153 Tricks Of Magic - Star Series

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WILL ALMA M.I.M.C. (LO N D O N )

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I TH E STAR SERIES

One Hundred and Fifty-Three Tricks Printed by W estern Printing & Lithographing Go. Racine, Wisconsin Printed in TT. S. A.

HIS combination of one hundred and fifty three tricks combines a series of card, coin, handkerchief, chemical, h a t and mis­ cellaneous tricks. The book contains over ninety illustrations to show the workings of various tricks an d these are to be found throughout th3 th e book. Reference is made in explaining various tricks to th e use o f a servante. This, of course, is only necessary when am ateur “magicians”*' attem p t a practiced perform ance. Otherwise, an y other article which can be used fo r the purpose of tem porarily secreting articles w ill do. Although in the coin tricks, all ref­ erences a re m ade to English money, th is caa easily be changed to American money*

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The State L ib ra ry o f V icto ria “A L M A C O N JU R IN G C O LLE C T IO N ”

Card Tricks TO MAKE FALSE SHUFFLES t—False shaffies are neces­ sary in order to keep certain cards a t either tbe top or bottom of the pack. The pack is held in the left hand, and the ihalf of it th a t contains th e special card or cards 13 taken w ith the rig h t hand. The cards to be retained in position are kept tightly held by the forefinger and thum b, and those in the front or a t the back of them , as th e case may be, are dropped, a few a t a tim e, on either side of those held in the left hand. Place the retained cards back in th eir original position in the pack as each shuffle is finished. TO SIGHT THE TOP CARD:—I t is often necessary t* know the card a t the top of th e pack, and th e opportunity to look a t it does n o t occur. Ruffle the cards which are held in the rig h t hand, and in doing so, tu rn up the top righthand corner of th e top card w ith the thum b, when th e su it and value of th e c a rd which is printed there ca a be easily seen. DEALING SECONDS, OR RETAINING T H E TOP CARD. Hold th e pack in the left hand, and pretend to deal th e first card, b u t instead pull two cards forw ard, and retain th e top card w ith th e thum b of the hand th a t is holding th e pack, and w ith th e other band draw away the second card from underneath. T H E QUICKEST PASS ON RECORD-.—Place th e se-rea o f clubs and the eight of spades a t the top o f th e pack. T hen “ force** the eight o f clubs en d the seven of spade* on members of the company. Let these two cards be shown round then have them placed by one of the audience in d ifferen t p a rts of the centre of the pack. Ruffle th e cards, or if preferred, shuffle them thoroughly, taking carte to keep th e two cards th a t were placed a t the top always in th e »ame position. Then ask some one in the com panr

where they would like th e two e&Ttte th a t th ey selected to appear. They will invariably say on th e top, b ut if they are asked for in another, p a rt of the pack, make a rtecessary pass to suit th e need. A fter expressing doubt as to whether it can be done, th e seven of clubs and eig h t of spades can be displayed, and th e company will be quite convinced you have brought together th e two cards th at were placed in d ifferent p arts of th e pack, the sim ilarity of the four cards lending itself to the deception. TO NAME A CARD IN THE CENTRE OP T H E PACK. Having sighted th e card a t the bottom of the pack, which is retained face downwards in the left hand, draw it w ith thum b slightly towards the person. Then hold th e pack towards one of the company, and draw back the top p a rt of the pack so as to "fa n ’* th e fro n t edge of a few cards in the centre. Ask some one to p ut a finger on a card they would like you to name. Draw away th a t card, all those above it, and also the one a t the bottom of the pack, a t the same tim e nam ing the latter card as the one chosen. Show th e card is th e bottom one of those removed. TH E INSEPARABLE J A C K S D is p la y the four Jacks fanned in the hands, hiding three other cards behind the Jack a t th e back of th e set. . Close the cards together, and place them on th e top of th e pack, inform ing th e company th at the Jacks are th e four top cards, as they have seen. Then take th e top card, and w ithout exposing it place it in the centre of th e pack, an d then place the second an d third cards in other parts of the pack, keeping up a ru n n in g commentary th a t th e company are sure th e Jacks a r e being properly separated. Then ask some one to cut th e cards, i. e. placing those removed beneath the others, and the four Jacks will be discovered together in th e centre of the pack. TO TELL WHICH OP THE COURT CARDS A PERSON HAS CHOSEN-;—This is a very simple trick, but a t the same tim e a very popular one. In most packs, the white m argins a t the edges of th e court cards are of different width a t top and bottom, and also a t th e Bides. Select the court cards, and arran ge them w ith th e broad m argin all the same way. Ask a person to pick out and note a card, and then watch closely whether he tu rn s it. Hold forw ard the pack for the card to be replaced in such a way th a t it

goes back w ith the broadm argin reversed from those to hand. Shuffle th e cards,' an d then display the card th a t is disarranged. THE MAGNETIC A C E S D iv id e th e pack into three piles,' and lay them face downwards upon the table. Ex­ hibit the two red aces a n d lay one on top of the first pile (the top card of which you will have previously noted) and the other on th e second pile. Then place the second pile so th a t the aces are in different p arts of the pack* Hold th e cards face downwards in the hand, and w ith the rig h t hand draw th e cards one a t a tim e from th e bottom of the pack, and expose them on the table. W hen th e card th a t was a t th e top of .the pack is brought forth, draw back and retain th e next card, which is, the first ace, and proceed to draw the other cards. W hen th e second ace is produced, the first can be brought forth as the next card, and the effect of th e two aces having come to­ gether is obtained. TO CATCH THREE CARDS FROM THE P A C K T h r e e cards (duplicates of which th e perform er has secreted in the right-hand trouser’s pocket) are forced upon members of th e audience. The cards selected are then 'returned to th e pack, and when i t is received back from th e audience, the three duplicate cards are brought from th e pocket palmed in the rig h t hand. Hold th e pack between the first finger and thum b of th e right hand, throw it up in th e air so th a t i t scatters in all directions, an d pretending to make a grab a t th e cards as they fall, bring forw ard the th ree palmed cards, and display them fanned in the hand. THE THREE-CARD TRICK, OR FINDING T H E QUEEN. This very old tric k , which is still practiced on race-coursea and a t sports meetings throughout the country, is one of the most infamous of card tricks, and is here inserted th a t th e novice m ay know of it and w ith th e hope th a t the knowledge m ay be th e m eans of preventing him and others from being victimised. One card is held fac6, downwards between the second finger and thum b of the le ft hand, and tw o cards in a sim ilar position, one above the other, in the rig h t hand, th e queen being exposed in fro n t of the other. W ith a very quick pass th e three cards are throw n face downwards upon th e table, an d pretence is made of

dropping the queen first of all. Really it is the back card of th e two in the rig h t hand th a t is first dropped. The trick is usually performed w ith such rapidity and skill th a t tho onlooker feels certain th a t the first card was the queen, which he is requested to find. This is the m ost common and simplest way of “Finding the queen.” TH E MYSTERIOUS D EA L:—The four acea and the four kings are packed together in the following order:—two aces, a king, two aces, then three kings. Then the first card is turned face upwards upon the table, the next card is placed underneath the pack held in the perform er’s hand, the third card dealt out, and each subsequent alternate card is placed underneath th e pack. The cards are dealt out in order of an ace, th en a king, each time. TO FIX A CARD SELECTED FROM THE TACK ON THE CEILING OR W A L L:—Force a card, then let the draw er retu rn it to the pack, and shuffle the same. A duplicate of the forced card, w ith a tin-tack through the centre of it (the point a t the back), is concealed in the right-hand trousers pocket. While th e cards are being shuffled, w ithdraw the card from the pocket, holding the tack between the second and th ird fingers of the rig h t hand. Take the pack in the left hand, bring the rig h t over on to th e back of the pack, and place the palmed card on it. Show the face of the pack to the audience, and rem ark th a t you will tr y to fix the card th a t was selected and is now in th e pack, on the ceiling or wall. Throw the pack sm artly and squarely a t the ceiling or wall, and th e w eight of the pack will drive th e topm ost card w ith the tin-tack through it into th e surface throw n a t, an d it will rem ain firm ly fixed there. TO PRODUCE THREE CARDS IN A FRAM E:—The three cards for this trick are pinned on a blackboard fram ed as a ^picture, and covered by a blind (working on the American blind principle) and glass. When the blind is draw n down it is hooked on to a catch a t the back ou' the glass. The least pressure on the glass jwill releasG the blind, and cause it to roll up. The fram e w ith th e blind drawn down is hung upon the wall. Duplicates of the three cards th a t are in the fram e are forced upon members of th e audience. They are then placed in different p a rts of the pack, and th e perform er

ILLUSTRATION L Upper left 1, R ight 2, Centre 3, Middle L eft 4, Middle R ight 5, Lower L eft 6, Lower Right 7.

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Announces th a t he will throw the th ree cards selected inside th e fram e. The whole pack is then throw n a t th e glass— n o t too hard, or of course i t will break, and th e th ree cards are a t once shown inside the fram e (see page 7, Illustration L, Figs. 6 and 7). RUBBING SPOTS OFF A CARD:—H ie sequence of a su it from th e nine downwards, is placed a t the back of th e pack, and the ten cards, e.g. the ten of spades, in fro n t of the pack. Hold the pack in the left hand w ith t h e . fro n t exposed to the audience, and while pretending to rub the fro n t card with the rig h t hand, place the thum b of th a t hand a t th e back of th e pack, draw ing th e nine of spades down and aw ay under cover of the palm of the hand. Rub the fro n t card again, and this tim e leave the palmed card on the fro n t of th e pack, m aking it appear th a t you have rubbed a spot off th e fro n t card. This can be repeated several tim es. The thum b should be damped an d the card will come away from the back m ore easily. THE DISAPPEARING CARD:—This is a very old an d popular trick, but one so simple th a t it is not perform ed sow . I t p artakes of th e cylinder order of tricks, an d fo r its perform ance a card stand suitable for the purpose will be necessary. The pedestal has a false top, underneath which a card—a duplicate of which is forced upon one of the com­ pany—is placed. A fter the forced card has been shown the perform er m ust vanish it. He then shows th at there is noth­ in g on th e card stand, and places the cover on it. Tapping th e sta n d w ith his wand he promises to produce th e card beneath it. When th e cover is raised i t takes w ith it the false top, and th e selected card is disclosed underneath.

Coin Tricks A COEN FOB PALMING E FFE C T :—The fro n t an d back of th e hand a re dis­ played two or three times, and suddenly a penny appears in th e hand. APPARA TUS:—A penny w ith a th in w ire rin g attached

HXUSTRATTOTT A

fk to the centre. This is found on page 11, illustration B, Fig. 8. T H E TRICK:—The second finger can be inserted in the ring, which will be invisible if held at the second joint of the finger. The hand will then be well displayed. , When showing the fro n t of the hand, have the coin concealed a t the back, an d then, while turning the hand over, open the second and th ird fingers, and the coin will drop or revolve into the palm , and the back of the hand can be dis­ played. A fter showing both sides of the hands to the audi­ ence two or three times the penny can be displayed in the palm , and then vanished again. The perform er will soon learn to do this trick very quickly. This coin will be found useful for a num ber of tricks, TO PALM A SIX PEN CE:—A sixpence m ay be easily palmed in the fleshy p art between tho thumb and first finger, and will not be seen when the hand is well dis­ played. This is a very useful trick, for the coin cannqt be seen in either th e fro n t or th e back of the hand (see Illustration A, Page 9, Fig. 5). TO H A K E A COIN FLOAT ON WATER E FF E C T :—A two-shilling piece is made to float on a basin of water. "A PPA RA TU S:—A two-shilling piece, a piece of aluminum • f fhe same size and design, and a basin of water. THE T RICK :—Borrow a two-shilling piece, and have the alum inium duplicate palmed in the hand. On taking the borrowed coin, exchange it for the palmed disc, and with a steady action place the la tte r upon the surface of a basin o f w ater, where it will float. When taking the disc from th e w ater, dump the florin a little, and then retu rn it. A member of the audience may be asked to try the experi­ m ent with the same two-shilling piece, but of course he will not succeed. TO CAUSE A COIN TO PASS THROUGH A HANDKER­ CHIEF IN WHICH A NUMBER OF COINS ARE EN­ CLOSED E FF E C T :—A number of coins are placed in a handkcrehief, and one is shaken through ft. APPARATUS?—Four or five pennies, and a silk hand­ kerchief. 10

ILLUSTRATION B

THE TRICK:—A coin is palmed in th e hand, th e hand­ kerchief placed over both coin and hand, and the five coins placed in the handkerchief exactly on top of the one in the palm . The handkerchief is then folded over th e fro n t, and draw n across th e back enclosing the single coin in a sort of envelope. Make a few rem arks, shake the handkerchief, and th e coin w ill drop out. TO BALANCE A CARD AND COIN ON THE FINGER, AND TO REMOVE THE CARD WITHOUT DISLODGING THE COIN APPARA TUS:—A playing card and a penny. THE TRICK:—Balance the playing card on a tip of th e second finger of th e left hand, and on th e centre of the card, i.e. immediately over the finger, lay a penny. Flick th e corner edge of the card sharply w ith the second finger of th e rig h t hand, taking care to strike quite straight. The card will spin away an d leave th e penay balanced on the finger. VANISHING COINS ON A PLA TE E FFE C T :—H alf a dozen coins are swept from the table into a plate, on which they are heard to clatter. The plate is immediately displayed empty. A PPA RA TU S:—H alf a dozen pennies an d two plates. TH E TRICK:—One of the plates is secreted in a servante, an d th e other laid upon the table. Lay the coins upon the table, tak e up a position behind it, hold th e plate ju st be­ low th e edge of the table and—apparently—sweep th e coins into it. They will be heard to clatter on the plate (fo r they really fall into the plate previously secreted in th e servante,) and th e empty one is then produced w ith all possible alacrity. MAGICAL PRODUCTION OF A COIN A PPA RA TU S:—A penny. ' TH E T R IC K :—Have a penny palmed in the left hand, display the back of the hand, and expose th e rig h t hand fully. Tap the palm of the rig h t hand w ith th e left, in effect really throw ing the coin into it. The coin is then palm ed in th e rig h t by covering it with the thum b and th e hand closed, th e left hand is displayed empty, and a fte r m aking one o r two revolving motions w ith th e hands th e penny is exposed in the rig h t hand. (See Page 13, Il­ lustration M , Fig, 1 and 2).

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ILLUSTRATION M

THE DISAPPEARING PENNY E FFE C T :—A tum bler standing bottom upwards upoi a sheet of white paper is covered by a 'paper cylinder and then lifted and placed over a coin. The cylinder is removed and the coin has vanished. APPA RA TU S:—A small tumbler, white paper and a penny TH E T RICK :—Gum the rim of a small tum bler, anc spread a piece of white paper across it. Then cut awa} th e edges, so th a t the top of the tum bler resembles a drum. The tum bler is then laid rim downwards upon a sheet of white paper. A penny is laid upon the paper, and the perform er places a paper cylinder (which is ex­ hibited to show th at it is empty) over the glass, and the two are lifted and placed (still top downwards) over th€ penny. The cylinder is then removed, and of course the penny, being hidden by the paper drum of the glass, appears to have vanished. Care should be taken always to place the cover over the glass, when passing it over or away from the coin, also to keep th e glass on the sheet of white paper, otherwise the pasted end will be exposed. TO CHANGE A SHILLING INTO A SIXPENCE E FFE C T :—A shilling is placed in a box, which is then tapped w ith a wand, handed back to one of the company, who opening it finds a sixpence instead of the shilling inside. A P P A R A T U S A flat box, in appearance the same a t the top as a t the bottom, but really possessing two com­ partm ents THE TtU CK :—A sixpence is (secretly) placed in one com partm ent, and the em pty one is shown. A shilling is then inserted in the latter, and the box cleverly turned upside down. Then the other side is opened, and the six­ pence produced, TO PASS A COIN THROUGH A HAT INTO A GLASS E FFE C T :—Three coins are throw n into a borrowed hat, which has been stood upon a glass, and one of the coins passes rig h t through the h a t into the glass. APPARA TUS: A derby hat, a tumbler, and four pennies. T H E TRICK :—The bowl of the h a t is laid on the rim of th e tum bler, an d ju st underneath it a penny is wedged half-way in the glass. Two coins a re then dropped into 14

the hat, and th e th ird one thrown a t the side of the hat, bo th a t it releases th e penny, which falls into the glass. Take the coins out of the hat with the right hand, palm one by holding i t ag ain st th e inside o£ the hat w ith the thum b, and display two. This trick is on Page 16, Illu stra­ tion G, Fig. 2. TO RUB A PENN Y THROUGH A CANDLE A PPA R A T U S:—A penny and a candle. THE TRICK:—The penny is shown in the right hand and then apparently throw n into th e left, which is im­ mediately closed, while the coin is simultaneously palmed in the other hand, the back of which id displayed open. Pick up the candle w ith the rig h t hand th at contains the palmed coin, and holding it perpendicularly, rub the back o f the candle with the left hand, saying th at you will rub th e coin through the candle. Open the hand, display it empty, and pretend to draw the palmed penny from the bottom of the candle w ith the rig h t hand (see Page 13, Il­ lu stration M, Figure 3). TO DROP A COIN IN A BOTTLE A PPA R A T U S:—A sm all coin (e.g. a sixpence or a far­ thin g ), a household m atch, and a broad-necked bottle. THE TRICK :—Snap (but do not break) the match in h alf a t the centre, i.e. m aking an angular prong of it, and lay it upon the neck of the bottle. Then place the coin upon the match. T hat trick is to cause the coin to fall into the bottle w ithout touching either. I t is accom­ plished by lettin g a drop o r two of w ater fall upon the p a rt of the m atch where it is broken. The prongs will natu rally open, and the coin fall into th e bottle. This trick is on Page 18, Illustration D, Fig. 4). TO BALANCE COINS A P P A R A T U S ‘Three pennies with thick edges, and a th in strip of wood slightly longer th a n the three coins placed on end. TH E TRICK :—Lay three pennies edge to edge in a row in the left hand, and upon them place the wood th a t has been concealed in the palm of the rig h t hand. Grip the ends of the stick between the thum b and second linger of th e rig h t hand, a t the same tim e holding tho top and bottom coins tightly. The coins can then be raised per-

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ILLUSTRATION G Cpper No. 1. Center Left No. 2. Centre Bight No. 8 and No. 4. Bottom L eft 5, Bight 6.

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pendrcularly, and shown as if self-supported upon th eir own edges. (See Page 21, Illustration N, Fig. 7 and 8). TO HOLD A PENN Y SO THAT A STRONG MAN CAN­ NOT TAKE IT FROM THE FINGERS This trick is only suitable for a very ta ll person, or a t any r a te should be played w ith a person much shorter th an th e perform er. A challenge is p ut forth th a t a penny held between th e fingers cannot be taken away by another p arty w ithout his touching th e person holding the penny. The penny is shown held in th e ordinary way, b ut im­ mediately th e challenge is accepted, the hand is held high above the head. If th e opponent jumps in the air, or stands upon a chair, the coin shohld be held away so th at it cannot be reached. THE DIMINISHING COINS E F F E C T :—Three coins shown between the fingers are changed to two. APPA RA TU S:—One penny, and another w ith a thin groove cut round th e centre of its edge, and then cut in two across th e centre, or a little to one side of itw If a sm all indiarubber band is fitted into the groove the penny can be folded in half, and, when released, will spring TH E TRICK :—The penny th a t is cut in h a lf is folded over, and shown fanned underneath the other penny, so th a t th e company believe there are three pennies. The other hand is displayed empty, and then placed over th e one holding th e pennies, which are rattled together; th e indiarubber band will cause th e penny to open out flat, and one of th e pennies appears to have vanished. I t will be m ore effective if an assistant is asked to hold th e w rists in order to prevent a coin from passing up the sleeve. (See P age 21, Illustration N, Figures 3 and 4). THE MULTIPLYING COIN E FF E C T :—A penny is displayed held between th e con­ ju re r’s fingers, and attention drawn to th e fact th a t there is only one coin. The perform er waves his hand, and then discloses two coins in his palm. A PPA R A T U S:—One side of a penny is bored away (the rim is left uninjured) in such a m anner th a t a worn penny, th e edge of which has been filed daw n, can be 17

ILLUSTRATION D Top Bow—Illustration 1. 2nd Row—Illustration 2, 3, 4. 3rd Row—5A and A. Bottom 6 and 7.

fitted inside th e case th a t is thus made. THE TRICK:—Display the penny'inside its covering case to the audience, following the directions given in the first paragraph, and in waving the hand pull the oase into the palm of th e hand w ith the thum b and display the two coins (see Page 11, Illu stration B, Fig. 7). TO MAKE A SHILLING SPIN ON THE POINT OP A NEEDLE APPA RA TU S:—A bottle, two corks, two forks, a needle and a shilling. TH E TRICK:—F ix a needle perpendicularly in a cork, which is th en inserted in the mouth of a wine bottle. Make a slit in the bottom of the other cork, and tightly fix a shilling in i t ; now stick two forks into opposite sides of th e cork, with th e handles hanging downwards. Place the milled edge of the shilling on the point of the needle, and th e cork, shilling and forks will spin w ithout falling off (see P age 23, Illustration F, Fig. 4). A variation of this trick is obtained by laying the shilling (flat) a t the bottom of th e cork, and letting the centre of it rest upon the needle (see Fig. 5 Illustration F.) TO REVOLVE A COIN BETWEEN TWO PINS Place a half-crown flat on th e table, then seize it between two pins held a t the extremities of the same dia­ m eter. The coin may then be raised without trouble. Blow against the upper surface, and the coin will revolve w ith tremendous speed, and appear like a metallic sphere. TO VANISH AND PRODUCE A COIN This very effective and simple little trick is illustrated on Page 9, Illust. A, Fig. 6 and 7, and a fter a glance a t the picture and a little practice the learner should soon become proficient in it. The coin is held a t the back of the hand between the second and th ird fingers, and the palm dis­ played as in Fig. 5. The hand is then waved a little, and while this is being done the coin is dropped between the fingers on to th e thum b (see Fig. 6), and the back of the hand is shown. Repeat two or three times, and then produce the coin quickly, holding it between forefinger and thumb. TO PASS A COIN This is perform ed in almost exactly the same way 19

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1ms been described fo r card palm ing, and is illustrated on ¥*ge 9, IlJust. A, Fig. 1, 2 and 3. A coin is held be* tween the first a n d fourth fingers of the rig h t hand {see Fig. 1). The second and th ird fingers are draw n
Handkerchief Tricks A HANDKERCHIEF PRODUCED FROM A MATCH BOX A PPA RA TU S:—A household matchbox and a small silk handkerchief. THE TRICK :—Have the matchbox lying half open on the table, and the handkerchief secreted inside th e open end of the outside case. Take a match, from the box, close it, and the handkerchief is pushed into the hand and produced when wanted. THE PUZZLING KNOT EFFECT:—The company are asked to let some one hold each end of a handkerchief, and tie a knot in th e centre of it without letting go. A P P A R A T U S A handkerchief. THB . T RICK :—Roll the handkerchief ropewise, and lay i t flat upon the table. Then cross the arm s, catch hold 20

ILLUSTRATION N

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, of an end of th e handkerchief w ith either hand, and on unfolding the arras, a knot will be tied. This is a very puzzling trick to one uninitiated (see Page 18, Iliust. D). TO VANISH A HANDKERCHIEF FROM INSIDE A LAMP GLASS E FF E C T :—A handkerchief is placed inside a cylinder­ shaped lamp glass, which the perform er holds between his hands. Then, w ithout his hands being removed, the hand­ kerchief vanishes, A PPA RA TU S:—A straig h t lamp glass, a sleeve pull, one end of which is fastened ju st above the left elbow, passing across the back, and down th e rig h t sleeve to th e wrist, and a handkerchief w ith a loop of thread* well masked, round the centre. THE T R IC K :—While pushing the handkerchief into the inside of the glass, attach it to the sleeve pull, and when the handkerchief is well inside, hold the ends of the glass in the palms of the hands. A slight outw ard movement of the elbows will make a space between the glass and the palm, and a t the same tim e cause the handkerchief to be drawn up the sleeve and vanished. THE MYSTERIOUS KNOT E FFECT:—A handkerchief is wound round a stick, an assistant places his hand upon it, and the handkerchief is wound round bot!\ hand and stic k ; the ends are tied together, the stick is held a t each end, the hand is re­ moved, and the handkerchief draw n away w ithout thje knot being untied. A PPA RA TU S:—A long handkerchief and a stick. THE TR IC K :—Ask two persons to hold a stick between them , tw ist a handkerchief ropewise, and wind it twice round th e stick, leaving the ends hanging over the stic k ; let one of th e persons lay a hand on th e fold, carry the ends of the handkerchief backwards, and wind again, this tim e round both stick and hand, but carrying the hand­ kerchief the reverse way of the othor wind. Tie the enda of the handkerchief together, let the assistant show th a t he can hold the stick unsupported, and then have his hand drawn away. Pull the knot sharply, and the handkerchief will coma away from th e stick. Care m ust be taken not to cross the handkerchief. (See Page 33, Illustration E , Figures 6 and 7). 22

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ILLUSTRATION P

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HANDKERCHIEF SOAKED IN WATER, AND PRO­ DUCED QUITE DRY E FFE C T :—A sm all silk handkerchief is borrowed, and placed in a tin box, which fe filled w ith w ater. The hand­ kerchief is th en produced from it quite dry. APPARA TUS:—A tin cylindrical box (see Page 11, Illus­ tratio n B, Fig. 3 ), w ith false top containing a box and a glass of water. T H E T R IC K :—A handkerchief is borrowed and placed in the box in full view of the audience, and the lid p ut on. Then a glass of w ater is procured, and the lid of th e box again removed, b ut this tim e th e perform er takes w ith it the false box th at it contains and in which is secreted the handkerchief. The tin is then filled w ith water, aad the lid and box p u t on again, th e pistol fired, the lid again removed and the handkerchief produced. TO CUT AN A PPLE IN A HANDKERCHIEF WITHOUT IN JU R IN G THE LATTER An apple is placed in the centre of a handkerchief, the four com ers of which a re joined together, tied, and the bag then suspended by a cord from a rod or a hook. Take a sabre or a strong knife w ith a thick blade but very sharp edge—th e thicker and sharper th e blade, the the more likely is the experim ent to succeed. A clean up­ ward cu t m ust be made underneath the apple, without sawing, and perpendicularly to the point of suspension. The apple will jum p up slightly, an d th e handkerchief will enter w ith th e blade and be uncut.

Tricks with Chemicals The only rem arks th a t need be made by way of introduc­ tion to the following tricks is to w arn the perform er to take g reat care of the glassee, etc., th a t are used or the result may be disastrous. I t would indeed be as well in some oases if th e glasses were destroyed immediately a fter the perform ance.

TO IGNITE FLASH PAPER WITHOUT FLAME E FFE C T :—A piece of tissue paper is rolted in the hand and set alight spontaneously. A PPA R A T U S:—P repare a powder of equal p arts of chlorate of potash and powdered himp sugar. W ith sul­ phuric acid fill some one-inch lengths of fine glass tubing of the thickness of a darning needle, and herm etically seal the ends by the aid of a spirit lamp. THE TRICK :—Take a piece of flash paper and w rap a small quantity of the powder an d one of the tubes of sulphuric acid in it. Have the paper lying upon the table o r stage. Picking it up, pretend to be about to throw it away, but instead roll it up in the hands. In doing so break the tube, and the acid will ignite the powder and paper. If this is throw n in the air, it will produce a very startlin g effect, the whole vanishing in a blaze, and leaving no ash behind. ALE AND WATER TOGETHER IN ONE GLASS WITH­ OUT MIXING APPA RA TU S:—A glass, a silk handkerchief, w ater and ale. THE TRICK :—Fill a glass half full of ale, p ut a silk handkerchief over the glass, and press it down to the surface of the a l e ; then gently fill the glass up w ith w ater, draw up the handkerchief, and the w ater will rem ain upon the ale, but will not mix w ith it. TO CHANGE TH E COMPLEXION FROM W HITE TO BLACK W hite oxide of bismuth (known as pearl white) used as a cosmetic, gives the face a fair and pleasant appear­ ance, and is much used by ladies. If a tum bler containing w ater im pregnated w ith sulphuretted hydrogen gas is held close to a face w ith this preparation upon it, as if for the th e purpose of sm elling it, the face will suddenly tu rn black —a very sta rtlin g effect. TO ILLUMINATE W ATER:—W et a piece of loaf sugar w ith phosphorized ether, and p ut i t into a basin of w ater. The surface of the w ater will become luminous in th e dark, and by gently blowing upon it, phosphorescent waves will be formed, and illum inate the a ir above the fluid,. In w inter, th e w ater m ust be warmed. If the phoephorifced ether be 25

applied to th e hand, or other warm objects, they also will be luminous in th e dark. THE MAGIC GLASSES OF W ATER:—Have four tum blers prepared in the following: m anner:—Place a small portion of fine ground and sifted red sanders in the first glass, rinse th e second w ith a little vinegar, place a small quantity of potash in the th ird ,* a n d a little alum in the fourth. W ater poured into the first glass will assume the colour of claret, pour this liquid into the second and it will immedi­ ately chancre to a brandy* tin t, on tu rn in g it into the third glass it will resume its previous colour, i.e. claret, and when this is poured into the fourth glass i t will become quite black. TO OBTAIN F IR E BY APPEYING W ATER:—Fill a saucer w ith w ater, and drop a piece of about 2 grains of potassium into it. W ith a slight detonation the potassium will a t once b u rst into flame, and b u rn brightly on the surface of the w ater. A t the same tim e it will appear to d a rt like a ball of fire ffrom one side o f the saucer to the other. THE MAGIC JU G OF W A TER:—Fill a glass jug with th e liquid in which some red cabbage leaves have been boiled fo r h alf a n hour. I t will be purple in colour, and when cold is ready fo r use. Take three tum blers, leave th e first quite clean, in the second place a drop of ammonia, and in th e third a drop of sulphuric acid. Pour some of the cabbage liquor into the glasses, and th a t in the clean glass will retain its colour, th a t in the second glass w ill tu rn green, and the th ird red. TTiis is a very effective and am azing trick, as all th e liquid is poured from the same bottle or jug, into glasses th a t are ap­ parently clean. TO ADD LIQUID TO A GLASS FU LL OF WATER W ITHOUT CAUSING IT TO OVERFLOW :—Fill a glass z w ith w ater, and dry the rim of the glass. Now add some spirits of wine, and th e w ater will not overflow. TO GIVE ONESELF A SUPERNATURAL APPEAR• A NCE:—To one p a rt of phosphorus add six p arts of olive oil, and dissolve in a m oderate heat. Then rub the pre­ paration on th e face (taking care to avoid the eyes). All lights in th e room should then be p u t out, and the face will present a terrible and supernatural appearance, appear­ 26

ing to be covered w ith blue flame, the eyes and mouth being like black spots. There i3 no risk of danger in this trick. TO SET FIR E TO A HANDKERCHIEF WITHOUT IN ­ JU RIN G IT :—Dip p a rt of a handkerchief in brandy* then set ligh t to it, and th e flame will spread all over, but,the spirituous m atter consumed, th e moist p art th at remains will p u t the light out, to the amazement of those who are ig norant of w hat has been done to the handkerchief* TO SUSPEND A RING BY A BURNT THREAD:—Soak a piece of th read in common salt and water, and afterw ards dry it. Tie it to a rin g (a wedding ring will serve very well), and apply a lig h t to the thread, which will burn to ashes and yet still sustain tbe ring. OIL UPON W A TER :—Procure a glass, a piece of string, a th ird of a tum bler of water, and a third of a tum bler of oil. Tie a piece o f th in string round a conical tum bler, so th a t a long end is left a t each sid e ; bring • these over the top, and tie about a foot above the glass, i.e. making a handle: fill about one th ird of the tum bler with w ater, and it can then be swung to and fro, o r over and over; th e w ater will rem ain as steady as if it were ice. Then gently pour some oil upon the w ater until th e tum bler is about tw o-thirds full* Swing the glass again, th e oil will rem ain tran q u il, and the w ater underneath be violently agitated. TO BLOW SMOKE INTO A COVERED GLASS:—Rinse th e inside o f a glass .with spirits of salts, and sm ear the .bottom of a saucer w ith liquid ammonia. Place the saucer over the class, then cover both w ith a handkerchief, now blow the smoke from a cigarette, a t the handkerchief, saying you will fill the glass w ith smoke. Take the handkerchief off, and on lifting the saucer a cloud of smoke will arise. A CANDLE THAT CANNOT BE BLOWN OUT:—Roll a linen ra g which has been well soaked in salt, or preferably covered with it, round a candle; light the candle, and it will burn if placed in the open in a strong wind. TO SMOKE W ITH TWO EMPTY P I P E S P r o c u r e two pipes, preferably of clay. Dip a piece of paper in spirits of salts and sm ear it over the inside of the bowl of one o f the p ipes; tr e a t th e other pipe in th e sam e w ay w ith liquid ammonia. 27'

H and one o f the pipes to a member of th e company, an ask him to smoke ft. Of course he cannot do so. Then han him the other empty pipe, ask him to place the two bowl together, and he will be able to blow out clouds of smoke TO MAKE FLASH P A P E R :—Flash paper is used fo m any tricks, and is obtainable a t such trifling cost th a t i t i hardly w orth while to m anufacture it a t home. To do 'B e however, take one p a rt of nitric acid and two p arts o sulphuric acid, mix, and let stand for about twelve hour, before using. Then take some ordinary tissue paper ant soak it in the liquid fo r about half a m inute, take it ovr and wash it well in clear w ater, seeing th a t all traces o; the acids have been removed. The paper should then b< placed in a w arm room to dry, b ut not near a fire. advisable' to mix the acids in the open air. A cambric handkerchief, a fter being well washed in w ater, dried and treated in the same m anner, will vanish on application^ of a light. A large sheet of this paper, suddenly fired w ith a lighted cigarette, will prove an effective cover under which to produce bulky articles from th e pockets, etc., as it d istracts the attention of th e audience completely., T H E MAGIC GLASS:—A square of glass perfectly plain, on which no drawings or any lines can be distinguished, even after m inute investigation, is shown, b u t if any one breathes on th e surface of th e glass a figure or drawing appears. The figure will disappear immediately the breath has evaporated from the glass. You may wash and rub th e glass, b u t th e image will again appear if the plate be breathed upon. , The explanation is simple. P repare the piece of glass and let the operator draw upon it any design he chooses w ith some fiuorhydric acid, which is obtained by dissolving some powdered flourspar in ordinary sulphuric acid. When i t is sufficiently liquefied, the figure should be traced on the glass with a quill-pen. Leave it for a few m inutes—five to ten a t the most. W ash the glass, and dry i t well. Then when it is breathed upon th e figure or design will appear. A little experience will decide the length of tim e re­ quisite fo r the proper production of the figure; the acid if left too long will eat into the glass, and th e design will rem ain visible on the dry surface. 2K

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TO REVERSE THE HANDS ON A RULER HELD BE­ TW EEN ,THE FIR ST FINGER AND THUMB OF BOTH HA N D S:—The ru ler ia held in the m anner illustrated on P age 33, Illu stratio n E, Fig. 4. Drop the right thum b and bring it between th e left thum b and the ruler (see Fig. 2). Now, w hilst gripping the ruler, tw ist the hands upwards (see Figure 3) and the hands and ruler will be reversed as in Figure 1. THE OBEDIENT PA PER APPARATUS :—Four to rn pieces of paper. T H E TRICK :—Lay four sm all pieces of paper upon the back of /the hand, and say you will, w ith one puff, blow away any tw o or three pieces selected, and retain the rest. Place the fingers of the other hand on the pieces you are asked to leave and blow the rem ainder away. TO DISPLACE WATER BY SMOKE A PPA RA TU S:—Two glasses and a clay pipe full of tobacco. THE TRICK :—Get tw o glasses exactly alike, so th at when filled w ith w ater they will stand w ith the rims to­ geth er on top of one another. Place the glasses in a basin of w ater, fill them quite full, bring them out together in th e position described, and stand in a saucer or basin. Now light some tobacco in a clay pipe, place a handker­ chief over the bowl of it, and the stem of the pipe close to the rim s of the glasses. Blow the smoke through the stem, and the w ater in the top glass will gradually run out into th e saucer or basin, and the smoke take its place. The top glass can be emptied o f w ater in this m anner. TO HANG A HAT ON THE PANEL OF A DOOR A PPA RA TU S:—A polished pencil sharpened towards the side instead of in the usual way. THE T R IC K :—This is a very effective trick on enter­ ing a drawing-room . The perform er, w ith hand covered by his hat, rubs the pencil sharply down the side of the door. The pencil will adhere to it and a h a t w ith a fiat brim can be hung upon the pencil. ’ TO PRODUCE A FLOW ER IN A BUTTONHOLE The flower is attached to a long piece of thread the colour of the perform er’s clothes, and then placed in the b reast pocket inside the coat. The thread is carried through the buttonhole, and inside the coat, and left banging down a t the bottom w ithin natural reach. On pulling the thread the flower will shoot up in the buttonhole, and th e thread 29

will not be noticed by any one quite near. This is a very effective trick. I t is advisable not to have a stem to the flower* which should be artificial, and not liable to break. A GLASS OF WATER SUSPENDED BY A THREAD APPA RA TU S:—A piece of thread, a playing card, seal­ ing wax and a glass of w ater. TH E TRICK:—Fix one end of a piece of thread with sealing: wax or sticking plaster to the centre of the back of a playing card, which m ust not be penetrated. Hold the card tightly, and quite flat on th e top of a tum bler filled to the brim w ith w ater, an d exclude all air. The glass can then be suspended by the thread an d swung pendulum fashion, w ithout the risk of falling. TWO CORKS:—A cork is held in each hand between th e thum b and first finger, in the m anner shown on Page 18, Illust. D, Fig. 5 The trick is to remove w ith the first finger and thum b of th e rig h t hand th e cork th a t is held in the left hand, while a t the same tim e holding the cork in the rig h t with th e first finger and tftfumb of th e other hand. The method of doing it is illustrated in Fig. 5A. The forefinger and thum b of one hand a re inserted inside the loop made by the other. TO L IFT A BOTTLE W ITH A P LA T E A PPA R A TU S:—A bottle and a plate. T H E TRICK :—Hold a bottle over a fire fo r a few m inutes, m outh downwards. Then quickly place a plate over the mouth, and hold it tightly so as to prevent any air from g etting into th e bottle. A fter a few m inutes the a ir in the bottle will have cooled. The plate can then be lifted by th e edge w ith the bottle adhering to it. If by any chance the rim of th e bottle and th e plate a re n ot quite level and there is a possibility of air getting in, a little grease rubbed on th e rim of the bottle will overcome the difficulty. TO BLOW A CORK INTO A BOTTLE APPA RA TU S:—A bottle, a piece of cork, and a straw o: th e stem of a clay pipe. T H E TRICK:—Lay the bottle on its side upon, the table, and in the mouth of it place a piece of cork. The tricfc is to blow the cork into the bottle. This cannot be ac­ complished by blowing into th e bottle in the ordinary way, b u t if a straw or clay pipe is used and the a ir blown directly oh to th e cork, the latter will go inside. 30

TO F IL L A GLASS OF WATER WITH PIN S WITHOUT SPILLING THE WATER APPA RA TU S:—A sm all tum bler and about 2,000 pins. THE TRICK,:—Gently pour some w ater through a funnel into the glass u n til it is full to the rim , which m ust how* ever be kept perfectly dry. If the rim becomes wet, the w ater will ru n over, so th a t g reat care is needed in filling the glass. Drop a few pins a t a time in the water, and the glass can be filled with them without the water running over. Avoid splashing the w ater on the rim of the glass when p u ttin g the pins in. The glass on Page 18, Ilust. D, Fig. 6 contains considerably over 2,000 pins. About eighteen pennies m ay also be p u t into a glass of w ater in the same way. A N OVELTY :—U ndertake to show something th a t has never been seen before, and which, after all have seen it, will never be seen again. This is done by cracking a nut, exhibiting the kernel, and then eating: it. THE MAGICAL MIRROR A PPA R A T U S:—An ordinary m irror, a piece of French chalk, and a silk handkerchief. TH E TRICK :—Sharpen a piece of French chalk to a point, and w ith it w rite on an ordinary looking-glass. Polish lightly w ith a silk handkerchief, and the w riting will disappear. H and the glass to a member of the audience, and request him or her to breathe upon it, and the w riting will reappear, Polish again, and the experim ent can be repeated. TO S P IN AN EGG AS LONG AS REQUIRED APPA RA TU S:—A small wooden tray, and a hard-boiled egg. T H E TRICK :—Spin the egg on the tray, and gently move th e tra y on a sm all circle in the opposite direction to th a t in which th e egg is spinning. The egg will revolve fo r in indefinite period. TO BALANCE a CIGAR ON THE T IP OF A FINGER APPA RA TU S:—A cigar and a penknife. THE T R IC K :—Fix the point of th e blade into the ‘tip of th e cigar a t a n angle which makes the handle of the knife act as a balance, then place the tip of the cigar on 31

*

th e finger, and the cigar will sta n d perfectly uprights Page 23, Illustration F , Figure 7. t TO PRESERVE SNOWBALLS:—Squeeze a snowball very hard together. Place it in a pot, and surround it with: flour, which m ust be pressed very hard around it. The snowball will rem ain preserved for months, and can W exhibited in a warm draw ing room. ] TH E MUSICAL PO K ER :—Tie a piece of tape, w ith bott ends a t liberty, round the top of an ordinary poke*. Roll these round the first finger of each h a n d ; place the tip? of these fingers in th e ears, and strike th e suspended pokei* against something hard. The depth of tone th a t is re-? turned is amazing. TH E JUGGLER’S DESSERT:—Out of bananas, or apples, cu t and shape some mock candle ends, m aking them aj much as possible like candles th a t have been b u rn t down Fashion some slips of sweet almonds to resemble wicks and stick them into the mock candles, lig h t for an instant so as to make th eir tops black, blow them out again, anc they are ready for use. Place in candle sticks, and lighl when perform ing. The alm ond will flame for a few moments, p u t the candles into your mouth, and chew anc swallow them while apparently alight. A GLASS OF WATER THAT CANNOT BE MOVEI W ITHOUT SPILLING T H E W H O LE:—Fill the glass, anc lay a piece of th in card o r paper over the top, dexterousls tu rn the glass upside down, and place i t upon the table, which m ust be level, then draw away th e paper or card leaving the w ater in the glass. I t will be impossible t( remove th e glass from the table without spilling the water Do not perform this in a drawing-room. TO TRODUCE ANY NAME CALLED FOR ON A VISIT ING CARD E FFE C T :—The perform er asks th e audience for thi nam e of some em inent person, which is then produce< w ritten on a visiting card. A PPA R A T U S:—A thimble, w ith a sm all piece of leai ’ pencil attached to the tip, and a borrowed visiting card TH E T R IC K :—Borrow a visiting card from any on in the audience and hold it between the thum b and secom finger. Now ask for the namd of some well-known perso] to be called out. You then wave the card m the aii 32

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slowly, an d hand th e card back again, when the natfie asked for will be found w ritten on it. The thimble should be palmed and placed on the forefinger immediately the card ie received. W ith a little practice the name th a t haa been asked for can be easily w ritten w hilst the card is being held in the m anner described. The thimble m ust also be palmed directly a fter the nam e is w ritten, and the card returned fo r inspection. A ROPE PULLED FROM BEHIND TIED WRISTS E FFE C T :—The perform er’s w rists are tied together with a handkerchief, a rope is placed between the arm s and round (i.e. over and under) the handkerchief, and the ends of the rope are held by a member of th e audience. If th e rope is pulled it would seem th a t it cannot come away. The perform er says “ pull” and immediately releases him‘self without displacing the handkerchief. A PPA R A TU S:—A handkerchief, and a long piece of stoui cord. THE TR IC K :—Have th e w rists tied together, not too tightly, and a cord placed between the arm s and *round the handkerchief. Get a n assistant to hold both ends of th€ cord, and immediately he has secured them, th ru st the hands forward, bend the fingers of the rig h t hand down, . pull the cord up between the handkerchief pass the back of the hand underneath the loop, and tell the person whc is holding the cord to pull it hard. The rope goes ofi th e back of the hand, underneath the handkerchief. This is on Page 18, Illustration D, Fig. 7). THE MYSTERIOUS P A P E R BANDS A PPA RA TU S:—Three strips of paper, each 2 or 8 feel in length by 1 inch in width, paste, and a p air of scissors. P aste the ends of th e first strip of paper together. Twisl th e second strip of paper once, and paste the ends of thai together. Tw ist the th ird strip of paper twice, and paste th e ends of th a t together also; i.e. make three paper loops TH E TRICK :—Exhibit the first loop, and rem ark thal th e obvious effect if you cut it in half, stripw ise, will b< to make tw o loops. The loops should then be cut. Now pick up the second loop and rem ark th a t you are going tc do the same w ith this loop. Cut the loop of paper, anc a loop twice the size ■Will be produced. Now pick up th( Tth ird loop, and cu t th a t in the sam e m anner, and twe loops, one inside the other, will be produced. In the cast

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of th e loop w ith th e flouble tw ist, it will require a little dexterity to keep this tw ist masked, especially when cutting the twist. The loop3 are prepared, and laid on the table previous to taking: th e stage. TH E TRAVELLING P E A :—Three w alnut shells are laid upon a table th a t has been covered w ith a cloth, a small ball or pea made of indiarubber is placed under the centre one, and th e other two are shown not to be covering anything. Ask which shell the pea shall appear under, and being told, push forw ard th e other empty shell along the table about 3 inches w ith the first and second fingers. Do th e same w ith th e one th a t is covering the pea, and aa it is moved forw ard, the pea will come out behind it a* a n atu ral effect. As it comes from under the shell cover it w ith the first and second fingers which are held together, then move the th ird shell forw ard with these two fin^.rs, and in doing so place the pea underneath it. This is not a t all a difficult trick, and although the onlookers may be very close, they will rarely see how it is done. ASCENT OF GRAPE JU IC E IN AN INVERTED GLASS OF W A TER :—Dip two wine glasses of same size into a basin of w ater, and before taking them out, place the brim* together, so th a t they m ay be withdrawn full, one beinj? inverted on top or over the other. Then move them very slightly, so th a t a very small space may intervene between the rims. Take a th ird glass and drip from it , some juice in such a m anner th a t it spreads slowly over the foot o f the inverted glass. When the juice has trickled down to th e rim s of the glasses the ruddy drops will filter ihto them and ascend into the upper glass, thus dem onstrating thfe difference in th e densities of juice and water. TO MAKE A NEEDLE FLOAT:—Take an ordinary needle, and p u t it upon a fork, and slowly lower the fork into a tum bler o f w a te r; the needle will then float ju st like * piece of straw . The reason of this Is th a t a meniscus, o r bed, convex on one side and concave on the othe», is formed upon th e surface of the w a te r ; and the surface “ o f this meniscus being large in comparison w ith th a t of th e needle the la tte r is supported by it, so th a t scarcely any p a r t of the needle is touching th e w a te r; of course if the w ater penetrated the needle’s eye, the weight of th e fluid would cause the article to sink immediately. An­ o ther m ethod is to p u t a leaf of cigarette or tissue p»£«r 35

on the surface of a tum bler of w ater, lay a needle gently upon the paper, which will soon become soaked and sink to th e bottom of the glass, leaving the needle floating on the top of th e w ater. THE MAGDEBURG HEMISPHERES .-—Take two tumblers of the same size, th a t will fit closely when placed rims together one on top of th e other. L ight a piece of wax candle, and place i t inside the tum bler on the table, cover the top of it w ith a piece of rath er thick paper saturated w ith water. Turn the other tum bler upside down, and place it upon the one containing the candle. The candle will be extinguished, but while burning i t has dilated the air contained in the lower tum bler and this a ir has there­ fore become rarefied. The exterior pressure of th e atmosphere will fix the tum blers as closely together as th e classical Magdeburg hem ispheres are united. I t is possible to raise the underm ost tum bler by liftin g the upper one. The paper may be scorched on the under side, b ut the success of the experim ent is not thereby imperilled. A.BU RN IN G COAL ON A MUSLIN HANDKERCHIEF: —Take a globe of copper, about as large as an ordinary cistern ball, and w rap it tightly in a m uslin or cambric handkerchief. Place on th e m etallic bowl, thus enveloped, a red-hot co a l; this will continue to glow, w ithout in any w ay dam aging the m uslin w rapper. The reason i3 th a t the m etal, being an excellent conductor, absorbs all th e heat developed by the combustion of the coal, and as th e handkerchief has not absorbed any of the heat, it rem ains a t a lower tem perature to th a t a t which it would be injured. TO MAKE GAS BURN UNDER A HANDKERCHIEF:— Take a fine linCii handkerchief, and w rap it round a copper gas je t. The je t m ust be of m etal. This is indispensable. T u rn on and light the gas, which will burn about the hand­ kerchief, without in juring it. To succeed in thi3 experiment i t is necessary th a t th e handkerchief should fit quite closely to the metal w ithout any crease whatever. I t will be found advantageous to tie th e handkerchief w ith a thin copper wire. THE SILHOUETTE P O R T R A I T S T a k e a large sheet of paper, black on one side and white on th e other. F ix it by means of pins to th e wall so th a t the w hite surface is

86

outermost. On a table close by place a good lamp and let the person whose p o rtrait you wish to take stand between the lamp and the sheet of white paper. You can then outline the profile w ith a pencil. Cut out the design, and tu rn in g th e paper, gum fche drawing, black side outwards, on another sheet of (white) paper. The p o rtrait will then be mounted, and th e silhouette be well displayed. . THE ELECTRIFIED P I P E :—Balance a clay pipe on the edge of a tum bler in such a m anner th at it may oscillate freely. The problem now is to make th e pipe fall without touching it, blowing upon it, agitating the air, or moving the table. Take another glass, sim ilar to th a t which supports the pipe, and rub it rapidly on the sleeve of your coat. The glass will be electrified by the friction, and when you have rubbed it well, bring it close to the pipe, but without touch­ ing the latter. The pipe will tu rn a fter the glass, and follow it till it falls from its support. TO L IFT A MAN W ITH .FIV E FIN GERS:—Two persona p u t th eir index fingers under the insteps of the person who is to be lifted, two others place a finger under each elbow, and a fifth puts his forefinger under the chin of the subject. A t a given signal each person lifts his hand, and the person is raised up. The result m ay seem very surprising, but it is only a questioft of the equal subdivision of weight. The average hum an being weighs about 150 lbs,, so th at each finrcer has only, to sustain about 30 lbs. weight, which is not difficult. TO'MAKE A PLANK ADHERE TO A TABLE BY MEANS OF A N E W SPA PE R :—Take a thin plank, about a quarter of an inch thick, 8 inches wide, and 24 inches in length. Place this plank slightly out of the horizontal, half on th e table, and half overhanging, so th a t the least touch will bring it to the ground. Lay a newspaper fiat over the p a r t of th e plank on the table, and then if you strike the p a rt of th e plank which extends beyond the table, you will be surprised to find th at the plank will resist the blow absolutely, as if it had been nailed to the table. If y o ijx strike hard, you will perhaps h u rt your hand, or break the plank, but you will not raise the sheet o f newspaper which holds it- The quick compression of the air which is exercised on a considerable surface accounts for this phenomenon.

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TO BLOW OUT A CANDLE BEHIND A BOTTLE r-j Place & lighted candle oft the table, and about 10 inches ia fro n t of it a wine bottle. Then blow on th e bottls a t a, distance of 8 or 9 inches, and the light will be extinguished ju st as though there were nothin# between it and you? breath. The breath divides into two currents on the smooth[ surface of the bottle, one going1 right and the other lefV and these rejoin ju st a t the flame of the candle. i T H E STONE BREAKER:—By gTeat acquired force, or. in ertia in repose, one is enabled to break stones w ith th«! fist. This feat is performed by men a t fairs in the following m a n n er: i The rig h t hand is carefully w rapped in a bandage, and ini th e left is held a piece of flint of rounded form, which the/ operator places on a larger stone, or upon an a n v il; then w ith the rig h t "hand he strikes th e flint some very powerful? Wows, always tak in g care to raise it secretly a little fromt th e anvil when about to strike. Thus the object struckf acquires the force of the fist th a t has struck it, and as it; comes in violent contact w ith the anvil it is quickly broken.^ Simple as th e feat is, it never fails to evoke g reat S as*> tonishm ent. | TO UNCORK A BOTTLE WITHOUT A C O R K S C R E W i Fold a dinner napkin into a pad, hold i t flat against the£ wall, and strike th e bottom of a bottle of wine, beer, or! any other liquid violently against it. By virtue of thei principle of in ertia th e liquid in th e bottle will force out] th e cork. I f th e contents be beer or gaseous w ater, thej cork will come out w ith considerable force and some of] th e liquid will shoot over the operator, and so enhance1 the success of th e experim ent—from the spectators’ }>oint of view. TO POISE A TUMBLER U PO N THREE STICKS EACH ONE OF WHICH HAS ONE END IN THE A IR :—Place three sticks on a horizontal plane, so th a t each one {>h?»21 have one end resting on the plane, and the other end un­ supported. To perform this experim ent, and to place a w eight on the sticks thus poised, proceed as follow s:—Hold one stick in a sloping position w ith one end resting on a table and the other elevated. On the end resting upon th e table rest one end of another stick. Then form a trian g le by means of a th ird stick poised in the same w^iy* i. e. with 33

one end p o sting nnder one stick, and the other end above ' th e other. The three sticks -will in this m anner prove of m utual support to each other and will not give way even if a tum bler o r other weight be placed upon. them over the points of contact. THE WATER BOTTLE AND THE THREE K N IV ES:— I n alm ost the same m anner as described in the preceding trick th ree knives can be placed with blades only crossed, and w ith the handles resting upon three wine glasses. The knives' not only support each other blade to blade, but upon the trian g le a t th eir intersections they will sustain as heavy a n object as a filled w ater bottle. TO K EEP A PENN Y REVOLVING IN A LAMP SHADE; —The lamp shade should be one of cardboard, and of the commonly seen over billiard tables. I t should be held bottom upw ards by th e right hand clenching the hole a t th e top. Now, w ith th e left hand,tw irl a coin on its edge into the shade, and a t the same moment cause the shade to ro tate in th e rig h t hand in the opposite direction. The coin will roll round and round on its edge without falling. If the movement of the shade be gradually slackened th e coin will be degrees rotate towards th e lower p a rt of the lam p shade; if th e speed be augmented, the coin will by degrees ascend the cone. The movement of the coin will continue ju st as long as the tw irling motion of the shade is kep t up. The coin is m aintained by the action of centrifugal force, and moves in an inclined position sim ilar to th a t of a rid er on a cycle track. W ith practice tw o pieces of money can be rolled in the lamp shade a t th6 same time. The experim ent we have described is very easy to p erfo rm ; only a slight movement of the hand i3 needed. Although come dexterity is needed in launching the penny into the lam p shade a t first, no particular skill on the p a rt of the perform er is required. I f a lamp shade is not available, a basin, a pan, o r a salad bowl may be used, b ut the cardboard lamp shade is lightest and m ost hanely and preferable to all other articles. A PIECE OF MONEY ROLLING ON AN UMBRELLA This is a feat performed by nearly all jugglers. An umbrella* Usually a Japanese one is opened, and half-crowns, halls o r sim ilar articles made to-circle round the top. The um ­ brella is tu rn ed rapidly round in th e opposite direction to th a t in which the article is set going, and the coins, etc.. 80

appear to be ru n n in g along th e su rface; In reality it i»* the umbrella th a t is moving beneath the articles. This is*a n example of the principle of inertia. [ TO PROJECT ONE OR TWO DRAUGHTSMEN FROM; A COLCM N:—This experim ent is perform ed by means oft draughts or backgammon “m en.” Build up a column of[ ten or twelve pieces, stand i t upon the table, and w ith the* thum b and forefinger propel, or shoot, a single disc a!ong| the table violently against the pile. The piece thus launched; will strike the pile tangentially in one of two ways—either! it will hit it a t th e point of contact of two discs in which' case two men will be projected from the column, or it will s tr ik e a single disc, in which case one piece only will be? projected. The stability of the other pieces will not be disturbed. ■ TO PIERCE A HALFPENNY W ITH A N E E D L E E v e r y one knows th a t if of two bodies one is harder th an the other, the form er will scratch th e latter. A piece of glasa; will scratch marble, and a diamond will cut glass, for the' glass is harder th an the marble, and th e diamond harder; th an the glass. A bit of steel—a knife for instance—will scratch copper. I t is possible to pierce a half-penny with a needle, because it is harder than the coin. The problem m ay appear impossible of solution, for if one endeavored to drive a needle through a halfpenny as one would drive a nail through a board, the needle would be broken every time. But if by some method the needle can be m aintained in a rigid and upright position above the halfpenny, it can be driven into the coin w ith a hammer. In order to perform this experim ent successfully, procure a cork of the same height as the needle, and drive the latter into it. Thus th e needle is m aintained in a perfectly rigid position, and m ay be struck violently in the direction of its axis without being broken. Place the needle (buried in the cork) above a half-penny, which may rest either upon a “bolt-washer” or even a deal table. Then with a somewhat heavy (locksmith’s) hammer, strike the cork decidedly: if the blow be delivered straight and strong the needle will pass rig h t through the halfpenny. The experim ent can be made equally well w ith any other piece of money, b u t success may not be attained a t the first attem pt, and it will also be a difficult m atter to withdraw th e needle from the coin a fte r th e experiment, for the adhesion is very great. 40

Hat Tricks TO PRODUCE COLOURED PA PER FROM A IIAT E FFE C T :—Stream s of coloured paper are produced from an empty hat. A PPA RA TU S:_One or two reels of coloured paper, which cost very little. THE TRICK:—These reels unfasten from the centre, and once started they unwind themselves almost mechanically o f their own accord. Should the paper cease to unwind1, th a t which has already been produced should be stirred round w ith a wand, and more drawn olf. Care m ust be taken th a t th e whole of each reel is unwound so th at a piece of the real is not shown a t the finish. The reels should be con­ cealed in the servante and passed into the hat. Reel paper affords a good cover for the production of rabbits, etc., from the pocket. When it is all unwound, pick it up, and it will completely cover your whole front, giving you the opportunity to secure any article secreted about you, and to produce it from the centre of the paper. TO PRODUCE A CANNON BALL IN A IIAT A PPA RA TU S:—A hat, and a cannon ball with a hole in it large enough for th e thum b to be inserted. THE TRICK:—The cannon ball should be secreted in a servante, and the h at laid brim downwards on the table. Pick up the cannon ball by inserting the thum b of the rig h t hand in the hole, and place the four fingers in the brim of the hat. Draw the hat away from the table, a t the same tim e puttin g the ball into it as the top of the hat faces the audience. TO MAKE BOXES FOR PRODUCTION FROM A H A T :— "Very p retty and attractive boxes can be made from playing cards, and when collapsed a dozen of them can be packed into a sm all space. Open, they are very bulky and effective. These boxes are shown on Page 16, Illust. G, Fig. 1, and a . study of the picture will show how the boxes are made.

Procure a few ordinary playing: cards, some th in strips of linen, paste and ribbon. The edges of the cards are pasted together w ith thin strips of calico, and a ribbon inserted through the top of the boxes and pasted inside the ends, thus form ing a handle, which, when pulled, causes the boxes to open. FIN GER PUSHED THROUGH A HAT:-—This is per­ formed in precisely the same way as the coin trick. The apparatus consists of a w ax finger, a t th e “ root” of which some pieces of black silk have been pasted so th a t it appears to have carried some of the cloth with it through the hat. The finger is held palmed in the left hand, the rig h t is inserted in th e h at and when the pin of the false finger is pushed through th e top, i t is clutched and moved about as n aturally as possible (see Page 43, Illustration C, Fig. 4). MESMERIC AND MAGNETIC TRICKS H I E MAGNETIC RULER E FFECT:—A ru ler is made to adhere to the Pyalm of the hand, which is held parallel w ith th e floor. A PPA RA TU S:—A ruler. THE TRICK:—Hold the ru ler in the palm o f the rig h t hand tightly clenched, and with th e left hand hold the ■wrist of the hand containing the ruler. Then, -while talk­ ing about th e difficulty of doing the trick, th e necessity fo r silence, and doubt as to whether circumstances are propitious fo r m agnetic influence, extend the forefinger of the left hand, and hold the ruler in the palm of the right hand with it. Gradually open the fingers th a t clinch the ruler, keeping th e back of th e hand towards the audience And affecting great nervous tension the while. The ruler will appear to be adhering to th e palm of th e hand, which is held vertically tow ards the floor. TH E MAGIC WAND E FFE C T :—A wand is exhibited and then made to hang in the a ir unsupported. A P P A R A T U S —A wand and two pieces of thread 3 or 4 inches in length w ith a loop a t one end o f each and a piece of conjurer’s wax a t the other. THE TRICIC:—The loops of th e thread can be hung up <>n buttons of the waistcoat, an d th e w ax secreted under42

ILLUSTRATION C

neath th e bottom hem of it. Then, while securing the wand from th e table, the loops can be slipped upon the first finger of either hand. The wand should be exhibited to show th a t it has no w ire attached, and when it is returned, the waxed ends of the thread should be attached to* either end o f the wand. Then, while pretending: to balance the wand in the arr the hands are gradually drawn away, and th e wand rem ains suspended by th e thread and seems as if it were hanging in th e air. T H E MAGNETIC UMBRELLAS A PPA RA TU S:—Three um brellas o r w alking sticks, a large m agnet, and a piece of dark thread. THE TRICK:—The thread should be sewn to one side of th e trousers ju st above the knee, and m ay be left clinging to the cloth until the perform er is about to do the trick. The other end of th e thread is then pinned in a sim ilar position to the other leg of th e trousers, or looped round a pin already placed there. Three umbrellas are then placed between the legs and rested against the thread. The per­ form er affects to experience g reat trouble in balancing them w ith his left hand, while w ith the rig h t he holds the m agnet some distance .above th e centre, though, needless to say, th e magTiet has no real effect. He announces th a t the m agnet is holding th e umbrellas in their vertical position, and the audience are considerably mystified (see Page 46, Illustration H , F ig . 2). T H E MAGNETIC STICK E FFE C T :—A w alking-stick is held suspended a t the back of th e hnnd and made to move by itself. A PPA R A T U S:—A loop of thread about twelve inches long and a walking-stick. THE TRICK:—Make a loop of a piece of black thread about twelve inches long, and attach it to the centre button of th e waistcoat. Borrow a walking-stick, rub it, and while pretending to produce magnetic influence, slip the stick through th e loop. Place the rig h t hand underneath the stick so th a t the thread passes between the second and th ird fingers. Press the back of the open hand upon the stick, which will now stand unsupported. I t can now be turned round and round and moved up and down w ithout moving th e hand to which ifc is apparently adhering* and may also be passed to the left hand.

Advanced Tricks FIRE EATING E FFE C T :—The perform er fills hia m outh w ith fine cotton, wool, and blows out smoke and sparks. A PPA RA TU S:—A howl of loosely piled cotton wool, am ongst which two or three small balls c f smouldering tow o r ju te well covered w ith wool are secreted. THE THICK:—Filling th e m outh with wool, which the perform er pretends to be eating, he thoroughly pads it all round. Then when picking up some more wool, he secures one of th e balls of tow, places it in the mouth, and covers thafc w ith more wool. lie then begins to Wow, and sparks and clouds of smoke are emitted. Be careful, however, to avoid in ju ry to th e mouth. THE SA C K TRICK 1 E FFE C T :—The perform er or an assistant gets into a sack, which is then draw n over his head and sealed. Screens are placed round him, and he immediately reappeurs w ith th e sack on hi3 arm , and with the seals unbroken. APPA RA TU S:—A large sack made of calico or canvas, w ith a seam a t the bottom (inside). This seam is sewn w ith long stitchcs of strong thread w ith a large knot a t one end, and the other left loose. TH E T R IC K :—The perform er gets into the sack, and th e neck of it is tightly tied over his head and sealed. Screens are now placed round him, he stoops, and taking th e knot, pulls the thread out. He then gets out of the bottom of th e sack, and w ith a bodkin which he should have upon his person quickly sews up the bottom again (it is not absolutely necessary to sew the bottom up again, a it is seldom noticed th a t the end is undone), and walks from behind the screen w ith th e sack over hi3 arm , the neck still tied and sealed. A BOWL OF INK CHANGED TO A BOWL OF, CLEAR WATER CONTAINING FISH EFFECT:—An assistant is given a fish bowl, apparently

45

ILLUSTRATION H Upper P icture No. 1. Center L eft 2. Center R ight 3. Bottom Left 4, R ight 5.

46

filled w ith ink, to hold. The perform er covers th e bowl* and also th e assistan t's hand, w ith a handkerchief, and when th e la tte r is removed the w ater has resumed its natu ral colour and is filled w ith gold fish. A PPA RA TU S:—A bowl of. gold fish, a piece of black B i l k , and a large dark-coloured handkerchief. T H E T ItIC K :—The empty bowl is lined w ith the black silk to th e edge, and is then nearly filled w ith w ater and a few fish, and prepared in this m anner is lying on the conjurer's table. Give th e bowl to an assistant to hold in the palm of his hand, and cover the bowl w ith a large handkerchief. F ire the pistol, and then pick of the hand­ kerchief, a t th e same tim e dragging the black silk away under cover of it and disclosing the clear w ater and fish.r This trick requires considerable practice, as in drawing aw ay th e silk, care m ust be taken not to spill any water. The handkerchief containing the silk is disposed of by throw ing it to back of stage. TO PRODUCE A WALKING-STICK APPA RA TU S:—A spiral “ telescopic” walking-stick. THE TRICK :—The perform er should ask for the loan of any ebony walking-stick w ith a silver top for use in perform ing a trick. Should one be pretfered, he will, of course, produce his own before it can reach him. The stick, closed up, is held palmed in the rig h t hand, w ith the ferrule towards the fingers, and the knob of the stick palmed in the other hand. The left hand now approaches tho right, and tak in g the open end of th e stick the two arm s are extended and th e coil draw n out on the principle of a barber** pole. The rig h t hand m ust clench the end of the stick tightly, and when the stick has ru n out to its full extent, the palmed knob m ust be placed on the end of it. This ■will lock it, and give it the appearance of an ordinary walk­ ing-stick, which i t will retain until the knob is taken oft. Then th e stick can be closed or collapsed, and placed in a case made for the purpose (see Page 58, Illustration K, Figures 1 and 2). TO PRODUCE A BARBER’S P O L E :—This te perform ed in exactly the same m anner as the preceding, excepting th a t the pole is of paper and has of course no knob. (See Page 68, Illustration K, Figures 3 and 4). THE CONJURER'S PIST O L:—The conjurer’s pistol is a very useful article, and can bb used for many startling

illusions. It consists o f an ordinary pistol, w ith a conical metal tube attached, into which a m etal cup about two inches deep, and large enough to hold a lady’s watch, can be fitted. This usually has a raised edge, so th a t it can be easily gripped by the palm. When performing: the watch trick, a few old broken w atch wheels, etc., should be secreted in the tube under th e cup. Holding the pistol in the rig h t hand, borrow a sm all watch, and affecting to p u t i t in th e tube, really p u t it into th e cup. Place th e muzzle of the pistol in the left hand while reaching for a percussion cup w ith the right. Place the cap in the pistol, and when taking the pistol back into th e rig h t hand, leave th e cup containing the w atch in th e left. I t can th en be dropped into a pocket or disposed of to an assistant fo r fu tu re production. Take your wand, and s tir the wheels up, i.e. pretend to break up the borrowed watch. Then fire the pistol in the direction of the place or article from which i t is intended to produce the borrowed watch. The pistol is shown on P age 43, Illustration C* F ig . 6. THE EMPTY BOTTLE E FF E C T :—An empty tin bottle is shown, i t is then placed on th e table and covered by a cardboard cylinder. A jug of w ater is procured, the cylinder raised and the water poured into the bottle. I t is again covered w ith the cylinder, the pistol fired, th e cylinder removed, and the bottle is found to be empty, though the w ater was ap­ p arently poured into it in full view of the audience. APPARA TUS:—A black tin bottle one slightly larger w ith false inside and a cardboard' cylinder. THE TRICK:—The trick bottle m ust be already secreted in the cylinder, and the wand passed thi'ough to show that i t is empty. Exhibit th e other bottle and then cover it w ith the cylinder. Raise the latter, and pour the w ater— very carefully indeed—into the rim of the false sides. Cover w ith th e cylinder again, take away th e tric k bottle, and show the first bottle quite empty. TO GET AN EGG INTO A NARROW-NECKED BOTTLE APPA RA TU S:—Two eggs, a wine bottle or decanter, and Imlf a p in t of vinegar. TH E TR IC K :—Soak a n egg for tw enty-four hours in strong vinegar or acetic acid, from which it m ust not be removed until shortly before the perform ance, when it m ust be concealed. H and round an ordinary egg for exami­ nation, saying you are going to place it inside the wine

48

bottle. I f th e pliable
.

TH E DIMINISHING BILLIARD {BALL E FF E C T :—An ordinary billiard bail is shown held in the rig h t hand. It is rubbed once or twice w ith the left hand, again displayed, and now appears only half th« size. T his in tu rn is rubbed as before, and is again show n; this tim e i t is much sm aller still. Afterw ards it vanishes al­ together. A PPA RA TU S:—A nest of billiard balls as shown on Page 50, Illu stratio n J , Fig. 1. T H E TRICK :—The billiard ball is displayed held in th e rig h t hand, which is then rubbed once or twice with the left- In doing so th e perform er pulls off the outer ball by securing it in the open palm of th e left hand, which is contracted to clench the ball tightly. While the sm aller ball is being displayed, the perform er m ust place the palmed case in his pocket. The act is then repeated for the second case, and finally the rem aining ball is vanished as shown on page 50, Illu stratio n J , Fig. 1—4. TO PRODUCE A BIRD IN A CAGE E FF E C T ;—A bird in a cage is produced from a hat. A PPA R A T U S:—A collapsible bird-cage of tin and wire (see Page 11, Illust. B, Fig. 2). The bottom of the cage has slits along the edges, and the sides slip through these—though

49

ILLUSTRATION J

th e bottom cannot fall off—so th a t the bottom of. the cage can be pushed to the top, and when raised, the feides can be folded underneath it. The top of the cage is raised in the Centre where space is left for the bird to lie. T H E TR IC K :—W hen collapsed the cage can be con­ cealed in a very small space, and be transferred from the pocket, or the servante into a hat. If held a t the top by the hand, and then shaken sharply, the sides will open out and th e bottom slip down. A real canary can be safely used fo r this trick for there is ample space for the bird to go into its receptacle without risk of injury. THE TRUNK MYSTERY E F F E C T :—An assistant is placed inside a large box which is then corded all round, and placed on trestles. Screens are placed round the box, and when they are re­ moved th e assistan t is discovered outside the box, with the cord unbroken. A PPA RA TU S:—An oblong box (large enough to hold a person). A q u arter of the bottom of it m ust be a sliding panel, i.e. capable of being pushed from one side to the other. I t usually slides in a groove, and is well masked by the battens of th e b o x ; cord. T H E T R IC K :—A confederate is placed inside the box, which is then locked and bound round w ith rope, care being taken th a t it does not cover the exit. The box then placed on two trestles or a pedestal, and screens are draw n round it. The assistant now slides the panel and gets out of th e box, very quickly replaces the panel, and gives th e signal to withdraw the screens. TO BALANCE AN EGG ON A WALKING-STICK A PPA RA TU S:—An egg and a plain^ walking-stick in which a groove a quarter of an inch wide and an eighth of an inch deep has been cut, and so masked th a t it does not show. This can be done by colouring the whole blacks TH E TRICK :—Place the egg in the groove, and make it travel backwards and forwards along the stick by gently tiltin g either end. I t is advisable not to be successful a t th e first effort, and the trick will look more genuine. In this case, however, it will be safer to use an imitation egg. TO PASS A SWORD THROUGH A PERSON A PPA RA TU S:—A sword with a thin blade of fine steel, an d a belt in which is bound up a metal tube running 51

half round It. There is a funnel-shaped opening to the tube at the buckle of the belt. TH E T R IC K :—The b elt is concealer underneath the assistant’s coat, and the perform er of course m ust ‘make quite sure of the exact position of the funnel referred to. The sword is then p u t into the funnel, w ith the apparent object of thru stin g it through the person, travels round one side of th e belt, an d comes out a t the other side. The effect of the sword having gone rig h t throught the person is created. To make the trick more realistic, a small skin bag of red liquid (e.g. ink) m ay be placed in th e tu of the belt, and after the sword has passed through it will, when withdrawn, be covered w ith red stain.

Miscellaneous Tricks THE VANISHING WAND E FFE C T :—A solid wand is placed in a paper bag which is immediately to rn up. APPARA TUS:—An ordinary wand w ith a covering case of paper which matches it, and will slip off, and two long b n w n -p ap er bags. THE TKICK:—The bags should be le ft lying flat ispon the table. Sound the wand while in its case in order th a t the audience m ay know th a t it is solid, and insert it in one of the bags. While knocking the bag open, leave the wand inside, drawing th e case away only. Flourish the case about as if it were the wand, and then proceed to open the other bag with it. In doing so, drop the case into th e bag, which is then folded over to show the form of the wand inside. Then te a r both bag and case up, and the effect of a. solid wand having vanished is obtained. THE MAGIC RING AND WAND E FFE C T :—A borrowed rin g is made to travel up and down a wand without being touched. A PPA RA TU S:—A wand, a hair, (or a piece of fine silk) about twenty-four inches long, one end of which is a t­ tached to a w aistcoat button, and th e other end to a piece of conjurer's wax, which is concealed underneath the 52

bottom , of th e vest in such a m anner th a t it is easily re-' movable.

T IIE T RICK :—While the wand is being examined, detach the waxed end of the h air w ith the left hand, and hold i t between the thum b and first finger. Take the wand w ith th e rig h t hand, and press the wax on to the extreme end of th e wand. Now pass th e borrowed ring over the wand, a t the end to which the h a ir is attached, and by i?ent5y moving th e wand aw ay from or towards the body, th e rin g will clim b up o r down, or stop anywhere you wish. Finish th e trick by giving a sharp jerk away from you, and th e rin g will jum p into th e air. Pull the wax off, and the wand can again be passed round for inspection (see Page 46, Illustration H , Fig. 3). TO PRODUCE AN OMELETTE WITHOUT EGGS E FF E C T :—An em pty frying-pan is exhibited to the audience, placed on a lighted spirit la m p ; the empty pan is Stirred w ith a wand, and a n omelette is produced. A PPA R A T U S:—A hollow wand, m aterial for an ome­ lette, a sm all frying-pan, and a spirit lamp. THE TRICK :—The egg beat up and other ingredients are secreted inside the wand, and the end stopped up with a piece of hard butter. Place the frying-pan on the lamp, begin to s tir w ith the wand, and the butter will quickly m elt and allow the egg, etc., to run into the frying-pan. The omelette can then be cooked, and if th e perform er is quite sure th a t the inside of his wand has not corroded and is perfectly clean, th e omelette may be handed round to be partak en of, or, a t any rate, for inspection. THE VANISHING GLASS OF WATER E FFE C T :—A glass of w ater standing upon the table, is covered by a handkerchief and then picked up, the handkerchief is pulled off and shaken, and the glass has disappeared. APPA RA TU S:—A glass of w ater and a handkerchief. In th e centre of which a cardboard disc the size of the top of an ' ordinary tum bler is sewn, and then covered and masked by a piece of coloured silk th a t matches the handkerchief. THE TRICK :—The glass of w ater is picked up a t the bottom w ith the rig h t hand, covered with th e handkerchief, th e disc in whiebi is placed over the top of the glass. Hold th e disc w ith the' le ft hand, and under cover of the hand­ 53

kerchief draw the gla3s away w ith the right, and secrete it in the servante. W alk from behind the^ table to the fro n t of the stage and pretend to be carrying the glass. Secure a corner of the handkerchief draw it away sharply, shake it out,' and th e glass of w ater w ill seem to have vanished. TO PRODUCE A GLASS O F WATER E FF E C T :—A handkerchief is laid over the perform er’s arm and a glass of w ater produced. A PPA RA TU S:—A glass of w ater and a n india-rubber cap to fit on top of the glass. THE TRICK :—The glass of w ater, covered by its cap, is secreted in the left pochette, or a handkerchief is throw n over the left arm , under cover of which the glass is taken from the pochette, and held in the rig h t hand. The glass is covered with the handkerchief and w ith the left band the handkerchief and also the cover are drawn off the glass, which is then exposed to view. The handkerchief containing th e cover is laid aside on th e table. TO BOIL WATER JN P A PER E FFE C T :—W ater is made to boil in a piece of paper. A PPA RA TU S:—A sheet of foolscap, thread, a sp irit lamp, and a small jug of water. THE T RICK :—Make a parachute-shaped paper dish by tu rn in g up the four corners of a square piece of stout foolscap, and secure each corner w ith a piece of thread, the four ends being tied together. Pour w ater into it, and suspend over a sp irit lamp. The w ater will quickly boil, w ithout burning the paper. MAGICAL KEY AND RING APPA RA TU S:—A rin g and a magical key, which can be purchased for a few shillings of th e shops where con­ ju re r’s accessories are supplied. THE TRICK :—The trick is to get the ring, which is not large enough to pass over the top or bottom of the key, on to the bar of it> T h e ' key has a joint a t the ward end which unscrews, and can be easily parted, and the rin g inserted under cover of the hand- I t is well to borrow the ring,' and also to have a duplicate key w ithout a joint which can be handed round for inspection. Palm it when it is returned, and substitute the trick key.

MAGICAL PRODUCTION OF A PLANT E FFE C T :—An empty flower pot is displayed, a cylinder placed over it, and when raised, a large plant ia seen grow­ ing: in the pot. A PPA R A T U S:—An empty tin or earthenware flower pot, and a tin cylinder, in th e lining' of which th e p lan t is hidden. THE T R IC K :—The empty flower pot is displayed, and th e audience shown th e cylinder, through which the wand is passed, to show th at it is quite empty. The cylinder is th en placed upon th e flower pot, and the rim a t the bottom ia held w ith th e left hand, while the outer case of the cylinder is pulled off w ith the rig h t hand. The flowers will then sp rin g cut, and a large yi a n t is produced. I t will add to th e effectiveness of this crick if a few real flowers are packed in t-.e cylinder, and other sim ilar flowers are secreted in a wicker tray . Pretence is made of cutting a number o f flow ers; one or two are really removed and placed with those in the tray , which are then distributed amongst the audience. T H E TRAVELLING THIMBLE E FFE C T :—A thimble is shown on the first finger, and th en w ith a very o.iick movement the hand is closed, opened again, an d th e thunfclo is found on the second finger, and afterw ards on the th iru and fourth. , A PPA R A T U S:—A thimble. ' THE TRICK:—The thim ble is h^ld palmed in the fleshy p a r t of the hand between- the fifst finger and the thumb. The first linger is broughtdow n and inserted in the thimble, the hand is opened sm artly, and the thimble displayed. The hand is then closed, the thimble palmed again, and th e second finger is inserted, and the hand opened. Extraodinary dexterity can be attained with this trick after a little practice. The travelling thimble trick can also be perform ed w ith a se t of eight thimbles, one for each finger. T he hands are shown clenched and tlie fingers raised and lowered one a t a time with all the alacrity the perform er can command (see Page 18, Illustration D, Figures 2 and 3)* AN OPTICAL ILLUSION WITH A R I N G S u s p e n d a rin g by a string, on a level with the eyes, with the plane of the rin g towards the person. Tie a small stick crosswise on the end of another about a yard long; hold the long stick, shut one eye, and try to thread the ring with the

crossed stick. Success wfll scarcely be attained, b u t If both eyes are used th e ring1 can be threaded a t th e first attem pt. This trick m ay be varied by using only a crooked stick instead of two sticks tied crosswise. AN OPTICAL ILLUSION W ITH MONEY:—P u t a shilling into an ordinary tum bler half full of w a te r; place a plate on the top, and tu rn the glass over quickly, so th a t the ■water does n o t escape. On th e plate a coin th e si 2e of h alf a crown will appear, and a little higher up another th e size of a shilling. I t will add to the effect of the ex­ perim ent if one of the company who does not know the trick is requested to throw the w ater away, and save the pieces. H e will be surprised a t only finding one. AN OPTICAL ILLUSION W ITH A W A T C H B o rr o w a silver watch, and cover the back w ith the tips of the first, second and th ird finger of both hands. Hold th e back of th e w atch towards th e audience, gently move the watch to and fro, a t th e same tim e p a rt and rejoin the finger tip s a little. The w atch will look as if it were bending. This trick is shown on Page 46, Illustration H, Figures 4 an d 5, and serves as an admirable introduction to one of the w atch tricks contained in th e book. GLOVE AND HEAD APPA RA TU S:—A glove made of flannelette or some fancy m aterial, and a doll's head. The glove has only stalls for the thumb, first and fourth finger?, b u t th a t fo r the first finger should be large enough to hold the second and th ird fingers also.) THE TRICK:—In sert the nand in the jrlove and place th e head upon the first finger. The little nrrer and th e thum b can be worked as arm s, and the. head made to move. A g reat deal of fu n can be extracted from this doll, and several good attitudes obtained. ' TO STICK A KN IFE THROUGn A PERSON'S FINGER i APPARATUS :-r-Two knives of the same p attern . Out of the blade of one of them a piece m ust have been removed, th e other two pieces being joined by a half circle of wire. TH E T R IC K :—Display the sound knife <effectively, and then while talk in g of the dreadful operation you are about

66

to perform , change it for the other, e.g. lay i t on the table while you are speaking to the assistant, and pick u t th e duplicate knife afterw ards. Then standing directlj towards th e audience, and keeping the knife straig h t iJ fro n t of the person, pretend to stick it through the assist a n t’s finger. H e m ust, of course, enter into the sp irit o th e trick, and pretend to be hurt, a n d 'th e audience can bi given a full view of th e position with the knife through thw finger or as i t will appear to them drawn through it. Remove th e knife as if drawing it out, hand the assistant a handkerchief, which has been stained with red, and he can retu rn to hia seat w ith his hand unhurt (see Page 43, Illustration C, Fig. 3). TO REPRODUCE A PIECE OF PA PER THAT IIAS BEEN TORN U P APPARAT£?S:—A false thum b tip (made of tin, painted flesh colour) and tw o narrow strips of paper. THE TRICK :—Place one of the strips of paper inside the false tip, and fit this upon the thum b. Display the hands well open, then hold them together, with the tips of the fingers meeting, and the back of the hands towards th e audience. Let them see you tear up one of the pieces o f paper, and display tho pieces. Then, resuming the posi­ tion described, crush the pieces together under cover of the hands, remove the thum b tip, draw out tho sound piece of paper place the to m pieces inside the tip, and p u t th a t upon th e thum b again. Then display the piece of papar, and a t a later stage dispose of the thum b tip (see Page 58, Illu stratio n K, Figs. 5 and 6).

'

THE MAGIC MATCHBOX * E F F E C T :—A number of the audience Is asked to p u t a shilling in a matchbox, which is closed, shaken to be sure it is still there, and when opened the shilling is found to have disappeared, and a halfpenny is discovered in its place. APPA RA TU S:—A halfpenny, a shilling and an empty -, • household matchbox a t one of the ends of which a very • narrow slit, ju st broad enough to allow a coin to slip through, has been cut along the bottom. If care is taken th e box can be cut without destroying th e paper, which will effectively cover or mask the slit. T H E TRICK :—Open the box about half way and insert a halfpenny between the end of the box and th e lid. A sk 57

ILLUSTRATION K

53

one of the audience to p u t a shilling? into the box. As they do so le t the coin fall through the slit into the hand. Close th e box, and the halfpenny will fall into it. You remark, "You are sure the money is there,” and hearing it rattle an affirm ative answ er is always returned. When opened it ■will seem th a t th e shilling: has changed to a halfpenny. TO CHANGE A CARD INTO A FLOWER A PPA R A T U S:—A folding card, with an artificial flower pasted on th e centre of the back. This can be purchased fo r a few pence. TH E TRICK :—The card is exhibited in the palm of the hand, then folded down w ith the thumb and little finger, and reversed. TO PRODUCE A LIGHTED CANDLE FROM THE POCKET A PPA R A T U S:—A piece of sandpaper sewn in the inside of th e coat ju st above the pocket, and a candle with a silent m atch fixed beside the wick. THE T H I C K S e c r e te the candle in the pocket above which the sandpaper is sewn. Draw the candle from the pocket, and simultaneously rub the match against the sandpaper. The wick will fire, and the candle will seem to come from the pocket alight. TO CATCH HOOPS ON THE ARMS WITH THE THUMBS TIED TOGETHER A PPA R A T U S:—A sm all piece of string, vaseline ,and tw o or three wooden hoops. THE TR IC K :—Have the thumbs well greased with vaseline, an d request one of the audience to tie your crossed thumbs together in th e m anner shown in Illustration G, Fig. 3. Give a wooden hoop for inspection, and request the assist­ a n t to take th e hoop and go to one side of the platform. W hile w alking to the other, slip your right thumb out of th e cord, b u t keep your hands together as if they were still fastened. Now ask for the hoop to be thrown to you. Catch it between th e hands, and immediately replace the thum b in th e cord, in th e original position. Submit the hands fo r exam ination to show th at the knots have not been tam pered with. TH E TRICK CARROT APPA RA TU S:—This can be purchased a t any shop where 59

conjurer’s accessories are sold. The carro t 5s of painted linen w ith a spring inside, and costs very little. TH E TRICK :—When the spring is closed, the carrot can be easily palmed in the hand. In se rt the hand under th e coat of one of the audience,' and gradually releasing th e spring’, draw away w hat appears to be a large carrot. This is shown on P age 43, Illustration C, Figs. 1 and 2. FALSE FINGER FOR PALMING OR PRODUCING APPA RA TU S:—A tin tube shaped like a finger, and enameled flesh colour. This can be purchased fo r a shilling o r so. THE TRICK:—This Is very useful for a vanish w ith t a r e arm s held well aw ay from the person. The finger is held by its fork between the second and th ird fingers o f the left hand, where it will be practically invisible to the audience. The tip uf the finger is removed with th e rig h t hand, and a handkerchief either gradually pushed inside or draw n from the false finger. ,The hand should, of course, b e , well flourished before and afterw ards. The effect of a tiandkerchief being produced or vanished is created (see Page 58, Illustration K, Figs. 7 and 8). TO PRODUCE YARDS OF RIBBON OR P A PER FROM THE MOUTH APPA RA TU S:—Tightly rolled reels of paper or ribbon and paper shavings. THE TRICK :—Invite one of the audience to dine a t th e table w ith you, and then have two dishes of paper shavings served. While pretending to p ut some of these >into the mouth, palm into it a reel of ribbon or paper previously secreted am ongst the shavings in your dish. P ull out th e reel until nearly finished and then refill the mouth. The reels can, if preferred, be produced from one o f the pockets instead of being placed am ongst th e shav­ ings. THE SUBMISSIVE MUSICAL BOX E FF E C T :—A musical box is made to go and stop a t command without being touched. APPARA TUS:—Two small musical boxes of th e same pattern. TH E TRICK:—Show th e audience a small musical box, th en set it on th e table, and cover w ith a fancy box or flower pot. Announce th a t the instrum ent will play or stop

a t yotir word ot command, or the This trick is worked by the aid of the side of the stage, sets going a th e one th at the audience has seen

waving of your wand. a confederate, who, a t musical box, sim ilar to and heard.

TO SUSPEND A BALL IN THE AIR, AND MAKE IT BUN ABOUT WITHOUT ANT APPARENT SUPPORT APPARA TUS:—A blackened ping-pong or small rubber ball and a piece of thread. T H E TRICK :—The perform er should be dressed in a dark suit, and stand in the most dimly-lit corner of the stage or room, and away from his audience. On the top button of th e w aistcoat attach a loop of black thread, about twelve or fourteen inches long. While throwing the ball about hook the loop of thread on to a finger of each hand, and draw it tight. I t thus forms a kind of railway, on which th e ball will ru n backwards and forwards. The ball drops as soon as th e thread is slackened, and in picking it up the thread can be slipped unnoticed from the fingers (see Page 16, Illustration G» Pig. 5). In the picture the thread has been emphasized in order to dem onstrate the trick more clearly.

Tricks with Matches and Numerals Considerable entertainm ent can be obtained from the following very simple tricks, fQr.^which practically the only accessory needed is a box of ordinary wooden matches. Simplicity is the keynote of these tricks, but they are none the less puzzling and amusing. THE ANIMATED MATCH E FFE C T :—A number of matches are laid like spokes of a wheel on th e surface of a saucer of w ater, and then made to move towards the centre, and to separate and move back again towards the edges of the saucer. APPARA TUS:—A few matches, a saucer or sm all basin 61

of water, a piece of Wotting paper about 3 in. x 12 In., and a sm all piece of soap. TH E TR IC K :—Break the heads off the matches, and when the w ater in the saucer is quite still, lay tke wooden sticks like the spokes o f a wheel on the surface, w ith a space about an inch in diam eter in the centre. Roll the slip of blotting paper loosely into the tube about as large round as a sixpence, and then let the end ju st touch the surface of th e w ater in the centre of the saucer; a m inute current is raised, and the pieces of m atch are draw n towards the blotting paper. To make the matches move away from the centre use a sm all piece of soap cut to the shape of a tube or cylinder instead of the blotting paper. W hen i t touches the w ater the matches immediately scatter in all directions. > TO MULTIPLY A NtTMBER OF MATCHES:—This is ac­ complished by laying the matches to form Roman numerals, e.g. three matches will make four or six, i.e. IV, V I ; two m atches will make five, V ; nine matches will make three dozen, XXXVI. A n o th r method is to make letters w ith the matches, and to spell the number, e.g. eleven matches will make nine, NINE. To make nine matches into three and a half dozen make two heaps one containing three, and the other six matches, i.e. three and a half dozen. TO SUPPORT A GLASS ON A BRIDGE OF THREE MATCHES, EACH ONE OF WHICH RESTS ON A GLASS A PPA RA TU S:—Three matches, and four wine glasses. Interlace the matches, resting one on the edge of each glass as shown on P age 23, Illustration F , F ig 6, and a fourth glass can now be placed upon th e matches. TO L IF T TWELVE MATCHES W ITH ONE:—Lay an ordinary household m atch on the table, and, across it place twelve others as shown on Page 23, Illustration F, Fig. 3. is to pick them all up in one action w ithout spilling. L ay another m atch across the twelve in the same direction as and exactly over the one underneath. Then raise the bottom m atch slowly and the matches can be lifted. TO FORM FOUR TRIANGLES W ITH SIX MATCHES:— Lay three m atches upon the table and form a trian g le w ith them. Then make a pyram id w ith th e other three by 62

resting: th e heads together and Inserting the base ends In the corners of the triangle. THE WALKING MATCH TH E TRICK:—Bend a match in half, i.e. making a prong, and on the top of th e prong paste or fix a vignetted picture of a m an. Place the inside of th e prong upon the edge of th e blade of a knife, and hold the latter parallel -with the table, so th a t both ends of the match just touch it. The m atch will th en "w alk” from one end of the knife to the other, without any effort of your own. This can also be done with two matches joined a t the ends by splitting one and sharpening the other. They may also be bent in the jentre to im p art a knee-like appearance (see Page 23, Il­ lustration F, Fig. 2).

Shadow&raphy SHADOWGRAPHY:—This very old entertainm ent is not often introduced into drawing-rooms nowadays, but it al­ ways affords considerable amusement to the little ones. To become expert in the a r t considerable time m ust be spent in practice, in order to make the fingers pliant, and to learn how, properly to secure the best positions. A few good ones are illustrated on Page 64 Illustration O, and a little experience with these will soon enable the perform er to invent m any other equally good ones—especially if he use3 a few cardboard figures which may be easily made. A candle will supply quite sufficient lighting power in a small room, and the handa should be held about two feet away from th e candle, and about four feet away from the screen, which should be tightly stretched on a wooden frame. The perform er will do well to work with the screen supported on the edge of a table, and he can then rest his scenery and arm s on the table if necessary, though very often the scenery is fixed in the sides of the frame. Considerable fun m ay be got out of shadowgraphy by introducing sham fights, e tc .; and one should remember th at elderly^ folks are only grown-up children, and th a t this entertainm ent i3 juat as likely to appeal to a n audience of adults as to one of children. 03

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