with the thumbs to the position which it
occupies in Fig. 47. The spring c, being drawn back with it beyond the shoulder
d, is released, and instantly flies up to its old position, shooting out of the box
the cards resting upon it.
This trick is sometimes, like that of the rising cards, worked with a forcing
pack, duplicates of the forced cards being placed beforehand in the hinder
compartment. This method, however, is very inferior to that above described,
and would hardly be adopted by any performer who had acquired a competent
mastery of sleight-of-hand.
The secret lies in the use of a very small and simple piece of apparatus,
being, in fact, merely a strip of tin or sheet brass, an inch and a half in length,
and five-eighths of an inch in width, bent at a shade less than a right angle—say
85°; its shorter arm being one-third of its length. On the outer surface of the long
arm is spread a thin layer of bees’-wax (made more adhesive by the addition of a
small portion of Venice turpentine), and to the inner surface of the shorter arm is
soldered a small piece of lead, about an eighth of an inch thick. When you desire
to perform the trick, you have this little appliance concealed in your right hand,
the longer arm between the first and second fingers, and the shorter arm pointing
towards the little finger. Picking up the card with the left hand, you transfer it to
the right, taking hold of it in such manner that the fingers shall be behind and the
thumb in front of the card. As you place the card on the table (which, by the way,
must be covered with a cloth), you press against it (see Fig. 49) the waxed side
of the slip of tin, which will slightly adhere to it, and thus form a prop or foot,
the little lump of lead acting as a counterpoise to the weight of the card. You
pick it up with the same hand, and as you transfer it to the other, you will find no
difficulty in removing and secreting between the fingers the little prop.
If the wax is properly amalgamated, it should leave no mark on the card.
FIG. 50.
THE “CARD AND BIRD” BOX.—This is, in form and general appearance,
similar to that form of the card-box last above described (that which has an
enclosed space beneath the flap), but its working is precisely the converse—i.e.,
the normal condition of the flap in this case is to lie folded against the back of
the box, against which it is pressed by the action of a spring. It may, however, be
folded down so as to lie parallel with the bottom, a little catch projecting from
the inner surface of the front, holding it in that position. (See Fig. 52.) The lock
is in this case a mere sham, having neither key nor keyhole, but a little stud
projecting from the lower edge of the lid, and representing the “staple” of the
lock, presses, when the box is closed, upon an upright pin passing through the
thickness of the wood up the front of the box, and thereby withdraws the catch,
when the flap flies up, concealing the card which has just been placed upon it,
and revealing the bird or other object which had previously been concealed
beneath it.
The same principle is sometimes applied to the “card-box,” the flap when
“set” lying flat on the bottom of the box, leaving no hollow space below.
The reader will, no doubt, already have conjectured that the card drawn is a
forced one, and that the supposed restored card was concealed beforehand under
the false bottom of the card-box. This pretended restored card is, in reality, an
ingenious though simple piece of apparatus, constructed as follows:—A piece of
tin is cut to the exact size and shape of a card; out of this, at one of the corners, is
cut an oblong piece, measuring about one inch by five-eighths. This piece is
attached by a spring hinge, a a, on one side of it, to the larger piece of tin, in
such manner that it can be folded back (see Fig. 54) flat against it; the action of
the spring, however, bringing it back again, when released, to its original
position. To this piece of tin is soldered lengthways a narrow tail-piece, of such a
length as to extend nearly to the opposite end of the larger piece of tin. This tail-
piece forms a kind of handle wherewith to bend back the smaller piece of tin on
its hinge, and at the same time acts as a check to prevent the action of the spring
pressing the smaller piece beyond the plane of the larger one. A playing card is
split in two in order to reduce its thickness, and the face of the card thus reduced
is pasted on the front of the larger piece of tin. Previously, however, a piece,
somewhat smaller than the little moveable flap, is torn out of one corner, and
pasted on the flap in such a manner that, when the latter is released, the torn
piece will occupy its proper position with respect to the remainder of the card,
which will thus appear complete. When, however, the moveable flap is folded
back, and so held by the pressure of the forefinger upon the tail-piece, the torn
portion of the card will be folded back with it, as in Fig. 54. When the
mechanical card is placed in the box, it should be thus folded back, and kept in
position by a little bit of thin wire, half an inch long, and bent into a miniature
staple or clip, which, slipped over the end of the tail-piece and the adjoining
edge of tin, will effectually hold the flap back, and yet may be got rid of in an
instant, when the forefinger is ready to take its place. You must take care so to
place the card in the box as to be face uppermost when the box is opened, as the
audience must not, of course, see the back. When you desire to make the card
complete, you have only to slip aside the forefinger, and thus release the
moveable flap.
There are torn cards now made entirely of pasteboard, dispensing with the
tin plate at the back. This is a decided improvement.
As to the disappearance of the loose corner from your hand, you will find
little difficulty when you have learnt the art of coin-palming, to be hereafter
explained. Assuming that you have at present no knowledge on this subject, you
may proceed as follows:—Take the bit of card between the forefinger and thumb
of your right hand, and as you make the motion of throwing it towards the
mechanical card, push it with the ball of the thumb between the first or second
joints of the first and middle fingers. This releases the thumb, and the inside of
your hand being turned away from your audience, you run little risk of
discovery, particularly as the same piece, apparently, is now seen in its proper
place as part of the restored card.
We must not omit to mention that there is a mode of performing the “torn
card” trick in which the use of the mechanical card is dispensed with. In this case
the performer secretly takes an ordinary card, say the knave of spades, and tears
off one corner, which he carefully preserves. The card thus mutilated he places
in a card-box, or other similar piece of apparatus. Pack in hand, he advances to
the company, and “forces” the knave of spades, having, meanwhile, the little
corner piece of the concealed card hidden between the second and third fingers
of his right hand. The card having been drawn, he requests the drawer to tear it
up, and place the pieces on a plate, which he hands him for that purpose. Having
received the pieces, he says carelessly, “You had better keep one piece for the
purpose of identification;” and, so saying, hands him apparently one of the
fragments of the card just torn, but really the concealed corner piece, which he
drops from his hand on the plate for that purpose in the very act of picking up.
The trick then proceeds as already described up to the finding of the card
partially restored, in which condition it is handed to the drawer, and its identity
proved by showing that the torn edge exactly corresponds with the corner
retained. The trick may either end here, or, by using a second card-box, card-
tripod, or the like, the card and corner may be again changed for a complete
card.
MECHANICAL CHANGING CARDS.—These are of two or three kinds, but all have
the same object—viz., the apparent transformation of the card to a different one.
In some cases the change is from a court card of one suit to the same card of
another suit—e.g., a king of spades to a king of hearts, involving merely the
alteration of the pip in the corner. This is effected by having the card made
double, that portion of the front card on which the pip should be being cut out.
The hindmost card, which is pasted only round the extreme edge to the front one,
is a plain white card, but with the appropriate pip, say a spade, neatly painted in
the proper position, to allow of its showing through the opening in the front card,
which thus has the appearance of an ordinary king of spades. Between the two
cards is a moveable slip, worked by a pin through a slip in the back, on which is
painted a heart pip. By moving this slip, the heart is in turn brought opposite the
opening, covering the spade pip, so that the card now appears to be the king of
hearts. The card as above described is of the old single-headed pattern, but the
same principle may be applied to double-headed cards. In this case both of the
“pip” portions of the front card are cut away as in Fig. 55, while on the upper
corresponding portion of the hinder card is painted (say) a spade, and on the
lower a heart, as in Fig. 56. The moveable slip is of such a shape and size as to
cover the one or the other, according as it is drawn up or down; and on the upper
part of this (see Fig. 57) is painted a heart, and on the lower a spade. When,
therefore, the slip is pushed up, the heart pip on the slip and the heart pip on the
hindmost card are shown, so that the card appears to be a king of hearts. When,
on the other hand, the slip is drawn down, the spade pip of the hinder card is
revealed, and at the same time the slip covers over the heart pip of this latter, and
exhibits its own spade pip, giving the card the appearance of a king of spades.
FIG. 55. FIG. 56. FIG. 57.
These mechanical cards are used in various ways. Such a card may be
introduced with good effect in the trick of the “rising cards,” before described.
The king of spades, we will suppose, is one of the cards drawn. The changing
card is made one of those which rise from the pack, but is so arranged as to
appear as the king of hearts. When the king of spades is called for, this card
rises. The performer feigns to be taken by surprise, and asks the person who
drew the card whether he is sure he is not mistaken, and that the card he drew
was not the king of hearts. The drawer naturally maintains the correctness of his
own recollection, while the performer as stoutly insists that the cards never
deceive him, and that, if the king of spades had been drawn, the king of spades
would infallibly have risen when called. At last, as if tired of the dispute, he
says, “Well, I still maintain you were mistaken; but as you insist that your card
was the king of spades, why, we will make this into a king of spades.” So saying,
and holding up the card between his middle finger and thumb, he touches its face
with his wand, and at the same moment with the first finger moves the slide,
when the card changes to the king of spades. The little dispute as to the supposed
mistake, which the audience have hitherto believed to be genuine, gives to the
transformation an impromptu air which is very effective. The performer may go
on to say, still holding up the card, “You are quite satisfied now, I presume.” The
drawer assents. “Then if so, as it would spoil my pack to have two kings of
spades in it, you will allow me, before proceeding further, to change the card
back again. Change!” Again he touches the card with his wand, and it is seen to
change back again to the king of hearts.
Another mode of using the mechanical card is in conjunction with the
changing card-boxes, above described. In this case the changing cards are used
in pairs. One of them, arranged as the king of spades, is secretly placed in the
one box, and the other, arranged as the king of hearts, in the other. Two of the
spectators are requested each to draw a card, and two genuine kings of the same
respective suits are forced upon them. Taking the cards so drawn, and showing
the card boxes apparently empty, the performer places one of the cards in each,
taking care to place the king of hearts in the box containing the ostensible king
of spades, and vice versâ. He now commands the two cards to change places,
and, opening the boxes, shows that his commands are obeyed. He then remarks,
“Now, I dare say you all think that the trick depends on the boxes. To show you
that it is not so, I will again order the cards to change; and this time I will not
place them in the boxes, but will merely take one in each hand, so. If your eyes
are quick enough, you will see the cards fly across from the one hand to the
other. Observe, the king of spades is in my right hand, and the king of hearts in
my left. One, two, three—Change!” (with a stamp and a slight flourish of the
cards). “Did you see them fly? Here is the king of hearts in my right hand, and
the king of spades has passed to my left. I will put them in the boxes once
more.” You put each in the box which it before occupied, in doing so again
making the change, but without closing the boxes. You continue, “Please to
notice which I put in each box—the king of hearts in the right hand box, and the
king of spades in the left hand box. Is that right?” The audience reply in the
affirmative. “Excuse me,” you say, “I fear you are mistaken. You did not notice,
perhaps, that the cards had changed again.” You show that this is so, and then
close the boxes so as to bring the cards originally drawn uppermost. Opening
them once more, you show that the cards have again changed, and then remark,
“I have shown you that the secret does not lie in the boxes, perhaps you would
like to satisfy yourselves that there is no preparation about the cards,” which you
accordingly hand for examination.
FIG. 58.
BEFORE attempting tricks with coin, it will be necessary for the student to practise
certain sleights and passes which more especially belong to this particular
branch of the magic art, though the sleight-of-hand used in “coin tricks” is more
or less applicable to most other small objects. The principles which we have
given for card tricks will not here be of any direct assistance to the student; but
the readiness of hand and eye which he will have acquired, if he has diligently
put in practice the instructions already given, will be of great value to him as a
preliminary training, and it may safely be predicted that any person who is a
first-rate performer with cards will find little difficulty in any other branch of the
art.
The first faculty which the novice must seek to acquire is that of
“palming”—i.e., secretly holding an object in the open hand by the contraction
of the palm. To acquire this power, take a half-crown, florin, or penny (these
being the most convenient in point of size), and lay it on the palm of the open
hand. (See Fig. 59.) Now close the hand very slightly, and if you have placed the
coin on the right spot (which a few trials will quickly indicate), the contraction
of the palm around its edges will hold it securely (see Fig. 60), and you may
move the hand and arm in any direction without fear of dropping it. You should
next accustom yourself to use the hand and fingers easily and naturally, while
still holding the coin as described. A very little practice will enable you to do
this. You must bear in mind while practising always to keep the inside of the
palm either downwards or towards your own body, as any reverse movement
would expose the concealed coin. When you are able to hold the coin
comfortably in the right hand, practise in like manner with the left, after which
you may substitute for the coin a watch, an egg, or a small lemon—all these
being articles of frequent use in conjuring.
Being thoroughly master of this first lesson, you may proceed to the study of
the various “passes.” All of the passes have the same object—viz., the apparent
transfer of an article from one hand to the other, though such article really
remains in the hand which it has apparently just quitted. As the same movement
frequently repeated would cause suspicion, and possibly detection, it is desirable
to acquire different ways of effecting this object. For facility of subsequent
I
reference, we shall denote the different passes described by numbers.
I
It should be here mentioned that the term “palming,” which
we have so far used as meaning simply the act of holding any
article, is also employed to signify the act of placing any article in
the palm by one or other of the various passes. The context will
readily indicate in which of the two senses the term is used in any
given passage.
It is hardly necessary to remark that the diagrams, save where
the letterpress indicates the contrary, represent the hands of the
performer as seen by himself.
PASS 1.—Take the coin in the right hand, between the second and third
fingers and the thumb (see Fig. 61), letting it, however, really be supported by
the fingers, and only steadied by the thumb. Now move the thumb out of the
way, and close the second and third fingers, with the coin balanced on them, into
the palm. (See Fig. 62.) If the coin was placed right in the first instance, you will
find that this motion puts it precisely in the position above described as the
proper one for palming; and on again extending the fingers, the coin is left
palmed, as in Fig. 60. When you can do this easily with the hand at rest, you
must practise doing the same thing with the right hand in motion toward the left,
which should meet it open, but should close the moment that the fingers of the
right hand touch its palm, as though upon the coin, which you have by this
movement feigned to transfer to it. The left hand must thenceforward remain
closed, as if holding the coin, and the right hand hang loosely open, as if empty.
FIG. 61. FIG. 62.
In the case of an article of larger size than a coin—as, for instance, a watch
or an egg—you need not take the article with the fingers, but may let it simply
lie on the palm of the right hand, slightly closing that hand as you move it
towards the left. The greater extent of surface in this case will give you plenty of
hold, without the necessity of pressing the article into the palm. Remember that,
in any case, the two hands must work in harmony, as in the genuine act of
passing an article from the one hand to the other. The left hand must therefore
rise to meet the right, but should not begin its journey until the right hand begins
its own. Nothing looks more awkward or unnatural than to see the left hand
extended with open palm, before the right hand has begun to move towards it.
FIG. 63. FIG. 64. FIG. 65.
After the pass is made, a judicious use of the wand will materially assist in
concealing the fact that the object still remains in the right hand. For this purpose
the performer should, before commencing the pass, carelessly place the wand
under either arm, as though merely to leave his hands free. Immediately that the
pass is made the right hand should, with a sort of back-handed movement, which
under the circumstances is perfectly natural, grasp the wand, draw it from under
the arm, and thenceforth retain it till an opportunity occurs of disposing of the
coin as may be necessary. The position of the fingers in the act of holding the
wand is such as to effectually mask the concealed coin, while yet the hand
appears perfectly easy and natural. The same expedient may be employed with
equal advantage in the remaining passes.
PASS 2.—This is somewhat easier than Pass 1, and may sometimes be
usefully substituted for it. Take the coin edgeways between the first and third
fingers of the right hand, the sides of those fingers pressing against the edges of
the coin, and the middle finger steadying it from behind. (See Fig. 63.) Carry the
right hand towards the left, and at the same time move the thumb swiftly over
the face of the coin till the top joint just passes its outer edge (see Fig. 64); then
bend the thumb, and the coin will be found to be securely nipped between that
joint and the junction of the thumb with the hand. (See Fig. 65.) As in the last
case, the left hand must be closed the moment the right hand touches it; and the
right must thenceforth be held with the thumb bent slightly inwards towards the
palm, so that the coin may be shielded from the view of the spectators. This is an
especially quick mode of palming, and if properly executed the illusion is
perfect. It is said to be a special favourite of the elder Frikell.
PASS 3.—Hold the left hand palm upwards, with the coin in the position
indicated in Fig. 59. Move the right hand towards the left, and let the fingers
simulate the motion of picking up the coin, and instantly close. At the same
moment slightly close the left hand, so as to contract the palm around the coin,
as in Fig. 60, and drop the hand, letting it hang loosely by your side.
FIG. 66.
The right hand you should carry upwards and forwards after it leaves the left
hand, following it with your eyes, and thereby drawing away the attention of the
audience from the other hand. (See Fig. 68.) Do not be in too great a hurry to
drop the left hand, but turn the palm slightly towards you, with the fingers a little
bent, and, after a moment’s pause, let it fall gently to your side. The hollow
made by the bent fingers will be sufficient to hold the coin.
This pass is available even for a sixpence or threepenny piece, which from
their small size, cannot readily be palmed by the ordinary means. It is also very
useful for “ball” conjuring.
FIG. 68.
PASS 6.—This pass is best adapted for use with three or four coins, as the
chink of the coins against one another materially assists the illusion. Having to
get rid of, say, four pence or florins, you take them in the right hand, as indicated
in Fig. 70, viz., well back towards the wrist. Move the right hand sharply
towards the left, with the fingers foremost, so that the finger-tips of the right
hand may come smartly, at about right angles, against the palm of the left, at the
same time slightly bending the fingers. The coins, instead of being shot forward
(as to the eye and ear of the spectators they appear to be) into the left hand, are,
in reality, retained in the hollow formed by the fingers of the right, as in Fig. 71.
They are turned completely over as the hands come in contact, producing a loud
chink. The left hand is, of course, closed, and the thumb of the right is allowed to
sink gently on the coins, so that when the hand falls by your side, they may not
make a second chink, and so betray their presence in the wrong hand.
PASS 7. (La Coulée).—This pass is best adapted for a coin of large diameter,
like the French five-franc piece, and is but little used by English conjurors. If,
however, the student has a very small hand (a serious disadvantage in conjuring
generally), he may find it convenient to use the pass in question with a half-
crown or penny. Take the coin in the right hand between the first and second
fingers and the thumb, and in the act of apparently transferring it to the left hand,
gently slide it with the ball of the thumb into the position shown in Fig. 72,
where it is held by the pressure of the first and fourth fingers against its opposite
edges, the hand remaining completely open.
FIG. 72.
FIG. 73.
PASS 8.—The peculiarity of this pass is, that it is made while holding the
wand in the hand, a case in which none of the other passes are available. Holding
the wand and coin in the right hand, as indicated in Fig. 73, you strike the edge
of the coin sharply against the palm of the left hand, and instantly close that
hand. The effect of the movement is to drive back the coin (which should be held
very lightly) into the position shown in Fig. 74, in which, being behind the first
three fingers, it is completely hidden. You should lose no time in relaxing the
fingers of the right hand, and gently closing them around the coin, as their
straightened position, if continued, might arouse suspicion. You must, however,
be careful that, in doing so, you do not allow the coin to chink against the wand,
as the sound would naturally draw attention to its whereabouts.
FIG. 74.
It must not be imagined that all of the passes above given are in turn used by
every performer. Almost every conjuror has his favourite pass or passes, either
selected from those above described, or invented by himself. Any mode by
which a coin can be held in the hand without indicating its presence may be
worked up into a pass. Thus, some performers will hold a coin by its edges
between two of the fingers, or between the thumb and the side of the hand.
Others, again, hold the coin flat against the first or second joint of the second or
third finger, retaining it by slightly bending the finger. The novice should
experiment till he ascertains which method best suits the conformation of his
own hand. We have specified the hand to and from which each pass is generally
used; but if the student desires to attain special excellence, he should practise
until he is able to use each from left to right, as well as from right to left. In
performing before a company of spectators, and standing with the left side
towards them, it is well to use a pass which apparently transfers the coin from
the right hand to the left, and vice versâ. The coin is thus left in the hand farthest
away from the spectators, and the performer has the benefit of the cover of the
body in dropping it into the pochette, or otherwise disposing of it.
The student will here, as in card conjuring, find great advantage in
practising before a looking-glass, before which he should, in the first place,
actually do that which he afterwards pretends to do, and carefully notice the
positions and motions of his hands in the first case, which he should then do his
best to simulate, that there may be as little difference as possible between the
pretence and the reality. He should further accustom himself always to follow
with his eyes the hand in which the object is supposed to be, this being the most
certain means of leading the eyes and the minds of his audience in the same
direction. When he is able to perform the passes neatly with a single florin or
penny, he should then practise with coins of smaller size, with two coins at once,
and afterwards with three or four.
A word of caution may here be desirable. These passes must by no means be
regarded as being themselves tricks, but only as processes to be used in the
performance of tricks. If the operator, after pretending to pass the coin, say, from
the right hand to the left, and showing that it had vanished from the left hand,
were to allow his audience to discover that it had all along remained in his right
hand, they might admire the dexterity with which he had in this instance
deceived their eyes, but they would henceforth guess half the secret of any trick
in which palming was employed. If it is necessary immediately to reproduce the
coin, the performer should do so by appearing to find it in the hair or whiskers of
a spectator, or in any other place that may suit his purpose, remembering always
to indicate beforehand that it has passed to such a place, thereby diverting the
general attention from himself. As the coin is already in his hand, he has only to
drop it to his finger-tips as the hand reaches the place he has named, in order, to
all appearance, to take it from thence.
FIG. 75.
Having given this little piece of advice as to the hand in which the coin
actually is, we must add a few words more as to the hand in which it is not.
Whenever you have (apparently) placed any article either in the closed hand, or
in some piece of apparatus from which it is afterwards to disappear, you should
not, as a rule, show that the article has departed from the spot where you have
apparently placed it, without interposing some magical process, however slight,
which may colourably account for its disappearance. A mere nothing will suffice
—a touch of the wand, the pronouncing of a magic formula, the pressure of a
finger; but in some form or other the ceremony should never be omitted. Thus, to
take a very simple example, we will suppose that by means of Pass 1 you have
apparently placed in the left hand a coin, which really remains in the palm of the
right. If you at once open the left hand, and show that the coin is not there, the
spectators will naturally jump to the correct explanation, viz., that you did not, in
reality, put the coin there at all. If, however, you delay opening the left hand for a
minute or two, so as to let the audience get accustomed to the idea that the coin
is therein, and then, before opening it, touch the hand mysteriously with your
wand, or even simply, as you slowly open the left hand, rub the ball of the wrist
with the second and third fingers of the hand which holds the coin (see Fig. 75),
you not only give that hand an occupation apparently inconsistent with the fact
of anything remaining concealed in it, but you suggest to the audience that the
gesture in question is the cause of the disappearance of the coin. It is surprising
what an effect even such a trifle as this has in misleading the judgment of a
spectator. He knows perfectly well, in the abstract, that touching the closed hand
with the wand, or rubbing it with a finger of the opposite hand, is not an
adequate cause for the disappearance of the coin; but the fact being indisputable
that the coin has disappeared, the mind unconsciously accepts the explanation
which is thus indirectly offered. The advice here given becomes less important
where, before the hand is opened, you are able to get rid of the object from that
in which it originally appeared. Here the spectator is precluded from imagining
that you retained it in the hand in which he first saw it, as that hand also is
shown to be empty, and the absolute disappearance of the coin being a self-
evident fact, you may leave the spectator to account for it in his own manner.
The various passes may be employed not only to cause the disappearance of
an article, as above described, but to secretly exchange it for a substitute of
similar appearance. These exchanges are of continual use in conjuring; indeed,
we may almost say that three parts of its marvels depend on them. Such an
exchange having been made, the substitute is left in sight of the audience, while
the performer, having thus secretly gained possession of the original, disposes of
it as may be necessary for the purpose of the trick. We proceed to describe
various forms of changes, denoting them, as in the case of the passes, by
numbers.
CHANGE 1.—You desire, we will suppose, to exchange—or, in conjuror’s
parlance, to “ring”—a florin, marked by the audience, for another. You have the
latter, which we will call the “substitute,” ready palmed in your left hand, of
course taking care to keep the palm turned away from the audience. Taking the
marked florin in the right hand, you palm it in that hand by Pass 1, but instead of
closing the left hand as the fingers of the right touch it, keep that hand loosely
open, and show lying on its palm the substitute, which the audience take to be
the original just placed there by your right hand.
CHANGE 2.—This is the same as Change 1, save that you use with the right
hand Pass 2 instead of Pass 1.
CHANGE 3.—Here also you use Pass 2, but you have the substitute palmed in
the right hand instead of the left. Taking up the marked florin with the same
hand, you make with it Pass 2, at the same instant dropping the substitute from
its palm into the left hand. This is a very neat and effective change. Some
performers are expert enough to make this change by means of Pass 1 instead of
Pass 2, the genuine coin taking the place of the substitute in the palm; but this
demands dexterity of a more than average order.
CHANGE 4.—For this change you must have the substitute palmed in the right
hand, and take the marked coin between the thumb and second finger of the left.
Then by Pass 4 appear to take it in the right hand, and at the proper moment
exhibit the substitute, which you have already in that hand.
CHANGE 5.—Have the substitute palmed in your right hand, and hold the
marked coin openly on the palm of the left. Pick up the genuine coin with the
right hand, at the same moment releasing the palmed substitute, which will
accordingly fall into the left hand, the fingers of which should be held slightly
hollowed, the better to conceal it. Show the marked coin in the right hand, and
say, “You have seen me take up this coin visibly, I will make it return invisibly,”
or make some other appropriate observation. Close the left hand, make Pass 1 or
2 with the right hand, with a motion towards the left, but without bringing the
hands near together. The marked coin will, after the pass, be concealed in your
right palm. Immediately opening your left hand, you show the substitute, which
the audience believe to be the original which they have just seen.
There are many other changes; indeed, they are almost too numerous to
describe. If you are able to palm and to make the various passes neatly, you will
readily invent methods of “ringing” for yourself; in the meantime, you will find
that the above will answer every necessary purpose, so far as coin tricks are
concerned.
CHAPTER VII.
A FLORIN BEING SPUN UPON THE TABLE, TO TELL BLINDFOLD WHETHER IT FALLS
HEAD OR TAIL UPWARDS.—You borrow a florin, and spin it, or invite some other
person to spin it, on the table (which must be without a cloth). You allow it to
spin itself out, and immediately announce, without seeing it, whether it has
fallen head or tail upwards. This may be repeated any number of times with the
same result, though you may be blindfolded, and placed at the further end of the
apartment.
The secret lies in the use of a florin of your own, on one face of which (say
on the “tail” side) you have cut at the extreme edge a little notch, thereby
causing a minute point or tooth of metal to project from that side of the coin. If a
coin so prepared be spun on the table, and should chance to go down with the
notched side upwards, it will run down like an ordinary coin, with a long
continuous “whirr,” the sound growing fainter and fainter till it finally ceases;
but if it should run down with the notched side downwards, the friction of the
point against the table will reduce this final whirr to half its ordinary length, and
the coin will finally go down with a sort of “flop.” The difference of sound is not
sufficiently marked to attract the notice of the spectators, but is perfectly
distinguishable by an attentive ear. If, therefore, you have notched the coin on
the “tail” side, and it runs down slowly, you will cry “tail;” if quickly, “head.”
If you professedly use a borrowed florin, you must adroitly change it for
your own, under pretence of showing how to spin it, or the like.
You should not allow your audience to imagine that you are guided by the
sound of the coin, as, if once they have the clue, they will easily learn to
distinguish the two sounds. They are not, however, likely to discover the secret
of the notch, and if any one professes to have found out the trick, you may, by
again substituting an unprepared florin, safely challenge him to perform it.
TO CHANGE A FLORIN INTO A PENNY, BACK AGAIN, AND THEN TO PASS THE SAME
INVISIBLY INTO THE POCKET OF THE OWNER.—This is a trick of genuine sleight-of-
hand, and will test your expertness in two or three different passes. Having
beforehand palmed a penny in your right hand, you borrow from one of the
company a florin (or half-crown), requesting the owner to mark it in such
manner that he may be able to identify it. Make him stand up facing you, your
own right side and his left being towards the audience. Taking the marked florin
between the fingers and thumb of the right hand (the back of which, from your
position, will be toward the spectators), you ask him whether he is nervous,
whether he can hold fast, and so on. On receiving satisfactory replies, you state
that you are about to put him to the test, and request him to hold out his right
hand, telling him that you are about to count three, and that at the word “three”
you will drop the florin into his hand, which he is to close tightly upon it. You
accordingly count, “One! two! three!” each time making a motion as of dropping
the florin into his hand, and at the word “three” actually do drop it, when he
closes his hand upon it, as directed; but you are not satisfied. “That won’t do, my
dear sir,” you exclaim; “you are not half quick enough—you allow all the
electric fluid to escape. We’ll try once more, and pray be a little quicker in your
movements. Oblige me with the coin again. Now, then, are you ready?—One!
two!! THREE!!!” giving the words with great energy. As you say “three” you
stamp your foot, and apparently again drop the florin, but really drop the penny
instead, by Change 3. He is sure this time to close his hand very quickly, and,
having no reason to the contrary, naturally believes that it is the florin which he
holds, your previous feint, when you did actually drop the florin, being specially
designed to lead him to that conclusion. You next request him to hold the closed
hand high, that all may see it. This draws the general attention to him, and away
from yourself, and enables you to place in your palm the florin, which was left,
after the change, in the bend of your right thumb. You continue, “You did better
that time, sir. Now, what will you bet me that I cannot take that two-shilling-
piece out of your hand without your knowing it?” Whether he admits or defies
your power, the course of the trick is the same. “Well,” you say at last, “you
seem so determined that I am almost afraid to take the whole of the two-shilling
piece away from you, I think I must be content with one-and-elevenpence. Allow
me to touch your hand with my wand.” You do so, and on opening his hand he
discovers that the two-shilling piece has changed into a penny.
You thank him for his assistance, hand him the penny, and dismiss him to
his seat. Naturally enough, he objects to accept the penny in place of his florin.
You pretend at first not to understand him, but, as if suddenly enlightened, you
exclaim, “Oh, the florin, you want the florin? My dear sir,” indicating the penny,
“that is the florin. At present it is under an electric influence, but you have only
to wait till that goes off (it won’t take more than three weeks or so), when it will
resume its former appearance. You don’t believe me, I see; but I can easily
convince you by discharging the electric fluid, when the change will take place
at once. Observe!” You take the penny between the thumb and second finger of
the left hand (after the manner indicated in Fig. 66), and make Change 4, making
a gentle rubbing movement with the fingers and thumb of the right hand before
you open that hand and disclose the restored florin, at the same time carelessly
dropping your left hand to your side, and letting fall the penny into your pochette
on that side. Bring up the left hand again, showing, but without apparent design,
that it is empty; and still holding the coin in the right hand, make Pass 1, as if
you transferred it to the left hand. Make a motion with the left hand, as if
handing the coin, and say to the owner, “Will you be good enough to examine
the florin, and see that it is the same you marked.” He naturally holds out his
hand for the coin, which he believes to be in your left hand, and which you
pretend to give him; but it has vanished. “Well,” you say, “is it the same florin?”
Looking, probably, rather foolish, he replies that he has not got it. “Not got it!”
you say; “why I have just given it to you. I passed it into your pocket. Look for
yourself.” He forthwith begins to search his pockets. “You are trying the wrong
one,” you say; “this is the pocket.” As if desiring merely to assist his search, you
plunge into any pocket which he has not yet tried your right hand (in the palm of
which the coin was left after the pass), and letting the coin drop to the finger
ends, take it out as if it were already in the pocket, as nine-tenths of the audience
will believe it to have been.
J
This takes it out of the range of his eyes, and prevents his
indulging any desire for a premature examination of the contents.
The marked penny, it will be remembered, remains in your left hand, and the
marked florin on the table. As you go to take up the latter, you transfer the penny
to your right hand, and palm it; then pick up the florin, holding it at the tips of
the fingers. Spread the second handkerchief on the open palm of the left hand.
Bring the florin down smartly upon it, and by the same movement let the penny
fall from the palm on to the handkerchief. The two coins will now be lying
(covered by the right hand) on the handkerchief, a couple of inches apart. Close
the left hand on both coins, and turn the hand over, so that the edges of the
handkerchief hang down. With the right hand grasp the handkerchief five or six
inches below the coins. Take one of these through the handkerchief between the
finger and thumb of the left hand, letting the other fall loose inside the
handkerchief, which you then invite some one to hold in like manner, but in a
horizontal position. (See Fig. 76.) This position is adopted in order that the two
coins may not, by any accidental chink, prematurely disclose the fact that both
are already in the handkerchief.
FIG. 77.
You now announce that you are about to make both coins pass into one
handkerchief. Advancing to the person who holds the first handkerchief, you
request him, still maintaining his hold, to remove his hand four or five inches
below the coin, to give you room to operate. First showing that your hand is
empty, you gently rub the substitute penny through the handkerchief between
your finger and thumb, when, being only wrapped within a fold, it quickly falls
into your hand. No one ever thinks of inquiring at this point whether it is the
marked one or not. Taking it in the left hand, in position for Pass 4, you say to
the person holding the second handkerchief “Having extracted this penny from
the one handkerchief, I will now pass it into the other. I won’t even touch the
handkerchief, but will simply take the coin in my hand, and say, ‘Pass!’ Will you
be good enough, at the word ‘pass,’ to let go of the coin you are holding, but still
keep hold of the handkerchief with the other hand.” Appearing, by Pass 4, to
take the penny in the right hand, you open that hand with a quick motion towards
the handkerchief, saying, “Pass!” The person holding the handkerchief looses his
hold, as directed, when the two coins are heard to chink together, as though the
second coin had just arrived in the handkerchief, and on examination they are, of
course, found to be those marked.
We may here describe another and still neater mode (the invention, we
believe, of M. Robert-Houdin) of apparently wrapping a coin securely in a
handkerchief, though really only covered by an outer fold.
FIG. 78.
Holding the coin upright between the fingers and thumb of the left hand,
throw the handkerchief fairly over it. Having shown that it is fairly covered,
remark, “But perhaps you may fancy I have changed the coin. Allow me to show
you that I have not.” With the right hand, palm upwards, take the coin through
the handkerchief, (as shown in Fig. 77), between the first and second fingers of
that hand. For a moment let go with the left hand (but without removing it from
under the handkerchief). Turn over the right hand towards yourself, and again
seize the coin with the left hand; but this time nip the opposite edge of the coin
to that which it first held, and through the double thickness of the handkerchief.
Remove the right hand from the coin, and with it raise the outer edge of the
handkerchief and show the coin, as in Fig. 78. Then let the edges of the
handkerchief fall. Apparently the coin is underneath, and in the centre of the
handkerchief; but in reality it is outside, lying in a slight fold on the side away
from the spectators.
The above description sounds intricate, but, if carefully followed with the
coin and handkerchief will be found perfectly simple in practice. It is worth
while taking some pains to acquire this sleight, as it is of great value in coin
tricks.
This effect is produced as follows: The coins being in your right hand, you
introduce them with the second, third, and fourth fingers under the edge of the
trouser; then, with the first finger and thumb which are left outside, you nip them
through the cloth, and hold them an instant till you have withdrawn the
remaining fingers, when with a slight shake you let them fall.
The metallic chink on tapping the pockets may be produced in two ways.
One method is to use a hollow metal wand, japanned to match the one you
ordinarily use, and containing throughout its length a loose piece of thick wire,
which, striking against the sides of the tube, exactly imitates the chink of money.
The other mode is to use merely the ordinary wand, allowing the end which you
hold to chink against the money held in the same hand. With a little practice the
effect is equally deceptive as with the special wand.
THE FLYING MONEY.—TO MAKE A COIN PASS INVISIBLY FROM THE ONE HAND TO
THE OTHER, AND FINALLY THROUGH THE TABLE.—Have ready beforehand a florin or
half-crown, with a little wax on one side of it, and take an opportunity of secretly
sticking it, by means of the wax, against the under side of the table (any ordinary
table) with which you intend to perform the trick. Have also a similar coin of
your own palmed in your right hand. Borrow a marked florin from one of the
company, and lay it carelessly upon the table, but in so doing exchange it for the
one previously palmed. You now have the substitute on the table, and the marked
coin palmed in its place. Turn up your sleeves, to show that they have nothing to
do with the trick, and make a few introductory remarks about the extraordinary
power of the mesmeric influence as applied to metallic substances; then, taking
up the coin from the table between the fingers and thumb of the left hand, which
you hold with the palm towards the company, so as to show incidentally that it is
otherwise empty, continue to the following effect:—“Here, ladies and
gentlemen, is an ordinary coin, a mere inert piece of silver. If you take it in your
hand, there it will remain till you lay it down. But let a person possessing the
mesmeric gift only breathe upon it” (you suit the action to the word), “and it is at
once endowed with hearing, sense, and motion, and will fly from hand to hand at
the mere word of command, and that so rapidly, that its flight is absolutely
invisible. See, I take it so” (taking it in the right hand). “One, two, three! Pass!
and it flies back into my left hand again. In order to show that there has been no
substitution, perhaps the owner will kindly verify the mark.” The coin is
examined, and found to be the same.
This illusion is produced as follows:—When you breathe upon the substitute
coin, you naturally turn the left hand palm upwards. In the act of taking that coin
in the right hand, which you do with the hands in the position depicted in Fig.
69, you drop the genuine coin, which was previously palmed in the right hand,
into the left, the position of the hand concealing it from the audience. After a
momentary pause, you close the left hand, and hold it extended about level with
your eyes. At each of the words, “One, two, three,” you make a slight motion of
the right hand towards it, and at the word “Pass,” palm the coin by means of Pass
1, at the same time making a half turn of your body to the left, opening the left
hand, and pointing with the index finger of the right hand to the coin lying
therein. While it is being examined for the mark, you drop the substitute, which
remains palmed in your right hand, into the pochette on that side, and bring up
your hand empty.
Having proceeded thus far, borrow a second florin, but without in this case
suggesting that it should be marked, breathe upon it, and lay it with that first
used upon the table. Now with your right hand take up one of the coins, and by
Pass 1 pretend to transfer it to the left, really retaining it in the palm of the right
hand. Then take up the second coin between the fingers and thumb of the right
hand, and announce that you are about to make the coins, which you now hold in
each hand, come together. Holding your arms well apart, you make a motion
with the left hand as if throwing something towards the right, at the same
moment saying as before, “One, two, three! Pass!” and making the two coins in
the right hand come together with an audible chink. You then open the hand, and
show that the left is empty, and that both of the coins are together in the right
hand.
You continue, “You all think you know how that was done, I dare say. You
imagine, no doubt, that the money was merely thrown from one hand to the other
with extreme rapidity. ‘The quickness of the hand deceives the eye,’ as
Shakspeare (or somebody else) says. I will therefore show you the same
experiment in another form in which you will find that no such solution is
admissible. I will pass the money right through this table, which is, as you see,
pretty solid. The quickness of the hand would not be of much use in this case. I
take one of the coins in the left hand, as before.”
Here, however, you introduce a feint. Taking up the coin in the right hand,
you transfer it to the left, but purposely do it with a pretended awkwardness, and
hold the right hand afterwards rather stiffly, so as to lead the spectators to believe
that you have really retained the coin in the right hand. To do this cleverly will
require considerable practice, but it will by no means be labour lost, as feints of
this kind are of frequent use.
The spectators, delighted to have, as they imagine, caught you tripping, are
sure to exclaim that the coin is still in your right hand. “Surely, ladies and
gentlemen,” you say, with an injured air, “you don’t think that I would avail
myself of such a transparent artifice. See for yourselves!” opening your hands. “I
won’t ask you to apologize, but pray give me a little more credit for the future.
Come; we will have no mistake about it this time.” Take the florin between the
finger and thumb of the left hand, and, by means of the tourniquet or pincette,
appear to transfer it to the right. Pick up the second coin with the left hand, and
place that hand under the table, holding the closed right hand above it. Say
“Pass!”, open the right hand, show it empty, and at the same moment chink the
two florins together in the left hand, and bring them up for inspection.
Looking around you, you continue, “I am afraid you are only half
convinced; some of you look incredulous still. Come, we will try the experiment
once more, and we will see whether you can find me out this time. As before, I
take one coin in each hand.” This time you actually do so. You again pass your
left hand under the table, detaching in its passage the third florin, which you had
previously stuck to the under side of the table, but taking care that the two do not
prematurely jingle together. Then, holding the other florin with the fingers of the
right hand, which should be held palm downwards about a foot above the table,
make Pass 1 with that hand, thus bringing the coin into its palm, and at the same
time chink the other two coins in the left hand, and bring them up for
examination. One of them, in this instance, is a substitute, and therefore, in the
unlikely event of the audience insisting that the trick should be performed with
marked coins, this last act must be omitted.
With a regular conjuring-table, the trick might be made even more
surprising, from the facilities which the servante would afford for getting rid of
and regaining the coin. But even if you habitually use such a table, it is better not
to avail yourself of it for this purpose. The trick is, in any shape, too minute for
stage performance, and in a drawing-room it is apt to draw special attention to
the table, which in the case of a trick-table is a little embarrassing.
TO RUB ONE SIXPENCE INTO THREE.—This is a simple little parlour trick, but
will sometimes occasion great wonderment. Procure three sixpences of the same
issue and privately stick two of them (as directed for the florin in the last trick)
with wax to the under side of a table, at about half an inch from the edge, and
eight or ten inches apart. Announce to the company that you are about to teach
them how to make money. Turn up your sleeves, and take the third sixpence in
your right hand, drawing particular attention to its date and general appearance,
and indirectly to the fact that you have no other coin concealed in your hands.
Turning back the table-cover, rub the sixpence with the ball of the thumb
backwards and forwards on the edge of the table. In this position your fingers
will naturally be below the edge. After rubbing for a few seconds, say, “It is
nearly done, for the sixpence is getting hot;” and, after rubbing a moment or two
longer with increased rapidity, draw the hand away sharply, carrying away with
it one of the concealed sixpences, which you exhibit as produced by the friction.
Pocketing the waxed sixpence, and again showing that you have but one coin in
your hands, repeat the operation with the remaining sixpence.
FIG. 80.
You begin by borrowing a sixpence (requesting the owner to mark it) and a
handkerchief. You spread the handkerchief flat on the table, with its sides square
with those of the table. Then standing behind your table, you place ostensibly the
borrowed sixpence, but really your own (with the waxed side up), in the centre
of the handkerchief, then fold over the corners, one by one, beginning with one
of those nearest to yourself, in such manner that each shall overlap the sixpence
by about an inch, gently pressing each corner as you fold it down. Ask some one
to come forward, and ascertain by feeling the handkerchief, that the sixpence is
really there. Then offer the knife for inspection, and after all are satisfied that it
is without preparation, hand the plate of oranges to be examined in like manner,
requesting the audience to choose one for the purpose of the trick. While they do
so, your fingers go in search of the little ball of wax, and press it against one side
of the marked sixpence, which still remains in your hand. Press the sixpence
against one side of the blade of the knife, at about the middle of its length, and
lay the knife on the table, the sixpence adhering to its under side. Then taking
hold of the handkerchief, as represented in Fig. 81, and blowing on its centre,
draw the hands quickly apart. The two corners of the side next to you will thus
be brought one into each hand, and adhering to one of them (the one which you
first folded down), will be the substitute sixpence, which will thus appear to
have vanished. Hand the handkerchief for examination, that it may be seen that
the coin has really disappeared, and meanwhile get rid of the substitute into your
pocket or elsewhere. Turn up your sleeves, and show that your hands are empty.
Then take up the knife (taking care to keep the side on which the sixpence is
away from the spectators), and cut open the orange. Cut about half way down
with the point, and then finish the cut by drawing the whole length of the blade
through the opening thus made. This will detach the sixpence, which will fall
between the two halves of the orange, as though it had all along been contained
therein. Wipe it with the handkerchief to remove the juice of the orange from it,
and at the same time rub off any wax which may still adhere to it, and hand it for
identification.
The coin may, if preferred, be found in an egg instead of the orange, the
audience being invited to choose which shall be used. This trick is sometimes
performed by the aid of a knife made for this special purpose, with a small
spring lever, after the manner of a flute key, soldered against one side of the
blade. The coin is held in position by the short arm of the lever, which answers
the same purpose as the wax in the form of the trick above described. The
disadvantage of using this, which is known as the “fruit knife,” is, that you
cannot hand the knife for examination, and this, to our mind, spoils the trick.
THE MAGIC COVER AND VANISHING HALFPENCE.—This is a very old trick, but
is still very popular with a juvenile audience. The principal apparatus consists of
half-a-dozen halfpence, of which the centre portion has been cut out, leaving
each a mere rim of metal. Upon these is placed a complete halfpenny, and the
whole are connected together by a rivet running through the whole thickness of
the pile. When placed upon the table, with the complete coin upwards, they have
all the appearance of a pile of ordinary halfpence, the slight lateral play allowed
by the rivet aiding the illusion. A little leather cap (shaped something like a fez,
with a little button on the top, and of such a size as to fit loosely over the pile of
halfpence), with an ordinary die, such as backgammon is played with, complete
the necessary requirements.
You begin by drawing attention to your magic cap and die, late the property
of the king of the fairies. In order to exhibit their mystic powers, you request the
loan of half-a-dozen halfpence (the number must, of course, correspond with that
of your own pile), and, while they are being collected, you take the opportunity
to slip the little cap over your prepared pile, which should be placed ready to
hand behind some small object on the table, so as to be unseen by the spectators.
Pressing the side of the cap, you lift the pile with it, and place the whole together
in full view, in close proximity to the die. The required halfpence having been
now collected, you beg all to observe that you place the leather cap (which the
spectators suppose to be empty) fairly over the die. Taking the genuine coins in
either hand, you pretend, by one or other of the passes, to transfer them to the
other. Holding the hand which is now supposed to contain the coins immediately
above the cap, you announce that they will at your command pass under the cap,
from which the die will disappear to make room for them. Saying, “One, two,
three! Pass!” you open your hand, and show that the coins have vanished. If you
use a regular table, you may place them on the servante, and show both hands
empty; and then, lifting up the cap by the button, you show the hollow pile,
covering the die, and appearing to be the genuine coins. Once more covering the
pile with the cap, you announce that you will again extract the coins, and replace
the die; and to make the trick still more extraordinary, you will this time pass the
coins right through the table. Placing the hand which holds the genuine coins
beneath the table, and once more saying, “One, two, three! Pass!” you chink the
coins, and, bringing them up, place them on the table. Again picking up the cap,
but this time pressing its sides, you lift up the hollow pile with it, and disclose
the die. Quickly transfer the cap, without the pile, to the other hand, and place it
on the table, to bear the brunt of examination, while you get rid of the prepared
coins.
The trick may be varied in many ways, according to the ingenuity of the
performer, but it belongs at best to the “juvenile” school of conjuring, and we
have not thought it worth while to waste space in elaborating it.
The third and last mode of performing the trick is by means of a special
glass, with a hole drilled through its foot. This is placed on a suitable pedestal
(see Fig. 82), in which works up and down a steel needle, forming the upper
portion of a kind of loose piston, a. The top of the pedestal is covered with green
baize, allowing free passage to the needle, which when pushed upward strikes
the coin from below, with much the same effect as the thread pulling it from
above. This pedestal is only available with one of the mechanical tables which
will be described in connection with “stage tricks.” Such tables contain, among
other contrivances, what are called “pistons,” being small metal rods, which, by
pulling a string, are made to rise vertically an inch or so above the surface of the
table, sinking down again as soon as the cord is released. The pedestal is placed
immediately above one of these, whose movement is in turn communicated to
the loose piston in the pedestal, and thence to the coin.
It only remains to be stated how the necessary knowledge for the answers is
communicated to the person who controls the movements of the piece. With
respect to chosen cards, the cards are either indicated by the wording of the
questions, or are agreed on beforehand, the performer taking care to “force” the
right ones. The assistant is enabled to predict the throw of the dice by the simple
expedient of using a small boxwood vase, in which there are two compartments,
in one of which a pair of dice (apparently the same which have just been
dropped in haphazard from the top) have been arranged beforehand for the
purpose of the trick. The ordinary fortune-telling questions, as to “Which young
lady will be married first?” “Which spends most time at her looking-glass?”
“Which has most sweethearts?” and so on, are either answered in accordance
with previous arrangement, or according to the fancy of the moment. Of course,
where a question of this kind is asked, the performer takes care to follow up the
question by designating a number of persons in succession, so that a mere “Yes”
or “No” may be a sufficient answer.
* * * * *
We shall next proceed to describe three or four pieces of apparatus designed
to cause a piece of money to disappear, and therefore well adapted for
commencing a coin trick. There are other appliances, more particularly adapted
for re-producing a coin. Any of these will be available for the conclusion; the
particular combination being at the option of the performer.
THE VANISHING HALFPENNY BOX. TO MAKE A HALFPENNY VANISH FROM THE BOX,
AND AGAIN RETURN TO IT.—This is a little round box, made of boxwood, about an
inch deep, and of such diameter that its internal measurement exactly admits a
halfpenny; in other words, that if a halfpenny be placed in it, it exactly covers
the bottom. The top and bottom of the box are lined with some bright-coloured
paper, and with it is used a halfpenny, one side of which is covered with similar
paper. If therefore this halfpenny be placed in the box with the papered side
upwards, the halfpenny is naturally taken to be the bottom of the box, which thus
appears empty.
The performer begins by tendering the box for examination, keeping the
while the prepared halfpenny palmed in his right hand. When the box has been
sufficiently inspected, he borrows a halfpenny from the audience, and secretly
exchanges it for his own, taking care that the spectators only see the unprepared
side of the latter. He then announces that this box, apparently so simple, has the
singular faculty of causing the disappearance of any money entrusted to its
keeping, as they will perceive when he places in it the halfpenny he has just
borrowed. He places the halfpenny in it accordingly, holding it with the
uncovered side towards the audience, but letting it so fall that it shall lie in the
box with the papered side upwards. He now puts the lid on, and shakes the box
up and down, to show by the rattling of the coin that it is still there. He desires
the audience to say when they would wish the coin to leave the box, and on
receiving their commands, touches the lid with his wand, and again shakes the
box. This time, however, he shakes it laterally, and as in this direction the coin
exactly fits the box, it has no room to rattle, and is therefore silent. He boldly
asserts that the coin is gone, and opening the box, shows the inside to the
spectators, who seeing, as they suppose, the papered bottom, are constrained to
admit that it is empty. Once again he closes the box, and touches it with the
wand, announcing that he will compel the coin to return. Shaking the box up and
down, it is again heard to rattle. Taking off the lid, he turns the box upside down,
and drops the coin into his hand. This brings it out with the papered side
undermost, and so hidden. Again handing the box to be examined, he exchanges
the prepared halfpenny for the one which was lent to him, and which he now
returns to the owner with thanks.
A variation may be introduced by causing the borrowed halfpenny to re-
appear in some other apparatus, after it has vanished from the box in question.
The borrowed coin may, if desired, be marked, in order to heighten the effect of
the trick.
THE RATTLE BOX. TO MAKE A COIN VANISH FROM THE BOX, THOUGH STILL HEARD
TO RATTLE WITHIN IT.—This is a useful and ingenious little piece of apparatus. It is
an oblong mahogany box, with a sliding lid. Its dimensions are about three
inches by two, and one inch in depth externally; internally, it is only half that
depth, and the end piece of the lid is of such a depth as to be flush with the
bottom. Thus, if a coin be placed in the box, and the box held in such a position
as to slant downwards to the opening, the coin will of its own weight fall into the
hand that holds the box (see Fig. 83), thus giving the performer possession of it
without the knowledge of the audience.
FIG. 83.
Between the true and the false bottom of the box is placed a slip of zinc,
which, when the box is shaken laterally, moves from side to side, exactly
simulating the sound of a coin shaken in the box. In its normal condition,
however, this slip of zinc is held fast (and therefore kept silent) by the action of a
spring also placed between the two bottoms, but is released for the time being by
a pressure on a particular part of the outer bottom (the part in contact with the
fingers in Fig. 83). A casual inspection of the box suggests nothing, save,
perhaps, that its internal space is somewhat shallow in proportion to its external
measurement.
The mode of using it is as follows: The performer invites any person to
mark a coin, and to place it in the box, which he holds for that purpose as
represented in the figure; and the coin is thus no sooner placed in the box than it
falls into his hand. Transferring the box to the other hand, and pressing the
spring, he shakes it to show by the sound that the coin is still there; then, leaving
the box on the table, he prepares for the next phase of the trick by secretly
placing the coin, which the audience believe to be still in the box, in any other
apparatus in which he desires it to be found, or makes such other disposition of it
as may be necessary. Having done this, and having indicated the direction in
which he is about to command the coin to pass, he once more shakes the box to
show that it is still in statu quo. Then, with the mystic word “Pass!” he opens the
box, which is found empty, and shows that his commands have been obeyed.
FIG. 84. FIG. 85.
The performer begins by handing first the cabinet and then the drawer for
examination. Then, placing the cabinet on the palm of his hand, he invites any
one of the audience to deposit any small article, a coin, a ring, a watch, etc., in
the drawer, and to replace the drawer in the cabinet. As soon as the drawer is
closed, the article drops through into his hand. Taking hold of the cabinet with
the other hand (lifting it by the top only, and with the very tips of his fingers, so
as to preclude all apparent possibility of deception), he places it on the table or
elsewhere, in full view. Having thus gained possession of the borrowed article,
he concludes the trick by reproducing it in any manner he thinks proper.
* * * * *
We have thus far discussed pieces of apparatus more especially designed to
cause the disappearance of a coin, and thus adapted for use in the first stage of a
trick. We shall next consider such as are intended to reproduce, under more or
less surprising circumstances, the coin thus got rid of, such reproduction forming
the second stage, or dénouement.
The casket may be used in many tricks with good effect. In combination
with the magic glass, last above described, it is employed as follows:—The four
coins which have been substituted for the genuine ones are placed, in sight of all,
in the magic casket, which is then closed, and handed to one of the audience to
hold. The performer then states that he is about to order the four coins now in the
casket to pass one by one into the glass upon the table. “One!” he exclaims. A
coin is heard to fall into the glass. The person who holds the casket is requested
to open it; three coins only are left. It is again closed, and the performer says,
“Two!” Again the chink of the falling coin is heard, and another coin is found to
have disappeared from the casket. The operation is repeated till all have
vanished, and the operator pours forth from the glass four coins, which, on
examination, are found to be the same which were originally borrowed, and
which the audience believe that they saw placed in the casket.
The casket may also be used with capital effect in conjunction with
THE HALF-CROWN (OR FLORIN) WAND.—This is a wand, apparently of ebony,
but really of brass, japanned black. It is about twelve inches in length, and five-
eighths of an inch in diameter. On one side of it, and so placed as to be just under
the ball of the thumb when the wand is held in the hand, is a little stud, which
moves backwards and forwards for a short distance (about an inch and a
quarter), like the sliding ring of a pencil-case. When this stud is pressed forward,
a half-crown or florin, as the case may be, appears on the opposite end of the
wand (see Fig. 93), retiring within it when the stud is again drawn back. The
half-crown is a genuine one, but is cut into three portions, as indicated in Fig. 94,
which represents a transverse section of it at right angles to the actual cuts. Each
of the three segments is attached to a piece of watch-spring, and from the
direction of the cuts it is obvious that, when these pieces of watch-spring are
pressed together (as they naturally are when drawn back into the wand), c will be
drawn behind, and a in front of b. (See Fig. 95.)
FIG. 95. FIG. 93. FIG. 94.
The money-slide is a flat tin tube, about eight inches in length, an inch and a
quarter in width, and of just such depth as to allow a half-crown or florin
(whichever coin may be used) to slip through it freely, edgeways. It is open at
the top, but is closed at the lower end by a lever, acting like the lever of a shot-
pouch. (See Fig. 96, which shows the external appearance of the tube, and Fig.
97, which represents, on a somewhat larger scale, a section of its essential
portion.) The normal position of the lever (which works on a pivot, a) is as
shown in Fig. 97, being maintained in that position by a small spring. Under
such circumstances, the passage of the tube is barred by the pin d (which works
through a small hole in the face of the tube); but if ac, the longer arm of the
lever, be pressed down, the pin d is withdrawn, but the extreme lower end of the
tube is for the moment barred by the bent end of ac. The pressure being
withdrawn, the lever returns to its former condition. When required for use, four
or five half-crowns are dropped into the tube from the upper end, and the tube is
fastened, by a hook affixed to it for that purpose, inside the waistcoat of the
performer, so that its lower end hangs just above the waistband, the lever side of
the tube being next the body. If the tube be lightly pressed through the waistcoat,
the longer arm of the lever is thereby pressed down. The pin d is lifted, and the
row of half-crowns slide down to the bottom of the tube, where, however, they
are arrested by the bent end of ac. As soon as the pressure is removed, the lever
returns to its position. The mouth of the tube is left open, and the first of the
half-crowns drops out, and would be followed by the others, but the pin, d,
which at the same moment returns to its position across the tube, stops their
further progress. Thus each time the lever is pressed and again released, one
half-crown, and one only, drops out at the mouth of the tube.
The use of this appliance in the trick we have just described will be obvious.
The performer, having turned up his sleeves to prove that they have no part in
the matter, shows that his right hand is absolutely empty. Continuing his
observations, his hand rests for a moment with a careless gesture against his
waistcoat, the ball of the wrist being above and the fingers below the waistband.
A momentary pressure causes a half-crown to fall into his hand. This he palms,
and in due course proceeds to catch, as already described.
As the capacity of the slide is limited, and the same gestures frequently
repeated would be likely to excite suspicion, it is best to begin the trick in the
ordinary manner, and after having produced three or four coins in this way, to
overhear, or pretend to overhear, a suggestion that the coin is all the while in
your hand. Ostentatiously throwing the coin with which you have so far worked,
into the hat, you draw special attention (not in words, but by gesture) to your
empty hand (the left hand is never suspected), and then have recourse to the
slide. You throw the coin thus obtained into the hat, and again show your hand
empty. You produce another coin from the slide, and make this serve you for the
next two or three catches, and so on, as circumstances may dictate.
The money magically caught as above may be used for the trick of the
Multiplication of Money, described at page 176, the two forming a natural and
effective sequence.
A closer inspection of the salver (which the performer takes good care not to
permit) would reveal the fact, that though apparently consisting, like any other,
of only one thickness of metal, it is in reality made double, allowing sufficient
space between its upper and under surface for the concealment of any number of
coins laid singly. The centre portion of the upper surface, though apparently of a
piece with the rest, is in reality moveable, though pressed upwards and kept in its
place by the action of four small springs. When the performer apparently picks
up a coin (which he takes care shall be on this centre portion), he presses smartly
upon it, at the same moment drawing it sharply towards the outer rim. The
moveable portion of the salver yielding to the pressure, the effect is as shown in
the figure (Fig. 98), and the coin is shot under the outer rim, between the upper
and under surface of the salver, the moveable portion rising again to its place as
soon as the momentary pressure is removed. The tray is japanned in such manner
that the circular lines of the pattern correspond with the outline of the moveable
portion, and will bear any amount of mere ocular inspection, so long as it is not
permitted to be handled.
The vanishing salver may be introduced with good effect in many tricks, as,
for instance, that of the Multiplication of Money, above referred to, the coins to
be magically added being placed upon the salver, whence they are taken off one
by one, and commanded to pass into the hands of the person who holds the
money. It may also be advantageously used in conjunction with the glass
described at page 201, each coin, as it vanishes from the salver, being heard to
drop into the glass.
THE TRAY OF PROTEUS.—The tray to which the inventors (Messrs. Hiam &
Lane) have given the above high-sounding title, is the latest, and not the least
ingenious, of the series of magical trays.
FIG. 99.
FIG. 100.
The tray in question will not only change, but add, subtract, or vanish coins,
under the very eyes of the spectators. In form it is an oblong octagon, measuring
eight inches by six, and standing about three-quarters of an inch high. (See Fig.
99.) It is divided across the centre, and one half of the centre portion is moveable
in the same manner as in the case of the tray last described, save that in this
instance the depth between the upper and under surface of the tray being greater,
this moveable portion is depressible to a proportionately greater depth. The
opposite or fixed side of the tray is divided horizontally (see Fig. 100,
representing a longitudinal section) into two levels or platforms, a and b, the
lower, b, having a raised edge. Where the tray is to be used for the purpose of
“changing,” the coins to be substituted are placed in a row on the upper platform,
a. The genuine coins are placed by the performer, holding the tray as indicated in
Fig. 99, on the moveable flap, c. Slightly lowering the opposite end of the tray,
he presses the button d, thus sloping the flap c, and the coins naturally slide into
b. Still keeping the flap open, he now tilts up the opposite end of the tray. The
genuine coins cannot return, by reason of the raised edge of b; but the substitute
coins in their turn slide out upon c, which is then allowed to return to its original
position. The necessary movement, though comparatively tedious in description,
is in skilful hands so rapid in execution that, where coins of the same kind are
substituted—e.g., half-crowns for half-crowns—the most acute spectator cannot
detect that any change has taken place. A most startling effect is produced by
substituting coins of a different kind, as pence for half-crowns, the coins
appearing to be transformed by a mere shake into a different metal. The change
involving a double process—viz., the disappearance of certain coins and the
appearance of others—it is obvious that the tray will be equally available for
either process singly. Thus coins placed upon the tray may be made to instantly
vanish, or, by reversing the process, coins may be made to appear where there
was nothing a moment previously. In like manner, a given number of coins may
be increased to a larger, or decreased (in this case really changed) to a smaller
number.
This tray has not, like that last described, any additional flat tube beneath the
tray, but one end of a and b is closed by a little slide, hidden beneath the edge of
the tray, to allow of the money therein being extracted when necessary.
CHAPTER IX.
FIG. 103.
FIG. 104.
The manner of using the box is as follows: A borrowed watch is placed in it,
the owner being requested, in order to ensure its safe keeping, himself to lock it
up and keep the key. The performer places the box on his table, in full view, but
avails himself of the moment during which his back is turned to the audience to
extract the watch, as shown in Fig. 103, and to again close the secret opening.
Having thus gained possession of the watch, he can conclude the trick by
causing it to re-appear in the snuff-box vase, or in any other way that he thinks
proper.
There is an improved watch box, the invention of the late M. Robert-
Houdin, which contains, concealed in the lid, a mechanical arrangement
producing a ticking sound, which may be set in motion and again stopped at the
pleasure of the performer. By using this box, the watch may be heard apparently
ticking inside until the very moment when it is commanded by the operator to
pass to some other apparatus.
The secret lies in the use of an ingenious little piece of apparatus, which is
placed in the waistcoat pocket of the performer, and from which the sound
proceeds. This apparatus, which is represented in Fig. 105, consists of a short
brass cylinder (about an inch and a quarter in depth, and two inches in diameter),
containing a small clock-bell, with the necessary striking mechanism, which is
wound up beforehand with a key, after the manner of a watch. This mechanism
is set in motion by pressure on the button a, the hammer continuing to strike as
long as the pressure is continued, but ceasing as soon as the pressure is removed.
The cylinder, which is perforated all round, in order to give free passage to the
sound, is placed upright in the left pocket of the performer’s waistcoat, which
should be just so tight around the ribs that the mere expansion of the chest shall
cause the necessary pressure against the button a, the pressure ceasing when the
chest is again contracted. (The placing of a playing-card in the pocket for a to
rest against will be found to facilitate the arrangement.) This is the whole of the
secret. In working the trick the performer has only to take care to hold the watch
in a tolerably straight line between the pocket and the audience, when, the line in
which the sound travels being the same as if it actually came from the watch, it
will be almost impossible to detect the deception.
Some performers, instead of placing the apparatus in the pocket, as above
described, hold it in the right hand (the wand being held in the same hand) and
cause it to strike by the pressure of the fingers. This is in one sense less effective,
inasmuch as you cannot show the hands empty, but it is a very much more easy
and certain method, so far as the striking is concerned.
The striking apparatus is generally made to give from fifty to sixty strokes.
The performer must be careful not to prolong the trick until the whole are
expended, or the unexpected silence of the watch may place him in an
embarrassing position.
It is hardly necessary to remark that the drawn cards are forced. Where the
watch is made to disclose the numbers thrown by a pair of dice, the dice are
either loaded, and thus bound to indicate certain given numbers, or a box is used
in which a pair of previously-arranged dice take the place, to the eyes of the
audience, of the pair just thrown.
CHAPTER X.
THE FLYING RING.—The majority of ring tricks depend upon the substitution at
some period of the trick of a dummy ring for a borrowed one, which must be so
nearly alike as not to be distinguishable by the eye of the spectator. This
desideratum is secured by using wedding-rings, which, being always made plain,
are all sufficiently alike for this purpose. You may account for your preference of
wedding-rings by remarking that they are found to be imbued with a mesmeric
virtue which renders them peculiarly suitable for magical experiments; or give
any other reason, however absurd, so long as it is sufficiently remote from the
true one. As, however, many ladies have a sort of superstitious objection to
remove their wedding-rings, even for a temporary purpose, it will be well to
provide yourself with an extra one of your own, so as to meet a possible failure
in borrowing.
There is a little appliance, exceedingly simple in its character, which may be
used with advantage in many ring tricks. It consists of a plain gold or gilt ring,
attached to a short piece of white or grey sewing-silk. This again is attached to a
piece of cord elastic, fastened to the inside of the coat-sleeve of the performer, in
such manner that, when the arm is allowed to hang down, the ring falls about a
couple of inches short of the edge of the cuff. Some, in place of the elastic, use a
watch barrel, attached in like manner; but the cheaper apparatus, if properly
arranged, is equally effective. It is obvious that if a ring so prepared be taken in
the fingers of the hand to whose sleeve it is attached, it will, on being released,
instantly fly up the sleeve. This renders it a useful auxiliary in any trick in which
the sudden disappearance of such a ring is an element, and a little ingenuity will
discover numerous modes of making it so available.
One of the simplest modes of using it is as follows: Producing a small piece
of paper, to which you direct particular attention, you state that a wedding-ring
wrapped up therein cannot be again extracted without your permission. A
wedding-ring is borrowed in order to test your assertion, and you meanwhile get
in readiness the flying ring, which is attached, we will suppose, to your left
sleeve. Receiving the borrowed ring in your right hand, you apparently transfer it
to the other hand (really palming it between the second and third fingers, and at
the same moment exhibiting your own ring), and immediately afterwards drop
the borrowed ring into the pochette on that side. You must take care so to stand
that the back of your left hand may be towards the spectators, that the thread,
lying along the inside of your hand, may not be seen. Spreading the paper on the
table, and placing the ring upon it, you fold the paper over it, beginning with the
side away from you, and pressing it so as to show the shape of the ring through
it. As you fold down a second angle of the paper you release the ring, which
forthwith flies up your sleeve. You continue to fold the paper, and repeating your
assertion that no one can take the ring out without your permission, hand it to a
spectator, in order that he may make the attempt. On opening the paper he finds
that you were very safe in asserting that he could not take the ring out of it,
inasmuch as the ring is no longer in it.
Having gained possession of the borrowed ring, you may reproduce it in a
variety of different ways, according to your own fancy and invention. For
instance, you may, retiring for a moment, bring forward the “snuff-box vase”
described at page 217, meanwhile wrapping the ring in a piece of paper similar
to that you have already used, and placing it in one of the boxes contained in the
vase. Bringing the vase forward to the audience, you open it in such manner as
to exhibit the other box, in which, after it has been duly examined, you request
one of the audience to place the empty paper. Closing the vase, and placing it on
the table, you fire your pistol at it, or merely touch it with your wand, and order
the ring to return to the paper. You now open the vase at the compartment
containing the first box. Drawing particular attention to the fact that you have
not even touched the box, you again offer it for inspection. The folded paper,
which the audience take to be the same, is duly found therein, and, on being
opened, is shown to contain the borrowed ring.
A similar effect, on a smaller scale, may be produced by privately placing
the paper containing the ring in the inner compartment of the “plug-box”
(described at page 192), and requesting one of the audience to place the original
folded paper in the outer compartment.
TO PASS A RING FROM THE ONE HAND TO EITHER FINGER OF THE OTHER HAND.—
This is a very old and simple trick, but it has puzzled many, and comes in
appropriately in this place, as affording another illustration of the use of the
“flying ring.” The only additional preparation consists of a little hook, such as is
used to fasten ladies’ dresses, sewn to the trouser of the performer just level with
the fingers of his right hand when hanging by his side, but a little behind the
thigh, so as to be covered by the coat-tail. Borrowing a wedding-ring, the
performer receives it in his right hand, immediately transferring it in appearance
(as in the last trick) to his left hand. Showing in place of it the flying ring, which
is already in his left hand, he drops the right hand to his side, and slips the
borrowed ring on the little hook. Then remarking, “You all see this ring, which I
have just borrowed. I will make it invisibly pass to my right hand, and on to
whichever finger of that hand you may please to select.” Here he waves his right
hand with an indicative gesture, thus indirectly showing that he has nothing
therein, and again lets the hand fall carelessly by his side. As soon as the finger
is chosen, he slips the borrowed ring upon the end of that particular finger,
immediately closing the hand so as to conceal it, and holds out the hand at arm’s
length in front of him. Then saying, “One, two, three! Pass!” he releases the
flying ring, and, opening both hands, shows that the left is empty, and that the
borrowed ring has passed to the selected finger of the right hand.
The hook may, if preferred, be dispensed with, the ring being simply
dropped into the pochette on the right side, and again taken from thence when
required.
TO PASS A RING THROUGH THE TABLE.—This also is a juvenile trick, but a very
good one. The necessary apparatus consists of an ordinary glass tumbler, and a
handkerchief to the middle of which is attached, by means of a piece of sewing-
silk about four inches in length, a substitute ring of your own. Borrowing a ring
from one of the company, you announce that it will at your command pass
through the table; but as the process, being magical, is necessarily invisible, you
must first cover it over. Holding the handkerchief by two of the corners, you
carelessly shake it out (taking care to keep the side on which is the suspended
ring towards yourself), and wrapping in it apparently the borrowed, but really the
suspended ring, you hand it to one of the company, requesting him to grasp the
ring through the handkerchief, and to hold it securely.
A word of caution may here be given, which will be found more or less
applicable to all magical performances. Have the room in which you perform as
brilliantly lighted as you please, but take care so to arrange the lights, or so to
place yourself, that all the lights may be in front of you, and none behind you.
The trick we are now describing affords a practical illustration of the necessity
for this. If you have any light behind you, the handkerchief, as you shake it to
show that it is not prepared, will appear semi-transparent, and the spectators will
be able to see the suspended ring dangling behind it. For a similar reason, you
should always endeavour to have a dark background for your performances, as
any thread, or the like, which you may have occasion to secretly use will then be
invisible at a short distance, while against a light background—e.g., a muslin
curtain or white wall-paper—it would be instantly noticeable.
But to return to our trick: we left one of the spectators tightly holding the
suspended ring, covered by the folds of the handkerchief. Your next step is to
request the audience to choose at what particular spot in the table the ring shall
pass through it. When they have made the selection, you place the tumbler upon
the spot chosen, and request the person having charge of the ring to hold his
hand immediately over the glass, around which you drape the folds of the
handkerchief. “Now,” you say, “will you be kind enough, sir, to drop the ring in
the glass.” He lets go, and the ring falls with an audible “ting” into the glass.
“Are you all satisfied,” you ask, “that the ring is now in the glass?” The reply
will generally be in the affirmative; but, if any one is sceptical, you invite him to
shake the glass, still covered by the handkerchief, when the ring is heard to rattle
within it.
Your next step is to borrow a hat, which you take in the hand which still
retains the genuine ring, holding it in such manner that the tips of the fingers are
just inside the hat, the ring being concealed beneath them. In this condition you
can freely exhibit the inside of the hat, which is seen to be perfectly empty. You
now place the hat under the table, mouth upwards, relaxing as you do so the
pressure of the fingers, and allowing the ring to slide gently down into the
crown. Leaving the hat under the table, which should be so placed that the
spectators cannot, as they stand or sit, see quite into the crown, you take hold of
the extreme edge of the handkerchief, and saying, “One, two, three! Pass!” jerk
it away, and request some one to pick up the hat, and return the borrowed ring to
the owner.
We have given the trick in its simplest form, but it is obvious that it is
capable of any amount of variation as regards the circumstances under which the
vanished ring is again found. The “plug-box” (page 192) or the “nest of boxes”
(page 197) may be here made available, the performer placing the ring where it
is to be afterwards found, during his momentary absence in search of the
necessary apparatus.
THE MAGIC BALL AND RINGS.—This is a recent improvement on the trick last
described. The performer borrows three rings, which in this instance, as the trick
does not depend upon a substitution, may be of any pattern. They should not,
however, be too large, for which reason ladies’ rings are preferable. These he
places, or requests the owners to place, in the “Davenport cabinet” (see page
195), the “watch-box” (see page 219), or any other apparatus which will enable
him secretly to get possession of them. He then brings in and hands for
inspection an ebony ball, an inch and a half to two inches in diameter (through
which is bored a hole of three-eighths of an inch in diameter), and a brass rod
about two feet in length, with a knob at each end, and of such a thickness as to
pass freely through the ball. Both are closely scrutinized, and admitted to be fair
and solid. In sight of all he unscrews one of the knobs, and places the ball upon
the rod, throwing a handkerchief over it, and requesting two of the audience to
hold the ends. Passing his hand under the handkerchief, he orders the ball to drop
into his hand, when his command is instantly obeyed. He next orders the rings to
pass from the cabinet, and to take the place of the ball on the brass rod. On
removing the handkerchief, the rings are seen on the rod, and the cabinet, on
examination, is found empty.
FIG. 106.
The secret consists in the use of two balls, one of which (that handed round
for inspection) has no speciality. The other is divided into two parts, the section
being vertically through the bore. (See Fig. 106.) These two parts fit closely
together, and being (as is also the solid ball) carved in concentric circles parallel
to the opening, the division is not readily noticeable. The two halves, a and b,
are hollowed out to contain the rings, each having three slots or mortices cut at
right angles to the direction of the hole through the ball. When the performer
retires to fetch the ball and rod, he places the borrowed rings in these slots.
When the two halves of the ball are brought together, the rings will encircle the
hole through the centre, and the rod, when passed through the ball, will pass
through the rings also. The performer places the trick ball, thus prepared, under
his waistband, or in one of his pochettes, and, returning, hands for inspection the
brass rod and the solid ball. While these are being examined, he palms the trick
ball, and in passing over the rod apparently the ball which has just been
examined, adroitly substitutes that which contains the rings. After having thrown
the handkerchief over the rod, he passes under it his hand, still containing the
solid ball. It is an easy matter to pull asunder the hollow ball, and this in turn is
palmed, and the solid ball passed to the end of the fingers, before the performer,
again uncovering his hand, which he brings out palm downward, carelessly
throws down the solid ball, as being that which he has just taken off the rod. This
is the only part of the trick which requires any special dexterity, and any
difficulty which may be at first found will quickly disappear with a little
practice. When the ball comes apart, the rings are, of course, left on the rod.
A further improvement may be made in the trick by using a sword with a
rapier blade in place of the brass rod. The trick is not only more effective in
appearance, as the sword appears to cut through the ball, but the tapering shape
of the blade makes the trick much easier to perform, as you have only to draw
the ball down towards the hilt, when the swell of the blade will force the two
halves of the ball apart, leaving them naturally in your hand. It is best in this case
simultaneously to let the solid ball drop from your palm to the floor. This draws
all eyes downwards, and gives you ample opportunity to drop the halves of the
trick ball into your secret pocket. In this form of the trick you, of course, hold
the sword yourself in the ordinary manner, and you may, if you prefer it,
dispense with the handkerchief, using your hand only to mask the operation, at
once stepping forward, as the ball drops to the ground, and saying, “Will the
owners be kind enough to identify their rings?”
THE MAGIC ROSE.—This little apparatus affords the means for a graceful
termination of a ring trick. A ring having been made to disappear in any of the
modes before described, the operator, retiring for a moment, returns with a rose-
bud in his hand. Advancing to the owner of the ring, he requests her to breathe
on the flower. As she does so, the bud is seen slowly to open, and in the centre of
the new-blown flower is found the missing article.
The idea of the flower, warmed into bloom under a fair lady’s breath, is so
poetical that it seems quite a pity to be obliged to confess that the rose is an
artificial one, made chiefly of tin, and that its petals, normally held open by the
action of a spring, are, when the flower is first brought on, kept closed by a
sliding ring or collar upon the stalk, again re-opening as this collar is drawn back
by the magician’s fingers.
CHAPTER XI.
THE HANDKERCHIEF THAT WILL NOT BURN.—This may be used either separately
or in conjunction with the foregoing. The performer, taking the handkerchief,
asks if it will burn. The owner naturally answers that she has no doubt it will.
“Suppose we try,” says the performer; and taking the handkerchief by two of its
corners, he draws it three or four times obliquely upwards across the flame of a
lighted candle, without its receiving the slightest injury.
There is really no mystery whatever about this, although, to those who have
never tried it, it appears very surprising, and the spectators are generally
persuaded that you have somehow substituted another handkerchief, made
incombustible by chemical means. The performer has only to take care not to
allow the handkerchief to rest motionless while in contact with the flame. In the
act of drawing the handkerchief over the candle, the contact of any given part
with the flame is so momentary, that it is barely warmed in its passage. You
must, however, take care not to attempt this trick with a handkerchief which has
been scented, as any remains of spirit about it would cause it to ignite instantly,
and place you in a rather awkward position.
Where a substitute handkerchief has to be burnt in the course of a trick, it is
by no means a bad plan to exhibit with the substitute (which the audience take to
be the original) this phenomenon of supposed incombustibility, and appearing to
grow careless from repeated success, at last to allow the handkerchief to catch
fire. If you can by such means induce the audience to believe, for the time being,
that the burning was an accident, you will the more astonish them by the
subsequent restoration.
THE VANISHING KNOTS.—For this trick you must use a silk handkerchief.
Twisting it rope-fashion, and grasping it by the middle with both hands, you
request one of the spectators to tie the two ends together. He does so, but you tell
him that he has not tied them half tight enough, and you yourself pull them still
tighter. A second and a third knot are made in the same way, the handkerchief
being drawn tighter by yourself after each knot is made. Finally, taking the
handkerchief, and covering the knots with the loose part, you hand it to some
one to hold. Breathing on it, you request him to shake out the handkerchief,
when all the knots are found to have disappeared.
When the performer apparently tightens the knot, he in reality only strains
one end of the handkerchief, grasping it above and below the knot. This pulls
that end of the handkerchief out of its twisted condition in the knot into a straight
line, round which the other end of the handkerchief remains twisted; in other
words, converts the knot into a slip-knot. After each successive knot he still
straightens this same end of the handkerchief. This end, being thus made
straight, would naturally be left longer than the other which is twisted round and
round it. This tendency the performer counteracts by drawing it partially back
through the slip-knot at each pretended tightening. When he finally covers over
the knots, which he does with the left hand, he holds the straightened portion of
the handkerchief, immediately behind the knots, between the first finger and
thumb of the right hand, and therewith, in the act of covering over the knots,
draws this straightened portion completely out of the slip-knot.
Some performers (among whom we may mention Herrmann) make this feat
still more effective by borrowing half-a-dozen handkerchiefs, and allowing them
all to be tied end to end by the spectators. After each knot the professor pretends
to examine it, asking, “What kind of a knot do you call this, sir?” and meanwhile
pulls it into the required condition. The joined handkerchiefs are then placed one
upon the other on a chair or in a hat, and are immediately afterwards shown to be
separate.
The student must be on his guard against one particular kind of knot, which
cannot be pulled into the condition above-named. We allude to the very common
mode of tying, in which the two ends to be tied are placed side by side, and tied
simultaneously in a single knot. The employment of this kind of knot may
generally be avoided by holding the two ends to be tied at a tolerably wide angle,
so that they cannot very well be drawn parallel. If, however, a spectator appears
determined to tie this particular knot, it is better to allow him to do so, and then
remark, “As the knots are tied by yourselves, ladies and gentlemen, you can have
little doubt that they are all fair. However, for the greater satisfaction of all
present, I will ask some gentleman to be good enough to untie one of them,
which will give a fair criterion of the time it would take, in a natural way, to get
rid of the remainder.” So saying, you hand the knot in question to be untied, and
in subsequently giving the ends to be again joined, select a more accommodating
person to tie them.
As the tricks which follow mainly depend upon the substitution of a second
handkerchief, we shall in the first place describe two or three modes of effecting
the necessary exchange, with and without the aid of apparatus.
THE HANDKERCHIEF CUT UP, BURNT, AND FINALLY FOUND IN A CANDLE.—We have
already described one or two modes in which a handkerchief, after being
apparently cut up, or burnt, may be reproduced in its original condition. This is
another and very effective form of the same trick.
Having borrowed a white handkerchief, you exchange it, by one or other of
the means already described, for a substitute of similar appearance, and place the
latter on the table. You then remember that, as you are about to burn the
handkerchief, you will want a candle. You call to your attendant, but he,
previously instructed, does not answer, and after a momentary pause you
determine to fetch it yourself. You have, however, no sooner left the stage, than
you meet the defaulter, and angrily remarking, in a stage whisper, so that the
audience may hear, that he is never at hand when you want him, or making some
similar observation, you order him to bring a lighted candle. Your absence is
only momentary, but it has enabled you to throw him the real handkerchief,
which he forthwith rolls up, and places inside a candle made hollow for the
purpose; which he then places in a candlestick, lights, and brings on the stage.
You have meanwhile taken up the substitute handkerchief, and advanced to the
audience, getting ready the while in your palm a small piece of cambric, about
six inches in diameter. Taking the handkerchief by the centre, in the same hand,
you pull out between the first finger and thumb a portion of the piece of cambric,
which is naturally taken to be a part of the handkerchief. Handing to one of the
spectators a pair of scissors, you request him to cut off a small portion of the
handkerchief. He cuts off a piece of the cambric. Holding this piece in the one
hand, and taking the remainder, with the substitute handkerchief hanging down
below it, in the other, you offer to teach the company your patent method of
mending handkerchiefs, requiring neither thimble, needle, nor thread. Applying
the cut edges to the candle, you set them on fire, rubbing them together. Finally,
blowing out the flame, and throwing the handkerchief over the hand that holds
the pieces, you palm them, and immediately afterwards show the handkerchief
(i.e., the substitute) completely restored.
The mode of procedure so far is pretty well known, and it is highly probable
that one or more of the audience will be acquainted with it. Accordingly, you
may safely expect to perceive in some quarter or other, knowing glances, or
confidential communications as to “how it’s done.” Noticing, or pretending to
notice this, you say, “Ah, I see there is a gentleman there who thinks he has
found me out. You fancy, no doubt, sir, that I have performed this trick in the old
fashion, by cutting a piece of cambric which does not form part of the
handkerchief. Why, my dear sir, the trick in that form is as old as—your
grandmother. But it is my own fault; I quite forgot to show you that the
handkerchief was really cut. It is my rule never to perform the same trick twice
over, but I feel so hurt at your unkind suspicion that I must break my rule for
once, and this time you shall cut the handkerchief yourself.” You offer him the
scissors, and holding up the handkerchief (which the audience naturally believe
to be the genuine one) by the middle, you allow him to cut a piece fairly out of
it, immediately afterwards spreading it out, and showing that a large hole is
made in the centre. Again, you hold the edges to the candle, but this time, as if
by accident, you let the flames fairly catch hold of the handkerchief, which you
are compelled to drop upon a plate or tray, and to let it burn itself out. For a
moment, you feign to be embarrassed, and the audience are half inclined to
believe that you have made a mistake, and your trick has failed; but you quickly
recover your confidence, and remark, “This is not precisely what I intended,
ladies and gentlemen. I am afraid I have made a little mistake, but fortunately it
is easily remedied. The fact is, I forgot to pronounce the magic word at the right
moment, and the handkerchief has in consequence stopped short at the first stage
of transmigration. To make it pass into the second stage, that of renewed
existence, I must again employ the agency of fire. See, I place the ashes in my
magic pistol, and ram them down with the mystic wand. Now what shall I aim
at? Ah! the candle on the table! A capital mark, and as it has been before you
throughout the trick, you know that it cannot have undergone any preparation.”
(You fire, aiming at the candle.) “Did you see it pass? No. It has done so,
nevertheless; but I must have put in a little too much powder, for it has gone
right into the candle.” (You bring the candle forward.) “Will some one oblige me
by seeing if it is really in the candle.” The candle is broken in half, and the
handkerchief is found embedded therein.
The candle used for the purpose of the above trick is sometimes a genuine
wax or composite candle, but more often a mere pasteboard tube, previously cut
half asunder in the middle (so as to break without difficulty), and then covered
with glazed white paper, in imitation of a candle, a genuine candle-end being
inserted at the top. If a candle of this latter description is used, the performer
must himself break it, as a spectator doing so would at once discover that it was
a prepared article.
Before quitting the subject of handkerchiefs burnt and restored, we may
mention a little appliance called the “handkerchief table,” which is designed for
this purpose. It is precisely the same in make and operation as the table or tripod,
described at page 139, for burning and restoring a card, but a little larger. To
those acquainted with the card tripod, the use and effect of the handkerchief
table will be sufficiently obvious, without any special explanation.
It will be observed that, in the form of the trick above described, the use of
both hands is necessary—one to hold the handkerchief, while the other, stroking
it down, presses the springs, and causes the bag to open. There is an improved
form of the bag, used, and, we believe, invented by Robert-Houdin, which
enables the performer, holding the handkerchief at arm’s length, to perform the
trick by mere word of command, without using the left hand at all. The bag is in
this case of the form shown in Fig. 109. No springs are used, but the bag, when
filled, is closed by folding down the flap, and hooking the little ring over the
hook, the bag thereby assuming the appearance shown in Fig. 110. It is picked
up within the handkerchief as described in the case of the spring bag; but when it
is desired to produce the sweets, a slight inclination of the hook to the left
(effected by a barely perceptible movement of the thumb and finger) causes the
ring to slip off and the flap to fall down, as in Fig. 109, releasing the whole
contents of the bag.
The trick may be still further improved by having two similar bags stitched
back to back, each with its own ring and hook. In this case an inclination to the
left releases one hook, and an inclination to the right the other. The two bags
may be filled with bonbons of different colours or descriptions, or the one may
be filled with bonbons and the other with grey peas. In this case you may
introduce the trick by some observations upon the singular effects of the human
breath, and how greatly such effects vary in different persons. A handkerchief is
borrowed, and a lady and gentleman are requested each to hold a plate. The lady
is requested to breathe on the handkerchief, and a shower of bonbons falls on her
plate. The gentleman breathes in his turn, and retires, amid derisive applause,
with a plate of peas.
FIG. 111.
THE FLYING PLUME.—For this trick you require two plumes, as nearly as
possible alike in appearance. To the stem of each should be attached a loop of
string or ribbon, two or three inches in length. You must also have a japanned tin
tube, of about twenty inches long, and three in diameter. On either end is fitted a
cap, of about two inches in depth. One of these caps is perfectly plain, but within
the other is an inner cap, made after the fashion of the middle compartment of
the snuff-box vase (see page 217). The relative tightness of the inner and outer
caps is such that, if in removing the outer one with the finger and thumb some
slight degree of lateral pressure is exerted, it nips the inner cap, which comes off
with it; but if the outer cap is removed without pressure, the inner cap remains
on the tube, forming a false top to it. Within this inner cap, which is internally
about an inch and a half deep, is glued a short end of a third plume, similar in
colour and appearance to the two others. The interior of the tube is divided into
two parts by a longitudinal division, also of tin, running diagonally nearly from
end to end. The tube is thus divided into two wedge-shaped compartments, the
cap at one end giving access to the one, and the cap at the other end to the other;
each being large enough to contain a plume. (See Fig. 112, representing a section
of the entire tube, and Fig. 113, giving a slightly enlarged view of the ends.) The
tube is prepared beforehand by filling the compartment which is closed by the
double cap with bonbons of various kinds; the other compartment being left
empty. One of the plumes is concealed in the left sleeve of the performer, as in
the last trick.
FIG. 112.
FIG. 113.
These preparations having been duly made beforehand, you come forward
with a small shawl, or large handkerchief, the tube, and the second plume.
Laying the tube and plume upon the table, you request the audience to satisfy
themselves that the shawl contains nothing. You then ask some one to step
forward and take care of the shawl, which you meanwhile carelessly throw over
your left hand, immediately after taking hold of its centre with your right, as
before described, and drawing the left arm away. It is needless to remark, to
those who have followed the explanation of the last trick, that the hidden plume
is thereby brought under the shawl, though, being held by the loop of ribbon,
there is nothing to betray its presence. You hand the shawl in this condition to
the person who has volunteered to hold it, requesting him to keep it at arm’s
length, still hanging down. Next taking up the tube, you open it at the plain or
unprepared end, and holding it mouth downwards, show that it is (apparently)
empty; then ostentatiously place the plume therein, and put the cap on.
In returning to your table you take the opportunity to reverse the tube, and to
lay it down in such a manner that the opposite end (i.e., that with the false top)
may be turned towards the audience. Some performers do this by letting the tube
fall, as if by accident, but this is, in our opinion, a clumsy and inartistic
proceeding. By gesticulating a little with the tube, in announcing what you are
about to do, so that the audience may, little by little, become less certain as to
which end you have just opened, and by carelessly transferring the tube from the
one hand to the other just as you lay it on the table, you may make the change
with scarcely a chance of detection, even by the keenest observer. You then say,
“I shall now, ladies and gentlemen, make the plume which you have just seen me
place in this tube travel into the shawl which that gentleman is holding, while the
tube will be completely filled with objects of interest for the juvenile spectators.”
Here you may possibly hear, or if not, you pretend to hear, a murmur to the
effect that the feather has already left the tube. “Pardon me,” you say, “the plume
has not yet left the tube, neither will it do so until I give the command,” and so
saying, you take off the cap, leaving on the false top. The audience see the little
bit of feather within, which they naturally take to be the end of the genuine
plume. Again you replace the cap; and after going through some appropriate
magical ceremony, again remove it, but this time carrying off the false top with
it. (It should have been mentioned that the tube is japanned in such manner that
the eye cannot detect any difference whether the false top is on or off.) Placing
the cap, with the false top within it, on the table, you come forward and pour the
sweets from the tube, while the shawl is on examination found to contain the
plume.
Some performers, for the purpose of this trick, use a tube with a false top, as
above described, but open from end to end, without the diagonal partition above
mentioned. Before placing the plume in the tube, which they do standing behind
the table, they secretly remove the cap at the lower end, and allow the plume to
fall through on the servante, where it remains. In this case, there is no production
of sweets, but the plume having been produced from the shawl, the performer
removes both caps, and hands the empty tube for examination.
THE EGG AND THE HANDKERCHIEF.—For this capital feat, which is generally
identified with the name of Colonel Stodare, the following are the requirements:
—A glass goblet, two small handkerchiefs (generally of plain crimson silk, and
about sixteen inches square), a larger silk handkerchief—to which is attached, by
a silk thread of about four inches in length, a blown egg-shell—and a hollow
metal egg made of zinc, enamelled white, with an oval opening on one side of it
measuring about an inch and a half by one inch, or a little more.
FIG. 114.
The performer comes forward, having in his right hand the goblet and one of
the red silk handkerchiefs. The larger silk handkerchief is thrown with apparent
carelessness over the other hand, and upon it rests the blown egg, so placed that
the thread may be out of sight, while beneath the egg, concealed in a fold of the
handkerchief, lies the second red handkerchief, rolled up into as small a compass
as possible. The metal egg is, meanwhile, placed in the left-hand secret pocket of
the performer, who introduces the trick as follows: “I have here, ladies and
gentlemen, a drinking-glass, a couple of silk handkerchiefs, and an egg, all, as
you will perceive, of the most ordinary description.” He passes quickly in front
of the audience, as though tendering the articles for examination (taking care,
however, to keep his right arm advanced towards the spectators, so that the glass
and small silk handkerchief may bear the brunt of inspection), and finally places
the glass and small handkerchief on a table or chair in full view. “Pray observe,”
he continues, “that not one of the articles is removed from your sight, even for
one moment. Now, please follow me closely. I will place the egg in the glass,
and cover it over with this handkerchief.” This he does by one movement, for as
the egg is already lying on the handkerchief, a mere turn of the wrist places the
egg in the glass, and at the same time lets fall the handkerchief over it; and at the
same time the smaller handkerchief, which was concealed in the larger, is
released, and falls into the glass with the egg. “You have all seen me place the
egg in the glass” (at the same time shaking the glass, to show by the sound that
the egg is still there), “which I will not again touch. I shall now take this small
handkerchief” (the one which has remained on the table), “and standing as far as
possible away, I shall command the handkerchief to dissolve and pass into the
glass, and the egg which is now in the glass to come into my hands.” So saying,
he holds up the handkerchief, in such manner as to show indirectly that he has
nothing else in his hands. Taking a few steps, as though merely to get further
from the glass, and holding the handkerchief hanging down between the finger
and thumb of the right hand, he drops the other hand to his side, and secretly
takes from his pocket the hollow egg, which he palms, keeping the opening
outwards. He then, standing with his left side towards the spectators, joins his
open hands, as in Fig. 114, the handkerchief hanging down between them.
Requesting the audience to watch him narrowly, that they may be quite sure that
there is no deception, he begins to wave his joined hands slowly up and down,
the second and third fingers of the right hand (which, it will be remembered, is
away from the audience) meanwhile gradually working the handkerchief into the
hollow of the egg. He every now and then pauses to show that the handkerchief
is gradually diminishing, and at last when it is wholly worked into the egg, opens
his hands, and shows the egg lying in his palm, taking care, of course, that the
opening is undermost. To all appearance, the handkerchief has changed into an
egg. “Here is the egg,” he remarks; “let us see if the handkerchief also has
obeyed my bidding.” So saying, he lays the egg, still with the opening
downwards, upon the table, and taking hold with the finger and thumb of the
handkerchief which covers the glass, lifts it daintily up, carrying with it,
concealed in its folds, the egg-shell attached thereto, and leaving the duplicate
red handkerchief lying in the glass.
It may sometimes, though not very often, occur that one or other of the
spectators, suspecting some peculiarity about the egg, may ask to be permitted to
examine it. This, of course, you cannot permit, while to refuse would destroy
half the prestige of the illusion. Fortunately, there is a way out of the difficulty
which absolutely enhances the effect of the trick. “You would like to see the
egg,” you reply; “by all means. It is a special feature of my entertainment that all
articles used therein will bear the strictest examination. Here is the egg.” During
these few words, you have taken up the sham egg with the fingers of your right
hand, taking care, of course, to keep the opening away from the audience, and
have thence apparently transferred it to your left, with which hand you offer it to
the too curious spectator. It is hardly necessary to remark, that in the apparent
transfer of the egg to the left hand, you have really palmed it in your right; and
as you extend the left hand to the spectator, you quietly drop it from the right
into the pochette on that side. The inquirer holds out his hand to receive it. “Pray
examine it closely,” you say, opening your empty hand over his own. “What!
you have not got it? Ah, that is your fault; you were not quick enough. I always
find that this experiment makes the egg excessively volatile.” This unexpected
dénouement never fails to raise a laugh against the individual who has sought to
embarrass you, while the impromptu disappearance of the egg will be regarded
by many as the most marvellous portion of the trick. The same expedient will be
equally available to prevent the examination, at an awkward moment, of other
small articles.
There is another method, in which the trick is performed with handkerchiefs
borrowed from the audience. In this case, two metal eggs, like that above
described, are used, the blown egg being dispensed with. The performer
commences the trick by borrowing two handkerchiefs, a lady’s handkerchief,
and a larger one, preferably of silk. These he places on his table, secretly
exchanging the smaller one for a substitute of his own, and retires for a moment
to fetch a glass. He takes advantage of his momentary absence to insert the
handkerchief of which he has gained possession into one of the hollow eggs, and
returns with this egg lying (the opening downwards) on his left palm, the other
hand holding the glass, while the second hollow egg is concealed in his left
pochette. Coming forward to the audience, he picks up, in passing, the larger
handkerchief from the table, and handing the glass, as forming the principal
portion of the apparatus, for examination, throws the handkerchief over the hand
which holds the egg, showing by its outline beneath the silk that it has not been
removed, and meanwhile drawing out with the finger and thumb of the
concealed hand the handkerchief hidden therein; which is thus ready to be placed
in the glass along with the egg, under cover of the larger handkerchief. The rest
of the trick proceeds as already described, save that in this instance, the egg not
being attached to the outer handkerchief, it is necessary to clip it with the fingers
through the handkerchief when the latter is removed. To do this easily and
effectually, it is well, in placing the egg in the glass, to place it with the opening
upwards, the edges of the opening giving a readier hold than the unbroken
surface of the opposite side.
FIG. 115.
After having exhibited the trick in this form once or twice, you may vary
your mode of operation. For this purpose take the dice (still retaining their
relative position) horizontally between the thumb and second finger, in the
manner depicted in Fig. 117, showing “three-one” on their upper face; the
corresponding “three-one,” or rather “one-three,” being now covered by the
forefinger. As the points on the opposite faces of a die invariably together
amount to seven, it is obvious that the points on the under side will now be
“four-six,” while the points next to the ball of the thumb will be “six-four.” You
show, alternately raising and lowering the hand, that the points above are “three-
one,” and those below “six-four.” Again going through the motion of rubbing the
dice with the opposite forefinger, you slightly raise the thumb and depress the
middle finger, which will bring the “six-four” uppermost, and the “three-one” or
“one-three” undermost. This maybe repeated any number of times; or you may,
by moving the thumb and finger accordingly, produce either “three-one” or “six-
four” apparently both above and below the dice.
The trick may, of course, be varied as regards the particular points, but the
dice must, in any case, be so placed as to have similar points on two adjoining
faces.
THE subject of the present chapter may be said to be the groundwork of all
legerdemain, being, we believe, the very earliest form in which sleight-of-hand
was exhibited. At the present day it is not very often seen, save in the bastard
form known as “thimble-rig,” and used as a means of fleecing the unwary upon
race-courses and at country fairs. It is, however, well worthy the attention of the
student of modern magic, not only as affording an excellent course of training in
digital dexterity, but as being, in the hands of an adept, most striking in effect. It
is by no means uncommon to find spectators who have received more elaborate
feats with comparative indifference, become interested, and even enthusiastic,
over a brilliant manipulation of the cups and balls.
The prestige of the illusion is heightened by the simplicity of the appliances
used, consisting merely of three tin cups about three inches high, each in the
form of a truncated cone, with a rim or shoulder round the base (see Fig. 118),
the ordinary wand, four little cork balls, three-quarters of an inch or a little less
in diameter, and blackened in the flame of a candle, three larger balls of about an
inch and a quarter in diameter, and four more of such a size as to just fill the
goblet. These last are generally stuffed with hair, and covered with cloth. The
number of balls may vary according to the particular “passes” which the
performer desires to exhibit, but the above will be found sufficient for most
purposes. The performers of the olden time were accustomed to use the
gibecière, or apron with pockets, already mentioned, and to perform at a table
having no speciality, save that it was a little higher than those in ordinary use;
but at the present day the gibecière is entirely discarded, the servante of the table
answering the same purpose. The arrangement of the table and apparatus is
shown in Fig. 118.
The whole art of cup-and-ball conjuring resolves itself into two elements—
(1), the exhibition of a ball under a cup where a moment previously there was
nothing; and (2) the disappearance of a ball from beneath a cup under which the
audience have just seen it (or believe that they have seen it) placed. The routine
is as follows:—A cup is lifted, to show that there is nothing beneath it, and again
replaced, mouth downwards, on the table. A ball is taken in the right hand,
transferred to the left, and thence ordered to pass under the cup. The hand is
opened, the ball has vanished, and, on the cup being lifted, is found beneath it.
Again, the ball, first exhibited in the right hand, is thence openly transferred,
either directly under the cup, or first to the left hand, and thence to the cup. All
having seen it placed beneath the cup, it is now commanded to depart, and on
again lifting the cup, it is found to have vanished. It will hardly be believed, until
proved by experiment, of what numerous and surprising combinations these
simple elements are capable.
FIG. 118.
The sleight-of-hand requisite for the cups and balls is technically divisible
into four different acts or movements, viz.—1. To “palm” the ball. 2. To
reproduce the palmed ball at the end of the fingers. 3. To secretly introduce the
palmed ball under the cup. 4. To simulate the action of placing the ball under the
cup. The modes of effecting these objects will be discussed in due order.
FIG. 119.
FIG. 120.
FIG. 121.
1. TO PALM THE BALL. First Method.—We use the generic term “palm” for
the sake of convenience, though in this first method, which is that most generally
used, the ball is really concealed between the second and third fingers, and not in
the palm. Take the ball between the first finger and thumb of the right hand;
slightly bend the fingers (see Fig. 119), and at the same moment roll the ball
with the thumb across the first and second fingers, till it rests between the second
and third fingers (see Fig. 120), which should slightly separate to receive it,
again closing as soon as it is safely lodged. The ball will now be as shown in
Fig. 121, and it will be found that the hand can be opened or closed with perfect
freedom, and, indeed, be used in any manner, without being in the least
hampered by its presence. The student should practise palming the ball in this
manner both in the act of (apparently) transferring the ball to the left hand, and
in that of (apparently) placing it under a cup lifted by the left hand for that
purpose.
Second Method.—The second method is to actually “palm” the ball, in the
same manner as a coin. For this purpose the ball is, as before, taken between the
first finger and thumb of the right hand, but is thence made by the thumb to roll
between the tips of the third and fourth fingers, which immediately close into the
palm, and, again opening, leave the ball behind them. With a little practice, two
balls in succession may be palmed in this way, and then a third by the first
method.
FIG. 122.
TO RETURN A BALL INTO THE WAND.—This is the converse of the process last
described. Taking the wand in the left hand, as before, and the ball between the
thumb and second joint of the forefinger of the opposite hand, the performer lays
the end of the wand across the tips of the fingers, and draws the hand gently
downwards along it, at the same time palming the ball by the first method.
PASS I. HAVING PLACED A BALL UNDER EACH CUP, TO DRAW IT OUT AGAIN
WITHOUT LIFTING THE CUP.—Having produced a ball from the wand as last
described, and having laid it on the table, the operator continues,—“Allow me to
show you once more that all the cups are empty” (he raises them one by one, and
replaces them), “and that I have nothing in either of my hands. I take this little
ball” (he picks it up with the right hand, and apparently transfers it to the left,
really palming it in the right), “and place it under one of the cups.” Here he
raises the cup with the right hand, and simulates the action of placing the ball
under it with the left. “I draw another ball from my wand” (this is really the
same ball, which remained palmed in the right hand), “and place it in like
manner under the second cup.” He goes through the motion of transferring it to
the left hand and thence to the cup, as before, but this time actually does what on
the former occasion he only pretended to do, and leaves the ball under the
middle cup. “I produce another ball”—(he half draws the wand through his
fingers, but checks himself half-way). “I think I heard some one assert that I
have a ball already in my hand. Pray satisfy yourselves” (showing the palms of
his hands, the fingers carelessly apart) “that such is not the case. A lady
suggested just now, by the way—it was only said in a whisper, but I heard it—
that I didn’t really put the balls under the cup. It was rather sharp on the part of
K
the lady, but you see she was wrong. Here are the balls.” So saying, the
performer lifts up the middle cup with his left hand, and picking up the ball with
his right, holds it up that all may see, immediately replacing it under the same
cup. The last movement is simulated only, the ball being in reality palmed in the
supposed act of placing it under the cup. “We have now a ball under each of
these two cups. We only want one more, and—here it is”—apparently producing
a third ball (really the same again) from the wand. “We will place it under this
last cup.” He actually does so. “Now, ladies and gentlemen, we have three cups
and three balls, one under each cup. So far, I admit that I have not shown you
anything very surprising, but now comes the puzzle, to take the balls from under
the cups. Perhaps some of you sharp gentlemen will say there isn’t much
difficulty in that. Lift the cup, and pick up the ball!” He suits the action to the
word, lifting up the third goblet with the left hand, and picking up the ball with
the right. “A very good solution, but it doesn’t happen to be the right one. The
problem is to draw out the balls without lifting the cups.” Here he replaces the
cup, apparently placing the ball beneath it, but really palming it, as already
described in the case of the middle cup, and then returns to the first or furthest
cup; touching the top of the goblet, he lets the palmed ball drop to his finger-tips,
and immediately exhibits it, saying—“This is the way I take the balls out of the
cups. The ball being no longer needed, I return it into the wand.” This he does as
described at page 277, immediately afterwards, if desired, handing the wand for
examination. “In like manner I draw out the second ball” (he repeats the same
process with the middle goblet), “and pass that also into my wand. I need not
even handle the goblets. See, I merely touch this third goblet with my wand, and
the ball instantly appears on the top.” The company, of course, cannot see any
ball on the end of the wand, but a ball is nevertheless taken thence by the process
already described, of letting the palmed ball drop to the tips of the fingers, as
they come in contact with the wand. “I pass this also into my wand. Stay,
though, on second thoughts, I shall want a ball for my next experiment, so I will
leave it here on the table.”
K
The reader will understand that nobody has in fact made any
such observation, but the overhearing of an imaginary objection is
often of great use, as enabling the performer to do some necessary
act, which he could not well have done without such pretext. Thus
in this instance, the performer wants a plausible excuse—first, for
altering his apparent intention of immediately producing a second
ball from the wand; and, secondly, for lifting the middle cup, and
so regaining possession of the ball. A conjuror thus addressing an
imaginary objector is said in French “parler à la cantonade,” but
the phrase has no precise equivalent among English performers.
PASS II. TO MAKE A BALL TRAVEL INVISIBLY FROM CUP TO CUP.—“Now, ladies
and gentlemen, if you watch very closely, you will be able to see the ball travel
from one cup to another. I take the ball” (transfers it apparently to left hand)
“and place it under this cup (C). You all see that there is nothing under this one”
(B). In raising B with the right hand he introduces under it the palmed ball. “I
shall now command the ball which I have just placed under the first cup (C) to
travel under this one (B). Attention! and you will see it pass.” He makes a
motion of the wand from the one cup to the other. “There it goes! This cup (C),
as you see, is empty, and under this one (B) is the ball. I will replace it under this
same cup” (B). He in reality palms it. “There is nothing under this cup” (A). He
secretly introduces the ball under A. “Now observe again. Pass! Did you see it?
No? well, I don’t much wonder at it, for I can’t always see it myself. Here it is,
however” (lifts A), “and this cup (B) is empty.” He replaces the cups on the
table, and lays the ball beside them.
PASS III. HAVING PLACED ABALL UNDER EACH OF THE END CUPS, TO MAKE THEM
PASS SUCCESSIVELY UNDER THE MIDDLE CUP.—Before commencing this Pass, the
performer, while placing the goblets in line, or otherwise engaging the attention
of the audience with his left hand, takes from the servante with his right, and
palms, a second ball. He continues, “For my next experiment, ladies and
gentlemen, I shall require two balls. I need hardly remark that I could instantly
supply myself from the wand; but there is a curious faculty about the balls
themselves; they have a constant tendency to increase and multiply. For instance,
without having recourse to the wand, I can instantly make this one ball into two”
(he takes up the ball on the table in his left hand, taking care so to hold it that all
may see that there is nothing else in his hand), “and the most curious part of the
matter is, that though mathematicians insist that the whole is always greater than
its part, in this case each of the parts will be found precisely equal to the whole.”
As he speaks, he takes the ball from the left hand with the fingers of the right, at
the same time dropping the palmed ball into the left hand, and now taking care to
so hold his right hand as to show that it contains the one ball only. He then again
replaces this ball in the palm of the left hand, where it lies side by side with the
second ball. Rubbing the left palm with the second and third fingers of the right,
with a circular motion, he gradually lifts the fingers, and shows the single ball
apparently transformed into two, both of which he places on the table.
“You will observe that there is nothing under this cup (C). I will place under
it this ball” (he really palms it); “neither is there anything under either of these
two cups” (B and A). He lifts the cups one with each hand, and secretly
introduces the palmed ball under B. “I take this second ball, and place it under
this cup” (A). He really palms it. “We now have a ball under each of these two
cups” (A and C). “I draw the ball out of this one” (C). He touches the top of the
cup, and produces the ball last palmed at his finger-tips. “I order it to pass under
this middle cup” (B). He apparently transfers it to the left hand, really palming it,
and then makes a motion with the left hand, as if passing it into B. “It has
passed, you see!” He raises B with his right hand, showing the ball under it, and
in replacing it secretly introduces the second palmed ball. “Now I order the ball
in this cup (A) to pass in like manner.” He waves his wand from A to B, and then
lifts B. “Here it is, and these two outer cups” (turning them over with the wand)
“are perfectly empty.”
PASS IV. HAVING PLACED TWO BALLS UNDER THE MIDDLE CUP, TO MAKE THEM
PASS UNDER THE TWO OUTER ONES.—“You have just seen these two balls pass under
the middle cup; now, by way of variety, we will make them pass out of it. I will
take the two balls, and place them under the middle cup.” He really so places
one only, palming the other. “You observe that there is nothing either under this
(A), nor under this (C).” Here he secretly introduces the palmed ball beneath C.
“Now I order one of the balls under the middle cup to pass under one of the
outer cups. Let us see if it has done so” (lifts middle cup with left hand). “Yes,
here is only one left.” He takes it up and shows it with right hand, then makes
the gesture of replacing, but really palms it. “Let us see where it has gone to”
(lifts A with right hand, and in replacing it secretly introduces the palmed ball
under it). “It is not under this one. Then it must be under this.” He lifts C. “Yes,
here it is. Now I command the other ball in like manner to leave the middle cup,
and pass under the other (A). Pass! Here it is, you see, and this one (B) is
entirely empty.”
PASS V. TO PASS THREE BALLS IN SUCCESSION UNDER ONE CUP.—“So far, ladies
and gentlemen, what I have shown you has been mere child’s play.” He drops the
right hand carelessly to the servante, and picks up two more balls, one of which
he holds between the fingers, and the other in the palm. “The real difficulty only
begins when we begin to work with three balls. Now which of these two balls”
(taking up the two balls from the table) “is the largest? This one, I fancy, has the
advantage, so I will pinch a little piece off to make a third ball.” He goes through
the motion of pinching the ball with the fingers of both hands, at the same
moment letting fall the ball in the palm to the tips of the fingers of the right
hand. “Yes, this will do. It isn’t quite round, but that is easily rectified.” He rolls
it between the fingers. “That is better. Now watch me closely, ladies and
gentlemen.” He places the balls upon the table, with the exception of the fourth,
which remains concealed between the fingers. “You see that there is nothing
under either of the cups.” He raises all three, and introduces the fourth ball under
the middle one (B). He then picks up one of the balls on the table, and apparently
transfers it to his left hand, really palming it. “I command this ball to pass into
the middle cup. It has passed, you see” (raising the cup with the right hand, and
in replacing it, introducing the ball now palmed). The operation is repeated in
like manner, until three balls have been shown under the cup, the fourth finally
remaining palmed in the right hand.
PASS VI. TO PLACE THREE BALLS ONE AFTER THE OTHER UPON THE TOP OF ONE OF
THE CUPS, AND TO MAKE THEM FALL THROUGH THE CUP ON TO THE TABLE.—At the
conclusion of the last Pass the performer had brought three balls under the centre
cup B, a fourth remaining concealed in his hand. In lifting B to exhibit the three
balls, and in replacing it beside them, he takes the opportunity of introducing
beneath it this fourth ball. He next takes one of the three balls thus exposed, and
placing it on the top of this same goblet (B), covering it with a second goblet
(A). Making any appropriate gesture he pleases, he commands the ball to fall
through the lower goblet on to the table. He then overturns (without separating)
the two goblets, their mouths being towards the spectators, when the ball which
he had secretly introduced will be discovered, and will appear to be that which
the spectators have just seen placed on the top of the goblet (and which really
still remains between the two goblets), and picks up the two goblets together,
mouth upwards, with the left hand, and with the right hand takes out that which
is now uppermost (B). He turns both the goblets down upon the table, placing A
over the ball which he has just shown. If this is neatly done, the other ball, which
has remained in A, will not be discovered, but will as it falls be covered by A,
which will now have beneath it two balls. The performer now places one of the
remaining balls on the top of A, covering it with either of the other goblets, and
again goes through the same process till he has shown first two, and then three
balls under the cup, the fourth remaining, at the close of the Pass, between the
two cups last used.
PASS VII. TO PASS THREE BALLS IN SUCCESSION UPWARDS THROUGH THE TABLE
INTO ONE OF THE CUPS.—You concluded the last Pass (we will suppose the reader
to represent for the time being the performer) by lifting two cups together to
show three balls beneath the undermost. Holding two cups in the left hand, you
turn them over, mouth upwards. Taking with the right hand that which is now
uppermost, you place it on the table in the ordinary position, still retaining the
other, in which, unknown to the spectators, a fourth ball still remains. You
continue, “Ladies and gentlemen, you may possibly imagine that there is some
trick or sleight-of-hand in what I have shown you, but I am now about to
perform an experiment in which that solution is clearly inadmissible. I propose
to pass these three balls, one after the other, through the solid table into this
empty goblet. Pray watch me carefully. I take away one of the balls” (you take in
the right hand one of the three on the table), “and hold it beneath the table, thus.
My left hand, as you will observe, is perfectly empty. I have only to say, ‘Pass!’”
(You palm the ball in the right hand, at the same time giving a gentle tap with
one finger against the under surface of the table, and immediately bring up the
hand, taking care, of course, to keep its outer side towards the spectators; then
gently shake the cup which you hold in the left hand, and turn the ball out upon
the table.) “Here it is, you see. Now I will put it back in the cup” (you pick up
the ball with the right hand, and drop it into the cup, secretly letting fall with it
the palmed ball), “and take another ball.” You repeat the process, and show two
balls in the cup; then again (each time dropping in the palmed ball), and show
three, retaining the fourth ball, still palmed, in your right hand.
PASS VIII. TO PASS TWO BALLS IN SUCCESSION FROM ONE CUP TO ANOTHER
WITHOUT TOUCHING THEM.—You again place the three cups in a row on the table,
secretly introducing under the right hand cup (C) the ball which remained in
your right hand at the close of the last Pass, and then openly place the three other
balls on the tops of the three cups. You then proceed, “I will take this ball” (that
which is on B), “and place it under this same cup” (B). You really palm it. “I
take this other ball” (that which is upon A), “and place it under this cup” (A).
You secretly introduce with it the ball which you have just palmed. “I take this
last” (that upon C), “and place it under this goblet (A); or, stay, I will pass it
invisibly to this one” (C)—really palming it. “It has passed, you see.” You lift C,
and show the ball which is already there; and in again covering the ball with the
cup, you secretly introduce that which you last palmed. You now have in reality
two balls under each of the end cups, and none under the centre one; but the
spectators are persuaded that there is one ball under each cup. “We now have one
ball under each cup. Now I shall command the ball that is under the centre cup to
pass into either of the end ones at your pleasure. Which shall it be?” Whichever
is chosen, suppose C, you raise and show the two balls under it. You then
ostensibly replace the two balls under C, but really replace the one only, palming
the other. You then raise the middle cup (B), to show that it is empty, and, in
replacing it, introduce the ball you have just palmed under it. “Now I shall next
order one of the two balls you have just seen under this cup (C) to go and join
the one which is already under this other (A). Pass! Here it is, you observe.” You
raise A to show that there are two balls under it. You also raise C to show that it
now only contains one ball, and leave all three balls exposed on the table.
PASS IX. TO MAKE THREE BALLS IN SUCCESSION PASS UNDER THE MIDDLE CUP.—
At the conclusion of the last Pass, three balls were left in view, while a fourth,
unknown to the audience, was hidden under the middle cup. You proceed,
picking up a ball with the right hand, “I take this ball, and place it under this
cup” (C); (in reality palming it). “I now order it to pass under the middle cup.
Presto! Here it is, you see.” You raise the middle cup to show that the ball has
obeyed your command, and, in again covering the ball, secretly introduce with it
that which you have just palmed. “I take this one” (you pick up another), “and
place it under this cup” (A)—here you palm it as before—“and order it also to
pass under the middle cup.” You raise the middle cup, and show that there are
now two balls under it, and, in again covering them, introduce the ball which
you last palmed. “I take this last ball, and place it under this cup” (C)—palming
it—“whence I shall command it to again depart, and join its companions under
the middle cup. This time it shall make the journey visibly.” You take your wand
in the left hand, and with it touch the cup C. “Here it is, you see, on the end of
my wand. You don’t see it? Why, surely it is visible enough. Look.” You pretend
to produce the palmed ball from the wand, and exhibit it to the company. “You
can all see it now.” You lay down the wand, and go through the motion of
transferring the ball to the left hand, really palming it in its passage. “Now, then,
pray watch me closely, and you will see it pass under the cup. One, two, three!”
You make the gesture of throwing it through the middle cup, and open the hand
to show it empty, immediately turning over the goblets to show that there are
three balls under the middle and none under the outer ones.
PASS XII. TO AGAIN TRANSFORM THE BALLS TO STILL LARGER ONES.—The last
Pass having reached the stage we have just described, i.e., a large ball being
under each cup, but not yet exhibited to the audience, you secretly take in your
left hand from the servante one of the still larger balls. These balls should be soft
and elastic, and of such a size that, if pressed lightly into the cup, they shall
require a slight tap of the cup on the table to dislodge them.
Having taken the ball in the left hand, you hold it at the ends of the fingers
behind the table, as near the top as possible consistently with its being out of
sight of the spectators. Then saying, “Now, ladies and gentlemen, I must ask for
your very closest attention,” you raise C with the right hand, and with the same
movement lower it for a moment behind the table, and over the ball in the left
hand, which remains in the cup of its own accord. All eyes go instinctively to the
ball on the table, whose increased size is a new phenomenon, and not one in a
hundred will, in this first moment of surprise, think of watching the cup, which
is naturally supposed to have, for the moment, concluded its share of the trick.
You replace the cup on the table lightly, so as not to loosen the ball, meanwhile
getting ready another ball in the left hand, and repeat the operation with B. With
A you make a slight variation in your mode of procedure. Taking a third ball in
your left hand, you hold it as before, but, as if through carelessness or
clumsiness, allow it to be seen for a moment above the edge of the table. When
you raise the third cup, you move it behind the table as before, and make a feint
of introducing the ball which the spectators have just seen, but really let it drop
on the servante, and replace the cup empty. A murmur from the audience will
quickly apprise you that they have, as they imagine, found you out. Looking as
innocent as you can, you inquire what is the matter, and are informed that you
were seen to introduce a ball into the cup. “I beg your pardon,” you reply, lifting
up, however, not A, which you have just replaced, but C, which is the farthest
remote from it. There is really a ball in this cup, but having been pressed in, and
fitting tightly, it does not fall. The audience, seeing you raise the wrong cup, are
more and more confirmed in their suspicion. “Not that one, the other,” they
exclaim. You next raise B, the ball in which also does not fall, for the reason
already stated. “No, no,” the audience shout, “the other cup, the end one.” “You
are really very obstinate, gentlemen,” you reply, “but pray satisfy yourselves,”
turning over A as you speak, and showing the inside, which is manifestly empty,
and your critics rapidly subside. Meanwhile, you drop your left hand to the
servante, and secretly take from it two similar balls. Then, addressing the
audience, you say, “Surely, gentlemen, you don’t imagine that, if I wanted to
place a ball under a cup, I should set about it after such a clumsy fashion as
this!” As you say this, you place your left hand in your left pocket, as if taking a
ball from thence (as it obviously would not do to give the audience cause to
suspect the existence of a secret receptacle behind the table), and bring out again
the two balls, but allow one only to be seen, keeping the other concealed in the
palm. Bringing the cup over the hand, you squeeze in both balls as far as you
can, when the innermost will remain, but the outermost, not having sufficient
space, will drop out again on the table. The audience, not knowing that there are
two balls, believe the cup, which you now replace on the table, to be empty. You
continue, “No, gentlemen; when I pass a ball under a cup, you may be sure that I
don’t let anybody see me do so.” As you speak, you take the ball on the table in
your right hand, and make the movement of transferring it to your left, really
palming it by the second method, and holding the left hand closed and high, as if
containing it, and keeping your eyes fixed thereon, you carelessly drop your
right hand till the finger-tips rest on the table, when you are able to let fall the
ball upon the servante. You continue, “I will now pass this ball under either of
the cups which you like to name. Indeed, I will do more; I will cause this ball
invisibly to multiply itself into three, one of which shall pass under each of the
cups. First, however, let me show you that there is nothing under the cups at
present.” You raise each in turn—“Nothing here, nothing here, and nothing
here!” The balls still adhere to the sides of the cups, which, therefore, appear to
be empty, but you replace each with a slight rap on the table, and thereby loosen
the ball within it. “Now, then!” You bring the two hands together, and gently rub
them over each cup in turn; finally parting them and showing that both are
empty, and then lifting the cups, show the three large balls underneath.
Some performers, in lifting each cup with the right hand, introduce a fresh
ball, held in the left hand, as already explained. The effect is the same as in the
“Multiplication” Pass, already described, with this difference, that on each
occasion of uncovering a ball, the ball remains on the table, which thus becomes
gradually covered with an ever-increasing number of balls. Some, again,
conclude by apparently producing from the cups objects much larger than they
could naturally contain, e.g., large apples, Spanish onions, etc. This is effected in
the same manner as the introduction of the large balls just described, save that in
this case the object, which cannot really go into the cup, is merely held against
its mouth with the third finger of the right hand, and dropped with a slight shake,
as if there was a difficulty in getting it out.
There are many other cup-and-ball Passes, but the series above given will be
found as effective as any. If any reader desires to follow the subject further, we
would refer him to the Récréations Mathématiques et Physiques of Guyot,
already quoted, or another old work, under the same title, by Ozanam, in which
this branch of prestidigitation is treated at considerable length.
CHAPTER XIV.
BEFORE proceeding to the description of the tricks which form the subject of this
Chapter, it may be well to mention one or two principles of sleight-of-hand, not
yet noticed, which have a special application to ball tricks, and are also useful
with regard to oranges, apples, eggs, etc. The Pass called the tourniquet, or
“French drop,” described already in relation to coin, will be found equally
applicable to balls up to a couple of inches in diameter, but is not available for
objects of larger size. Balls of larger diameter are best palmed by one or other of
the methods following.
First Method.—Taking the ball in either hand, the performer tosses the ball
from palm to palm (at a few inches’ distance) four or five times, finally making
the motion of tossing it from the right hand to the left, but really retaining it in
the right by a slight contraction of the palm, and at the same time closing and
elevating the left hand, and following it with the eyes, as though it contained the
ball. It is obvious that a ball of the size now under consideration (say of two to
three inches in diameter) would not admit of the hand containing it being
perfectly closed; and this must be borne in mind in the position of the left hand,
the fingers of which must not be tightly closed, as they would if apparently
containing a coin or other very small article, but merely curved inward, the palm,
of course, being turned toward the performer’s own body, so as not to disclose
the secret of its emptiness. Where the hand of the performer is small, or the ball
is of such a size as not to be readily retained in the right hand by the contraction
of the palm, the thumb may be used to assist in supporting it.
Second Method.—Taking the ball between his open hands, the performer
rolls it round and round between his palms, as though it were a lump of clay
which he was moulding into a spherical form; and in so doing gradually turns his
hands till the back of his right hand is undermost, when, with an inward
movement of that hand towards himself, he palms the ball therein, at the same
time closing and elevating the left hand, as described for the last method.
THE BALL BOX.—The leading idea of most of the tricks which we are about
to describe is the magical appearance or disappearance of a ball. So far, they
resemble the cup-and-ball tricks described in the last Chapter, but with this
difference, that, in the case of the present series, the main effect is produced by
mechanical means, any sleight-of-hand employed being rather an accessory than
the leading feature. The oldest and simplest of the mechanical appliances for this
purpose is that known as the “ball-box,” consisting of a box two to six inches in
height, of the shape shown in Fig. 127, and containing a ball which just fills it.
The box consists of three portions—the lower portion, or box proper a, the lid c,
and an intermediate portion b, being a hollow hemisphere coloured externally in
imitation of the ball, and so fitted with reference to the box and lid, that it may
be either lifted off with the lid, leaving the box apparently empty, or may be left
upon the box when the lid is removed, the effect to the eye being as if the ball
had returned to the box. The ball-box is generally of turned boxwood, and is
scored with concentric circles, which serve to disguise its double opening.
Simply stated, its effect is as follows:—The solid ball is first shown in the box,
and then openly taken from it, and the box covered with the lid. The ball is then
got rid of in one or other of the modes before described, and a pretence is made
of passing it invisibly into the box. The lid is removed without the intermediate
portion b, and the ball appears to have returned to the box. Again the lid is
replaced, and again removed; but this time b is removed with it, and the box
again appears empty. The trick in this form is to be found in every toy-shop, and
is so well known as to produce scarcely any illusion, but its transparency may be
considerably diminished by previously palming (in the right hand) the moveable
shell b, the convex side being inwards, and then handing round the remaining
portions and the solid ball for inspection. When they are returned, the performer
apparently places the ball in the box, but really makes a secret exchange, and
places b in the box instead. Upon again removing the lid, and with it b, the ball
has disappeared; and as the audience have, as they believe, inspected the whole
apparatus, the mode of its disappearance is not quite so obvious as in the first
case. At best, however, the ball-box, in this its pristine form, is a clumsy and
inartistic contrivance, and has long been relegated to the juvenile and country-
fair school of conjuring. There is, however, an improved apparatus for producing
a similar effect, which is generally worked in couples, under the name of
FIG. 128.
There is yet another form of ball-box, also frequently worked in pairs, and
designed to simulate the apparent passage of a ball from the one box to the other.
The vase in this case consists of two parts only, the vase proper a, and the cover
b, but the latter is of such a height as to completely contain the ball, and of such
a size internally, that, if the ball be jerked up into the cover, it will not again fall,
unless a slight shake be used to displace it. (See Fig. 129.) Each vase has its own
ball, and the mode of use is as follows:—One of the vases is prepared
beforehand by jerking up the ball into the cover, which may then be removed,
showing the vase apparently empty; or both may be first shown empty, and the
ball then introduced secretly under the cover, after the manner of the cups and
balls. The remaining vase and ball are offered for inspection, and when they are
returned, the ball is placed within and covered over, after which the closed vase
is placed upon the table; but in the act of doing this the performer gives the
apparatus a slight upward jerk, thereby causing the ball therein to rise into the
cover, where it remains. The second vase is once more shown empty; but in
replacing it on the table, the performer puts it down sharply, thereby causing the
ball to drop from the cover into the cup. He now orders the ball, which the
company have seen placed in the first vase, to pass invisibly into the second; and
on again opening the two, this transposition will appear to have taken place, and
by a repetition of the process the ball may be made to travel backwards and
forwards from one vase to the other.
This apparatus is generally used with a solid black ball and a couple of
artificial rose-buds, as nearly alike as possible. The apparatus is brought forward
empty, and with the solid ball and one of the rose-buds, is handed to the
audience for inspection. The two half shells, joined together so as to form a
hollow ball, with the second rose-bud within, are placed ready to hand in one of
the pochettes of the performer. The audience having duly examined the
apparatus, the performer returns to his table, secretly exchanging as he does so
the solid for the hollow ball. This latter he places openly in the cup, taking care
that the hole in the lower shell duly corresponds with the pin at bottom, and puts
on the cover. He now announces that the ball which he has just placed in the cup
will at command fly away, and that the rose-bud which he holds shall take its
place. The disappearance of the visible rose-bud is effected in any way that the
invention or the appliances at command of the performer may suggest; and on
the box being opened, so as to part the two shells, the ball has apparently
disappeared, and the rose has taken its place. By again closing the box, and this
time pressing the stud on the top, the flower may again be made to vanish, and
the ball to reappear in its original position.
The popular trick of the “flower in the button-hole,” which will be described
under the head of Miscellaneous Tricks, may be used in conjunction with this
apparatus, the ball being found in the place of the flower, while the latter is made
to appear in the button-hole.
A similar apparatus to the above is sometimes made in metal, and of a size
sufficient to enclose a cannon-ball, which being made to disappear, its place is
supplied by a variety of articles which have been otherwise disposed of at an
earlier period.
There is another form of the Obedient Ball, designed for drawing-room use.
The ball in this case is about two and a half inches in diameter, and the bore is
straight, but tapering from a quarter of an inch at the one opening to about half
an inch at the other. The cord used is a thin piece of whipcord, and the ball
therefore runs quite loosely upon it. There is, however, in this case an additional
element in the apparatus, consisting of a little black wooden plug, about an inch
in length, and tapering so as to fit midway in the bore of the ball. (See Fig. 133,
in which a represents a nearly full-sized view of the plug in question.) The plug
is bored after the manner of the large ball, the hole being of such a size as to just
allow the cord to run through it. This plug is secretly threaded upon the cord
before commencing the trick; the cord, which in this case has a tassel instead of
a knot at one end, being passed through it from the larger end. This plug is kept
concealed in the hand of the performer, the string being allowed to dangle down
on each side of it. The ball is handed round for examination, and, when returned,
the cord is passed through it from the side which has the larger opening. The ball
is then allowed to drop quickly to the full extent of the cord. As it runs down, it
encounters the plug, which is thereby placed in position within the ball, and both
run down together until stopped by the tassel. From this point the working of the
trick is the same as with the larger ball.
CHAPTER XV.
HAT TRICKS.
THE present Chapter will be devoted to those tricks in which a hat plays a special
or prominent part. Borrowed hats have been used in the course of many of the
tricks already described, but the part played by the hat has been of an incidental
and subordinate character. In the tricks next following the hat is the principal
article employed.
The majority of hat tricks are different modifications of the same broad idea,
viz., the production from a borrowed and apparently empty hat of various
articles, in size and number much exceeding what any hat could in the natural
way contain. One of the best is that of
THE CANNON-BALLS IN THE HAT.—The earliest and simplest form of this trick
is limited to the production of a solid wooden globe, blacked to resemble a
cannon-ball. The introduction of the ball into the hat is effected as follows:—The
ball, which has a hole of about two inches in depth by one in diameter bored in it
towards its centre, is placed on the servante of the performer’s table in such
manner that the hole above-mentioned shall slant upwards and outwards, at an
angle of about 45°. To keep the ball steady, and to prevent its rolling off, some
performers have a slight circular hollow scooped in the surface of the servante
itself. A more convenient plan, however, is to use an india-rubber ring (such as is
given to infants teething). This may be placed on any part of the servante, and
makes a capital rest or bed for the ball. A bit of half-inch rope, with the ends
joined so as to form a ring, will answer the same purpose.
FIG. 134.
FIG. 135.
When the performer desires to introduce the ball into the hat, which we will
suppose to have been borrowed for the purpose of some previous trick just
completed, he takes the hat with his thumb outside and his fingers inside the
brim, and holds it up with its mouth towards the spectators, so as to show
indirectly that it is empty (see Fig. 134). Carelessly lowering his hand, he brings
the hat mouth downwards on the table, and, drawing it towards him, slips the
second finger into the hole in the ball (see Fig. 135), when the mere action of
crooking the finger brings the ball into the hat. He then, still holding the ball
supported by the finger, walks away from the table towards the owner of the hat,
with the apparent intention of returning it. Just before reaching him, however, he
pretends to notice that it is somewhat heavy, and looking into it, says, “Dear me,
sir, there is something rather peculiar about this hat. Are you aware that there is
something in it?” The owner naturally professes ignorance of the fact; and the
performer, after keeping the audience in suspense for a moment or two, turns the
hat over, and lets the ball fall out upon the stage.
FIG. 136.
The performer may in some degree heighten the effect of the trick by
making it appear that the ball is wedged very tightly in the hat, as the difficulty
of introducing it becomes thereby presumably the greater. This is managed by
holding the hat with both hands, as shown in Fig. 136, when the extended finger-
tips will prevent the ball from falling as long as may be desired, however much
the hat may be shaken.
FIGS. 137, 138.
THE “HUNDRED GOBLETS” FROM A HAT.—The goblets used for this purpose
are of polished tin, about four inches in depth, and made without ornament or
projection of any kind. Being all of the same size, and slightly tapering, a large
number of them may be fitted one within the other, and yet occupy little more
space than a single one. The goblets thus packed are placed in a bag of black
alpaca, just large enough to receive them, and concealed on the servante, or in
one of the profondes of the performer. When it is desired to introduce them into
the hat, they are grasped in either hand, the back of the hand being turned
towards the audience, and thus covering them. The hand is now carelessly placed
in the hat, as though to take something out. Once introduced, the goblets are
produced one by one, and placed mouth downward on the table, their number
giving an appearance of bulk which seems to exclude the possibility of their
having been all contained within so small a space. Two or three parcels of
goblets may be introduced successively, and brought out one by one, with little
difficulty.
We may here mention a little expedient which will be found of great
assistance where the performer desires to introduce into a hat a bundle of goblets
(or any similar article) from either of his secret pockets. We will suppose that the
article in question is in the right-hand profonde. Taking the empty hat in the
opposite hand (the left), he stoops a little, and holding it down near the floor,
with its mouth toward the company, gently moves it round and round in circles,
gazing at it intently, as though anticipating some important result. This draws all
eyes to the hat, and enables him to drop his right hand to the profonde, and bring
out, under cover of the hand and wrist, the article to be introduced. Continuing
the motion, he gradually brings the mouth of the hat upwards, so that the
company can no longer see into it, and suddenly plunges his right hand into it, as
though merely to take out the article or articles which he, in fact, thereby
introduces. This may be repeated from the profonde on the opposite side; and
thus two successive packets of articles may be produced without even going near
the table.
FIG. 140.
THE DRUMS FROM THE HAT.—In this trick the performer generally begins by
producing from the hat a number of the multiplying balls described at page 307.
He next produces a miniature drum, prettily ornamented, then another, then a
third and a fourth, each being a shade larger than its predecessor, and the last of
such a size as barely to be containable within the hat.
With the reader’s present knowledge, he will readily conjecture that the
drums are so constructed as to fit one within the other, the multiplying balls
being packed within the smallest of the four. One end of each drum is loose, and
falls inwards upon the opposite end, upon which it lies flat, thus giving space for
the introduction of another drum, a size smaller. Across the loose end, and
parallel to it, is fixed a wire, forming a handle whereby the performer may lift
the drum out of the hat, the act of doing so raising the end into its proper
position, and a wire rim round the inside of each drum preventing the loose end
being drawn out altogether. Each drum is taken out with the loose end upwards;
but the performer, in placing it on the table, turns it over, thus bringing the solid
end up. In default of this precaution, the loose end would fall back again to its
old position, and so betray the secret. The drums are usually made oval, rather
than round, as they are thus better suited to the shape of a hat.
THE BIRDCAGES FROM THE HAT.—Not content with cannon-balls, drums, and
ladies’ reticules, the public of the present day requires that birdcages and living
birds should be produced from an empty hat.
FIG. 148.
The birdcages used vary in their construction. Some are made to fit one
within the other, after the fashion of the drums just described, save that the
birdcages, unlike the drums, are lifted out by the solid and not the loose ends,
which fall down of their own accord. Those in most general use, however, are of
the shape shown in Fig. 146, and are alike in size, measuring about six inches in
height, by five in breadth and depth. The bottom is made to slide upwards on the
upright wires which form the sides. When it is desired to prepare the cage for
use, a canary is first placed therein, and the bottom is then pushed up as far as it
will go (see Fig. 147), the sides, which work on hinges at a a a a, being folded
one by one upon the bottom, the cage finally assuming the shape shown in Fig.
148. It is in this condition that the cages, generally three in number, are
introduced into the hat, either from the servante or from inside the vest of the
performer; and in the act of lifting out (which is done by the wire loop at top),
the sides and bottom falling down, the cage again becomes as in Fig. 146.
FIG. 149.
THE CAKE (OR PUDDING) IN THE HAT.—This is an old and favourite hat trick.
The necessary apparatus consists of two parts—first, a round tin pan a (see Fig.
149), four inches in depth, and tapering from five inches at its greatest to four
and a half inches at its smallest diameter. It is open at each end, but is divided
into two parts by a horizontal partition at about two-thirds of its depth. Second, a
larger tin b, japanned to taste, five and a half inches in depth, and so shaped as to
fit somewhat tightly over the smaller tin. In the larger end of the latter is placed a
hot cake or pudding, and in this condition it is placed on the servante of the
table, projecting a little over the edge. The performer borrows a hat, and in
passing behind his table, tips cake and tin together into it. The chances are that
the tin will fall small end upwards (the opposite end being the heaviest); but if
not, the performer turns the tin, so as to bring it into that position. Placing the hat
mouth upwards upon the table, he announces his intention of making a cake in it;
for which purpose he takes, one by one, and mixes in the tin b, a quantity of
flour, raisins, eggs, sugar, and the other ingredients for a cake, adding water
enough to make the mixture into a thick batter. This he pours into the hat,
holding the tin with both hands, at first high above it, but gradually bringing it
lower and lower, till at last, as if draining the last drop of the mixture, he lowers
the mouth of the tin right into the hat, and brings it well down over the smaller
tin. On being again raised, it brings away within it the smaller tin and its liquid
contents, the cake being left in the hat. He next proceeds to bake the cake, by
moving the hat backwards and forwards at a short distance over the flame of a
candle, and, after a sufficient interval, exhibits the result, which is cut up and
handed round to the company for their approval.
As the batter round the sides of b is apt to cause a to stick pretty tightly into
it, a folding ring is generally fixed inside a, in order to facilitate its removal after
the close of the trick.
The secret of this ingenious trick lies mainly in the construction of the
saucepan, which consists of four parts, designated in the diagram (Fig. 150) by
the letters a, b, c, and d; a is the lid, which has no speciality, save that the rim
round it is rather deeper than usual; b is a shallow tray or lining, of the same
depth as the lid, fitting easily within the top of the saucepan; a, on the contrary,
fits tightly within b; c is the body of the saucepan, and has no speciality; d is an
outer sheet or covering, loosely fitting the lower part of the saucepan, and, like
it, is japanned plain black, the upper part and lid being generally of an
ornamental pattern. (For our own part, we much prefer either plain black or
polished tin throughout, as savouring less of mechanism or preparation.) The
presence or absence of d does not alter the general appearance of the saucepan,
and cannot, therefore, be detected by the eye. It should be mentioned that d is so
made, that between its bottom and the bottom of the saucepan is a space of about
half an inch in depth, and in this space, before the apparatus is brought forward,
is placed a substitute handkerchief, sprinkled with a few drops of spirits of wine
or eau de Cologne, to render it more inflammable; within the saucepan is placed
a small live rabbit, after which b is put in its place, and pressed down.
FIG. 151.
The performer is now ready to begin the trick. He brings forward the
saucepan, holding it as in Fig. 151, in which position the pressure of the first and
second fingers on d prevents it falling off, as, being loose, it would otherwise do.
Placing it on the table, he mixes the bread, cheese, etc., on the plate, and then
pours all into the saucepan, where, of course, they fall into b. As b is
comparatively shallow, it is well to place the saucepan in some tolerably elevated
situation, so that the audience may not be able to see into it, or they may
perceive that the bread, etc., do not fall to the bottom. The lid is next placed on
the saucepan. The hat and handkerchief are borrowed, the latter, which is to
serve as fuel, being dropped into the hat. The performer, as if bethinking himself
of a possible difficulty, carelessly remarks, “We mustn’t have the stove too small
for the saucepan;” and so saying, lifts the latter, as shown in Fig. 151, and lowers
it for a moment into the hat, as though testing their relative sizes. In that
moment, however, he relaxes the pressure of his fingers on d, and so leaves it
within the hat, placing the saucepan on the table beside it. When he again takes
out the (supposed) handkerchief, and sets light to it, it is, of course, the substitute
that is actually burnt, the genuine handkerchief meanwhile remaining hidden
beneath d in the crown. The effect of the flames rising from the hat, in which the
audience cannot suppose any preparation, is very startling, and yet, unless the
substitute handkerchief is unusually large, or the spirit has been applied with a
too liberal hand, there is no real danger of injuring the hat. The performer moves
about the saucepan above the blaze at such a distance as not to inconvenience the
animal within, and, after a moment or two, brings the saucepan sharply down
into the hat, for the ostensible purpose of extinguishing the flames, but in again
lifting it out he brings with it d, and places all together on the table. Nothing is
now left in the hat but the borrowed handkerchief, which may be restored in any
manner which the performer’s fancy may suggest. When the lid of the saucepan
is removed, as it fits more tightly within b than the latter fits within the
saucepan, it naturally carries b with it, thus causing the disappearance of the
bread, cheese, etc., and revealing in its place the live rabbit.
Some fun may be created by selecting beforehand an assistant from the
juvenile portion of the audience, and dressing him up with a pocket-handkerchief
round his head, and another by way of apron, to act as assistant cook.
A guinea-pig or small kitten may be substituted for the rabbit, the performer
accounting for the wrong animal being produced by supposing that he must have
made some mistake in mixing the ingredients.
CHAPTER XVI.
MISCELLANEOUS TRICKS.
UNDER this head we propose to describe such tricks as do not come within either
of the preceding categories. We shall make no attempt at classifying them, save
that we shall, as far as practicable, describe the best known and simplest feats
first, and thence proceed to the more complicated. Stage tricks, i.e., tricks
adapted to the stage only, will be treated in the Chapter next following. We will
begin with
After having offered the string, which should be about four feet in length,
for examination, the performer takes the ends (pointing upwards) between the
first and second finger and thumb of the left hand, and the first finger and thumb
of the right hand, letting the remainder of the string hang down in a loop
between them. Now bringing the right hand close to the left, he draws that
portion of the string which is held in the right hand towards himself between the
first and second fingers of the left hand (thus crossing at right angles that end of
the cord which is held in the left hand), continuing to pull until half the length of
the string has passed the left hand, and at the same time slipping the third finger
of the left hand between the two parts of the string, which will thus be as shown
in Fig. 152, in which, for convenience of reference, the three lines in which the
string now hangs are marked a, b, and c, and one-half of the string is shown
black, and the other half white, though of course there would be no such
L
difference of colour in the original. The first finger and thumb of the right hand,
still retaining the end which they already hold, seize the portion b at the point
marked with that letter, the third finger of the left hand at the same time drawing
back the portion a towards the palm of the hand. The string will thus be brought
into the position shown in Figs. 153 and 154, (in the latter of which, for the sake
of clearness, the thumbs are made transparent), the part now held horizontally
between the two hands, which appears to be the middle of the string, really being
only the immediate continuation of the end held in the left hand. The whole
operation of arranging the string in proper position, though tedious to describe,
does not take half a second in practice.
L
It should be mentioned that, in order to economize space in
the diagrams, the actual length of the string is represented as much
shortened.
FIG. 153.
The performer next requests some person to cut the string, thus arranged, in
half, and this being (apparently) done, he transfers the string altogether to the
right hand, keeping the point of junction of the crossed pieces hidden between
the finger and thumb. (See Fig. 155.) He now gives either end to some one to
hold, and, placing his open left hand near to the end thus held, winds the string
rapidly round it, sliding off as he does so the short piece, which, as soon as it is
clear of the longer portion, he presses with his thumb between the second and
third fingers of the same hand. On again unwinding the string from the left hand,
it is found apparently whole as at first.
The principle of the trick being very generally known, you will frequently
find some one of the audience proclaim his acquaintance with it, and declare that
you have merely cut a short piece off the end of the string. “Pardon me,” you
reply, “my dear sir; that method of performing the trick has long since been
exploded. I will at once show you that I do not make use of any such shabby
expedient. Of course, if a piece was, as you suggest, cut off the end, the string
would be that much shorter after the operation. Will some one be kind enough to
measure it?” While this is being done, you secretly double in a loop the little
piece which was cut off on the former occasion, and which has still remained in
your right hand. When the string is returned to you, you double it in half, and
allow it to hang down between the first finger and thumb of the right hand,
drawing up immediately above it the little loop you have just formed. (See Fig.
156.) You now ask some one again to cut the string, which he apparently does, in
reality merely dividing the little loop. You go through any magical gesticulations
you please, and ultimately again conceal the cut ends between the fingers, and
produce the string once more restored. On being measured, it is found to have
lost nothing of its length.
The trick in this second form being performed by wholly different means,
the repetition will puzzle even those who knew, or believed they knew, the
modus operandi in the first case.
FIG. 157.
The secret lies in the fact that, from leg to leg of the performer, at about the
height of the figure from the ground, is fixed (generally by means of a couple of
bent pins), a fine black silk thread, of eighteen or twenty inches in length. This
allows him to move about without any hindrance. On each side of the head of the
figure is a little slanting cut, tending in a perpendicular direction, and about half
an inch in length. The divided portions of the cardboard are bent back a little,
thus forming two “hooks,” so to speak, at the sides of the head. When the
performer takes his seat as before mentioned, the separation of his legs draws the
silk comparatively taut, though, against a moderately dark background, it
remains wholly invisible. When he first places the figure on the ground, he does
so simply, and the figure naturally falls. He makes a few sham mesmeric passes
over it, but still it falls. At the third or fourth attempt, however, he places it so
that the little hooks already mentioned just catch the thread (see Fig. 158,
showing the arrangement of the head), and the figure is thus kept upright. When
the music commences, the smallest motion, or pretence of keeping time with the
feet, is enough to start the sailor in a vigorous hornpipe.
THE BOTTLE IMPS.—These are miniature black bottles, about two inches in
height, with rounded bottoms, and so weighted that, like “tumbler” dolls, they
rise of their own accord to the perpendicular, and will not rest in any other
position. The proprietor, however, has a charm by which he is able to conquer
their obstinate uprightness. For him, and for him only, they will consent to be
laid down, and even to stand at an angle of 45°, though they again rebel if any
other person attempts to make them do the same.
The little bottles are made of papier maché, or some other very light
material, varnished black, the bottom of each being a half bullet, spherical side
downwards. The centre of gravity is therefore at the bottom of the bottle, which
is thus compelled always to stand upright. The performer, however, is provided
with one or two little pieces of iron wire, of such a size and length as just to slip
easily into the bottle. One of these being held concealed between the finger and
thumb, it is a very easy matter, in picking up the bottle, to slip it in, and this
slight additional weight neutralizing the effect of the half bullet at the foot,
causes the bottle to lie still in any position. Having shown that the bottle is
obedient to the word of command, the performer again picks it up with the neck
between the first and second fingers and thumb, carelessly turning it bottom
upwards, and thus allowing the bit of wire to slip out again into the palm of his
hand, when he is able to again tender the bottle for experiment. Partaking of the
nature of a puzzle as well as a conjuring trick, this little toy has amused
thousands, and if neatly manipulated, may be repeatedly exhibited, even before
the same spectators, with little fear of detection.
It is obvious that in this form of the apparatus the two pillars, being joined
by the cords at the points b c, cannot be completely separated, and the fact of
their always being kept close together at the lower end is quite sufficient to
betray to an acute observer the principle of the trick. There is, however, an
improved form of the same apparatus, in which, after the apparent cutting of the
cord, the two pillars are held wide apart, one in each hand of the performer, and
yet, when they are again placed side by side, the string runs backwards and
forwards merrily as ever. The pillars are, in this instance, of the form shown in
Fig. 161. They are about six inches in length, of light and elegant shape, having
at each end a ball or knob of about an inch and a quarter in diameter, flattened on
one face to allow of the pillars being laid closely side by side. The cord, as in the
former case, passes down the first pillar from a to b, but instead of passing out at
b, it is rolled round a little pulley working in the lower knob of that pillar. (See
Fig. 162, which gives a sectional view of the lower portion of each pillar.) A
similar cord is passed down from d in the second pillar to c, and is there rolled
round a second pulley, but in the opposite direction to that of the first cord; so
that, if both pulleys move in the same direction, the cord on the one will be
wound, and the cord on the other unwound. Each pulley is of one piece with its
axis, the axis of the one terminating in a little square tenon or nut, and that of the
other in a corresponding mortice or hollow, so that when the two pillars are
placed side by side, their axes fit the one into the other, and whichever of the two
pulleys is set in motion, the like movement is communicated to the other. The
effect of this is as follows: If the cord at a be pulled, it unwinds that portion of
the cord which is wound on the pulley at b, and by the same movement winds up
the cord on the other pulley; and vice versâ. We have omitted to mention that
there is glued into a little hole on the flat side of each of the upper knobs, exactly
opposite the points a and b, a very minute piece, say an eighth of an inch in
length, of similar cord; these greatly heightening the appearance of reality upon
the apparent cutting of the cord.
The pillars are brought forward side by side, the nut of the one pulley fitting
strictly into the hollow of the other. The performer shows, by drawing the cord
backwards and forwards, that it fairly traverses the two pillars from side to side.
Taking a knife, he passes it between the two pillars, and to all appearance cuts
the cord, immediately taking the pillars one in each hand, and showing the cut
ends (really the short bits on the inside) to prove that it is fairly cut through.
Again bringing the pillars together, taking care that the mortice and the nut
correspond as before, he commands the cord to be restored, and again pulls it
backwards and forwards as at first.
Some little fun may be created by placing the upper knobs of the pillars
pincer-fashion, one on each side of a person’s nose, the cord being thus
apparently made to run right through the nose. An air of greater probability may
be given to this curious effect by first piercing the nose with the magic bradawl.
This is in appearance an ordinary bradawl, but the blade is so arranged as to
recede into the handle on the slightest pressure, again reappearing (being, in fact,
forced forward by a spiral spring in the handle) as soon as the pressure is
removed. A duplicate bradawl of ordinary make is first handed round for
examination, and the trick bradawl being adroitly substituted, the performer
proceeds therewith to bore a hole through the nose of any juvenile volunteer who
will submit to the operation. Holding a piece of cork on one side of the nose, he
apparently thrusts the awl through the nose, the sinking of the blade into the
handle exactly simulating the effect of a genuine perforation. (Some performers
make use of a sponge moistened with some liquid resembling blood, which by a
little pressure is made to trickle down from the imaginary wound; but this is a
piece of realism which we think is better omitted.) The nose being thus
apparently pierced, the imagination of the spectators is in a measure prepared to
accept the phenomenon of the restored cord running through it as already
described.
FIG. 163.
THE MAGIC COFFERS.—These are round tin boxes, japanned to taste, and
made generally about five inches in depth by three in diameter, though they are
sometimes larger. (See Fig. 163.) The only speciality about them is a moveable
portion a, which may either be removed with the lid or left upon the box,
according as the lid is lifted with or without lateral pressure. This moveable
portion is bottomed with a grating of parallel wires, an eighth of an inch apart.
The coffers are generally worked in pairs, the effect produced by them being the
apparent transmission of the contents of the one to the other, and vice versâ.
They may be worked with various articles. For our present purpose we will
suppose that the performer desires to change white haricot beans to coffee-
berries, both of which suit the apparatus very well. He beforehand fills the one
coffer with beans, and the moveable compartment belonging to it with coffee-
berries, doing exactly the reverse as to the second coffer. The coffers are now
brought forward, and the performer, removing the lids (with the moveable
compartments), allows the spectators to satisfy themselves that each coffer is full
to the bottom, and that the contents are nothing more or less than what they
appear to be. This being established, he returns to his table, and again puts the
lids on the coffers, taking care that that which contains the beans shall be placed
on the coffer containing the coffee-berries, and vice versâ. He now requests two
of the younger spectators to step forward, and assist him with the trick. A couple
of volunteers having been procured, they are made to salute the audience, and
are then seated upon chairs at each side of the stage, each being entrusted with
one of the coffers, which, that all may see, they are requested to hold with both
hands above their heads. The performer, standing between them, says, “Now,
young gentlemen, I must caution you to hold tight, or the electrical forces which
are rapidly generating in these magic coffers will carry them clean away, and
possibly you along with them. Now, first please tell me, just to start fair, which
coffer is it that you have got, sir, the one with the beans, or the one with the
coffee-berries?” The chances are ten to one against the extempore assistants
remembering which was which, and the majority of the audience will be equally
uncertain. The professor pretends surprise and disappointment. “Ladies and
gentlemen, you cannot possibly appreciate the beauty of these philosophical
experiments unless you follow them carefully from the commencement. I will
open the coffers once more.” So saying, he opens first the one coffer and then
the other, taking care, however, to lift the lids only, so that the one which really
contains the coffee-berries shows the layer of beans, and that which contains the
beans the layer of coffee-berries. In each case he takes up a handful, and lets
them flow back from his hand into the coffer, the better to impress upon the
audience the contents of each, finally placing a bean in the hands of the youth
who holds the supposed coffer of beans, and a berry in the hands of the holder of
the supposed coffee-berries. Again closing the lids, he requests the person
holding the bean to throw it into the closed coffer held by the other. The juvenile,
looking foolish, replies that it can’t be done; and a similar reply is received from
the youth holding the other coffer. The performer, addressing the company, asks
some one else to make the attempt, but equally without success. He continues,
“Gentlemen, among this large and brilliant audience not one person can be found
who will undertake to throw this little bean into one of those coffers. Imagine,
then, the difficulty of passing the whole of the beans which this coffer contains
into the other, not dropping even one on the way, and at the same moment
transferring the whole of the berries in this coffer into that which, a moment
before, was full to the brim with the beans. But it must be done. Young
gentlemen, will you be kind enough to repeat with me, One, two, three! At the
word ‘three,’ by the way, you had better close your eyes, or they might possibly
be injured by the shower of beans and berries. Are you ready, Mr. Beans? Are
you ready, Mr. Berries? Now, then, One! two! three!!! Did you feel them pass? I
hope they did not hurt you. Now let us once more open the coffers. I have kept
my word, you see—Mr. Beans has the coffee-berries, and Mr. Berries has the
beans. Will you please step forward, and show the company that the coffers are,
as at first, full to the very bottom.” The lids, containing the moveable
compartments, he meanwhile places carelessly upon his table.
Some performers make the change more than once, and it is obvious that the
contents of the coffers may be made to apparently change places any number of
times. If this is done, however, the secret of the false tops is apt to be suspected;
whereas, in the method above described, the audience have, as they believe,
proved the coffers full to the bottom, both before and after the trick; and this
greatly increases the difficulty of accounting for the transposition.
The object of having the false tops bottomed with open wirework, instead of
with tin, is to be prepared for the expression of a suspicion on the part of the
audience as to the existence of a false top. In such case the performer, borrowing
a penknife, passes it well down through the upper layer of beans, etc., and
through the wirework, thus proving (apparently) that the coffer is open to the
bottom. In the trick as above described, however, the expression of such a
suspicion is a very remote contingency.
The trick is sometimes performed with sweetmeats in one or both of the
coffers, and in this form has an added charm for a juvenile audience, who
complete the trick by swallowing that portion of the apparatus.
THE BRAN AND ORANGE TRICK.—This trick is performed with a single coffer,
in appearance very similar to those used in the last trick, but slightly different in
construction. The false top is, in this case, bottomed with plain tin. The bottom
of the coffer is moveable, being soldered to a circular rim or shoulder of tin
about a quarter of an inch in depth, over which the coffer fits pretty tightly,
though the projecting edge of the bottom enables the performer to remove it
without difficulty. The performer must also be provided with an ordinary oblong
wooden box. Its precise dimensions are unimportant, save that it should be a
good deal larger than the coffer, but about an inch or so less in height. This box
is filled with bran, as also is the false top of the coffer. A couple of oranges, as
much alike as possible, must also be provided. One only of these is produced to
the audience, the other being beforehand placed on the servante of the table.
The performer begins by placing upon the table the coffer and the box of
bran. Removing the lid (with the false top), he brings forward the coffer, and
shows that it is perfectly empty. In returning to his table, he loosens (though
without removing) the moveable bottom, and replaces the coffer on the table. He
next brings forward the box of bran, showing that there is no preparation about
it, and in replacing it on the table, places it in front of the coffer, which, however,
being the taller, remains visible behind it. He next introduces the orange, either
palming it (from one of his pochettes), and magically producing it from some
person’s nose or whiskers, or by the more prosaic method of having it brought in
by his assistant. He now returns to his table, and, standing behind it, proceeds to
fill the coffer with bran. This he does by placing the coffer upright in the box,
holding it with one hand and ostentatiously pouring in bran with the other until it
is full. In placing the coffer in the box, however, he takes it up quite without the
bottom, so that he is, in reality, only filling an open tube. Meanwhile, he secretly
picks up, with his disengaged hand, the second orange from the servante, and
places it upon the bottom, which remains behind the box. Having filled the
coffer, and remarking, “Pray observe that it is quite full,” he (before removing it
from the box) covers it with the lid, and then lifting it out, again places it behind
the box in such manner as to go neatly over the bottom and the orange upon it.
(Of course, in the act of lifting the coffer, all the contents run back again into the
box.) Having now got the second orange within the coffer, and having, by a
gentle pressure, again settled the bottom in its place, the performer places the
coffer on a second table or a chair close in front of the audience. He then says, “I
am about to order the bran with which this coffer is filled” (here he raises the lid
without the false top, and the coffer therefore appears full of bran) “to pass back
again into the box from which it was taken, and this orange” (here he passes
behind his table, and holding up the orange, replaces it six or eight inches from
the hinder edge) “to pass into the coffer in place of it. Now, first for the bran.
One, two, three! Pass! Did you see it fly from the coffer into the box? You
didn’t? Well, at any rate, you shall see the orange pass. I take it up so” (here he
places his two hands round it, and rolls it on to the servante in manner described
at page 294, coming forward with the hands together, as though still containing
it, and holding them over the coffer at a few inches’ distance), “and squeeze it
smaller and smaller, in this manner, till it becomes small enough to pass right
into the coffer, as you see.” Here he separates his hands, showing them empty,
and immediately taking off the cover with the false top, rolls out the orange, and
shows that the coffer is otherwise empty.
The trick as above described is susceptible of a good many variations. If the
performer uses a trap-table, the orange may be made to pass through a trap
instead of being rolled off at the back of the table, though the latter method, if
neatly executed, can hardly be surpassed in illusive effect. A more substantial
improvement may be made by causing the bran, instead of simply disappearing
as above mentioned, to reappear in some other quarter. There are many pieces of
apparatus which may be used for this purpose, perhaps as good as any being the
improved sweet-bag (see page 248). This should be previously filled with bran,
and hooked to the back of the table. The performer in this case borrows a
handkerchief, which he carelessly spreads on the table, and a gentleman’s hat,
which he places mouth upwards beside it. Instead of announcing that the bran
will return from the coffer to the box from whence it was taken, he states that it
will, at command, pass into the handkerchief which he holds, and which as he
speaks he picks up, with the bag beneath it, holding it, without apparent
intention, just above the hat. At the word “Pass!” he slightly turns his wrist,
thereby releasing the flap of the bag, and a shower of bran is instantly seen to
pour down into the hat. This little addition greatly enhances the effect of the
trick.
THE RICE AND ORANGE TRICK.—In this feat rice and an orange are made to
change places, but by wholly different means from those last above described.
FIG. 164.
FIG. 165.
The apparatus in this case consists of three japanned tin cones, about ten
inches in height by five at the base, and each having a brass knob at the top—
and an ornamental vase of tin or zinc, standing about the same height as the
cones, and having a simple metal cover, or top. Of the cones (all of which are
open at the bottom), two are hollow throughout, but the third has a flap or
moveable partition halfway down, inclosing the upper half of the internal space.
This flap works on a hinge, and is kept shut by a little catch, which is withdrawn
by pressure on a little button outside the cone, when the flap drops down, and
lets fall whatever has been placed in the enclosed space. (See Fig. 164.) The
cone is prepared for the trick by filling this space with rice, and closing the flap;
and the three cones are then placed in a row on the performer’s table, the
prepared one being in the middle. The vase (see Fig. 165) is constructed as
follows:—Its depth inside is less by about an inch than its depth outside, leaving,
therefore, between its true and false bottoms, an empty space, a. A circular hole
is cut in the inner or false bottom, but this hole, in the normal condition of the
vase, is kept closed by a circular disc of metal, b, exactly fitting it. This disc is
soldered upon an upright wire rod, passing through the foot of the apparatus, and
terminating in another disc, c, somewhat smaller in size. Round this rod is a
spiral spring, whose action tends to press it down, and thereby to keep the disc or
valve normally closed, though it rises, and thereby opens the valve (as shown by
the dotted lines in the figure), whenever upward pressure is applied to c. The
face of the upper disc, b, is slightly concave, corresponding with the rest of the
interior of the vase. The vase is prepared for the trick by placing an orange in it,
and in this condition it is brought forward and placed on the table by the
performer or his assistant. A small paper bag full of rice is brought in at the same
time, and completes the preparations.
With this introduction, we proceed to describe the trick as worked by
Herrmann.
The performer begins by borrowing two hats, and places them one on the
other, the mouths together, on a chair or table. He then (by palming) produces an
orange from the hair or whiskers of a spectator, and places this on another table.
He next brings forward and exhibits the vase, filling it as he advances with rice
from the paper bag, and thus concealing the orange which is already placed
therein. He calls attention to the genuineness of the rice and the simplicity of the
cover, and finally putting on the latter, places the vase on the ground, or
elsewhere, in view of the audience. He pretends a momentary hesitation as to
where to place it, and in the slight interval during which he is making up his
mind he presses up the button within the foot. This opens the valve, allowing the
rice to escape into the space a, and leaving the orange again uncovered. The
audience is, of course, unaware that such a change has taken place.
Leaving the vase for the moment, he requests the audience to choose one or
other of the three cones on the table. The choice almost always falls on the
middle one (which, it will be remembered, contains the concealed rice). This he
places on the top of the upper hat. He next asks the audience to select one or
other of the remaining cones, and places this over the orange upon the table,
showing by rattling his wand within it that it is hollow throughout, and, if
desired, handing round the remaining one for inspection.
At this point we hasten to anticipate an objection which will probably occur
to the reader. We have said that the audience, when called upon to choose one of
the three cones, almost always select the middle one, and we have proceeded on
the assumption that they do so. “But suppose,” says the acute reader, “that they
don’t choose the middle one, but select one of the end ones; the trick is spoilt, as
neither of the others will produce the rice.” By no means, O acute reader! If we
had requested the audience to choose which of the cones should be placed upon
the hat, there might have been a little difficulty, no doubt; but we did nothing of
the kind. We merely asked them to choose one of the cones. If their first choice
falls on one of the end ones, we hand it round for examination, and finally place
it over the orange. Then, standing behind the table, we ask the audience to make
their choice between the two remaining cones, right or left. Whichever is chosen,
we are safe; for as we have already had occasion to explain in connection with
the trick of the half-crown in the orange (see page 171), the right of the audience
is our left, and vice versâ, so that by taking their reply in the sense which suits
our purpose we are certain to be right. We therefore, in any case, take the cone
containing the rice as being the one designated, and place this on the hat, sending
round the other for inspection. As the audience have, to all appearance, been
allowed perfect freedom of choice, and have actually examined two out of the
three cones, they are very unlikely to suspect any preparation about the
remaining one.
The trick is now all but complete. Once more the performer raises the cone
placed on the hat, to show that there is nothing underneath it; and as he replaces
it presses the button, thereby letting the flap fall, and the rice pour out upon the
hat, though it remains still concealed by the cone. He next lifts up the cone under
which is the orange, and holding the latter up, replaces it, but in again covering it
with the cone, makes a feint of removing and slipping it into his pocket. Then
noticing, or pretending to notice, a murmur on the part of the company, he says,
“Oh, you think I took away the orange, but I assure you I did not.” The company
being still incredulous, he again lifts the cone and shows the orange. “Here it is,
you see, but as you are so suspicious, I won’t use the cover at all, but leave the
orange here in full view on the table.” He again lays the orange on the table, but
this time on what is called a “wrist trap.” Leaving it for the moment, he advances
to the vase, and holding his hands together cup-fashion over it, but without
touching it, he says, “I take out the rice, so, and pass it under this cover”
(walking towards the cone on the hat, and making a motion of passing something
into it). “Let us see whether it has passed.” He raises the cover, and the rice is
seen. “Perhaps you think, as you did not see it, that I did not actually pass the
rice from the vase to the cover. At any rate, you will not be able to say the same
about the orange. I take it up, before your eyes, so!” He places his hands round it
on the table, and at the same moment presses the lever of the trap, which opens,
and lets it fall through into the table, closing again instantly. Keeping his hands
together, as though containing the orange, he advances to the vase, and holding
his hands over it, says, “Here is the orange which has not left your sight even for
a single moment. I gently press it, so” (bringing the hands closer and closer
together) “and make it smaller and smaller, till it is reduced to an invisible
powder, in which state it passes into the vase.” He separates his hands, and
shows them empty, and then opening the vase, rolls out the orange, and shows
the vase empty, all the rice having disappeared.
The mechanism of the Wrist Trap will be explained in the next Chapter. If
the performer does not possess a trap table, he can cause the orange to disappear
in the manner referred to at page 337.
FIG. 166.
THE MAGIC WHISTLE.—The student will not have proceeded far in his
magical experience before he meets with an often-recurring nuisance, in the
person of some individual, old or young, who knows, or pretends to know, the
secret of all his tricks, and whose greatest delight it is, by some mal-à-propos
question or suggestion, to cause the performer embarrassment. The magic
whistle is specially designed to punish, and, if possible, to silence, an individual
of this kind. It is of turned boxwood, and of the shape shown in Fig. 166, and
yields a shrill and piercing note. The performer, bringing it forward and blowing
through it, announces that this little whistle, so simple in appearance, has the
singular faculty of obeying his will, and of sounding or not sounding at his
command alone. The loquacious gentleman is pretty sure to question the fact, or
is on some pretence selected to make trial of its truth. The performer places him
directly facing the audience, and after himself once more sounding the whistle,
hands it to him in order to try his skill. He blows vigorously, but in vain; not a
sound can he produce, but his mouth and lips gradually become obscured with a
white or black dust. He finally retires to his seat amid the laughter of the
audience, and generally much less disposed to make himself prominent during
the remainder of the evening.
The secret lies in the fact that there are two whistles—one is a perfectly
ordinary instrument, but the other, though similar in appearance, does not sound,
but is perforated round the inner side of the head (see the Figure) with a number
of small holes. The head unscrews, and is beforehand filled with finely
powdered chalk or charcoal, which, when the whistle is blown, is forced through
the holes, and settles round the mouth of the victim.
With the present knowledge of the reader, the necessary exchange of the two
whistles will not be regarded as offering any difficulty.
There is a larger appliance for the same purpose in the shape of a flageolet.
Another apparatus of like effect, though differing a little in detail, is called
FIG. 167. FIG. 168.
THE MAGIC MILL.—This is a little Mill of the form shown in Fig. 167, and
five or six inches in height. It is made of zinc or tin, and consists of two portions
—the upper part A, and the base B (see Fig. 168), the former sliding over the
latter (as shown by the dotted lines in Fig. 167), and fitting easily upon it. A is
hollow throughout; a and b b are hollow tubes open at each end, a third little
tube c springing at right angles from a. The base, B, is a hollow chamber, closed
on all sides save at the openings d and e e. This chamber is beforehand fitted
with powdered chalk or charcoal; after which A is placed in position over it. If,
under these circumstances, any person blows smartly through the tube a, the
effect will vary according to the position of B within A. If B be so turned that the
three holes d and e e correspond with the tubes a and b b, the breath entering at d
will force out the contents of B through the tubes b b, and powder the lips of the
person blowing, as in the case of the magic whistle. But if, on the contrary, B be
turned ever so little to the right or left, the three openings in B no longer
corresponding with the tubes, the latter will be closed, and the breath having no
other outlet, will be forced upwards through the upright tube c, thereby setting
the little vane f in rapid motion. The latter is the condition in which the apparatus
is brought forward by the performer. Blowing through a, he sets the mill in
motion, and invites others to do likewise, in which, of course, they succeed
without difficulty; but when the turn of the intended victim arrives, the
performer gives A a slight twist round, in such manner as to bring the openings
of B in correspondence with the three tubes, with the result already explained.
We have omitted to mention that there is on the under surface of B a little raised
point, corresponding in position with the opening d, so that the performer is able
to tell instantly by feel whether B is or is not in the required position.
As a matter of convenience, we shall, before proceeding further with the
explanation of individual tricks, describe two or three pieces of apparatus of
general utility, to one or other of which we shall have frequent occasion to
subsequently refer.
FIG. 171.
Some drawer-boxes have a different arrangement for holding back the inner
drawer, consisting of a little wire bolt lying loosely in a cylindrical cavity in the
hinder end of b, corresponding with a similar cavity in the side of the outer case.
As long as the drawer-box is kept in its normal position, this pin offers no
obstacle to the withdrawal of b with a; but if the box be turned over on the side
in which is the bolt, the latter drops partially into the hole in the outer case, thus
bolting b to it, until, by again turning over the apparatus, the bolt is made to drop
back again into its original position. The arrangement is rather difficult to
explain in writing, but will become quite clear upon an examination of Figs. 172
and 173, both representing a section of the hinder end of the drawer-box, the one
in its upright and the one in its turned-over position. The necessary turning over
of the box is plausibly accounted for by the performer’s desire that the audience
shall, for greater fairness, have a full view of the top of the apparatus.
FIG. 174. FIG. 175.
The reader, being acquainted with the ordinary drawer-box, will have no
difficulty in accounting for the first harvest of flowers, but the second may
possibly puzzle him a little. The secret lies in the top of the outer case, which, as
we have already mentioned, is slightly pyramidal in form, allowing a
considerable space between its inner and outer surface, and in this space is
packed the second supply of flowers. This space is closed on its under side by a
flat wooden slab a, of the same area as the inside of the drawer, held in position
by a thin wooden slip or bead at either end. The hindmost of these beads, b, is so
arranged as to yield to pressure, and, when the drawer is pushed slightly in, gives
way just enough to release the slab before mentioned, which thereupon falls flat
upon the bottom of the drawer, and upon it the hitherto concealed flowers,
which, spreading as they fall, completely fill the drawer.
We will suppose that it is desired to produce any article from the caddy, first
shown empty. The article in question (say an egg, hard-boiled for safety) is
beforehand placed in the moveable compartment, which we will suppose to
occupy for the time being the space under lid a, as shown in Fig. 179. The
performer takes off the opposite lid b, and shows the space beneath empty.
Before removing the second lid, he slopes the caddy in the opposite direction, so
as to bring the moveable compartment under lid b (see Fig. 180), and thus is
enabled to show the space under a also empty. He then proceeds with the trick,
and at the right moment produces the article from the caddy.
FIG. 181.
There are a good many varieties of caddies made. One is known as the
“skeleton” caddy, from the fact that the bottom is made to take out, so that the
company can look through all three compartments. The sliding drawer in this
case is bottomless, and is so arranged as only to slide when the performer
releases it by pressing upon a particular spot in the ornamental moulding round
the bottom of the caddy. This pressure withdraws a little pin, which normally
rests in a little hole in the side of the sliding drawer, and thus renders it for the
time being a fixture. In some caddies, again, the sliding drawer does not run up
and down by its own weight, but is moved backwards and forwards from below
by means of a projecting pin passing through a slit in the bottom of the caddy.
The caddy in this case does not require to be inclined one way or the other, and
is on this account preferred by many to the other make.
The trick next described will introduce to the reader a changing caddy of
another and special construction.
FIG. 183.
THE MAGIC VASE AND CADDY. (To make peas change places with a
handkerchief.)—For this trick two special pieces of apparatus are necessary. The
first is a tin vase, of the shape shown in Fig. 183, and generally of about ten
inches in height. It consists of three parts, the vase proper a, the cover b, and a
moveable compartment or well, c, which is constructed upon a principle which
we have had frequent occasion to notice, the cylindrical portion of a passing
between the inner and outer wall of this moveable compartment. It is coloured
exactly similar to that portion of a which it covers, which therefore looks exactly
the same to the ordinary spectator, whether c be in its place or removed. The
internal depth, however, of c is little more than half as deep as that of the actual
vase, a. The cover b exactly fits over c, and by means of a little appliance called
a “bayonet-catch,” will either lift c with it when removed, or release c and leave
it upon a.
FIG. 184.
When the sliding drawer is in its proper position in the caddy, and is pushed
as far as it will go towards the one or the other end, the result is as follows:—If it
is pushed to the right, the bottomless compartment e occupies the space at that
end, under lid c, while the opening in the false bottom of the caddy is, for the
time being, closed by the bottom of d, which now occupies the middle space. If
the sliding tray is pushed to the opposite end (i.e., to the left), d will occupy the
space a at that end, while the bottomless compartment e, being over the opening,
gives access to the space beneath.
The caddy is prepared for the purpose of the trick by placing in the space
between the true and false bottoms a white handkerchief, and the sliding tray is
then pushed to the right, so as to bring compartment d to the middle, and thus
close the opening. The vase is prepared by filling both divisions with peas. The
two pieces of apparatus having been placed on the table by the assistant, the
performer opens the caddy, and taking off the lids of the three divisions, and
holding it with his fingers inside the right hand end (thereby preventing any
possibility of the tray shifting), brings it forward to the audience, and passing
rapidly in front of them, begs to introduce to their notice an old tea caddy, in
which he has accidentally discovered some curious magical properties. In the
present condition of the caddy all three compartments appear exactly alike, and
of equal depth; and the interior being of a dead black, the spectators are not
likely to notice that they are somewhat shallow. Again closing the lids, and
replacing the caddy on the table, he next draws attention to the vase. Taking off
the cover without the moveable compartment, and holding it upside down, he
pours the peas contained in the upper compartment (which should not be quite
full) into the cover, and back again two or three times, finally offering a handful
for inspection. He then borrows a lady’s handkerchief, which should as nearly as
possible resemble the substitute hidden in the caddy. He asks permission to place
it, for the purpose of the trick, in the vase. This is, of course, readily granted, but
the peas are in the way. After a moment’s pretended hesitation, he says, “Well, I
will put them in the caddy. Pray observe that I really do so.” So saying, he pours
them into d (which, it will be remembered, is for the time being the centre
compartment), leaving that compartment uncovered, so that they may remain
visible to all. He then places the handkerchief in the apparently empty vase,
which he closes and places on the table. He continues, “You have all seen me
place the handkerchief in the vase, and the peas in the caddy. Now I will show
you a very curious experiment. Perhaps some scientific gentleman among the
audience will explain how the effect is produced; for I confess that though I have
performed this trick some scores of times, I am not quite certain myself as to the
reason of the phenomenon. Let me beg you once more to assure yourselves that
these are genuine peas, real common-place peas at twopence a pint, with no
nonsense about them.” As he says this, he passes along the front rank of the
spectators, exhibiting the peas in the caddy, and occasionally taking out a
handful, and offering them for closer inspection. As he reaches the end of the
line, he says, “You are all thoroughly satisfied that these are genuine peas, and
that the lady’s handkerchief is in the vase upon the table. Quite right. Now
observe, I don’t even touch the vase, and yet, at the word of command, the
handkerchief will pass into the caddy which I hold in my hand. Pass!” During
the last few words, and holding the caddy for an instant with the lid towards the
audience, so as to screen his hand, he has pushed the sliding tray to the left, so
that d, containing the peas, now occupies the end space, while the bottomless
compartment e has taken its place in the middle. Dipping down through this
compartment into the hollow space beneath, he takes out the substitute
handkerchief. “My commands are obeyed. Here is the handkerchief. But where
are the peas? Probably, as the handkerchief has taken the place of the peas, the
peas have taken the place of the handkerchief. Let us see.” He uncovers the vase,
lifting this time with the cover the moveable compartment containing the real
handkerchief. “Yes, here are the peas, right enough,” shaking the vase, and
taking them up by handfuls to show them. He continues, “Now I dare say this
seems very surprising to you, but in truth it is comparatively simple. The real
difficulty begins when you try to make the handkerchief and the peas travel back
again to their original situation. This part of the experiment is so difficult, that I
always feel a little nervous over it, but I must make the attempt.” Pushing the
substitute handkerchief openly down to the position it originally occupied, he
takes the opportunity, in carrying the caddy back to the table, to slide back the
tray as at first, and, after a little more talk, shows that the peas have returned to
the caddy, and lifting the cover alone from the vase, produces therefrom the
genuine handkerchief.
FIG. 187.
THE CHANGING COVER.—This cover is available not only, as in the last case,
to produce or vanish, but also to change one article for another. It is somewhat of
the pattern of an ordinary round dish cover, with a metal knob on the top. (See
Fig. 190.) It is divided by a vertical tin partition a (see Fig. 191), into two equal
compartments, b and c. The lower, or open side of each of these compartments is
of course semicircular. A flat tin plate, d, also semicircular, works on an upright
axis, e, passing upwards through the centre of the cover, and terminating in the
knob on the top. By turning, therefore, this knob halfway round to the right or
left, the performer is enabled to close whichever of the compartments happens
for the time being to be open, at the same time opening that which was
previously shut. There is a little point or stop on the upper side of the
semicircular plate, which meeting resistance from the vertical partition, prevents
the plate making more than the necessary half-turn either way.
The apparatus is prepared by placing the article representing the result of the
supposed transformation (say an apple) in either compartment, and turning the
knob so as to close that compartment, and open the other. The article to be
changed (say an orange) is placed upon the table, and the performer places the
cover upon it, taking care that the open compartment for the time being shall
come fairly over it. He then gives a half turn to the knob, thereby closing the
compartment which has hitherto been open, and securing the orange within it,
and at the same time releasing the apple, into which, on the cover being again
raised, the orange appears to be transformed. In this case, as in the last, it is well
to have a plain counterpart cover to hand round for inspection if necessary.
The uses to which the changing cover may be put are very numerous. The
following is an instance of a rather original application of it, which produces a
capital effect. We will suppose that the performer has executed a trick in which
he has availed himself of the assistance of some juvenile member of the
audience, and that an apple has been one of the “properties” of the trick. The
trick being concluded, the professor asks his temporary assistant whether he
would like to have the apple, and is of course eagerly answered in the
affirmative. “Very well,” says the professor, “you shall have it; but you must first
earn it by a little display of dexterity. I will put it under this cover.” He suits the
action to the word. “Now I am going to say, One, two, three! At the word ‘Three’
I shall raise the cover, and you must try to snatch the apple before I replace it. If
you can catch the apple in this manner three times in succession, it is yours; but
on one further condition, that you eat it at once here upon the stage.” The
conditions are readily accepted. “One, two, three!” cries the professor, raising
the cover and disclosing the apple, which is instantly snatched up. A second time
the process is gone through, with a like result. “You mean to win, I can see,”
remarks the performer. “Now, once more, and the apple will be yours; but I warn
you I shall be rather quicker this time. One! two!! three!!!” The eager boy
springs forward, and clutches—not the apple, but a Spanish onion, which had
been placed in the second compartment of the cover. “You have won, sir,” says
the professor, pretending not to notice the change; “but don’t forget the second
part of your bargain. You are to eat it at once, before leaving the stage.” We will
leave to the imagination of the reader the discomfiture of the victim, and the
amusement of the spectators; also the subsequent magical processes by which
the transformed apple may be restored to its original and more fragrant
condition.
FIGS. 192, 193, 194.
FIG. 196.
FIG. 198.
THE CONE AND BOUQUET.—This is another form of the cone trick, involving
the use of rather more elaborate apparatus. The cone in this case is about five
inches in height by three at the base, and tapers very slightly. It may be either of
boxwood, as in the trick last described, or the block may be of any hard wood,
and the hollow shell of tin to fit, each blacked and polished, so as to look exactly
alike. It is used in conjunction with a paper cover as before, and two little
bunches of flowers, exactly alike, and of such a size as to be just covered by the
hollow shell. Each of these little bouquets is made upon a tin framework,
consisting of a wire arch springing from a flat saucer-like base. (See Fig. 197.) A
pedestal and cover complete the apparatus. The pedestal a (see Fig. 198) is
cylindrical; and about six inches in height, by four across the top. Its upper
surface consists of a circular plate of tin, working up and down piston-wise in
the pedestal. This is forced upwards by a spiral spring, but yields to pressure,
sinking vertically to a depth of four or five inches when necessary. The upper
edge of the pedestal is slightly turned in all round, so that the top may not be
pressed out altogether by the force of the spring. An outer casing of tin, b, fits
over a, just so tightly as to resist the upward pressure of the spring when forced
down by any object between the pedestal and this casing. The cover, c, is about
double the height of a, and by means of a bayonet catch (see page 352) may be
lifted off either with or without b at pleasure.
FIG. 199.
FIG. 200.
The pedestal is prepared for use by removing b, and placing one of the little
bouquets on the top of a; then again putting on b, and forcing it down into its
place, when the condition of the apparatus will be as shown (in section) in Fig.
199. The wire arch prevents the flowers being crushed out of shape by the
pressure of the spring. The pedestal and cover are now brought forward and
placed on the table; also the cone (with the shell on), the paper tube to cover it,
and the remaining bunch of flowers. The paper tube is first exhibited, placed
over the cone, and removed with the hollow cone within it, as in the last trick.
The solid cone is then offered for examination, and having been duly inspected,
is placed upon the pedestal. The performer makes a movement as if about to
place over it the cover c, but checks himself in the act, and shows that this cover
is empty and hollow throughout. He then puts on the cover, and reverting to the
bunch of flowers on the table, covers it with the paper tube. He next announces
that in obedience to his command, the block and the bunch of flowers will
change places. He raises the paper tube, holding it by the top, and thus leaves
behind the hollow shell, covering and concealing the bunch of flowers. He next
takes off the cover of the pedestal, first, however, turning the bayonet catch, so
as to lift off with the cover the casing b. The solid cone is carried off between the
casing and the cover (see Fig. 200), while the action of the spring, the casing
being removed, brings the concealed bunch of flowers to the top of the pedestal,
in the position lately occupied by the cone. Having shown that the cone and the
flowers have changed places, the performer next undertakes to bring them back
to their original situation, which, by reversing the process, he does without
difficulty.
The pedestal above described is a very useful piece of apparatus, being
available either to produce, change, or vanish any article of appropriate size. A
very effective trick may be performed therewith by causing an empty tumbler to
appear full, or vice versâ. In this case, however, it should by no means be
admitted that an exchange takes place, as the supposed filling of an empty glass
with water by covering it with an evidently unsophisticated cover, is rather the
more surprising phenomenon.
FIG. 202.
The performer, beforehand, nearly fills one of the tumblers with water, and
then puts on the india-rubber cover, which, fitting closely all round the edge,
effectually prevents the water escaping (see Fig. 201). The glass, thus prepared,
he places in the profonde on his right side. He then brings forward the other
glass and a decanter of water, and the prepared handkerchief, and in full view of
the audience fills the glass with water up to the same height as he has already
filled the one in his pocket, and hands round glass and water for inspection.
When they are returned, he places the glass upon the table, a few inches from its
hinder edge, and standing behind it, covers it with the handkerchief, first
spreading out and showing both sides of the latter, proving, to all appearance,
that there is no preparation about it. In placing the handkerchief over the glass,
he draws it across in such manner as to bring the hidden ring as exactly as
possible over the top of the glass. Then placing the left hand over the
handkerchief, as shown in Fig. 202, he raises, apparently, the glass within the
handkerchief, but really the empty handkerchief only, which is kept distended by
the ring, and, at the same time, under cover of the handkerchief, gently lowers
the glass of water with the other hand on to the servante. This is by no means
difficult, as the pretended carefulness of the operator not to spill the water allows
him to make the upward movement of the left hand as deliberate as he pleases.
All that is really necessary is to take care to follow with his eyes the movement of
the left hand, which will infallibly draw the eyes and the minds of the audience
in the same direction. Having raised the supposed tumbler to a height of about
two feet from the table, the performer brings it forward to the audience, and
requests that some gentleman with a steady hand will favour him with his
assistance. A volunteer having been found, and having given satisfactory replies
as to the steadiness of his nerves, and the strength of his constitution generally, is
requested to place his hand under the handkerchief and take the glass. As he
proceeds to obey, the performer lets go of the handkerchief with the left hand,
still retaining one corner with the right, and lets the right arm with the
handkerchief drop to his side. Pretending to believe that the gentleman has taken
the glass, and not to notice its disappearance, he turns carelessly aside, and
brings forward a small table or chair, saying, “Put it here, please.” Looking,
generally, somewhat foolish, the victim replies that he has not got it. If the
performer is a good actor, he may here make some fun by pretending to believe
that the victim has concealed the glass, and pressing him to return it. At last he
says, “Well, if you won’t give it to me, I must find it for myself,” and he
proceeds to tap with his wand the sleeves and pockets of the unfortunate
individual, but without success, till, on touching him between the shoulders, he
pretends to tell by the sound that the glass is there. “Yes, here it is,” he remarks.
“I am sorry to be obliged to ask you to turn your back on the company, but to
show them that there is no deception on my part, I am compelled to do so. Will
you please turn round for one minute.” On his doing so, the performer, again
shaking out the handkerchief, and showing both sides of it to prove it empty,
spreads it over the back of the victim. Again he taps with his wand, which,
striking the ring through the handkerchief, causes an unmistakeable hard sound
to be heard; and then grasping the ring as before through the handkerchief, he
deliberately raises it up in a horizontal position, the effect being as if the glass
had again returned to the handkerchief. He then says, “I don’t think I will trouble
this gentleman again; he is too much of a conjuror himself;” then turning rapidly
to the audience, he says, “Catch, ladies and gentlemen,” and “flicks” the
handkerchief quickly towards the spectators, who duck their heads in
expectation of a shower. “Pardon me, ladies, I fear I alarmed you; but you need
not have been afraid; I never miss my aim. That gentleman has the glass”
(designating anyone he pleases). “May I trouble you to step forward one
moment, sir?” On the person indicated doing so, the performer places him facing
the audience, and under cover of his body takes the second glass out of the
profonde, and throws the handkerchief over it, remarking, “Yes, ladies and
gentlemen, here it is, in this gentleman’s tail pocket.” Then taking hold of the
glass with the left hand beneath the handkerchief, he clips with the first finger
and thumb, through the handkerchief, the edge of the india-rubber cover, and
thus drawing off the cover inside the handkerchief, hands round the glass and
water for inspection.
FIG. 203.
Two improvements have recently been made in this trick, which, though
trifles in themselves, greatly heighten the effect. Upon a performance of the trick
as already described, it is not uncommon to find some person, more acute than
the average, guess that there is a ring in the handkerchief. The first of the
improvements we have mentioned is designed to make the ring no longer a
fixture, and yet to insure bringing it into the right position when necessary. This
is effected by stitching the two handkerchiefs together, not only round the edge,
as already explained, but also as shown by the dotted line in Fig. 203. This
confines the ring to the triangular enclosure, a e d, within which, however, it is
allowed to move freely, not being attached to the handkerchief in any way. If the
handkerchief is held by the two corners a d (which should be distinguished by a
mark of coloured silk or worsted, so as to be readily identified by the performer)
the ring will take its proper place in the middle, as shown in the figure. If, on the
other hand, the handkerchief be held by either the corners a b or c d, the ring will
forthwith run into the angle a d e or d a e, as the case may be, and the
handkerchief, if grasped a little below this particular corner, may be twisted or
pulled through the hands ropewise, proving, with apparent conclusiveness, that
there is no ring or shape concealed in it.
The second improvement is to have ready on the servante a small piece of
sponge, recently dipped in water. This is picked up by the right hand of the
performer as he places the genuine glass on the servante. When he has moved
away from his table, at the moment of requesting his volunteer assistant to take
the glass, he places the right hand for a moment under cover of the handkerchief,
and squeezes the sponge, the water that immediately pours from it being,
apparently, accidentally spilt, and so negativing any possible doubt on the part of
the spectators that the glass is really in the handkerchief. With these two
additions the trick is one of the most effective that can possibly be performed,
whether in a drawing-room or on the public stage.
THE BOWL OF INK CHANGED TO CLEAR WATER, WITH GOLD FISH SWIMMING IN IT.
—The performer brings forward a goblet-shaped glass vase, six or eight inches
in height, nearly full of ink. To prove that the ink is genuine, he dips a playing-
card into it, and brings it up with the lower half stained a deep black. Next,
taking a ladle, he ladles out a portion of the liquid, and pours it on a plate, which
is handed round for inspection. He next borrows a handkerchief from one of the
audience, and covering the vase with it, announces that, by the exercise of his
magic power, he will transform the ink in the vase to water. On removing the
handkerchief, this transformation is found to be accomplished, while a couple of
gold fish, placidly swimming about in the bowl, sufficiently prove that the trick
is not performed, as might be imagined, by means of some chemical reagent.
The explanation, though by no means obvious, is very simple. The liquid in
the vase is plain water; but a bottomless black silk lining, fitting the vase, and
kept in shape by a wire ring round its upper edge, gives it the appearance of ink
to a spectator at a little distance. In removing the handkerchief, the performer
clips with it the wire ring, bringing away the lining within the handkerchief, and
revealing the clear water in the glass.
But the reader will naturally inquire, “How, then, are the blackened card and
the genuine ink ladled out on the plate accounted for?”
FIG. 204.
The blackened card, though apparently an ordinary one, has the same figure,
say a knave of diamonds, on both its sides; but the lower half of the one side is
beforehand stained with ink. The performer dips it in with the unsoiled side
toward the audience; but giving it a half-turn as he removes it, thereby brings the
blackened side in front. The ink poured on the plate is accounted for with equal
simplicity. The ladle (see Fig. 204) is of tin, having a hollow handle of the same
metal, with a minute hole opening therefrom into the bowl. There is a similar
small hole near to the top of the handle. The bowl is beforehand filled with ink,
which is thence allowed to run into the handle; after which the upper hole is
stopped with a little pellet of wax, or a small piece of paper is pasted over it. By
reason of a well-known natural law, the liquid will not run out of the lower hole
until the upper one is opened. As the performer dips the ladle apparently into the
ink in the bowl, he scrapes off with his nail the wax or paper with which the
upper hole is stopped, and the ink immediately runs into the bowl, whence it is
poured upon the plate.
FIG. 205.
THE BOTTLE AND RIBBONS.—This is another favourite bottle trick. The bottle
is in this case also of tin, with an enclosed space round the sides to contain wine,
commencing about an inch and a half from the lower end, and terminating just
within the mouth. (See Fig. 207.) The bottle has no bottom, and there is thus a
passage, in the shape of an inverted funnel, extending through its whole length.
A cylindrical base or stopper (see Fig. 208) just fits into the space at the bottom
of the bottle, and on this are fixed six or eight small reels or bobbins. On each of
these is wound a yard or so of ribbon, each of a different colour. An upright wire
rod springs from the centre of this base, terminating just within the neck of the
bottle in a little flat piece of metal, perforated with as many holes as there are
ribbons; and one end of each of the ribbons is brought up through one of these
holes, and a little knot made upon it to prevent its slipping back again.
The ribbons being in position, and the space in the bottle duly filled with
wine, the performer brings it forward, and, after pouring out a glass or two, asks
some lady present which is her favourite colour, and on receiving an answer,
gently taps the bottle with his wand, and immediately draws out with the tip of
his forefinger from the neck, and presents to her, a ribbon of the desired colour.
More wine is produced, alternately with fresh ribbons, until all are exhausted.
The above is the drawing-room form of the trick. Upon the stage, it is
slightly varied. The same kind of bottle is used, but the internal provision of
reels and ribbons is removed, so that the bottle remains a simple tin bottle, open
at the bottom, with the funnel-shaped passage already mentioned extending
through its entire length. The performer, having poured out a glass or two of
wine, places the bottle on a stool or table, through the pillar of which is a hole or
passage communicating with a corresponding hole in the stage. Beneath this is
stationed the performer’s assistant, who is provided with a large number of
various coloured ribbons, and a thin rod of three or four feet in length, with a
small point or blunt pin at the top. The performer takes care always to repeat in
an audible voice the name of the colour called for. This is a signal to the assistant
to hitch one end of the ribbon in question on the top of the rod, and hold it in
readiness beneath the stage. He does not, however, push it up through the bottle
until warned by the sound of the tap of the wand on the bottle that the performer
is ready to receive it. The performer, on his part, takes care, before tapping the
bottle, to place his thumb upon the mouth, so as to prevent the rod passing too
far. Sometimes a combination of colours is asked for, as, for instance, the
tricolour, or any other national group of colours.
Alter having produced a reasonable number of ribbons, an effective finish
may be made as follows:—A last colour or combination of colours having been
demanded, the performer does not draw the ribbons, as hitherto, completely out
of the bottle, but leaves them hanging down loosely on each side of it. He now
announces that, at the word of command, the ribbons shall, of their own accord,
return into the bottle. The assistant takes his cue accordingly, and at the third tap
of the wand draws the ribbons smartly down again; their instantaneous
disappearance within the bottle being exceedingly effective.
THE NEW PYRAMIDS OF EGYPT, OR THE WINE AND WATER TRICK.—This trick
may be very well worked in conjunction with either of the bottle tricks already
described, and we therefore notice it in this place. Its effect is as follows:—The
performer pours out a glass of wine and a glass of water, finally transferring both
to a small decanter. Placing the decanter on a small round stand, and the empty
glasses on similar stands on either side of it, he covers each with a pyramidal
cover, and announces that at his command the mixed wine and water will again
separate, and pass into the empty glasses, the spectators being allowed to choose
into which of the glasses each element shall pass. The choice having been made,
he fastens a tape or ribbon to the centre pyramid, and thence to each of the side
ones, giving the audience to understand that, by a mysterious kind of capillary
attraction, the wine and water will travel along this ribbon to their respective
destinations. A few moments having elapsed, the ribbons are untied and the
covers removed. The decanter is found to be empty, and the wine and water to
have respectively returned to the glasses designated by the audience.
FIG. 209.
The glasses used have no speciality, but the decanter has a small hole in its
under side. This is plugged with a pellet of wax, which, however, is instantly
removeable at pleasure. Of the three stands, two (those on which the glasses
stand) have no preparation, being mere raised shapes of tin. The third is similar
in appearance, but is, in fact, a hollow box, with three or four little holes drilled
in its upper side, for a purpose that will presently appear. Of the three covers, the
centre one is hollow throughout, but the other two have each its upper portion
occupied by a hollow chamber or reservoir, divided in two by a vertical partition,
and tapering down to a tube with a very small opening. Each of these
compartments has an air-hole at the top. (See Fig. 209.)
These two covers are beforehand prepared for the trick by filling the two
compartments of each, one with wine, and the other with water. The air-holes are
stopped with pellets of wax, but for the sake of distinction the “wine”
compartment of each is plugged with red wax, and the “water” compartment
with white wax. Any other distinguishing mark is, of course, equally good. So
long as the air-holes are thus stopped, there is no fear of the liquid running out.
The performer, having filled the glasses as already described, mixes the contents
in the decanter, and in placing the latter on the stand, removes the wax plug from
the bottom, thus allowing the wine to run out, and to percolate through the
above-mentioned holes into the stand, where it remains. He next places the
empty glasses on their respective stands, and places the covers over them. He
then asks the audience into which of the glasses they desire that the wine shall
travel, and into which the water. When they have made their decision, he has
only to remove the red pellet from the cover which is over the glass into which
the wine is to pass, and the white pellet from the opposite cover. The tying of the
tape from cover to cover is merely designed to give time for the liquids to reach
their respective destinations, and is, indeed, altogether dispensed with by many
performers. The air-holes may be stopped by means of tinfoil pasted over them,
instead of the wax, if preferred. The foil is instantly removeable by scraping with
the nail.
FIG. 210.
FIG. 213.
FIG. 214.
For the performance of the trick the operator will require, in addition to the
apparatus above mentioned, an oblong deal box, half full of bran. (Rice is
sometimes used, but is not so good.) Any box will answer the purpose, so long
as it is not less than fifteen inches or so in length, and nine in breadth and depth.
In preparing for the trick, the first step is to fill the bottle, or the “fillable”
portion thereof, with wine or some other liquid. The bottle is then corked; B is
placed over it and pressed down, and the bayonet-catch fastened. In this
condition, but without a lid, B is placed in the deal box, and buried in the bran.
The box of bran being now brought forward and placed on the table, the
performer is ready to begin the trick. He first draws attention to A, which he
hands round for inspection, as also the pasteboard cover. When they are
returned, he brings forward the box of bran, moving his hand backwards and
forwards in it, and distributing a few handfuls to show its genuineness.
Replacing the box on the table, he proceeds to fill A with bran. This he does by
dipping A completely in the box, and scooping up the necessary quantity. As if
to show all fair, he pours the bran out again into the box, and then makes a
second dip to refill it. This time, however, he makes an exchange, and instead of
bringing up A, brings up B, filling as he does so the shallow space at the top of
the latter, which thus appears to be full to the brim. Placing it on the table, and
putting the lid on, he places the pasteboard cover over it, and, addressing the
company, volunteers to teach them how to extract wine from bran, and wine
bottles from tin boxes. After a moment’s pause, and the orthodox touch with the
wand, he removes the cover, giving it at the same time a slight twist, thus
releasing the catch, and removing B within the cover. The spring within the
bottle now meeting no resistance, presses the neck portion upwards into its
proper position, with all the appearance of a genuine bottle; and as it, in its
present condition, is considerably taller than B, it can hardly be suspected that it
was a moment ago concealed in the latter, particularly as the performer
immediately proceeds to give a further proof of its genuineness by pouring a
glass of wine from it.
In connection with the above trick we may describe another useful piece of
apparatus, known as
FIG. 216.
TO FIRE BORROWED RINGS FROM A PISTOL, AND MAKE THEM PASS INTO A GOBLET
FILLED WITH BRAN AND COVERED WITH A HANDKERCHIEF, THE BRAN DISAPPEARING,
AND BEING FOUND ELSEWHERE.—The glass used in this instance is of ordinary
tumbler size. It is not brought forward as above, with the bran shape already in
place, but empty, and may therefore be freely offered for inspection. With it is
brought forward a wooden box, of any size and shape, filled with bran, and in
this, ready to hand, is concealed the bran shape. We have already had occasion to
describe the magic pistol, or rather pistol tube; but the tube used in this instance
(see Fig. 217) has an additional peculiarity. It is of comparatively small size,
being about two inches wide at the mouth. Within this mouth fits easily a tin cup,
a, about an inch and three-quarters in depth, and having its edge turned over
outwards all round, so as to afford a ready grip to the palm when it may be
necessary to remove it. The pistol is beforehand loaded with powder, and the cup
above described is placed in the mouth of the tube.
The performer begins by asking the loan of three rings, to be fired from his
magic pistol. To preclude the possibility of their being exchanged, he requests
the owners to drop them into the pistol themselves. First, however, by way of
wad, he takes a small piece of white paper, and presses its centre portion into the
mouth of the pistol tube, its edges projecting all round, and forming a sort of cup
to receive the rings. Three rings having been offered, and dropped into the pistol,
the performer closes over the edges of the paper, and presses them down with his
wand, the effect being as if the rings were fairly rammed down into the pistol,
though they really remain in the cup, just within the mouth. He now hands the
pistol to one of the spectators, requesting him to hold it muzzle upwards above
his head. In handing it to him, he places for a moment his own right hand over
the mouth of the tube, his palm being flat upon it, and in again removing the
hand lifts out and palms the cup (which the projecting edge enables him to do
with perfect ease). He has thus obtained possession of the rings. (As the holder
of the pistol has been instructed to hold it above his head, he is not very likely to
look into it; but lest he should do so, and discover that the rings are already
removed, it is well to place in the tube beforehand a piece of crumpled white
paper, to represent that which contained the rings.)
The performer now hands round the glass for examination, and subsequently
draws attention to the box of bran. While doing this he has little difficulty in
getting the rings out of the cup and paper into his right hand. He then, holding
the glass in his left hand, dips it into the box, and fills it with bran, which he
forthwith pours slowly back again to prove its genuineness. Meanwhile, his right
hand is engaged in fishing up the bran shape among the bran, placing it mouth
upwards in the box, and dropping the rings into it. When he again dips the glass
into the box, he slips it mouth downwards over the shape, immediately turning it
into the natural position, and bringing it up, to all appearance, full of bran. As
the rings were in the shape, they are, of course, now in the glass. He brushes the
loose bran off the top, and then covers the glass with a borrowed handkerchief,
taking particular notice on which side hangs the loop of thread. The person
holding the pistol is now requested to take good aim, and fire at the glass. He
does so, and the performer, lifting the handkerchief with the shape within it, lets
the latter drop on the servante, and advancing with the glass, requests the owners
to identify their rings.
The trick may either end here, upon the supposition that the bran has been
blown away altogether by the explosion, or the bran may be shown to have
passed to some other place. There are numerous methods of effecting this latter
transposition. For instance, the pea vase (see page 351), first shown empty, may
be used, or the bran may be made to fall out of a second borrowed handkerchief,
by means of the bag shown at page 248, or may be found in the apparatus next
described.
FIG. 218.
FIG. 219.
THE COFFEE TRICK. (COFFEE BERRIES CHANGED TO HOT COFFEE, WHITE BEANS
TO SUGAR, AND BRAN TO HOT MILK).—The pieces of apparatus used in this trick
are of brass or japanned tin, and are three in number, two being tall cylindrical
vases, standing eighteen to twenty inches in height, the third a goblet-shaped
vase, of about half that height. The latter is made upon the principle of the “bran
glass,” above described, consisting of three portions (see Fig. 221), the goblet a,
the cover c, and a shallow tray b, which fits into the goblet, and which, if the
cover is pressed down smartly, and again removed, is lifted off with it. It differs,
however, from the “bran shape” in the fact that b is open at top instead of at
bottom, and is only about one-fifth the depth of the goblet, leaving therefore
considerable space below it. This portion of the apparatus is prepared for use by
placing in the goblet a quantity of hot milk, putting b in position above it, and
finally filling b with loose bran.
FIG. 222.
The construction of the other two vases will be quickly understood upon an
inspection of Figs. 222, 223. a is the vase, and c the cover fitting loosely over it,
but between these two is a well, b, made double, so as to fit at once into and
outside of a, after a mode of construction which we have more than once had
occasion to notice. There is a bayonet-catch at the lower edge of c,
corresponding with a pin or stud at the lower edge of b, so that c may be lifted
off either with or without b. There is a similar catch at the lower edge of b,
corresponding with a stud at the bottom of a, but cut in the opposite direction to
the other catch, so that the action of unlocking a from b locks b to c, and vice
versâ.
FIG. 223.
The vase a requires a special description. A shallow saucer of tin, d, just fits
the interior of the vase, working up and down therein piston-fashion, but
prevented from coming out altogether by the fact that the upper edge of a is
slightly turned inwards all round. Below d is a spiral spring, whose action tends
to force d to the top of the vase, as shown in Fig. 222. From the centre of d,
however, there extends downwards through the spiral spring a piece of stiff wire
e, with a crook, f, at the end. The foot of the vase is hollow throughout. If the
saucer d is forced down by pressure from within, this wire, as soon as it reaches
the position shown in Fig. 223, will hook itself within the foot of the vase, and
so keep down d, until the crook is again released, when the whole will instantly
return to the condition shown in Fig. 222. The bottom of the foot is open, so that
the fingers can without difficulty find and release the crook when necessary.
The vases are prepared by pressing down d in each as shown by the dotted
lines in Fig. 223, and filling the well of the one with hot coffee, and that of the
other with loaf-sugar. Their respective covers are then placed over them. The
attention of the audience is first directed to a couple of wooden boxes, each
about half as long again as the vases, and ten or twelve inches in depth, one of
which is filled with coffee-berries, and the other with white haricot beans. The
performer now uncovers the vase which contains the coffee, first turning the
bayonet-catch so as to lift off the well b with the cover, and shows, by holding
the vase upside down and rattling his wand within it, that it is perfectly empty.
He now fills it with coffee-berries, laying it down in the box to do so, and
holding it by the foot with one hand while he shovels the berries into it with the
other. Having completely filled it with the berries, he holds it aloft, and, to show
that there is “no deception,” tilts it, and lets them run back again into the box.
Again he dips it into the box, but, as he does so, releases the crook (which the
fingers of the hand holding the vase are just in position to do), and thus lets d fly
up to the top of the vase. Again he brings up the vase, apparently full as before,
but really having only a mere layer of berries, of the depth of d, at the top. He
now puts on the cover, the well in which again forces d and the superposed layer
of coffee-berries down to make way for it, and causes the crook again to catch
beneath the hollow of the foot. The same operation is now gone through with the
vase whose well contains the sugar, and the box of white beans. The performer
lastly takes from the third vase a handful of bran, which he scatters to show its
genuineness, and then places the cover over it. The trick is now really
completed. On removing the respective covers (taking care of course, first to
turn the bayonet-catches in the right direction), the wells are released from the
covers and locked to the vases, which are thus found full respectively of hot
coffee and sugar, and, on removing the cover of the third vase, the bran is lifted
off with it, and the milk is revealed.
FIG. 224. FIG. 225.
Some coffee vases, and more particularly those of French make, dispense
with the bayonet-catch, replacing it by a peculiar arrangement inside the top of
the cover. The upper edge of the well is slightly turned in all round, and the
turning of the knob at the top of the cover causes three flat bolts or catches to
shoot out circularly from the edges of a hollow disc, soldered to the top of the
cover inside, and insert themselves under this projecting edge. (See Figs. 224,
225.) The mechanical arrangement by which this is effected is almost impossible
to explain in writing, though it becomes readily intelligible upon an actual
inspection of the apparatus, and will be understood without much difficulty after
a slight study of the above diagrams, the arrow in each case indicating the
direction in which the knob must be turned, in order to bring the bolts into the
condition shown in the opposite diagram.
The bottom a b of the box (see Fig. 226) is moveable, working on a hinge b
extending along its front. When the box is turned over to the front, this bottom
piece does not turn over with it, but remains flat upon the table as before. A
piece of wood b c, of exactly similar size and shape, is glued to a b at right
angles. When the box stands right side upwards, this piece lies flat against the
front of the box, whose upper edge is made with a slight “return,” so as to
conceal it. When the box is turned over to the front, this piece, like the bottom,
retains its position, while any object which had previously been placed in the
box remains undisturbed, but hidden by this latter piece. (See Figs. 226, 227.) It
is, of course, necessary that such object should be of such a size as not to
overpass the arc which the edge of the box describes in its change of position,
and the length from b to c must be exactly the same as that from a to b.
The mode of using the box will require little explanation. Any number of
objects, not overpassing the limits we have mentioned, may be placed in the box,
which, being then turned over, can be shown apparently empty. The box being
replaced in its normal position, the articles are again within it, and can be
produced at pleasure. The effect of “inexhaustibility” is produced as follows:—
Each time that the performer turns over the box to show that it is empty, he takes
from the servante, or from his pockets, and places upon a b, a fresh supply of
articles, to be produced as soon as the box is again right side upwards.
FIG. 227.
It should be mentioned that the hinge at b is made to act freely, so that the
bottom may by its own weight retain its position when the box is turned over,
and not turn over with the box. Some boxes are made with a catch or pin at some
part of a, so as to prevent a b falling prematurely while the box is being placed
on the table, or while the performer carries round the box, and shows that, inside
and out, it is without preparation. This, however, the performer may safely do,
even without the use of any catch or fastening, by taking care to grasp the box,
when carrying it, by its front edge, with his fingers inside it. The fingers will
thus press b c closely against the front of the box, and will thereby effectually
prevent a b from shifting its position. The box is, of course, in the case
supposed, really empty. The performer has therefore to make an opportunity for
introducing what may be needful into it; this he may do by remarking as he
replaces it on his table, “You are by this time, ladies and gentlemen, tolerably
well satisfied that there is nothing in this box; but for the greater satisfaction of
those who may not have been able to see the interior as I carried it round, I will
once more show you that it is absolutely empty.” So saying, he turns it over, and
once more shows the interior, at the same time placing on a b whatever article he
designs to produce.
FIG. 228.
FIG. 230.
A great part of the effect of the trick lies in the very considerable bulk of the
lanterns, three or four of which would apparently be more than sufficient to fill a
box from which a dozen or so are produced. This arises from the construction of
the lanterns themselves, which are of the kind used for Christmas-trees and
illuminations, and when open offer a considerable cylindrical surface (see Fig.
229), though when closed they are little more than flat discs (see Fig. 230). They
are placed in the box in the condition shown in the last-mentioned figure; but
when lifted out by the wire at top, at once expand, concertina-fashion, and
assume the shape shown in Fig. 229. They are lighted in sundry ways, one
method being as follows:—Each lantern contains about three-quarters of an inch
of candle, from which the wick has been removed, and a wax match inserted in
its stead. Against the front of the box, or rather against the wooden flap b c (see
Fig. 227), is glued a tablet d of sandpaper upon which to strike the match, and a
gentle rub against this instantly lights the candle, when the lantern is
immediately lifted out, as already explained. There is, however, an improvement
whereby the lanterns are not only made to occupy much less space, but may be
lighted simultaneously. In this case the little cylinder which forms the socket for
the candle, and which should be about half an inch in diameter, instead of
occupying the middle of the space at the bottom of the lantern, is placed at one
side of such space. One of the lanterns, viz., that which is to be undermost when
they are grouped together, has no further preparation; but the second, by the side
of its own socket, has a round hole in the bottom, just large enough to give room
for the socket of the first. The next, or third lantern, has two holes, allowing the
passage of the sockets of the first and second. The fourth has three holes, the
fifth four, the sixth five, the seventh six, and the eighth seven, so that when the
lanterns are placed one upon another in proper order, the sockets of the lower
lanterns come up in a circle through the holes in the bottom of the uppermost
one. The tops and bottoms are made of tin, which is not only safe from catching
fire, but occupies very little space. In this case the original wicks of the candles
are retained, but are slightly moistened with turpentine to render them instantly
inflammable, and are lighted by a lucifer or wax match struck in the ordinary
way, the merest touch sufficing to ignite them. They may then be lifted out in
rapid succession with great effect. A group of six or eight lanterns thus prepared
may be produced from a borrowed hat, being previously concealed in the breast
or tail-pocket of the performer, and “loaded” into the hat at any convenient
opportunity. It is desirable in this case to have a friction tablet glued upon the top
of the uppermost lantern to strike the match upon, as the hat lining is hardly
adapted for that purpose.
FIG. 231. FIG. 232.
The lanterns above described are the most generally used, and are by much
the easiest to manipulate. There is, however, a spherical lantern also obtainable
at the toy-shops, which has a decidedly prettier effect. This form of lantern is,
when shut up, as shown in Fig. 231. To develop it, the wires a and b are each
made to describe a semi-circle, as shown by the dotted line, bringing the whole
into the condition shown in Fig. 232, in which condition it is maintained by
slipping the loop of a under b. The best plan for lighting in this case is to have a
separate small piece of candle, prepared with a match wick, as above-mentioned,
placed in readiness on the servante, and a small pin or sharp nail projecting
upwards from the bottom of the box to act as a candlestick. The candles in the
lantern will in this case need no special preparation. The performer first lights
the prepared candle by rubbing it against the tablet, and then presses it down
upon the upright pin we have mentioned. The other candles are in turn lighted
from this, each lantern being put into shape before being lifted out of the box,
which must in this case be of tolerable size, in order to admit of their ready
development.
THE WIZARD’S OMELET. (BORROWED RINGS AND LIVE DOVES PRODUCED FROM AN
OMELET.)—This is a trick which always produces a great sensation, whether
performed upon the stage or in the drawing-room. Its effect is as follows: The
performer produces either naturally or magically (e.g., from the egg-bag, or from
the mouth of his assistant, as described at page 329) three eggs, which he hands
round for examination. His assistant next borrows from the audience three
ladies’ rings, receiving them, in order to prove that he does not tamper with them
in any way, on the performer’s wand instead of in his hands. The wand, with the
rings still upon it, is laid upon the table. The assistant next brings in an omelet
pan, and places it, with its lid beside it, on the table. The performer breaks the
eggs into it, dropping in shells and all—then pours some spirits over it, to which
he sets fire, and while it is still blazing drops the rings from the wand into it. He
brings it forward to show that the rings are really in the flames; and on returning
to his table, claps the cover on the pan, and fires a pistol (any ordinary pistol)
over it. Without a moment’s interval, he again removes the cover. All traces of
the omelet and egg-shells have vanished, but in their place are found three live
doves, each with a ribbon round its neck, to which is attached one of the
borrowed rings.
The explanation of this surprising result is simplicity itself. The reader, with
his present knowledge, will readily conjecture that, as to the rings, a substitution
is effected; but he may not so easily guess the manner of such substitution. It
will be remembered that the rings were collected by the assistant on the
performer’s wand. This arrangement, which is ostensibly adopted to prevent, in
reality facilitates an exchange. The assistant makes his collection with three
dummy rings placed beforehand on the lower end of the wand, and concealed by
the hand in which he holds it; which, we will suppose, is the right hand. In
returning to the stage, he takes hold with the left hand of the opposite end of the
wand, and allows the borrowed rings to run down into that hand, at the same
moment releasing the dummy rings from the right hand, and allowing them to
run upon the middle of the wand in place of the others. He now has the borrowed
rings in his left hand, and (laying the wand with the substitutes on the table)
carries them off with him to prepare for the dénouement of the trick.
FIG. 233.
The only other matter which will require explanation is the construction of
the omelet pan. This is a shallow pan of brass or tin, about ten inches in
diameter, by two and a half in depth. Within this is an inner pan, also of brass or
tin, fitting tightly within it, but about half an inch less in depth. The lid is made
with a very deep rim or shoulder all round, and just fits within the lining, though
less tightly than the latter fits within the pan. (See Fig. 233, in which a represents
the pan, b the lining, and c the lid.) The assistant, as soon as he gets behind the
scenes, loops the borrowed rings to the ribbons, which are already tied round the
necks of the three doves, and places the latter in b, immediately putting on c (the
two together having the appearance of a simple cover), and brings forward the
pan and cover. The performer now makes his omelet, and drops the substitute
rings into it. In bringing forward the pan to show that the rings are really there,
he takes care to avoid the owners of them, who would alone be likely to detect
the substitution. When he claps on the cover, the trick is really done, the firing of
the pistol being merely for effect. When the cover is again removed, the lining
remains in the pan, concealing the omelet beneath it, and revealing the doves,
with the rings attached to their necks.
The secret of this mysterious appearance is twofold, lying partly in the vase
and partly in the pedestal. The vase, which at a little distance appears as simple
and commonplace as any in a confectioner’s window, has a segment cut off one
side, leaving an opening of about five inches in height by three and a half in
width. (See Fig. 234.) This opening is kept turned away from the audience. The
pedestal, like the vase, is closed on every side except the side remote from the
spectators, which is open. A curved wire arm, with a “clip” at the end to receive
the stalk of the rose, works up and down, describing a quarter of a circle, in this
open space. A spring hinge, on which this arm works, impels it to assume the
position shown in the figure, thus lifting the rose through the opening into the
vase. The apparatus is set by forcing down the arm with the rose into the position
indicated by the dotted lines, in which position it is retained by a little catch,
until the performer, in the act of covering the vase with the handkerchief, presses
a stud at the upper side of the pedestal. This withdraws the catch, and allows the
rose to rise into the vase. Of course, the performer in taking out the flower does
so from the top, and with proper precautions not to disclose the existence of the
opening at the back of the vase.
The ingenuity of the reader will probably suggest to him combinations to
make the trick more effective. To those who have not such ready invention, we
may remark that the trick may be very effectively combined with that of the ball
that changes to a rose, and vice versâ (see page 300), or a duplicate rose may be
placed in the mouchoir du diable (described at page 195), and thence ordered to
pass to the vase.
FIG. 235.
THE CHINESE RINGS.—These are rings of brass or steel, in diameter from five
to nine inches, and in thickness varying from a quarter to three-eighths of an
inch. The effect of the trick to the spectator is as follows:—The rings are given
for examination, and found to be solid and separate; but at the will of the
operator they are linked together in chains of two, three, or more, becoming
connected and disconnected in a moment, and being continually offered for
examination. Finally, after the rings have become involved in an apparently
inextricable mass, a slight shake suffices to disentangle them, and to cause them
to fall singly upon the stage.
FIG. 236.
The sets of rings sold at the conjuring depôts vary in number, ranging from
six to twelve. The set of eight, which is perhaps the most usual number, consists
of one “key” ring, two single rings, a set of two linked together, and a set of
three linked together. The “key” ring (see Fig. 235), in which lies the secret of
the trick, is simply a ring with a cut or opening, a, in it. For use upon a public
stage, where the performer is at a considerable distance from his audience, there
may be a gap of an eighth of an inch between the ends, but for drawing-room
use, they should just touch each other. Some rings are made to “clip” like an ear-
ring, and some have the opening cut diagonally instead of square, but the simple
square cut is, in our own opinion, the best.
FIG. 237.
We shall, in the first place, describe the trick as performed with the set of
eight rings above mentioned, afterwards noticing the more elaborate
performance with twelve. We must premise, however, that the manipulation of
the rings admits of almost infinite variation, and that the practice of performers
differs greatly as to the mode of working them.
FIG. 238.
FIG. 239.
FIG. 240.
FIG. 241.
The performer comes forward holding the eight rings in his left hand,
arranged as follows. First (i.e., innermost), comes the set of three; then the “key”
ring (the opening uppermost in the hand), then the set of two; and, lastly, the two
single rings. Taking the first of these, he hands it to a spectator for examination;
passing it when returned to another person, and carelessly handing a second ring
to be examined in like manner. This should be done without any appearance of
haste, and with an air of being perfectly indifferent as to how many of the rings
are examined. The two “singles” having been duly inspected, the performer
requests one of the spectators to take them both in his right hand, at the same
time taking in his own right hand the next two rings, which, it will be
remembered, are the set of two, though the audience naturally believe them to
be, like the first, separate. “Now, sir,” the professor continues, “will you be good
enough to link one of the rings which you hold into the other.” The person
addressed looks more or less foolish, and finally “gives it up.” “You can’t?” says
the performer, in pretended surprise. “My dear sir, nothing is easier. You have
only to do as I do. See!” Laying down the rest of the rings, he holds the two as in
Fig. 236, and makes a gentle rubbing motion with the thumb upon the rings, and
then lets fall one of them, which naturally drops to the position shown in Fig.
237. He now hands these two rings for examination. The spectators seek for
some joint or opening, but none is found; and meanwhile the performer transfers
the next ring (the “key”) to his right hand, keeping the opening under the thumb.
He now takes back with the left hand the two single rings, immediately
transferring one of them to the right hand, and with the ball of the thumb presses
it through the opening in the key ring, into which it falls, with exactly the same
effect as the apparent joining of the two linked rings a moment before. Again he
separates and again joins the two rings. The second single ring is now made to
pass through in like manner, making the combination shown in Fig. 238. The
performer remarks, “We now have three joined together. Here are three more, as
you see (shaking those in the left hand), all solid and separate, and yet at my will
they will join like the others.” Making a rubbing motion with the thumb as
before, he drops two of the three, one by one, from the hand, when they will
appear as a chain of three. These he hands for examination, taking back the set
of two, and linking them one after the other into the key ring, to which now four
rings are attached. Again taking back the set of three, he links these also one by
one into the key ring, which thus has seven rings inserted in it. (See Fig. 239.)
Using both hands, but always keeping the opening of the key ring under one or
the other thumb, he now takes off these seven rings, commencing with the two
single ones, and again offering them for examination; then taking off the set of
two. Last of all, he unlinks the set of three, and then, holding them at length in
his left hand, joins the upper one to the key ring, thus making a chain of four, of
which the key ring is the uppermost. He next takes the lowermost ring of the
four, and links that into the key ring, bringing the four rings into a diamond
shape, as shown in Fig. 240. Again unlinking the lower ring, he takes up the set
of two, and connects them with the key ring, holding them up above it, thus
making a chain of six, the key ring being third from the top. (See Fig. 241.)
Taking the upper ring between his teeth, he links the two single rings into the
key ring on either side, making the figure of a cross, as shown in Fig. 242. As
the hands are now occupied in holding the single rings forming the arms of the
cross, he can no longer keep the opening of the key ring concealed by the thumb,
but it is extremely unlikely that among so many rings, so slight a mark in one of
them will attract notice. Regaining possession of the key ring, he links all one by
one into it, so as again to bring them into the condition depicted in Fig. 239.
Then, holding the key ring with both hands, and with the opening downwards,
about a couple of feet from the floor (see Fig. 243), he shakes the rings violently,
at the same time gently straining open the key ring, when the seven rings will all
in succession drop through the slit, and scatter themselves about the floor, the
general impression being that they all fall separate, though the grouped sets, of
course, remain still united.
It is not an uncommon thing to see a performer commit the gaucherie of
handing all the rings, save only the key ring, to be examined in the first instance;
the key ring being hidden under the breast or under the tail of the coat, and being
added to the set in returning to the table. The spectators are thus needlessly made
acquainted with the fact that certain of the rings are already linked together, and
this once admitted, the trick loses nine-tenths of its effect.
FIG. 242.
FIG. 243.
The set of twelve rings is less frequently seen, and is rather more
complicated to manage, though in good hands it is capable of much more
brilliant effects than the smaller number. The set consists of five single rings, a
group of two, a group of three, and two key rings. These are held in the hands of
the performer in the following order. First (i.e., innermost) a key ring, then the
group of three, then the second key ring, then the group of two, and lastly the
five single rings. The latter are distributed for examination. While they are still
in the possession of the audience, the performer requests one of the spectators to
link two of them together, and himself taking in his right hand the group of two,
pretends to link the latter, as already described, and hands them for examination.
The performer meanwhile takes in his right hand one of the key rings, and
collects the single rings in his left. As soon as the group of two are handed back,
he links one of them to the key ring in his right hand, thus forming a chain of
three, with the key ring uppermost. Next linking the lowest ring into the key
ring, he forms Fig. 238, which, by holding the two lower rings apart, assumes
the shape of a triangle. Again disengaging the lower ring, passing one of the
single rings from the left hand to the right, and laying down on the table all the
rings remaining in that hand (the group of three uppermost) he joins the single
ring to the key ring, thus making a chain of four, of which the key ring is second
from the top. These he lays, still linked, upon the table, and takes up from the
heap already lying there the three uppermost (which, it will be remembered, are
the group of three), and holding them for a moment together in the hand, lets
them fall one by one to form a second chain of three. Taking the next ring of the
heap (the second key ring) in his disengaged hand, he steps forward, and
requests some one to take hold of either of the three rings, and to pull against
him, in order to prove their solidity. This ascertained, he passes the upper ring of
the three into the hand which already holds the key ring, and links it into the key
ring, thus forming a second chain of four, of which in this case the key is the
uppermost. Linking the lowermost into the key ring, he shows the rings as in
Fig. 240. Once more unlinking the lower ring, so that the four again appear as a
single chain, he proceeds (apparently) to link all the twelve together. This is
effected as follows:—
Taking two of the single rings, the performer links them into the key ring of
the chain which he holds. He next links one of these same single rings into the
key ring of the other chain, thus linking the two chains together at a distance of
one ring from the end of the chain. He thus has ten rings joined. He now takes
the two chains one in each hand by the ends remotest from the point of juncture,
immediately after picking up and holding (one in each hand) the two remaining
single rings. These, of course, he does not and cannot link with the rings
adjoining them, but the audience seeing that all the rest are linked together,
readily believe that these also form part of the chain. The precise arrangement of
M
the rings will be readily understood from an inspection of Fig. 244.
M
The numbers 1, 2, 3, in the centre of the various rings in Figs.
240–244, indicate whether the ring in question is a “single” or
forms part of the group of two or of three, as the case may be.
FIG. 244.
The feat may either end here, the rings, still linked, being gathered together
and carried off by the assistant, or the performer may link all one by one into
either of the key rings, and then shake them out and scatter them on the floor in
the manner already described as to the eight rings. The performance may be
elaborated to any extent, the two key rings giving a wonderful facility of
combination, but whatever be the passes adopted they should not be too
numerous, as the trick, however skilfully worked, consists only of repetitions of
the same primary elements, and the interest of the spectators will quickly
diminish.
The performer should, in manipulating the rings, study neatness and
lightness, rather than rapidity. The effect should be as though the rings melted
into and out of one another, and the smallest appearance of force or exertion
should be avoided. It has a very good effect in disengaging the rings one from
another, to hold them together for a moment or two after they are actually
disconnected, and then holding them parallel to each other, to draw them very
slowly apart. The precise moment of their separation is thus left uncertain, the
illusion being thereby materially heightened. A single ring may in this way be
drawn along a chain of three or four, the effect being as if the disengaged ring
passed through the whole length of the chain.
THE CHARMED BULLET.—As a rule, people object to being shot at, and the
least nervous person might fairly demur at facing the muzzle of a loaded pistol at
six paces’ distance; but the magician is superior to such weakness, and will face
a bullet with as little compunction as he would stop a ball at cricket. Neither
must it be imagined that there is any “deception,” at any rate in the quality of the
articles employed. The pistol is a real pistol, the powder is genuine powder, and
the bullet—an ordinary leaden bullet—is chosen and marked by one of the
audience, fairly placed in the pistol, and fairly rammed home. The pistol is fired
with deliberate aim by a disinterested spectator; but no sooner has the smoke
cleared away than the performer is seen standing unharmed, with the marked
bullet caught between his teeth.
So much for the effect of the trick; now for the explanation. The pistol (see
Fig. 245) is, as already stated, an ordinary weapon, and the only speciality of the
bullets is that they are a size or two smaller than the bore of the pistol. The
ramrod, b, is a plain cylinder of wood or metal, tapering very slightly at each
end. The secret lies in the use of a little metal tube a, about two inches in length,
open at one end, but closed at the other. This tube, which is of such a size as to
fit loosely within the barrel of the pistol, but tightly upon either end of the
ramrod, is placed in the right-hand pochette of the performer, and a small bag of
bullets in the pochette on the other side.
FIG. 245.
The performer comes forward with the pistol in one hand and the ramrod in
the other, and having a small charge of gunpowder, screwed up in a bit of soft
paper, concealed between the second and third fingers of his right hand. He
hands the pistol and ramrod for inspection. While they are under examination, he
asks, “Can any lady or gentleman oblige me with a little gunpowder?” Nobody
answers, and he continues, addressing some mild elderly gentleman, “Perhaps
you can accommodate me, sir?” The elderly gentleman naturally replies that he
is not in the habit of carrying gunpowder about with him. “Excuse me,” says the
performer, “but I fancy you have a small packet of powder under your coat-
collar. Permit me!” and drawing his hand gently down beneath the collar, he
produces the little packet. This he hands to the person who is holding the pistol,
with a request that he will load it. While he puts in the powder, the performer
drops his left hand to the pochette, and palms the little bag of bullets, which he
N
forthwith produces from a gentleman’s hat, or a lady’s muff. From among the
bullets he requests the person who put in the powder to select and mark one.
While this is done, he himself takes the pistol in his left hand, holding it muzzle
upwards, and in the act of transferring it with apparent carelessness to the other
hand, secretly drops into it the little tube, the open end upwards. The spectator
having chosen and marked the bullet, is requested, for greater certainty, to place
it in the pistol himself. A very minute portion of paper is added by way of wad,
and the performer then takes the pistol, and rams it down. The bullet, of course,
has fallen into the little tube, and as the ramrod fits tightly within the latter, it
naturally, when withdrawn, brings out tube and ball with it. The tube and ramrod
are made to match (generally black, but sometimes of brass or silver-plated); and
therefore the tube, when on the rod, even if exposed, would not be likely to
attract attention. The performer, however, prevents the possibility of its doing so,
by holding the rod by that end, thereby concealing the tube with his hand. He
now hands the pistol to a spectator, requesting him, for fear of accidents, to hold
it muzzle upwards until the word to fire is given. The performer now takes up his
position at the furthest part of the stage, and during his short journey gains
possession of the bullet. This is effected by sharply drawing away the ramrod
with the left hand, thereby leaving the tube open in the right, and allowing the
ball to roll out into the palm. The tube, having served its purpose, is got rid of
into the profonde, and the ball is either slipped into the mouth or retained in the
hand, according to the mode in which it is intended to be produced.
N
A muff, being open at each end, is an excellent thing whence
to produce any small article—e.g., a borrowed watch, a ball, etc.
For this purpose the performer should take hold of one end of the
muff with the hand in which is palmed the article in question,
which is immediately allowed to slide gently through the muff,
and is stopped by the other hand. If this is neatly done, the keenest
eye cannot detect the deception.
Some performers use several small bullets. In our own opinion, a single ball
of tolerable size is not only more manageable, but more effective. The mode of
producing the bullet also varies. Some, instead of producing it in the mouth, hold
up a china plate by way of target, the bullet being held under the two first fingers
against the front of the plate. When the pistol is fired, the plate is turned
horizontally, and the bullet released from the fingers. This plan is sometimes to
be preferred, inasmuch as it creates an excuse for leaving the stage for a moment
to fetch the plate, an opportunity which is valuable in the event, which
sometimes happens, of the ball, from an excess of wadding or any other cause,
not dropping readily from the tube into the hand. To meet this possible difficulty,
some tubes have (to use an Irishism) a small hole through the closed end, so that
the performer, on leaving the stage, can, by pushing a piece of wire through the
hole, instantly force out the bullet.
FIG. 246.
But the trick is not yet over. “You see, ladies and gentlemen, that I am not
dependent on Covent Garden for a rose for my button-hole; but you will
naturally say, ‘Ah! the magic seed may be all very well for a single flower, but
what if you wanted a complete bouquet?’ I hasten to show you that this is
equally within my power. Will some one oblige me with the loan of a hat by way
of hothouse? Thank you. Here; you observe, is an ordinary drinking-glass” (this
has, meanwhile, been placed on the table by the assistant), “in which I will drop,
haphazard, a pinch of the magic seed.” This he does with the left hand, the right
being occupied with the hat, and then, with the glass in the left hand and the hat
in the right, comes forward to the audience, requesting a lady spectator to
breathe upon the glass, which he immediately afterwards covers with the hat. He
now requests the same or another spectator to count ten, to allow the mesmeric
influence time to operate, and then, removing the hat, shows a handsome
bouquet (natural or artificial) in the glass. Returning the hat, and handing the
glass and flowers for inspection, he borrows a silk pocket-handkerchief, or, in
default of procuring one from the audience, uses one of his own, brought
forward by the assistant. Drawing it ropewise through his hands to show that it is
empty, he spreads it before him, holding it by two of its corners. Having
exhibited one side of it, he spreads the other, when the shape of something solid
is seen to define itself beneath it, and the handkerchief being removed, a large
round basket of flowers (see Fig. 247), ten or more inches in diameter by two
deep, is revealed.
The reader, with his present knowledge, will probably have already
conjectured the mode in which the bouquet is brought into the glass. It is
beforehand placed at the left hand corner of the servante, the stem slanting
upwards at an angle of about 45°. When the performer, standing at the left hand
side of the table, drops the imaginary seed into the glass with his left hand, his
right, holding the hat, drops for a moment to the level of the table, and clips
between the second and third fingers the stem of the bouquet, when, by simply
bending the fingers, the bouquet is brought into the hat after the manner of the
cannon-ball. (See page 305.) When the hat is placed over the glass, the bouquet
is naturally brought into the latter.
We may here mention that there are bouquets of a special and rather
ingenious construction, enabling the performer, in the act of producing the
bouquet from a hat in the above or any similar trick, to cause it suddenly to
expand to three or four times its original size. The bouquet is in this case made
of artificial flowers, stitched on a framework forming a kind of miniature
parasol, with a very short handle. The bouquet, when introduced into the hat, has
a slightly conical shape, but the performer in withdrawing it puts up the parasol,
so to speak, thereby spreading it to twelve or fourteen inches’ diameter.
FIG. 248.
FIG. 249.
THE VANISHING DIE.—The effect of this trick, in its simplest shape, is merely
to make a die, some three inches square, pass through the crown of a hat, and be
found inside. The trick in this form is but a poor and transparent affair, but it is
sometimes useful as affording a pretext for borrowing a hat which you design to
make use of for some other purpose; and it furnishes the germ of two or three
really effective illusions. The apparatus consists of three portions—a solid
wooden die, generally painted black with white spots, a tin counterpart thereof,
—fitting loosely over it, and exactly similar in appearance, but with one side
open,—and an ornamental cover of thin pasteboard (sometimes this also is of
tin), fitting in like manner over the hollow die. The trick is worked very much
after the manner of the “cone,” recently described. The performer comes
forward, having the solid die in the one hand, and the cover, with the tin
counterpart within it, in the other. Placing these on the table, he borrows two
hats, which he likewise places on the table, mouth upwards. “Ladies and
gentlemen,” he commences, “I have here a block of wood” (he lets it fall on the
floor, the sound sufficiently indicating its solidity, and again picks it up), “and a
cover of simple pasteboard.” He places the cover over it, as if merely suiting the
action to the word, and in again removing it, leaves the tin die over the solid one.
“If any one would like to examine it, he is perfectly welcome to do so. I have
here also two hats, borrowed haphazard from the audience, and, as you can all
see, perfectly empty, and not prepared in any way. Now I propose to make this
solid die” (he tosses it carelessly into one of the hats, and again apparently takes
it out, but really takes out the hollow shell only) “pass right through the crown of
one of these hats, and fall into the other.” He places the hats one upon the other,
mouth to mouth, and the tin shell, with the opening downwards, upon the
uppermost. “Here is the die, which I cover, thus. Now, at my command it shall
pass downwards through the hat. One, two, three! Pass! See, the cover is empty”
(taking it up with gentle pressure, so as to lift the shell with it, and placing both
on the end of his wand, proving, apparently, that the cover is empty), “and here,
in the lower hat, is the die. Let us try the experiment again. I will replace the die
in the lower hat. One, two, three! Pass!” He lifts the cover, without pressure,
leaving the hollow die on the upper hat. “It has obeyed, you see. Once more.
One, two, three! Pass!” Again the cover is empty, and again the die has passed
into the lower hat.
The apparatus used is the same as in the last case, with the addition of a
coloured handkerchief, prepared as follows: Five square pieces of stout
pasteboard, each a shade larger than one side of the solid die, are joined together
with hinges of tape or cloth, in the form shown by the dotted lines in Fig. 251.
The centre piece, a, is attached to the middle of the handkerchief, the others
being allowed to hang loose upon their respective hinges. A second handkerchief
of similar pattern is then laid upon the first, and the edges of the two are stitched
together all round.
FIG. 252.
The performer having exhibited the solid die and cover, as already
explained, and having removed the latter (with the hollow die within it), places it
upon the table. Spreading the prepared handkerchief beside it, he places the solid
die upon the centre of the handkerchief, and gathering up the four corners of the
latter, lifts it, bag-fashion, with his left hand, the four loose flaps of pasteboard
naturally folding themselves up around the die. He now takes it with his right
hand, clipping the solid die within the pasteboard, and turns the whole over as in
Fig. 252, thus bringing the die uppermost, with the folds of the handkerchief
hanging down around it. He next takes in the left hand a borrowed hat, holding it
up for a moment, to show that it is empty. Then, turning it mouth upwards, he
remarks, “I will place the die here in the hat.” Suiting the action to the word, he
lowers his hand into the hat, but, as if suddenly bethinking himself, he says,
“No! I won’t use the hat at all. Perhaps some one will kindly hold the die.” In
withdrawing his hand, however, he relaxes the pressure of his fingers, thereby
leaving the solid die in the hat, though as the folded pasteboard retains its
cubical shape, the handkerchief still appears to contain the die. Grasping it
immediately below the folded shape, he gives the handkerchief in charge to one
of the spectators, who is directed to hold it in like manner. The hat he places
carelessly upon the table. He now once more lifts the cover with the hollow die,
rattling his wand within it to show that it is empty. Again replacing it, he
commands the die to pass from the handkerchief under the cover. The person
holding the handkerchief is asked if he felt it depart, but he naturally maintains
that it is still in the handkerchief. “You are mistaken,” says the professor; “what
you see is merely the ghost of the die still clinging to the handkerchief. Allow
me!” and taking one corner he requests the owner to drop the handkerchief,
which he then shakes out, exhibiting both sides to show that the die has
vanished. He then lifts the cover, and shows the hollow die, which the spectators
take to be the genuine one, and concludes the trick by finally commanding the
die thus shown to pass into the hat; which, on being turned over, is found to
contain the solid die, while the hollow die is again raised with the cover, and the
latter shown apparently empty.
THE DIE AND ORANGE.—The die in this instance is about three and a half
inches square. It has the usual ornamental tin or pasteboard cover, but there is an
additional item of apparatus employed, a square wooden box, with hinged lid,
and of such a size as just to contain the die. The effect of the trick is as follows:
—The die is brought forward in the box, the performer holding the square cover
in his other hand. The die being then taken out of the box, and placed on the
table, the box is shown empty, and the cover placed over the die. The performer,
having mysteriously procured an orange from the hair or whiskers of a spectator,
drops it into the box, which is then closed. He now asks the spectators, in order
to impress the facts on their memory, where they suppose the two articles to be.
They naturally answer that they are where they have just seen them placed; or, if
they venture to question this, the performer raises the cover and opens the box,
and shows that die and orange both remain in statu quo. He now commands the
two articles to change places. Lifting the cover, the die is found to have
disappeared, the orange having taken its place, and, on opening the box, it is
seen to contain the die, which is taken out, and exhibited on all sides to the
company. The die and orange, being again covered over, at command change
places as often as the company please.
The reader will doubtless have conjectured that there are in reality two dice
and two oranges. The box when first brought forward contains in reality two
hollow dice, one within the other. The smaller and innermost (the one which is
afterwards taken out and placed under the cover) is placed in the box with its
open side towards the hinges, and contains an orange. The performer takes it out,
taking care, of course, that the orange does not fall out, and places it (open side
downwards) upon the table. The cover is now placed over it, and, if lifted with
pressure, lifts the hollow die with it, and reveals the orange; but if lifted by the
button on top, so that the sides are not pressed, it leaves the die covering the
orange.
We now return to the box. This contains a second hollow die, so placed that
the open side is upwards, and the box therefore appears to be empty. The lid,
however, contains a sixth side, exactly fitting the open space, and thus making
the die complete. This moveable side is alternately made to form a lining to the
lid or to form part of the die, according as a little button on the lid is moved in
one or another direction. Both the true lid and this moveable portion of it are
lined with looking-glass, so as to show no difference of appearance, whether the
box is exhibited empty or as containing the die. When the sixth side is made to
form part of the die, the latter may be completely removed from the box, and
shown on all its sides without betraying the secret, the orange for the time being
remaining enclosed within it.
It is a good plan to have a solid die matching those used in the trick, to be, if
necessary, substituted and handed round for inspection. If the performer uses a
trap-table, it has a very good effect to conclude the trick by causing the orange
under the cover to fall through the trap, and then, lifting the cover and hollow die
together, to show by rattling the wand within, that both die and orange have
altogether vanished.
FIG. 253.
THE VANISHING CANARY BIRD AND CAGE.—This is another favourite die trick.
The performer exhibits a canary bird in a little oblong brass cage, measuring six
inches by four. He next exhibits a die three inches square, showing all sides to
prove that it is solid. This he places upon a tray, which is held by the assistant,
and covers it with a fancy cover as already described. He now throws a
handkerchief over the cage. Bringing it forward thus covered to the company, he
orders the cage to vanish, the die to pass into a borrowed hat, and the bird to
appear upon the tray in place of the die. No sooner said than done; he waves the
handkerchief, which is seen to be empty, and on raising the cover the bird is
found under it; while, on turning over the hat, out falls the die.
FIG. 254.
The disappearance of the cage, which is of the form shown in Fig. 253, will
be readily understood by any reader who has followed the description of the
“flying glass of water” described at page 367. The handkerchief used is double,
and contains in its centre, stitched between the two surfaces, an oblong wire
frame, in size and shape exactly corresponding with the top of the cage. When
the performer throws the handkerchief over the cage on the table, he takes care
to bring this wire shape immediately over the cage. When he apparently lifts the
cage under the handkerchief, which he does standing behind his table, he really
lifts the handkerchief only, distended by the hidden wire, and with the other hand
he gently lowers the cage out of sight upon the servante.
FIG. 255.
The same effect may be produced without the aid of the table, as follows:—
Taking both the balls in his right hand, as in Fig. 257, the performer covers them
with the left hand, retaining as he does so ball a with the thumb, but allowing
ball b to roll down the left sleeve, which, with a little practice, will be found by
no means difficult. He now rubs the palms together, as if rubbing the one ball
into the other, and then separating them shows that the two balls have become
transformed into one only. This he exhibits in the right hand, and while the eyes
of the company are attracted to the ball, lowers the left arm, allowing the ball to
run down the sleeve into the hand, whence it is immediately dropped into the
pochette on that side.
The next step is the supposed colouring of the ball. The performer
continues, “Ladies and gentlemen, having proved to you my perfect control over
the ball in respect of size, I propose to show you that I have equal mastery over it
in respect of colour. This I shall do by passing it into this bottle of wine, which
being red, the ball will become red also. Had the bottle contained a blue liquid,
you would have found the ball become blue, and so on. The ball” (he takes it in
his left hand, and apparently transfers it to his right by the tourniquet, keeping
the right hand closed as if containing it, and dropping it from the left into the
pochette on that side) “is considerably larger than the neck of the bottle. This, in
a natural way, would be rather a difficulty, but to a magician it will give very
little trouble. I have only to squeeze the ball a little” (he lifts the bottle with the
left hand, at the same time slipping the little finger underneath it, to prevent the
red ball beneath it falling, and holding the right hand an inch or two above it,
works the hand as if compressing the ball), “and it gradually becomes smaller
and smaller, till it melts completely into the bottle.” He opens the right hand, and
shows it empty, immediately afterwards shaking the bottle, and allowing the ball
beneath to rattle slightly. “The ball is now in the bottle, as you see; the next step
is to get it out, and it is rather difficult to do this without at the same time
allowing the wine to escape. However, we will try. I have no doubt that by a
strong effort of will I shall be able to manage it.” He now takes the bottle
between his hands, holding it so that the two little fingers are beneath, and after a
little shaking, allows the ball to drop, as if through the bottle. This may be varied
by holding the bottle with the left hand only, and striking the mouth with the
palm of the other, allowing the ball to drop at the third stroke, professedly
expelled by the compression of the air.
FIG. 258.
Second Method.—The balls used in this instance are five in number, two
large, one of each colour; two small, one of each colour, and one (a trifle larger
than these latter), of which one half is red, and one half white. The decanter is
replaced by an ordinary wine bottle (see Fig. 258), prepared as follows:—A tin
tube, a, three inches in length, closed at the bottom, but open at the top, is made
to fit within the neck (just so tightly, that it cannot fall out of its own accord), its
upper edge being turned over all round, and japanned black, so that when placed
in the bottle it may be undistinguishable from the actual neck. The cavity at the
bottom of the bottle is filled with a resinous cement, in such manner as only to
leave room for one of the larger balls. The tube is beforehand filled with port or
claret, and placed in the neck. The bottle itself, which, if not naturally opaque,
must be rendered so by an interior coating of black japan, should be nearly filled
with water. Thus prepared, it is brought forward and placed on the table. The
balls are disposed as follows: the two white ones in the left pochette of the
performer, the two red ones and the parti-coloured ball in the pochette on the
other side.
Coming forward to the audience, the performer produces the large white
ball, either as described in the first form of the trick, or from his wand in manner
described at page 276. While showing it in his left hand, he drops the right hand
to his side, and palms the large red ball. Laying the white ball on his table, he
remarks, “I have here a bottle of wine. We will begin by testing its genuineness.”
He lifts the bottle by the neck with the left hand, immediately transferring it to
the right (which grasps it round the bottom), and introduces beneath it the red
ball, which is thenceforth kept in position by the little finger. Taking in the other
hand a wine-glass (which should be of such a size as just to contain the contents
of the tube), he fills it with wine, and hands it to one of the company. In
returning to his table, he secretly withdraws the tube. (This is easily done by
grasping the bottle round the neck with the left hand, and gently drawing it
downwards with the right, the turned over portion of the tube being clipped by
the finger and thumb of the left hand, in which it naturally remains.) As the
performer passes behind the table, he gets rid of the tube by dropping it on the
servante. In placing the bottle on the table, he is of course careful not to expose
the red ball underneath it. Taking the white ball in his left hand, he proposes to
turn it red, and for that purpose to pass it into the bottle. Pretending to transfer it
to the right hand by the tourniquet, he drops it from the left hand into the padded
tray on the servante, and then apparently passes it into the bottle, as above. The
routine of getting it out of the bottle again is the same as above described in
relation to the first method.
We may, however, here note a variation in practice. Some performers,
instead of introducing the red ball under the bottle at the outset of the trick, as
above described, make no attempt to bring it under the bottle until after the white
ball is supposed to have been passed into the wine, when the performer, raising
the bottle with the left hand, transfers it to the right, and brings the ball under it,
retaining it there with the little finger until he thinks fit to allow it to drop,
pretending to squeeze the bottom of the bottle as if to force it out.
After having produced the red ball, the performer remarks, “Perhaps, ladies
and gentlemen, you imagine that I have not really passed the ball through the
bottle, and that the effect is, in reality, produced by the substitution of a different
coloured ball. Let me assure you that so truly is the wine in the bottle, and
nothing else, the cause of the change of colour, that you will find on examination
that every particle of colour has left the wine, its whole virtue having been
absorbed by the ball. Supposing for a moment that I could have exchanged the
ball, you will hardly imagine that I could exchange the liquid in the bottle, which
has been proved to be good old wine. Will the same gentleman who tried it
before be good enough to taste it now?” Taking another glass, he fills it from the
bottle, which is now found to contain nothing but water.
The performer, meanwhile, has again palmed the white ball, which he next
produces, as being a new one, from his wand. Comparing the red and the white
together, he pretends to discover that the red is the largest, and therefore pinches
from it a small portion (the small red ball). He now discovers that he has taken
too much, and that the red ball is now the smaller. He therefore pinches a second
piece (the small white ball) from the white one, and finally rolls the two little
balls thus obtained into one, producing the parti-coloured ball. The mode of
producing these last effects will present no difficulty to any one who has
attentively studied the description of the first form of the trick.
THE FLAGS OF ALL NATIONS.—This is, in good hands, a very pretty and
effective trick, but requires considerable neatness of manipulation. Its effect is as
follows:—The performer comes forward with a couple of miniature silk flags,
measuring, say, three inches by two. Taking one in each hand, he brings the
hands together, and begins to wave them backwards and forwards, when the
flags are seen to multiply, the two being suddenly transformed into a dozen,
quickly increasing to a still larger number. Not only do the flags increase in
number, but in size also, until perhaps a couple of hundred have been produced,
ranging in dimensions from one or two inches square to a foot or even larger,
and of six or eight different colours.
This seeming marvel rests on a very slight foundation. The flags to be
produced are of coloured tissue-paper, with flagstaffs made of wire, or of the
“bass” of which scrubbing-brooms are made, so as to occupy very little space.
These are rolled up together in little parcels, like with like, according to size.
Thus arranged, they are placed, the smaller ones in the sleeve of the performer,
and the larger ones about his person, with the ends just inside the breast of his
waistcoat. While waving the first two flags backwards and forwards, he gets one
of the parcels from the sleeve into his hands, immediately unrolling and
developing it, when the two flags appear to have multiplied into fifty. Under
cover of these, he draws down from the sleeve another parcel, which he develops
in like manner, and after the sleeves are exhausted has recourse to the fresh store
within the waistcoat. He all along takes care to retain in his hands a large and
widespread bundle of the flags, which, being kept moving backwards and
forwards, materially aids in covering the mode of production of the remainder.
FIG. 260.
With regard to the umbrella, the reader will readily conjecture that an
exchange is effected, but the mode of effecting it varies. If the ordinary glazed
case is used, the umbrella is exchanged bodily for another, similarly encased,
placed beforehand on the servante. This, however, requires some little dexterity,
as an umbrella, from its length, is an awkward article to exchange; and this has
led to the employment of cases specially constructed to effect the change. That
most frequently used is an upright pillar of zinc or tin, oval in form, and open at
the top, and so constructed as to stand upright without support (see Fig. 259). It
is divided vertically into two compartments, in one of which is placed
beforehand the second umbrella. Of course no one can be permitted to examine
or even look into the case, which is a serious drawback to the effect of the trick.
There is, however, another form of case sometimes employed, which is a trifle
less objectionable. This is a wooden tube, about three feet long, and three and a
half inches square. (See Fig. 260.) Like the case already described, it is closed at
the bottom and open at the top, and divided vertically into two compartments, a
and b. One or other of these, however, is always closed by the flap c, which by
virtue of a spring is normally compelled to take the position shown in the figure,
thus closing compartment b. When required for use, the second umbrella is
placed in compartment a, and the flap c drawn back (as shown by the dotted
line) so as to close a, in which position it is held by a little catch. The performer
hands the genuine umbrella for inspection to one of the spectators, with a request
that he will himself place it in the case. As soon as he has done so, the performer
by a movement of his forefinger draws back the catch, and releases c, which
flying back to the opposite position, shuts in the genuine umbrella, and reveals
the substitute. When this apparatus is employed, the supposed restoration of the
umbrella is omitted.
Some performers dispense with the use of the vase, and vanish and
reproduce the borrowed handkerchief by sleight-of-hand, after one or other of
the modes described in relation to handkerchief tricks.
STAGE TRICKS.
FIG. 262.
FIG. 265.
FIG. 266.
The wrist trap is generally worked by the performer standing at the side of
the table, and the traps are therefore made right-handed and left-handed,
according to the end at which they are intended to be placed, the rule being that c
must be so placed with reference to a, as to be when in use under the hand
furthest from the spectators. Fig. 267 illustrates this difference of make, to suit
the one or the other end of the table.
FIG. 268.
FIG. 271.
FIG. 274.
The above are the traps in most frequent use, but there are others designed
for special purposes. Thus there is a trap for causing the disappearance of six or
eight half-crowns (as, for instance, in the well-known trick of the “crystal cash-
box,” which will be described in the course of the present chapter). Of course the
coins could be made to disappear through an ordinary trap, but they would cause
a suggestive “chink” in their fall. The trap to which we are now referring (see
Figs. 275 and 276) is designed to prevent this tell-tale sound, and to cause the
half-crowns to disappear in perfect silence. The opening in the surface plate is an
inch and three-quarters in diameter, and is closed by a circular piston of brass or
zinc, a, working up and down in a small brass cylinder b, and so arranged as to
drop by its own weight to the bottom of the cylinder, save when kept up by a
little lever catch at the side of the cylinder. A short pin d attached to this catch
projects upwards through a slot in the surface plate, and stands up very slightly
above the cloth of the table. The disc a being raised level with the surface plate,
and secured by means of the catch, six or eight half-crowns or florins are placed
on a. The performer, in making the motion of picking up the coins (with one
hand), with the tip of the third finger pulls the pin d towards him. This
withdraws the catch, and a instantly drops down to the bottom of the cylinder,
carrying the coins with it. As soon as a reaches its lowest point, it draws down
the pin e, thereby releasing a similar disc f, which, working laterally on a spring
pivot at the edge of the opening, describes a semicircle, and assumes the position
previously occupied by a, a portion of one side of the cylinder, at the top, being
cut away to allow of its passage. Fig. 275 shows the trap in its first, and Fig. 276
in its second condition, the latter being, for greater clearness, drawn in section.
The apparatus is rather complicated, and it is almost hopeless to endeavour to
render it clearly intelligible by description only. In the absence of this special
trap, the same object may be nearly as well effected with an ordinary trap by
using half-crowns (be it remembered that it is always substitute coins which are
made to disappear in this manner) which have been beeswaxed on both sides. A
very slight pressure will cause a number of coins thus prepared to adhere
together, and form for the time being a solid mass, which will fall through the
trap without causing any “clink.”
We next come to—
The mechanical pieces worked by the agency of these pistons vary greatly in
construction, but they are alike in one particular, viz., that they are set in motion
by one or more vertical rods passing up the shaft or column on which they stand,
and each terminating in a flat metal disc, or pedal, which receives the upward
pressure of the piston. Fig. 280 shows the arrangement of the foot of a
mechanical piece worked by one such rod only. Another specimen will have
been observed in the case of the pedestal for the animated money. (See page
186.) Where three or four pedals are necessary, they are generally enclosed in a
square wooden base, as in the case of the “Demon’s Head,” described at page
458.
Before quitting the subject of the tables used upon the stage, we must not
omit to say a few words as to what is called the “bellows” table, though it is now
comparatively little used. It was formerly (say forty or fifty years ago) the
fashion among conjurors to use tables with drapery hanging to within a few
inches of the floor. The table being, say, two feet seven inches high, this gave
room for a box-like arrangement, of two feet deep, or thereabouts, within the
body of the table. In this box, which was open at the back, was hidden an
assistant, who worked the pistons, managed the traps, effected necessary
substitutions, etc., etc. Conjuring under such circumstances was very easy work.
In 1845, however, Robert-Houdin gave his first public performance, and one of
the earliest of his reforms in the magic art was the suppression of the too
suggestive drapery, and the substitution of tables of light and elegant form,
allowing no possible room for the concealment of an assistant. A reaction set in
in favour of the new fashion, which has ever since maintained its ground. The
“bellows” table combines the apparent simplicity of the undraped table with the
internal capacity of the old-fashioned draped article. There is a trick, formerly
very popular as the wind-up of an entertainment, which consists of the magical
disappearance of a youthful assistant, male or female. The subject of the trick,
generally dressed in a page’s costume, is made to mount upon a table, and is
covered by a wicker cone, which being almost instantly removed, he or she has
vanished. The table in this case is draped to within a few inches of the ground,
but to show that no hidden receptacle is thereby concealed, the performer before
commencing the trick lifts up the table-cloth, and shows that the top of the table
is at most not more than two or three inches in thickness. The drapery is then
again allowed to fall into position, and the trick proceeds. The table used in this
trick is a bellows table; i.e., it has a double top, or rather two tops, one above the
other. The upper one is a fixture, with a large wooden trap (opening upwards) in
it, to allow of the passage of the person to be conjured away. The under top is
moveable, being in its normal condition pressed against the upper one by the
action of four spiral springs (one in each leg of the table), but sinking down to
nearly the depth of the cover under the weight of a person stepping upon it, and
thus affording the requisite hiding-place, in which the person remains until the
fall of the curtain enables him or her to come forth with safety. Cloth is nailed
round three sides of the upper and lower boards, folding between the two when
closed, after the manner of the leather of a bellows; and from this circumstance
the table derives its name.
FIG. 281.
Small round tables (for the disappearance of a rabbit, or the like) are
sometimes made on the same principle. The following will be found a simple
and convenient arrangement:—Let the table be of the form shown in Fig. 281,
and two feet seven inches high. Let the uppermost eight inches of the pillar be a
plain cylinder a a, an inch and a half in diameter. Below this the pillar may
increase in size, and may be of an ornamental character. Take two circular boards
of deal or mahogany, each eighteen to twenty inches in diameter, and five-
eighths of an inch thick. In the centre of one of them, b, cut a circular hole an
inch and three-quarters in diameter. This will form the under side of the
“bellows,” the object being to allow the board to slide freely up and down on
a a. The other board, which we will call c, is screwed firmly on to the pillar, to
form the top of the table. Next take a strip of black alpaca, ten inches in width,
and nail its opposite edges round b and c, leaving a small space at one side to
give access to the interior. Tie a piece of cord elastic round the centre of the
alpaca, tightly enough to exercise a considerable degree of tension. Fix such
traps as may be desired in c, and glue over it a fancy-patterned cloth, with a
fringe or border hanging down nine or ten inches round the sides. The performer,
before executing any trick with this table, may pointedly draw attention to the
fact that it contains no drawer or other place of concealment. In doing this (see
Fig. 282) he with one hand raises the lower board level with the upper (the
action of the elastic drawing in the alpaca between the two), while with the other
hand he raises the fringe, and shows, apparently, that the top of the table is but a
single board.
FIG. 282.
The top of every conjuring table should be covered with woollen cloth, not
only to prevent the clatter which would be occasioned by the placing of objects
upon the bare wood, but to conceal the presence of the traps and pistons. The
cloth used should, for this latter reason, be of two colours, and of a tolerably
intricate pattern, as the outline of the traps will be thereby rendered much less
perceptible; indeed, if the pattern of the cloth be a favourable one for the
purpose, the traps should be, by gas-light, absolutely invisible. The cloth should
be glued over the top of the table after the manner of a card-table; the upper
surface of the traps being first roughed slightly, to make the glue adhere to the
metal. When the glue is thoroughly dry (but not until then) the cloth may be cut
along the outline of the traps with a very sharp penknife, and small holes bored
to allow of the upward passage of the piston rods. As it is necessary in placing a
mechanical piece upon the table, to do so exactly over the pistons, it is well to
have a couple of wire points projecting upwards a quarter of an inch or so from
the surface of the table, in such positions that if the piece of apparatus rests
firmly against these (which the performer can tell instantly by feel) it must
necessarily be in proper position.
Where “wrist” traps are used, the cloth need not be cut out round the little
oblong slab marked c in Figs. 263, 264, but the cloth should be without glue over
this particular spot, and for half an inch round it on either side. The cloth will by
this arrangement be found, without cutting, to stretch sufficiently over c to allow
of the proper working of the trap.
Assuming that our stage appliances are complete, we will proceed to—
THE FAIRY STAR.—This is one of the most telling of stage card tricks. The
performer, coming forward with a pack of cards, allows six to be chosen. His
assistant meanwhile brings forward and places on a table a handsome gilt “star”
on a stand. The performer, collecting the chosen cards, places them in his pistol,
and fires them at the star, when, at the moment of the explosion, they are seen to
attach themselves one to each of its points, as in Fig. 283.
FIG. 287.
The head owes its movements to the action of three different sets of levers,
each terminating in a disc or pedal immediately over a circular hole in the under
side of the base. The apparatus is so placed upon the table that these openings
correspond in position with the same number of pistons. Fig. 287 is a general
view of the internal mechanism, the back of the head being removed (as in fact it
may be in the original) to give access thereto. Fig. 288 exhibits (as seen from the
rear) the action of the left-hand group of levers, producing the movement of the
eyes. When an upward pressure is applied to the foot of the lever a, it causes the
upper arm c d of the elbow piece b c d to describe an arc of about a quarter of an
inch from left to right, thereby communicating a corresponding movement to the
pair of levers e e, working on the pivots f f; and, as a necessary consequence, a
reverse movement to the opposite ends of such levers, on which are fixed the
eyes g g. As soon as the upward pressure is removed, the spring h, a spiral coil
of fine brass wire, draws back the levers e e, and with them the eyes, to their
original position. To produce a continuous rolling, the pressure of the piston is
applied and relaxed alternately, the effect to the spectator being as if the figure
looked first to the left and then to the right, although as already explained, the
active movement of the levers is in the one direction only, the normal position of
the eyes being in the other direction.
FIG. 288.
FIG. 289.
Fig. 289 shows the action of the second or middle group of levers, serving to
produce the opening of the mouth. The chin of the figure consists of a solid
block of wood i, working on a pivot j in each cheek, and so counterweighted that
its normal position is as in Fig. 289, thus keeping the mouth closed. When,
however, the shaft k is raised by pressure from below, the lever l rises with it,
and proportionately depresses the opposite end of the block i, thereby opening
the mouth. As soon as the pressure is removed, the block falls back into its
original position, and the mouth closes.
FIG. 290.
FIG. 291.
The third or right-hand set of levers is a little more complex in its operation,
inasmuch as it has to perform a double office, the expulsion of two cards from
the mouth, and the elevation of two others at the top of the head. The cards to be
shot from the mouth are placed beforehand (from the front) in the receptacle
indicated in Fig. 289 by the letters m m, and a “plan” of which is given in Fig.
290, and a back view in Fig. 291. m m is a flat piece of tin, its edges folded over
so as to form a receptacle or platform just capable of holding easily a couple of
cards; n is a spring, which, when the cards are put in position, is “set” by being
drawn back into the notch of the catch o. When an upward pressure is exerted by
the shaft p p on the elbow-piece q q q, the latter pressing against r draws back
this catch, and releases the spring, which forthwith shoots out the two cards from
the mouth. The other two cards are inserted in the clip s (see Fig. 291),
consisting of two small pieces of sheet brass soldered to the end of the rod t,
which works up and down piston-wise in the tube u u. Within the tube is a spiral
spring which impels s upwards level with the top of the head, across which a slit
or opening is made to allow of the passage of the cards. This portion of the
apparatus is set by placing the two cards in the clip, and then drawing down the
piston-rod by the cross-piece v, which is riveted thereto, and hitching such cross-
piece under the catch w. The upward movement of the shaft p, at the same time
that it draws back the catch o, also draws back the catch w, thereby releasing v,
and allowing the clip s and the two cards therein to spring upward, and appear at
the top of the head.
It is hardly necessary to remark that the cards chosen by the audience are
“forced” cards, of which duplicates have beforehand been placed in the head.
FIG. 292.
The picture-frame, which is of the appearance shown in Fig. 292, and stands
altogether about two feet high, is backed by a sort of wooden box, an inch and a
half in depth, and a little smaller than the external measurement of the frame.
The inside of this box is covered with black cloth, and in fact forms the true back
of the frame; and it is upon this that the borrowed objects are fastened by means
of small sharp hooks, the back opening on hinges to facilitate the doing so. An
ordinary spring roller-blind, also of black cloth, works up and down just behind
the opening of the frame. We have said an ordinary spring blind, but, in truth, the
usual check at the side is wanting, and the blind therefore, if drawn down,
instantly flies up again, unless held down from below. The blind terminates at
bottom in a square lath, five-eighths of an inch in length by three-eighths in
thickness, with a wire pin, half-an-inch in length, projecting at right angles from
its hinder side. The ends of this lath, when the blind is drawn down, sink into
two upright grooves, one at each side of the frame, thereby keeping the latter
square, and the pin in a horizontal position. The catch a (an enlarged view of
which is shown in Figs. 293, 294) is now hooked over the pin, as in Fig. 293,
thus holding the blind down. A wire rod, attached to this catch, passes down the
column on which the frame stands, and terminates in the usual disc or pedal at
bottom. When an upward pressure is applied to this, the catch assumes the
position shown in Fig. 294, thereby releasing the pin, and allowing the blind to
fly up. The blind is represented in Fig. 292 in the act of flying up, but, in truth,
its rise is so rapid as to be practically invisible.
The sudden appearance of the articles in the frame is thus sufficiently
accounted for, but it remains to be explained in what manner they were placed
there, as they have (apparently) never been removed from the sight of the
audience. It will be remembered that the smaller articles were rolled up in the
handkerchief, which was then placed on the table. In truth, what is placed upon
the table is a substitute handkerchief, similarly rolled up, while the original is
dropped on the servante, and carried off by the assistant when he brings in the
pistol. Having thus obtained possession of the articles, he quickly places them in
the frame, and draws down and fastens the blind. This done, he closes the door at
the back, and brings forward the frame, taking care to place it immediately over
one of the pistons of the table. As the pistol is fired he pulls the cord, the blind
flies up, and the articles are revealed.
FIG. 295.
THE MAGIC PICTURE AND THE CHOSEN CARDS.—We notice this trick in this
place as having a very close affinity, in effect, to the two last described. It is,
however, wholly independent of stage appliances, and is equally well adapted for
the drawing-room as for the platform. The performer, taking an ordinary pack of
cards, allows three to be chosen. These are returned to the pack, and the pack
shuffled. He then brings forward a small picture in a frame, and measuring, say,
fourteen inches by twelve. Having exhibited both front and back, he entrusts the
picture to a spectator to hold, and taking the pack of cards, throws them smartly
against the glass, when in an instant the three chosen cards appear in front of the
picture, but under the glass. The back of the frame is next taken out, and picture,
back, frame, and glass are separately handed for inspection; but the closest
scrutiny of the audience cannot discover any mechanism or special arrangement
to account for the effect above described.
The reader will already have anticipated that the three cards are “forced.”
The picture is on the principle of the frames last above described, with a slight
variation. There are, in fact, two pictures exactly alike. One of these is pasted
upon the wooden back of the frame, and upon this are fastened duplicates of the
cards to be chosen. The second picture is mounted on cloth, and works on a
spring roller artfully concealed in the upper part of the frame, taking, in fact, the
place of the black blind in the other frames. This is kept down by a pin at the
lower side of the frame, and is so arranged as to be released by the smallest
pressure against the glass. The pack of cards, smartly thrown, supplies this
pressure. The foremost picture flies up, and reveals apparently the same, but
really a similar picture, with the chosen cards between it and the glass.
The cabinet may be used in various ways. One of the most striking is as
follows:—The folding doors are opened, disclosing the interior perfectly empty.
(See Fig. 299.) The exhibitor directs his assistant to walk into the cabinet. He
does so, and the doors are closed. Meanwhile, a couple of gentlemen, selected by
the audience, are invited to stand behind or beside the cabinet, and see that no
one obtains ingress or egress by any secret opening. Notwithstanding these
precautions, when the doors are again opened, the assistant is found to have
vanished, and another person, different in dress, in stature, and in complexion, is
found in his place. This person steps forth, makes his bow, and retires. Again the
cabinet, now empty, is closed, and after an interval of a few moments, again
opened. This time a human skeleton is found to occupy the vacant space. This
ghastly object having been removed, and the door having been once more closed
and opened, another person, say a lady, appears. This person having retired, the
doors are again closed; and when they are again opened, the person who first
entered is once more found within. A committee from the audience are now
invited to examine the cabinet within and without, out all their scrutiny cannot
detect any hidden space, even sufficient to conceal a mouse.
FIG. 300.
FIG. 301.
The only point that remains to be explained is the difficulty which will
probably already have suggested itself to the reader, viz., “How does the
performer manage to show the basket empty at the close of the trick?” Simply by
having the basket made on the principle of the “inexhaustible box,” described at
page 391. The performer takes care to tilt the basket over to the front before he
raises the lid. This leaves the lady lying on the true bottom of the basket (see Fig.
302), while a moveable flap, fixed at right angles to the bottom, and lying in its
normal position flat against the front of the basket, for the time being represents
the bottom to the eyes of the audience. While the basket is thus shown
apparently empty, the lady who first appeared in the trick comes forward, and is
immediately recognized by the audience; and as they are fully persuaded that she
was the person placed in the basket, the inference that she has escaped from it by
some quasi-supernatural means seems inevitable.
The above is the form in which the trick was first introduced to the London
public, but another modus operandi has since been adopted by some performers.
The low table or bench on which the basket is placed is in this case constructed
on the principle of the Sphinx-table, with looking-glass between the legs, and
with a large trap in the top. The basket used is not made like the inexhaustible
box, but the bottom is moveable, and hinged against the front, so as to lift up flat
against it when required. One lady only is employed. When she is about to step
into the basket, the bottom is pushed up from below, and she thus steps through
the basket and the table, and thence passes, through a trap-door, beneath the
stage. The basket is then closed, and the bottom allowed to fall back into its
place. As the basket is left in this case empty, the performer may thrust into it in
any direction at pleasure, the screams being uttered by the lady from her safe
quarters below. At the proper moment the performer lifts the basket bodily off
the table, and shows it really empty, while the lady, as in the former case,
reappears in some other quarter.
Almost any kind of battery may be used to produce the necessary current,
but for magical purposes one of the most convenient is the Bichromate Bottle
Battery, depicted in Fig. 302. This consists of a plate of zinc and a plate of
carbon (or sometimes two plates of carbon) immersed in an exciting fluid,
consisting of two ounces and a half of bichromate of potash dissolved in a pint
of water, with the addition of one-third of an ounce of sulphuric acid. The bottle
is only filled to the top of the spherical portion, and the zinc is so arranged that it
can be drawn up into the neck, and so out of the solution, when it is desired to
suspend the action of the battery. The wires for conducting the current should be
of copper covered with silk or cotton, and one of them must be connected with
the zinc plate, and the other with the carbon plate of the battery, which has
“binding screws” affixed for this purpose. For the purpose of instantly
completing or disconnecting the electric circuit, the wires are affixed to the
opposite sides of what is called a connecting stud (see Fig. 303), being a circular
disc of wood or porcelain, with a moveable stud or button in the centre. On
pressing this stud with the finger, the ends of the two wires are brought in
contact, and the circuit is completed; but as soon as the pressure is removed, the
stud rises by the action of a spring, and the circuit is again broken.
Among the conjuring tricks depending upon the principle of electro-
magnetic attraction, the simplest is that of
THE LIGHT AND HEAVY CHEST.—This is a small brass-bound box, with the
ordinary handle at top. The performer shows that it is empty, and without
mechanism or preparation. Having been duly inspected, it is placed upon a small
pedestal fixed to the stage, when the performer requests that some gentleman of
considerable personal strength will step forward. A volunteer having been found,
the magician asks him whether he thinks he can lift the little box before him. He
naturally answers that he can, and proves his assertion by lifting it accordingly,
which, as the box only weighs a few pounds, it is not very difficult to do. “Wait a
bit,” says the professor, “you were able to lift it then, because it was my will and
pleasure that you should do so. It now weighs” (say) “six pounds. I have only to
breathe on it thus, and it will instantly weigh two tons. Try if you can lift it
now.” Again he tries, but the chest is as if glued to the pedestal, and the most
violent efforts cannot dislodge it. Once more the performer breathes upon it, and
it may be lifted with one finger.
The explanation may be given in half-a-dozen lines. The bottom of the box
is an iron plate. The top of the pedestal is also an iron plate, and within it is
contained a powerful electro-magnet, the poles being in contact with the plate,
and the wires to convey the current passing beneath the stage to the hiding-place
of the assistant. The latter, on receiving his cue from the expressions of the
performer, presses the connecting stud and completes the circuit, thereby
bringing the magnetic force into operation. Upon again receiving an agreed
signal from the performer, he ceases to press the stud, the circuit is broken, and
the iron ceases to possess any magnetic force. This may be repeated as often as
desired.
The above trick is cited by Robert-Houdin in illustration of the great
difference which there may be, in point of effect, between two modes of
presenting the same illusion. The reader may possibly be aware that Robert-
Houdin was employed by the French Government, at one period of his career, in
a mission to Algeria, with the object of destroying, if possible, the popular belief
in the pretended miracles of the Marabouts, whereby these latter had obtained an
extraordinary ascendency over the minds of the ignorant Arabs. The plan
adopted was to show, first, that a European could perform still greater marvels,
and then to explain that these seeming mysteries were mere matters of science
and dexterity, and wholly independent of supernatural assistance. The “Light and
Heavy Chest” was one of the prominent features of the programme, but if
presented under that name it would have produced but very little effect. The fact
that the chest became immoveable at command would only have been attributed
by the Arabs to some ingenious mechanical arrangement, beyond their
comprehension, but exciting only a momentary wonder. With great tact, Robert-
Houdin contrived to turn the attention of his audience from the object to the
subject of the trick, professing, not to make the chest light or heavy, but to make
the person who volunteered weak or strong at his pleasure. Thus presented, the
trick had the appearance no longer of a mere achievement of mechanical or
scientific skill, but of a manifestation of supernatural power. We will tell the rest
of the story as nearly as possible in Robert-Houdin’s own words, as related in the
story of his life:—
“An Arab of middle stature, but well-knit, wiry, and muscular; the very type
of an Arab Hercules, came forward, with plenty of self-confidence, and stood by
my side.
“‘Are you very strong?’ I inquired, eyeing him from head to foot.
“‘Yes,’ he replied, carelessly.
“‘Are you sure that you will always remain so?’
“‘Perfectly.’
“‘You are mistaken; for in one moment I shall take away all your strength,
and leave you as weak as a little child.’
“The Arab smiled scornfully, in token of disbelief.
“‘Here,’ I said, ‘lift up this chest.’
“The Arab stooped, lifted the chest, and said disdainfully, ‘Is that all?’
“‘Wait a bit,’ I replied. Then, with the solemnity appropriate to my assumed
character, I made a gesture of command, and gravely said—
“‘You are weaker than a woman. Try now to lift that box.’
“The strong man, perfectly indifferent about my magic spell, again catches
hold of the box by the handle, and gives a vigorous pull to lift it; this time,
however, the chest resists, and in spite of the most determined efforts, remains
absolutely immoveable.
“The Arab wastes in vain over the unlucky chest an amount of force which
would have lifted an enormous weight; till at last, exhausted, panting, and
burning with shame, he ceases, looks dumfounded, and begins to appreciate the
power of the magic art. He has half a mind to give up the attempt; but to give up
would be to acknowledge himself conquered, and to admit his weakness; and
after having been famed for his muscular strength, to sink to the level of a child.
The bare idea makes him furious. Gathering new strength from the
encouragement which his friends offer him by word and look, he casts towards
them a glance which seems to say, ‘You shall see what the son of the desert can
do.’ Once more he bends over the chest, his nervous hands grip the handle, and
his legs, planted one on each side of the chest like two columns of bronze, serve
as a fulcrum for the mighty effort which he is about to make. It seems almost
impossible but that under such a strain the box must fly to pieces. Strange! this
Hercules, a moment ago so strong and self-confident, now bends his head; his
arms, riveted to the box, are drawn by a violent muscular contraction against his
chest; his legs quiver, and he falls on his knees with a cry of agony.
“An electric shock, produced by an induction coil, had just been
communicated, at a signal from me, from behind the scenes to the handle of the
chest. Thence the contortions of the unlucky Arab. To prolong his agony would
have been inhuman. I gave a second signal, and the electric current was cut off.
My athletic friend, released from his terrible bondage, raised his hands above his
head. ‘Allah! Allah!’ he cried, shaking with fright, then wrapping himself hastily
in the folds of his burnous, as though to hide his disgrace, he rushed through the
spectators, and made his way to the door of the hall.”
To describe completely the “induction coil,” above referred to, would be
beyond the scope of the present treatise. It may, however, be summarily
described as consisting of a coil of insulated copper wire, wound round a small
bundle of straight iron wires, say five or six inches in length, and an inch in
diameter. This is called the “primary” coil. Round this is again wound a quantity
of much finer wire, also insulated. This constitutes the “secondary” coil. The
ends of each coil are kept free. If a current of electricity be made to circulate
through the wire of the primary coil, an independent current of great intensity is
found to be thereby produced, by a mysterious process called induction, in the
secondary coil. This current is strongest at the moment of first completing the
circuit in the primary wire, and if a person is grasping the ends of the secondary
wire, or any conducting substance in connection with it, at the moment when the
circuit is completed, he will receive a very severe shock. A contrivance is
attached to the coil, whereby the circuit is made and broken alternately with
great rapidity, thereby producing a continuous shock, of such power that the
victim loses for the time being the faculty of relaxing his muscles, and is
compelled, after the manner of the unfortunate Arab, to grip, tighter and tighter,
the cause of his pain, until released by the final severing of the circuit. Any
reader who desires a more complete acquaintance with the induction coil, should
purchase a little shilling manual, entitled, “Intensity Coils, How Made and How
Used,” by “Dyer” (Suter, Alexander, and Co., Cheapside), where he will find an
excellent account of this interesting subject.
FIG. 304.
FIG. 305.
The reader who has followed our description of the spirit-rapping magnet
will hardly require an explanation of the magic bell. The brass cap, from which
the hammer projects, contains a small electro-magnet, the wire which carries the
hammer being fixed to the keeper, and bringing the hammer down smartly on the
glass whenever the electric circuit is made complete.
“But,” says the sagacious reader, “how is the circuit made complete? In the
former case there were hidden wires, passing through the legs of the table, to
convey the electric current, but in this instance the bell is suspended in mid-air
by a couple of ordinary cords. How can the electric fluid therefore be conveyed
to the bell?” The answer lies in the fact that the cords are not quite ordinary
cords. In appearance they are two pieces of common cord, with a brass hook at
each end, for the purpose of first attaching them to corresponding hooks in the
ceiling, and, secondly, attaching the bell to their opposite ends. But on a closer
examination it will be found that a fine copper wire extends from hook to hook
through the centre of the cord, making it a perfect conductor, while yet not
diminishing in the least its perfect flexibility. The hooks in the ceiling
communicate with hidden wires, and these with the electric battery behind the
scenes.
FIG. 308.
FIG. 310.
The box measures about ten inches in length, by five in breadth and five in
depth, so that its back, front, top, and bottom are of exactly the same size. On the
top, which slides out, in order to give access to the interior, is an ornamental
design, measuring about four inches by three. This renders this particular portion
of the top or lid opaque, and it is beneath this portion that the half-crowns are
placed. Slips of glass are cemented to the under side of the lid (see Fig. 309), so
as to inclose a space just large enough to allow eight half-crowns to be placed, in
two layers of four each, within it. The slips of glass serve to keep the coins in
position laterally. Vertically, they are supported as follows:—The front of the
box (i.e., the side which, when the box is suspended, is nearest to the spectators)
is made double. The outer portion is a fixture, but the inner is attached by hinges
a a to the upper edge of the box, and may therefore be folded at pleasure against
the top, though when released it falls back to its normal position against the
front, in which position it is secured by a spring catch until again raised. It is
upon this moveable side, thus folded up against the top, that the eight half-
crowns are supported. The opposite edge of the top of the box is arranged as
follows: b b is a metal tube, with an opening of about half-an-inch in length
between d d; c c are two metal hooks or rings by which the apparatus is
suspended, and through which the current passes. Each of these communicates
with a piece of insulated copper wire, extending from c to d. The space between
d d is filled up by a round plug or pencil of wood (see enlarged view in Fig.
310), along which lies a small piece of very fine platinum wire e e, connecting
the ends of the two copper wires. The moveable glass flap is held up against the
top by means of a little piece of black cotton f, which, passing through a minute
hole in the outer edge of the flap, is made to pass round the wooden plug, and
thus to cross the platinum wire at right angles, and in immediate contact with it.
The practical application of the scientific principle to which we have alluded will
now be obvious. At the moment of completing the circuit, the platinum,
becoming red-hot, instantly severs the cotton, when down falls the flap, not
altering in the least the general appearance of the box, but allowing the half-
crowns to fall loose into its interior.
In order to prepare the apparatus for use, it is necessary first to remove the
sliding lid, to place the moveable flap in position, and to fasten it with cotton as
already described. The lid should then be turned upside down, and the half-
crowns placed in position, after which the box also is turned upside down, and
the lid allowed to slide gently into its place. The half-crowns are now secure, and
the box may be brought forward and set swinging, without any danger of their
making a premature appearance.
In some boxes the double flap is omitted, the front being single, but
moveable, and working as already explained. In this case the box, when first
brought forward, has the glass of the side towards the audience missing, but at a
little distance its absence cannot be detected.
THE MAGIC DRUM.—This is in appearance an ordinary side-drum, but being
hung up by cords from the ceiling, it will forthwith, without any visible
drumsticks, give either a single rap or a roll, or keep time to any piece of music.
It will further answer questions and tell fortunes, indicate chosen cards, etc.,
after the manner of the magic bell.
These mysterious effects are produced by two hammers or drumsticks, fixed
against one end of the drum on the inside. Each of these is attached to the keeper
of an electro-magnet, but there is a difference in the mode of their working. One
works after the manner of the bell, giving a single tap whenever contact is made,
but thenceforward remaining silent until the circuit is again broken and again
completed. In other words, each pressure of the connecting stud produces one
rap, and no more. The second hammer is differently arranged. By means of what
is called a “contact-breaker,” the movement of the keeper, when attracted by the
magnet, of itself breaks the circuit. The circuit being broken, the iron is no
longer magnetic, and the keeper flies back to its old position, thereby once more
completing the circuit. As long as the pressure on the stud continues, therefore,
the circuit is alternately made and broken in rapid succession, involving a
corresponding movement of the keeper and hammer, and producing a “roll” of
the drum. The use of the two hammers involves the necessity of two electrical
circuits and two connecting studs, and of three cords to suspend the drum (one
being common to both circuits). With a little practice in the management of the
two studs, the single rapper may be made to beat time to a tune, while the other
stud brings in the roll at appropriate intervals.
There are some drums (of an inferior character) made with one hammer
only; such hammer being arranged for the roll. Where it is desired to give a
single rap, this may be effected by pressing and instantly releasing the stud with
a light, quick touch; but some little dexterity is required.
In the case of all these appliances for magically answering questions, it is
necessary that the assistant who has the control of the apparatus should be in
such a position as to distinctly hear the questions asked. In fortune-telling
matters the answer may generally be left to his own discretion; but for indicating
what card is chosen, etc., it is necessary either that an agreed card be forced, or
that a carefully arranged code of verbal signals should be employed, whereby the
P
form of the question may itself indicate the proper answer. Considerable fun
may be caused by the magician selecting an evidently “engaged” couple, and
after asking how many months it will be before they are married, etc., inquiring,
in a stage whisper, how many children they are destined to be blest with. The
drum raps steadily up to (say) five, and this is accepted as the answer, when,
after a moment’s pause, two more raps are heard in quick succession. This
alarming omen is received with general laughter, amid which the drum gives
another rap, and then another, continuing until the performer, scandalized at its
behaviour, unhooks it from the cords, and carries it, still rapping, off the stage.
This last effect is wholly independent of electricity, being produced by the
performer tapping with his fingers that end of the drum which for the time being
is farthest from the audience.
P
This is the principle of the well-known “second sight” trick, a
detailed explanation of which we are compelled from
considerations of space to omit, the system, as perfected by
Robert-Houdin and others, being so elaborate, that an independent
treatise would be needed to do it justice. An admirable account of
the system, as applied to the French language, will be found in a
work by F. A. Gandon, “La seconde vue dévoilée,” published in
Paris in 1849.
There are some few other tricks performed by the aid of electricity, but any
one who understands the principle of those above described may make a very
shrewd guess at the working of the remainder. All tricks of this class, though
ingenious and effective, are open to one or two serious objections. In the first
place, the apparatus is very costly, and, secondly, they are unpleasantly liable,
from the nicety of their mechanism and the absolute necessity of perfect
electrical connection in all their parts, to hang fire at the critical moment, and
leave the operator in a very embarrassing position. Imagine the feelings of a
performer who, having just introduced his wonderful drum, which is to display
unheard-of oracular powers, finds that the instrument remains as mute as the
celebrated harp in Tara’s halls, and refuses to bear out, in the smallest degree, his
grandiloquent assertions. Yet this unpleasant result may occur at any time from
the simple breaking of a wire, or some even slighter cause. This, it appears to us,
is a serious drawback to electrical tricks, though where they are exhibited at their
best no illusions are more beautiful, or have more of genuine magic about them.
FIG. 311.
We should mention, before quitting the subject of these tricks, that in order
to avoid the trouble and expense of fixing the necessary conducting wires in a
building not specially appropriated to magical performances, an upright brass
rod (which may be detached at pleasure) is sometimes fitted on each side of the
performer’s table (see Fig. 311), and the apparatus in use (drum, bell, cash-box,
etc.) is suspended by appropriate cords between these rods. The conducting
wires are connected within the table with the lower ends of the brass uprights,
and thence pass down its hinder legs to the battery behind the scenes. There are
many considerations of convenience in favour of this arrangement, but the tricks
performed are less effective than where the apparatus is hung fairly from the
ceiling, and apparently out of all possible reach of mechanical influence.
FIG. 312.
Apart from these special mysteries, which we are not at liberty to reveal, the
trick is as follows:—The performer brings forward the girl or boy who is to be
the subject of the illusion, and who is dressed in some fancy costume. A low
bench or table, say five feet in length by two in width, and on legs about six
inches in height, is brought forward, and shown to be wholly disconnected from
the floor or stage. On this is placed a small stool, on which the subject of the
experiment (whom, in the present instance, we will suppose to be a young lady)
mounts. She extends her arms, and under each is placed a stout rod or pole of
appropriate length. (See Fig. 312.) The performer makes pretended mesmeric
passes over her, and in a minute or two her head is seen to droop, and after a few
more passes her eyes close, and she is, to all external appearance, in a mesmeric
sleep. The operator now takes the stool from under her feet, when she hangs
suspended between the two rods. Again a few more passes, and the operator
removes the rod that supports the left arm, and gently mesmerises the arm down
to the side. Still the girl hangs motionless, with no other support than the single
upright rod on which her right arm rests. (See Fig. 313.) The operator now
drapes her in various costumes, still keeping up from time to time the supposed
mesmeric passes. Bending her right arm so as to support her head, he next lifts
her gently to an angle of 45° to the upright rod (as shown by the dotted line in
Fig. 313), and finally raises her to a horizontal position, as in Fig. 314.
FIG. 313.
FIG. 314.
FIG. 315.
FIG. 316.
An inspection of the diagrams will already have furnished the clue to the
mystery. Of the two upright rods, one (that placed under the left arm) is wholly
without preparation, and may be freely handed for examination. The other, A, is
either of iron throughout (this was the case with the pretended walking-stick
used by Robert-Houdin) or of well-seasoned wood with an iron core, and
capable of bearing a very heavy weight. The lower end of this sinks into a socket
in the low board or table already mentioned, and thus becomes, for the time
being, a fixture. In the upper end is hollowed out a small space, about an inch in
depth, for a purpose which will presently appear. The subject of the experiment
wears, underneath her page’s costume, a sort of iron corset, or framework,
similar to that shown in Figs. 313 and 314, and more in detail in Fig. 315. An
iron girdle, a a, passes nearly round the waist, the circle being completed by a
leather strap. At right angles to this, on the right side, is fixed an iron upright,
b b, extending from just below the armpit nearly to the knee, but with a joint c
(working backwards and forwards only) at the hip, a strap d, round the leg,
keeping it in position, so as to allow of bending the thigh. From the back of the
iron girdle, in the centre, proceeds a crutch e, also of iron, passing between the
legs, and connected by a strap to the front of the girdle. A fourth strap f,
connected with the girdle in front and rear, passes over the left shoulder, and
prevents any risk of the apparatus slipping downwards. To the upper part of the
upright, b b, immediately below the armpit, is riveted a short flat piece of iron, g,
working freely upon it. The end of g, which forms the joint shown enlarged in
Fig. 316, is welded into a semicircular ratchet, with three teeth corresponding
with a check h, lying parallel with b b, and which, in its normal position, is
pressed up close into the teeth of the ratchet by a spring, but may be withdrawn
by a downward pressure on the hook i. The opposite end of g has projecting
from its under side, at right angles, an iron plug j, which just fits into the cavity
before mentioned in the top of the rod A. There is an opening in the under part of
the sleeve, to give passage to this plug, which, when inserted in the
corresponding cavity of A, makes g, relatively to it, a fixture. The remainder of
the iron framework (and with it the lady) remains moveable, to the extent that,
by means of the joint at g, it can be made to describe an arc of 90° to the upright
rod.
The mode of operation will now be clear. When the young lady mounts on
the stool, and extends her arms, the performer, in placing the upright beneath
them, takes care to let the lower end of A sink properly into the socket, and to
adapt the plug j to the cavity at top. The apparatus is now in the position shown
in Fig. 313, and when the stool is removed, the lady is left apparently resting
only on A, but in reality comfortably seated in her iron cage, the different parts of
which are all carefully padded, so as to occasion her no discomfort. Her legs and
arms, being quite free, may be placed in any position that the performer chooses;
and when presently he lifts her into a slanting position, as shown by the dotted
line in Fig. 313, the check h drops into the second tooth of the ratchet, and thus
maintains her in that position. After a short interval she is lifted into the
horizontal position, as in Fig. 314, when the check drops into the third tooth of
the ratchet, and so maintains her, apparently sleeping upon an aërial couch. As
the support terminates above the right knee, the legs are kept extended by
muscular power. This attitude is therefore very fatiguing, and for that reason
cannot be continued more than a few moments. To replace the lady in the upright
position, the performer places both hands under the recumbent figure, the left
hand easily finding (through the tunic) and drawing down the hook i, thereby
withdrawing the check, and allowing the lady to sink down gently to the
perpendicular. The stool is again placed under her feet, and the second upright
under her left arm, before the operator begins to demesmerise her, which he does
after the orthodox fashion with reverse passes, the lady simulating as best she
may the bewildered and half-scared expression of one newly awakened from a
mesmeric trance.
CHAPTER XVIII.
CONCLUDING OBSERVATIONS.
IT now only remains to give the neophyte a few parting hints of general
application. In getting up any trick, even the simplest, the first task of the student
should be to carefully read and consider the instructions given, and to make quite
certain that he perfectly comprehends their meaning. This being ascertained, the
next point will be to see whether the trick involves any principle of sleight-of-
hand in which he is not thoroughly proficient; and if it does, to set to work and
practise diligently, till the difficulty is conquered. Having thus mastered the
elements of the trick, he should next attack it as a whole, and in like manner
practise, practise, practise, till from beginning to end he can work each
successive step of the process with ease and finish. Having achieved this much,
he may perhaps consider that his task is at an end. By no means. Being perfect in
the mechanical portion of the illusion, he must now devote himself to its
dramatic element, which, as regards the effect upon the spectator, is by far the
more important portion. The performer should always bear in mind that he fills
the character of a person possessing supernatural powers, and should endeavour,
in every word and gesture, to enter into the spirit of his part. As the true actor,
playing Hamlet, will endeavour actually to be Hamlet for the time, so the soi-
disant magician must, in the first place, learn to believe in himself. When he
steps upon the stage he should, for the time being, persuade himself that his
fictitious power is a reality, and that the wand he holds is not only the emblem,
but the actual implement of his power. Every time he pronounces the mystic
“Pass!” or touches an object with his wand to effect some pretended
transformation, he should force himself to forget the commonplace expedients
by which the result is really attained, and to believe that the effect is produced by
a genuine magical process. When he goes through the motion of passing a coin
from the right hand to the left, he should have imagination enough to persuade
himself, for the moment, that the coin has really been transferred as it appears to
be. If a performer has sufficient imaginative faculty to do this—if he can so enter
into the spirit of his part, as himself to believe in the marvels he professes, he
will achieve an almost unlimited mastery over the imaginations of his audience.
As we have already intimated, each individual illusion should have its
appropriate words and gestures—in technical language, its “patter,” or
“boniment”—carefully arranged and rehearsed, so as to produce the maximum
of effect. These are, in truth, the very life of the trick. How much depends on
mise en scène is forcibly illustrated by the account which we quoted in the last
chapter from the life of Robert-Houdin, of his exhibition in Algeria of the “Light
and Heavy Chest.” We will borrow from the same high authority another
illustration, purposely selecting one of the simplest of card tricks, the well-
known feat of picking out a chosen card from the pack, placed in a person’s
pocket. The trick has already been described in outline, but we will recapitulate
its effect in a few words.
The performer offers the pack to a spectator, and requests him to draw a
card. (This card may or may not be “forced.”) The card having been drawn and
replaced in the pack, the performer makes the pass to bring it to the top, and
palms it, immediately handing the pack to be shuffled. If the card was forced, he
already knows it; if not, he takes the opportunity to glance at it while the cards
are being shuffled. The pack being returned, the drawn card is placed on the top,
and the pack placed in the pocket of a second spectator. The performer now
announces that he not only already knows the card, but that he is able to pick it
out without seeing it from the remainder of the pack, which he does accordingly.
Presented in this barren form, the trick would attract only the most passing
notice. We will now proceed to describe it, quoting again from Robert-Houdin,
as it should actually be presented.
“Ladies and gentlemen, I shall commence my performance with an
experiment which is wholly independent of dexterity. I propose simply to show
you the extreme degree of sensibility which may be acquired by the sense of
touch. We possess, as you all know, five senses—sight, hearing, smell, touch,
and taste. In the ordinary way, each of these senses enjoys one faculty only; but
when the mysterious influences of magic are brought to bear, the case is altered.
All five of the senses may be exercised through the instrumentality of one
—‘touch,’ for example; so that we can not only touch, but hear, see, smell, and
taste with the tips of the fingers. You smile, gentlemen, but I assure you that I am
serious; and I venture to think that in a few minutes you will be fully convinced
of the reality of the singular fact which I have mentioned.
“Here is a pack of cards. Madam, will you be kind enough to take whichever
card you please; hold it for a moment between your hands, so as to impregnate it
with the mesmeric influence of your touch, and then replace it in the middle of
the pack.
“In order to exclude all possibility of sleight-of-hand, we will now
thoroughly shuffle the cards; after which, for still greater certainty, I will show
you that the card is neither at top nor bottom, whence you may be persuaded that
it is placed just where chance has chosen to put it.” (For the purpose of showing
that the card is neither at top nor bottom, it may either be left second from the
top after the shuffle, if executed by the performer himself, or being actually
placed on the top, the second card may be drawn instead of the first by means of
a filage.)
“Will some gentleman now have the kindness to empty his breast-pocket,
and allow me to place the pack in it.” (This is done.) “Now that the cards are
placed in perfect darkness, I will endeavour, by virtue of that five-fold sensibility
of touch which I have just mentioned, to discover, by the aid of my fingers only,
the card which this lady drew. To make my task still more difficult, I will
undertake to draw the card at such number as you yourselves may choose. What
number shall it be?” (We will suppose that the reply is “Seventh.”) “Seventh, be
it so. Then six times in succession I must avoid taking the drawn card, and
produce it on the seventh occasion only. One, two, three, four, five, six.” (He
exhibits six cards one by one, taking them from the bottom of the pack.) “Now
to find the lady’s card! Yes, I think I have it. Before taking it out, I will read it
with my little finger, which is the cleverest of the five. Yes! It is not a small card;
it is not a club, nor a spade, nor yet a diamond. It is the king of ——” (He draws
out the card, and places it face downwards.) “Will you be good enough, madam,
to finish naming the card before I turn it over, and we shall see whether my little
finger has been correct in its assertions.” (The lady names the king of hearts,
which the performer forthwith turns up.) “My little finger was right, you see.
Will you be good enough, sir, to take the remainder of the cards out of your
pocket, and testify that the experiment has really been performed exactly as I
have stated.”
The above example will show how, by the exercise of a little tact and
ingenuity, a simple piece of parlour magic may be elevated to the dignity of a
stage trick. The great secret is the directing of the minds of the audience into
such a channel, that the dénouement for the moment seems to be a natural result
of the causes artfully suggested by the performer. This may, to a considerable
extent, be effected, as in the example above given, by the language and gesture
of the performer in the individual trick; but still more may be done by the artistic
grouping of one trick with another, a comparatively simple feat being employed
to prepare the minds of the spectators for the greater marvel to follow. Thus, in
the recent performances of the Fakir of Oolu, the aërial suspension, which
formed the staple of his programme, was preceded by the exhibition of a wooden
rod or wand which (by means of certain projecting wire points, so minute as to
be imperceptible at a very short distance), was made to defy the laws of gravity
by clinging to his finger-tips in various positions without visible support. This
minor illusion, being somewhat similar in effect (though wholly different as to
the means employed), prepared the minds of the audience to receive the greater
marvel of a living woman made to recline in mid-air. In like manner, the trick of
the “Flying Money” (see page 172) forms an apt preparation for the introduction
of the “Crystal Cash-box” (page 487). The series of tricks described under the
title of the “Birth of Flowers” (page 411), affords another instance of the artistic
combination of two or three different tricks in such manner as to enhance the
effect of the whole; but, in truth, examples might be multiplied ad infinitum. In
arranging an entertainment, the performer should continually bear this principle
in mind. The programme should consist not of a number of absolutely
unconnected tricks, but of a series of ten or a dozen groups of tricks. As
compared with each other, the groups should have as much diversity as possible;
but, individually, each should consist of the same or a similar effect repeated in a
more and more striking form (though produced by different means), or else of a
string of tricks united by some natural sequence, as in the case of the production
of the two rabbits from the hat, followed by the rolling of the one into the other,
and terminating with the reproduction of the vanished animal in another quarter.
In order to make our meaning clearer, we subjoin a specimen working
programme, arranged on the principles we have stated.
The above, with proper mise en scène, will be found an ample programme
for a two hours’ entertainment. It is hardly necessary to observe that the
programme of the same entertainment for distribution among the audience would
be of a very different character. This is always drawn up in the vaguest possible
terms, so as not to reveal beforehand the actual effect of the different tricks. Thus
the tricks in question would be described somewhat as follows:—
PROGRAMME (for distribution).
1. The Enchanted Handkerchief.
2. The Flying Coins.
3. A Succession of Surprises.
4. The Fairy Omelet.
5. The Cabalistic Cards.
6. The Mesmerised Watch.
7. The Chinese Rings.
8. The Bewitched Hat.
9. The Feast of Lanterns.
Between each of the items above-mentioned, there should be an interval of
one or two minutes (filled up by music), while the operator leaves the stage, and
makes the necessary preparation for the next trick. It will further be found an
advantage, where practicable, to divide the entertainment into two parts, with an
interval of ten minutes or so between them, the curtain being let down during
such interval. The few minutes’ break is always acceptable to the audience (who
are apt to become fatigued by too long protracted attention), and is especially
valuable to the performer, as enabling him to re-arrange his servante, removing
articles that have served their purpose, and replacing them by such as may be
needed for the tricks to come. An overcrowded servante is a fertile source of
annoyance and failure, as an article accidentally falling from it reveals the
existence of a receptacle behind the table, and thereby deprives the performance
of half its effect. When a re-arrangement of the servante between the parts of the
performance is impracticable, it is well, if any tricks involving the production of
articles from this quarter are included in the programme, to introduce such tricks
as early as possible, so that the servante may be relieved of such articles, and left
clear for its second use of getting rid of articles upon it. We have known a
professor, performing the “flying glass of water” trick, and in placing the glass
on the servante, knock down a cannon-ball, placed there to be introduced, later
on, into a hat. That cannon-ball weighed on the professor’s mind for the rest of
the evening, and the performance was practically spoilt.
Having arranged his programme, and the appropriate “patter” for each group
of tricks, the performer should conclude his practice by a series of three or four
“dress rehearsals,” with an intelligent friend to play the part of audience, and
who should be invited to criticise with the utmost freedom. At these rehearsals
there should be no “make believe,” but each trick should be worked throughout
with the same completeness in every particular with which it is afterwards to be
exhibited in public. In the course of these final rehearsals the performer should
tax his invention to see what amount of “incidents,” or byplay, he can introduce
in the course of the different tricks. Thus at the commencement of his
entertainment, the trick of the “Flower in the Button-hole,” or that of the
“Vanishing Gloves” may be introduced—not professedly as an item of the
programme, but as a little preliminary flourish. Again, if the performer has
occasion for an egg or lemon in the course of a trick, it greatly enhances the
effect, if instead of having the necessary article brought in by his assistant, he
produces it himself from a lady’s muff, or from the whiskers of a male spectator.
These little matters, though small in themselves, tend to keep alive the attention
of the audience, and to create a sort of magical atmosphere, which will aid
materially in disposing the spectators to receive with due respect the occult
pretensions of the performer.
With respect to stage arrangements, the professional, performing evening
after evening, with full provision of stage appliances, will quickly learn by
experience how best to arrange those appliances for the purpose of his
entertainment; but the amateur, performing only occasionally, and in places not
specially adapted for magical purposes, may be glad of some little practical
counsel in this particular.
FIG. 317.
MODERN MAGIC.
APPENDIX.
CONTAINING
BY
ARPREY VERE.
ANCIENT AND MODERN MAGIC.
CHAPTER I.
INTRODUCTION.
KEMPELEN.
Mr. Houdin was the first person to introduce the famous “Suspension in the
Air” trick, centuries ago made so famous by the Fakir of Oolu, performed by the
Hindoos. The lady selected for the trick is generally slight in figure. Previous to
coming on the stage she binds close to her body a framework specially made to
fit her. This frame consists of an iron bar, with front and back plate fitting on the
hip by means of straps fastened round the body. The iron bar reaches as far as the
armpit, where it is joined to another bar reaching from the armpit to the elbow by
a movable circular plate indented in three places. At the end of the arm bar and
immediately below the elbow is a pin of iron, which is made to fit into the
hollow iron bar upon which the exhibitor rests the lady. At the top of the body
bar is a spring stop, made to glide into the indentations of the movable circular
hinge, and thus keep the whole framework in the position it is placed. The
annexed illustration will more clearly show this single piece of machinery.
A is the iron bar, and B the hip plate. D is a spring stop fitting into the teeth
of the joint F. F is the arm bar, and G is the pin fitting into the hollow tube H,
which is fixed into a socket in the platform. The frame is fastened to the body by
means of the leather straps K. When the body is raised to the position of L, the
spring stop D slips into the middle indentation, and thus keeps the frame and the
lady borne upon the frame in that position. When the body is raised to a
horizontal position, M, the spring stop catches in the first indentation, and keeps
the body perfectly straight. In commencing the trick the performer rests the
figure upon two poles and then knocks one away. This is done to make the
audience believe that the two poles are similar. I need scarcely say that the
putting of the lady into a mesmeric trance is only a piece of acting; it, however,
adds very much to the effect of the trick, as the reader no doubt has thought up
till now. It will be remembered, notably in the case of the Fakir of Oolu, that
sometimes when the trick was performed both poles were taken away. What,
then, you will ask, becomes of all my machinery? The two poles were seemingly
taken away. The poles used consisted of brass bars. The limelight beamed upon
the figure of the sleeping lady, while the rest of the stage was comparatively
dark. Thus, when the conjuror apparently took away the only support the figure
had, the audience did not and could not perceive that he really took away the
brass case of the second pole, leaving another, the actual pole on which the
framework was fixed, and which was of the same color as the drapery of the
stage. It was for the purpose of deceiving the eyes of the audience that the pole
was encased in a brass shell in the first instance. He refixed the case before the
stage was relit, and the lady woke up from her sham mesmeric trance.
CHAPTER III.
THEODIN.
Before proceeding further, I may as well state that I have necessarily passed
by a large number of automata which were exhibited by numerous other
professors of the “black art” whom I have not even named. This was absolutely
unavoidable, inasmuch as the space and time that would be required to give a
full history of automatic conjuring is not at my disposal. But I have endeavored
to give the principal wonders of mechanical art as applied to conjuring, those
which I have omitted to mention being weak imitations of the great
masterpieces, and therefore of no note. But, following up the sequence of events
in the history of conjuring, I must make mention of Colonel Stodare’s Living
Head, especially as this will open up quite a new subject. Stodare placed upon a
table, supported by legs, and beneath which the audience apparently saw the
back of the stage, an empty box with folding doors in front. Having closed the
doors of the box for a few minutes, he reopened them, when a living head,
dressed to represent the head of a sphinx, was seen within the box. To all
appearance there could not possibly be any connection of that head with a body.
There was the head in a box of such a size as only to be capable of admitting a
head. The audience saw that the body could not be placed beneath the table, for
they perceived the curtains at the back of the stage, between the legs, while the
table itself was at some distance from the curtains at the back, and the space
between could plainly be seen. The audience, however, could not see through the
legs of the table, but what they saw was a reflection of the sides of the stage,
which were made to correspond exactly with the back. This was effected by
means of two plate-glass mirrors fixed so as to closely fit into the space between
the three legs facing the audience. The floor was covered with green baize,
which was reflected in the glasses, and seemed to be a continuation of the floor.
The living body belonging to the animate head was in reality beneath the table,
concealed from view by the mirrors. The annexed illustration will show the
position of the body during the performance.
In order that the reader may more clearly understand how this great optical
illusion was produced, I will give a full explanation of an improvement upon this
apparently wonderful phenomenon—the Fatima illusion—when the reader will
more clearly comprehend the solution of what must have hitherto been to him or
her a profound mystery. But before doing so I may mention that simultaneously
with the appearance of Colonel Stodare’s Talking Head there was produced by
Messrs. Pepper and Tobin an optical illusion founded upon precisely the same
mechanical arrangement. It was called “Proteus; or, We’re here and not here.” A
cabinet 3 ft. 6 in. wide by 6 ft. high, standing upon four small feet so that the
audience could see beneath it, was brought upon the stage. It was then opened,
and inside was seen a pillar in the centre from floor to top, on the point of which
was hung a lamp. The cabinet was seen to be empty. A person entered it, closing
the door after him. In a few seconds, when the door was reopened, it was found
to be empty. This was repeated with three different persons. A fourth went in,
and on the door being opened the four persons were seen inside, and emerged
from the cabinet. Of course, where these men concealed themselves was the
cause of a great deal of surmise and conjecture; but the reader who has seen this
trick, after I have explained the mystery, will marvel at the ease with which he
was deceived and hoodwinked.
From the preceding ground plan of the cabinet, it will at once be seen by the
simple laws of optics how our very eyes may be made to cheat the other senses:
A B, C D, is the floor plan of the cabinet. A B, B D, D C, and C A, representing
the four sides. E is the pillar from floor to roof. Attached to the sides A C and
B D, are two plate-glass sides fitting exactly, so as to form two sides to the
cabinet, A E, B E, terminating in the pillar E. These plate glasses are movable on
hinges in the direction indicated by the arrows, and could be moved close to the
sides of the cabinet. The backs of the plate-glass doors are painted or papered to
resemble exactly the sides of the cabinet, so that when closed the plate-glass
sides appear to be bona fide sides of the cabinet. Thus, when a man stepped into
the cabinet he merely opened the plate-glass sides, and stood behind them when
the cabinet was opened. The glass reflecting the sides of the cabinet, which were
exactly like the back, made it appear that the box was empty, the lamp being so
placed that it was not reflected by the glass sides. From this it will be seen that as
many persons as the space inclosed by the folding glass sides could hold, might
easily enter the cabinet, and yet not seem to be in it.
This and the Living Head of Stodare were such good optical illusions, and
so safe for the exhibitor to work upon, that succeeding conjurors have improved
upon the trick, and produced one of the prettiest and most marvellous effects,
that of a lady being seen on the table, without any lower limbs whatever, and yet
able to talk and sing. No doubt many of my readers will remember to have seen
Fatima when exhibited some little time ago in Lime Street, Liverpool. A
description of this optical illusion, as seen by the public, will be scarcely
necessary.
It will be remembered that to all appearance a half body was resting upon a
small table standing on legs, which again rested upon a larger table likewise
upon four legs, and that the space beneath the table was seen. In point of fact, the
space beneath the table was not seen, for the remaining portion of the visible
body actually stood in the space beneath the table. The table was really upon
three legs placed at right angles. Between the middle and two other legs were
two plate-glass mirrors, fitted closely to the legs and the top of the table. The
pattern of the carpet was always of a square character, and the table was so
placed that the reflection in the glass formed a continuation of the pattern, thus
giving an appearance of space and a continuity of surroundings. The fourth leg
of the table was produced by a very simple contrivance. A single leg, carved
similarly to the legs of the table, was concealed behind each of the small screens
which bore a lamp, and on each leg was a placard bearing the letters composing
the name of Fatima, but written thus—AMITAF, so that, as seen in the glass,
they appeared FATIMA. These legs were so placed that they threw their
reflections in such a way as to continue and form one leg, the fourth leg of the
table. The ground plan, as given here, will at once show the position of the table
and the separate legs.
A B C are the three legs of table, A B and B C being the two plates of glass.
D D are the two screens concealing the single legs E E. According to the laws of
reflection the legs E E will be reflected in the point F, and thus present the
appearance of four legs. Upon each of the legs is placed the placard bearing the
name written backward, and the reflection so deceives the spectator that he fully
believes he is looking at a fourth substantial leg. Of course the upper table upon
which the visible portion of the body appears to rest is likewise made of three
legs with looking-glass in between. The invisible portion of the body is
concealed by the looking-glasses. The pattern of the floorcloth being of a cubic
shape, the reflection in the glasses seems to be a continuation of the pattern. It
was by these simple combinations of mechanics and optical contrivances that
thousands upon thousands of persons were mystified and completely cheated of
their senses.
CHAPTER IV.
AUTOMATA: PSYCHO.
WE now come to our own time, and to a description of the various automatic
exhibitions of the present day. The most notable and successful, because the
most original, exhibitors and inventors of automatic figures at the present day
are Messrs. Maskelyne and Cooke, now located at that old “home of mystery,”
the Egyptian Hall, London.
Their first and, in my opinion, their best piece of mechanism was Psycho,
the celebrated Whist Player, which they produced in 1865. A description of this
interesting figure is scarcely needed. For years they contrived to keep the motive
power and mechanical arrangements of this automaton an entire secret, while the
public, the press, and the scientific world, saw, wondered, and were puzzled.
Many and various were the solutions offered to account for the working of the
Whist Player; but the secret of the sinews and muscles, so to speak, of Psycho
mystified every one. So thoroughly successful was the figure that, as a natural
consequence, mechanicians set about producing something similar.
One of these imitations was exhibited under the name of Hankey. This was
but a poor and clumsy representation of the original. It consisted of a rudely-
constructed figure of a man seated on an octagonally shaped box, in which a boy
was concealed, who worked the arms and head. The exhibitor was compelled to
indicate the cards to be played by certain signs and motions, which often led to
complications and mistakes. This revival of Psycho eventually came into the
possession of Signor Boz, and was exhibited in Liverpool and various other
towns under the new name of Yorick.
Professor Pepper likewise constructed an imitation of Psycho, under the nom
de théâtre of Scynthia. This figure, though very ingeniously contrived, did not
confessedly fulfil all the conditions of Psycho.
Cremer also introduced a whist player, which was a huge, complicated mass
of wheels, levers, and elaborate mechanical contrivances, and necessitated a
most careful supervision for a successful exhibition. It could never be relied on
for a smooth and uninterrupted performance.
FIG. 321.
A French firm also constructed a whist player for Mr. Everett, and this
eventually went to America. In this figure the boy was much better concealed
than in the one I mentioned before.
One very ingenious solution of the construction of Psycho was offered in
November, 1877. I partly reproduce it—not because it is a solution, but because
it will enable the practical and ingenious reader to construct a figure something
similar, although not at all equal, to the Whist Player of Messrs. Maskelyne and
Cooke.
In Figs. 321a and 321b (elevation and plan), the wheels E and M have each
a train of clockwork left out for the sake of clearness, which would cause them
to spin round if unchecked. M, however, has two pins, p p, which catch on a
projection on the lever, N. E is a crown-wheel escapement—like that in a bottle
roasting-jack—which turns A alternately to the left and right, thus causing the
hand to traverse the thirteen cards. A little higher up on A will be seen a
quadrant, B (see plan), near the edge of which are set thirteen little pins. The end
of the lever, N, drops between any two of them, thus causing the hand to stop at
any desired card. The lever being pivoted at c, it is obvious that by depressing
the end, N, B will be set at liberty, and the hand will move along the cards; by
slightly raising it this motion will be arrested; by raising it still more the pin, p, is
released, and M commences to revolve, and by again depressing N this wheel
will, in its turn, be stopped. Near the bottom of the apparatus is a bellows, O,
which contains a spring tending to keep the lever, N, with which it is connected
by a rod, X, in the position shown. This is connected with the tubular support,
which may be connected by a tube through leg of stool, and another tube beneath
stage, with an assistant behind the scenes. By compressing or exhausting air
through this tube it is obvious that the lever, N, will be raised or depressed, and
the clockwork set going accordingly. a is a crank-pin set in M, and connected
with the head by catgut, T, and with the thumb by S. At R and R are two pulleys
connected by gut. Thus if the hand moves round, the head appears to follow its
motions, and when raised by pulling S, the head rises also by means of T.
Further explanation seems almost unnecessary; l is a stop to prevent elbow
moving too far, and b b spiral springs, to keep thumb open and head forward
respectively. When N is raised, M pulls T and S, the latter closing thumb, and
then raising arm by pulley H. If the lever is allowed to drop, p will catch and
keep arm up. On again raising N, the arm will descend.
FIG. 322.
FIG. 323.
FIG. 324.
In addition to the above contrivance, we have in Figs. 322 and 323 another
and simpler arrangement, in which only one train of clockwork is used. On the
same axle as H is fixed a lever and weight, W, to balance the arm. A vertical rod,
X, having a projection, Z, slides up and down in guides, Y Y, and carries the
catgut, S and T. The quadrant, B, has cogs cut, between which Z slides and stops
the motion of A, which is moved, as before, by clockwork. The lower part of X
is connected direct with O. When X is slightly raised, as shown, A is free to
move, but on exhausting air and drawing X down, Z enters the cogs and stops
the hand over a card; continuing to exhaust, the thumb closes and the card is
lifted up. The details of the clockwork the originator of this solution omits to
give. He says there should be a fan on each train to regulate the speed. The
figure should be so placed that an assistant can see the cards in the semi-circular
rack Fig. 324.
The next remarkable automatic figure exhibited by the dual mystifiers at the
Egyptian Hall is that called Zoe. It represents a female figure seated upon a
stand. Before her is placed a semicircular drawing board, which is attached to
the seat upon which the figure rests. Zoe writes figures and draws portraits of
popular characters. To all appearance there is no motive power off the stage, and
the exhibitor has no physical connection with the figure, whose movements and
skill are apparently spontaneous. This is one of the most simple mechanical
contrivances of the kind that has ever been produced. A thin steel rod runs
through the seat in which the figure is fixed. The body and the arms of Zoe are
above the stage, beneath which another arm and drawing-board are placed
exactly in the same position as those above the platform. The mechanism is
made to work so that the hand above is moved precisely as the hand below is
guided by the artist. Thus, when Zoe is told to draw a portrait, say, of the Earl of
Beaconsfield, the artist below guides the unseen hand, while the hand above
follows the movements of its guide below. The reader may see from the annexed
plan at a glance the principles of the movement; but it must be understood that
this is not the only mechanism employed. It will, however, fully explain the
principles of its motion.
It will be seen that whatever movement be given to the arm at B, the arm at
A must have the same movement simultaneously. As the figure is brought on to
the stage, and then fixed on to the seat, all suspicion of complicity with persons
below the stage is removed; but a rod is pushed through the pedestal and secured
through the upper half while the exhibitor is seating the figure.
Another, and I think the latest production of note—no pun is here intended
—brought before the public by Messrs. Maskelyne and Cooke is Fanfare, the
cornet player. This is the figure of a gentleman dressed in modern costume,
holding in his hand a cornet, which he places to his mouth and plays in the most
professional manner. The whole performance of this mechanical marvel,
however bewildering it may appear to the observer, consists of nothing more or
less than remarkable clever “lipping” on the part of a living musician, who really
plays the instrument in the lonely solitude of the regions beneath the stage. The
sound emitted from a brass instrument is altered in tone and pitch, according to
the length and breadth of the tubes through which the wind is blown. For a bass
tone wide and long tubes must be used, while for a treble tone much shorter and
narrower tubes must be employed. The principles of construction are exactly
similar in the cornet as in the euphonium and saxehorn, the difference of tone
being produced merely by the different dimensions of the tubes. The direction of
the tubes—that is, whether they be twisted or straight, or in different folds—
makes very slight, if any, difference in the tone of the instrument. A cornet could
be so constructed as to admit a much longer and straighter tube immediately in
front of the piston tubes, and still have the tone of an ordinary cornet. It must
have been this principle which first suggested to the minds of Messrs.
Maskelyne and Cooke the construction of an automaton cornet player. The extra
long tube of which I have made mention passes through the body of the figure
into its mouth, where it meets the mouth of the cornet when it is placed against
the lips. This tube is passed through one of the legs of the chair on which the
cornet player is seated, and thence beneath the stage, where a living cornet
player manipulates the instrument in the hands of the figure by means of three
strings or wires attached to the fingers of the figure. Thus while he is blowing
through the tube he has the string of the first piston on his forefinger, that of the
middle piston on the middle finger, and that of the third piston on the third
finger. As he mouths his instrument he moves his fingers in precisely the same
manner as he would had he an instrument instead of only a tube to play upon;
and as he moves his fingers so he pulls the wires joined to the three fingers of
the figure, and thus produces the change of notes which the exigencies of the
tune require.
CHAPTER V.
MARIONETTES.
IN perusing these articles the reader must have observed, ere this, that a great
deal of the success of mechanical, and, in fact, all kinds of conjuring, consists as
much in the credulity and ignorance of the audience as in the perfection of the
trick itself.
It is not at all surprising that, centuries ago, the performer of a few juggling
tricks, or the man slightly in advance of his age in science, should have been
looked upon by the vulgar crowd as a person having dealings with another
world, and that his Infernal Majesty himself should have been called in to father
all his supernatural tricks and wonders. Happily, we have reached an age when
enlightenment has driven superstition almost entirely away; and while we marvel
and wonder at the cleverness of such men as Maskelyne and Cooke, Dr. Lynn,
and many others, even the most ignorant of persons would never think that these
gentlemen had any diabolical contract with such an uncanny gentleman as
Mephistopheles. I make these remarks because the tricks I shall shortly describe
have been performed, perhaps in a slightly different manner to what they are
now, centuries ago, in the distant ages of Egyptian might, the earlier days of the
Hindoos, and long before civilization had reached the west of Europe.
A venerable and oft-repeated magical delusion is that of dismembering a
living person. Dr. Lynn relies upon this worn-out pantomime trick for the staple
of his performance; but it must be confessed that his method of manipulation and
neatness of execution saves, what would be in a clumsy person’s hand, a very
sorry exhibition.
A man is brought upon the stage, and is told that his limbs are going to be
amputated. The victim makes a rush behind the curtains, no doubt frightened that
the threat would be duly executed, but is brought out and made to stand still
while the exhibitor coolly cuts off an arm and then a leg. The frightened,
trembling subject of the professor’s carving operations is an assistant, who takes
good care to be the first on the stage when a person among the audience is
requested to step up and be carved. When he rushes off behind the curtains, it is
to affix to one shoulder and thigh a dummy arm and leg, while his real limbs
remain behind the curtains reclining upon rests. So quickly is this done that the
audience cannot but believe that the arm and leg are the real flesh and blood
contingents to the human frame. The professor carefully amputates the false arm
and leg. Of course he can as readily replace the limbs by simply gliding the false
limbs through the curtains, and releasing the bona fide leg and arm from their
constrained and awkward position.
Another exhibition offered by Dr. Lynn to his patrons is that known as the
Living Marionettes. This novel and amusing illusion was first introduced by a
Frenchman, and was shown in the metropolis long before the British public had
heard of Dr. Lynn, and before he brought it out as a novelty at the London
Aquarium. On a small stage, a real living head, attached to a miniature body,
sings, talks, and acts; and it is plainly evident to the audience that while the head
is really a human one, the manikin body is but a toy. Apparently the curious
figures are not connected by any means with anybody, either at the back, sides,
or beneath the stage. It will be noticed that the drapery is entirely of black, and
that the eye is deceived, by the absence of any break in the color of the drapery,
as to distance. The person appearing as the Living Marionette, fixes beneath his
chin the framework of the body. The back drapery is so arranged that he brings
on the stage with him the curtains forming the background to his head, while
with wires fixed to the legs and arms, he produces a motion in the toy, giving it
the appearance of walking on the stage; so that while the Living Marionette is in
the centre of the stage, the body of the man is behind it. Thus there are two
backgrounds to the stage—one of black, fixed; the other also of black brought on
with the head; but being black, is not seen by the audience, who imagine the
head passes before the black curtain. Any number of heads can be shown, and
two could perform at the same time by coming on the stage from each side, with
each half a curtain or background fixed to their heads. The annexed illustration
will show the head, to which is fixed a movable black frame, and the position of
the real and the dummy body. There is sufficient space between the extremity of
the stage and the fixed curtain at the back for the performer to stand and pass
along. As I said before, the arms and legs of the toy are worked by means of
wires passed through the counterfeit curtain. A very pleasing and startling
entertainment may be obtained if the persons selected to perform are vocalists
and comedians.
CHAPTER VI.
CLAIRVOYANCE.
IT is surprising with what avidity our forefathers, when they perceived some
effect arising from an unknown cause, flew to the aid of diablerie and the
supernatural for an elucidation of the mystery. Without seeking at once to work
out a cause from the known laws of nature and natural phenomena, they stopped
all pursuit in the paths of inquiry by at once bringing forward his Satanic
Majesty as the cause of everything and every occurrence for the origin of which
they could not give an immediate explanation.
We have happily reached an age which is distinguished for its matter of-fact
treatment of all that appears mysterious and unusual. Thus we have, by our rigid
inquiries into the truth, banished, or almost banished, those dread preventives of
progress and civilization—superstition, and belief in the supernatural.
But even at the present day, with all its enlightenment and education, we
find the weakness of our ancestors palpably predominating in the minds of the
ignorant multitude, and spiritualism and magic looked upon by a certain number
of persons as things existing and beyond the ken of men. Scientific inquiry—that
broom that has swept away so many superstitions—has done its work well, and
it cannot be long before the bigoted believers in the so-called “manifestation” of
beings in another and unknown world will be looked upon, even by those whose
belief in them is strongest, as the mechanical hanky-panky tricks of clever and
astute conjurors, who feed upon the credulity and simplicity of their tools and
followers.
Among the many subjects which were classed with the supernatural
phenomena arising from the agency of unseen and spiritual powers,
clairvoyance, or second sight, ranks conspicuous. It has been asserted, and by no
mean authority, that second sight, or the belief in a secondary and unnatural
sight, took its origin in the Scottish Highlands and Isles, where it was known by
the name of taisch—a spectral or shadowy appearance; but from the time when
the Oracle at Delphi was sought by the populace, and when thousands were
deluded by the mere mechanical tricks of a clever and crafty priesthood, even to
this day, second sight has been looked upon as a spiritual visitation bestowed for
some design upon persons who are made the instruments of Providence.
That at times men have had a prescience of what was to come cannot be
denied, since murders and murderers have been undoubtedly discovered by
means of visions which have been seen of the murderer, and the spot where the
murder was committed.
Even Dr. Johnson, in his Journal in the Hebrides, where the belief in second
sight prevailed to a great extent, hesitates whether to believe or deny; and he
asserts that he “came away at last only willing to believe.” It is not my intention,
nor have I the time or space, to enter fully into the subject of second sight of the
past, but it is my intention to fully explain second sight, as it is understood now,
and the reader will at once see how the old fabric of the superstitious ages melts
into the most commonplace, and he will be perhaps vexed and annoyed to think
that when witnessing a performance of second sight his mind misgave him, and
he really was willing to believe.
The power, when blindfold, to discriminate things unseen, and
promiscuously pick from a crowd of persons, and name miscellaneous and out-
of-the-way articles, has been performed so cleverly that the greatest surprise and
wonder has been created in the minds of even the most intelligent spectators. But
like everything else to which the term magic has been and is applied, the
wonderful and mysterious are only the simple and the commonplace, and the
credulity of the audience leads to the merest trickery, to that marvel and wonder
which surrounds a feat of legerdemain or clairvoyance; but, as my readers will
have already seen, as soon as second sight is explained, it will cause wonder no
more.
There are always two persons engaged in an exhibition of clairvoyance—the
person who asks what the article is and the person who answers. The whole
secret of second sight lies in the method of asking what the article is. A sort of
dictionary has to be learned by both, and this lesson is certainly not more
difficult than that of the tragedian in learning his part; but the audience are
deceived by the simplicity of the questions asked. Although the words used by
the questioner are nearly always the same, the position of the words is different.
Hence, a different answer can be applied for every varying construction of the
sentence.
When these different questions and their answers are thoroughly understood
by the two accomplices, they can give an exhibition which to the uninitiated will
appear marvellous and unaccountable. When the interrogator asks the question,
“Is this picture colored or plain?” the answer is “Plain;” or if the question is, “Is
this picture plain or colored?” the answer is “Colored.” This is the whole
groundwork of second sight, and in order more fully to illustrate this matter I
will give a series of answers and questions which have been adopted by a
number of English and American professors. In asking the color of an article, the
question can be so differently constructed that each construction can bear the
answer for every ordinary color.
The following questions, having replies for the usual articles found upon
persons assembled to witness a performance, may easily be learned by a person
gifted with a good memory, or by a person with an ordinary memory by repeated
application:
I think I have given sufficient queries and answers to indicate the simplicity
and the secret of second sight. When all the particulars of the articles are
required, although the questions may seem perplexing to the spectator, yet they
are extremely simple to the person who knows each question and its reply by
heart.
Here is an illustration of a complicated series of questions, and the reader
will see at once that the answering is very simple:
From the illustrations I have given above, the reader will perceive that,
provided a large and well-selected assortment of questions, corresponding with
replies, be agreed upon, and well known by the two confederates, almost any
question may be answered and any article known, together with its properties,
color, contents, etc.
Another exhibition of clairvoyance—the reading of writing sealed up and
unopened—adds greatly to the mystery of the performance; but how this is done
can be easily explained. Previous to going on the stage, a sentence is selected,
and written in blacklead on a piece of paper. During the performance similar
pieces of paper are handed round to several of the audience, who are requested
to write a sentence thereon. These papers are sealed similarly to the prepared
one, and placed in a hat. The professor then pretends to select one at random,
after having shaken up the papers; but he really takes up the one he had already
in his hand. The lady clairvoyant is then requested to read a sentence, which, of
course, she can easily do. The paper is then handed to one of the audience and to
their astonishment it is found to have been the actual sentence written. It will be
understood that each writer of a sentence is ignorant of what another has written,
and the given sentence is therefore thought to have been written by one of the
audience. This suspicion may be heightened by the queer method of spelling, or
the character of the caligraphy; it may be made still more astounding by writing
the sentence in a foreign language with a slight mistake in spelling, or grammar,
upon which the clairvoyant can comment in her reply, and thus acquire a
reputation for scholarly and linguistic attainments. The same means are resorted
to in the adding up of a sum. The figures are all prepared behind the stage, and
the bona fide sums given by the audience are never the ones answered by the
clairvoyant. I think I have given, or I hope I have, a clear and full explanation of
clairvoyance or second sight, and the reader may, by a little practice, become as
perfect in this special branch of magic as the mysterious lady—Heller—Miss
Anderson, Dr. Lynn, and a host of others, who have mystified and bewildered
thousands of wondering spectators.
CHAPTER VII.
SPIRITUALISM.
THE belief in the materialization of spirits, and the visits of spiritual inhabitants
of another world to the scene of their mortal sojourn for the sole object of giving
specimens of their caligraphy on slates and ceilings, rapping and playing upon
tambourines, sealed accordions, guitars, and so forth, affords another proof that
there are no bounds to human credulity and stupidity.
A worthy doctor of philosophy, only recently deceased, said in my hearing,
while speaking of the gross ignorance that prevailed among believers in
spiritualism, that if a man stood in the middle of the road with a crowd of people
round him, and asserted, with well-worded sentences and an apparent
earnestness and belief on his own part, that two and two were five, he would find
some among the crowd to believe him. Perhaps the doctor went a little too far in
his observation, but it is, nevertheless, almost incredible that a large number of
persons can be so bigoted and thick-headed as to persist in their belief in
spiritualism when medium after medium has been most unequivocally found to
be conjuror, trickster, and swindler. These conjurors and tricksters are not men
who practise their art of deceiving on the stage in a legitimate manner, but they
are men who pander to the credulity, bigotry, and fanaticism of the imbecile,
obtuse, and weak-minded person who believe in spirit land, by claiming the
power of recalling from that unknown region to which the soul is supposed to
take its flight when it has shuffled off its mortal coil, those beings who have
gone from earth never to return again, except by the agency of these mediums. In
asserting their power of “calling up the spirits from the vasty deep,” or from the
sky, they offer as proof of their claim to be believed certain tests, which have
been, and which I will show are, simply the hanky-panky tricks of the
prestidigitateur and magician. The credulous followers of these mediums cannot
or will not see the absurdity of bringing souls from the “world of spirits” merely
to answer idiotic questions, and to perform such antics as even a wild and
unrestrained boy would not be mad enough to do; but they believe the assertions
of the mediums simply because the tests which are applied to them consist of
something more material and tangible than aërial nothings, and appear to be
marvellous and beyond the power of the human mind to understand.
Have these spiritualists never witnessed the performance of a clever
conjuror who confesses that all his tricks are worked by mechanical means and
sleight of hand? or have they never seen apparent wonders performed, the
mystery of which they could not unravel? They must have done so, and yet we
have never once heard such men as Heller, Houdin, Professor Anderson,
Maskelyne and Cooke, assert that their performances or manifestations were the
works of materialized spirits.
One of the tests offered by the mediums is the rope-tying trick, made so
famous by the Davenport Brothers. It has been clearly demonstrated that it was
merely a trick. The medium has in his hand a coil of rope about twelve yards
long. The lights are extinguished, and a few seconds afterward, when the gas is
lighted, he is seen securely fastened to a chair, his hands tied, and the rope made
fast between his wrists. One of the company is requested to examine the rope
and seal the ends of the knot. The gas is again extinguished, and a tambourine is
heard bounding about the room. A hand—and a very material hand—claps the
faces of the nearest persons, hats are knocked off, a bell is rung, arms are
pinched, and various other manifestations occur which fully convince the
astonished devotees that some one—spirit or otherwise—is evidently giving free
vent to a playful and mischievous disposition. The medium, of course, claims
that these manifestations are performed by spirits summoned by him; and he is
believed, not because the spectators suppose that spirits could be so summoned
and be made to manifest their presence, but that, because the medium is tied with
a rope, the ends of which are so sealed as to prevent his getting free from the
bondage into which the spirits have placed him, he cannot possibly be the one
that played the tambourine, rung the bell, gave the blows, etc.—ergo, it must
have been the spirits.
Now, had these faithful believers looked very carefully at the rope and the
method of the tying, they would have discovered that the rope had previously
been cut in halves, and then knotted with a fast knot in the middle. This knot is
concealed by the medium before he binds himself, by holding it in his hand. The
rope then, of course, looks like one continuous whole. When the gas is lowered,
he places the two ends of the rope beneath him on the chair, and, in a manner
which I can scarcely explain in writing or even by illustration, so binds himself,
that by making a double running knot, and placing this double noose twice round
his wrist, he can slip it, and thus free his hand at will. The knot may be
concealed, because it is never touched or disturbed. When the room is again
darkened, it is found to be a very easy matter for the medium to perform any of
the usual manifestations.
Another test offered by a medium, and which was considered as convincing
proof of the right of his claim of connection with the world of spirits, was the
well-known sealed accordion test. The instrument was fast bound by tapes, and
the tapes sealed at every note so as to prevent it being played in the ordinary
way. As soon as the lights were out the accordion was heard to play, not too
sweetly, but sufficiently well to show that the instrument was being manipulated.
When the lights were again produced, the accordion was found just as it had
been placed, fast bound by tapes, each note sealed, and the seals immaculate.
This trick may be performed by any of our readers without having the
slightest introduction to the beings of another world. He has only to procure a
small tube, place it in the valve-hole of the accordion, breath and blow into it
alternately, and then by fingering the keys he will be able to produce precisely
the same effect as our friends the mediums. In order to touch distant persons, or
to make such things as guitars and tambourines play at different parts of the
room, he has to conceal about him, or have hidden in some recess in the table or
chair, a telescopic rod, extending several feet. To the end of this he fixes the
tambourine or guitar, on the surface of which has been placed some phosphorus,
and by waving the stick he makes it appear as if persons were floating over the
heads of the company. The invisible hand is formed by a glove being fastened to
the end of the tube. The glove is inflated or blown out through the tube, and
when slapped on to the cheek of a person it has all the sensations of a cold hand
striking the face. The glove covered with phosphorus and waved about is the
mysterious hand, without any body, which caused so many to believe that a spirit
was present.
At the end of this useful tube may also be fixed a reed trumpet or whistle,
and by blowing through the tube sound can be evolved, and when the instrument
is worked about in different directions a large but discordant band of spiritual
musicians appear, to the materially and physically benighted listeners, to be in
the room. To play the guitar, while floating in the air, seems a more difficult
problem, but the reader will easily see how this is achieved. In the guitar is a
musical box with a small piece of writing paper so placed as to touch the steel or
vibrating tongues of the box, and this closely imitates the peculiar twang of the
guitar.
When a medium, after having been caught in one or two of his
performances, announces his intention of floating over the heads of the little
world of spiritualists, they at once hold up their hands in silent admiration, and
their belief in the invisible world becomes more vigorous. They then hasten to
pay their guinea or two guineas to share in this manifestation of the spirit. The
medium having called up the spirit from the “vasty deep,” the room is darkened
and a bull’s-eye lantern is held at such a distance from the medium as to make
his face appear vague and indistinct. He is then seen suddenly to rise, and in his
aërial flight performs a beautiful curve. His face is sufficiently masked as to
make the features indistinguishable; but, at the same time, to make the audience
fully assured that it is his face. The lantern is made to follow him, and in a
moment the face is lost in darkness, but for one instant only, and then as the gas
is lit the medium is seen with his toes just touching the platform, and his form
descending to its ordinary upright position. Messrs. Maskelyne and Cooke and
others have well shown that this floating in the air is one of the grossest
deceptions ever offered to the most gullible of audiences. First, there is ready to
hand a lay figure, got up to resemble the medium or professor. Hanging from the
top of the stage are two cords, concealed from the audience. When the medium
prepares for his flight the bull’s-eye lantern is turned upon him, but the person
holding the lantern, pretending that the focus is not altogether right, turns it away
to arrange it, as it were. While this is being done, the medium quickly substitutes
the lay figure. The ends of these cords are furnished with hooks, which are
fastened on to the shoulders of the lay figure, and then the exhibitor by means of
a pulley hauls the figure upward, the light being kept at such a distance as to just
make the figure of the dummy visible, but totally unrecognizable. During one of
the intervals of the lantern’s wanderings the dummy is removed, and the medium
is seen descending, by merely raising himself on his toes and lowering himself,
and when the full light is upon him sinking on his knees.
In spite of the exposure of the tricks played by mediums, there are still
persons to be found who really believe that the tambourines, accordions, guitars,
etc., are played by spirit hands, and that beings from the invisible world make a
special journey at every spiritual séance.
Messrs. Maskelyne and Cooke have, in their popular entertainment, done a
great deal to destroy the belief in the spiritual world founded upon the tests
offered by mediums, and have clearly shown that the tricks which the mediums
assert can only be done by spiritual agency might be performed by any ingenious
person.
Another trick which has been performed by Messrs. Maskelyne and Cooke
is that known as the spiritual musical box. An oblong piece of glass is suspended
by means of four cords hanging from the ceiling, and upon this glass is placed a
musical box. At the word of command the box begins to play, and when desired
by the exhibitor or one of the audience, it suddenly ceases. The effect is really
marvellous, but the secret of the trick is very simple. In the box there is placed a
balance lever, which, when the glass is in the slightest degree tilted, arrests the
fly-fan, and thus prevents the machinery from moving. When the performer
gives the word of command, the glass is made level, and, the fly fan being
released, the machinery moves, and a tune is played. When commanded to stop,
the cord on either side is slightly pulled, the balance lever drops, the fly fan is
arrested, and the music ceases.
The writing by “spirits” on the ceiling is done in this way. The medium is
bound, and when the room is lighted a written answer to a question asked is put
upon the ceiling. The reader will have already guessed that this is performed by
the medium by means of the telescopic tube, at the end of which he places a
piece of chalk. He rubs the chalk on his head, to “show” that the spirits had
raised him to the ceiling, as if he had performed the feat with his head. Another
“crucial” test which these mediums offer is known as the invisible writing. One
of the company is asked to write a sentence or a number of figures upon a piece
of paper. This paper is carefully folded, the lights are extinguished. In a few
seconds they are again relighted, when the medium declares that the spirits have
told him the contents of the paper, and he reads the sentences or tells the figures.
Again, the medium asks a gentleman to put the hands of a watch to any hour
he chooses, and, when again the lights are lowered, he calls out the exact time to
the exact minute. This all seems very mysterious and unaccountable, but I shall
again show that we do not require spirit aid to perform these marvels. The
medium has in his pocket a small phial containing phosphorus and oil; and when
this test is performed there is invariably a long cloth on the table. When the
papers upon which the sentence or figures are written, or the watch, are placed
on the table, the lights are lowered, and the performer stoops beneath the table,
takes the paper or watch, opens the phial, from which a blue flame is emitted,
and by this light he reads the sentence, or figures, or sees the time. He replaces
the articles, and can, of course, readily tell what he has read or seen.
The floating table has often been performed, but I have never attempted to
do this spiritual manifestation. The medium generally has with him an
accomplice, and they bind to their arms a flat iron rod, which terminates toward
the wrist in a kind of hook concealed from the company by the cuffs of the shirt.
The medium contrives to slip this hook under the edge of the table, as does also
his confederate who sits opposite, while the dupe is sitting between. The
annexed illustration will show the iron rod, and the method of fitting it beneath
the table.
The reader will readily perceive that with the aid of these hooks the two
persons can play all kinds of tricks with the table, making it go from side to side
and glide from one part of the room to another.
There are other methods of tying besides those which I have already
mentioned. Some mediums permit themselves to be tied by one of the audience.
In this case the medium inflates his body and sits in such a position that all his
muscles and limbs are distended. When he resumes his normal position the ropes
become loose and he releases himself.
If there be any of my readers who have hitherto been inclined to believe in
the professions of the medium, I hope that what I have said will open their eyes,
and show them that the so-called materialization of spirits is purely and simply a
myth, and that the mediums are nothing more nor less than clever but
unprincipled conjurors.
CHAPTER VIII.
PARLOR MAGIC.
II. INDIAN SAND TRICK.—This trick has been made famous by the Hindoos,
who for many centuries contrived to retain the secret. It consists of placing
ordinary sand in a basin full of water, stirring the water and taking out the sand
in handfuls, perfectly dry. It need scarcely be said that without previous
preparation it is impossible to effect this. Take two pounds of fine silver sand,
place it in a frying-pan, and heat well over a clear fire. When the sand is
thoroughly heated place a small piece of grease—the composition of a paraffin
candle preferred—among the sand, stirring it well up to get it thoroughly mixed.
Then let the sand get cold. You place into a basin of cold water two or three
handfuls, then stir the water well. It will be found that the sand repels the water,
and can be drawn out perfectly dry. It is very important that only a small portion
of grease be used, so that when you hand round the sand for examination its
presence may not be observed.
III. THE “Q” TRICK.—This is a very simple and a very telling trick for the
parlor. You take a number of coins or counters, and form them into a circle with
a tail to represent a Q, as shown in the sketch annexed. You then ask a person to
think of a number, and to count that number, commencing from the tail of the Q
at B, and counting round the circle. When he has finished he is to count the
number back again, but instead of counting the tail of the Q to go round the
circle, and you promise to tell him every time at which counter or coin he left off
counting. In order that you shall not see him count, you leave the room while he
does so. Supposing he selects the number 6; he commences to count from B, and
leaves off at C; he then counts again and leaves off at A. Now, while there are
three counters in the tail of the Q, whatever number he thinks off, he will always
stop at A; so all you have to do is to count the number of counters or coins there
are in the tail, and the same number in the circle will always be the coin last
counted. You must be careful, when repeating the trick, to add one or two, or
take one away from the tail, as always fixing upon the same counter would
perhaps expose the trick.
VI. THE CHINESE PICTURES.—This is a very curious and surprising trick. You
prepare a number of plain white sheets of paper, intermixed with which are
several sheets on which are drawn various Chinese pictures. In showing these
sheets to the audience, you take care not to draw out any of the pictures, but only
the blank sheets. You then take a jug, having an even top, filled with water,
placing the sheets on the top. You then state that the water in the jug has the
peculiar quality of drawing, but having been brought from China, can only draw
Chinese sketches. You then dexterously reverse the jug, the sheets preventing the
water from flowing out. After a few moments you draw out the sketches, and
scattering them among the audience, you cause them to think that they have been
drawn on the blank sheets. This is a very old trick of the Chinese, who first
performed it. You can easily learn to tell which are blank sheets and which are
the pictures by a simple mark placed on the top or in the corner of the latter.
The performer, taking in his hands a round black wand such as is used
during the performance, about two feet long, makes it go through the most
extraordinary performance. First he places the bar in the palm of his hand, and
holding his hand up in perpendicular position, the bar is seen suspended without
any support. The performer now places the bar to the extreme points of his
fingers, and holds his arm in a horizontal position, when the bar is again seen
suspended without any support in that most difficult position.
To prove that this wonderful performance is done without the aid of invisible
silk, wire, wax, or mechanism, the operator places the bar against the back of his
hand, and once more it is seen suspended in mid-air, while he takes it quite close
to the company for inspection. Price, $2.
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